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[ "Olivier Messiaen", "Tristan and serialism", "What is Tristan and serialism?", "Messiaen composed the song cycle Harawi, the first of three works inspired by the legend of Tristan and Isolde.", "What was the song about?", "The second of these works about human (as opposed to divine) love was the result of a commission from Serge Koussevitzky.", "Was he commissioned to write any other songs?", "I don't know.", "Are there any other interesting aspects about this article?", "Messiaen taught an analysis class at the Paris Conservatoire.", "How long did he teach for?", "In 1947 he taught (and performed with Loriod) for two weeks in Budapest." ]
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What else did he do in Budapest?
6
What else did Olivier Messiaen do in Budapest besides being a teacher in 1947?
Olivier Messiaen
Shortly after his release from Gorlitz in May 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-Jesus ("Twenty gazes upon the child Jesus") for her. Again for Loriod, he wrote Trois petites liturgies de la presence 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 Turangalila-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 Turangalila-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'intensites" for piano (from the Quatre etudes 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 concrete, music for recorded sounds. CANNOTANSWER
In 1949 he taught at Tanglewood.
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
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[ "Vilmos Kondor (born 1954) is the name (possibly pseudonym) of a successful Hungarian author. His seven crime novels, known as the Sinful Budapest Cycle, depict the adventures of a journalist, Zsigmond Gordon, in Budapest from the 1930s to the 1950s. They have become very popular in Hungary. He's been dubbed as \"the creator of Hungarian crime fiction\".\n\nBiography\n\nPersonal life\nKondor attended university in Szeged, then continued his studies in Paris. He graduated in chemical engineering from the Sorbonne, then returned to Hungary. Currently he teaches mathematics and physics at a high school. He lives with his wife, daughters and dog in a small village near Sopron. He leads a quiet life and, if he gives interviews at all, he does so only by email.\n\nProfessional life\nKondor worked for three years on his first published novel, Budapest Noir. It was his fourth finished manuscript. Kondor finished the Budapest Noir series with the fifth novel, Budapest novemberben (Budapest in November), published in June 2012.\n\nAs influences, Kondor has mentioned Jim Thompson, Charles Willeford and Dashiell Hammett, and he based one of his characters, Vörös Margó (Red Margot) on the character Dinah Brand in Hammett's novel Red Harvest.\n\nWorks\nThe core five novels of the cycle are as follows:\n\nBudapest Noir\nA Jewish girl is found dead in Budapest in 1936, and, Zsigmond Gordon, a determined crime reporter, sets out to solve a murder that everyone else in his soon-to-be Fascist country wants to leave buried.\n\nBudapest Noir received a warm reception in Hungary, and many reviewers hailed it as the first true hardboiled crime story written in Hungarian. One critic, Péter I. Rácz, welcomed Kondor as the author of the first Hungarian crime thriller. \n\"The search [for a Hungarian crime thriller] is at an end: Vilmos Kondor’s novel is a Hungarian crime thriller and then some, one of the harder variety, in the spirit of Chandler and Hammett, but with Hungarian characters and set in the Hungarian capital in the period before World War II. ... Kondor’s literary experiment has been a great success: the Hungarian hard-boiled crime thriller has been born, and, far predating its own period, it leads its readers – with an effect that 'carries into the present' – to the literary realm of the 1930s.\" ÉS.\n\nThe novel was adapted to a movie of the same title. It premiered 2 November 2017, and is currently available on almost all online platforms.\n\nBűnös Budapest (Sinful Budapest)\nThe sequel to Budapest Noir was published in June 2009 by Agave Könyvek. The story is set in the fall of 1939, a couple of weeks after the outbreak of World War II. and features Zsigmond Gordon and Sándor Nemes, a retired detective. They start investigating two different cases: Gordon wants to find out why a former colleague and friend has died, while Nemes is hired to find out what happened to a huge quantity of cocaine and morphine that has gone missing. The two cases merge, and the solution involves politicians, Hungarian Nazis and corrupt policemen. \nOne reviewer, Péter Urfi, wrote about the \"Kondor phenomenon\":\n“In the Hungarian book market, developments as joyful as the Kondor phenomenon are rare. Kondor is a professional genre author: he knows exactly what a hard-boiled crime novel should be like, and how to write one. His protagonist, the resigned crime reporter Zsigmond Gordon, and his chosen time and place, Budapest in the 1930s, are both complex and mysterious enough for a series to be built around them, with the same characters and the same readers, for whom the slightly more lengthy Budapest Sin will not be a disappointment.” Magyar Narancs\n\nA budapesti kém (The Budapest Spy)\nHungary is about to get drawn into World War II when Zsigmond Gordon is asked to do something important for his country, and sets out to catch a deadly spy in war-torn Europe, only to find the traitor in Budapest in 1943.\n\nA critic called the novel a \"time machine\".\n\n\"All those who have never daydreamed about travelling back in time with a time machine to change the course of certain events, raise your hand. If any of you wish to relive Hungary as it was in the 1940s, then by all means pick up Vilmos Kondor’s latest novel, which not only reveals practical espionage facts, but also depicts the operation and circumstances reigning within the secret services of a country being driven into war.\"\n\nBudapest romokban (Budapest in Ruins)\nAfter the horrors of World War II, Hungary is about to become a democracy, but in the summer of 1946 an assassin strikes in the middle of Budapest, and the consequences are more dire than anyone would dare to think. Gordon starts to investigate the real culprits, who turn out to be, not the criminal lords of the capital, but ruthless Soviet officers and their even more ruthless masters.\n\nA reviewer emphasized that Kondor writes about a kind of freedom that has not been common in Hungary:\n“Without Vilmos Kondor’s work the acts of the man socialized for freedom (with all it consequences) couldn’t be studied in Hungarian texts.”\n\nBudapest novemberben (Budapest in November)\nOctober 1956 finds Gordon in exile in Vienna, where he is asked to identify a dead body as his adopted daughter. Even though the girl turns out to be someone else, Gordon – along with Krisztina – hops on the last train to Budapest, where a revolution has just started, tanks are rolling onto the streets, and people are dying by the hundreds. But Gordon is interested only in finding his daughter, and the dangerous killer who tries to stay hidden while chaos ensues on the streets of a city that is fighting for its independence and freedom.\n\nA reviewer welcomed the way Kondor handles history in this final novel in the Budapest Noir series:\n\"Kondor doesn't only paint a picture and doesn't only repeat what is in the history books: he tries to interpret it, make sense of it, and help us understand the relations and dynamics of this hectic era.\"\n\nShort stories\nKondor's collection of short stories was published in 2018 under the title 'A haldokló részvényes.'\n\nInterpretations\nKondor's work has been present in the Hungarian media in several forms. His novels and short stories have been turned into audiobooks, radio plays, comics and even photo exhibitions.\n\nOther Works\nKondor wrote a trilogy of thrillers about the fictional Wertheimer family's almost century long affiliation with the Holy Crown of Hungary, and a trilogy of contemporary police procedurals with strong political overtones. He also published a short novel under the title 'Az otthontalanság otthona' whose whole income he donated to an NGO that gave a helping hand to the migrants who arrived to Hungary during the crisis in 2015.\n\nStyle and method\n\nKondor always uses a third-person narrative that is arguably a masked first-person narrative, since the reader always sees what the protagonist(s) see. The narrator is also an historical figure who knows only the time frame of the novel and never steps out of it. Kondor thus views events through the eyes of his protagonists, and rarely comments on the political situation. He follows in the steps of Charles Willeford in the sense that his characters never \"think\", they only \"act\": there are no inner monologues.\n\nKondor mixes fictional characters with persons from real life, including Leó Vécsey (journalist), Kornél Tábori (journalist), Tibor Ferenczy (police commissioner), Péter Hain (detective), Tibor Wayand (detective), István Bárczy (chief of staff), and Vilmos Tarján (journalist). He thoroughly researches people and events in order to invoke the atmosphere of Hungary, and especially Budapest, in the 1930s, 1940s and 1950s.\n\nForeign Editions\nThe core five novels of the series were published in Finnish by Tammi. So far, Budapest Noir has been published in English, in German, in Italian, in French, in Polish, in Dutch, in Russian, in Estonian, in Bulgarian, in Greek, in Czech and in Slovenian.\n\nReferences\n\nExternal links\nThe official website of Budapest Noir\nJános Pelle's review of Budapest Noir in Hungarian on hvg.hu\nPéter I. Rácz's review of Budapest Noir in Hungarian in ÉS\nKrisztina Horeczky's review of Budapest Noir in Hungarian in Népszabadság\nKrisztián Benyovszky's review of Budapest Noir in Hungarian in Új Szó in Bratislava\nGábor Wágner's review of Budapest Noir in Hungarian in Pesti Műsor\nIstván M. Szabó's review of Budapest Noir in Hungarian in Magyar Narancs\nTibor Bárány's review of Budapest Noir in Hungarian in Magyar Narancs\npuskar's review of Budapest Noir in Hungarian on index.hu\nJanos Horváth's review of Budapest Noir in Hungarian on Dark Corners\nSándor Tóth's review of Budapest Noir in Hungarian in Zsaru Magazin\nAll the available reviews on Budapest Noir in English\nInterview with Kondor in Exit in Hungarian\n\n1954 births\nHungarian writers\nLiving people\nCrime writers", "Sándor Csányi (born 19 December 1975) is a Hungarian actor.\n\nCsányi aimed to be an actor from an early age and was admitted into the University of Theatre and Film Arts in Budapest on his fourth attempt. In 2002, he became a member of the Radnóti Theatre in Budapest.\n\nHis earliest film role was lending his voice for the 1999 film Sitiprinc and he followed this up by starring in shorts Az Ember, akit kihagytak and [email protected] ([email protected]) the following year. He then had small roles in a number of films until 2003 when he starred in Nimród Antal's critically acclaimed Kontroll. He has since become somewhat of a leading man in Hungarian cinema, starring in such films as Just Sex and Nothing Else, Rokonok and Children of Glory.\n\nHe was married to Hungarian actress Lia Pokorny who he has worked alongside on a number of films. They have one child, Michael (2003).\n\nFilmography\n Sitiprinc (1999) ...Horváth Rudolf (voice)\n [email protected] ([email protected]) (1999) ...Thief\n Jadviga párnája (2000) ...Rosza Pali\n This I Wish and Nothing More (2000)...Strici\n Pizzaman (2001) ...Portás 2\n Nexxt (2001) ...Balfék\n I Love Budapest (2001) ...Miki\n Citromfej (2001) ...Constructor\n Szent Iván napja (2003) ...Misi\n A Bus Came... (2003) ...Miklós\n Kontroll (2003) ...Bulcsú\n Magyar vándor (2004) ...Tartar messenger\n The Unburied Man (2004)\n Stop Mom Theresa (2004) ...David\n The Porcelian Doll (2005) ...Csurmándi\n A Fény ösvényei (2005) ...Alex\n Az Igazi Mikulás (2005) ...Dr. Lápossy\n Just Sex and Nothing Else (2005) ...Tamás\n Rokonok (2006) ...István Kopjáss\n Children of Glory (2006) ...Tibi Vámos\n Idegölő (2006) ...The gas-man\n S.O.S. Love! (2007) ...Péter\n Nosedive (2007) ...Cameo\n Chameleon (2008) ...Márk\n Adventure (2011)\n Coming Out (2013)\n Eternal Winter (2018) ...Rajmund\n\nReferences\n\nExternal links\n \n\n1975 births\nLiving people\nHungarian male stage actors\nHungarian male film actors\nMale actors from Budapest\n20th-century Hungarian male actors\n21st-century Hungarian male actors" ]
[ "Olivier Messiaen", "Tristan and serialism", "What is Tristan and serialism?", "Messiaen composed the song cycle Harawi, the first of three works inspired by the legend of Tristan and Isolde.", "What was the song about?", "The second of these works about human (as opposed to divine) love was the result of a commission from Serge Koussevitzky.", "Was he commissioned to write any other songs?", "I don't know.", "Are there any other interesting aspects about this article?", "Messiaen taught an analysis class at the Paris Conservatoire.", "How long did he teach for?", "In 1947 he taught (and performed with Loriod) for two weeks in Budapest.", "What else did he do in Budapest?", "In 1949 he taught at Tanglewood." ]
C_c98b847278d549889a47900bb8acefee_0
Did he travel any where else?
7
Did Olivier Messiaen travel any where else besides Budapest?
Olivier Messiaen
Shortly after his release from Gorlitz in May 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-Jesus ("Twenty gazes upon the child Jesus") for her. Again for Loriod, he wrote Trois petites liturgies de la presence 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 Turangalila-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 Turangalila-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'intensites" for piano (from the Quatre etudes 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 concrete, music for recorded sounds. CANNOTANSWER
Beginning in summer 1949 he taught in the new music summer school classes at Darmstadt.
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
[ "Fredrick Else (31 March 193320 July 2015) was an English footballer, who played as a goalkeeper. Else gained over 600 professional appearances in his career playing for three clubs, Preston North End, Blackburn Rovers and Barrow.\n\nClub career\nElse was born in Golborne near Wigan on 31 March 1933. Whilst on national service in the north-east he played for amateur club Axwell Park Colliery Welfare in the Derwent Valley League. He attracted the attention of Football League teams and signed as a junior for Preston North End in 1951, and as a professional in 1953. He made his debut for Preston against Manchester City in 1954, but was restricted to 14 appearances over his first three seasons. He eventually became first choice, displacing George Thompson, and played 238 times for North End. During this time Preston's most successful season came in 1957–58, when the club finished as runners up in Division One.\n\nThe 1960–61 season ended in relegation for Preston and Else was sold to neighbours Blackburn Rovers for £20,000. Else became a first choice for Blackburn straight away and played 221 times for the club. A collarbone injury in 1964–65 resulted in a period out of the game, though Else returned to regain the goalkeeper's jersey at Blackburn. Nonetheless the team were relegated the following season and Else was released. During the summer of 1966 Else signed with Barrow of the Fourth Division. Else became part of Barrow's most successful team, with the side winning promotion to the Third Division in his first season there. Else was Barrow's first choice keeper for the entire period that they were in the third division, and played 148 league matches for the club. He retired from football after Barrow's relegation in 1970 following a leg infection. His final season included a brief stint as caretaker manager at Barrow.\n\nHonours\n Football League Division One Runner-up 1957–1958\n Football League Division Four Promotion 1966–1967\n\nInternational career\nElse has been described by fans of the clubs that he played for as one of the best English goalkeepers never to win a full international cap. He did, however, make one appearance for the England B team in 1957 against Scotland B, as well as participating in a Football Association touring side of 1961.\n\nPersonal life and death\nElse met his wife Marjorie in 1949 in Douglas on the Isle of Man. They married when Else was 22 and Marjorie 20, on 29 October 1955, a Saturday morning. The wedding was held in Marjorie's home town of Blackpool and the date was chosen so that the couple could marry in the morning and Else could then travel either to Deepdale, to play for Preston North End's reserve team, or to Bloomfield Road where Preston's first team was due to be playing Blackpool F.C. In the event Else was selected for the reserves and the couple had to travel by bus to Preston.\n\nAfter retiring from football, Else remained in Barrow-in-Furness, becoming a geography and maths teacher at a local secondary school. He retired from teaching in 1999 and moved to Cyprus, though still attended some Barrow matches. Else died in Barrow-in-Furness on 20 July 2015, aged 82.\n\nReferences\n\n2015 deaths\n1933 births\nBarrow A.F.C. managers\nBarrow A.F.C. players\nBlackburn Rovers F.C. players\nPreston North End F.C. players\nPeople from Golborne\nEnglish footballers\nAssociation football goalkeepers\nSchoolteachers from Cumbria\nEnglish Football League players\nEngland B international footballers\nEnglish football managers", "Else Hansen (Cathrine Marie Mahs Hansen) also called de Hansen (1720 – 4 September 1784), was the royal mistress of king Frederick V of Denmark. She is his most famous mistress and known in history as Madam Hansen, and was, alongside Charlotte Amalie Winge, one of only two women known to have been long term lovers of the king.\n\nLife\n\nThe background of Else Hansen does not appear to be known. Tradition claims her to be the sister of Frederick's chamber servant Henrik Vilhelm Tillisch, who in 1743 reportedly smuggled in his sister to the king at night, but modern research does not support them to be the same person.\n\nRoyal mistress\nIt is not known exactly when and how Hansen became the lover of the king. Frederick V was known for his debauched life style. According to Dorothea Biehl, the king was known to participate in orgies or 'Bacchus parties', in which he drank alcohol with his male friends while watching female prostitutes stripped naked and danced, after which the king would sometime beat them with his stick and whip them after having been intoxicated by alcohol. These women where economically compensated, but none of them seem to have had any status of a long term mistress, nor did any of the noblewomen and maids-of-honors, which according to rumors where offered to the king by their families in hope of advantages but simply married of as soon as they became pregnant without any potential relationship having been anything but a secret. The relationship between the king and Else Hansen was therefore uncommon.\n\nElse Hansen gave birth to five children with the king between 1746 and 1751, which is why the affair is presumed to have started in 1746 at the latest and ended in 1751 at the earliest. At least her three younger children where all born at the manor Ulriksholm on Funen, a manor owned by Ulrik Frederik von Heinen, brother-in-law of the de facto ruler of Denmark, the kings favorite Adam Gottlob Moltke, who likely arranged the matter. The manor was named after the royal Ulrik Christian Gyldenlove, illegitimate son of a previous king. The king's children with Hansen where baptized in the local parish church near the manor, where they were officially listed as the legitimate children of the wife of a non existent man called \"Frederick Hansen, ship writer from Gothenburg to China\". The frequent trips to Ulriksholm by Hansen as soon as her pregnancies with the king became evident was publicly noted. Neither Else Hansen nor any other of the king's mistresses where ever any official mistress introduced at the royal court, nor did they have any influence upon state affairs whatever, as politics where entrusted by the king to his favorite Moltke.\n\nIn 1752, the relationship between the king and Hansen may have ended – in any case, it was not mentioned more or resulted in any more children. She settled in the property Kejrup near Ulriksholm with her children, officially with the status of \"widow of the late sea captain de Hansen\".\n\nLater life\nAfter the death of Frederick in 1766, she acquired the estate Klarskov on Funen. She sold Klarskov and moved to Odense in 1768. In 1771, however, she bought Klarskov a second time and continued to live there until her death.\n\nHer children were not officially recognized, but unofficially they were taken care of by the royal court: her daughters were given a dowry and married to royal officials and the sons careers where protected, and her grandchildren where also provided with an allowance from the royal house.\n\nAfter Hansen, the king did not have any long term mistress until Charlotte Amalie Winge (1762–66).\n\nLegacy\nAt Frederiksborgmuseet, there are three paintings of Hansen by Jens Thrane the younger from 1764. Hansen is known by Dorothea Biehl's depiction of the decadent court life of Frederick V.\n\nIssue \nHer children were officially listed with the father \"Frederick Hansen, sea captain\".\nFrederikke Margarethe de Hansen (1747–1802)\nFrederikke Catherine de Hansen (1748–1822)\nAnna Marie de Hansen (1749–1812)\nSophie Charlotte de Hansen (1750–1779)\nUlrik Frederik de Hansen (1751–1752)\n\nSources\n Charlotte Dorothea Biehl, Interiører fra Frederik V's Hof, udgivet af Louis Bobé.\n Aage Christens, Slægten de Hansen, 1968.\n\nReferences\n\n1720 births\n1784 deaths\nMistresses of Danish royalty\n18th-century Danish people\n18th-century Danish women landowners\n18th-century Danish landowners" ]
[ "Olivier Messiaen", "Tristan and serialism", "What is Tristan and serialism?", "Messiaen composed the song cycle Harawi, the first of three works inspired by the legend of Tristan and Isolde.", "What was the song about?", "The second of these works about human (as opposed to divine) love was the result of a commission from Serge Koussevitzky.", "Was he commissioned to write any other songs?", "I don't know.", "Are there any other interesting aspects about this article?", "Messiaen taught an analysis class at the Paris Conservatoire.", "How long did he teach for?", "In 1947 he taught (and performed with Loriod) for two weeks in Budapest.", "What else did he do in Budapest?", "In 1949 he taught at Tanglewood.", "Did he travel any where else?", "Beginning in summer 1949 he taught in the new music summer school classes at Darmstadt." ]
C_c98b847278d549889a47900bb8acefee_0
Did he teach anywhere else?
8
Did Olivier Messiaen teach anywhere else besides Darmstadt?
Olivier Messiaen
Shortly after his release from Gorlitz in May 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-Jesus ("Twenty gazes upon the child Jesus") for her. Again for Loriod, he wrote Trois petites liturgies de la presence 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 Turangalila-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 Turangalila-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'intensites" for piano (from the Quatre etudes 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 concrete, music for recorded sounds. 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
[ "\"Be Someone Else\" is a song by Slimmy, released in 2010 as the lead single from his second studio album Be Someone Else. The single wasn't particularly successful, charting anywhere.\nA music video was also made for \"Be Someone Else\", produced by Riot Films. It premiered on 27 June 2010 on YouTube.\n\nBackground\n\"Be Someone Else\" was unveiled as the album's lead single. The song was written by Fernandes and produced by Quico Serrano and Mark J Turner. It was released to MySpace on 1 January 2010.\n\nMusic video\nA music video was also made for \"Be Someone Else\", produced by Riot Films. It premiered on 27 June 2010 on YouTube. The music video features two different scenes which alternate with each other many times during the video. The first scene features Slimmy performing the song with an electric guitar and the second scene features Slimmy performing with the band in the background.\n\nChart performance\nThe single wasn't particularly successful, charting anywhere.\n\nLive performances\n A Very Slimmy Tour\n Be Someone Else Tour\n\nTrack listing\n\nDigital single\n\"Be Someone Else\" (album version) - 3:22\n\nPersonnel\nTaken from the album's booklet.\n\nPaulo Fernandes – main vocals, guitar\nPaulo Garim – bass\nTó-Zé – drums\n\nRelease history\n\nCharts\n\nReferences\n\nExternal links\nOfficial music video at YouTube.\n\n2010 singles\nEnglish-language Portuguese songs\n2009 songs", "Grouvellina radama is a species of ground beetle in the subfamily Rhysodinae. It was described by R.T. & J.R. Bell in 1979.\nIt is native to Madagascar and it is unknown whether it lives anywhere else.\n\nReferences\n\nGrouvellina\nBeetles described in 1979" ]
[ "Olivier Messiaen", "Tristan and serialism", "What is Tristan and serialism?", "Messiaen composed the song cycle Harawi, the first of three works inspired by the legend of Tristan and Isolde.", "What was the song about?", "The second of these works about human (as opposed to divine) love was the result of a commission from Serge Koussevitzky.", "Was he commissioned to write any other songs?", "I don't know.", "Are there any other interesting aspects about this article?", "Messiaen taught an analysis class at the Paris Conservatoire.", "How long did he teach for?", "In 1947 he taught (and performed with Loriod) for two weeks in Budapest.", "What else did he do in Budapest?", "In 1949 he taught at Tanglewood.", "Did he travel any where else?", "Beginning in summer 1949 he taught in the new music summer school classes at Darmstadt.", "Did he teach anywhere else?", "I don't know." ]
C_c98b847278d549889a47900bb8acefee_0
What else is notable about this time?
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What else is notable about 1949 besides Olivier Messiaen teaching at Darmstadt?
Olivier Messiaen
Shortly after his release from Gorlitz in May 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-Jesus ("Twenty gazes upon the child Jesus") for her. Again for Loriod, he wrote Trois petites liturgies de la presence 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 Turangalila-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 Turangalila-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'intensites" for piano (from the Quatre etudes 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 concrete, music for recorded sounds. CANNOTANSWER
It had a large influence on the earliest European serial composers,
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
[ "\"What Else Is There?\" is the third single from the Norwegian duo Röyksopp's second album The Understanding. It features the vocals of Karin Dreijer from the Swedish electronica duo The Knife. The album was released in the UK with the help of Astralwerks.\n\nThe single was used in an O2 television advertisement in the Czech Republic and in Slovakia during 2008. It was also used in the 2006 film Cashback and the 2007 film, Meet Bill. Trentemøller's remix of \"What Else is There?\" was featured in an episode of the HBO show Entourage.\n\nThe song was covered by extreme metal band Enslaved as a bonus track for their album E.\n\nThe song was listed as the 375th best song of the 2000s by Pitchfork Media.\n\nOfficial versions\n\"What Else Is There?\" (Album Version) – 5:17\n\"What Else Is There?\" (Radio Edit) – 3:38\n\"What Else Is There?\" (Jacques Lu Cont Radio Mix) – 3:46\n\"What Else Is There?\" (The Emperor Machine Vocal Version) – 8:03\n\"What Else Is There?\" (The Emperor Machine Dub Version) – 7:51\n\"What Else Is There?\" (Thin White Duke Mix) – 8:25\n\"What Else Is There?\" (Thin White Duke Edit) – 4:50\n\"What Else Is There?\" (Thin White Duke Remix) (Radio Edit) – 3:06\n\"What Else Is There?\" (Trentemøller Remix) – 7:42\n\"What Else Is There?\" (Vitalic Remix) – 5:14\n\nResponse\nThe single was officially released on 5 December 2005 in the UK. The single had a limited release on 21 November 2005 to promote the upcoming album. On the UK Singles Chart, it peaked at number 32, while on the UK Dance Chart, it reached number one.\n\nMusic video\nThe music video was directed by Martin de Thurah. It features Norwegian model Marianne Schröder who is shown lip-syncing Dreijer's voice. Schröder is depicted as a floating woman traveling across stormy landscapes and within empty houses. Dreijer makes a cameo appearance as a woman wearing an Elizabethan ruff while dining alone at a festive table.\n\nMovie spots\n\nThe song is also featured in the movie Meet Bill as characters played by Jessica Alba and Aaron Eckhart smoke marijuana while listening to it. It is also part of the end credits music of the film Cashback.\n\nCharts\n\nReferences\n\n2005 singles\nRöyksopp songs\nAstralwerks singles\nSongs written by Svein Berge\nSongs written by Torbjørn Brundtland\n2004 songs\nSongs written by Roger Greenaway\nSongs written by Olof Dreijer\nSongs written by Karin Dreijer", "Else-Marie is a compound given name, composed of Else and Marie. Notable people with the name include:\n\n Else Marie Jakobsen (1927–2012), Norwegian designer and textile artist\n Else-Marie Lindgren (born 1949), Swedish politician\n Else-Marie Ljungdahl (born 1942), Swedish sprint canoer\n\nCompound given names" ]
[ "Willie Dixon", "Adulthood" ]
C_a6b8e0798e314fdb93a28171dc1ea851_1
what was his adulthood like?
1
What was Willie Dixon’s adulthood like?
Willie Dixon
Dixon left Mississippi for Chicago in 1936. A man of considerable stature, standing 6 and a half feet tall and weighing over 250 pounds, he took up boxing, at which he was successful, winning the Illinois State Golden Gloves Heavyweight Championship (Novice Division) in 1937. He became a professional boxer and worked briefly as Joe Louis's sparring partner, but after four fights he left boxing in a dispute with his manager over money. Dixon met Leonard Caston at a boxing gym, where they would harmonize at times. Dixon performed in several vocal groups in Chicago, but it was Caston that persuaded him to pursue music seriously. Caston built him his first bass, made of a tin can and one string. Dixon's experience singing bass made the instrument familiar. He also learned to play the guitar. In 1939, Dixon was a founding member of the Five Breezes, with Caston, Joe Bell, Gene Gilmore and Willie Hawthorne. The group blended blues, jazz, and vocal harmonies, in the mode of the Ink Spots. Dixon's progress on the upright bass came to an abrupt halt with the advent of World War II, when he refused induction into military service as a conscientious objector and was imprisoned for ten months. He refused to go to war because he would not fight for a nation in which institutionalized racism and racist laws were prevalent. After the war, he formed a group named the Four Jumps of Jive. He then reunited with Caston, forming the Big Three Trio, which went on to record for Columbia Records. CANNOTANSWER
Dixon performed in several vocal groups in Chicago,
William James Dixon (July 1, 1915January 29, 1992) was an American blues musician, vocalist, songwriter, arranger and record producer. He was proficient in playing both the upright bass and the guitar, and sang with a distinctive voice, but he is perhaps best known as one of the most prolific songwriters of his time. Next to Muddy Waters, Dixon is recognized as the most influential person in shaping the post–World War II sound of the Chicago blues. Dixon's songs have been recorded by countless musicians in many genres as well as by various ensembles in which he participated. A short list of his most famous compositions includes "Hoochie Coochie Man", "I Just Want to Make Love to You", "Little Red Rooster", "My Babe", "Spoonful", and "You Can't Judge a Book by the Cover". These songs were written during the peak years of Chess Records, from 1950 to 1965, and were performed by Muddy Waters, Howlin' Wolf, Little Walter, and Bo Diddley; they influenced a generation of musicians worldwide. Dixon was an important link between the blues and rock and roll, working with Chuck Berry and Bo Diddley in the late 1950s. In the 1960s, his songs were adapted by numerous rock artists. He received a Grammy Award and was inducted into the Blues Hall of Fame, the Rock and Roll Hall of Fame, and the Songwriters Hall of Fame. Biography Early life Dixon was born in Vicksburg, Mississippi, on July 1, 1915. He was one of fourteen children. His mother, Daisy, often rhymed things she said, a habit her son imitated. At the age of seven, young Dixon became an admirer of a band that featured pianist Little Brother Montgomery. He sang his first song at Springfield Baptist Church at the age of four. Dixon was first introduced to blues when he served time on prison farms in Mississippi as a young teenager. Later in his teens, he learned to sing harmony from a local carpenter, Theo Phelps, who led a gospel quintet, the Union Jubilee Singers, in which Dixon sang bass; the group regularly performed on the Vicksburg radio station WQBC. He began adapting his poems into songs and even sold some to local music groups. Adulthood Dixon left Mississippi for Chicago in 1936. A man of considerable stature, standing 6 feet 6 inches tall and weighing over 250 pounds, he took up boxing, at which he was successful, winning the Illinois State Golden Gloves Heavyweight Championship (Novice Division) in 1937. He became a professional boxer and worked briefly as Joe Louis's sparring partner, but after four fights he left boxing in a dispute with his manager over money. Dixon met Leonard Caston at a boxing gym, where they would harmonize at times. Dixon performed in several vocal groups in Chicago, but it was Caston that persuaded him to pursue music seriously. Caston built him his first bass, made of a tin can and one string. Dixon's experience singing bass made the instrument familiar. He also learned to play the guitar. In 1939, Dixon was a founding member of the Five Breezes, with Caston, Joe Bell, Gene Gilmore and Willie Hawthorne. The group blended blues, jazz, and vocal harmonies, in the mode of the Ink Spots. Dixon's progress on the upright bass came to an abrupt halt with the advent of World War II, when he refused induction into military service as a conscientious objector and was imprisoned for ten months. He refused to go to war because he would not fight for a nation in which institutionalized racism and racist laws were prevalent. After the war, he formed a group named the Four Jumps of Jive. He then reunited with Caston, forming the Big Three Trio, which went on to record for Columbia Records. Pinnacle of career Dixon signed with Chess Records as a recording artist, but he began performing less, being more involved with administrative tasks for the label. By 1951, he was a full-time employee at Chess, where he acted as producer, talent scout, session musician and staff songwriter. He was also a producer for the Chess subsidiary Checker Records. His relationship with Chess was sometimes strained, but he stayed with the label from 1948 to the early 1960s. During this time Dixon's output and influence were prodigious. From late 1956 to early 1959, he worked in a similar capacity for Cobra Records, for which he produced early singles for Otis Rush, Magic Sam, and Buddy Guy. In 1956, Dixon wrote "Fishin' in My Pond", which was recorded by Lee Jackson, and released on Cobra in February 1957. Dixon later recorded for Bluesville Records. From the late 1960s until the mid-1970s, Dixon ran his own record label, Yambo Records, and two subsidiary labels, Supreme and Spoonful. He released his 1971 album, Peace?, on Yambo and also singles by McKinley Mitchell, Lucky Peterson and others. Dixon is considered one of the key figures in the creation of Chicago blues. He worked with Chuck Berry, Muddy Waters, Howlin' Wolf, Otis Rush, Bo Diddley, Joe Louis Walker, Little Walter, Sonny Boy Williamson, Koko Taylor, Little Milton, Eddie Boyd, Jimmy Witherspoon, Lowell Fulson, Willie Mabon, Memphis Slim, Washboard Sam, Jimmy Rogers, Sam Lay and others. In December 1964, the Rolling Stones reached number one on the UK Singles Chart with their cover of Dixon's "Little Red Rooster". In the same year, the group also covered "I Just Want To Make Love To You" on their debut album, The Rolling Stones. Copyright battles In his later years, Dixon became a tireless ambassador for the blues and a vocal advocate for its practitioners, founding the Blues Heaven Foundation, which works to preserve the legacy of the blues and to secure copyrights and royalties for blues musicians who were exploited in the past. Speaking with the simple eloquence that was a hallmark of his songs, Dixon claimed, "The blues are the roots and the other musics are the fruits. It's better keeping the roots alive, because it means better fruits from now on. The blues are the roots of all American music. As long as American music survives, so will the blues." In 1977, unhappy with the small royalties paid by Chess's publishing company, Arc Music, Dixon and Muddy Waters sued Arc and, with the proceeds from the settlement, founded their own publishing company, Hoochie Coochie Music. In 1987, Dixon reached an out-of-court settlement with the rock band Led Zeppelin after suing for plagiarism in the band's use of his music in "Bring It On Home" and lyrics from his composition "You Need Love" (1962) in the band's recording of "Whole Lotta Love". Death and legacy Dixon's health increasingly deteriorated during the 1970s and the 1980s, primarily as a result of long-term diabetes. Eventually one of his legs was amputated. Dixon was inducted into the Blues Hall of Fame in 1980, in the inaugural session of the Blues Foundation's ceremony. In 1989 he received a Grammy Award for his album Hidden Charms. Dixon died of heart failure on January 29, 1992, in Burbank, California, and was buried in Burr Oak Cemetery, in Alsip, Illinois. After his death, his widow, Marie Dixon, took over the Blues Heaven Foundation and moved the headquarters to Chess Records. Dixon was posthumously inducted into the Rock and Roll Hall of Fame in the category Early Influences (pre-rock) in 1994. On April 28, 2013, both Dixon and his grandson Alex Dixon were inducted into the Chicago Blues Hall of Fame. In 2007, Dixon was honored with a marker on the Mississippi Blues Trail in Vicksburg. The actor and comedian Cedric the Entertainer portrayed Dixon in Cadillac Records, a 2008 film based on the early history of Chess Records. Songs Dixon wrote or co-wrote over 500 songs. Several have become blues standards, including "Help Me", "Hoochie Coochie Man", "I Can't Quit You Baby", "I'm Ready", "Little Red Rooster", "My Babe", and "Spoonful". Other Dixon compositions that reached the record charts include "Evil" (Howlin' Wolf), "I Just Want to Make Love to You" (Muddy Waters), "Pretty Thing" (Bo Diddley), "The Seventh Son" (Willie Mabon), "Wang Dang Doodle" (Koko Taylor), and "You Can't Judge a Book by the Cover" (Bo Diddley). In the 1960s, his songs were adapted by numerous rock artists; many recorded at least one of his songs for their debut albums, including: Jeff Beck ("I Ain't Superstitious", "You Shook Me"); the Blues Project ("Back Door Man", "Spoonful"); Canned Heat ("Evil Is Going On"); Cactus ("You Can't Judge a Book by the Cover"); Cream ("Spoonful"); the Doors ("Back Door Man"); Foghat ("I Just Want to Make Love to You"); Hawkwind ("Bring It on Home"); Led Zeppelin ("I Can't Quit You Baby", "You Shook Me"); Pretty Things ("Pretty Thing"); the Rolling Stones ("I Just Want to Make Love to You"); Siegel–Schwall Band ("Hoochie Coochie Man"); Shadows of Knight ("You Can't Judge a Book by Looking at the Cover", "I Just Want to Make Love to You", "Hoochie Coochie Man"); Steppenwolf ("Hoochie Coochie Man"); Ten Years After ("Spoonful", "Help Me"); and Johnny Winter ("Help Me"). Discography Albums Notes References Sources Dixon, Willie (1992). Willie Dixon: Master Blues Composer, with Notes and Tablature. Hal Leonard. . External links Willie Dixon, Mississippi blues musician. Mississippi Writers and Musicians Project of Starkville High School Willie Dixon's Blues Heaven Foundation Willie Dixon's Official Website 1915 births 1992 deaths African-American guitarists American amputees American blues guitarists American male guitarists American blues singer-songwriters American conscientious objectors American double-bassists Male double-bassists American music arrangers Record producers from Illinois American session musicians Blues musicians from Mississippi Checker Records artists Cobra Records artists Chicago blues musicians Grammy Award winners Jive singers Jump blues musicians Musicians from Vicksburg, Mississippi Singer-songwriters from Mississippi 20th-century American businesspeople 20th-century American guitarists Singer-songwriters from Illinois Slap bassists (double bass) Guitarists from Illinois Guitarists from Mississippi Burials at Burr Oak Cemetery 20th-century double-bassists 20th-century American male musicians Male jazz musicians Mississippi Blues Trail African-American male singer-songwriters 20th-century African-American male singers
true
[ "Sarah's Scribbles is a webcomic by Sarah Andersen started in 2011. Andersen initially published the webcomic on Tumblr, but has since released it on various services, such as Facebook, Instagram, Tapas and her own website. Sarah's Scribbles follows Andersen's experiences as a millennial and focuses on themes such as adulthood and maturity. The comic receives millions of views on the Tapas platform and has won multiple Goodreads Choice Awards and a Ringo Award. Andersen has published three print collections of the webcomic: Adulthood is a Myth; Big Mushy Happy Lump; and Herding Cats.\n\nOverview \nSarah's Scribbles focuses on adulthood and the maturity of the millennial generation. Andersen described millennials as \"liking to laugh at themselves,\" making common use of self-deprecating humour. The Independent described Sarah's Scribbles as \"relatable comics capturing the dilemmas of a bug-eyed millennial who feels ill-equipped for grown-up life.\" The webcomic is semi-autobiographical, following Andersen's experiences as well as those of her friends and pets. Andersen has said that the main character is \"technically\" called Sarah, as the character is her, but she avoids using her name, saying: \"I feel like people project themselves onto her... I feel like calling her Sarah within the panels has this strange effect of making her more of an individual and less relatable.\" Andersen has deliberately chosen not to publish photographs of her face, instead opting to present herself through her black-haired character.\n\nAndersen's webcomic follows the messy-haired protagonist, who has to deal with social anxiety, body image issues and laziness. One comic shows Andersen 'borrowing' a sweater from her boyfriend; other topics include being made to feel inadequate by fitness fanatics, dreading Mondays, considering matching socks an achievement while former school friends raise children. The comic also satirizes toxic masculinity. Andersen said in 2016 she mainly gains inspiration from her own life and from seeing what people on the internet are thinking and feeling.\n\nDevelopment \n\nAndersen started creating and uploading Sarah's Scribbles on Tumblr in 2013. She was studying at the Maryland Institute College of Art at the time, and after she graduated in 2014 she worked on the webcomic full-time. According to Andersen, the comic was originally called Doodle Time, but GoComics asked Andersen to change the name when they syndicated it. Andersen has said that publishing Sarah's Scribbles as a webcomic allows her to observe the reactions of her readership in real time, which she said allows her to do a better job. Andersen's webcomic has a five-panel format, which Andersen developed because it worked well with the scroll display of Tumblr and continues to work well on other websites, such as Instagram.\n\nIn March 2016, Andersen released a print collection of Sarah's Scribbles comics titled Adulthood is a Myth. The book was published by Andrews McMeel Publishing. A follow-up was published in March 2017, titled Big Mushy Happy Lump, and a third volume, Herding Cats was released in March 2018, all from the same publisher. She has also released a calendar and planner featuring her comics. The first book, Adulthood is a Myth, has been translated into multiple languages, and there are several fan translations of the webcomic.\n\nAndersen said that she is often asked what the character of Sarah \"would be like all grown up\", and has said that \"in some ways Fangs [another comic by Andersen] has the answer.\"\n\nReception \nSarah's Scribbles was the second-most read comic on the Tapas platform in 2019, with 46.9 million views and 176,000 subscribers.\n\nEvery Sarah's Scribbles book has won the Goodreads Choice Award in the \"Graphic Novel & Comics\" category, winning in 2016, 2017, and 2018. The webcomic won the Ringo Award for Best Comic Strip or Panel in 2018, and was nominated for Best Comic Strip or Panel and for Best Cartoonist in 2020.\n\nThe Independent has described her first book as \"hilarious\" and \"relatable\" and her webcomic as capturing the horrible realization that being a grown-up is pretty awful. The Beat said of Sarah's Scribbles, \"bottom line, people like a short laugh that reflects their live as it is lived.\"\n\nReferences\n\nExternal links \n \n Sarah's Scribbles on Tapastic\n Sarah's Scribbles on GoComics\n Sarah's Scribbles on Webtoon\n\n2010s webcomics\n2011 webcomic debuts\n2016 graphic novels\nTapastic webcomics", "Larry Audlaluk (born 1953) is an Inuk activist and writer from Canada, whose memoir What I Remember, What I Know: The Life of a High Arctic Exile was a shortlisted finalist for the Governor General's Award for English-language non-fiction at the 2021 Governor General's Awards.\n\nBorn in Inukjuak, Quebec, Audlaluk's family was one of several who were forcibly relocated by the Canadian government to Grise Fiord, Nunavut in the High Arctic relocation incident of the 1950s. His family struggled through poverty; Audlaluk sustained an eye injury in childhood and suffered pain for nearly four years before the federal government finally flew him to Montreal for medical treatment. \n\nAudlaluk emerged as a community leader in adulthood, and testified about his experiences to the Royal Commission on Aboriginal Peoples in 1993. In 2007 he was inducted as a Member of the Order of Canada to honor his record of community service in Grise Fiord.\n\nWhat I Remember, What I Know was published in 2020. In addition to the Governor General's Awards, the book was also shortlisted for the 2021 J. W. Dafoe Book Prize.\n\nReferences\n\n1953 births\nLiving people\n21st-century Canadian non-fiction writers\n21st-century Canadian male writers\nCanadian male non-fiction writers\nCanadian memoirists\nCanadian activists\nMembers of the Order of Canada\nInuit from Quebec\nInuit from Nunavut\nInuit writers\nWriters from Quebec\nWriters from Nunavut\nPeople from Grise Fiord" ]
[ "Willie Dixon", "Adulthood", "what was his adulthood like?", "Dixon performed in several vocal groups in Chicago," ]
C_a6b8e0798e314fdb93a28171dc1ea851_1
who did he sing with?
2
Which vocal groups in Chicago did Willie Dixon sing with?
Willie Dixon
Dixon left Mississippi for Chicago in 1936. A man of considerable stature, standing 6 and a half feet tall and weighing over 250 pounds, he took up boxing, at which he was successful, winning the Illinois State Golden Gloves Heavyweight Championship (Novice Division) in 1937. He became a professional boxer and worked briefly as Joe Louis's sparring partner, but after four fights he left boxing in a dispute with his manager over money. Dixon met Leonard Caston at a boxing gym, where they would harmonize at times. Dixon performed in several vocal groups in Chicago, but it was Caston that persuaded him to pursue music seriously. Caston built him his first bass, made of a tin can and one string. Dixon's experience singing bass made the instrument familiar. He also learned to play the guitar. In 1939, Dixon was a founding member of the Five Breezes, with Caston, Joe Bell, Gene Gilmore and Willie Hawthorne. The group blended blues, jazz, and vocal harmonies, in the mode of the Ink Spots. Dixon's progress on the upright bass came to an abrupt halt with the advent of World War II, when he refused induction into military service as a conscientious objector and was imprisoned for ten months. He refused to go to war because he would not fight for a nation in which institutionalized racism and racist laws were prevalent. After the war, he formed a group named the Four Jumps of Jive. He then reunited with Caston, forming the Big Three Trio, which went on to record for Columbia Records. CANNOTANSWER
In 1939, Dixon was a founding member of the Five Breezes, with Caston, Joe Bell, Gene Gilmore and Willie Hawthorne.
William James Dixon (July 1, 1915January 29, 1992) was an American blues musician, vocalist, songwriter, arranger and record producer. He was proficient in playing both the upright bass and the guitar, and sang with a distinctive voice, but he is perhaps best known as one of the most prolific songwriters of his time. Next to Muddy Waters, Dixon is recognized as the most influential person in shaping the post–World War II sound of the Chicago blues. Dixon's songs have been recorded by countless musicians in many genres as well as by various ensembles in which he participated. A short list of his most famous compositions includes "Hoochie Coochie Man", "I Just Want to Make Love to You", "Little Red Rooster", "My Babe", "Spoonful", and "You Can't Judge a Book by the Cover". These songs were written during the peak years of Chess Records, from 1950 to 1965, and were performed by Muddy Waters, Howlin' Wolf, Little Walter, and Bo Diddley; they influenced a generation of musicians worldwide. Dixon was an important link between the blues and rock and roll, working with Chuck Berry and Bo Diddley in the late 1950s. In the 1960s, his songs were adapted by numerous rock artists. He received a Grammy Award and was inducted into the Blues Hall of Fame, the Rock and Roll Hall of Fame, and the Songwriters Hall of Fame. Biography Early life Dixon was born in Vicksburg, Mississippi, on July 1, 1915. He was one of fourteen children. His mother, Daisy, often rhymed things she said, a habit her son imitated. At the age of seven, young Dixon became an admirer of a band that featured pianist Little Brother Montgomery. He sang his first song at Springfield Baptist Church at the age of four. Dixon was first introduced to blues when he served time on prison farms in Mississippi as a young teenager. Later in his teens, he learned to sing harmony from a local carpenter, Theo Phelps, who led a gospel quintet, the Union Jubilee Singers, in which Dixon sang bass; the group regularly performed on the Vicksburg radio station WQBC. He began adapting his poems into songs and even sold some to local music groups. Adulthood Dixon left Mississippi for Chicago in 1936. A man of considerable stature, standing 6 feet 6 inches tall and weighing over 250 pounds, he took up boxing, at which he was successful, winning the Illinois State Golden Gloves Heavyweight Championship (Novice Division) in 1937. He became a professional boxer and worked briefly as Joe Louis's sparring partner, but after four fights he left boxing in a dispute with his manager over money. Dixon met Leonard Caston at a boxing gym, where they would harmonize at times. Dixon performed in several vocal groups in Chicago, but it was Caston that persuaded him to pursue music seriously. Caston built him his first bass, made of a tin can and one string. Dixon's experience singing bass made the instrument familiar. He also learned to play the guitar. In 1939, Dixon was a founding member of the Five Breezes, with Caston, Joe Bell, Gene Gilmore and Willie Hawthorne. The group blended blues, jazz, and vocal harmonies, in the mode of the Ink Spots. Dixon's progress on the upright bass came to an abrupt halt with the advent of World War II, when he refused induction into military service as a conscientious objector and was imprisoned for ten months. He refused to go to war because he would not fight for a nation in which institutionalized racism and racist laws were prevalent. After the war, he formed a group named the Four Jumps of Jive. He then reunited with Caston, forming the Big Three Trio, which went on to record for Columbia Records. Pinnacle of career Dixon signed with Chess Records as a recording artist, but he began performing less, being more involved with administrative tasks for the label. By 1951, he was a full-time employee at Chess, where he acted as producer, talent scout, session musician and staff songwriter. He was also a producer for the Chess subsidiary Checker Records. His relationship with Chess was sometimes strained, but he stayed with the label from 1948 to the early 1960s. During this time Dixon's output and influence were prodigious. From late 1956 to early 1959, he worked in a similar capacity for Cobra Records, for which he produced early singles for Otis Rush, Magic Sam, and Buddy Guy. In 1956, Dixon wrote "Fishin' in My Pond", which was recorded by Lee Jackson, and released on Cobra in February 1957. Dixon later recorded for Bluesville Records. From the late 1960s until the mid-1970s, Dixon ran his own record label, Yambo Records, and two subsidiary labels, Supreme and Spoonful. He released his 1971 album, Peace?, on Yambo and also singles by McKinley Mitchell, Lucky Peterson and others. Dixon is considered one of the key figures in the creation of Chicago blues. He worked with Chuck Berry, Muddy Waters, Howlin' Wolf, Otis Rush, Bo Diddley, Joe Louis Walker, Little Walter, Sonny Boy Williamson, Koko Taylor, Little Milton, Eddie Boyd, Jimmy Witherspoon, Lowell Fulson, Willie Mabon, Memphis Slim, Washboard Sam, Jimmy Rogers, Sam Lay and others. In December 1964, the Rolling Stones reached number one on the UK Singles Chart with their cover of Dixon's "Little Red Rooster". In the same year, the group also covered "I Just Want To Make Love To You" on their debut album, The Rolling Stones. Copyright battles In his later years, Dixon became a tireless ambassador for the blues and a vocal advocate for its practitioners, founding the Blues Heaven Foundation, which works to preserve the legacy of the blues and to secure copyrights and royalties for blues musicians who were exploited in the past. Speaking with the simple eloquence that was a hallmark of his songs, Dixon claimed, "The blues are the roots and the other musics are the fruits. It's better keeping the roots alive, because it means better fruits from now on. The blues are the roots of all American music. As long as American music survives, so will the blues." In 1977, unhappy with the small royalties paid by Chess's publishing company, Arc Music, Dixon and Muddy Waters sued Arc and, with the proceeds from the settlement, founded their own publishing company, Hoochie Coochie Music. In 1987, Dixon reached an out-of-court settlement with the rock band Led Zeppelin after suing for plagiarism in the band's use of his music in "Bring It On Home" and lyrics from his composition "You Need Love" (1962) in the band's recording of "Whole Lotta Love". Death and legacy Dixon's health increasingly deteriorated during the 1970s and the 1980s, primarily as a result of long-term diabetes. Eventually one of his legs was amputated. Dixon was inducted into the Blues Hall of Fame in 1980, in the inaugural session of the Blues Foundation's ceremony. In 1989 he received a Grammy Award for his album Hidden Charms. Dixon died of heart failure on January 29, 1992, in Burbank, California, and was buried in Burr Oak Cemetery, in Alsip, Illinois. After his death, his widow, Marie Dixon, took over the Blues Heaven Foundation and moved the headquarters to Chess Records. Dixon was posthumously inducted into the Rock and Roll Hall of Fame in the category Early Influences (pre-rock) in 1994. On April 28, 2013, both Dixon and his grandson Alex Dixon were inducted into the Chicago Blues Hall of Fame. In 2007, Dixon was honored with a marker on the Mississippi Blues Trail in Vicksburg. The actor and comedian Cedric the Entertainer portrayed Dixon in Cadillac Records, a 2008 film based on the early history of Chess Records. Songs Dixon wrote or co-wrote over 500 songs. Several have become blues standards, including "Help Me", "Hoochie Coochie Man", "I Can't Quit You Baby", "I'm Ready", "Little Red Rooster", "My Babe", and "Spoonful". Other Dixon compositions that reached the record charts include "Evil" (Howlin' Wolf), "I Just Want to Make Love to You" (Muddy Waters), "Pretty Thing" (Bo Diddley), "The Seventh Son" (Willie Mabon), "Wang Dang Doodle" (Koko Taylor), and "You Can't Judge a Book by the Cover" (Bo Diddley). In the 1960s, his songs were adapted by numerous rock artists; many recorded at least one of his songs for their debut albums, including: Jeff Beck ("I Ain't Superstitious", "You Shook Me"); the Blues Project ("Back Door Man", "Spoonful"); Canned Heat ("Evil Is Going On"); Cactus ("You Can't Judge a Book by the Cover"); Cream ("Spoonful"); the Doors ("Back Door Man"); Foghat ("I Just Want to Make Love to You"); Hawkwind ("Bring It on Home"); Led Zeppelin ("I Can't Quit You Baby", "You Shook Me"); Pretty Things ("Pretty Thing"); the Rolling Stones ("I Just Want to Make Love to You"); Siegel–Schwall Band ("Hoochie Coochie Man"); Shadows of Knight ("You Can't Judge a Book by Looking at the Cover", "I Just Want to Make Love to You", "Hoochie Coochie Man"); Steppenwolf ("Hoochie Coochie Man"); Ten Years After ("Spoonful", "Help Me"); and Johnny Winter ("Help Me"). Discography Albums Notes References Sources Dixon, Willie (1992). Willie Dixon: Master Blues Composer, with Notes and Tablature. Hal Leonard. . External links Willie Dixon, Mississippi blues musician. Mississippi Writers and Musicians Project of Starkville High School Willie Dixon's Blues Heaven Foundation Willie Dixon's Official Website 1915 births 1992 deaths African-American guitarists American amputees American blues guitarists American male guitarists American blues singer-songwriters American conscientious objectors American double-bassists Male double-bassists American music arrangers Record producers from Illinois American session musicians Blues musicians from Mississippi Checker Records artists Cobra Records artists Chicago blues musicians Grammy Award winners Jive singers Jump blues musicians Musicians from Vicksburg, Mississippi Singer-songwriters from Mississippi 20th-century American businesspeople 20th-century American guitarists Singer-songwriters from Illinois Slap bassists (double bass) Guitarists from Illinois Guitarists from Mississippi Burials at Burr Oak Cemetery 20th-century double-bassists 20th-century American male musicians Male jazz musicians Mississippi Blues Trail African-American male singer-songwriters 20th-century African-American male singers
true
[ "I Love to Sing the Songs I Sing is the self-produced ninth album by American R&B singer Barry White, released in 1979 on the 20th Century-Fox Records label.\n\nI Love to Sing the Songs I Sing fulfilled White's 20th Century-Fox Records contract. White was increasingly dissatisfied with that label's management when Russ Regan left the label to form Millennium Records and felt that he was being ignored in terms of promotion at the time. He then left the company and signed a custom label contract with CBS Records to release future material under his own Unlimited Gold imprint. White's first album on his new label, The Message Is Love, was released seven months and six days after I Love to Sing the Songs I Sing. With attention and interest focused on his well-publicized CBS deal, I Love to Sing the Songs I Sing passed by largely unnoticed. It was the least successful album of his 20th Century career, only reaching #40 on the R&B chart, which six of his eight previous albums had topped. None of the single releases made any impact either.\n\nTrack listing \n \"I Love to Sing the Songs I Sing\" (Barry White, Paul Politi, Frank Wilson) - 2:50\n \"Girl, What's Your Name\" (White, Danny Pearson, Wilson) - 4:08\n \"Once Upon a Time (You Were a Friend of Mine)\" (Rahn Coleman) - 6:01\n \"Oh Me, Oh My (I'm Such a Lucky Guy)\" (White, Wilson, Politi, Raymond Cooksey) - 5:04\n \"I Can't Leave You Alone\" (White, Tony Sepe, Wilson) - 3:25\n \"Call Me Baby\" (Coleman) - 8:04\n \"How Did You Know It Was Me?\" (Coleman) - 6:47\n\nPersonnel\nBarry White - lead vocals, arranger\nJohn Roberts, Ronald Coleman - orchestration \nTechnical\nFrank Kejmar, Paul Elmore - engineer\nGlen Christensen - art direction, design\n\nSingles \n \"I Love to Sing the Songs I Sing\" (US R&B #53)\n \"How Did You Know It Was Me?\" (US R&B #64)\n\nReferences\n\nBarry White albums\n1979 albums\n20th Century Fox Records albums", "King of Robbery is a 1996 Hong Kong action film directed by Billy Chung and starring Simon Yam. The film is based on the story of notorious gangsters Yip Kai Foon, who is portrayed in the film as Chan Sing by Yam.\n\nPlot\nConvict Chan Sing (Simon Yam) escapes from an asylum in Kwai Chung with the help of his underlings Leung (Marco Ngai) and Hak (Philip Keung), killing the police officers who are in charge of watching him and evades arrest by hoping onto the speedboat of another underling, Wo (Roy Cheung). They meet with goldsmith Boss Chung and strike a deal to rob gold jewelry shops and split the shares. When his underlings bring him to their apartment, Sing notices Fan (Anita Lee) living next door and is attracted to her. Sing then purchases firearms from Hak's cousin, Darky, which include an AK-47, which Sing gains a fondness to. Sing later accepts two new underlings, Chung (Chin Ka-lok) and Sing but not before testing whether they are undercover police officers by beating them up. The next day, Wo brings Chung to witness the former killing a traitor who caused Sing to be arrested.\n\nSing, armed with his AK-47, leads his gang to rob five gold jewelry shops on Man Wah Street which leads to a major gunfight killing multiple policeman. Hot-tempered police inspector Lee (Bowie Lam) becomes determined to arrest Sing. While Sing was hanging in a nightclub with his gang, Chung, who turns out to be an undercover cop, sneaks out to call his boss, Officer Cheung, but Lee and his subordinate, Man, arrive at this time and harass Chung, unaware of his true identity. Wo and Hak notices and hold Lee and Man with knives and take their pistol while Sing taunts them and handcuffs Lee.\n\nLater, after robbing another gold jewelry shop, Sing blows up an unmarked police car with a grenade and this time, Lee manages to find Sing and his gang's apartment hideout where he gives chases with his squad and exchanges gunfire with Sing and his gang. Eventually, Sing kills Chung in front of Lee, having known of his identity as a cop all along, before fleeing. Lee and squad starts tailing Sing and his gang, who then kills Boss Chung and stealing all his gold, so the police raises a bounty which was originally HK$500,000 to HK$1 million to catch Sing. \n\nDue to the public attention he attracted, Sing hides in a presidential suite hotel with his gang and Fan, whom he is in a relationship with. Wo, who is traveling to China with Darky to get more firearms, is unable to make it to Beijing due to many police surrounding. Lee orders Man to keep an eye of Wo, who gets into an argument with Sing due to his lack of patience. Sing then leaves Fan to prepare for his next robbery. He goes to Darky for more firearms, but Sing has become increasingly paranoid and suspects Darky will turn him in for the bounty and kills Darky. Sing and his gang rob an armoured truck in Kwun Tong where Lee and his squad follows, leading to a major gunfight between the robbers and the police where Hak is killed, so Sing and his gang drive the armoured truck away while the police corners them in a car park, where the gunfight resumes. Eventually, Wo tries to drive the armoured truck to flee but Sing shoots him dead. Seeing what happened, Leung hops on the truck and drives it away but Sing catches up and gets on. Leung then rants how Sing does not care about his underlings and shoots him, but Sing shoots Leung back and kills him. Unable to restart the engine, Sing gets off the truck and Lee holds him at gunpoint before they both fire at each other and Sing runs and jumps into the water where he was never seen again and is rumored to be living in an asylum in the United States.\n\nCast\nSimon Yam as Chan Sing (陳星), who is based on Yip Kai Foon. Sing had a rough childhood, where his father went bankrupt after being scammed of his gold jewelry shop, so his mother brought him to the United States where she remarried. Growing up without a father, Sing develops schizophrenia and was placed at an asylum for three years. Afterwards, he returned to Hong Kong in 1993 and threatened the man who scammed his father and was arrested and placed in an asylum again, where he escapes at the beginning of the film.\nAnita Lee as Fan (阿芬), a waitress at a seafood restaurant who lives next to Ding's apartment and starts a relationship with.\nRoy Cheung as Wo (阿和), Sing's underling who is impatient and power-hungry.\nMarco Ngai as Leung (阿良), Sing's underling who is calm but brutal.\nChin Ka-lok as Chung (阿忠), a newbie in Sing's gang who is an undercover police officer.\nBowie Lam as Inspector Lee (李Sir), a hot-tempered, but wise police officer who is determined to arrest Sing.\nPhilip Keung as Hak (克仔), Sing's underling who is the driver of the gang.\nJason Pai as Officer Chu (朱Sir), Lee's superior officer.\nCherie Chan as a prostitute who Hak calls to service him.\nRaymond Yu\nHung Chi-sing\nChiu Kwok-choi\nKong Foo-keung\nAh Chai\nSiu Dou\nSin Po-ming\nCalvin Lee\nChoi Kin-sing as a policeman.\n\nReception\n\nBox office\nThe film grossed HK$4,695,845 at the Hong Kong box office during its theatrical run from 5 to 24 October 1996.\n\nCritical response\nAndrew Saroch of Far East Films gave the film a score of 2/5 stars, praising the performances of Simon Yam and Roy Cheung as well as Chin Ka-lok's action choreography, but criticizes its amateurish production and underdeveloped characters.\n\nSee also\nTrivisa, a 2016 film starring Richie Jen as Yip Kai Foon.\n\nReferences\n\nExternal links\n\nKing of Robbery at Hong Kong Cinemagic\n\nHong Kong films\n1996 films\n1996 action films\n1990s heist films\nHong Kong action films\nHong Kong heist films\nHong Kong gangster films\nPolice detective films\n1990s Cantonese-language films\nFilms based on actual events\nFilms set in 1994\nFilms set in Hong Kong\nFilms shot in Hong Kong" ]
[ "Willie Dixon", "Adulthood", "what was his adulthood like?", "Dixon performed in several vocal groups in Chicago,", "who did he sing with?", "In 1939, Dixon was a founding member of the Five Breezes, with Caston, Joe Bell, Gene Gilmore and Willie Hawthorne." ]
C_a6b8e0798e314fdb93a28171dc1ea851_1
did they create an album?
3
Did the Five Breezes create an album?
Willie Dixon
Dixon left Mississippi for Chicago in 1936. A man of considerable stature, standing 6 and a half feet tall and weighing over 250 pounds, he took up boxing, at which he was successful, winning the Illinois State Golden Gloves Heavyweight Championship (Novice Division) in 1937. He became a professional boxer and worked briefly as Joe Louis's sparring partner, but after four fights he left boxing in a dispute with his manager over money. Dixon met Leonard Caston at a boxing gym, where they would harmonize at times. Dixon performed in several vocal groups in Chicago, but it was Caston that persuaded him to pursue music seriously. Caston built him his first bass, made of a tin can and one string. Dixon's experience singing bass made the instrument familiar. He also learned to play the guitar. In 1939, Dixon was a founding member of the Five Breezes, with Caston, Joe Bell, Gene Gilmore and Willie Hawthorne. The group blended blues, jazz, and vocal harmonies, in the mode of the Ink Spots. Dixon's progress on the upright bass came to an abrupt halt with the advent of World War II, when he refused induction into military service as a conscientious objector and was imprisoned for ten months. He refused to go to war because he would not fight for a nation in which institutionalized racism and racist laws were prevalent. After the war, he formed a group named the Four Jumps of Jive. He then reunited with Caston, forming the Big Three Trio, which went on to record for Columbia Records. CANNOTANSWER
reunited with Caston, forming the Big Three Trio, which went on to record for Columbia Records.
William James Dixon (July 1, 1915January 29, 1992) was an American blues musician, vocalist, songwriter, arranger and record producer. He was proficient in playing both the upright bass and the guitar, and sang with a distinctive voice, but he is perhaps best known as one of the most prolific songwriters of his time. Next to Muddy Waters, Dixon is recognized as the most influential person in shaping the post–World War II sound of the Chicago blues. Dixon's songs have been recorded by countless musicians in many genres as well as by various ensembles in which he participated. A short list of his most famous compositions includes "Hoochie Coochie Man", "I Just Want to Make Love to You", "Little Red Rooster", "My Babe", "Spoonful", and "You Can't Judge a Book by the Cover". These songs were written during the peak years of Chess Records, from 1950 to 1965, and were performed by Muddy Waters, Howlin' Wolf, Little Walter, and Bo Diddley; they influenced a generation of musicians worldwide. Dixon was an important link between the blues and rock and roll, working with Chuck Berry and Bo Diddley in the late 1950s. In the 1960s, his songs were adapted by numerous rock artists. He received a Grammy Award and was inducted into the Blues Hall of Fame, the Rock and Roll Hall of Fame, and the Songwriters Hall of Fame. Biography Early life Dixon was born in Vicksburg, Mississippi, on July 1, 1915. He was one of fourteen children. His mother, Daisy, often rhymed things she said, a habit her son imitated. At the age of seven, young Dixon became an admirer of a band that featured pianist Little Brother Montgomery. He sang his first song at Springfield Baptist Church at the age of four. Dixon was first introduced to blues when he served time on prison farms in Mississippi as a young teenager. Later in his teens, he learned to sing harmony from a local carpenter, Theo Phelps, who led a gospel quintet, the Union Jubilee Singers, in which Dixon sang bass; the group regularly performed on the Vicksburg radio station WQBC. He began adapting his poems into songs and even sold some to local music groups. Adulthood Dixon left Mississippi for Chicago in 1936. A man of considerable stature, standing 6 feet 6 inches tall and weighing over 250 pounds, he took up boxing, at which he was successful, winning the Illinois State Golden Gloves Heavyweight Championship (Novice Division) in 1937. He became a professional boxer and worked briefly as Joe Louis's sparring partner, but after four fights he left boxing in a dispute with his manager over money. Dixon met Leonard Caston at a boxing gym, where they would harmonize at times. Dixon performed in several vocal groups in Chicago, but it was Caston that persuaded him to pursue music seriously. Caston built him his first bass, made of a tin can and one string. Dixon's experience singing bass made the instrument familiar. He also learned to play the guitar. In 1939, Dixon was a founding member of the Five Breezes, with Caston, Joe Bell, Gene Gilmore and Willie Hawthorne. The group blended blues, jazz, and vocal harmonies, in the mode of the Ink Spots. Dixon's progress on the upright bass came to an abrupt halt with the advent of World War II, when he refused induction into military service as a conscientious objector and was imprisoned for ten months. He refused to go to war because he would not fight for a nation in which institutionalized racism and racist laws were prevalent. After the war, he formed a group named the Four Jumps of Jive. He then reunited with Caston, forming the Big Three Trio, which went on to record for Columbia Records. Pinnacle of career Dixon signed with Chess Records as a recording artist, but he began performing less, being more involved with administrative tasks for the label. By 1951, he was a full-time employee at Chess, where he acted as producer, talent scout, session musician and staff songwriter. He was also a producer for the Chess subsidiary Checker Records. His relationship with Chess was sometimes strained, but he stayed with the label from 1948 to the early 1960s. During this time Dixon's output and influence were prodigious. From late 1956 to early 1959, he worked in a similar capacity for Cobra Records, for which he produced early singles for Otis Rush, Magic Sam, and Buddy Guy. In 1956, Dixon wrote "Fishin' in My Pond", which was recorded by Lee Jackson, and released on Cobra in February 1957. Dixon later recorded for Bluesville Records. From the late 1960s until the mid-1970s, Dixon ran his own record label, Yambo Records, and two subsidiary labels, Supreme and Spoonful. He released his 1971 album, Peace?, on Yambo and also singles by McKinley Mitchell, Lucky Peterson and others. Dixon is considered one of the key figures in the creation of Chicago blues. He worked with Chuck Berry, Muddy Waters, Howlin' Wolf, Otis Rush, Bo Diddley, Joe Louis Walker, Little Walter, Sonny Boy Williamson, Koko Taylor, Little Milton, Eddie Boyd, Jimmy Witherspoon, Lowell Fulson, Willie Mabon, Memphis Slim, Washboard Sam, Jimmy Rogers, Sam Lay and others. In December 1964, the Rolling Stones reached number one on the UK Singles Chart with their cover of Dixon's "Little Red Rooster". In the same year, the group also covered "I Just Want To Make Love To You" on their debut album, The Rolling Stones. Copyright battles In his later years, Dixon became a tireless ambassador for the blues and a vocal advocate for its practitioners, founding the Blues Heaven Foundation, which works to preserve the legacy of the blues and to secure copyrights and royalties for blues musicians who were exploited in the past. Speaking with the simple eloquence that was a hallmark of his songs, Dixon claimed, "The blues are the roots and the other musics are the fruits. It's better keeping the roots alive, because it means better fruits from now on. The blues are the roots of all American music. As long as American music survives, so will the blues." In 1977, unhappy with the small royalties paid by Chess's publishing company, Arc Music, Dixon and Muddy Waters sued Arc and, with the proceeds from the settlement, founded their own publishing company, Hoochie Coochie Music. In 1987, Dixon reached an out-of-court settlement with the rock band Led Zeppelin after suing for plagiarism in the band's use of his music in "Bring It On Home" and lyrics from his composition "You Need Love" (1962) in the band's recording of "Whole Lotta Love". Death and legacy Dixon's health increasingly deteriorated during the 1970s and the 1980s, primarily as a result of long-term diabetes. Eventually one of his legs was amputated. Dixon was inducted into the Blues Hall of Fame in 1980, in the inaugural session of the Blues Foundation's ceremony. In 1989 he received a Grammy Award for his album Hidden Charms. Dixon died of heart failure on January 29, 1992, in Burbank, California, and was buried in Burr Oak Cemetery, in Alsip, Illinois. After his death, his widow, Marie Dixon, took over the Blues Heaven Foundation and moved the headquarters to Chess Records. Dixon was posthumously inducted into the Rock and Roll Hall of Fame in the category Early Influences (pre-rock) in 1994. On April 28, 2013, both Dixon and his grandson Alex Dixon were inducted into the Chicago Blues Hall of Fame. In 2007, Dixon was honored with a marker on the Mississippi Blues Trail in Vicksburg. The actor and comedian Cedric the Entertainer portrayed Dixon in Cadillac Records, a 2008 film based on the early history of Chess Records. Songs Dixon wrote or co-wrote over 500 songs. Several have become blues standards, including "Help Me", "Hoochie Coochie Man", "I Can't Quit You Baby", "I'm Ready", "Little Red Rooster", "My Babe", and "Spoonful". Other Dixon compositions that reached the record charts include "Evil" (Howlin' Wolf), "I Just Want to Make Love to You" (Muddy Waters), "Pretty Thing" (Bo Diddley), "The Seventh Son" (Willie Mabon), "Wang Dang Doodle" (Koko Taylor), and "You Can't Judge a Book by the Cover" (Bo Diddley). In the 1960s, his songs were adapted by numerous rock artists; many recorded at least one of his songs for their debut albums, including: Jeff Beck ("I Ain't Superstitious", "You Shook Me"); the Blues Project ("Back Door Man", "Spoonful"); Canned Heat ("Evil Is Going On"); Cactus ("You Can't Judge a Book by the Cover"); Cream ("Spoonful"); the Doors ("Back Door Man"); Foghat ("I Just Want to Make Love to You"); Hawkwind ("Bring It on Home"); Led Zeppelin ("I Can't Quit You Baby", "You Shook Me"); Pretty Things ("Pretty Thing"); the Rolling Stones ("I Just Want to Make Love to You"); Siegel–Schwall Band ("Hoochie Coochie Man"); Shadows of Knight ("You Can't Judge a Book by Looking at the Cover", "I Just Want to Make Love to You", "Hoochie Coochie Man"); Steppenwolf ("Hoochie Coochie Man"); Ten Years After ("Spoonful", "Help Me"); and Johnny Winter ("Help Me"). Discography Albums Notes References Sources Dixon, Willie (1992). Willie Dixon: Master Blues Composer, with Notes and Tablature. Hal Leonard. . External links Willie Dixon, Mississippi blues musician. Mississippi Writers and Musicians Project of Starkville High School Willie Dixon's Blues Heaven Foundation Willie Dixon's Official Website 1915 births 1992 deaths African-American guitarists American amputees American blues guitarists American male guitarists American blues singer-songwriters American conscientious objectors American double-bassists Male double-bassists American music arrangers Record producers from Illinois American session musicians Blues musicians from Mississippi Checker Records artists Cobra Records artists Chicago blues musicians Grammy Award winners Jive singers Jump blues musicians Musicians from Vicksburg, Mississippi Singer-songwriters from Mississippi 20th-century American businesspeople 20th-century American guitarists Singer-songwriters from Illinois Slap bassists (double bass) Guitarists from Illinois Guitarists from Mississippi Burials at Burr Oak Cemetery 20th-century double-bassists 20th-century American male musicians Male jazz musicians Mississippi Blues Trail African-American male singer-songwriters 20th-century African-American male singers
true
[ "The Ughs! is an instrumental album by The Residents that was released on November 3, 2009.\nThe songs on the album consists of segments from The Voice of Midnight but structured in a new way that does not need a narrative over it.\n\nDuring the process of making their 2007 album, The Voice of Midnight, the band decided to create an alter ego called The Ughs! so that they could allow themselves to act out in new roles.\n\nTrack listing\n\nReferences\n\nThe Residents albums\n2009 albums", "Glifted was an American shoegaze band formed in 2001 by Tim Lash, former guitarist for Hum, and T. J. Harrison of the band Lovecup.\n\nThey released only one album, Under and In, on Hum's Martians Go Home label in 2002. The album was made up of experimental soundscapes, noise, loops, and beats to create an ethereal and sometimes chaotic sound that many critics compared to My Bloody Valentine, receiving generally positive reviews.\n\nThe duo recorded some material for an EP in 2005 but it was never officially released; however one track called \"Blowing All Your Cool\" was uploaded to their MySpace account, simply under the album title \"various shenanigans\".\n\nAlthough a second album was also reported to be in production, Lash confirmed in 2008 that Glifted has disbanded.\n\nDiscography\n\nStudio albums\n\nExternal links\n[ AllMusic]\nParasol (record label)\n\nReferences\n\nElectronic music groups from Illinois" ]
[ "Willie Dixon", "Adulthood", "what was his adulthood like?", "Dixon performed in several vocal groups in Chicago,", "who did he sing with?", "In 1939, Dixon was a founding member of the Five Breezes, with Caston, Joe Bell, Gene Gilmore and Willie Hawthorne.", "did they create an album?", "reunited with Caston, forming the Big Three Trio, which went on to record for Columbia Records." ]
C_a6b8e0798e314fdb93a28171dc1ea851_1
Are there any other interesting aspects about this article?
4
Besides what Willie Dixon’s adulthood was like, who Willie Dixon sang with, or if the Five Breezes created an album, are there any other interesting aspects about this article?
Willie Dixon
Dixon left Mississippi for Chicago in 1936. A man of considerable stature, standing 6 and a half feet tall and weighing over 250 pounds, he took up boxing, at which he was successful, winning the Illinois State Golden Gloves Heavyweight Championship (Novice Division) in 1937. He became a professional boxer and worked briefly as Joe Louis's sparring partner, but after four fights he left boxing in a dispute with his manager over money. Dixon met Leonard Caston at a boxing gym, where they would harmonize at times. Dixon performed in several vocal groups in Chicago, but it was Caston that persuaded him to pursue music seriously. Caston built him his first bass, made of a tin can and one string. Dixon's experience singing bass made the instrument familiar. He also learned to play the guitar. In 1939, Dixon was a founding member of the Five Breezes, with Caston, Joe Bell, Gene Gilmore and Willie Hawthorne. The group blended blues, jazz, and vocal harmonies, in the mode of the Ink Spots. Dixon's progress on the upright bass came to an abrupt halt with the advent of World War II, when he refused induction into military service as a conscientious objector and was imprisoned for ten months. He refused to go to war because he would not fight for a nation in which institutionalized racism and racist laws were prevalent. After the war, he formed a group named the Four Jumps of Jive. He then reunited with Caston, forming the Big Three Trio, which went on to record for Columbia Records. CANNOTANSWER
Caston built him his first bass, made of a tin can and one string. Dixon's experience singing bass made the instrument familiar. He also learned to play the guitar.
William James Dixon (July 1, 1915January 29, 1992) was an American blues musician, vocalist, songwriter, arranger and record producer. He was proficient in playing both the upright bass and the guitar, and sang with a distinctive voice, but he is perhaps best known as one of the most prolific songwriters of his time. Next to Muddy Waters, Dixon is recognized as the most influential person in shaping the post–World War II sound of the Chicago blues. Dixon's songs have been recorded by countless musicians in many genres as well as by various ensembles in which he participated. A short list of his most famous compositions includes "Hoochie Coochie Man", "I Just Want to Make Love to You", "Little Red Rooster", "My Babe", "Spoonful", and "You Can't Judge a Book by the Cover". These songs were written during the peak years of Chess Records, from 1950 to 1965, and were performed by Muddy Waters, Howlin' Wolf, Little Walter, and Bo Diddley; they influenced a generation of musicians worldwide. Dixon was an important link between the blues and rock and roll, working with Chuck Berry and Bo Diddley in the late 1950s. In the 1960s, his songs were adapted by numerous rock artists. He received a Grammy Award and was inducted into the Blues Hall of Fame, the Rock and Roll Hall of Fame, and the Songwriters Hall of Fame. Biography Early life Dixon was born in Vicksburg, Mississippi, on July 1, 1915. He was one of fourteen children. His mother, Daisy, often rhymed things she said, a habit her son imitated. At the age of seven, young Dixon became an admirer of a band that featured pianist Little Brother Montgomery. He sang his first song at Springfield Baptist Church at the age of four. Dixon was first introduced to blues when he served time on prison farms in Mississippi as a young teenager. Later in his teens, he learned to sing harmony from a local carpenter, Theo Phelps, who led a gospel quintet, the Union Jubilee Singers, in which Dixon sang bass; the group regularly performed on the Vicksburg radio station WQBC. He began adapting his poems into songs and even sold some to local music groups. Adulthood Dixon left Mississippi for Chicago in 1936. A man of considerable stature, standing 6 feet 6 inches tall and weighing over 250 pounds, he took up boxing, at which he was successful, winning the Illinois State Golden Gloves Heavyweight Championship (Novice Division) in 1937. He became a professional boxer and worked briefly as Joe Louis's sparring partner, but after four fights he left boxing in a dispute with his manager over money. Dixon met Leonard Caston at a boxing gym, where they would harmonize at times. Dixon performed in several vocal groups in Chicago, but it was Caston that persuaded him to pursue music seriously. Caston built him his first bass, made of a tin can and one string. Dixon's experience singing bass made the instrument familiar. He also learned to play the guitar. In 1939, Dixon was a founding member of the Five Breezes, with Caston, Joe Bell, Gene Gilmore and Willie Hawthorne. The group blended blues, jazz, and vocal harmonies, in the mode of the Ink Spots. Dixon's progress on the upright bass came to an abrupt halt with the advent of World War II, when he refused induction into military service as a conscientious objector and was imprisoned for ten months. He refused to go to war because he would not fight for a nation in which institutionalized racism and racist laws were prevalent. After the war, he formed a group named the Four Jumps of Jive. He then reunited with Caston, forming the Big Three Trio, which went on to record for Columbia Records. Pinnacle of career Dixon signed with Chess Records as a recording artist, but he began performing less, being more involved with administrative tasks for the label. By 1951, he was a full-time employee at Chess, where he acted as producer, talent scout, session musician and staff songwriter. He was also a producer for the Chess subsidiary Checker Records. His relationship with Chess was sometimes strained, but he stayed with the label from 1948 to the early 1960s. During this time Dixon's output and influence were prodigious. From late 1956 to early 1959, he worked in a similar capacity for Cobra Records, for which he produced early singles for Otis Rush, Magic Sam, and Buddy Guy. In 1956, Dixon wrote "Fishin' in My Pond", which was recorded by Lee Jackson, and released on Cobra in February 1957. Dixon later recorded for Bluesville Records. From the late 1960s until the mid-1970s, Dixon ran his own record label, Yambo Records, and two subsidiary labels, Supreme and Spoonful. He released his 1971 album, Peace?, on Yambo and also singles by McKinley Mitchell, Lucky Peterson and others. Dixon is considered one of the key figures in the creation of Chicago blues. He worked with Chuck Berry, Muddy Waters, Howlin' Wolf, Otis Rush, Bo Diddley, Joe Louis Walker, Little Walter, Sonny Boy Williamson, Koko Taylor, Little Milton, Eddie Boyd, Jimmy Witherspoon, Lowell Fulson, Willie Mabon, Memphis Slim, Washboard Sam, Jimmy Rogers, Sam Lay and others. In December 1964, the Rolling Stones reached number one on the UK Singles Chart with their cover of Dixon's "Little Red Rooster". In the same year, the group also covered "I Just Want To Make Love To You" on their debut album, The Rolling Stones. Copyright battles In his later years, Dixon became a tireless ambassador for the blues and a vocal advocate for its practitioners, founding the Blues Heaven Foundation, which works to preserve the legacy of the blues and to secure copyrights and royalties for blues musicians who were exploited in the past. Speaking with the simple eloquence that was a hallmark of his songs, Dixon claimed, "The blues are the roots and the other musics are the fruits. It's better keeping the roots alive, because it means better fruits from now on. The blues are the roots of all American music. As long as American music survives, so will the blues." In 1977, unhappy with the small royalties paid by Chess's publishing company, Arc Music, Dixon and Muddy Waters sued Arc and, with the proceeds from the settlement, founded their own publishing company, Hoochie Coochie Music. In 1987, Dixon reached an out-of-court settlement with the rock band Led Zeppelin after suing for plagiarism in the band's use of his music in "Bring It On Home" and lyrics from his composition "You Need Love" (1962) in the band's recording of "Whole Lotta Love". Death and legacy Dixon's health increasingly deteriorated during the 1970s and the 1980s, primarily as a result of long-term diabetes. Eventually one of his legs was amputated. Dixon was inducted into the Blues Hall of Fame in 1980, in the inaugural session of the Blues Foundation's ceremony. In 1989 he received a Grammy Award for his album Hidden Charms. Dixon died of heart failure on January 29, 1992, in Burbank, California, and was buried in Burr Oak Cemetery, in Alsip, Illinois. After his death, his widow, Marie Dixon, took over the Blues Heaven Foundation and moved the headquarters to Chess Records. Dixon was posthumously inducted into the Rock and Roll Hall of Fame in the category Early Influences (pre-rock) in 1994. On April 28, 2013, both Dixon and his grandson Alex Dixon were inducted into the Chicago Blues Hall of Fame. In 2007, Dixon was honored with a marker on the Mississippi Blues Trail in Vicksburg. The actor and comedian Cedric the Entertainer portrayed Dixon in Cadillac Records, a 2008 film based on the early history of Chess Records. Songs Dixon wrote or co-wrote over 500 songs. Several have become blues standards, including "Help Me", "Hoochie Coochie Man", "I Can't Quit You Baby", "I'm Ready", "Little Red Rooster", "My Babe", and "Spoonful". Other Dixon compositions that reached the record charts include "Evil" (Howlin' Wolf), "I Just Want to Make Love to You" (Muddy Waters), "Pretty Thing" (Bo Diddley), "The Seventh Son" (Willie Mabon), "Wang Dang Doodle" (Koko Taylor), and "You Can't Judge a Book by the Cover" (Bo Diddley). In the 1960s, his songs were adapted by numerous rock artists; many recorded at least one of his songs for their debut albums, including: Jeff Beck ("I Ain't Superstitious", "You Shook Me"); the Blues Project ("Back Door Man", "Spoonful"); Canned Heat ("Evil Is Going On"); Cactus ("You Can't Judge a Book by the Cover"); Cream ("Spoonful"); the Doors ("Back Door Man"); Foghat ("I Just Want to Make Love to You"); Hawkwind ("Bring It on Home"); Led Zeppelin ("I Can't Quit You Baby", "You Shook Me"); Pretty Things ("Pretty Thing"); the Rolling Stones ("I Just Want to Make Love to You"); Siegel–Schwall Band ("Hoochie Coochie Man"); Shadows of Knight ("You Can't Judge a Book by Looking at the Cover", "I Just Want to Make Love to You", "Hoochie Coochie Man"); Steppenwolf ("Hoochie Coochie Man"); Ten Years After ("Spoonful", "Help Me"); and Johnny Winter ("Help Me"). Discography Albums Notes References Sources Dixon, Willie (1992). Willie Dixon: Master Blues Composer, with Notes and Tablature. Hal Leonard. . External links Willie Dixon, Mississippi blues musician. Mississippi Writers and Musicians Project of Starkville High School Willie Dixon's Blues Heaven Foundation Willie Dixon's Official Website 1915 births 1992 deaths African-American guitarists American amputees American blues guitarists American male guitarists American blues singer-songwriters American conscientious objectors American double-bassists Male double-bassists American music arrangers Record producers from Illinois American session musicians Blues musicians from Mississippi Checker Records artists Cobra Records artists Chicago blues musicians Grammy Award winners Jive singers Jump blues musicians Musicians from Vicksburg, Mississippi Singer-songwriters from Mississippi 20th-century American businesspeople 20th-century American guitarists Singer-songwriters from Illinois Slap bassists (double bass) Guitarists from Illinois Guitarists from Mississippi Burials at Burr Oak Cemetery 20th-century double-bassists 20th-century American male musicians Male jazz musicians Mississippi Blues Trail African-American male singer-songwriters 20th-century African-American male singers
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" ]
[ "Willie Dixon", "Adulthood", "what was his adulthood like?", "Dixon performed in several vocal groups in Chicago,", "who did he sing with?", "In 1939, Dixon was a founding member of the Five Breezes, with Caston, Joe Bell, Gene Gilmore and Willie Hawthorne.", "did they create an album?", "reunited with Caston, forming the Big Three Trio, which went on to record for Columbia Records.", "Are there any other interesting aspects about this article?", "Caston built him his first bass, made of a tin can and one string. Dixon's experience singing bass made the instrument familiar. He also learned to play the guitar." ]
C_a6b8e0798e314fdb93a28171dc1ea851_1
did he play any other instruments?
5
Besides Willie Dixon’s first bass and the guitar, did Willie Dixon play any other instruments?
Willie Dixon
Dixon left Mississippi for Chicago in 1936. A man of considerable stature, standing 6 and a half feet tall and weighing over 250 pounds, he took up boxing, at which he was successful, winning the Illinois State Golden Gloves Heavyweight Championship (Novice Division) in 1937. He became a professional boxer and worked briefly as Joe Louis's sparring partner, but after four fights he left boxing in a dispute with his manager over money. Dixon met Leonard Caston at a boxing gym, where they would harmonize at times. Dixon performed in several vocal groups in Chicago, but it was Caston that persuaded him to pursue music seriously. Caston built him his first bass, made of a tin can and one string. Dixon's experience singing bass made the instrument familiar. He also learned to play the guitar. In 1939, Dixon was a founding member of the Five Breezes, with Caston, Joe Bell, Gene Gilmore and Willie Hawthorne. The group blended blues, jazz, and vocal harmonies, in the mode of the Ink Spots. Dixon's progress on the upright bass came to an abrupt halt with the advent of World War II, when he refused induction into military service as a conscientious objector and was imprisoned for ten months. He refused to go to war because he would not fight for a nation in which institutionalized racism and racist laws were prevalent. After the war, he formed a group named the Four Jumps of Jive. He then reunited with Caston, forming the Big Three Trio, which went on to record for Columbia Records. CANNOTANSWER
CANNOTANSWER
William James Dixon (July 1, 1915January 29, 1992) was an American blues musician, vocalist, songwriter, arranger and record producer. He was proficient in playing both the upright bass and the guitar, and sang with a distinctive voice, but he is perhaps best known as one of the most prolific songwriters of his time. Next to Muddy Waters, Dixon is recognized as the most influential person in shaping the post–World War II sound of the Chicago blues. Dixon's songs have been recorded by countless musicians in many genres as well as by various ensembles in which he participated. A short list of his most famous compositions includes "Hoochie Coochie Man", "I Just Want to Make Love to You", "Little Red Rooster", "My Babe", "Spoonful", and "You Can't Judge a Book by the Cover". These songs were written during the peak years of Chess Records, from 1950 to 1965, and were performed by Muddy Waters, Howlin' Wolf, Little Walter, and Bo Diddley; they influenced a generation of musicians worldwide. Dixon was an important link between the blues and rock and roll, working with Chuck Berry and Bo Diddley in the late 1950s. In the 1960s, his songs were adapted by numerous rock artists. He received a Grammy Award and was inducted into the Blues Hall of Fame, the Rock and Roll Hall of Fame, and the Songwriters Hall of Fame. Biography Early life Dixon was born in Vicksburg, Mississippi, on July 1, 1915. He was one of fourteen children. His mother, Daisy, often rhymed things she said, a habit her son imitated. At the age of seven, young Dixon became an admirer of a band that featured pianist Little Brother Montgomery. He sang his first song at Springfield Baptist Church at the age of four. Dixon was first introduced to blues when he served time on prison farms in Mississippi as a young teenager. Later in his teens, he learned to sing harmony from a local carpenter, Theo Phelps, who led a gospel quintet, the Union Jubilee Singers, in which Dixon sang bass; the group regularly performed on the Vicksburg radio station WQBC. He began adapting his poems into songs and even sold some to local music groups. Adulthood Dixon left Mississippi for Chicago in 1936. A man of considerable stature, standing 6 feet 6 inches tall and weighing over 250 pounds, he took up boxing, at which he was successful, winning the Illinois State Golden Gloves Heavyweight Championship (Novice Division) in 1937. He became a professional boxer and worked briefly as Joe Louis's sparring partner, but after four fights he left boxing in a dispute with his manager over money. Dixon met Leonard Caston at a boxing gym, where they would harmonize at times. Dixon performed in several vocal groups in Chicago, but it was Caston that persuaded him to pursue music seriously. Caston built him his first bass, made of a tin can and one string. Dixon's experience singing bass made the instrument familiar. He also learned to play the guitar. In 1939, Dixon was a founding member of the Five Breezes, with Caston, Joe Bell, Gene Gilmore and Willie Hawthorne. The group blended blues, jazz, and vocal harmonies, in the mode of the Ink Spots. Dixon's progress on the upright bass came to an abrupt halt with the advent of World War II, when he refused induction into military service as a conscientious objector and was imprisoned for ten months. He refused to go to war because he would not fight for a nation in which institutionalized racism and racist laws were prevalent. After the war, he formed a group named the Four Jumps of Jive. He then reunited with Caston, forming the Big Three Trio, which went on to record for Columbia Records. Pinnacle of career Dixon signed with Chess Records as a recording artist, but he began performing less, being more involved with administrative tasks for the label. By 1951, he was a full-time employee at Chess, where he acted as producer, talent scout, session musician and staff songwriter. He was also a producer for the Chess subsidiary Checker Records. His relationship with Chess was sometimes strained, but he stayed with the label from 1948 to the early 1960s. During this time Dixon's output and influence were prodigious. From late 1956 to early 1959, he worked in a similar capacity for Cobra Records, for which he produced early singles for Otis Rush, Magic Sam, and Buddy Guy. In 1956, Dixon wrote "Fishin' in My Pond", which was recorded by Lee Jackson, and released on Cobra in February 1957. Dixon later recorded for Bluesville Records. From the late 1960s until the mid-1970s, Dixon ran his own record label, Yambo Records, and two subsidiary labels, Supreme and Spoonful. He released his 1971 album, Peace?, on Yambo and also singles by McKinley Mitchell, Lucky Peterson and others. Dixon is considered one of the key figures in the creation of Chicago blues. He worked with Chuck Berry, Muddy Waters, Howlin' Wolf, Otis Rush, Bo Diddley, Joe Louis Walker, Little Walter, Sonny Boy Williamson, Koko Taylor, Little Milton, Eddie Boyd, Jimmy Witherspoon, Lowell Fulson, Willie Mabon, Memphis Slim, Washboard Sam, Jimmy Rogers, Sam Lay and others. In December 1964, the Rolling Stones reached number one on the UK Singles Chart with their cover of Dixon's "Little Red Rooster". In the same year, the group also covered "I Just Want To Make Love To You" on their debut album, The Rolling Stones. Copyright battles In his later years, Dixon became a tireless ambassador for the blues and a vocal advocate for its practitioners, founding the Blues Heaven Foundation, which works to preserve the legacy of the blues and to secure copyrights and royalties for blues musicians who were exploited in the past. Speaking with the simple eloquence that was a hallmark of his songs, Dixon claimed, "The blues are the roots and the other musics are the fruits. It's better keeping the roots alive, because it means better fruits from now on. The blues are the roots of all American music. As long as American music survives, so will the blues." In 1977, unhappy with the small royalties paid by Chess's publishing company, Arc Music, Dixon and Muddy Waters sued Arc and, with the proceeds from the settlement, founded their own publishing company, Hoochie Coochie Music. In 1987, Dixon reached an out-of-court settlement with the rock band Led Zeppelin after suing for plagiarism in the band's use of his music in "Bring It On Home" and lyrics from his composition "You Need Love" (1962) in the band's recording of "Whole Lotta Love". Death and legacy Dixon's health increasingly deteriorated during the 1970s and the 1980s, primarily as a result of long-term diabetes. Eventually one of his legs was amputated. Dixon was inducted into the Blues Hall of Fame in 1980, in the inaugural session of the Blues Foundation's ceremony. In 1989 he received a Grammy Award for his album Hidden Charms. Dixon died of heart failure on January 29, 1992, in Burbank, California, and was buried in Burr Oak Cemetery, in Alsip, Illinois. After his death, his widow, Marie Dixon, took over the Blues Heaven Foundation and moved the headquarters to Chess Records. Dixon was posthumously inducted into the Rock and Roll Hall of Fame in the category Early Influences (pre-rock) in 1994. On April 28, 2013, both Dixon and his grandson Alex Dixon were inducted into the Chicago Blues Hall of Fame. In 2007, Dixon was honored with a marker on the Mississippi Blues Trail in Vicksburg. The actor and comedian Cedric the Entertainer portrayed Dixon in Cadillac Records, a 2008 film based on the early history of Chess Records. Songs Dixon wrote or co-wrote over 500 songs. Several have become blues standards, including "Help Me", "Hoochie Coochie Man", "I Can't Quit You Baby", "I'm Ready", "Little Red Rooster", "My Babe", and "Spoonful". Other Dixon compositions that reached the record charts include "Evil" (Howlin' Wolf), "I Just Want to Make Love to You" (Muddy Waters), "Pretty Thing" (Bo Diddley), "The Seventh Son" (Willie Mabon), "Wang Dang Doodle" (Koko Taylor), and "You Can't Judge a Book by the Cover" (Bo Diddley). In the 1960s, his songs were adapted by numerous rock artists; many recorded at least one of his songs for their debut albums, including: Jeff Beck ("I Ain't Superstitious", "You Shook Me"); the Blues Project ("Back Door Man", "Spoonful"); Canned Heat ("Evil Is Going On"); Cactus ("You Can't Judge a Book by the Cover"); Cream ("Spoonful"); the Doors ("Back Door Man"); Foghat ("I Just Want to Make Love to You"); Hawkwind ("Bring It on Home"); Led Zeppelin ("I Can't Quit You Baby", "You Shook Me"); Pretty Things ("Pretty Thing"); the Rolling Stones ("I Just Want to Make Love to You"); Siegel–Schwall Band ("Hoochie Coochie Man"); Shadows of Knight ("You Can't Judge a Book by Looking at the Cover", "I Just Want to Make Love to You", "Hoochie Coochie Man"); Steppenwolf ("Hoochie Coochie Man"); Ten Years After ("Spoonful", "Help Me"); and Johnny Winter ("Help Me"). Discography Albums Notes References Sources Dixon, Willie (1992). Willie Dixon: Master Blues Composer, with Notes and Tablature. Hal Leonard. . External links Willie Dixon, Mississippi blues musician. Mississippi Writers and Musicians Project of Starkville High School Willie Dixon's Blues Heaven Foundation Willie Dixon's Official Website 1915 births 1992 deaths African-American guitarists American amputees American blues guitarists American male guitarists American blues singer-songwriters American conscientious objectors American double-bassists Male double-bassists American music arrangers Record producers from Illinois American session musicians Blues musicians from Mississippi Checker Records artists Cobra Records artists Chicago blues musicians Grammy Award winners Jive singers Jump blues musicians Musicians from Vicksburg, Mississippi Singer-songwriters from Mississippi 20th-century American businesspeople 20th-century American guitarists Singer-songwriters from Illinois Slap bassists (double bass) Guitarists from Illinois Guitarists from Mississippi Burials at Burr Oak Cemetery 20th-century double-bassists 20th-century American male musicians Male jazz musicians Mississippi Blues Trail African-American male singer-songwriters 20th-century African-American male singers
false
[ "The panerusan instruments or elaborating instruments are one of the divisions of instruments used in Indonesian gamelan. Instead of the rhythmic structure provided by the colotomic instruments, and the core melody of the balungan instruments, the panerusan instruments play variations on the balungan. They are usually the most difficult instruments to learn in the gamelan, but provide the most opportunity for improvisation and creativity in the performer.\n\nPanerusan instruments include the gendér, suling, rebab, siter/celempung, bonang, and gambang. The female singer, the pesindhen, is also often included, as she sings in a similar fashion to the instrumental techniques. As these include the only wind instruments, string instruments, and wooden percussion instruments found in the gamelan, they provide a timbre which stands out from most of the gamelan.\n\nThe notes that the panerusan instruments play are largely in melodic formulas known as cengkok and sekaran. These are selected from a huge collection which every performer carries in his head, based on the patet, mood, and traditions surrounding a piece.\n\nSekaran\nSekaran (Javanese for \"flowering\") is a type of elaboration used in the Javanese gamelan, especially on the bonang barung.\n\nIt is similar to the cengkok of other elaborating instruments in its floridity and openness to improvisation, but a sekaran generally happens only at the end of a nongan or other colotomic division. It is usually preceded by imbal, an interlocking pattern between the bonang barung and the bonang panerus.\n\nDifferent sekaran are used in different pathet, but there are always a variety available. A good bonang player will choose a sekaran based on how the other instruments and the sindhen are improvising.\n\nTraditionally the bonang panerus did not play sekaran, and simply continued in the imbal pattern, but now some players use sekaran, as long as they maintain the fast character of typical bonang panerus parts.\n\nSee also\n\n Gamelan\n Slendro\n Pathet\n Cengkok\n Seleh\n Music of Indonesia\n Music of Java\n\nReferences\n\nGamelan instruments\nGamelan theory", "Dennis Waring is a historian and ethnomusicologist who was the Connecticut State Troubadour from 2003 through 2004. He has authored a book on the history of the Estey Organ Company titled Manufacturing the Muse: Estey Organs & Consumer Culture in Victorian America which was his doctoral dissertation at Weslyan University. He is a local expert on the organs and the role of musical instruments as \"primary cultural indicators\".\n\nWaring believes in bringing music to a wide audience. He makes improvised instruments out of cardboard and household scraps and teaches other people to do the same.\n\nPublications\n\n Folk Instruments Make Them & Play Them, It's Easy & It's Fun (1979)\n Making Wood Folk Instruments (1990)\n Great Folk Instruments To Make & Play (1999)\n Cardboard Folk Instruments to Make Play (2000)\n Make Your Own Electric Guitar Bass (2001)\n Manufacturing the Muse: Estey Organs & Consumer Culture in Victorian America (2002)\n Making Drums (2003)\n\nReferences\n\nExternal links\n Waring Music - personal site\n\nEthnomusicologists\nWesleyan University alumni\nYear of birth missing (living people)\nLiving people" ]
[ "Willie Dixon", "Adulthood", "what was his adulthood like?", "Dixon performed in several vocal groups in Chicago,", "who did he sing with?", "In 1939, Dixon was a founding member of the Five Breezes, with Caston, Joe Bell, Gene Gilmore and Willie Hawthorne.", "did they create an album?", "reunited with Caston, forming the Big Three Trio, which went on to record for Columbia Records.", "Are there any other interesting aspects about this article?", "Caston built him his first bass, made of a tin can and one string. Dixon's experience singing bass made the instrument familiar. He also learned to play the guitar.", "did he play any other instruments?", "I don't know." ]
C_a6b8e0798e314fdb93a28171dc1ea851_1
did anything else important happen in his adulthood?
6
In addition to who Willie Dixon sang with, if the Five Breezes created an album, or what instruments Willie Dixon played, did anything else important happen in Willie Dixon’s adulthood?
Willie Dixon
Dixon left Mississippi for Chicago in 1936. A man of considerable stature, standing 6 and a half feet tall and weighing over 250 pounds, he took up boxing, at which he was successful, winning the Illinois State Golden Gloves Heavyweight Championship (Novice Division) in 1937. He became a professional boxer and worked briefly as Joe Louis's sparring partner, but after four fights he left boxing in a dispute with his manager over money. Dixon met Leonard Caston at a boxing gym, where they would harmonize at times. Dixon performed in several vocal groups in Chicago, but it was Caston that persuaded him to pursue music seriously. Caston built him his first bass, made of a tin can and one string. Dixon's experience singing bass made the instrument familiar. He also learned to play the guitar. In 1939, Dixon was a founding member of the Five Breezes, with Caston, Joe Bell, Gene Gilmore and Willie Hawthorne. The group blended blues, jazz, and vocal harmonies, in the mode of the Ink Spots. Dixon's progress on the upright bass came to an abrupt halt with the advent of World War II, when he refused induction into military service as a conscientious objector and was imprisoned for ten months. He refused to go to war because he would not fight for a nation in which institutionalized racism and racist laws were prevalent. After the war, he formed a group named the Four Jumps of Jive. He then reunited with Caston, forming the Big Three Trio, which went on to record for Columbia Records. CANNOTANSWER
World War II, when he refused induction into military service as a conscientious objector and was imprisoned for ten months.
William James Dixon (July 1, 1915January 29, 1992) was an American blues musician, vocalist, songwriter, arranger and record producer. He was proficient in playing both the upright bass and the guitar, and sang with a distinctive voice, but he is perhaps best known as one of the most prolific songwriters of his time. Next to Muddy Waters, Dixon is recognized as the most influential person in shaping the post–World War II sound of the Chicago blues. Dixon's songs have been recorded by countless musicians in many genres as well as by various ensembles in which he participated. A short list of his most famous compositions includes "Hoochie Coochie Man", "I Just Want to Make Love to You", "Little Red Rooster", "My Babe", "Spoonful", and "You Can't Judge a Book by the Cover". These songs were written during the peak years of Chess Records, from 1950 to 1965, and were performed by Muddy Waters, Howlin' Wolf, Little Walter, and Bo Diddley; they influenced a generation of musicians worldwide. Dixon was an important link between the blues and rock and roll, working with Chuck Berry and Bo Diddley in the late 1950s. In the 1960s, his songs were adapted by numerous rock artists. He received a Grammy Award and was inducted into the Blues Hall of Fame, the Rock and Roll Hall of Fame, and the Songwriters Hall of Fame. Biography Early life Dixon was born in Vicksburg, Mississippi, on July 1, 1915. He was one of fourteen children. His mother, Daisy, often rhymed things she said, a habit her son imitated. At the age of seven, young Dixon became an admirer of a band that featured pianist Little Brother Montgomery. He sang his first song at Springfield Baptist Church at the age of four. Dixon was first introduced to blues when he served time on prison farms in Mississippi as a young teenager. Later in his teens, he learned to sing harmony from a local carpenter, Theo Phelps, who led a gospel quintet, the Union Jubilee Singers, in which Dixon sang bass; the group regularly performed on the Vicksburg radio station WQBC. He began adapting his poems into songs and even sold some to local music groups. Adulthood Dixon left Mississippi for Chicago in 1936. A man of considerable stature, standing 6 feet 6 inches tall and weighing over 250 pounds, he took up boxing, at which he was successful, winning the Illinois State Golden Gloves Heavyweight Championship (Novice Division) in 1937. He became a professional boxer and worked briefly as Joe Louis's sparring partner, but after four fights he left boxing in a dispute with his manager over money. Dixon met Leonard Caston at a boxing gym, where they would harmonize at times. Dixon performed in several vocal groups in Chicago, but it was Caston that persuaded him to pursue music seriously. Caston built him his first bass, made of a tin can and one string. Dixon's experience singing bass made the instrument familiar. He also learned to play the guitar. In 1939, Dixon was a founding member of the Five Breezes, with Caston, Joe Bell, Gene Gilmore and Willie Hawthorne. The group blended blues, jazz, and vocal harmonies, in the mode of the Ink Spots. Dixon's progress on the upright bass came to an abrupt halt with the advent of World War II, when he refused induction into military service as a conscientious objector and was imprisoned for ten months. He refused to go to war because he would not fight for a nation in which institutionalized racism and racist laws were prevalent. After the war, he formed a group named the Four Jumps of Jive. He then reunited with Caston, forming the Big Three Trio, which went on to record for Columbia Records. Pinnacle of career Dixon signed with Chess Records as a recording artist, but he began performing less, being more involved with administrative tasks for the label. By 1951, he was a full-time employee at Chess, where he acted as producer, talent scout, session musician and staff songwriter. He was also a producer for the Chess subsidiary Checker Records. His relationship with Chess was sometimes strained, but he stayed with the label from 1948 to the early 1960s. During this time Dixon's output and influence were prodigious. From late 1956 to early 1959, he worked in a similar capacity for Cobra Records, for which he produced early singles for Otis Rush, Magic Sam, and Buddy Guy. In 1956, Dixon wrote "Fishin' in My Pond", which was recorded by Lee Jackson, and released on Cobra in February 1957. Dixon later recorded for Bluesville Records. From the late 1960s until the mid-1970s, Dixon ran his own record label, Yambo Records, and two subsidiary labels, Supreme and Spoonful. He released his 1971 album, Peace?, on Yambo and also singles by McKinley Mitchell, Lucky Peterson and others. Dixon is considered one of the key figures in the creation of Chicago blues. He worked with Chuck Berry, Muddy Waters, Howlin' Wolf, Otis Rush, Bo Diddley, Joe Louis Walker, Little Walter, Sonny Boy Williamson, Koko Taylor, Little Milton, Eddie Boyd, Jimmy Witherspoon, Lowell Fulson, Willie Mabon, Memphis Slim, Washboard Sam, Jimmy Rogers, Sam Lay and others. In December 1964, the Rolling Stones reached number one on the UK Singles Chart with their cover of Dixon's "Little Red Rooster". In the same year, the group also covered "I Just Want To Make Love To You" on their debut album, The Rolling Stones. Copyright battles In his later years, Dixon became a tireless ambassador for the blues and a vocal advocate for its practitioners, founding the Blues Heaven Foundation, which works to preserve the legacy of the blues and to secure copyrights and royalties for blues musicians who were exploited in the past. Speaking with the simple eloquence that was a hallmark of his songs, Dixon claimed, "The blues are the roots and the other musics are the fruits. It's better keeping the roots alive, because it means better fruits from now on. The blues are the roots of all American music. As long as American music survives, so will the blues." In 1977, unhappy with the small royalties paid by Chess's publishing company, Arc Music, Dixon and Muddy Waters sued Arc and, with the proceeds from the settlement, founded their own publishing company, Hoochie Coochie Music. In 1987, Dixon reached an out-of-court settlement with the rock band Led Zeppelin after suing for plagiarism in the band's use of his music in "Bring It On Home" and lyrics from his composition "You Need Love" (1962) in the band's recording of "Whole Lotta Love". Death and legacy Dixon's health increasingly deteriorated during the 1970s and the 1980s, primarily as a result of long-term diabetes. Eventually one of his legs was amputated. Dixon was inducted into the Blues Hall of Fame in 1980, in the inaugural session of the Blues Foundation's ceremony. In 1989 he received a Grammy Award for his album Hidden Charms. Dixon died of heart failure on January 29, 1992, in Burbank, California, and was buried in Burr Oak Cemetery, in Alsip, Illinois. After his death, his widow, Marie Dixon, took over the Blues Heaven Foundation and moved the headquarters to Chess Records. Dixon was posthumously inducted into the Rock and Roll Hall of Fame in the category Early Influences (pre-rock) in 1994. On April 28, 2013, both Dixon and his grandson Alex Dixon were inducted into the Chicago Blues Hall of Fame. In 2007, Dixon was honored with a marker on the Mississippi Blues Trail in Vicksburg. The actor and comedian Cedric the Entertainer portrayed Dixon in Cadillac Records, a 2008 film based on the early history of Chess Records. Songs Dixon wrote or co-wrote over 500 songs. Several have become blues standards, including "Help Me", "Hoochie Coochie Man", "I Can't Quit You Baby", "I'm Ready", "Little Red Rooster", "My Babe", and "Spoonful". Other Dixon compositions that reached the record charts include "Evil" (Howlin' Wolf), "I Just Want to Make Love to You" (Muddy Waters), "Pretty Thing" (Bo Diddley), "The Seventh Son" (Willie Mabon), "Wang Dang Doodle" (Koko Taylor), and "You Can't Judge a Book by the Cover" (Bo Diddley). In the 1960s, his songs were adapted by numerous rock artists; many recorded at least one of his songs for their debut albums, including: Jeff Beck ("I Ain't Superstitious", "You Shook Me"); the Blues Project ("Back Door Man", "Spoonful"); Canned Heat ("Evil Is Going On"); Cactus ("You Can't Judge a Book by the Cover"); Cream ("Spoonful"); the Doors ("Back Door Man"); Foghat ("I Just Want to Make Love to You"); Hawkwind ("Bring It on Home"); Led Zeppelin ("I Can't Quit You Baby", "You Shook Me"); Pretty Things ("Pretty Thing"); the Rolling Stones ("I Just Want to Make Love to You"); Siegel–Schwall Band ("Hoochie Coochie Man"); Shadows of Knight ("You Can't Judge a Book by Looking at the Cover", "I Just Want to Make Love to You", "Hoochie Coochie Man"); Steppenwolf ("Hoochie Coochie Man"); Ten Years After ("Spoonful", "Help Me"); and Johnny Winter ("Help Me"). Discography Albums Notes References Sources Dixon, Willie (1992). Willie Dixon: Master Blues Composer, with Notes and Tablature. Hal Leonard. . External links Willie Dixon, Mississippi blues musician. Mississippi Writers and Musicians Project of Starkville High School Willie Dixon's Blues Heaven Foundation Willie Dixon's Official Website 1915 births 1992 deaths African-American guitarists American amputees American blues guitarists American male guitarists American blues singer-songwriters American conscientious objectors American double-bassists Male double-bassists American music arrangers Record producers from Illinois American session musicians Blues musicians from Mississippi Checker Records artists Cobra Records artists Chicago blues musicians Grammy Award winners Jive singers Jump blues musicians Musicians from Vicksburg, Mississippi Singer-songwriters from Mississippi 20th-century American businesspeople 20th-century American guitarists Singer-songwriters from Illinois Slap bassists (double bass) Guitarists from Illinois Guitarists from Mississippi Burials at Burr Oak Cemetery 20th-century double-bassists 20th-century American male musicians Male jazz musicians Mississippi Blues Trail African-American male singer-songwriters 20th-century African-American male singers
true
[ "Anything Can Happen is a 1952 comedy-drama film.\n\nAnything Can Happen may also refer to:\n\n Anything Can Happen (album), by Leon Russell, 1994\n \"Anything Can Happen\", a 2019 song by Saint Jhn \n Edhuvum Nadakkum ('Anything Can Happen'), a season of the Tamil TV series Marmadesam\n \"Anything Can Happen in the Next Half Hour\", or \"Anything Can Happen\", a 2007 song by Enter Shikari\n Anything Can Happen in the Next Half Hour (EP), 2004\n\nSee also\n \"Anything Could Happen\", a 2012 song by Ellie Goulding \n Anything Might Happen, 1934 British crime film\n Special Effects: Anything Can Happen, a 1996 American documentary film\n \"Anything Can Happen on Halloween\", a song from the 1986 film The Worst Witch \n Anything Can Happen in the Theatre, a musical revue of works by Maury Yeston\n \"The Anything Can Happen Recurrence\", an episode of The Big Bang Theory (season 7)\n The Anupam Kher Show - Kucch Bhi Ho Sakta Hai ('The Anupam Kher Show — Anything Can Happen') an Indian TV show", "Tunnel vision is a term used when a shooter is focused on a target, and thus misses what goes on around that target. Therefore an innocent bystander may pass in front or behind of the target and be shot accidentally. This is easily understandable if the bystander is not visible in the telescopic sight (see Tunnel vision#Optical instruments), but can also happen without one. In this case, the mental concentration of the shooter is so focused on the target, that they fail to notice anything else.\n\nMarksmanship\nShooting sports" ]
[ "Dimebag Darrell", "Death" ]
C_169d72a4dd46424b938515174716c6cd_0
When did Dimebag Darrell die?
1
When did Dimebag Darrell die?
Dimebag Darrell
On December 8, 2004, during the Devastation Across The Nation tour, Abbott was shot on-stage while performing with Damageplan at the Alrosa Villa in Columbus, Ohio. A crowd of approximately 250 had watched four support acts (two local bands entitled Volume Dealer and 12 Gauge, and the tour support Shadows Fall and The Haunted). Moments into Damageplan's set, 25-year-old former Marine Nathan Gale shot Abbott five times in the head with a 9 mm Beretta 92F pistol. Some in attendance initially believed the shooting was part of the act, but as Gale continued shooting, the audience quickly came to the realization that the event was not staged. Firing a total of 15 shots, Gale killed three other people and wounded seven more. Jeff "Mayhem" Thompson, the band's head of security, was killed tackling Gale, as was Alrosa Villa employee Erin Halk. Audience member Nathan Bray was killed while trying to perform CPR on Abbott and Thompson. It was rumored that one crowd member leapt in front of the gunman, saving the lives of several band members. Damageplan's drum technician, John "Kat" Brooks, was shot three times as he attempted to disarm Gale, but was overpowered and taken hostage in a headlock hold. Tour manager Chris Paluska was also injured. Responding within three minutes to a dispatch call made at 10:15pm, seven police officers entered through the front entrance and moved toward the stage. Officer James Niggemeyer came in through the back door, behind the stage. Gale only saw the officers in front of the stage; he did not see Niggemeyer, who was armed with a 12 gauge Remington 870 shotgun. Niggemeyer approached Gale from the opposite side of the stage past a group of security guards, and saw Gale lift his gun to Brooks' head, and fired a single shot as Gale noticed him. Gale was struck in the face with eight of the nine buckshot pellets and was killed instantly. Gale was found to have had 35 rounds of ammunition remaining. Two fans, including Mindy Reece, a certified nurse, administered CPR on Abbott until paramedics arrived, but were unable to revive him and he was pronounced dead at the scene. Early speculation about motive suggested that Gale, who was a Pantera fan, might have turned to violence in response to the breakup of the band, or the public dispute between Abbott and Pantera singer Phil Anselmo, but these were later ruled out by investigators. In VH1's documentary, Behind the Music, Damageplan's sound engineer Aaron Barnes stated that the whole time, after shooting Dimebag, Gale was looking for Vinnie, possibly planning to murder him too. Another conjecture was that Gale believed Abbott had stolen a song that he had written. About six months prior to the shooting, Gale got into an altercation at a Damageplan concert in Cincinnati where he damaged $5,000 worth of equipment while being removed from the stage by security. CANNOTANSWER
On December 8, 2004,
Darrell Lance Abbott (August 20, 1966 – December 8, 2004), best known by his stage name Dimebag Darrell, was an American musician. He was the guitarist of the heavy metal bands Pantera and Damageplan, both of which he co-founded alongside his brother Vinnie Paul. A son of country music producer Jerry Abbott, Abbott began playing guitar at age 12, and Pantera released its debut album, Metal Magic (1983), when he was 16. Originally a glam metal musician, Abbott went by the stage name Diamond Darrell at the time. Two further albums in the glam metal style followed in 1984 and 1985, before original vocalist Terry Glaze was replaced by Phil Anselmo in 1986 and Power Metal (1988) was released. The band's major-label debut, Cowboys from Hell (1990), introduced a groove metal sound to which Abbott's guitar playing was central. This sound was refined on Vulgar Display of Power (1992), and the group's third major-label record, Far Beyond Driven, debuted at No. 1 on the Billboard 200 in 1994. Tensions within Pantera reduced its output after the release of The Great Southern Trendkill in 1996, and Reinventing the Steel (2000) was the band's final studio album before its acrimonious separation in 2003. Abbott subsequently formed Damageplan with his brother Vinnie Paul and released New Found Power, the band's only album, in 2004. Other works by Abbott included a collaboration with David Allan Coe titled Rebel Meets Rebel (2006) and numerous guest guitar solos for bands such as Anthrax. On December 8, 2004, Abbott was shot and killed by a fan while on stage with Damageplan at the Alrosa Villa nightclub in Columbus, Ohio. Three others were murdered in the shooting before the perpetrator was killed by a police officer. Abbott was ranked at No. 92 on Rolling Stones list of "The 100 Greatest Guitarists of All Time" in 2011, and No. 19 on Louders list of "The 50 Greatest Guitarists of All Time" in 2018. He placed at No. 5 on Gibson's list of "The Top 10 Metal Guitarists of All Time" in 2015, and the same year was ranked as the most influential metal guitarist of the past 25 years by VH1. Early life Darrell Lance Abbott was born in Ennis, Texas, on August 20, 1966, the second son to Carolyn and Jerry Abbott, a country music producer. His elder brother Vinnie Paul was born on March 11, 1964. Abbott's parents divorced in 1979, after seventeen years of marriage, but his family life remained happy. The brothers lived with their mother Carolyn, in a ranch-style house on Monterrey Street in Arlington. Carolyn was supportive of her sons' musical endeavors. Abbott took up the guitar when he was twelve. His first guitar was a Les Paul-style Hohner, which he received along with a Pignose amplifier on his twelfth birthday. Influenced by Black Sabbath, Judas Priest, Kiss and Van Halen, he would initially spend time in his room standing in front of a mirror holding the guitar while wearing Ace Frehley-style makeup, though he was unable to play the instrument at the time. Jerry learned Kiss songs on guitar in order to teach Darrell how to play them. Darrell also learned from country musicians who recorded at Jerry's studio, such as Bugs Henderson. Vinnie had begun playing the drums before Darrell received his first guitar. Darrell had previously tried to play the drums; Vinnie later said: "I just got better than him and wouldn't let him play them anymore." The Abbott brothers' first jam session consisted of six hours of "Smoke on the Water". They took inspiration from Alex and Eddie Van Halen, and Vinnie said in a 2016 interview that he and Darrell were "inseparable" after they began playing music together. At age 14, Abbott entered a guitar contest at the Agora Ballroom in Dallas, in which Dean Zelinsky, founder of Dean Guitars, was one of the judges. Abbott's mother accompanied him to the club because he was not old enough to enter on his own. He won the competition; Zelinsky recalled that "[Abbott] blew everyone away." Abbott won many other guitar contests in the area, and was eventually asked not to compete and instead judge the competitions so others could win. Music career Pantera Early glam metal years Pantera was formed in 1981. Vinnie was asked to join a band alongside his high school classmates Terry Glaze (guitar), Tommy Bradford (bass) and Donny Hart (vocals). Vinnie accepted the invitation, but on the condition that Darrell would also join the band. Glaze later recalled that they were unsure about this request, as Darrell "wasn't very good" and, two years their junior, "was a little skinny, scrawny dude", but they ultimately agreed. In 1989, Darrell made the same request when Dave Mustaine asked him to join Megadeth. As Mustaine had already recruited drummer Nick Menza and would not hire Vinnie, Darrell decided to stay with Pantera. By 1982, Hart left the band and was replaced by Glaze on vocals, while Rex Brown took Bradford's place as bassist. Abbott originally shared lead guitar with Glaze, but soon took permanent status as lead guitarist. Glaze said: "[Abbott] just morphed over a six-month period. ... When he came out, he could play, like, "Eruption" and "Crazy Train"." Abbott adopted the stage name "Diamond Darrell", in reference to the Kiss song "Black Diamond". Inspired by Kiss, Van Halen and Judas Priest, Pantera originally had a glam metal style and was image-conscious: the members wore spandex, makeup and hairspray when on stage. The band signed to Metal Magic Records, which was created by "Jerry Eld'n", an alias of Abbott's father Jerry. Pantera released its first album, Metal Magic, in 1983, when Abbott was 16. A review in the November 1983 issue of Texas-based music magazine Buddy said Abbott's solos "tend to be asymmetrical in that the old theory of musical thought consisting of statements alternating with appropriate responses is ignored and replaced by authoritative delivery of the player's own concept of what should happen". Pantera released Projects in the Jungle and I Am the Night in 1984 and 1985, respectively. Both albums followed on in the glam metal style, and were comparable to Shout at the Devil-era Mötley Crüe, though I Am the Night had a slightly heavier sound than previous releases. Around this time, the Abbott brothers began listening to bands such as Metallica and Slayer. Darrell was particularly taken by Metallica's Ride the Lightning (1984). Glaze was unhappy with the Abbott brothers' desire to move towards a heavier sound; he later said he "didn't want to go that heavy. I didn't like it as well if the guitar was the main thing, like the Metallica songs." This conflict, along with a contractual dispute, led to his departure in 1986. Glaze was replaced by Phil Anselmo in late 1986. This new lineup briefly signed with Gold Mountain Records, but released Power Metal (1988) on Metal Magic. Abbott said Gold Mountain "wanted to change our style and make us sound like Bon Jovi, which is not quite up our alley". Anselmo did not write any of the lyrics for Power Metal, and the band was still in the process of distancing themselves from glam metal, but the album evidenced a stylistic change. A retrospective AllMusic album review by Bradley Torreano said Abbott's "speedy riffs" were one of the "more charming elements" of the band's sound. Brown said in a 1988 interview that "Darrell has always been chunking those riffs out from the start. But now with Phil in the band we've got a chance to make those riffs fully happen instead of having some gay singer over the top of them!" Development of groove metal After the release of Power Metal, Pantera formed a relationship with Walter O'Brien and Andy Gould of Concrete Management. As Concrete managed other bands that were signed to Metal Blade Records, Gould contacted Brian Slagel of Metal Blade and asked him to sign Pantera. The $75,000 requested for the production of a new album was too much for Slagel, who rejected the offer. The Metal Blade rejection was one of many rejections for the band. Pantera eventually attained a major-label deal with Atco Records, after Atco's talent scout Mark Ross was impressed by one of the band's live performances. Cowboys from Hell was released on July 24, 1990. The album was produced by Terry Date; Max Norman was the original choice for producer but he opted to produce Lynch Mob's Wicked Sensation instead. Date also served as producer for Pantera's next three albums. Cowboys from Hell marked the development of what would become Pantera's familiar sound, to which Abbott's guitar playing was central. Self-described as "power groove", the album became a "blueprint-defining" work for groove metal, a sub-genre with the heaviness and intensity of thrash metal but played at a slower tempo. Southern rock elements were incorporated into the sound; Pantera's "groove" is commonly attributed to the Abbott brothers' fondness for ZZ Top. Cowboys from Hell was certified gold in 1993, and platinum in 1997. Pantera played close to 200 shows supporting Cowboys from Hell, as it toured for nearly two years. Aside from breaks to develop new material, the band spent most of the 1990s touring; Abbott gained a reputation as a wild figure on tour and a heavy drinker. Pantera recorded its second major-label album in the space of two months. Released on February 25, 1992, Vulgar Display of Power was a refinement of the groove metal sound. The band had sought to create a heavier album than Cowboys from Hell, as Anselmo fully embraced a hardcore-inspired shouted vocal delivery. Abbott composed most of the riffs and song structures, and further attempted to mesh his guitar with Brown's bass to create what Brown later described as "one giant tone". Vulgar Display of Power debuted at No. 44 on the Billboard 200, and it stayed on the chart for 79 weeks. In 2017, it was ranked at No. 10 on Rolling Stones list of "The 100 Greatest Metal Albums of All Time", with Abbott's "serrated rhythms and squealing solos" highlighted. Abbott had transformed his appearance by the time of Vulgar Display of Powers release to that which he would maintain for the rest of his life. He sported a dyed goatee, a razorblade pendant (in homage to Judas Priest's British Steel), cargo shorts and sleeveless shirts. Feeling that "Diamond Darrell" no longer suited his image or sound, Abbott adopted the stage name "Dimebag Darrell" instead. The name was originally coined by Anselmo. It was in reference to Abbott's refusal to accept more than a dime bag (slang for $10 worth) of cannabis at one time—even if offered for free—as he did not want to be caught with the drug on-hand. All of Pantera's albums until 1994 were recorded at Pantego Sound, the studio owned by the Abbott brothers' father Jerry. It was conveniently located a short distance from the Abbotts' home. After Vulgar Display of Power was released, Jerry closed Pantego Sound and opened a new studio, Abtrax, in Nashville, Tennessee, as he hoped to fulfill his dream of becoming a country songwriter. Pantera's third major-label album, Far Beyond Driven, was recorded at Abtrax. Abbott said in a 1994 Guitar Player interview: "We were fuckin' flying [to Nashville] for three weeks at a time, writing songs and cutting them." This led to the members spending most of their downtime in each other's hotel rooms consuming drugs, rather than following their normal routines as they did when recording at Pantego Sound. They mixed the album at Dallas Sound Labs, which was close to their homes. Far Beyond Driven was released on March 15, 1994, on EastWest Records. It sold 186,000 copies in its first week to debut at No. 1 on the Billboard 200, and has since been described as the heaviest album ever to debut at No. 1. Before the release, the band was expected to follow the lead of Metallica's eponymous album by taking a more commercially-friendly approach. Instead, Pantera wanted an even heavier work than Vulgar Display of Power. Abbott said in 1994: "We're into topping ourselves. Most bands come out with a heavy record, then it gets lighter and lighter. You're stuck listening to the first record, wishing and dreaming. That ain't what we're about." Band tensions and separation The lead single from Far Beyond Driven, "I'm Broken", was inspired by Anselmo's chronic back pain. To treat the pain during the tour supporting Far Beyond Driven, Anselmo began heavily consuming alcohol, painkillers and ultimately heroin. He would travel on his own tour bus and isolate himself from the other band members until twenty or thirty minutes before they were due to perform. Anselmo recalled in a 2014 interview that he would drink "an entire bottle of Wild Turkey every night before a show to numb the pain", and he often interrupted the performances by ranting on stage. Due to the tensions within the band, recordings for Pantera's next album, The Great Southern Trendkill, were held separately: Darrell, Vinnie and Brown recorded at Chasin' Jason Studio (a studio Darrell had constructed in a barn in his backyard) while Anselmo recorded the vocals at Trent Reznor's Nothing Studios in New Orleans. Abbott experimented with new guitars during the recording; he stated in 1996 that he wrote "Suicide Note Pt. 1" the first time he used a twelve-string guitar which Washburn Guitars had sent to him. The recording also saw Abbott draw on riffs he had composed much earlier: he wrote the outro-solo to "Floods" in the pre-Anselmo era, and he had previously recorded a 90-minute loop of it as a lullaby for his girlfriend. On May 7, 1996, The Great Southern Trendkill was released. It peaked at No. 4 on the Billboard 200, staying on the chart for 13 weeks. It is considered to be Pantera's most extreme work, and features some of the band's lowest-tuned tracks. On July 13, Anselmo overdosed on heroin following the band's performance at the Dallas Starplex Amphitheatre and was clinically dead for "four to five minutes". He recovered quickly and performed at the band's next show in San Antonio two days afterward, but the incident created a lasting rift within the band. Anselmo also had released NOLA, the debut album of one of his side projects Down, in 1995, and supported the album with a 13-show tour. The other Pantera members were originally unperturbed by Anselmo's side projects; Abbott explained at the time: "Phil's a musical guy and he likes to stay busy." The touring for The Great Southern Trendkill widened the rift within the band, and the recording sessions for their next album, Reinventing the Steel, were troublesome. Vinnie said in an interview after the album's release: "It was like pulling teeth to get [Anselmo] down to the studio. He didn't like any of the material, and it was always just like this head-butting contest." Also during the recording, the Abbotts' mother, Carolyn, was diagnosed with lung cancer, and died six weeks later on September 12, 1999. This had a profound effect on the brothers, especially Darrell. Reinventing the Steel was released on March 21, 2000. Abbott said of it: "We still play lead guitar ... Bands hardly ever play lead guitar anymore. Dude, back in the seventies, if you couldn't play the guitar or sing, you were nobody. Now music is so easy—all you've got to do is tune your guitar to an open chord and jump around." Like The Great Southern Trendkill, Reinventing the Steel peaked at No. 4 on the Billboard 200. Pantera were in Ireland, set to begin a European tour, on September 11, 2001. Due to the September 11 attacks, the tour was canceled and the members returned to Texas, where they agreed to take a short hiatus. In March 2002, Down released its second record, Down II: A Bustle in Your Hedgerow, which featured Brown on bass. Two months later, Superjoint Ritual—another of Anselmo's bands—released its debut album, Use Once and Destroy. The Abbotts believed that Pantera would regroup in 2003, after the tours supporting Down II and Use Once and Destroy were concluded. Instead, Anselmo recorded a second album with Superjoint Ritual, A Lethal Dose of American Hatred (2003). Also around this time, Darrell received a phone call from Brown, who indicated that he would not return to Pantera. The separation of Pantera was marked by the release of a greatest hits album, The Best of Pantera: Far Beyond the Great Southern Cowboys' Vulgar Hits!, on September 23, 2003. Damageplan Abbott was dejected by the separation of Pantera; he felt that all he had worked for had been "ripped out from under [him]". As continuing Pantera without Anselmo likely would have resulted in a lengthy and expensive legal battle regarding the ownership of the "Pantera" brand, the Abbott brothers decided to form a new band. They recorded demos at Darrell's backyard studio in February 2003. Patrick Lachman of Halford joined as vocalist and Bob Kakaha was recruited on bass, and the band signed with Elektra Records later in 2003. The name of the band originally was New Found Power, but they later decided on Damageplan. New Found Power instead served as the title of the group's debut album, which was released on February 10, 2004. It did not near the commercial success of Pantera's major-label releases: it sold 44,000 copies in its first week to debut at No. 38 on the Billboard 200 and had sold a modest 160,000 copies by December. Damageplan spent most of 2004 on its Devastation Across the Nation tour. To rebuild a fanbase, the band toured nightclubs across the country. The members had planned to record a follow-up album. This did not materialize due to Abbott's murder at a show in Columbus, Ohio, on December 8, 2004. Other projects The Abbott brothers listened to country singer David Allan Coe while growing up as their parents were fans of the performer, and often used Coe's "Jack Daniels If You Please" as introductory music for Pantera shows. Darrell first met Coe in 1999, at one of his performances at Billy Bob's Texas. After the performance, Darrell waited in an autograph line to introduce himself and give Coe his phone number. They subsequently formed a friendship and Coe began spending time at Darrell's house, where the Abbott brothers and Coe played music in Darrell's backyard studio. They recruited Brown to play bass and the group sporadically recorded from 1999 to 2003. The resulting album, Rebel Meets Rebel, was released on May 2, 2006, on Vinnie's Big Vin Records. Megan Frye of AllMusic stated Rebel Meets Rebel is "groundbreaking in that it will please fans of both country and metal because the music is simultaneously both styles – it's never a fusion, they simply exist together". In 1992, Abbott and the other Pantera members collaborated with Rob Halford on a track titled "Light Comes Out of Black", which was released on the Buffy the Vampire Slayer soundtrack. Abbott recorded the song "Caged in a Rage", on which he performed lead vocals and guitar, under his own name. It was included on the soundtrack to the 1996 film Supercop. Adam Greenberg of AllMusic said Abbott sounded "oddly similar to Rob Zombie" on "Caged in a Rage". Abbott provided guest guitar solos for Anthrax on several occasions: "King Size" and "Riding Shotgun" from Stomp 442 (1995), "Inside Out" and "Born Again Idiot" from Volume 8: The Threat Is Real (1998), and "Strap It On" and "Cadillac Rock Box" from We've Come for You All (2003). Anthrax's Scott Ian referred to Abbott as the "sixth member" of the band due to his frequent appearances. Abbott also performed a guest solo on the title track of King Diamond's Voodoo (1998) and on "Eyes of the South" (2004) by Premenishen, a band that featured Abbott's cousins Heather Manly and April Adkisson on bass and guitar, respectively. After Darrell's death, Vinnie granted Nickelback permission to use outtakes of Darrell's solos from the Vulgar Display of Power and Far Beyond Driven recordings on its tribute track "Side of a Bullet". Darrell was a friend of Nickelback's Chad Kroeger and had provided a solo for Nickelback's cover of "Saturday Night's Alright for Fighting" on the soundtrack to the 2003 film Charlie's Angels: Full Throttle. Darrell and Vinnie performed shows as Gasoline each New Year's Eve. Gasoline predominantly played covers of artists such as Ted Nugent and Pat Travers, but also composed original songs such as "Get Drunk Now" and "This Ain't a Beer Belly, It's a Gas Tank for My Love Machine". Gasoline once served as a support act for Drowning Pool. In 2006, "Country Western Transvestite Whore", a song that Abbott recorded with local Dallas musician Throbbin' Donnie Rodd, was released. It features Abbott on lead guitar and vocals. Other works by Abbott that have been posthumously released include "Dime's Blackout Society" (2010) and The Hitz (2017), a five-track EP. Death On December 8, 2004, Damageplan was performing at the Alrosa Villa nightclub in Columbus, Ohio. Nathan Gale, a fan, rushed onto the stage as the band played the first song of its setlist, and shot Abbott multiple times with a Beretta 92FS, a 9mm semi-automatic pistol. The band's head of security, Jeffrey "Mayhem" Thompson, then tackled Gale, but was fatally shot in the ensuing struggle. A fan, Nathan Bray, was also killed as he attempted to aid Abbott and Thompson, as was Erin Halk, an employee of the venue who tried to disarm Gale while he was reloading. Three others were wounded before Columbus police officer James Niggemeyer entered the club and shot Gale once in the head with a 12-gauge Remington Model 870, killing him. Abbott was pronounced dead at the scene, aged 38. Thousands of fans attended his public memorial, and the guest list included artists such as Eddie Van Halen, Zakk Wylde, Corey Taylor, Jerry Cantrell and Dino Cazares. Abbott was buried alongside his mother Carolyn at the Moore Memorial Gardens cemetery in Arlington, Texas. Gene Simmons donated a Kiss Kasket for the burial, and Eddie Van Halen donated his original black-and-yellow-striped 1979 Charvel "Bumblebee" guitar, which was featured on the back cover of Van Halen II, to be included in the casket. A few weeks prior to his death, Abbott had met Van Halen and asked him for a replica of the Bumblebee. Van Halen said at the funeral: "Dime was an original and only an original deserves the original." After Vinnie Paul's death in 2018, he was buried next to Carolyn and Darrell, also in a Kiss Kasket. In late 2020, a protective fence was installed around the Abbott burial ground in an effort to stop vandalism, as Darrell's grave had previously been scratched and defaced by people over the years. In a 2010 interview, Paul called the vandalism "a real disrespectful thing". Musical style Originally a glam metal musician, Abbott distanced himself from the subgenre by the late 1980s, and was a driving force behind the development of groove metal in the 1990s. Influences Although his father was a country music producer and songwriter, Abbott's primary musical influences were heavy metal acts such as Black Sabbath, Iron Maiden, Judas Priest, Kiss and Van Halen. Ace Frehley of Kiss inspired him to play guitar. He was a member of the Kiss Army and had a portrait of Frehley tattooed on his chest in 1992. While at a photoshoot for the August 1993 issue of Guitar World along with Frehley, Abbott asked Frehley to sign an autograph near the tattoo. Abbott then had the signature tattooed. No musician other than Frehley exerted more of an influence on Abbott than Eddie Van Halen. Abbott stated that his background mirrored Van Halen's as both he and Van Halen were younger brothers who first played drums before moving on to the guitar due to competition from their elder brothers on drums. Another influence was Randy Rhoads. Abbott said in 1994: "To me, Eddie Van Halen was heavy rock and roll, but Randy was heavy metal." He discovered double tracking leads through Rhoads. In numerous interviews, Abbott credited Tony Iommi of Black Sabbath for inspiring his guitar riffs. Abbott also said Def Leppard's original guitarist Pete Willis "was a great player. I was inspired by him because I was a small young dude and he was a small young dude, too—and he was out there kickin' ass. He made me want to get out there and play." Abbott was a fan of the Southern rock band ZZ Top, and he was influenced by the band's guitarist and lead singer Billy Gibbons. He said in 1993: "I'm not a super blues player, but I was exposed to the Texas blues sound while I was growing up, and that definitely rubbed off on me." Abbott was also influenced by contemporary metal guitarists such as Kerry King of Slayer, James Hetfield of Metallica, and Zakk Wylde of Ozzy Osbourne and Black Label Society. Technique Abbott did not receive formal guitar lessons. He stated in a 1994 Guitar World interview that he once received "a guitar lesson off this cat. He wrote down some weird scale and tried to explain how it worked. After we finished he said, 'Now go on home, practice that scale, and show me how well you can play it next week.' So I took it home, played around with it for a few minutes and said, 'Fuck this, I just want to jam.' I respect people that can read tablature and all that shit, but I just don't even have the patience to read the newspaper." Unlike many other heavy metal guitarists, Abbott made extensive use of the major third in his riffs and leads, which added dissonance to minor key tonalities. This was a Van Halen-inspired technique, as was his employment of symmetrical fingerings. Although Abbott had exceptional picking ability, he favored legato phrasing. His love of legato gave his playing a fluid quality, and his powerful left-hand technique enabled the implementation of the symmetrical patterns in his lead licks. Abbott avoided using scales and modes in traditional fashions, and often used passing tones between scalar tones to add tension. These chromatic licks made up much of his playing. Regardless of the note or chord, Abbott played with a "Texas style", meaning a variety of techniques such as sliding, bending, palm muting, and use of the whammy bar and effects pedal to produce an idiosyncratic sound. One of the most distinctive features of Abbott's guitar playing was his use of harmonics to create a squealing sound, which he picked up from Gibbons. Unsatisfied with standard techniques, Abbott often used dyads in place of traditional power chords. This added texture to his riffs and, when played with distortion, created a tense sound. Abbott experimented with alternate tunings throughout his career. Early on, his guitar was tuned down more than a quarter step, similar to Van Halen I and Van Halen II tuning. On Cowboys From Hell (1990), he utilized drop D tuning, and beginning with Vulgar Display of Power (1992) he tuned his guitar down a whole step, which became his main tuning by the release of Reinventing the Steel (2000). He also used drop D down one step, down 1 ½ steps and drop D down 1 ½ steps tunings. Down 1 ½ steps tuning was prevalent on The Great Southern Trendkill (1996) and was Abbott's main tuning on New Found Power (2004). Three of Abbott's solos were ranked in Guitar Worlds "100 Greatest Guitar Solos of All Time": "Walk" at No. 57; "Cemetery Gates" at No. 35; and "Floods" at No. 19. Despite his virtuosity, Abbott said that while "jerking off all over the neck", as he described, was suited to competing in guitar contests, it often did not benefit a song's composition. "Slaughtered" from Far Beyond Driven originally had a slow, melodic solo, but Abbott removed it after noting that it disrupted the song's momentum. Equipment In 1982, Abbott won a maroon Dean ML at a guitar contest in Dallas. Unbeknownst to Abbott, his father had bought him a sunburst ML shortly before the contest. Nearing driving age and seeking to purchase a Pontiac Firebird, Abbott attempted to sell the maroon ML to his friend Buddy Blaze, a luthier and musician. Blaze felt that a guitar won as a prize should stay with its owner and refused to buy it. Abbott instead sold the guitar to one of Blaze's bandmates. Blaze negotiated with his bandmate, and took possession of the ML in exchange for a Kramer Pacer. Blaze then replaced the standard ML hardware: he installed a custom Floyd Rose vibrato bridge and Bill Lawrence L-500XL pickups, and moved the stock DiMarzio pickup to the neck. He also repainted the guitar, from its original maroon to blue-and-black with a lightning bolt finish. Blaze returned the ML to Abbott in 1987, who was initially unaware that it was the same guitar he won as a prize. It subsequently became Abbott's signature guitar and was later dubbed the "Dean from Hell". After the release of Cowboys from Hell, Abbott signed an endorsement deal with Dean Guitars. Dean went out of business in 1994 and Abbott then signed a ten-year contract with Washburn Guitars. With Washburn, he played various signature guitars modeled after the ML, such as the Dime 333, Culprit and Stealth. When his contract with Washburn expired in 2004, he became the main endorsee of the re-opened Dean. Abbott's murder came shortly before the Dean contract was set to begin. Abbott had designed the Dean Razorback and Razorback V in the months prior to his death. Dean also posthumously released replicas of the Dean from Hell. Abbott was praised for his instrumental tone and was included in Guitar Players list of "The 50 Greatest Tones of All Time". Abbott used solid-state Randall amplifiers for most of his career; he remarked in the liner notes for Cowboys from Hell: "Gotta have that Randall Crunch!" He had won his first Randall amplifier in a guitar contest; he said in a 1993 interview it "was a little nasty sounding, a little gritty, but I liked it. I knew that with time I could make it my own sound, and it came around." Abbott released a signature amplifier, the Randall Warhead, in 1999. The goal was to replicate the sound of his own rig: a Randall RG-100 head, Furman PQ-3 parametric equalizer, MXR six-band graphic equalizer and MXR 126 flanger. He set his Furman EQ to boost the highs and lows while scooping the mids, and he used both the Furman EQ and MXR EQ to increase the gain to the Randall's front end. Abbott also used a Digitech whammy pedal, a Korg DT-7 chromatic tuner and a Rocktron Hush IIC noise gate. The noise gate allowed him to control the feedback associated with high levels of gain, and to create the distinctive holes of silence in his playing. When Abbott's endorsement deal with Washburn ended, his deal with Randall also ended, as Randall and Washburn both were subsidiaries of the U.S. Music Corporation. Abbott subsequently formed a partnership with Krank Amplifiers, a relatively small supplier. He used the Krank Revolution, a tube amplifier. Abbott also invested in the company and designed an amplifier named the Krankenstein; he approved the final revision of the Krankenstein just days before his murder. Abbott helped design many other products. With Dunlop Manufacturing, he designed the Dimebag Cry Baby from Hell, a wah-wah pedal, and the Dime Distortion, a distortion pedal. He also designed a signature pickup with Seymour Duncan titled the Dimebucker, which was based on the Bill Lawrence pickups that he used in most of his guitars. Dean Zelinsky of Dean said in 2010 that Abbott's death was a "bigger loss than we'll ever know. ... I'm very proud of the work I did with him, but who knows what he would have accomplished if he was still with us." Personal life Abbott grew up in the same neighborhood as his long-time partner Rita Haney, whom he first met at the age of eight. They began dating in 1984. The couple never married. Haney said in a 2006 interview: "We didn't believe in the marriage thing. ... Why have someone you don't know tell you it's OK to be with someone you do know? We didn't need the middleman! We had a one-on-one with the man upstairs ourselves." In 1995, Abbott bought a house with Haney in Dalworthington Gardens, Texas, a short distance from his hometown Arlington. Abbott kept a pet goat on the residence, and dyed its goatee like his own. He was remembered by his neighbors as approachable. One neighbor who often walked dogs with Abbott said he "was a hick with an attitude, and I say that respectfully. We'd talk conservative politics. He was a big, big supporter of George Bush." Darrell and Vinnie opened the Clubhouse, an all-nude strip club in north-west Dallas, in 1996. Vinnie's original idea was a rock-and-roll-themed golf course, with "a strip club at the nineteenth hole", but the construction of a golf course was prohibitively expensive. Under the Abbott brothers' ownership, the Clubhouse was patronized by many artists who toured in the area, such as Black Sabbath, Kiss and Metallica, as well as NASCAR drivers, professional golfers, and members of the Dallas Cowboys and the Dallas Stars (whose fight song, "Puck Off", was written and produced by Pantera). After the Dallas Stars won the 1999 Stanley Cup Finals, the Abbott brothers hosted a party for the team at Vinnie's house. Vinnie later stated that the Stanley Cup was dented during the party after Guy Carbonneau threw it out of a window into a swimming pool, but missed the pool and hit the edge. The brothers also performed on a float during the celebration of the Stars' victory. Legacy On May 17, 2007, Abbott was posthumously inducted into Hollywood's RockWalk. Ace Frehley was among the attendees at the induction ceremony, where he spoke in honor of Abbott. Frehley also dedicated his 2009 album Anomaly to Abbott, as well as former Kiss drummer Eric Carr. In 2015, Abbott was ranked as the most influential metal guitarist of the past 25 years by VH1. Doc Coyle of God Forbid stated: "[Abbott's] sparse, low-end, bluesy chug was the blueprint for post-thrash, nu-metal, and metalcore in the subsequent years." Also in 2015, Abbott placed at No. 5 on Gibson's list of "The Top 10 Metal Guitarists of All Time". Anne Erickson said Abbott "proved metal guitar could shred wildly, but still groove. ... He'll always be remembered as one of the most significant engineers of modern metal." Rolling Stone ranked Abbott at No. 92 on its list of "The 100 Greatest Guitarists of All Time" in 2011, and described him as "one of modern metal's key figures". Geezer Butler of Black Sabbath said Abbott was "one of the greatest musicians to grace our world". In 2018, Abbott ranked at No. 19 on Louders list of "The 50 Greatest Guitarists of All Time". Sebastian Bach of Skid Row commented that Abbott "reinvented heavy metal guitar". Jamie Humphries of Premier Guitar remarked in 2014: "If there were ever a band and guitarist to credit for reinventing post-Metallica metal, it would have to be Pantera and the late Dimebag Darrell." Abbott also ranked at No. 9 in a 2012 Guitar World readers' poll of "The 100 Greatest Guitarists of All Time", and was named the "Greatest Metal Guitarist" by Loudwire in 2013 after winning a reader-voted tournament bracket. Jonathan Davis of Korn said in a 2014 interview with Loudwire that Abbott is "one of the greatest guitar players ever. I mean if there was no Dimebag Darrell, there would be no Korn." Slash stated that Abbott "had a great tone and a great original style ... He was one of the best new guitar players that came out over a long period of time." Max Cavalera described Abbott as "very talented, an amazing musician and a humble and cool guy – not a rock star asshole". A concert in memory of Abbott titled Dimebash has been held annually since 2010. All of the concert's proceeds go towards the Ronnie James Dio Stand Up and Shout Cancer Fund. Performers at Dimebash events have included artists such as Dave Grohl, Kerry King, Robb Flynn, Tom Morello, and Serj Tankian. Discography Pantera Metal Magic (1983) Projects in the Jungle (1984) I Am the Night (1985) Power Metal (1988) Cowboys from Hell (1990) Vulgar Display of Power (1992) Far Beyond Driven (1994) The Great Southern Trendkill (1996) Reinventing the Steel (2000) Damageplan New Found Power (2004) Rebel Meets Rebel Rebel Meets Rebel (2006) (recorded in 2000) References Sources External links 1966 births 2004 deaths 20th-century American guitarists 21st-century American guitarists American heavy metal guitarists American male guitarists American murder victims Burials in Texas Damageplan members Deaths by firearm in Ohio Filmed deaths of entertainers Guitarists from Texas Lead guitarists Musicians from Texas Musicians who died on stage Pantera members People from Arlington, Texas People from Ennis, Texas People murdered in Ohio 20th-century American male musicians 2004 murders in the United States
true
[ "Undeniable (stylized as Unden!able) is the fifth studio album from American heavy metal band Hellyeah. The cover of Phil Collins' \"I Don't Care Anymore\" features guitar parts from late Pantera member Dimebag Darrell.\n\nTrack listing\n\nPersonnel \nChad Gray – vocals\nTom Maxwell – rhythm guitar\nChristian Brady – lead guitar\nKyle Sanders – bass\nVinnie Paul – drums\n\nAdditional personnel\nDimebag Darrell – lead guitar on \"I Don't Care Anymore\"\n\nCharts\n\nReferences\n\n2016 albums\nHellyeah albums\nEleven Seven Label Group albums", "Rebel Meets Rebel is a country metal album by David Allan Coe and Pantera members Dimebag Darrell, Rex Brown, and Vinnie Paul. The music was written and recorded by the band when the musicians had time aside from their other projects, including Pantera's world tour supporting Reinventing the Steel.\n\nThe album was released on May 2, 2006, under Vinnie Paul's own label Big Vin Records, posthumously after Darrell's murder in December 2004.\n\nBackground\nAt the close of the decade, Coe met Pantera guitarist Dimebag Darrell in Fort Worth, Texas, and the two musicians, struck by the similarity of the approaches between country and heavy metal, agreed to work together. Together with Vinnie Paul and Rex Brown, they began production of the album which was recorded sporadically between 1999 and 2003. It was released in 2006, two years after Darrell's murder.\n\nOriginally, the song \"Rebel Meets Rebel\" was supposed to be released as a duet with Coe and Phil Anselmo.\n\nMusic and lyrics\nThe album's lyrical content ranges from boisterous songs regarding drinking and getting stoned to more serious subject matter, such as the song \"Cherokee Cry\", which criticizes the United States government's treatment of Native Americans.\n\nRebel Meets Rebel features what has been described as a \"groundbreaking\" mix of country music and heavy metal. AllMusic writer Megan Frye wrote, \"On first listen, [\"Nothin' to Lose\"] sounds awkward—as if someone had spliced a Pantera song together with a David Allan Coe one on their home computer. It doesn't mesh well, and the bass seems too sharp and tinny. But after listening to the album a few times, it starts to make more sense.\" Dimebag Darrell was praised for his guitar playing, which incorporated elements from thrash metal, as well as dark melodic playing. \"Rebel Meets Rebel\" features fiddle playing by Joey Floyd.\n\nTrack listing\n\nPersonnel\n David Allan Coe – lead vocals, rhythm guitar\n Dimebag Darrell – lead guitar, backing vocals\n Rex Brown – bass guitar\n Vinnie Paul – drums\n Joey Floyd — fiddle on \"Rebel Meets Rebel\"\n Hank Williams III — vocals on \"Get Outta My Life\"\n Rex Mauney — keyboards\n\nChart positions\nAlbum\n\nReferences\n\nExternal links\n Official website (archived)\n\n2006 albums\nCountry metal albums\nDavid Allan Coe albums\nAlbums published posthumously" ]
[ "Dimebag Darrell", "Death", "When did Dimebag Darrell die?", "On December 8, 2004," ]
C_169d72a4dd46424b938515174716c6cd_0
How did he die?
2
How did Dimebag Darrell die?
Dimebag Darrell
On December 8, 2004, during the Devastation Across The Nation tour, Abbott was shot on-stage while performing with Damageplan at the Alrosa Villa in Columbus, Ohio. A crowd of approximately 250 had watched four support acts (two local bands entitled Volume Dealer and 12 Gauge, and the tour support Shadows Fall and The Haunted). Moments into Damageplan's set, 25-year-old former Marine Nathan Gale shot Abbott five times in the head with a 9 mm Beretta 92F pistol. Some in attendance initially believed the shooting was part of the act, but as Gale continued shooting, the audience quickly came to the realization that the event was not staged. Firing a total of 15 shots, Gale killed three other people and wounded seven more. Jeff "Mayhem" Thompson, the band's head of security, was killed tackling Gale, as was Alrosa Villa employee Erin Halk. Audience member Nathan Bray was killed while trying to perform CPR on Abbott and Thompson. It was rumored that one crowd member leapt in front of the gunman, saving the lives of several band members. Damageplan's drum technician, John "Kat" Brooks, was shot three times as he attempted to disarm Gale, but was overpowered and taken hostage in a headlock hold. Tour manager Chris Paluska was also injured. Responding within three minutes to a dispatch call made at 10:15pm, seven police officers entered through the front entrance and moved toward the stage. Officer James Niggemeyer came in through the back door, behind the stage. Gale only saw the officers in front of the stage; he did not see Niggemeyer, who was armed with a 12 gauge Remington 870 shotgun. Niggemeyer approached Gale from the opposite side of the stage past a group of security guards, and saw Gale lift his gun to Brooks' head, and fired a single shot as Gale noticed him. Gale was struck in the face with eight of the nine buckshot pellets and was killed instantly. Gale was found to have had 35 rounds of ammunition remaining. Two fans, including Mindy Reece, a certified nurse, administered CPR on Abbott until paramedics arrived, but were unable to revive him and he was pronounced dead at the scene. Early speculation about motive suggested that Gale, who was a Pantera fan, might have turned to violence in response to the breakup of the band, or the public dispute between Abbott and Pantera singer Phil Anselmo, but these were later ruled out by investigators. In VH1's documentary, Behind the Music, Damageplan's sound engineer Aaron Barnes stated that the whole time, after shooting Dimebag, Gale was looking for Vinnie, possibly planning to murder him too. Another conjecture was that Gale believed Abbott had stolen a song that he had written. About six months prior to the shooting, Gale got into an altercation at a Damageplan concert in Cincinnati where he damaged $5,000 worth of equipment while being removed from the stage by security. CANNOTANSWER
Abbott was shot on-stage
Darrell Lance Abbott (August 20, 1966 – December 8, 2004), best known by his stage name Dimebag Darrell, was an American musician. He was the guitarist of the heavy metal bands Pantera and Damageplan, both of which he co-founded alongside his brother Vinnie Paul. A son of country music producer Jerry Abbott, Abbott began playing guitar at age 12, and Pantera released its debut album, Metal Magic (1983), when he was 16. Originally a glam metal musician, Abbott went by the stage name Diamond Darrell at the time. Two further albums in the glam metal style followed in 1984 and 1985, before original vocalist Terry Glaze was replaced by Phil Anselmo in 1986 and Power Metal (1988) was released. The band's major-label debut, Cowboys from Hell (1990), introduced a groove metal sound to which Abbott's guitar playing was central. This sound was refined on Vulgar Display of Power (1992), and the group's third major-label record, Far Beyond Driven, debuted at No. 1 on the Billboard 200 in 1994. Tensions within Pantera reduced its output after the release of The Great Southern Trendkill in 1996, and Reinventing the Steel (2000) was the band's final studio album before its acrimonious separation in 2003. Abbott subsequently formed Damageplan with his brother Vinnie Paul and released New Found Power, the band's only album, in 2004. Other works by Abbott included a collaboration with David Allan Coe titled Rebel Meets Rebel (2006) and numerous guest guitar solos for bands such as Anthrax. On December 8, 2004, Abbott was shot and killed by a fan while on stage with Damageplan at the Alrosa Villa nightclub in Columbus, Ohio. Three others were murdered in the shooting before the perpetrator was killed by a police officer. Abbott was ranked at No. 92 on Rolling Stones list of "The 100 Greatest Guitarists of All Time" in 2011, and No. 19 on Louders list of "The 50 Greatest Guitarists of All Time" in 2018. He placed at No. 5 on Gibson's list of "The Top 10 Metal Guitarists of All Time" in 2015, and the same year was ranked as the most influential metal guitarist of the past 25 years by VH1. Early life Darrell Lance Abbott was born in Ennis, Texas, on August 20, 1966, the second son to Carolyn and Jerry Abbott, a country music producer. His elder brother Vinnie Paul was born on March 11, 1964. Abbott's parents divorced in 1979, after seventeen years of marriage, but his family life remained happy. The brothers lived with their mother Carolyn, in a ranch-style house on Monterrey Street in Arlington. Carolyn was supportive of her sons' musical endeavors. Abbott took up the guitar when he was twelve. His first guitar was a Les Paul-style Hohner, which he received along with a Pignose amplifier on his twelfth birthday. Influenced by Black Sabbath, Judas Priest, Kiss and Van Halen, he would initially spend time in his room standing in front of a mirror holding the guitar while wearing Ace Frehley-style makeup, though he was unable to play the instrument at the time. Jerry learned Kiss songs on guitar in order to teach Darrell how to play them. Darrell also learned from country musicians who recorded at Jerry's studio, such as Bugs Henderson. Vinnie had begun playing the drums before Darrell received his first guitar. Darrell had previously tried to play the drums; Vinnie later said: "I just got better than him and wouldn't let him play them anymore." The Abbott brothers' first jam session consisted of six hours of "Smoke on the Water". They took inspiration from Alex and Eddie Van Halen, and Vinnie said in a 2016 interview that he and Darrell were "inseparable" after they began playing music together. At age 14, Abbott entered a guitar contest at the Agora Ballroom in Dallas, in which Dean Zelinsky, founder of Dean Guitars, was one of the judges. Abbott's mother accompanied him to the club because he was not old enough to enter on his own. He won the competition; Zelinsky recalled that "[Abbott] blew everyone away." Abbott won many other guitar contests in the area, and was eventually asked not to compete and instead judge the competitions so others could win. Music career Pantera Early glam metal years Pantera was formed in 1981. Vinnie was asked to join a band alongside his high school classmates Terry Glaze (guitar), Tommy Bradford (bass) and Donny Hart (vocals). Vinnie accepted the invitation, but on the condition that Darrell would also join the band. Glaze later recalled that they were unsure about this request, as Darrell "wasn't very good" and, two years their junior, "was a little skinny, scrawny dude", but they ultimately agreed. In 1989, Darrell made the same request when Dave Mustaine asked him to join Megadeth. As Mustaine had already recruited drummer Nick Menza and would not hire Vinnie, Darrell decided to stay with Pantera. By 1982, Hart left the band and was replaced by Glaze on vocals, while Rex Brown took Bradford's place as bassist. Abbott originally shared lead guitar with Glaze, but soon took permanent status as lead guitarist. Glaze said: "[Abbott] just morphed over a six-month period. ... When he came out, he could play, like, "Eruption" and "Crazy Train"." Abbott adopted the stage name "Diamond Darrell", in reference to the Kiss song "Black Diamond". Inspired by Kiss, Van Halen and Judas Priest, Pantera originally had a glam metal style and was image-conscious: the members wore spandex, makeup and hairspray when on stage. The band signed to Metal Magic Records, which was created by "Jerry Eld'n", an alias of Abbott's father Jerry. Pantera released its first album, Metal Magic, in 1983, when Abbott was 16. A review in the November 1983 issue of Texas-based music magazine Buddy said Abbott's solos "tend to be asymmetrical in that the old theory of musical thought consisting of statements alternating with appropriate responses is ignored and replaced by authoritative delivery of the player's own concept of what should happen". Pantera released Projects in the Jungle and I Am the Night in 1984 and 1985, respectively. Both albums followed on in the glam metal style, and were comparable to Shout at the Devil-era Mötley Crüe, though I Am the Night had a slightly heavier sound than previous releases. Around this time, the Abbott brothers began listening to bands such as Metallica and Slayer. Darrell was particularly taken by Metallica's Ride the Lightning (1984). Glaze was unhappy with the Abbott brothers' desire to move towards a heavier sound; he later said he "didn't want to go that heavy. I didn't like it as well if the guitar was the main thing, like the Metallica songs." This conflict, along with a contractual dispute, led to his departure in 1986. Glaze was replaced by Phil Anselmo in late 1986. This new lineup briefly signed with Gold Mountain Records, but released Power Metal (1988) on Metal Magic. Abbott said Gold Mountain "wanted to change our style and make us sound like Bon Jovi, which is not quite up our alley". Anselmo did not write any of the lyrics for Power Metal, and the band was still in the process of distancing themselves from glam metal, but the album evidenced a stylistic change. A retrospective AllMusic album review by Bradley Torreano said Abbott's "speedy riffs" were one of the "more charming elements" of the band's sound. Brown said in a 1988 interview that "Darrell has always been chunking those riffs out from the start. But now with Phil in the band we've got a chance to make those riffs fully happen instead of having some gay singer over the top of them!" Development of groove metal After the release of Power Metal, Pantera formed a relationship with Walter O'Brien and Andy Gould of Concrete Management. As Concrete managed other bands that were signed to Metal Blade Records, Gould contacted Brian Slagel of Metal Blade and asked him to sign Pantera. The $75,000 requested for the production of a new album was too much for Slagel, who rejected the offer. The Metal Blade rejection was one of many rejections for the band. Pantera eventually attained a major-label deal with Atco Records, after Atco's talent scout Mark Ross was impressed by one of the band's live performances. Cowboys from Hell was released on July 24, 1990. The album was produced by Terry Date; Max Norman was the original choice for producer but he opted to produce Lynch Mob's Wicked Sensation instead. Date also served as producer for Pantera's next three albums. Cowboys from Hell marked the development of what would become Pantera's familiar sound, to which Abbott's guitar playing was central. Self-described as "power groove", the album became a "blueprint-defining" work for groove metal, a sub-genre with the heaviness and intensity of thrash metal but played at a slower tempo. Southern rock elements were incorporated into the sound; Pantera's "groove" is commonly attributed to the Abbott brothers' fondness for ZZ Top. Cowboys from Hell was certified gold in 1993, and platinum in 1997. Pantera played close to 200 shows supporting Cowboys from Hell, as it toured for nearly two years. Aside from breaks to develop new material, the band spent most of the 1990s touring; Abbott gained a reputation as a wild figure on tour and a heavy drinker. Pantera recorded its second major-label album in the space of two months. Released on February 25, 1992, Vulgar Display of Power was a refinement of the groove metal sound. The band had sought to create a heavier album than Cowboys from Hell, as Anselmo fully embraced a hardcore-inspired shouted vocal delivery. Abbott composed most of the riffs and song structures, and further attempted to mesh his guitar with Brown's bass to create what Brown later described as "one giant tone". Vulgar Display of Power debuted at No. 44 on the Billboard 200, and it stayed on the chart for 79 weeks. In 2017, it was ranked at No. 10 on Rolling Stones list of "The 100 Greatest Metal Albums of All Time", with Abbott's "serrated rhythms and squealing solos" highlighted. Abbott had transformed his appearance by the time of Vulgar Display of Powers release to that which he would maintain for the rest of his life. He sported a dyed goatee, a razorblade pendant (in homage to Judas Priest's British Steel), cargo shorts and sleeveless shirts. Feeling that "Diamond Darrell" no longer suited his image or sound, Abbott adopted the stage name "Dimebag Darrell" instead. The name was originally coined by Anselmo. It was in reference to Abbott's refusal to accept more than a dime bag (slang for $10 worth) of cannabis at one time—even if offered for free—as he did not want to be caught with the drug on-hand. All of Pantera's albums until 1994 were recorded at Pantego Sound, the studio owned by the Abbott brothers' father Jerry. It was conveniently located a short distance from the Abbotts' home. After Vulgar Display of Power was released, Jerry closed Pantego Sound and opened a new studio, Abtrax, in Nashville, Tennessee, as he hoped to fulfill his dream of becoming a country songwriter. Pantera's third major-label album, Far Beyond Driven, was recorded at Abtrax. Abbott said in a 1994 Guitar Player interview: "We were fuckin' flying [to Nashville] for three weeks at a time, writing songs and cutting them." This led to the members spending most of their downtime in each other's hotel rooms consuming drugs, rather than following their normal routines as they did when recording at Pantego Sound. They mixed the album at Dallas Sound Labs, which was close to their homes. Far Beyond Driven was released on March 15, 1994, on EastWest Records. It sold 186,000 copies in its first week to debut at No. 1 on the Billboard 200, and has since been described as the heaviest album ever to debut at No. 1. Before the release, the band was expected to follow the lead of Metallica's eponymous album by taking a more commercially-friendly approach. Instead, Pantera wanted an even heavier work than Vulgar Display of Power. Abbott said in 1994: "We're into topping ourselves. Most bands come out with a heavy record, then it gets lighter and lighter. You're stuck listening to the first record, wishing and dreaming. That ain't what we're about." Band tensions and separation The lead single from Far Beyond Driven, "I'm Broken", was inspired by Anselmo's chronic back pain. To treat the pain during the tour supporting Far Beyond Driven, Anselmo began heavily consuming alcohol, painkillers and ultimately heroin. He would travel on his own tour bus and isolate himself from the other band members until twenty or thirty minutes before they were due to perform. Anselmo recalled in a 2014 interview that he would drink "an entire bottle of Wild Turkey every night before a show to numb the pain", and he often interrupted the performances by ranting on stage. Due to the tensions within the band, recordings for Pantera's next album, The Great Southern Trendkill, were held separately: Darrell, Vinnie and Brown recorded at Chasin' Jason Studio (a studio Darrell had constructed in a barn in his backyard) while Anselmo recorded the vocals at Trent Reznor's Nothing Studios in New Orleans. Abbott experimented with new guitars during the recording; he stated in 1996 that he wrote "Suicide Note Pt. 1" the first time he used a twelve-string guitar which Washburn Guitars had sent to him. The recording also saw Abbott draw on riffs he had composed much earlier: he wrote the outro-solo to "Floods" in the pre-Anselmo era, and he had previously recorded a 90-minute loop of it as a lullaby for his girlfriend. On May 7, 1996, The Great Southern Trendkill was released. It peaked at No. 4 on the Billboard 200, staying on the chart for 13 weeks. It is considered to be Pantera's most extreme work, and features some of the band's lowest-tuned tracks. On July 13, Anselmo overdosed on heroin following the band's performance at the Dallas Starplex Amphitheatre and was clinically dead for "four to five minutes". He recovered quickly and performed at the band's next show in San Antonio two days afterward, but the incident created a lasting rift within the band. Anselmo also had released NOLA, the debut album of one of his side projects Down, in 1995, and supported the album with a 13-show tour. The other Pantera members were originally unperturbed by Anselmo's side projects; Abbott explained at the time: "Phil's a musical guy and he likes to stay busy." The touring for The Great Southern Trendkill widened the rift within the band, and the recording sessions for their next album, Reinventing the Steel, were troublesome. Vinnie said in an interview after the album's release: "It was like pulling teeth to get [Anselmo] down to the studio. He didn't like any of the material, and it was always just like this head-butting contest." Also during the recording, the Abbotts' mother, Carolyn, was diagnosed with lung cancer, and died six weeks later on September 12, 1999. This had a profound effect on the brothers, especially Darrell. Reinventing the Steel was released on March 21, 2000. Abbott said of it: "We still play lead guitar ... Bands hardly ever play lead guitar anymore. Dude, back in the seventies, if you couldn't play the guitar or sing, you were nobody. Now music is so easy—all you've got to do is tune your guitar to an open chord and jump around." Like The Great Southern Trendkill, Reinventing the Steel peaked at No. 4 on the Billboard 200. Pantera were in Ireland, set to begin a European tour, on September 11, 2001. Due to the September 11 attacks, the tour was canceled and the members returned to Texas, where they agreed to take a short hiatus. In March 2002, Down released its second record, Down II: A Bustle in Your Hedgerow, which featured Brown on bass. Two months later, Superjoint Ritual—another of Anselmo's bands—released its debut album, Use Once and Destroy. The Abbotts believed that Pantera would regroup in 2003, after the tours supporting Down II and Use Once and Destroy were concluded. Instead, Anselmo recorded a second album with Superjoint Ritual, A Lethal Dose of American Hatred (2003). Also around this time, Darrell received a phone call from Brown, who indicated that he would not return to Pantera. The separation of Pantera was marked by the release of a greatest hits album, The Best of Pantera: Far Beyond the Great Southern Cowboys' Vulgar Hits!, on September 23, 2003. Damageplan Abbott was dejected by the separation of Pantera; he felt that all he had worked for had been "ripped out from under [him]". As continuing Pantera without Anselmo likely would have resulted in a lengthy and expensive legal battle regarding the ownership of the "Pantera" brand, the Abbott brothers decided to form a new band. They recorded demos at Darrell's backyard studio in February 2003. Patrick Lachman of Halford joined as vocalist and Bob Kakaha was recruited on bass, and the band signed with Elektra Records later in 2003. The name of the band originally was New Found Power, but they later decided on Damageplan. New Found Power instead served as the title of the group's debut album, which was released on February 10, 2004. It did not near the commercial success of Pantera's major-label releases: it sold 44,000 copies in its first week to debut at No. 38 on the Billboard 200 and had sold a modest 160,000 copies by December. Damageplan spent most of 2004 on its Devastation Across the Nation tour. To rebuild a fanbase, the band toured nightclubs across the country. The members had planned to record a follow-up album. This did not materialize due to Abbott's murder at a show in Columbus, Ohio, on December 8, 2004. Other projects The Abbott brothers listened to country singer David Allan Coe while growing up as their parents were fans of the performer, and often used Coe's "Jack Daniels If You Please" as introductory music for Pantera shows. Darrell first met Coe in 1999, at one of his performances at Billy Bob's Texas. After the performance, Darrell waited in an autograph line to introduce himself and give Coe his phone number. They subsequently formed a friendship and Coe began spending time at Darrell's house, where the Abbott brothers and Coe played music in Darrell's backyard studio. They recruited Brown to play bass and the group sporadically recorded from 1999 to 2003. The resulting album, Rebel Meets Rebel, was released on May 2, 2006, on Vinnie's Big Vin Records. Megan Frye of AllMusic stated Rebel Meets Rebel is "groundbreaking in that it will please fans of both country and metal because the music is simultaneously both styles – it's never a fusion, they simply exist together". In 1992, Abbott and the other Pantera members collaborated with Rob Halford on a track titled "Light Comes Out of Black", which was released on the Buffy the Vampire Slayer soundtrack. Abbott recorded the song "Caged in a Rage", on which he performed lead vocals and guitar, under his own name. It was included on the soundtrack to the 1996 film Supercop. Adam Greenberg of AllMusic said Abbott sounded "oddly similar to Rob Zombie" on "Caged in a Rage". Abbott provided guest guitar solos for Anthrax on several occasions: "King Size" and "Riding Shotgun" from Stomp 442 (1995), "Inside Out" and "Born Again Idiot" from Volume 8: The Threat Is Real (1998), and "Strap It On" and "Cadillac Rock Box" from We've Come for You All (2003). Anthrax's Scott Ian referred to Abbott as the "sixth member" of the band due to his frequent appearances. Abbott also performed a guest solo on the title track of King Diamond's Voodoo (1998) and on "Eyes of the South" (2004) by Premenishen, a band that featured Abbott's cousins Heather Manly and April Adkisson on bass and guitar, respectively. After Darrell's death, Vinnie granted Nickelback permission to use outtakes of Darrell's solos from the Vulgar Display of Power and Far Beyond Driven recordings on its tribute track "Side of a Bullet". Darrell was a friend of Nickelback's Chad Kroeger and had provided a solo for Nickelback's cover of "Saturday Night's Alright for Fighting" on the soundtrack to the 2003 film Charlie's Angels: Full Throttle. Darrell and Vinnie performed shows as Gasoline each New Year's Eve. Gasoline predominantly played covers of artists such as Ted Nugent and Pat Travers, but also composed original songs such as "Get Drunk Now" and "This Ain't a Beer Belly, It's a Gas Tank for My Love Machine". Gasoline once served as a support act for Drowning Pool. In 2006, "Country Western Transvestite Whore", a song that Abbott recorded with local Dallas musician Throbbin' Donnie Rodd, was released. It features Abbott on lead guitar and vocals. Other works by Abbott that have been posthumously released include "Dime's Blackout Society" (2010) and The Hitz (2017), a five-track EP. Death On December 8, 2004, Damageplan was performing at the Alrosa Villa nightclub in Columbus, Ohio. Nathan Gale, a fan, rushed onto the stage as the band played the first song of its setlist, and shot Abbott multiple times with a Beretta 92FS, a 9mm semi-automatic pistol. The band's head of security, Jeffrey "Mayhem" Thompson, then tackled Gale, but was fatally shot in the ensuing struggle. A fan, Nathan Bray, was also killed as he attempted to aid Abbott and Thompson, as was Erin Halk, an employee of the venue who tried to disarm Gale while he was reloading. Three others were wounded before Columbus police officer James Niggemeyer entered the club and shot Gale once in the head with a 12-gauge Remington Model 870, killing him. Abbott was pronounced dead at the scene, aged 38. Thousands of fans attended his public memorial, and the guest list included artists such as Eddie Van Halen, Zakk Wylde, Corey Taylor, Jerry Cantrell and Dino Cazares. Abbott was buried alongside his mother Carolyn at the Moore Memorial Gardens cemetery in Arlington, Texas. Gene Simmons donated a Kiss Kasket for the burial, and Eddie Van Halen donated his original black-and-yellow-striped 1979 Charvel "Bumblebee" guitar, which was featured on the back cover of Van Halen II, to be included in the casket. A few weeks prior to his death, Abbott had met Van Halen and asked him for a replica of the Bumblebee. Van Halen said at the funeral: "Dime was an original and only an original deserves the original." After Vinnie Paul's death in 2018, he was buried next to Carolyn and Darrell, also in a Kiss Kasket. In late 2020, a protective fence was installed around the Abbott burial ground in an effort to stop vandalism, as Darrell's grave had previously been scratched and defaced by people over the years. In a 2010 interview, Paul called the vandalism "a real disrespectful thing". Musical style Originally a glam metal musician, Abbott distanced himself from the subgenre by the late 1980s, and was a driving force behind the development of groove metal in the 1990s. Influences Although his father was a country music producer and songwriter, Abbott's primary musical influences were heavy metal acts such as Black Sabbath, Iron Maiden, Judas Priest, Kiss and Van Halen. Ace Frehley of Kiss inspired him to play guitar. He was a member of the Kiss Army and had a portrait of Frehley tattooed on his chest in 1992. While at a photoshoot for the August 1993 issue of Guitar World along with Frehley, Abbott asked Frehley to sign an autograph near the tattoo. Abbott then had the signature tattooed. No musician other than Frehley exerted more of an influence on Abbott than Eddie Van Halen. Abbott stated that his background mirrored Van Halen's as both he and Van Halen were younger brothers who first played drums before moving on to the guitar due to competition from their elder brothers on drums. Another influence was Randy Rhoads. Abbott said in 1994: "To me, Eddie Van Halen was heavy rock and roll, but Randy was heavy metal." He discovered double tracking leads through Rhoads. In numerous interviews, Abbott credited Tony Iommi of Black Sabbath for inspiring his guitar riffs. Abbott also said Def Leppard's original guitarist Pete Willis "was a great player. I was inspired by him because I was a small young dude and he was a small young dude, too—and he was out there kickin' ass. He made me want to get out there and play." Abbott was a fan of the Southern rock band ZZ Top, and he was influenced by the band's guitarist and lead singer Billy Gibbons. He said in 1993: "I'm not a super blues player, but I was exposed to the Texas blues sound while I was growing up, and that definitely rubbed off on me." Abbott was also influenced by contemporary metal guitarists such as Kerry King of Slayer, James Hetfield of Metallica, and Zakk Wylde of Ozzy Osbourne and Black Label Society. Technique Abbott did not receive formal guitar lessons. He stated in a 1994 Guitar World interview that he once received "a guitar lesson off this cat. He wrote down some weird scale and tried to explain how it worked. After we finished he said, 'Now go on home, practice that scale, and show me how well you can play it next week.' So I took it home, played around with it for a few minutes and said, 'Fuck this, I just want to jam.' I respect people that can read tablature and all that shit, but I just don't even have the patience to read the newspaper." Unlike many other heavy metal guitarists, Abbott made extensive use of the major third in his riffs and leads, which added dissonance to minor key tonalities. This was a Van Halen-inspired technique, as was his employment of symmetrical fingerings. Although Abbott had exceptional picking ability, he favored legato phrasing. His love of legato gave his playing a fluid quality, and his powerful left-hand technique enabled the implementation of the symmetrical patterns in his lead licks. Abbott avoided using scales and modes in traditional fashions, and often used passing tones between scalar tones to add tension. These chromatic licks made up much of his playing. Regardless of the note or chord, Abbott played with a "Texas style", meaning a variety of techniques such as sliding, bending, palm muting, and use of the whammy bar and effects pedal to produce an idiosyncratic sound. One of the most distinctive features of Abbott's guitar playing was his use of harmonics to create a squealing sound, which he picked up from Gibbons. Unsatisfied with standard techniques, Abbott often used dyads in place of traditional power chords. This added texture to his riffs and, when played with distortion, created a tense sound. Abbott experimented with alternate tunings throughout his career. Early on, his guitar was tuned down more than a quarter step, similar to Van Halen I and Van Halen II tuning. On Cowboys From Hell (1990), he utilized drop D tuning, and beginning with Vulgar Display of Power (1992) he tuned his guitar down a whole step, which became his main tuning by the release of Reinventing the Steel (2000). He also used drop D down one step, down 1 ½ steps and drop D down 1 ½ steps tunings. Down 1 ½ steps tuning was prevalent on The Great Southern Trendkill (1996) and was Abbott's main tuning on New Found Power (2004). Three of Abbott's solos were ranked in Guitar Worlds "100 Greatest Guitar Solos of All Time": "Walk" at No. 57; "Cemetery Gates" at No. 35; and "Floods" at No. 19. Despite his virtuosity, Abbott said that while "jerking off all over the neck", as he described, was suited to competing in guitar contests, it often did not benefit a song's composition. "Slaughtered" from Far Beyond Driven originally had a slow, melodic solo, but Abbott removed it after noting that it disrupted the song's momentum. Equipment In 1982, Abbott won a maroon Dean ML at a guitar contest in Dallas. Unbeknownst to Abbott, his father had bought him a sunburst ML shortly before the contest. Nearing driving age and seeking to purchase a Pontiac Firebird, Abbott attempted to sell the maroon ML to his friend Buddy Blaze, a luthier and musician. Blaze felt that a guitar won as a prize should stay with its owner and refused to buy it. Abbott instead sold the guitar to one of Blaze's bandmates. Blaze negotiated with his bandmate, and took possession of the ML in exchange for a Kramer Pacer. Blaze then replaced the standard ML hardware: he installed a custom Floyd Rose vibrato bridge and Bill Lawrence L-500XL pickups, and moved the stock DiMarzio pickup to the neck. He also repainted the guitar, from its original maroon to blue-and-black with a lightning bolt finish. Blaze returned the ML to Abbott in 1987, who was initially unaware that it was the same guitar he won as a prize. It subsequently became Abbott's signature guitar and was later dubbed the "Dean from Hell". After the release of Cowboys from Hell, Abbott signed an endorsement deal with Dean Guitars. Dean went out of business in 1994 and Abbott then signed a ten-year contract with Washburn Guitars. With Washburn, he played various signature guitars modeled after the ML, such as the Dime 333, Culprit and Stealth. When his contract with Washburn expired in 2004, he became the main endorsee of the re-opened Dean. Abbott's murder came shortly before the Dean contract was set to begin. Abbott had designed the Dean Razorback and Razorback V in the months prior to his death. Dean also posthumously released replicas of the Dean from Hell. Abbott was praised for his instrumental tone and was included in Guitar Players list of "The 50 Greatest Tones of All Time". Abbott used solid-state Randall amplifiers for most of his career; he remarked in the liner notes for Cowboys from Hell: "Gotta have that Randall Crunch!" He had won his first Randall amplifier in a guitar contest; he said in a 1993 interview it "was a little nasty sounding, a little gritty, but I liked it. I knew that with time I could make it my own sound, and it came around." Abbott released a signature amplifier, the Randall Warhead, in 1999. The goal was to replicate the sound of his own rig: a Randall RG-100 head, Furman PQ-3 parametric equalizer, MXR six-band graphic equalizer and MXR 126 flanger. He set his Furman EQ to boost the highs and lows while scooping the mids, and he used both the Furman EQ and MXR EQ to increase the gain to the Randall's front end. Abbott also used a Digitech whammy pedal, a Korg DT-7 chromatic tuner and a Rocktron Hush IIC noise gate. The noise gate allowed him to control the feedback associated with high levels of gain, and to create the distinctive holes of silence in his playing. When Abbott's endorsement deal with Washburn ended, his deal with Randall also ended, as Randall and Washburn both were subsidiaries of the U.S. Music Corporation. Abbott subsequently formed a partnership with Krank Amplifiers, a relatively small supplier. He used the Krank Revolution, a tube amplifier. Abbott also invested in the company and designed an amplifier named the Krankenstein; he approved the final revision of the Krankenstein just days before his murder. Abbott helped design many other products. With Dunlop Manufacturing, he designed the Dimebag Cry Baby from Hell, a wah-wah pedal, and the Dime Distortion, a distortion pedal. He also designed a signature pickup with Seymour Duncan titled the Dimebucker, which was based on the Bill Lawrence pickups that he used in most of his guitars. Dean Zelinsky of Dean said in 2010 that Abbott's death was a "bigger loss than we'll ever know. ... I'm very proud of the work I did with him, but who knows what he would have accomplished if he was still with us." Personal life Abbott grew up in the same neighborhood as his long-time partner Rita Haney, whom he first met at the age of eight. They began dating in 1984. The couple never married. Haney said in a 2006 interview: "We didn't believe in the marriage thing. ... Why have someone you don't know tell you it's OK to be with someone you do know? We didn't need the middleman! We had a one-on-one with the man upstairs ourselves." In 1995, Abbott bought a house with Haney in Dalworthington Gardens, Texas, a short distance from his hometown Arlington. Abbott kept a pet goat on the residence, and dyed its goatee like his own. He was remembered by his neighbors as approachable. One neighbor who often walked dogs with Abbott said he "was a hick with an attitude, and I say that respectfully. We'd talk conservative politics. He was a big, big supporter of George Bush." Darrell and Vinnie opened the Clubhouse, an all-nude strip club in north-west Dallas, in 1996. Vinnie's original idea was a rock-and-roll-themed golf course, with "a strip club at the nineteenth hole", but the construction of a golf course was prohibitively expensive. Under the Abbott brothers' ownership, the Clubhouse was patronized by many artists who toured in the area, such as Black Sabbath, Kiss and Metallica, as well as NASCAR drivers, professional golfers, and members of the Dallas Cowboys and the Dallas Stars (whose fight song, "Puck Off", was written and produced by Pantera). After the Dallas Stars won the 1999 Stanley Cup Finals, the Abbott brothers hosted a party for the team at Vinnie's house. Vinnie later stated that the Stanley Cup was dented during the party after Guy Carbonneau threw it out of a window into a swimming pool, but missed the pool and hit the edge. The brothers also performed on a float during the celebration of the Stars' victory. Legacy On May 17, 2007, Abbott was posthumously inducted into Hollywood's RockWalk. Ace Frehley was among the attendees at the induction ceremony, where he spoke in honor of Abbott. Frehley also dedicated his 2009 album Anomaly to Abbott, as well as former Kiss drummer Eric Carr. In 2015, Abbott was ranked as the most influential metal guitarist of the past 25 years by VH1. Doc Coyle of God Forbid stated: "[Abbott's] sparse, low-end, bluesy chug was the blueprint for post-thrash, nu-metal, and metalcore in the subsequent years." Also in 2015, Abbott placed at No. 5 on Gibson's list of "The Top 10 Metal Guitarists of All Time". Anne Erickson said Abbott "proved metal guitar could shred wildly, but still groove. ... He'll always be remembered as one of the most significant engineers of modern metal." Rolling Stone ranked Abbott at No. 92 on its list of "The 100 Greatest Guitarists of All Time" in 2011, and described him as "one of modern metal's key figures". Geezer Butler of Black Sabbath said Abbott was "one of the greatest musicians to grace our world". In 2018, Abbott ranked at No. 19 on Louders list of "The 50 Greatest Guitarists of All Time". Sebastian Bach of Skid Row commented that Abbott "reinvented heavy metal guitar". Jamie Humphries of Premier Guitar remarked in 2014: "If there were ever a band and guitarist to credit for reinventing post-Metallica metal, it would have to be Pantera and the late Dimebag Darrell." Abbott also ranked at No. 9 in a 2012 Guitar World readers' poll of "The 100 Greatest Guitarists of All Time", and was named the "Greatest Metal Guitarist" by Loudwire in 2013 after winning a reader-voted tournament bracket. Jonathan Davis of Korn said in a 2014 interview with Loudwire that Abbott is "one of the greatest guitar players ever. I mean if there was no Dimebag Darrell, there would be no Korn." Slash stated that Abbott "had a great tone and a great original style ... He was one of the best new guitar players that came out over a long period of time." Max Cavalera described Abbott as "very talented, an amazing musician and a humble and cool guy – not a rock star asshole". A concert in memory of Abbott titled Dimebash has been held annually since 2010. All of the concert's proceeds go towards the Ronnie James Dio Stand Up and Shout Cancer Fund. Performers at Dimebash events have included artists such as Dave Grohl, Kerry King, Robb Flynn, Tom Morello, and Serj Tankian. Discography Pantera Metal Magic (1983) Projects in the Jungle (1984) I Am the Night (1985) Power Metal (1988) Cowboys from Hell (1990) Vulgar Display of Power (1992) Far Beyond Driven (1994) The Great Southern Trendkill (1996) Reinventing the Steel (2000) Damageplan New Found Power (2004) Rebel Meets Rebel Rebel Meets Rebel (2006) (recorded in 2000) References Sources External links 1966 births 2004 deaths 20th-century American guitarists 21st-century American guitarists American heavy metal guitarists American male guitarists American murder victims Burials in Texas Damageplan members Deaths by firearm in Ohio Filmed deaths of entertainers Guitarists from Texas Lead guitarists Musicians from Texas Musicians who died on stage Pantera members People from Arlington, Texas People from Ennis, Texas People murdered in Ohio 20th-century American male musicians 2004 murders in the United States
false
[ "How Not to Die may refer to:\n How Not to Die: Surprising Lessons on Living Longer, Safer, and Healthier from America’s Favorite Medical Examiner, a 2008 book by Jan Garavaglia\n How Not To Die: Discover the Foods Scientifically Proven to Prevent and Reverse Disease, a 2015 book by Michael Greger", "Die Mannequin is a Canadian alternative rock band from Toronto, Ontario, Canada, founded by guitar player and singer Care Failure (born Caroline Kawa) in 2005. The band has toured across Canada several times, opening for Buckcherry, Guns N' Roses, Marilyn Manson and Sum 41. They have also toured Europe on several occasions, alone and as an opening act for Danko Jones in 2008.\n\nHistory\nRising from the ashes of Care Failure's first four-piece band \"The Bloody Mannequins\", Die Mannequin started in the spring of 2006 when Failure recorded her first EP, How to Kill, on How To Kill Records/Cordless Recordings. She sang, played guitar and bass on this EP because she did not have a permanent backing band at that time. Death from Above 1979's Jesse F. Keeler took care of the drum duties as well as production. The E.P. featured four songs and was produced by Keeler and partner Al-P from MSTRKRFT and was mastered by Ryan Mills at Joao Carvalho Mastering. Care Failure was also a member of the supergroup The Big Dirty Band, which included members from the Canadian hardrock band Rush, amongst others. They have recorded a cover version and video of The Bobby Fuller Four song I Fought The Law. This video also featured Anthony Useless, even though he did not play on any of the recordings. It was featured as a soundtrack to the 2006 movie Trailer Park Boys: The Movie.\n\nFailure later hired two of her longtime friends, Ethan Deth (of Toronto band Kïll Cheerleadër) and Pat M. (a.k.a. Ghostwolf), to play bass and drums. Deth was quickly replaced by Anthony \"Useless\" Bleed, also from Kïll Cheerleadër. He played bass guitar and provided backing vocals. Managed by Shull Management, Die Mannequin signed with EMI Publishing in the summer of 2006, and began their own record label, How To Kill Records which is distributed by Warner Music Canada. They were booked as one of the opening bands for Guns N' Roses' eastern leg of their 2006 North-American tour.\n\nDie Mannequin released a new EP in the fall of 2007 entitled Slaughter Daughter. Two tracks, \"Do It Or Die\" and \"Saved By Strangers\", were produced by Ian D'Sa of Billy Talent. The other two tracks, \"Upside Down Cross\" and \"Lonely Of A Woman\", were produced by Junior Sanchez. There was also a live recording of \"Open Season\" included on this EP. The band released a video for the first single, \"Do it or Die\", which entered rotation on Much Music and Much Loud.\n\nBoth EPs have been collected on a single disc entitled Unicorn Steak which features two unreleased songs: an early demo of \"Empty's Promise\" and the cover of the Beatsteaks song Hand in Hand. A video was also recorded after the release of Unicorn Steak, for the song \"Saved By Strangers\", directed by Canadian director Bruce McDonald. He has also directed a documentary about Die Mannequin, entitled The Rawside of Die Mannequin, which premiered at Toronto's North By North East festival on June 15, 2008.\n\nIn 2009 Die Mannequin took part in a documentary series called City Sonic. The series, which featured 20 Toronto artists, had Care Failure reflecting on her memories of CFNY, 102.1 the Edge.\n\nOn September 8, 2009, Die Mannequin released FINO + BLEED, mixed by Mike Fraser.\n\nIn 2009, they opened for the Canadians dates of the Marilyn Manson's The High End of Low Tour.\n\nOn March 21, 2012, Die Mannequin announced on their website that they would be releasing new music mid April, along with a new single and music video. This coincided with the release of Hard Core Logo 2.\n\nOn August 20, 2014, the band released a single for their upcoming album, titled \"Sucker Punch\". Their second full-length album, Neon Zero was released on October 28, 2014. Exclaim! Magazine called it 'evil dance metal'.\n\nMembers\nCurrent members\nCaroline \"Care Failure\" Kawa - vocals, guitar, bass (2005–present)\nKevvy Mental - bass, backing vocals (2015–present)\nKeith Heppler - drums, percussion (2015–present)\nJ.C. Sandoval - guitar, backing vocals (2015–present)\nFormer members\nAnthony \"Useless\" Bleed - bass, backing vocals (2006–2014)\nDazzer Scott - drums, percussion (2009–2014)\nStacy Stray - guitar, backing vocals (2009–2014)\nEthan Kath - bass (2006)\nGhostwolf - drums, percussion (2006–2009)\n\nSession members\nJesse F. Keeler - drums, percussion (on How To Kill EP)\nJack Irons - drums, percussion (on Fino + Bleed)\n\nDiscography\nDie Mannequin has released two recognized albums to date and two EPs.\n\nSingles\n\nStudio albums\nFino + Bleed (2009)\nNeon Zero (2014)\n\nCompilations\nUnicorn Steak (2008)\n\nEPs\nHow To Kill (2006)\nSlaughter Daughter (2007)\nDanceland (2012) No. 76 CAN\n\nSoundtracks\n\nInterviews\nDie Mannequin gets darker and warns of Toronto rapist - From Torontomusicscene.ca\n\nSee also\n\nMusic of Canada\nCanadian rock\nList of Canadian musicians\nList of bands from Canada\n:Category:Canadian musical groups\n\nReferences\n\nExternal links\nCare Failure Interview – Truth Mag\nDie Mannequin Neon Zero\n\nMusical groups established in 2005\nMusical groups from Toronto\nCanadian punk rock groups\nCanadian alternative rock groups\nCordless Recordings artists\n2005 establishments in Ontario" ]
[ "Dimebag Darrell", "Death", "When did Dimebag Darrell die?", "On December 8, 2004,", "How did he die?", "Abbott was shot on-stage" ]
C_169d72a4dd46424b938515174716c6cd_0
Where was he performing?
3
Where was Dimebag Darrell performing?
Dimebag Darrell
On December 8, 2004, during the Devastation Across The Nation tour, Abbott was shot on-stage while performing with Damageplan at the Alrosa Villa in Columbus, Ohio. A crowd of approximately 250 had watched four support acts (two local bands entitled Volume Dealer and 12 Gauge, and the tour support Shadows Fall and The Haunted). Moments into Damageplan's set, 25-year-old former Marine Nathan Gale shot Abbott five times in the head with a 9 mm Beretta 92F pistol. Some in attendance initially believed the shooting was part of the act, but as Gale continued shooting, the audience quickly came to the realization that the event was not staged. Firing a total of 15 shots, Gale killed three other people and wounded seven more. Jeff "Mayhem" Thompson, the band's head of security, was killed tackling Gale, as was Alrosa Villa employee Erin Halk. Audience member Nathan Bray was killed while trying to perform CPR on Abbott and Thompson. It was rumored that one crowd member leapt in front of the gunman, saving the lives of several band members. Damageplan's drum technician, John "Kat" Brooks, was shot three times as he attempted to disarm Gale, but was overpowered and taken hostage in a headlock hold. Tour manager Chris Paluska was also injured. Responding within three minutes to a dispatch call made at 10:15pm, seven police officers entered through the front entrance and moved toward the stage. Officer James Niggemeyer came in through the back door, behind the stage. Gale only saw the officers in front of the stage; he did not see Niggemeyer, who was armed with a 12 gauge Remington 870 shotgun. Niggemeyer approached Gale from the opposite side of the stage past a group of security guards, and saw Gale lift his gun to Brooks' head, and fired a single shot as Gale noticed him. Gale was struck in the face with eight of the nine buckshot pellets and was killed instantly. Gale was found to have had 35 rounds of ammunition remaining. Two fans, including Mindy Reece, a certified nurse, administered CPR on Abbott until paramedics arrived, but were unable to revive him and he was pronounced dead at the scene. Early speculation about motive suggested that Gale, who was a Pantera fan, might have turned to violence in response to the breakup of the band, or the public dispute between Abbott and Pantera singer Phil Anselmo, but these were later ruled out by investigators. In VH1's documentary, Behind the Music, Damageplan's sound engineer Aaron Barnes stated that the whole time, after shooting Dimebag, Gale was looking for Vinnie, possibly planning to murder him too. Another conjecture was that Gale believed Abbott had stolen a song that he had written. About six months prior to the shooting, Gale got into an altercation at a Damageplan concert in Cincinnati where he damaged $5,000 worth of equipment while being removed from the stage by security. CANNOTANSWER
Columbus, Ohio.
Darrell Lance Abbott (August 20, 1966 – December 8, 2004), best known by his stage name Dimebag Darrell, was an American musician. He was the guitarist of the heavy metal bands Pantera and Damageplan, both of which he co-founded alongside his brother Vinnie Paul. A son of country music producer Jerry Abbott, Abbott began playing guitar at age 12, and Pantera released its debut album, Metal Magic (1983), when he was 16. Originally a glam metal musician, Abbott went by the stage name Diamond Darrell at the time. Two further albums in the glam metal style followed in 1984 and 1985, before original vocalist Terry Glaze was replaced by Phil Anselmo in 1986 and Power Metal (1988) was released. The band's major-label debut, Cowboys from Hell (1990), introduced a groove metal sound to which Abbott's guitar playing was central. This sound was refined on Vulgar Display of Power (1992), and the group's third major-label record, Far Beyond Driven, debuted at No. 1 on the Billboard 200 in 1994. Tensions within Pantera reduced its output after the release of The Great Southern Trendkill in 1996, and Reinventing the Steel (2000) was the band's final studio album before its acrimonious separation in 2003. Abbott subsequently formed Damageplan with his brother Vinnie Paul and released New Found Power, the band's only album, in 2004. Other works by Abbott included a collaboration with David Allan Coe titled Rebel Meets Rebel (2006) and numerous guest guitar solos for bands such as Anthrax. On December 8, 2004, Abbott was shot and killed by a fan while on stage with Damageplan at the Alrosa Villa nightclub in Columbus, Ohio. Three others were murdered in the shooting before the perpetrator was killed by a police officer. Abbott was ranked at No. 92 on Rolling Stones list of "The 100 Greatest Guitarists of All Time" in 2011, and No. 19 on Louders list of "The 50 Greatest Guitarists of All Time" in 2018. He placed at No. 5 on Gibson's list of "The Top 10 Metal Guitarists of All Time" in 2015, and the same year was ranked as the most influential metal guitarist of the past 25 years by VH1. Early life Darrell Lance Abbott was born in Ennis, Texas, on August 20, 1966, the second son to Carolyn and Jerry Abbott, a country music producer. His elder brother Vinnie Paul was born on March 11, 1964. Abbott's parents divorced in 1979, after seventeen years of marriage, but his family life remained happy. The brothers lived with their mother Carolyn, in a ranch-style house on Monterrey Street in Arlington. Carolyn was supportive of her sons' musical endeavors. Abbott took up the guitar when he was twelve. His first guitar was a Les Paul-style Hohner, which he received along with a Pignose amplifier on his twelfth birthday. Influenced by Black Sabbath, Judas Priest, Kiss and Van Halen, he would initially spend time in his room standing in front of a mirror holding the guitar while wearing Ace Frehley-style makeup, though he was unable to play the instrument at the time. Jerry learned Kiss songs on guitar in order to teach Darrell how to play them. Darrell also learned from country musicians who recorded at Jerry's studio, such as Bugs Henderson. Vinnie had begun playing the drums before Darrell received his first guitar. Darrell had previously tried to play the drums; Vinnie later said: "I just got better than him and wouldn't let him play them anymore." The Abbott brothers' first jam session consisted of six hours of "Smoke on the Water". They took inspiration from Alex and Eddie Van Halen, and Vinnie said in a 2016 interview that he and Darrell were "inseparable" after they began playing music together. At age 14, Abbott entered a guitar contest at the Agora Ballroom in Dallas, in which Dean Zelinsky, founder of Dean Guitars, was one of the judges. Abbott's mother accompanied him to the club because he was not old enough to enter on his own. He won the competition; Zelinsky recalled that "[Abbott] blew everyone away." Abbott won many other guitar contests in the area, and was eventually asked not to compete and instead judge the competitions so others could win. Music career Pantera Early glam metal years Pantera was formed in 1981. Vinnie was asked to join a band alongside his high school classmates Terry Glaze (guitar), Tommy Bradford (bass) and Donny Hart (vocals). Vinnie accepted the invitation, but on the condition that Darrell would also join the band. Glaze later recalled that they were unsure about this request, as Darrell "wasn't very good" and, two years their junior, "was a little skinny, scrawny dude", but they ultimately agreed. In 1989, Darrell made the same request when Dave Mustaine asked him to join Megadeth. As Mustaine had already recruited drummer Nick Menza and would not hire Vinnie, Darrell decided to stay with Pantera. By 1982, Hart left the band and was replaced by Glaze on vocals, while Rex Brown took Bradford's place as bassist. Abbott originally shared lead guitar with Glaze, but soon took permanent status as lead guitarist. Glaze said: "[Abbott] just morphed over a six-month period. ... When he came out, he could play, like, "Eruption" and "Crazy Train"." Abbott adopted the stage name "Diamond Darrell", in reference to the Kiss song "Black Diamond". Inspired by Kiss, Van Halen and Judas Priest, Pantera originally had a glam metal style and was image-conscious: the members wore spandex, makeup and hairspray when on stage. The band signed to Metal Magic Records, which was created by "Jerry Eld'n", an alias of Abbott's father Jerry. Pantera released its first album, Metal Magic, in 1983, when Abbott was 16. A review in the November 1983 issue of Texas-based music magazine Buddy said Abbott's solos "tend to be asymmetrical in that the old theory of musical thought consisting of statements alternating with appropriate responses is ignored and replaced by authoritative delivery of the player's own concept of what should happen". Pantera released Projects in the Jungle and I Am the Night in 1984 and 1985, respectively. Both albums followed on in the glam metal style, and were comparable to Shout at the Devil-era Mötley Crüe, though I Am the Night had a slightly heavier sound than previous releases. Around this time, the Abbott brothers began listening to bands such as Metallica and Slayer. Darrell was particularly taken by Metallica's Ride the Lightning (1984). Glaze was unhappy with the Abbott brothers' desire to move towards a heavier sound; he later said he "didn't want to go that heavy. I didn't like it as well if the guitar was the main thing, like the Metallica songs." This conflict, along with a contractual dispute, led to his departure in 1986. Glaze was replaced by Phil Anselmo in late 1986. This new lineup briefly signed with Gold Mountain Records, but released Power Metal (1988) on Metal Magic. Abbott said Gold Mountain "wanted to change our style and make us sound like Bon Jovi, which is not quite up our alley". Anselmo did not write any of the lyrics for Power Metal, and the band was still in the process of distancing themselves from glam metal, but the album evidenced a stylistic change. A retrospective AllMusic album review by Bradley Torreano said Abbott's "speedy riffs" were one of the "more charming elements" of the band's sound. Brown said in a 1988 interview that "Darrell has always been chunking those riffs out from the start. But now with Phil in the band we've got a chance to make those riffs fully happen instead of having some gay singer over the top of them!" Development of groove metal After the release of Power Metal, Pantera formed a relationship with Walter O'Brien and Andy Gould of Concrete Management. As Concrete managed other bands that were signed to Metal Blade Records, Gould contacted Brian Slagel of Metal Blade and asked him to sign Pantera. The $75,000 requested for the production of a new album was too much for Slagel, who rejected the offer. The Metal Blade rejection was one of many rejections for the band. Pantera eventually attained a major-label deal with Atco Records, after Atco's talent scout Mark Ross was impressed by one of the band's live performances. Cowboys from Hell was released on July 24, 1990. The album was produced by Terry Date; Max Norman was the original choice for producer but he opted to produce Lynch Mob's Wicked Sensation instead. Date also served as producer for Pantera's next three albums. Cowboys from Hell marked the development of what would become Pantera's familiar sound, to which Abbott's guitar playing was central. Self-described as "power groove", the album became a "blueprint-defining" work for groove metal, a sub-genre with the heaviness and intensity of thrash metal but played at a slower tempo. Southern rock elements were incorporated into the sound; Pantera's "groove" is commonly attributed to the Abbott brothers' fondness for ZZ Top. Cowboys from Hell was certified gold in 1993, and platinum in 1997. Pantera played close to 200 shows supporting Cowboys from Hell, as it toured for nearly two years. Aside from breaks to develop new material, the band spent most of the 1990s touring; Abbott gained a reputation as a wild figure on tour and a heavy drinker. Pantera recorded its second major-label album in the space of two months. Released on February 25, 1992, Vulgar Display of Power was a refinement of the groove metal sound. The band had sought to create a heavier album than Cowboys from Hell, as Anselmo fully embraced a hardcore-inspired shouted vocal delivery. Abbott composed most of the riffs and song structures, and further attempted to mesh his guitar with Brown's bass to create what Brown later described as "one giant tone". Vulgar Display of Power debuted at No. 44 on the Billboard 200, and it stayed on the chart for 79 weeks. In 2017, it was ranked at No. 10 on Rolling Stones list of "The 100 Greatest Metal Albums of All Time", with Abbott's "serrated rhythms and squealing solos" highlighted. Abbott had transformed his appearance by the time of Vulgar Display of Powers release to that which he would maintain for the rest of his life. He sported a dyed goatee, a razorblade pendant (in homage to Judas Priest's British Steel), cargo shorts and sleeveless shirts. Feeling that "Diamond Darrell" no longer suited his image or sound, Abbott adopted the stage name "Dimebag Darrell" instead. The name was originally coined by Anselmo. It was in reference to Abbott's refusal to accept more than a dime bag (slang for $10 worth) of cannabis at one time—even if offered for free—as he did not want to be caught with the drug on-hand. All of Pantera's albums until 1994 were recorded at Pantego Sound, the studio owned by the Abbott brothers' father Jerry. It was conveniently located a short distance from the Abbotts' home. After Vulgar Display of Power was released, Jerry closed Pantego Sound and opened a new studio, Abtrax, in Nashville, Tennessee, as he hoped to fulfill his dream of becoming a country songwriter. Pantera's third major-label album, Far Beyond Driven, was recorded at Abtrax. Abbott said in a 1994 Guitar Player interview: "We were fuckin' flying [to Nashville] for three weeks at a time, writing songs and cutting them." This led to the members spending most of their downtime in each other's hotel rooms consuming drugs, rather than following their normal routines as they did when recording at Pantego Sound. They mixed the album at Dallas Sound Labs, which was close to their homes. Far Beyond Driven was released on March 15, 1994, on EastWest Records. It sold 186,000 copies in its first week to debut at No. 1 on the Billboard 200, and has since been described as the heaviest album ever to debut at No. 1. Before the release, the band was expected to follow the lead of Metallica's eponymous album by taking a more commercially-friendly approach. Instead, Pantera wanted an even heavier work than Vulgar Display of Power. Abbott said in 1994: "We're into topping ourselves. Most bands come out with a heavy record, then it gets lighter and lighter. You're stuck listening to the first record, wishing and dreaming. That ain't what we're about." Band tensions and separation The lead single from Far Beyond Driven, "I'm Broken", was inspired by Anselmo's chronic back pain. To treat the pain during the tour supporting Far Beyond Driven, Anselmo began heavily consuming alcohol, painkillers and ultimately heroin. He would travel on his own tour bus and isolate himself from the other band members until twenty or thirty minutes before they were due to perform. Anselmo recalled in a 2014 interview that he would drink "an entire bottle of Wild Turkey every night before a show to numb the pain", and he often interrupted the performances by ranting on stage. Due to the tensions within the band, recordings for Pantera's next album, The Great Southern Trendkill, were held separately: Darrell, Vinnie and Brown recorded at Chasin' Jason Studio (a studio Darrell had constructed in a barn in his backyard) while Anselmo recorded the vocals at Trent Reznor's Nothing Studios in New Orleans. Abbott experimented with new guitars during the recording; he stated in 1996 that he wrote "Suicide Note Pt. 1" the first time he used a twelve-string guitar which Washburn Guitars had sent to him. The recording also saw Abbott draw on riffs he had composed much earlier: he wrote the outro-solo to "Floods" in the pre-Anselmo era, and he had previously recorded a 90-minute loop of it as a lullaby for his girlfriend. On May 7, 1996, The Great Southern Trendkill was released. It peaked at No. 4 on the Billboard 200, staying on the chart for 13 weeks. It is considered to be Pantera's most extreme work, and features some of the band's lowest-tuned tracks. On July 13, Anselmo overdosed on heroin following the band's performance at the Dallas Starplex Amphitheatre and was clinically dead for "four to five minutes". He recovered quickly and performed at the band's next show in San Antonio two days afterward, but the incident created a lasting rift within the band. Anselmo also had released NOLA, the debut album of one of his side projects Down, in 1995, and supported the album with a 13-show tour. The other Pantera members were originally unperturbed by Anselmo's side projects; Abbott explained at the time: "Phil's a musical guy and he likes to stay busy." The touring for The Great Southern Trendkill widened the rift within the band, and the recording sessions for their next album, Reinventing the Steel, were troublesome. Vinnie said in an interview after the album's release: "It was like pulling teeth to get [Anselmo] down to the studio. He didn't like any of the material, and it was always just like this head-butting contest." Also during the recording, the Abbotts' mother, Carolyn, was diagnosed with lung cancer, and died six weeks later on September 12, 1999. This had a profound effect on the brothers, especially Darrell. Reinventing the Steel was released on March 21, 2000. Abbott said of it: "We still play lead guitar ... Bands hardly ever play lead guitar anymore. Dude, back in the seventies, if you couldn't play the guitar or sing, you were nobody. Now music is so easy—all you've got to do is tune your guitar to an open chord and jump around." Like The Great Southern Trendkill, Reinventing the Steel peaked at No. 4 on the Billboard 200. Pantera were in Ireland, set to begin a European tour, on September 11, 2001. Due to the September 11 attacks, the tour was canceled and the members returned to Texas, where they agreed to take a short hiatus. In March 2002, Down released its second record, Down II: A Bustle in Your Hedgerow, which featured Brown on bass. Two months later, Superjoint Ritual—another of Anselmo's bands—released its debut album, Use Once and Destroy. The Abbotts believed that Pantera would regroup in 2003, after the tours supporting Down II and Use Once and Destroy were concluded. Instead, Anselmo recorded a second album with Superjoint Ritual, A Lethal Dose of American Hatred (2003). Also around this time, Darrell received a phone call from Brown, who indicated that he would not return to Pantera. The separation of Pantera was marked by the release of a greatest hits album, The Best of Pantera: Far Beyond the Great Southern Cowboys' Vulgar Hits!, on September 23, 2003. Damageplan Abbott was dejected by the separation of Pantera; he felt that all he had worked for had been "ripped out from under [him]". As continuing Pantera without Anselmo likely would have resulted in a lengthy and expensive legal battle regarding the ownership of the "Pantera" brand, the Abbott brothers decided to form a new band. They recorded demos at Darrell's backyard studio in February 2003. Patrick Lachman of Halford joined as vocalist and Bob Kakaha was recruited on bass, and the band signed with Elektra Records later in 2003. The name of the band originally was New Found Power, but they later decided on Damageplan. New Found Power instead served as the title of the group's debut album, which was released on February 10, 2004. It did not near the commercial success of Pantera's major-label releases: it sold 44,000 copies in its first week to debut at No. 38 on the Billboard 200 and had sold a modest 160,000 copies by December. Damageplan spent most of 2004 on its Devastation Across the Nation tour. To rebuild a fanbase, the band toured nightclubs across the country. The members had planned to record a follow-up album. This did not materialize due to Abbott's murder at a show in Columbus, Ohio, on December 8, 2004. Other projects The Abbott brothers listened to country singer David Allan Coe while growing up as their parents were fans of the performer, and often used Coe's "Jack Daniels If You Please" as introductory music for Pantera shows. Darrell first met Coe in 1999, at one of his performances at Billy Bob's Texas. After the performance, Darrell waited in an autograph line to introduce himself and give Coe his phone number. They subsequently formed a friendship and Coe began spending time at Darrell's house, where the Abbott brothers and Coe played music in Darrell's backyard studio. They recruited Brown to play bass and the group sporadically recorded from 1999 to 2003. The resulting album, Rebel Meets Rebel, was released on May 2, 2006, on Vinnie's Big Vin Records. Megan Frye of AllMusic stated Rebel Meets Rebel is "groundbreaking in that it will please fans of both country and metal because the music is simultaneously both styles – it's never a fusion, they simply exist together". In 1992, Abbott and the other Pantera members collaborated with Rob Halford on a track titled "Light Comes Out of Black", which was released on the Buffy the Vampire Slayer soundtrack. Abbott recorded the song "Caged in a Rage", on which he performed lead vocals and guitar, under his own name. It was included on the soundtrack to the 1996 film Supercop. Adam Greenberg of AllMusic said Abbott sounded "oddly similar to Rob Zombie" on "Caged in a Rage". Abbott provided guest guitar solos for Anthrax on several occasions: "King Size" and "Riding Shotgun" from Stomp 442 (1995), "Inside Out" and "Born Again Idiot" from Volume 8: The Threat Is Real (1998), and "Strap It On" and "Cadillac Rock Box" from We've Come for You All (2003). Anthrax's Scott Ian referred to Abbott as the "sixth member" of the band due to his frequent appearances. Abbott also performed a guest solo on the title track of King Diamond's Voodoo (1998) and on "Eyes of the South" (2004) by Premenishen, a band that featured Abbott's cousins Heather Manly and April Adkisson on bass and guitar, respectively. After Darrell's death, Vinnie granted Nickelback permission to use outtakes of Darrell's solos from the Vulgar Display of Power and Far Beyond Driven recordings on its tribute track "Side of a Bullet". Darrell was a friend of Nickelback's Chad Kroeger and had provided a solo for Nickelback's cover of "Saturday Night's Alright for Fighting" on the soundtrack to the 2003 film Charlie's Angels: Full Throttle. Darrell and Vinnie performed shows as Gasoline each New Year's Eve. Gasoline predominantly played covers of artists such as Ted Nugent and Pat Travers, but also composed original songs such as "Get Drunk Now" and "This Ain't a Beer Belly, It's a Gas Tank for My Love Machine". Gasoline once served as a support act for Drowning Pool. In 2006, "Country Western Transvestite Whore", a song that Abbott recorded with local Dallas musician Throbbin' Donnie Rodd, was released. It features Abbott on lead guitar and vocals. Other works by Abbott that have been posthumously released include "Dime's Blackout Society" (2010) and The Hitz (2017), a five-track EP. Death On December 8, 2004, Damageplan was performing at the Alrosa Villa nightclub in Columbus, Ohio. Nathan Gale, a fan, rushed onto the stage as the band played the first song of its setlist, and shot Abbott multiple times with a Beretta 92FS, a 9mm semi-automatic pistol. The band's head of security, Jeffrey "Mayhem" Thompson, then tackled Gale, but was fatally shot in the ensuing struggle. A fan, Nathan Bray, was also killed as he attempted to aid Abbott and Thompson, as was Erin Halk, an employee of the venue who tried to disarm Gale while he was reloading. Three others were wounded before Columbus police officer James Niggemeyer entered the club and shot Gale once in the head with a 12-gauge Remington Model 870, killing him. Abbott was pronounced dead at the scene, aged 38. Thousands of fans attended his public memorial, and the guest list included artists such as Eddie Van Halen, Zakk Wylde, Corey Taylor, Jerry Cantrell and Dino Cazares. Abbott was buried alongside his mother Carolyn at the Moore Memorial Gardens cemetery in Arlington, Texas. Gene Simmons donated a Kiss Kasket for the burial, and Eddie Van Halen donated his original black-and-yellow-striped 1979 Charvel "Bumblebee" guitar, which was featured on the back cover of Van Halen II, to be included in the casket. A few weeks prior to his death, Abbott had met Van Halen and asked him for a replica of the Bumblebee. Van Halen said at the funeral: "Dime was an original and only an original deserves the original." After Vinnie Paul's death in 2018, he was buried next to Carolyn and Darrell, also in a Kiss Kasket. In late 2020, a protective fence was installed around the Abbott burial ground in an effort to stop vandalism, as Darrell's grave had previously been scratched and defaced by people over the years. In a 2010 interview, Paul called the vandalism "a real disrespectful thing". Musical style Originally a glam metal musician, Abbott distanced himself from the subgenre by the late 1980s, and was a driving force behind the development of groove metal in the 1990s. Influences Although his father was a country music producer and songwriter, Abbott's primary musical influences were heavy metal acts such as Black Sabbath, Iron Maiden, Judas Priest, Kiss and Van Halen. Ace Frehley of Kiss inspired him to play guitar. He was a member of the Kiss Army and had a portrait of Frehley tattooed on his chest in 1992. While at a photoshoot for the August 1993 issue of Guitar World along with Frehley, Abbott asked Frehley to sign an autograph near the tattoo. Abbott then had the signature tattooed. No musician other than Frehley exerted more of an influence on Abbott than Eddie Van Halen. Abbott stated that his background mirrored Van Halen's as both he and Van Halen were younger brothers who first played drums before moving on to the guitar due to competition from their elder brothers on drums. Another influence was Randy Rhoads. Abbott said in 1994: "To me, Eddie Van Halen was heavy rock and roll, but Randy was heavy metal." He discovered double tracking leads through Rhoads. In numerous interviews, Abbott credited Tony Iommi of Black Sabbath for inspiring his guitar riffs. Abbott also said Def Leppard's original guitarist Pete Willis "was a great player. I was inspired by him because I was a small young dude and he was a small young dude, too—and he was out there kickin' ass. He made me want to get out there and play." Abbott was a fan of the Southern rock band ZZ Top, and he was influenced by the band's guitarist and lead singer Billy Gibbons. He said in 1993: "I'm not a super blues player, but I was exposed to the Texas blues sound while I was growing up, and that definitely rubbed off on me." Abbott was also influenced by contemporary metal guitarists such as Kerry King of Slayer, James Hetfield of Metallica, and Zakk Wylde of Ozzy Osbourne and Black Label Society. Technique Abbott did not receive formal guitar lessons. He stated in a 1994 Guitar World interview that he once received "a guitar lesson off this cat. He wrote down some weird scale and tried to explain how it worked. After we finished he said, 'Now go on home, practice that scale, and show me how well you can play it next week.' So I took it home, played around with it for a few minutes and said, 'Fuck this, I just want to jam.' I respect people that can read tablature and all that shit, but I just don't even have the patience to read the newspaper." Unlike many other heavy metal guitarists, Abbott made extensive use of the major third in his riffs and leads, which added dissonance to minor key tonalities. This was a Van Halen-inspired technique, as was his employment of symmetrical fingerings. Although Abbott had exceptional picking ability, he favored legato phrasing. His love of legato gave his playing a fluid quality, and his powerful left-hand technique enabled the implementation of the symmetrical patterns in his lead licks. Abbott avoided using scales and modes in traditional fashions, and often used passing tones between scalar tones to add tension. These chromatic licks made up much of his playing. Regardless of the note or chord, Abbott played with a "Texas style", meaning a variety of techniques such as sliding, bending, palm muting, and use of the whammy bar and effects pedal to produce an idiosyncratic sound. One of the most distinctive features of Abbott's guitar playing was his use of harmonics to create a squealing sound, which he picked up from Gibbons. Unsatisfied with standard techniques, Abbott often used dyads in place of traditional power chords. This added texture to his riffs and, when played with distortion, created a tense sound. Abbott experimented with alternate tunings throughout his career. Early on, his guitar was tuned down more than a quarter step, similar to Van Halen I and Van Halen II tuning. On Cowboys From Hell (1990), he utilized drop D tuning, and beginning with Vulgar Display of Power (1992) he tuned his guitar down a whole step, which became his main tuning by the release of Reinventing the Steel (2000). He also used drop D down one step, down 1 ½ steps and drop D down 1 ½ steps tunings. Down 1 ½ steps tuning was prevalent on The Great Southern Trendkill (1996) and was Abbott's main tuning on New Found Power (2004). Three of Abbott's solos were ranked in Guitar Worlds "100 Greatest Guitar Solos of All Time": "Walk" at No. 57; "Cemetery Gates" at No. 35; and "Floods" at No. 19. Despite his virtuosity, Abbott said that while "jerking off all over the neck", as he described, was suited to competing in guitar contests, it often did not benefit a song's composition. "Slaughtered" from Far Beyond Driven originally had a slow, melodic solo, but Abbott removed it after noting that it disrupted the song's momentum. Equipment In 1982, Abbott won a maroon Dean ML at a guitar contest in Dallas. Unbeknownst to Abbott, his father had bought him a sunburst ML shortly before the contest. Nearing driving age and seeking to purchase a Pontiac Firebird, Abbott attempted to sell the maroon ML to his friend Buddy Blaze, a luthier and musician. Blaze felt that a guitar won as a prize should stay with its owner and refused to buy it. Abbott instead sold the guitar to one of Blaze's bandmates. Blaze negotiated with his bandmate, and took possession of the ML in exchange for a Kramer Pacer. Blaze then replaced the standard ML hardware: he installed a custom Floyd Rose vibrato bridge and Bill Lawrence L-500XL pickups, and moved the stock DiMarzio pickup to the neck. He also repainted the guitar, from its original maroon to blue-and-black with a lightning bolt finish. Blaze returned the ML to Abbott in 1987, who was initially unaware that it was the same guitar he won as a prize. It subsequently became Abbott's signature guitar and was later dubbed the "Dean from Hell". After the release of Cowboys from Hell, Abbott signed an endorsement deal with Dean Guitars. Dean went out of business in 1994 and Abbott then signed a ten-year contract with Washburn Guitars. With Washburn, he played various signature guitars modeled after the ML, such as the Dime 333, Culprit and Stealth. When his contract with Washburn expired in 2004, he became the main endorsee of the re-opened Dean. Abbott's murder came shortly before the Dean contract was set to begin. Abbott had designed the Dean Razorback and Razorback V in the months prior to his death. Dean also posthumously released replicas of the Dean from Hell. Abbott was praised for his instrumental tone and was included in Guitar Players list of "The 50 Greatest Tones of All Time". Abbott used solid-state Randall amplifiers for most of his career; he remarked in the liner notes for Cowboys from Hell: "Gotta have that Randall Crunch!" He had won his first Randall amplifier in a guitar contest; he said in a 1993 interview it "was a little nasty sounding, a little gritty, but I liked it. I knew that with time I could make it my own sound, and it came around." Abbott released a signature amplifier, the Randall Warhead, in 1999. The goal was to replicate the sound of his own rig: a Randall RG-100 head, Furman PQ-3 parametric equalizer, MXR six-band graphic equalizer and MXR 126 flanger. He set his Furman EQ to boost the highs and lows while scooping the mids, and he used both the Furman EQ and MXR EQ to increase the gain to the Randall's front end. Abbott also used a Digitech whammy pedal, a Korg DT-7 chromatic tuner and a Rocktron Hush IIC noise gate. The noise gate allowed him to control the feedback associated with high levels of gain, and to create the distinctive holes of silence in his playing. When Abbott's endorsement deal with Washburn ended, his deal with Randall also ended, as Randall and Washburn both were subsidiaries of the U.S. Music Corporation. Abbott subsequently formed a partnership with Krank Amplifiers, a relatively small supplier. He used the Krank Revolution, a tube amplifier. Abbott also invested in the company and designed an amplifier named the Krankenstein; he approved the final revision of the Krankenstein just days before his murder. Abbott helped design many other products. With Dunlop Manufacturing, he designed the Dimebag Cry Baby from Hell, a wah-wah pedal, and the Dime Distortion, a distortion pedal. He also designed a signature pickup with Seymour Duncan titled the Dimebucker, which was based on the Bill Lawrence pickups that he used in most of his guitars. Dean Zelinsky of Dean said in 2010 that Abbott's death was a "bigger loss than we'll ever know. ... I'm very proud of the work I did with him, but who knows what he would have accomplished if he was still with us." Personal life Abbott grew up in the same neighborhood as his long-time partner Rita Haney, whom he first met at the age of eight. They began dating in 1984. The couple never married. Haney said in a 2006 interview: "We didn't believe in the marriage thing. ... Why have someone you don't know tell you it's OK to be with someone you do know? We didn't need the middleman! We had a one-on-one with the man upstairs ourselves." In 1995, Abbott bought a house with Haney in Dalworthington Gardens, Texas, a short distance from his hometown Arlington. Abbott kept a pet goat on the residence, and dyed its goatee like his own. He was remembered by his neighbors as approachable. One neighbor who often walked dogs with Abbott said he "was a hick with an attitude, and I say that respectfully. We'd talk conservative politics. He was a big, big supporter of George Bush." Darrell and Vinnie opened the Clubhouse, an all-nude strip club in north-west Dallas, in 1996. Vinnie's original idea was a rock-and-roll-themed golf course, with "a strip club at the nineteenth hole", but the construction of a golf course was prohibitively expensive. Under the Abbott brothers' ownership, the Clubhouse was patronized by many artists who toured in the area, such as Black Sabbath, Kiss and Metallica, as well as NASCAR drivers, professional golfers, and members of the Dallas Cowboys and the Dallas Stars (whose fight song, "Puck Off", was written and produced by Pantera). After the Dallas Stars won the 1999 Stanley Cup Finals, the Abbott brothers hosted a party for the team at Vinnie's house. Vinnie later stated that the Stanley Cup was dented during the party after Guy Carbonneau threw it out of a window into a swimming pool, but missed the pool and hit the edge. The brothers also performed on a float during the celebration of the Stars' victory. Legacy On May 17, 2007, Abbott was posthumously inducted into Hollywood's RockWalk. Ace Frehley was among the attendees at the induction ceremony, where he spoke in honor of Abbott. Frehley also dedicated his 2009 album Anomaly to Abbott, as well as former Kiss drummer Eric Carr. In 2015, Abbott was ranked as the most influential metal guitarist of the past 25 years by VH1. Doc Coyle of God Forbid stated: "[Abbott's] sparse, low-end, bluesy chug was the blueprint for post-thrash, nu-metal, and metalcore in the subsequent years." Also in 2015, Abbott placed at No. 5 on Gibson's list of "The Top 10 Metal Guitarists of All Time". Anne Erickson said Abbott "proved metal guitar could shred wildly, but still groove. ... He'll always be remembered as one of the most significant engineers of modern metal." Rolling Stone ranked Abbott at No. 92 on its list of "The 100 Greatest Guitarists of All Time" in 2011, and described him as "one of modern metal's key figures". Geezer Butler of Black Sabbath said Abbott was "one of the greatest musicians to grace our world". In 2018, Abbott ranked at No. 19 on Louders list of "The 50 Greatest Guitarists of All Time". Sebastian Bach of Skid Row commented that Abbott "reinvented heavy metal guitar". Jamie Humphries of Premier Guitar remarked in 2014: "If there were ever a band and guitarist to credit for reinventing post-Metallica metal, it would have to be Pantera and the late Dimebag Darrell." Abbott also ranked at No. 9 in a 2012 Guitar World readers' poll of "The 100 Greatest Guitarists of All Time", and was named the "Greatest Metal Guitarist" by Loudwire in 2013 after winning a reader-voted tournament bracket. Jonathan Davis of Korn said in a 2014 interview with Loudwire that Abbott is "one of the greatest guitar players ever. I mean if there was no Dimebag Darrell, there would be no Korn." Slash stated that Abbott "had a great tone and a great original style ... He was one of the best new guitar players that came out over a long period of time." Max Cavalera described Abbott as "very talented, an amazing musician and a humble and cool guy – not a rock star asshole". A concert in memory of Abbott titled Dimebash has been held annually since 2010. All of the concert's proceeds go towards the Ronnie James Dio Stand Up and Shout Cancer Fund. Performers at Dimebash events have included artists such as Dave Grohl, Kerry King, Robb Flynn, Tom Morello, and Serj Tankian. Discography Pantera Metal Magic (1983) Projects in the Jungle (1984) I Am the Night (1985) Power Metal (1988) Cowboys from Hell (1990) Vulgar Display of Power (1992) Far Beyond Driven (1994) The Great Southern Trendkill (1996) Reinventing the Steel (2000) Damageplan New Found Power (2004) Rebel Meets Rebel Rebel Meets Rebel (2006) (recorded in 2000) References Sources External links 1966 births 2004 deaths 20th-century American guitarists 21st-century American guitarists American heavy metal guitarists American male guitarists American murder victims Burials in Texas Damageplan members Deaths by firearm in Ohio Filmed deaths of entertainers Guitarists from Texas Lead guitarists Musicians from Texas Musicians who died on stage Pantera members People from Arlington, Texas People from Ennis, Texas People murdered in Ohio 20th-century American male musicians 2004 murders in the United States
true
[ "Nicholas Goldschmidt, (December 6, 1908 – February 8, 2004) was a Canadian conductor, administrator, teacher, performer, music festival entrepreneur and artistic director. He was the grand-nephew of famed composer Adalbert von Goldschmidt (1848-1906).\n\nIn 1937, Goldschmidt immigrated to the US, where he served as director of opera at the San Francisco Conservatory and Stanford University from 1938 to 1942. He was director of the opera department at Columbia University from 1942 to 1944. He subsequently moved to Toronto, where he served as the first music director of the Royal Conservatory Opera School (University of Toronto Opera Division) from 1946 to 1957. In 1950, Goldschmidt, Arnold Walter and Herman Geiger-Torel helped to found the Royal Conservatory Opera Company, which later became the Canadian Opera Company. From 1949 to 1957, Goldschmidt was the first music director of the CBC Opera.\n\nIn 1978, Goldschmidt was made an Officer of the Order of Canada, and was promoted to Companion in 1989. In 1997, Goldschmidt received the Governor General's Performing Arts Award, Canada's highest honour in the performing arts.\n\nGoldschmidt married Shelagh Fraser on 26 June 1948.\n\nReferences\n\nExternal links\n Canadian Encyclopedia Biography\n CBC Digital Archives, \"Remembering Nicholas Goldschmidt\"\n\n1908 births\n2004 deaths\nPeople from Znojmo District\nPeople from the Margraviate of Moravia\nMale conductors (music)\nCompanions of the Order of Canada\nMembers of the Order of Ontario\nMusicians from Toronto\nGovernor General's Performing Arts Award winners\n20th-century Canadian conductors (music)\n20th-century Canadian male musicians", "Richard Starkie was a British doctor who was charged with distributing illegal narcotics while performing abortions in 1921. Starkie, a former police surgeon, began illegally performing abortions during the early 1900s. He continued performing abortions until his arrest on 17 July 1921 and was charged with administering narcotics for the purpose of performing an abortion on a married woman as well as prior abortions on four unmarried patients. Although acquitted on abortion charges, he was found guilty for administering drugs and sentenced to nine months imprisonment at Wormwood Scrubs Prison. He was reportedly met by about 600 of his former patients following his release.\n\nFurther reading\nBrowne, Douglas G. and E.V. Tullett. The Scalpel of Scotland Yard. New York: E.P. Dutton, 1952.\n\nYear of birth missing\nYear of death missing\nBritish abortion providers\n20th-century British criminals" ]
[ "Dimebag Darrell", "Death", "When did Dimebag Darrell die?", "On December 8, 2004,", "How did he die?", "Abbott was shot on-stage", "Where was he performing?", "Columbus, Ohio." ]
C_169d72a4dd46424b938515174716c6cd_0
Who shot Dimebag Darrell?
4
Who shot Dimebag Darrell?
Dimebag Darrell
On December 8, 2004, during the Devastation Across The Nation tour, Abbott was shot on-stage while performing with Damageplan at the Alrosa Villa in Columbus, Ohio. A crowd of approximately 250 had watched four support acts (two local bands entitled Volume Dealer and 12 Gauge, and the tour support Shadows Fall and The Haunted). Moments into Damageplan's set, 25-year-old former Marine Nathan Gale shot Abbott five times in the head with a 9 mm Beretta 92F pistol. Some in attendance initially believed the shooting was part of the act, but as Gale continued shooting, the audience quickly came to the realization that the event was not staged. Firing a total of 15 shots, Gale killed three other people and wounded seven more. Jeff "Mayhem" Thompson, the band's head of security, was killed tackling Gale, as was Alrosa Villa employee Erin Halk. Audience member Nathan Bray was killed while trying to perform CPR on Abbott and Thompson. It was rumored that one crowd member leapt in front of the gunman, saving the lives of several band members. Damageplan's drum technician, John "Kat" Brooks, was shot three times as he attempted to disarm Gale, but was overpowered and taken hostage in a headlock hold. Tour manager Chris Paluska was also injured. Responding within three minutes to a dispatch call made at 10:15pm, seven police officers entered through the front entrance and moved toward the stage. Officer James Niggemeyer came in through the back door, behind the stage. Gale only saw the officers in front of the stage; he did not see Niggemeyer, who was armed with a 12 gauge Remington 870 shotgun. Niggemeyer approached Gale from the opposite side of the stage past a group of security guards, and saw Gale lift his gun to Brooks' head, and fired a single shot as Gale noticed him. Gale was struck in the face with eight of the nine buckshot pellets and was killed instantly. Gale was found to have had 35 rounds of ammunition remaining. Two fans, including Mindy Reece, a certified nurse, administered CPR on Abbott until paramedics arrived, but were unable to revive him and he was pronounced dead at the scene. Early speculation about motive suggested that Gale, who was a Pantera fan, might have turned to violence in response to the breakup of the band, or the public dispute between Abbott and Pantera singer Phil Anselmo, but these were later ruled out by investigators. In VH1's documentary, Behind the Music, Damageplan's sound engineer Aaron Barnes stated that the whole time, after shooting Dimebag, Gale was looking for Vinnie, possibly planning to murder him too. Another conjecture was that Gale believed Abbott had stolen a song that he had written. About six months prior to the shooting, Gale got into an altercation at a Damageplan concert in Cincinnati where he damaged $5,000 worth of equipment while being removed from the stage by security. CANNOTANSWER
25-year-old former Marine Nathan Gale shot Abbott five times in the head with a 9 mm Beretta 92F pistol.
Darrell Lance Abbott (August 20, 1966 – December 8, 2004), best known by his stage name Dimebag Darrell, was an American musician. He was the guitarist of the heavy metal bands Pantera and Damageplan, both of which he co-founded alongside his brother Vinnie Paul. A son of country music producer Jerry Abbott, Abbott began playing guitar at age 12, and Pantera released its debut album, Metal Magic (1983), when he was 16. Originally a glam metal musician, Abbott went by the stage name Diamond Darrell at the time. Two further albums in the glam metal style followed in 1984 and 1985, before original vocalist Terry Glaze was replaced by Phil Anselmo in 1986 and Power Metal (1988) was released. The band's major-label debut, Cowboys from Hell (1990), introduced a groove metal sound to which Abbott's guitar playing was central. This sound was refined on Vulgar Display of Power (1992), and the group's third major-label record, Far Beyond Driven, debuted at No. 1 on the Billboard 200 in 1994. Tensions within Pantera reduced its output after the release of The Great Southern Trendkill in 1996, and Reinventing the Steel (2000) was the band's final studio album before its acrimonious separation in 2003. Abbott subsequently formed Damageplan with his brother Vinnie Paul and released New Found Power, the band's only album, in 2004. Other works by Abbott included a collaboration with David Allan Coe titled Rebel Meets Rebel (2006) and numerous guest guitar solos for bands such as Anthrax. On December 8, 2004, Abbott was shot and killed by a fan while on stage with Damageplan at the Alrosa Villa nightclub in Columbus, Ohio. Three others were murdered in the shooting before the perpetrator was killed by a police officer. Abbott was ranked at No. 92 on Rolling Stones list of "The 100 Greatest Guitarists of All Time" in 2011, and No. 19 on Louders list of "The 50 Greatest Guitarists of All Time" in 2018. He placed at No. 5 on Gibson's list of "The Top 10 Metal Guitarists of All Time" in 2015, and the same year was ranked as the most influential metal guitarist of the past 25 years by VH1. Early life Darrell Lance Abbott was born in Ennis, Texas, on August 20, 1966, the second son to Carolyn and Jerry Abbott, a country music producer. His elder brother Vinnie Paul was born on March 11, 1964. Abbott's parents divorced in 1979, after seventeen years of marriage, but his family life remained happy. The brothers lived with their mother Carolyn, in a ranch-style house on Monterrey Street in Arlington. Carolyn was supportive of her sons' musical endeavors. Abbott took up the guitar when he was twelve. His first guitar was a Les Paul-style Hohner, which he received along with a Pignose amplifier on his twelfth birthday. Influenced by Black Sabbath, Judas Priest, Kiss and Van Halen, he would initially spend time in his room standing in front of a mirror holding the guitar while wearing Ace Frehley-style makeup, though he was unable to play the instrument at the time. Jerry learned Kiss songs on guitar in order to teach Darrell how to play them. Darrell also learned from country musicians who recorded at Jerry's studio, such as Bugs Henderson. Vinnie had begun playing the drums before Darrell received his first guitar. Darrell had previously tried to play the drums; Vinnie later said: "I just got better than him and wouldn't let him play them anymore." The Abbott brothers' first jam session consisted of six hours of "Smoke on the Water". They took inspiration from Alex and Eddie Van Halen, and Vinnie said in a 2016 interview that he and Darrell were "inseparable" after they began playing music together. At age 14, Abbott entered a guitar contest at the Agora Ballroom in Dallas, in which Dean Zelinsky, founder of Dean Guitars, was one of the judges. Abbott's mother accompanied him to the club because he was not old enough to enter on his own. He won the competition; Zelinsky recalled that "[Abbott] blew everyone away." Abbott won many other guitar contests in the area, and was eventually asked not to compete and instead judge the competitions so others could win. Music career Pantera Early glam metal years Pantera was formed in 1981. Vinnie was asked to join a band alongside his high school classmates Terry Glaze (guitar), Tommy Bradford (bass) and Donny Hart (vocals). Vinnie accepted the invitation, but on the condition that Darrell would also join the band. Glaze later recalled that they were unsure about this request, as Darrell "wasn't very good" and, two years their junior, "was a little skinny, scrawny dude", but they ultimately agreed. In 1989, Darrell made the same request when Dave Mustaine asked him to join Megadeth. As Mustaine had already recruited drummer Nick Menza and would not hire Vinnie, Darrell decided to stay with Pantera. By 1982, Hart left the band and was replaced by Glaze on vocals, while Rex Brown took Bradford's place as bassist. Abbott originally shared lead guitar with Glaze, but soon took permanent status as lead guitarist. Glaze said: "[Abbott] just morphed over a six-month period. ... When he came out, he could play, like, "Eruption" and "Crazy Train"." Abbott adopted the stage name "Diamond Darrell", in reference to the Kiss song "Black Diamond". Inspired by Kiss, Van Halen and Judas Priest, Pantera originally had a glam metal style and was image-conscious: the members wore spandex, makeup and hairspray when on stage. The band signed to Metal Magic Records, which was created by "Jerry Eld'n", an alias of Abbott's father Jerry. Pantera released its first album, Metal Magic, in 1983, when Abbott was 16. A review in the November 1983 issue of Texas-based music magazine Buddy said Abbott's solos "tend to be asymmetrical in that the old theory of musical thought consisting of statements alternating with appropriate responses is ignored and replaced by authoritative delivery of the player's own concept of what should happen". Pantera released Projects in the Jungle and I Am the Night in 1984 and 1985, respectively. Both albums followed on in the glam metal style, and were comparable to Shout at the Devil-era Mötley Crüe, though I Am the Night had a slightly heavier sound than previous releases. Around this time, the Abbott brothers began listening to bands such as Metallica and Slayer. Darrell was particularly taken by Metallica's Ride the Lightning (1984). Glaze was unhappy with the Abbott brothers' desire to move towards a heavier sound; he later said he "didn't want to go that heavy. I didn't like it as well if the guitar was the main thing, like the Metallica songs." This conflict, along with a contractual dispute, led to his departure in 1986. Glaze was replaced by Phil Anselmo in late 1986. This new lineup briefly signed with Gold Mountain Records, but released Power Metal (1988) on Metal Magic. Abbott said Gold Mountain "wanted to change our style and make us sound like Bon Jovi, which is not quite up our alley". Anselmo did not write any of the lyrics for Power Metal, and the band was still in the process of distancing themselves from glam metal, but the album evidenced a stylistic change. A retrospective AllMusic album review by Bradley Torreano said Abbott's "speedy riffs" were one of the "more charming elements" of the band's sound. Brown said in a 1988 interview that "Darrell has always been chunking those riffs out from the start. But now with Phil in the band we've got a chance to make those riffs fully happen instead of having some gay singer over the top of them!" Development of groove metal After the release of Power Metal, Pantera formed a relationship with Walter O'Brien and Andy Gould of Concrete Management. As Concrete managed other bands that were signed to Metal Blade Records, Gould contacted Brian Slagel of Metal Blade and asked him to sign Pantera. The $75,000 requested for the production of a new album was too much for Slagel, who rejected the offer. The Metal Blade rejection was one of many rejections for the band. Pantera eventually attained a major-label deal with Atco Records, after Atco's talent scout Mark Ross was impressed by one of the band's live performances. Cowboys from Hell was released on July 24, 1990. The album was produced by Terry Date; Max Norman was the original choice for producer but he opted to produce Lynch Mob's Wicked Sensation instead. Date also served as producer for Pantera's next three albums. Cowboys from Hell marked the development of what would become Pantera's familiar sound, to which Abbott's guitar playing was central. Self-described as "power groove", the album became a "blueprint-defining" work for groove metal, a sub-genre with the heaviness and intensity of thrash metal but played at a slower tempo. Southern rock elements were incorporated into the sound; Pantera's "groove" is commonly attributed to the Abbott brothers' fondness for ZZ Top. Cowboys from Hell was certified gold in 1993, and platinum in 1997. Pantera played close to 200 shows supporting Cowboys from Hell, as it toured for nearly two years. Aside from breaks to develop new material, the band spent most of the 1990s touring; Abbott gained a reputation as a wild figure on tour and a heavy drinker. Pantera recorded its second major-label album in the space of two months. Released on February 25, 1992, Vulgar Display of Power was a refinement of the groove metal sound. The band had sought to create a heavier album than Cowboys from Hell, as Anselmo fully embraced a hardcore-inspired shouted vocal delivery. Abbott composed most of the riffs and song structures, and further attempted to mesh his guitar with Brown's bass to create what Brown later described as "one giant tone". Vulgar Display of Power debuted at No. 44 on the Billboard 200, and it stayed on the chart for 79 weeks. In 2017, it was ranked at No. 10 on Rolling Stones list of "The 100 Greatest Metal Albums of All Time", with Abbott's "serrated rhythms and squealing solos" highlighted. Abbott had transformed his appearance by the time of Vulgar Display of Powers release to that which he would maintain for the rest of his life. He sported a dyed goatee, a razorblade pendant (in homage to Judas Priest's British Steel), cargo shorts and sleeveless shirts. Feeling that "Diamond Darrell" no longer suited his image or sound, Abbott adopted the stage name "Dimebag Darrell" instead. The name was originally coined by Anselmo. It was in reference to Abbott's refusal to accept more than a dime bag (slang for $10 worth) of cannabis at one time—even if offered for free—as he did not want to be caught with the drug on-hand. All of Pantera's albums until 1994 were recorded at Pantego Sound, the studio owned by the Abbott brothers' father Jerry. It was conveniently located a short distance from the Abbotts' home. After Vulgar Display of Power was released, Jerry closed Pantego Sound and opened a new studio, Abtrax, in Nashville, Tennessee, as he hoped to fulfill his dream of becoming a country songwriter. Pantera's third major-label album, Far Beyond Driven, was recorded at Abtrax. Abbott said in a 1994 Guitar Player interview: "We were fuckin' flying [to Nashville] for three weeks at a time, writing songs and cutting them." This led to the members spending most of their downtime in each other's hotel rooms consuming drugs, rather than following their normal routines as they did when recording at Pantego Sound. They mixed the album at Dallas Sound Labs, which was close to their homes. Far Beyond Driven was released on March 15, 1994, on EastWest Records. It sold 186,000 copies in its first week to debut at No. 1 on the Billboard 200, and has since been described as the heaviest album ever to debut at No. 1. Before the release, the band was expected to follow the lead of Metallica's eponymous album by taking a more commercially-friendly approach. Instead, Pantera wanted an even heavier work than Vulgar Display of Power. Abbott said in 1994: "We're into topping ourselves. Most bands come out with a heavy record, then it gets lighter and lighter. You're stuck listening to the first record, wishing and dreaming. That ain't what we're about." Band tensions and separation The lead single from Far Beyond Driven, "I'm Broken", was inspired by Anselmo's chronic back pain. To treat the pain during the tour supporting Far Beyond Driven, Anselmo began heavily consuming alcohol, painkillers and ultimately heroin. He would travel on his own tour bus and isolate himself from the other band members until twenty or thirty minutes before they were due to perform. Anselmo recalled in a 2014 interview that he would drink "an entire bottle of Wild Turkey every night before a show to numb the pain", and he often interrupted the performances by ranting on stage. Due to the tensions within the band, recordings for Pantera's next album, The Great Southern Trendkill, were held separately: Darrell, Vinnie and Brown recorded at Chasin' Jason Studio (a studio Darrell had constructed in a barn in his backyard) while Anselmo recorded the vocals at Trent Reznor's Nothing Studios in New Orleans. Abbott experimented with new guitars during the recording; he stated in 1996 that he wrote "Suicide Note Pt. 1" the first time he used a twelve-string guitar which Washburn Guitars had sent to him. The recording also saw Abbott draw on riffs he had composed much earlier: he wrote the outro-solo to "Floods" in the pre-Anselmo era, and he had previously recorded a 90-minute loop of it as a lullaby for his girlfriend. On May 7, 1996, The Great Southern Trendkill was released. It peaked at No. 4 on the Billboard 200, staying on the chart for 13 weeks. It is considered to be Pantera's most extreme work, and features some of the band's lowest-tuned tracks. On July 13, Anselmo overdosed on heroin following the band's performance at the Dallas Starplex Amphitheatre and was clinically dead for "four to five minutes". He recovered quickly and performed at the band's next show in San Antonio two days afterward, but the incident created a lasting rift within the band. Anselmo also had released NOLA, the debut album of one of his side projects Down, in 1995, and supported the album with a 13-show tour. The other Pantera members were originally unperturbed by Anselmo's side projects; Abbott explained at the time: "Phil's a musical guy and he likes to stay busy." The touring for The Great Southern Trendkill widened the rift within the band, and the recording sessions for their next album, Reinventing the Steel, were troublesome. Vinnie said in an interview after the album's release: "It was like pulling teeth to get [Anselmo] down to the studio. He didn't like any of the material, and it was always just like this head-butting contest." Also during the recording, the Abbotts' mother, Carolyn, was diagnosed with lung cancer, and died six weeks later on September 12, 1999. This had a profound effect on the brothers, especially Darrell. Reinventing the Steel was released on March 21, 2000. Abbott said of it: "We still play lead guitar ... Bands hardly ever play lead guitar anymore. Dude, back in the seventies, if you couldn't play the guitar or sing, you were nobody. Now music is so easy—all you've got to do is tune your guitar to an open chord and jump around." Like The Great Southern Trendkill, Reinventing the Steel peaked at No. 4 on the Billboard 200. Pantera were in Ireland, set to begin a European tour, on September 11, 2001. Due to the September 11 attacks, the tour was canceled and the members returned to Texas, where they agreed to take a short hiatus. In March 2002, Down released its second record, Down II: A Bustle in Your Hedgerow, which featured Brown on bass. Two months later, Superjoint Ritual—another of Anselmo's bands—released its debut album, Use Once and Destroy. The Abbotts believed that Pantera would regroup in 2003, after the tours supporting Down II and Use Once and Destroy were concluded. Instead, Anselmo recorded a second album with Superjoint Ritual, A Lethal Dose of American Hatred (2003). Also around this time, Darrell received a phone call from Brown, who indicated that he would not return to Pantera. The separation of Pantera was marked by the release of a greatest hits album, The Best of Pantera: Far Beyond the Great Southern Cowboys' Vulgar Hits!, on September 23, 2003. Damageplan Abbott was dejected by the separation of Pantera; he felt that all he had worked for had been "ripped out from under [him]". As continuing Pantera without Anselmo likely would have resulted in a lengthy and expensive legal battle regarding the ownership of the "Pantera" brand, the Abbott brothers decided to form a new band. They recorded demos at Darrell's backyard studio in February 2003. Patrick Lachman of Halford joined as vocalist and Bob Kakaha was recruited on bass, and the band signed with Elektra Records later in 2003. The name of the band originally was New Found Power, but they later decided on Damageplan. New Found Power instead served as the title of the group's debut album, which was released on February 10, 2004. It did not near the commercial success of Pantera's major-label releases: it sold 44,000 copies in its first week to debut at No. 38 on the Billboard 200 and had sold a modest 160,000 copies by December. Damageplan spent most of 2004 on its Devastation Across the Nation tour. To rebuild a fanbase, the band toured nightclubs across the country. The members had planned to record a follow-up album. This did not materialize due to Abbott's murder at a show in Columbus, Ohio, on December 8, 2004. Other projects The Abbott brothers listened to country singer David Allan Coe while growing up as their parents were fans of the performer, and often used Coe's "Jack Daniels If You Please" as introductory music for Pantera shows. Darrell first met Coe in 1999, at one of his performances at Billy Bob's Texas. After the performance, Darrell waited in an autograph line to introduce himself and give Coe his phone number. They subsequently formed a friendship and Coe began spending time at Darrell's house, where the Abbott brothers and Coe played music in Darrell's backyard studio. They recruited Brown to play bass and the group sporadically recorded from 1999 to 2003. The resulting album, Rebel Meets Rebel, was released on May 2, 2006, on Vinnie's Big Vin Records. Megan Frye of AllMusic stated Rebel Meets Rebel is "groundbreaking in that it will please fans of both country and metal because the music is simultaneously both styles – it's never a fusion, they simply exist together". In 1992, Abbott and the other Pantera members collaborated with Rob Halford on a track titled "Light Comes Out of Black", which was released on the Buffy the Vampire Slayer soundtrack. Abbott recorded the song "Caged in a Rage", on which he performed lead vocals and guitar, under his own name. It was included on the soundtrack to the 1996 film Supercop. Adam Greenberg of AllMusic said Abbott sounded "oddly similar to Rob Zombie" on "Caged in a Rage". Abbott provided guest guitar solos for Anthrax on several occasions: "King Size" and "Riding Shotgun" from Stomp 442 (1995), "Inside Out" and "Born Again Idiot" from Volume 8: The Threat Is Real (1998), and "Strap It On" and "Cadillac Rock Box" from We've Come for You All (2003). Anthrax's Scott Ian referred to Abbott as the "sixth member" of the band due to his frequent appearances. Abbott also performed a guest solo on the title track of King Diamond's Voodoo (1998) and on "Eyes of the South" (2004) by Premenishen, a band that featured Abbott's cousins Heather Manly and April Adkisson on bass and guitar, respectively. After Darrell's death, Vinnie granted Nickelback permission to use outtakes of Darrell's solos from the Vulgar Display of Power and Far Beyond Driven recordings on its tribute track "Side of a Bullet". Darrell was a friend of Nickelback's Chad Kroeger and had provided a solo for Nickelback's cover of "Saturday Night's Alright for Fighting" on the soundtrack to the 2003 film Charlie's Angels: Full Throttle. Darrell and Vinnie performed shows as Gasoline each New Year's Eve. Gasoline predominantly played covers of artists such as Ted Nugent and Pat Travers, but also composed original songs such as "Get Drunk Now" and "This Ain't a Beer Belly, It's a Gas Tank for My Love Machine". Gasoline once served as a support act for Drowning Pool. In 2006, "Country Western Transvestite Whore", a song that Abbott recorded with local Dallas musician Throbbin' Donnie Rodd, was released. It features Abbott on lead guitar and vocals. Other works by Abbott that have been posthumously released include "Dime's Blackout Society" (2010) and The Hitz (2017), a five-track EP. Death On December 8, 2004, Damageplan was performing at the Alrosa Villa nightclub in Columbus, Ohio. Nathan Gale, a fan, rushed onto the stage as the band played the first song of its setlist, and shot Abbott multiple times with a Beretta 92FS, a 9mm semi-automatic pistol. The band's head of security, Jeffrey "Mayhem" Thompson, then tackled Gale, but was fatally shot in the ensuing struggle. A fan, Nathan Bray, was also killed as he attempted to aid Abbott and Thompson, as was Erin Halk, an employee of the venue who tried to disarm Gale while he was reloading. Three others were wounded before Columbus police officer James Niggemeyer entered the club and shot Gale once in the head with a 12-gauge Remington Model 870, killing him. Abbott was pronounced dead at the scene, aged 38. Thousands of fans attended his public memorial, and the guest list included artists such as Eddie Van Halen, Zakk Wylde, Corey Taylor, Jerry Cantrell and Dino Cazares. Abbott was buried alongside his mother Carolyn at the Moore Memorial Gardens cemetery in Arlington, Texas. Gene Simmons donated a Kiss Kasket for the burial, and Eddie Van Halen donated his original black-and-yellow-striped 1979 Charvel "Bumblebee" guitar, which was featured on the back cover of Van Halen II, to be included in the casket. A few weeks prior to his death, Abbott had met Van Halen and asked him for a replica of the Bumblebee. Van Halen said at the funeral: "Dime was an original and only an original deserves the original." After Vinnie Paul's death in 2018, he was buried next to Carolyn and Darrell, also in a Kiss Kasket. In late 2020, a protective fence was installed around the Abbott burial ground in an effort to stop vandalism, as Darrell's grave had previously been scratched and defaced by people over the years. In a 2010 interview, Paul called the vandalism "a real disrespectful thing". Musical style Originally a glam metal musician, Abbott distanced himself from the subgenre by the late 1980s, and was a driving force behind the development of groove metal in the 1990s. Influences Although his father was a country music producer and songwriter, Abbott's primary musical influences were heavy metal acts such as Black Sabbath, Iron Maiden, Judas Priest, Kiss and Van Halen. Ace Frehley of Kiss inspired him to play guitar. He was a member of the Kiss Army and had a portrait of Frehley tattooed on his chest in 1992. While at a photoshoot for the August 1993 issue of Guitar World along with Frehley, Abbott asked Frehley to sign an autograph near the tattoo. Abbott then had the signature tattooed. No musician other than Frehley exerted more of an influence on Abbott than Eddie Van Halen. Abbott stated that his background mirrored Van Halen's as both he and Van Halen were younger brothers who first played drums before moving on to the guitar due to competition from their elder brothers on drums. Another influence was Randy Rhoads. Abbott said in 1994: "To me, Eddie Van Halen was heavy rock and roll, but Randy was heavy metal." He discovered double tracking leads through Rhoads. In numerous interviews, Abbott credited Tony Iommi of Black Sabbath for inspiring his guitar riffs. Abbott also said Def Leppard's original guitarist Pete Willis "was a great player. I was inspired by him because I was a small young dude and he was a small young dude, too—and he was out there kickin' ass. He made me want to get out there and play." Abbott was a fan of the Southern rock band ZZ Top, and he was influenced by the band's guitarist and lead singer Billy Gibbons. He said in 1993: "I'm not a super blues player, but I was exposed to the Texas blues sound while I was growing up, and that definitely rubbed off on me." Abbott was also influenced by contemporary metal guitarists such as Kerry King of Slayer, James Hetfield of Metallica, and Zakk Wylde of Ozzy Osbourne and Black Label Society. Technique Abbott did not receive formal guitar lessons. He stated in a 1994 Guitar World interview that he once received "a guitar lesson off this cat. He wrote down some weird scale and tried to explain how it worked. After we finished he said, 'Now go on home, practice that scale, and show me how well you can play it next week.' So I took it home, played around with it for a few minutes and said, 'Fuck this, I just want to jam.' I respect people that can read tablature and all that shit, but I just don't even have the patience to read the newspaper." Unlike many other heavy metal guitarists, Abbott made extensive use of the major third in his riffs and leads, which added dissonance to minor key tonalities. This was a Van Halen-inspired technique, as was his employment of symmetrical fingerings. Although Abbott had exceptional picking ability, he favored legato phrasing. His love of legato gave his playing a fluid quality, and his powerful left-hand technique enabled the implementation of the symmetrical patterns in his lead licks. Abbott avoided using scales and modes in traditional fashions, and often used passing tones between scalar tones to add tension. These chromatic licks made up much of his playing. Regardless of the note or chord, Abbott played with a "Texas style", meaning a variety of techniques such as sliding, bending, palm muting, and use of the whammy bar and effects pedal to produce an idiosyncratic sound. One of the most distinctive features of Abbott's guitar playing was his use of harmonics to create a squealing sound, which he picked up from Gibbons. Unsatisfied with standard techniques, Abbott often used dyads in place of traditional power chords. This added texture to his riffs and, when played with distortion, created a tense sound. Abbott experimented with alternate tunings throughout his career. Early on, his guitar was tuned down more than a quarter step, similar to Van Halen I and Van Halen II tuning. On Cowboys From Hell (1990), he utilized drop D tuning, and beginning with Vulgar Display of Power (1992) he tuned his guitar down a whole step, which became his main tuning by the release of Reinventing the Steel (2000). He also used drop D down one step, down 1 ½ steps and drop D down 1 ½ steps tunings. Down 1 ½ steps tuning was prevalent on The Great Southern Trendkill (1996) and was Abbott's main tuning on New Found Power (2004). Three of Abbott's solos were ranked in Guitar Worlds "100 Greatest Guitar Solos of All Time": "Walk" at No. 57; "Cemetery Gates" at No. 35; and "Floods" at No. 19. Despite his virtuosity, Abbott said that while "jerking off all over the neck", as he described, was suited to competing in guitar contests, it often did not benefit a song's composition. "Slaughtered" from Far Beyond Driven originally had a slow, melodic solo, but Abbott removed it after noting that it disrupted the song's momentum. Equipment In 1982, Abbott won a maroon Dean ML at a guitar contest in Dallas. Unbeknownst to Abbott, his father had bought him a sunburst ML shortly before the contest. Nearing driving age and seeking to purchase a Pontiac Firebird, Abbott attempted to sell the maroon ML to his friend Buddy Blaze, a luthier and musician. Blaze felt that a guitar won as a prize should stay with its owner and refused to buy it. Abbott instead sold the guitar to one of Blaze's bandmates. Blaze negotiated with his bandmate, and took possession of the ML in exchange for a Kramer Pacer. Blaze then replaced the standard ML hardware: he installed a custom Floyd Rose vibrato bridge and Bill Lawrence L-500XL pickups, and moved the stock DiMarzio pickup to the neck. He also repainted the guitar, from its original maroon to blue-and-black with a lightning bolt finish. Blaze returned the ML to Abbott in 1987, who was initially unaware that it was the same guitar he won as a prize. It subsequently became Abbott's signature guitar and was later dubbed the "Dean from Hell". After the release of Cowboys from Hell, Abbott signed an endorsement deal with Dean Guitars. Dean went out of business in 1994 and Abbott then signed a ten-year contract with Washburn Guitars. With Washburn, he played various signature guitars modeled after the ML, such as the Dime 333, Culprit and Stealth. When his contract with Washburn expired in 2004, he became the main endorsee of the re-opened Dean. Abbott's murder came shortly before the Dean contract was set to begin. Abbott had designed the Dean Razorback and Razorback V in the months prior to his death. Dean also posthumously released replicas of the Dean from Hell. Abbott was praised for his instrumental tone and was included in Guitar Players list of "The 50 Greatest Tones of All Time". Abbott used solid-state Randall amplifiers for most of his career; he remarked in the liner notes for Cowboys from Hell: "Gotta have that Randall Crunch!" He had won his first Randall amplifier in a guitar contest; he said in a 1993 interview it "was a little nasty sounding, a little gritty, but I liked it. I knew that with time I could make it my own sound, and it came around." Abbott released a signature amplifier, the Randall Warhead, in 1999. The goal was to replicate the sound of his own rig: a Randall RG-100 head, Furman PQ-3 parametric equalizer, MXR six-band graphic equalizer and MXR 126 flanger. He set his Furman EQ to boost the highs and lows while scooping the mids, and he used both the Furman EQ and MXR EQ to increase the gain to the Randall's front end. Abbott also used a Digitech whammy pedal, a Korg DT-7 chromatic tuner and a Rocktron Hush IIC noise gate. The noise gate allowed him to control the feedback associated with high levels of gain, and to create the distinctive holes of silence in his playing. When Abbott's endorsement deal with Washburn ended, his deal with Randall also ended, as Randall and Washburn both were subsidiaries of the U.S. Music Corporation. Abbott subsequently formed a partnership with Krank Amplifiers, a relatively small supplier. He used the Krank Revolution, a tube amplifier. Abbott also invested in the company and designed an amplifier named the Krankenstein; he approved the final revision of the Krankenstein just days before his murder. Abbott helped design many other products. With Dunlop Manufacturing, he designed the Dimebag Cry Baby from Hell, a wah-wah pedal, and the Dime Distortion, a distortion pedal. He also designed a signature pickup with Seymour Duncan titled the Dimebucker, which was based on the Bill Lawrence pickups that he used in most of his guitars. Dean Zelinsky of Dean said in 2010 that Abbott's death was a "bigger loss than we'll ever know. ... I'm very proud of the work I did with him, but who knows what he would have accomplished if he was still with us." Personal life Abbott grew up in the same neighborhood as his long-time partner Rita Haney, whom he first met at the age of eight. They began dating in 1984. The couple never married. Haney said in a 2006 interview: "We didn't believe in the marriage thing. ... Why have someone you don't know tell you it's OK to be with someone you do know? We didn't need the middleman! We had a one-on-one with the man upstairs ourselves." In 1995, Abbott bought a house with Haney in Dalworthington Gardens, Texas, a short distance from his hometown Arlington. Abbott kept a pet goat on the residence, and dyed its goatee like his own. He was remembered by his neighbors as approachable. One neighbor who often walked dogs with Abbott said he "was a hick with an attitude, and I say that respectfully. We'd talk conservative politics. He was a big, big supporter of George Bush." Darrell and Vinnie opened the Clubhouse, an all-nude strip club in north-west Dallas, in 1996. Vinnie's original idea was a rock-and-roll-themed golf course, with "a strip club at the nineteenth hole", but the construction of a golf course was prohibitively expensive. Under the Abbott brothers' ownership, the Clubhouse was patronized by many artists who toured in the area, such as Black Sabbath, Kiss and Metallica, as well as NASCAR drivers, professional golfers, and members of the Dallas Cowboys and the Dallas Stars (whose fight song, "Puck Off", was written and produced by Pantera). After the Dallas Stars won the 1999 Stanley Cup Finals, the Abbott brothers hosted a party for the team at Vinnie's house. Vinnie later stated that the Stanley Cup was dented during the party after Guy Carbonneau threw it out of a window into a swimming pool, but missed the pool and hit the edge. The brothers also performed on a float during the celebration of the Stars' victory. Legacy On May 17, 2007, Abbott was posthumously inducted into Hollywood's RockWalk. Ace Frehley was among the attendees at the induction ceremony, where he spoke in honor of Abbott. Frehley also dedicated his 2009 album Anomaly to Abbott, as well as former Kiss drummer Eric Carr. In 2015, Abbott was ranked as the most influential metal guitarist of the past 25 years by VH1. Doc Coyle of God Forbid stated: "[Abbott's] sparse, low-end, bluesy chug was the blueprint for post-thrash, nu-metal, and metalcore in the subsequent years." Also in 2015, Abbott placed at No. 5 on Gibson's list of "The Top 10 Metal Guitarists of All Time". Anne Erickson said Abbott "proved metal guitar could shred wildly, but still groove. ... He'll always be remembered as one of the most significant engineers of modern metal." Rolling Stone ranked Abbott at No. 92 on its list of "The 100 Greatest Guitarists of All Time" in 2011, and described him as "one of modern metal's key figures". Geezer Butler of Black Sabbath said Abbott was "one of the greatest musicians to grace our world". In 2018, Abbott ranked at No. 19 on Louders list of "The 50 Greatest Guitarists of All Time". Sebastian Bach of Skid Row commented that Abbott "reinvented heavy metal guitar". Jamie Humphries of Premier Guitar remarked in 2014: "If there were ever a band and guitarist to credit for reinventing post-Metallica metal, it would have to be Pantera and the late Dimebag Darrell." Abbott also ranked at No. 9 in a 2012 Guitar World readers' poll of "The 100 Greatest Guitarists of All Time", and was named the "Greatest Metal Guitarist" by Loudwire in 2013 after winning a reader-voted tournament bracket. Jonathan Davis of Korn said in a 2014 interview with Loudwire that Abbott is "one of the greatest guitar players ever. I mean if there was no Dimebag Darrell, there would be no Korn." Slash stated that Abbott "had a great tone and a great original style ... He was one of the best new guitar players that came out over a long period of time." Max Cavalera described Abbott as "very talented, an amazing musician and a humble and cool guy – not a rock star asshole". A concert in memory of Abbott titled Dimebash has been held annually since 2010. All of the concert's proceeds go towards the Ronnie James Dio Stand Up and Shout Cancer Fund. Performers at Dimebash events have included artists such as Dave Grohl, Kerry King, Robb Flynn, Tom Morello, and Serj Tankian. Discography Pantera Metal Magic (1983) Projects in the Jungle (1984) I Am the Night (1985) Power Metal (1988) Cowboys from Hell (1990) Vulgar Display of Power (1992) Far Beyond Driven (1994) The Great Southern Trendkill (1996) Reinventing the Steel (2000) Damageplan New Found Power (2004) Rebel Meets Rebel Rebel Meets Rebel (2006) (recorded in 2000) References Sources External links 1966 births 2004 deaths 20th-century American guitarists 21st-century American guitarists American heavy metal guitarists American male guitarists American murder victims Burials in Texas Damageplan members Deaths by firearm in Ohio Filmed deaths of entertainers Guitarists from Texas Lead guitarists Musicians from Texas Musicians who died on stage Pantera members People from Arlington, Texas People from Ennis, Texas People murdered in Ohio 20th-century American male musicians 2004 murders in the United States
false
[ "Undeniable (stylized as Unden!able) is the fifth studio album from American heavy metal band Hellyeah. The cover of Phil Collins' \"I Don't Care Anymore\" features guitar parts from late Pantera member Dimebag Darrell.\n\nTrack listing\n\nPersonnel \nChad Gray – vocals\nTom Maxwell – rhythm guitar\nChristian Brady – lead guitar\nKyle Sanders – bass\nVinnie Paul – drums\n\nAdditional personnel\nDimebag Darrell – lead guitar on \"I Don't Care Anymore\"\n\nCharts\n\nReferences\n\n2016 albums\nHellyeah albums\nEleven Seven Label Group albums", "Robert Kakaha (born March 5, 1970), also known as Bob Zilla, is an American musician and songwriter who is the bassist for rock band Hush Money. He is best known as the former bassist of heavy metal bands Damageplan and Hellyeah.\n\nLife and career\nKakaha was raised in the Silver Lake neighborhood of Los Angeles. He met Pantera guitarist \"Dimebag\" Darrell Abbott and drummer Vinnie Paul Abbott through tattooing. He also played with the rap rock band Hellafied Funk Crew, with Shadow Reichenstein, and Vanilla Ice.\n\nDamageplan\n\nIn 2003, the Abbott Brothers formed Damageplan after Pantera's breakup. Kakaha played bass, and former Halford guitarist Patrick Lachman on vocals. Damageplan recorded one album, New Found Power, which was released in February 2004. On December 8, 2004, Dimebag Darrell was shot onstage by former US marine Nathan Gale in Damageplan's tour at Alrosa Villa in Columbus, Ohio. Damageplan was split up after the death of Dimebag Darrell.\n\nHellyeah \n\nThree years later, Kakaha joined Hellyeah after original bassist Jerry Montano was dismissed from the band for violent behavior. Kakaha was brought in to play bass guitar on tour for all of 2007.\n\nOn February 13, 2014, it was announced that Kakaha had parted ways with the band.\n\nHush Money \nIn January 2015, Kakaha joined Hush Money, a rock band from Dallas, Texas.\n\nPersonal life\nKakaha is a resident of Dallas, Texas, where he tattoos at Iron Ink Tattoo in Irving, Texas.\n\nDiscography\n\nDamageplan\n New Found Power (2004)\n\nHellyeah\n Stampede (2010)\n Band of Brothers (2012)\n\nReferences\n\nExternal links\nhellyeahband.com\ndamageplan.com (archived)\ndamageplan.net (archived)\n\nLiving people\n1970 births\nAmerican heavy metal bass guitarists\nAmerican male bass guitarists\nHellyeah members\nGuitarists from Los Angeles\nAmerican male guitarists\nDamageplan members\n21st-century American bass guitarists" ]
[ "Dimebag Darrell", "Death", "When did Dimebag Darrell die?", "On December 8, 2004,", "How did he die?", "Abbott was shot on-stage", "Where was he performing?", "Columbus, Ohio.", "Who shot Dimebag Darrell?", "25-year-old former Marine Nathan Gale shot Abbott five times in the head with a 9 mm Beretta 92F pistol." ]
C_169d72a4dd46424b938515174716c6cd_0
Was anyone else injured or killed by Nathan Gale?
5
Besides Dimebag Darrell, Was anyone else injured or killed by Nathan Gale?
Dimebag Darrell
On December 8, 2004, during the Devastation Across The Nation tour, Abbott was shot on-stage while performing with Damageplan at the Alrosa Villa in Columbus, Ohio. A crowd of approximately 250 had watched four support acts (two local bands entitled Volume Dealer and 12 Gauge, and the tour support Shadows Fall and The Haunted). Moments into Damageplan's set, 25-year-old former Marine Nathan Gale shot Abbott five times in the head with a 9 mm Beretta 92F pistol. Some in attendance initially believed the shooting was part of the act, but as Gale continued shooting, the audience quickly came to the realization that the event was not staged. Firing a total of 15 shots, Gale killed three other people and wounded seven more. Jeff "Mayhem" Thompson, the band's head of security, was killed tackling Gale, as was Alrosa Villa employee Erin Halk. Audience member Nathan Bray was killed while trying to perform CPR on Abbott and Thompson. It was rumored that one crowd member leapt in front of the gunman, saving the lives of several band members. Damageplan's drum technician, John "Kat" Brooks, was shot three times as he attempted to disarm Gale, but was overpowered and taken hostage in a headlock hold. Tour manager Chris Paluska was also injured. Responding within three minutes to a dispatch call made at 10:15pm, seven police officers entered through the front entrance and moved toward the stage. Officer James Niggemeyer came in through the back door, behind the stage. Gale only saw the officers in front of the stage; he did not see Niggemeyer, who was armed with a 12 gauge Remington 870 shotgun. Niggemeyer approached Gale from the opposite side of the stage past a group of security guards, and saw Gale lift his gun to Brooks' head, and fired a single shot as Gale noticed him. Gale was struck in the face with eight of the nine buckshot pellets and was killed instantly. Gale was found to have had 35 rounds of ammunition remaining. Two fans, including Mindy Reece, a certified nurse, administered CPR on Abbott until paramedics arrived, but were unable to revive him and he was pronounced dead at the scene. Early speculation about motive suggested that Gale, who was a Pantera fan, might have turned to violence in response to the breakup of the band, or the public dispute between Abbott and Pantera singer Phil Anselmo, but these were later ruled out by investigators. In VH1's documentary, Behind the Music, Damageplan's sound engineer Aaron Barnes stated that the whole time, after shooting Dimebag, Gale was looking for Vinnie, possibly planning to murder him too. Another conjecture was that Gale believed Abbott had stolen a song that he had written. About six months prior to the shooting, Gale got into an altercation at a Damageplan concert in Cincinnati where he damaged $5,000 worth of equipment while being removed from the stage by security. CANNOTANSWER
Firing a total of 15 shots, Gale killed three other people and wounded seven more.
Darrell Lance Abbott (August 20, 1966 – December 8, 2004), best known by his stage name Dimebag Darrell, was an American musician. He was the guitarist of the heavy metal bands Pantera and Damageplan, both of which he co-founded alongside his brother Vinnie Paul. A son of country music producer Jerry Abbott, Abbott began playing guitar at age 12, and Pantera released its debut album, Metal Magic (1983), when he was 16. Originally a glam metal musician, Abbott went by the stage name Diamond Darrell at the time. Two further albums in the glam metal style followed in 1984 and 1985, before original vocalist Terry Glaze was replaced by Phil Anselmo in 1986 and Power Metal (1988) was released. The band's major-label debut, Cowboys from Hell (1990), introduced a groove metal sound to which Abbott's guitar playing was central. This sound was refined on Vulgar Display of Power (1992), and the group's third major-label record, Far Beyond Driven, debuted at No. 1 on the Billboard 200 in 1994. Tensions within Pantera reduced its output after the release of The Great Southern Trendkill in 1996, and Reinventing the Steel (2000) was the band's final studio album before its acrimonious separation in 2003. Abbott subsequently formed Damageplan with his brother Vinnie Paul and released New Found Power, the band's only album, in 2004. Other works by Abbott included a collaboration with David Allan Coe titled Rebel Meets Rebel (2006) and numerous guest guitar solos for bands such as Anthrax. On December 8, 2004, Abbott was shot and killed by a fan while on stage with Damageplan at the Alrosa Villa nightclub in Columbus, Ohio. Three others were murdered in the shooting before the perpetrator was killed by a police officer. Abbott was ranked at No. 92 on Rolling Stones list of "The 100 Greatest Guitarists of All Time" in 2011, and No. 19 on Louders list of "The 50 Greatest Guitarists of All Time" in 2018. He placed at No. 5 on Gibson's list of "The Top 10 Metal Guitarists of All Time" in 2015, and the same year was ranked as the most influential metal guitarist of the past 25 years by VH1. Early life Darrell Lance Abbott was born in Ennis, Texas, on August 20, 1966, the second son to Carolyn and Jerry Abbott, a country music producer. His elder brother Vinnie Paul was born on March 11, 1964. Abbott's parents divorced in 1979, after seventeen years of marriage, but his family life remained happy. The brothers lived with their mother Carolyn, in a ranch-style house on Monterrey Street in Arlington. Carolyn was supportive of her sons' musical endeavors. Abbott took up the guitar when he was twelve. His first guitar was a Les Paul-style Hohner, which he received along with a Pignose amplifier on his twelfth birthday. Influenced by Black Sabbath, Judas Priest, Kiss and Van Halen, he would initially spend time in his room standing in front of a mirror holding the guitar while wearing Ace Frehley-style makeup, though he was unable to play the instrument at the time. Jerry learned Kiss songs on guitar in order to teach Darrell how to play them. Darrell also learned from country musicians who recorded at Jerry's studio, such as Bugs Henderson. Vinnie had begun playing the drums before Darrell received his first guitar. Darrell had previously tried to play the drums; Vinnie later said: "I just got better than him and wouldn't let him play them anymore." The Abbott brothers' first jam session consisted of six hours of "Smoke on the Water". They took inspiration from Alex and Eddie Van Halen, and Vinnie said in a 2016 interview that he and Darrell were "inseparable" after they began playing music together. At age 14, Abbott entered a guitar contest at the Agora Ballroom in Dallas, in which Dean Zelinsky, founder of Dean Guitars, was one of the judges. Abbott's mother accompanied him to the club because he was not old enough to enter on his own. He won the competition; Zelinsky recalled that "[Abbott] blew everyone away." Abbott won many other guitar contests in the area, and was eventually asked not to compete and instead judge the competitions so others could win. Music career Pantera Early glam metal years Pantera was formed in 1981. Vinnie was asked to join a band alongside his high school classmates Terry Glaze (guitar), Tommy Bradford (bass) and Donny Hart (vocals). Vinnie accepted the invitation, but on the condition that Darrell would also join the band. Glaze later recalled that they were unsure about this request, as Darrell "wasn't very good" and, two years their junior, "was a little skinny, scrawny dude", but they ultimately agreed. In 1989, Darrell made the same request when Dave Mustaine asked him to join Megadeth. As Mustaine had already recruited drummer Nick Menza and would not hire Vinnie, Darrell decided to stay with Pantera. By 1982, Hart left the band and was replaced by Glaze on vocals, while Rex Brown took Bradford's place as bassist. Abbott originally shared lead guitar with Glaze, but soon took permanent status as lead guitarist. Glaze said: "[Abbott] just morphed over a six-month period. ... When he came out, he could play, like, "Eruption" and "Crazy Train"." Abbott adopted the stage name "Diamond Darrell", in reference to the Kiss song "Black Diamond". Inspired by Kiss, Van Halen and Judas Priest, Pantera originally had a glam metal style and was image-conscious: the members wore spandex, makeup and hairspray when on stage. The band signed to Metal Magic Records, which was created by "Jerry Eld'n", an alias of Abbott's father Jerry. Pantera released its first album, Metal Magic, in 1983, when Abbott was 16. A review in the November 1983 issue of Texas-based music magazine Buddy said Abbott's solos "tend to be asymmetrical in that the old theory of musical thought consisting of statements alternating with appropriate responses is ignored and replaced by authoritative delivery of the player's own concept of what should happen". Pantera released Projects in the Jungle and I Am the Night in 1984 and 1985, respectively. Both albums followed on in the glam metal style, and were comparable to Shout at the Devil-era Mötley Crüe, though I Am the Night had a slightly heavier sound than previous releases. Around this time, the Abbott brothers began listening to bands such as Metallica and Slayer. Darrell was particularly taken by Metallica's Ride the Lightning (1984). Glaze was unhappy with the Abbott brothers' desire to move towards a heavier sound; he later said he "didn't want to go that heavy. I didn't like it as well if the guitar was the main thing, like the Metallica songs." This conflict, along with a contractual dispute, led to his departure in 1986. Glaze was replaced by Phil Anselmo in late 1986. This new lineup briefly signed with Gold Mountain Records, but released Power Metal (1988) on Metal Magic. Abbott said Gold Mountain "wanted to change our style and make us sound like Bon Jovi, which is not quite up our alley". Anselmo did not write any of the lyrics for Power Metal, and the band was still in the process of distancing themselves from glam metal, but the album evidenced a stylistic change. A retrospective AllMusic album review by Bradley Torreano said Abbott's "speedy riffs" were one of the "more charming elements" of the band's sound. Brown said in a 1988 interview that "Darrell has always been chunking those riffs out from the start. But now with Phil in the band we've got a chance to make those riffs fully happen instead of having some gay singer over the top of them!" Development of groove metal After the release of Power Metal, Pantera formed a relationship with Walter O'Brien and Andy Gould of Concrete Management. As Concrete managed other bands that were signed to Metal Blade Records, Gould contacted Brian Slagel of Metal Blade and asked him to sign Pantera. The $75,000 requested for the production of a new album was too much for Slagel, who rejected the offer. The Metal Blade rejection was one of many rejections for the band. Pantera eventually attained a major-label deal with Atco Records, after Atco's talent scout Mark Ross was impressed by one of the band's live performances. Cowboys from Hell was released on July 24, 1990. The album was produced by Terry Date; Max Norman was the original choice for producer but he opted to produce Lynch Mob's Wicked Sensation instead. Date also served as producer for Pantera's next three albums. Cowboys from Hell marked the development of what would become Pantera's familiar sound, to which Abbott's guitar playing was central. Self-described as "power groove", the album became a "blueprint-defining" work for groove metal, a sub-genre with the heaviness and intensity of thrash metal but played at a slower tempo. Southern rock elements were incorporated into the sound; Pantera's "groove" is commonly attributed to the Abbott brothers' fondness for ZZ Top. Cowboys from Hell was certified gold in 1993, and platinum in 1997. Pantera played close to 200 shows supporting Cowboys from Hell, as it toured for nearly two years. Aside from breaks to develop new material, the band spent most of the 1990s touring; Abbott gained a reputation as a wild figure on tour and a heavy drinker. Pantera recorded its second major-label album in the space of two months. Released on February 25, 1992, Vulgar Display of Power was a refinement of the groove metal sound. The band had sought to create a heavier album than Cowboys from Hell, as Anselmo fully embraced a hardcore-inspired shouted vocal delivery. Abbott composed most of the riffs and song structures, and further attempted to mesh his guitar with Brown's bass to create what Brown later described as "one giant tone". Vulgar Display of Power debuted at No. 44 on the Billboard 200, and it stayed on the chart for 79 weeks. In 2017, it was ranked at No. 10 on Rolling Stones list of "The 100 Greatest Metal Albums of All Time", with Abbott's "serrated rhythms and squealing solos" highlighted. Abbott had transformed his appearance by the time of Vulgar Display of Powers release to that which he would maintain for the rest of his life. He sported a dyed goatee, a razorblade pendant (in homage to Judas Priest's British Steel), cargo shorts and sleeveless shirts. Feeling that "Diamond Darrell" no longer suited his image or sound, Abbott adopted the stage name "Dimebag Darrell" instead. The name was originally coined by Anselmo. It was in reference to Abbott's refusal to accept more than a dime bag (slang for $10 worth) of cannabis at one time—even if offered for free—as he did not want to be caught with the drug on-hand. All of Pantera's albums until 1994 were recorded at Pantego Sound, the studio owned by the Abbott brothers' father Jerry. It was conveniently located a short distance from the Abbotts' home. After Vulgar Display of Power was released, Jerry closed Pantego Sound and opened a new studio, Abtrax, in Nashville, Tennessee, as he hoped to fulfill his dream of becoming a country songwriter. Pantera's third major-label album, Far Beyond Driven, was recorded at Abtrax. Abbott said in a 1994 Guitar Player interview: "We were fuckin' flying [to Nashville] for three weeks at a time, writing songs and cutting them." This led to the members spending most of their downtime in each other's hotel rooms consuming drugs, rather than following their normal routines as they did when recording at Pantego Sound. They mixed the album at Dallas Sound Labs, which was close to their homes. Far Beyond Driven was released on March 15, 1994, on EastWest Records. It sold 186,000 copies in its first week to debut at No. 1 on the Billboard 200, and has since been described as the heaviest album ever to debut at No. 1. Before the release, the band was expected to follow the lead of Metallica's eponymous album by taking a more commercially-friendly approach. Instead, Pantera wanted an even heavier work than Vulgar Display of Power. Abbott said in 1994: "We're into topping ourselves. Most bands come out with a heavy record, then it gets lighter and lighter. You're stuck listening to the first record, wishing and dreaming. That ain't what we're about." Band tensions and separation The lead single from Far Beyond Driven, "I'm Broken", was inspired by Anselmo's chronic back pain. To treat the pain during the tour supporting Far Beyond Driven, Anselmo began heavily consuming alcohol, painkillers and ultimately heroin. He would travel on his own tour bus and isolate himself from the other band members until twenty or thirty minutes before they were due to perform. Anselmo recalled in a 2014 interview that he would drink "an entire bottle of Wild Turkey every night before a show to numb the pain", and he often interrupted the performances by ranting on stage. Due to the tensions within the band, recordings for Pantera's next album, The Great Southern Trendkill, were held separately: Darrell, Vinnie and Brown recorded at Chasin' Jason Studio (a studio Darrell had constructed in a barn in his backyard) while Anselmo recorded the vocals at Trent Reznor's Nothing Studios in New Orleans. Abbott experimented with new guitars during the recording; he stated in 1996 that he wrote "Suicide Note Pt. 1" the first time he used a twelve-string guitar which Washburn Guitars had sent to him. The recording also saw Abbott draw on riffs he had composed much earlier: he wrote the outro-solo to "Floods" in the pre-Anselmo era, and he had previously recorded a 90-minute loop of it as a lullaby for his girlfriend. On May 7, 1996, The Great Southern Trendkill was released. It peaked at No. 4 on the Billboard 200, staying on the chart for 13 weeks. It is considered to be Pantera's most extreme work, and features some of the band's lowest-tuned tracks. On July 13, Anselmo overdosed on heroin following the band's performance at the Dallas Starplex Amphitheatre and was clinically dead for "four to five minutes". He recovered quickly and performed at the band's next show in San Antonio two days afterward, but the incident created a lasting rift within the band. Anselmo also had released NOLA, the debut album of one of his side projects Down, in 1995, and supported the album with a 13-show tour. The other Pantera members were originally unperturbed by Anselmo's side projects; Abbott explained at the time: "Phil's a musical guy and he likes to stay busy." The touring for The Great Southern Trendkill widened the rift within the band, and the recording sessions for their next album, Reinventing the Steel, were troublesome. Vinnie said in an interview after the album's release: "It was like pulling teeth to get [Anselmo] down to the studio. He didn't like any of the material, and it was always just like this head-butting contest." Also during the recording, the Abbotts' mother, Carolyn, was diagnosed with lung cancer, and died six weeks later on September 12, 1999. This had a profound effect on the brothers, especially Darrell. Reinventing the Steel was released on March 21, 2000. Abbott said of it: "We still play lead guitar ... Bands hardly ever play lead guitar anymore. Dude, back in the seventies, if you couldn't play the guitar or sing, you were nobody. Now music is so easy—all you've got to do is tune your guitar to an open chord and jump around." Like The Great Southern Trendkill, Reinventing the Steel peaked at No. 4 on the Billboard 200. Pantera were in Ireland, set to begin a European tour, on September 11, 2001. Due to the September 11 attacks, the tour was canceled and the members returned to Texas, where they agreed to take a short hiatus. In March 2002, Down released its second record, Down II: A Bustle in Your Hedgerow, which featured Brown on bass. Two months later, Superjoint Ritual—another of Anselmo's bands—released its debut album, Use Once and Destroy. The Abbotts believed that Pantera would regroup in 2003, after the tours supporting Down II and Use Once and Destroy were concluded. Instead, Anselmo recorded a second album with Superjoint Ritual, A Lethal Dose of American Hatred (2003). Also around this time, Darrell received a phone call from Brown, who indicated that he would not return to Pantera. The separation of Pantera was marked by the release of a greatest hits album, The Best of Pantera: Far Beyond the Great Southern Cowboys' Vulgar Hits!, on September 23, 2003. Damageplan Abbott was dejected by the separation of Pantera; he felt that all he had worked for had been "ripped out from under [him]". As continuing Pantera without Anselmo likely would have resulted in a lengthy and expensive legal battle regarding the ownership of the "Pantera" brand, the Abbott brothers decided to form a new band. They recorded demos at Darrell's backyard studio in February 2003. Patrick Lachman of Halford joined as vocalist and Bob Kakaha was recruited on bass, and the band signed with Elektra Records later in 2003. The name of the band originally was New Found Power, but they later decided on Damageplan. New Found Power instead served as the title of the group's debut album, which was released on February 10, 2004. It did not near the commercial success of Pantera's major-label releases: it sold 44,000 copies in its first week to debut at No. 38 on the Billboard 200 and had sold a modest 160,000 copies by December. Damageplan spent most of 2004 on its Devastation Across the Nation tour. To rebuild a fanbase, the band toured nightclubs across the country. The members had planned to record a follow-up album. This did not materialize due to Abbott's murder at a show in Columbus, Ohio, on December 8, 2004. Other projects The Abbott brothers listened to country singer David Allan Coe while growing up as their parents were fans of the performer, and often used Coe's "Jack Daniels If You Please" as introductory music for Pantera shows. Darrell first met Coe in 1999, at one of his performances at Billy Bob's Texas. After the performance, Darrell waited in an autograph line to introduce himself and give Coe his phone number. They subsequently formed a friendship and Coe began spending time at Darrell's house, where the Abbott brothers and Coe played music in Darrell's backyard studio. They recruited Brown to play bass and the group sporadically recorded from 1999 to 2003. The resulting album, Rebel Meets Rebel, was released on May 2, 2006, on Vinnie's Big Vin Records. Megan Frye of AllMusic stated Rebel Meets Rebel is "groundbreaking in that it will please fans of both country and metal because the music is simultaneously both styles – it's never a fusion, they simply exist together". In 1992, Abbott and the other Pantera members collaborated with Rob Halford on a track titled "Light Comes Out of Black", which was released on the Buffy the Vampire Slayer soundtrack. Abbott recorded the song "Caged in a Rage", on which he performed lead vocals and guitar, under his own name. It was included on the soundtrack to the 1996 film Supercop. Adam Greenberg of AllMusic said Abbott sounded "oddly similar to Rob Zombie" on "Caged in a Rage". Abbott provided guest guitar solos for Anthrax on several occasions: "King Size" and "Riding Shotgun" from Stomp 442 (1995), "Inside Out" and "Born Again Idiot" from Volume 8: The Threat Is Real (1998), and "Strap It On" and "Cadillac Rock Box" from We've Come for You All (2003). Anthrax's Scott Ian referred to Abbott as the "sixth member" of the band due to his frequent appearances. Abbott also performed a guest solo on the title track of King Diamond's Voodoo (1998) and on "Eyes of the South" (2004) by Premenishen, a band that featured Abbott's cousins Heather Manly and April Adkisson on bass and guitar, respectively. After Darrell's death, Vinnie granted Nickelback permission to use outtakes of Darrell's solos from the Vulgar Display of Power and Far Beyond Driven recordings on its tribute track "Side of a Bullet". Darrell was a friend of Nickelback's Chad Kroeger and had provided a solo for Nickelback's cover of "Saturday Night's Alright for Fighting" on the soundtrack to the 2003 film Charlie's Angels: Full Throttle. Darrell and Vinnie performed shows as Gasoline each New Year's Eve. Gasoline predominantly played covers of artists such as Ted Nugent and Pat Travers, but also composed original songs such as "Get Drunk Now" and "This Ain't a Beer Belly, It's a Gas Tank for My Love Machine". Gasoline once served as a support act for Drowning Pool. In 2006, "Country Western Transvestite Whore", a song that Abbott recorded with local Dallas musician Throbbin' Donnie Rodd, was released. It features Abbott on lead guitar and vocals. Other works by Abbott that have been posthumously released include "Dime's Blackout Society" (2010) and The Hitz (2017), a five-track EP. Death On December 8, 2004, Damageplan was performing at the Alrosa Villa nightclub in Columbus, Ohio. Nathan Gale, a fan, rushed onto the stage as the band played the first song of its setlist, and shot Abbott multiple times with a Beretta 92FS, a 9mm semi-automatic pistol. The band's head of security, Jeffrey "Mayhem" Thompson, then tackled Gale, but was fatally shot in the ensuing struggle. A fan, Nathan Bray, was also killed as he attempted to aid Abbott and Thompson, as was Erin Halk, an employee of the venue who tried to disarm Gale while he was reloading. Three others were wounded before Columbus police officer James Niggemeyer entered the club and shot Gale once in the head with a 12-gauge Remington Model 870, killing him. Abbott was pronounced dead at the scene, aged 38. Thousands of fans attended his public memorial, and the guest list included artists such as Eddie Van Halen, Zakk Wylde, Corey Taylor, Jerry Cantrell and Dino Cazares. Abbott was buried alongside his mother Carolyn at the Moore Memorial Gardens cemetery in Arlington, Texas. Gene Simmons donated a Kiss Kasket for the burial, and Eddie Van Halen donated his original black-and-yellow-striped 1979 Charvel "Bumblebee" guitar, which was featured on the back cover of Van Halen II, to be included in the casket. A few weeks prior to his death, Abbott had met Van Halen and asked him for a replica of the Bumblebee. Van Halen said at the funeral: "Dime was an original and only an original deserves the original." After Vinnie Paul's death in 2018, he was buried next to Carolyn and Darrell, also in a Kiss Kasket. In late 2020, a protective fence was installed around the Abbott burial ground in an effort to stop vandalism, as Darrell's grave had previously been scratched and defaced by people over the years. In a 2010 interview, Paul called the vandalism "a real disrespectful thing". Musical style Originally a glam metal musician, Abbott distanced himself from the subgenre by the late 1980s, and was a driving force behind the development of groove metal in the 1990s. Influences Although his father was a country music producer and songwriter, Abbott's primary musical influences were heavy metal acts such as Black Sabbath, Iron Maiden, Judas Priest, Kiss and Van Halen. Ace Frehley of Kiss inspired him to play guitar. He was a member of the Kiss Army and had a portrait of Frehley tattooed on his chest in 1992. While at a photoshoot for the August 1993 issue of Guitar World along with Frehley, Abbott asked Frehley to sign an autograph near the tattoo. Abbott then had the signature tattooed. No musician other than Frehley exerted more of an influence on Abbott than Eddie Van Halen. Abbott stated that his background mirrored Van Halen's as both he and Van Halen were younger brothers who first played drums before moving on to the guitar due to competition from their elder brothers on drums. Another influence was Randy Rhoads. Abbott said in 1994: "To me, Eddie Van Halen was heavy rock and roll, but Randy was heavy metal." He discovered double tracking leads through Rhoads. In numerous interviews, Abbott credited Tony Iommi of Black Sabbath for inspiring his guitar riffs. Abbott also said Def Leppard's original guitarist Pete Willis "was a great player. I was inspired by him because I was a small young dude and he was a small young dude, too—and he was out there kickin' ass. He made me want to get out there and play." Abbott was a fan of the Southern rock band ZZ Top, and he was influenced by the band's guitarist and lead singer Billy Gibbons. He said in 1993: "I'm not a super blues player, but I was exposed to the Texas blues sound while I was growing up, and that definitely rubbed off on me." Abbott was also influenced by contemporary metal guitarists such as Kerry King of Slayer, James Hetfield of Metallica, and Zakk Wylde of Ozzy Osbourne and Black Label Society. Technique Abbott did not receive formal guitar lessons. He stated in a 1994 Guitar World interview that he once received "a guitar lesson off this cat. He wrote down some weird scale and tried to explain how it worked. After we finished he said, 'Now go on home, practice that scale, and show me how well you can play it next week.' So I took it home, played around with it for a few minutes and said, 'Fuck this, I just want to jam.' I respect people that can read tablature and all that shit, but I just don't even have the patience to read the newspaper." Unlike many other heavy metal guitarists, Abbott made extensive use of the major third in his riffs and leads, which added dissonance to minor key tonalities. This was a Van Halen-inspired technique, as was his employment of symmetrical fingerings. Although Abbott had exceptional picking ability, he favored legato phrasing. His love of legato gave his playing a fluid quality, and his powerful left-hand technique enabled the implementation of the symmetrical patterns in his lead licks. Abbott avoided using scales and modes in traditional fashions, and often used passing tones between scalar tones to add tension. These chromatic licks made up much of his playing. Regardless of the note or chord, Abbott played with a "Texas style", meaning a variety of techniques such as sliding, bending, palm muting, and use of the whammy bar and effects pedal to produce an idiosyncratic sound. One of the most distinctive features of Abbott's guitar playing was his use of harmonics to create a squealing sound, which he picked up from Gibbons. Unsatisfied with standard techniques, Abbott often used dyads in place of traditional power chords. This added texture to his riffs and, when played with distortion, created a tense sound. Abbott experimented with alternate tunings throughout his career. Early on, his guitar was tuned down more than a quarter step, similar to Van Halen I and Van Halen II tuning. On Cowboys From Hell (1990), he utilized drop D tuning, and beginning with Vulgar Display of Power (1992) he tuned his guitar down a whole step, which became his main tuning by the release of Reinventing the Steel (2000). He also used drop D down one step, down 1 ½ steps and drop D down 1 ½ steps tunings. Down 1 ½ steps tuning was prevalent on The Great Southern Trendkill (1996) and was Abbott's main tuning on New Found Power (2004). Three of Abbott's solos were ranked in Guitar Worlds "100 Greatest Guitar Solos of All Time": "Walk" at No. 57; "Cemetery Gates" at No. 35; and "Floods" at No. 19. Despite his virtuosity, Abbott said that while "jerking off all over the neck", as he described, was suited to competing in guitar contests, it often did not benefit a song's composition. "Slaughtered" from Far Beyond Driven originally had a slow, melodic solo, but Abbott removed it after noting that it disrupted the song's momentum. Equipment In 1982, Abbott won a maroon Dean ML at a guitar contest in Dallas. Unbeknownst to Abbott, his father had bought him a sunburst ML shortly before the contest. Nearing driving age and seeking to purchase a Pontiac Firebird, Abbott attempted to sell the maroon ML to his friend Buddy Blaze, a luthier and musician. Blaze felt that a guitar won as a prize should stay with its owner and refused to buy it. Abbott instead sold the guitar to one of Blaze's bandmates. Blaze negotiated with his bandmate, and took possession of the ML in exchange for a Kramer Pacer. Blaze then replaced the standard ML hardware: he installed a custom Floyd Rose vibrato bridge and Bill Lawrence L-500XL pickups, and moved the stock DiMarzio pickup to the neck. He also repainted the guitar, from its original maroon to blue-and-black with a lightning bolt finish. Blaze returned the ML to Abbott in 1987, who was initially unaware that it was the same guitar he won as a prize. It subsequently became Abbott's signature guitar and was later dubbed the "Dean from Hell". After the release of Cowboys from Hell, Abbott signed an endorsement deal with Dean Guitars. Dean went out of business in 1994 and Abbott then signed a ten-year contract with Washburn Guitars. With Washburn, he played various signature guitars modeled after the ML, such as the Dime 333, Culprit and Stealth. When his contract with Washburn expired in 2004, he became the main endorsee of the re-opened Dean. Abbott's murder came shortly before the Dean contract was set to begin. Abbott had designed the Dean Razorback and Razorback V in the months prior to his death. Dean also posthumously released replicas of the Dean from Hell. Abbott was praised for his instrumental tone and was included in Guitar Players list of "The 50 Greatest Tones of All Time". Abbott used solid-state Randall amplifiers for most of his career; he remarked in the liner notes for Cowboys from Hell: "Gotta have that Randall Crunch!" He had won his first Randall amplifier in a guitar contest; he said in a 1993 interview it "was a little nasty sounding, a little gritty, but I liked it. I knew that with time I could make it my own sound, and it came around." Abbott released a signature amplifier, the Randall Warhead, in 1999. The goal was to replicate the sound of his own rig: a Randall RG-100 head, Furman PQ-3 parametric equalizer, MXR six-band graphic equalizer and MXR 126 flanger. He set his Furman EQ to boost the highs and lows while scooping the mids, and he used both the Furman EQ and MXR EQ to increase the gain to the Randall's front end. Abbott also used a Digitech whammy pedal, a Korg DT-7 chromatic tuner and a Rocktron Hush IIC noise gate. The noise gate allowed him to control the feedback associated with high levels of gain, and to create the distinctive holes of silence in his playing. When Abbott's endorsement deal with Washburn ended, his deal with Randall also ended, as Randall and Washburn both were subsidiaries of the U.S. Music Corporation. Abbott subsequently formed a partnership with Krank Amplifiers, a relatively small supplier. He used the Krank Revolution, a tube amplifier. Abbott also invested in the company and designed an amplifier named the Krankenstein; he approved the final revision of the Krankenstein just days before his murder. Abbott helped design many other products. With Dunlop Manufacturing, he designed the Dimebag Cry Baby from Hell, a wah-wah pedal, and the Dime Distortion, a distortion pedal. He also designed a signature pickup with Seymour Duncan titled the Dimebucker, which was based on the Bill Lawrence pickups that he used in most of his guitars. Dean Zelinsky of Dean said in 2010 that Abbott's death was a "bigger loss than we'll ever know. ... I'm very proud of the work I did with him, but who knows what he would have accomplished if he was still with us." Personal life Abbott grew up in the same neighborhood as his long-time partner Rita Haney, whom he first met at the age of eight. They began dating in 1984. The couple never married. Haney said in a 2006 interview: "We didn't believe in the marriage thing. ... Why have someone you don't know tell you it's OK to be with someone you do know? We didn't need the middleman! We had a one-on-one with the man upstairs ourselves." In 1995, Abbott bought a house with Haney in Dalworthington Gardens, Texas, a short distance from his hometown Arlington. Abbott kept a pet goat on the residence, and dyed its goatee like his own. He was remembered by his neighbors as approachable. One neighbor who often walked dogs with Abbott said he "was a hick with an attitude, and I say that respectfully. We'd talk conservative politics. He was a big, big supporter of George Bush." Darrell and Vinnie opened the Clubhouse, an all-nude strip club in north-west Dallas, in 1996. Vinnie's original idea was a rock-and-roll-themed golf course, with "a strip club at the nineteenth hole", but the construction of a golf course was prohibitively expensive. Under the Abbott brothers' ownership, the Clubhouse was patronized by many artists who toured in the area, such as Black Sabbath, Kiss and Metallica, as well as NASCAR drivers, professional golfers, and members of the Dallas Cowboys and the Dallas Stars (whose fight song, "Puck Off", was written and produced by Pantera). After the Dallas Stars won the 1999 Stanley Cup Finals, the Abbott brothers hosted a party for the team at Vinnie's house. Vinnie later stated that the Stanley Cup was dented during the party after Guy Carbonneau threw it out of a window into a swimming pool, but missed the pool and hit the edge. The brothers also performed on a float during the celebration of the Stars' victory. Legacy On May 17, 2007, Abbott was posthumously inducted into Hollywood's RockWalk. Ace Frehley was among the attendees at the induction ceremony, where he spoke in honor of Abbott. Frehley also dedicated his 2009 album Anomaly to Abbott, as well as former Kiss drummer Eric Carr. In 2015, Abbott was ranked as the most influential metal guitarist of the past 25 years by VH1. Doc Coyle of God Forbid stated: "[Abbott's] sparse, low-end, bluesy chug was the blueprint for post-thrash, nu-metal, and metalcore in the subsequent years." Also in 2015, Abbott placed at No. 5 on Gibson's list of "The Top 10 Metal Guitarists of All Time". Anne Erickson said Abbott "proved metal guitar could shred wildly, but still groove. ... He'll always be remembered as one of the most significant engineers of modern metal." Rolling Stone ranked Abbott at No. 92 on its list of "The 100 Greatest Guitarists of All Time" in 2011, and described him as "one of modern metal's key figures". Geezer Butler of Black Sabbath said Abbott was "one of the greatest musicians to grace our world". In 2018, Abbott ranked at No. 19 on Louders list of "The 50 Greatest Guitarists of All Time". Sebastian Bach of Skid Row commented that Abbott "reinvented heavy metal guitar". Jamie Humphries of Premier Guitar remarked in 2014: "If there were ever a band and guitarist to credit for reinventing post-Metallica metal, it would have to be Pantera and the late Dimebag Darrell." Abbott also ranked at No. 9 in a 2012 Guitar World readers' poll of "The 100 Greatest Guitarists of All Time", and was named the "Greatest Metal Guitarist" by Loudwire in 2013 after winning a reader-voted tournament bracket. Jonathan Davis of Korn said in a 2014 interview with Loudwire that Abbott is "one of the greatest guitar players ever. I mean if there was no Dimebag Darrell, there would be no Korn." Slash stated that Abbott "had a great tone and a great original style ... He was one of the best new guitar players that came out over a long period of time." Max Cavalera described Abbott as "very talented, an amazing musician and a humble and cool guy – not a rock star asshole". A concert in memory of Abbott titled Dimebash has been held annually since 2010. All of the concert's proceeds go towards the Ronnie James Dio Stand Up and Shout Cancer Fund. Performers at Dimebash events have included artists such as Dave Grohl, Kerry King, Robb Flynn, Tom Morello, and Serj Tankian. Discography Pantera Metal Magic (1983) Projects in the Jungle (1984) I Am the Night (1985) Power Metal (1988) Cowboys from Hell (1990) Vulgar Display of Power (1992) Far Beyond Driven (1994) The Great Southern Trendkill (1996) Reinventing the Steel (2000) Damageplan New Found Power (2004) Rebel Meets Rebel Rebel Meets Rebel (2006) (recorded in 2000) References Sources External links 1966 births 2004 deaths 20th-century American guitarists 21st-century American guitarists American heavy metal guitarists American male guitarists American murder victims Burials in Texas Damageplan members Deaths by firearm in Ohio Filmed deaths of entertainers Guitarists from Texas Lead guitarists Musicians from Texas Musicians who died on stage Pantera members People from Arlington, Texas People from Ennis, Texas People murdered in Ohio 20th-century American male musicians 2004 murders in the United States
false
[ "Jörg Bastuck (4 September 1969 in Dillingen, Saarland, Germany – 24 March 2006 in Salou, Spain) was a German co-driver in the Junior World Rally Championship. When he got out of his Citroën C2 GT, driven by compatriot Aaron Burkart to change a tire, he was hit by the Ford Fiesta ST of Barry Clark (co-driven by Scott Martin), during the 2006 Rally of Catalunya in northeastern Spain.\n\nBastuck was flown by helicopter to the John XXIII Hospital in Tarragona, where he died, event organizers said in a statement. No one else was injured. He was 36 years old.\n\nReferences \n\n1969 births\n2006 deaths\nPeople from Saarlouis (district)\nGerman rally drivers\nGerman rally co-drivers\nSport deaths in Spain\nRacing drivers killed while racing\nWorld Rally Championship co-drivers", "The 2011 Chişinău explosion was a car explosion in the center of Chişinău, the capital of Moldova. The explosion killed the Moldovan tennis federation chief, Igor Turcan. He was heading the campaign for an independent candidate in last weekend's mayoral election.\n\nTurcan was passing by a model Lada automobile, which had Russian number plates, when it blew up. Turcan was sent to hospital and later died of serious injuries. The police said no one else was killed or injured in the explosion. An earlier eyewitness report had said three people were killed.\n\nTurcan's deputy described the explosion as an \"assassination\" but the Prime Minister of Moldova, Vlad Filat, said it was too early to draw conclusions about what happened.\n\nReferences \n\nMurder in 2011\nCar and truck bombings in Europe\n2011 in Moldova\nAssassinations\nExplosions in Moldova\n21st century in Chișinău\nJune 2011 events in Europe" ]
[ "Dimebag Darrell", "Death", "When did Dimebag Darrell die?", "On December 8, 2004,", "How did he die?", "Abbott was shot on-stage", "Where was he performing?", "Columbus, Ohio.", "Who shot Dimebag Darrell?", "25-year-old former Marine Nathan Gale shot Abbott five times in the head with a 9 mm Beretta 92F pistol.", "Was anyone else injured or killed by Nathan Gale?", "Firing a total of 15 shots, Gale killed three other people and wounded seven more." ]
C_169d72a4dd46424b938515174716c6cd_0
Were any of them members of the band?
6
Were any of the three people killed and seven wounded members of the Dimebag Darrell band?
Dimebag Darrell
On December 8, 2004, during the Devastation Across The Nation tour, Abbott was shot on-stage while performing with Damageplan at the Alrosa Villa in Columbus, Ohio. A crowd of approximately 250 had watched four support acts (two local bands entitled Volume Dealer and 12 Gauge, and the tour support Shadows Fall and The Haunted). Moments into Damageplan's set, 25-year-old former Marine Nathan Gale shot Abbott five times in the head with a 9 mm Beretta 92F pistol. Some in attendance initially believed the shooting was part of the act, but as Gale continued shooting, the audience quickly came to the realization that the event was not staged. Firing a total of 15 shots, Gale killed three other people and wounded seven more. Jeff "Mayhem" Thompson, the band's head of security, was killed tackling Gale, as was Alrosa Villa employee Erin Halk. Audience member Nathan Bray was killed while trying to perform CPR on Abbott and Thompson. It was rumored that one crowd member leapt in front of the gunman, saving the lives of several band members. Damageplan's drum technician, John "Kat" Brooks, was shot three times as he attempted to disarm Gale, but was overpowered and taken hostage in a headlock hold. Tour manager Chris Paluska was also injured. Responding within three minutes to a dispatch call made at 10:15pm, seven police officers entered through the front entrance and moved toward the stage. Officer James Niggemeyer came in through the back door, behind the stage. Gale only saw the officers in front of the stage; he did not see Niggemeyer, who was armed with a 12 gauge Remington 870 shotgun. Niggemeyer approached Gale from the opposite side of the stage past a group of security guards, and saw Gale lift his gun to Brooks' head, and fired a single shot as Gale noticed him. Gale was struck in the face with eight of the nine buckshot pellets and was killed instantly. Gale was found to have had 35 rounds of ammunition remaining. Two fans, including Mindy Reece, a certified nurse, administered CPR on Abbott until paramedics arrived, but were unable to revive him and he was pronounced dead at the scene. Early speculation about motive suggested that Gale, who was a Pantera fan, might have turned to violence in response to the breakup of the band, or the public dispute between Abbott and Pantera singer Phil Anselmo, but these were later ruled out by investigators. In VH1's documentary, Behind the Music, Damageplan's sound engineer Aaron Barnes stated that the whole time, after shooting Dimebag, Gale was looking for Vinnie, possibly planning to murder him too. Another conjecture was that Gale believed Abbott had stolen a song that he had written. About six months prior to the shooting, Gale got into an altercation at a Damageplan concert in Cincinnati where he damaged $5,000 worth of equipment while being removed from the stage by security. CANNOTANSWER
Jeff "Mayhem" Thompson, the band's head of security, was killed tackling Gale,
Darrell Lance Abbott (August 20, 1966 – December 8, 2004), best known by his stage name Dimebag Darrell, was an American musician. He was the guitarist of the heavy metal bands Pantera and Damageplan, both of which he co-founded alongside his brother Vinnie Paul. A son of country music producer Jerry Abbott, Abbott began playing guitar at age 12, and Pantera released its debut album, Metal Magic (1983), when he was 16. Originally a glam metal musician, Abbott went by the stage name Diamond Darrell at the time. Two further albums in the glam metal style followed in 1984 and 1985, before original vocalist Terry Glaze was replaced by Phil Anselmo in 1986 and Power Metal (1988) was released. The band's major-label debut, Cowboys from Hell (1990), introduced a groove metal sound to which Abbott's guitar playing was central. This sound was refined on Vulgar Display of Power (1992), and the group's third major-label record, Far Beyond Driven, debuted at No. 1 on the Billboard 200 in 1994. Tensions within Pantera reduced its output after the release of The Great Southern Trendkill in 1996, and Reinventing the Steel (2000) was the band's final studio album before its acrimonious separation in 2003. Abbott subsequently formed Damageplan with his brother Vinnie Paul and released New Found Power, the band's only album, in 2004. Other works by Abbott included a collaboration with David Allan Coe titled Rebel Meets Rebel (2006) and numerous guest guitar solos for bands such as Anthrax. On December 8, 2004, Abbott was shot and killed by a fan while on stage with Damageplan at the Alrosa Villa nightclub in Columbus, Ohio. Three others were murdered in the shooting before the perpetrator was killed by a police officer. Abbott was ranked at No. 92 on Rolling Stones list of "The 100 Greatest Guitarists of All Time" in 2011, and No. 19 on Louders list of "The 50 Greatest Guitarists of All Time" in 2018. He placed at No. 5 on Gibson's list of "The Top 10 Metal Guitarists of All Time" in 2015, and the same year was ranked as the most influential metal guitarist of the past 25 years by VH1. Early life Darrell Lance Abbott was born in Ennis, Texas, on August 20, 1966, the second son to Carolyn and Jerry Abbott, a country music producer. His elder brother Vinnie Paul was born on March 11, 1964. Abbott's parents divorced in 1979, after seventeen years of marriage, but his family life remained happy. The brothers lived with their mother Carolyn, in a ranch-style house on Monterrey Street in Arlington. Carolyn was supportive of her sons' musical endeavors. Abbott took up the guitar when he was twelve. His first guitar was a Les Paul-style Hohner, which he received along with a Pignose amplifier on his twelfth birthday. Influenced by Black Sabbath, Judas Priest, Kiss and Van Halen, he would initially spend time in his room standing in front of a mirror holding the guitar while wearing Ace Frehley-style makeup, though he was unable to play the instrument at the time. Jerry learned Kiss songs on guitar in order to teach Darrell how to play them. Darrell also learned from country musicians who recorded at Jerry's studio, such as Bugs Henderson. Vinnie had begun playing the drums before Darrell received his first guitar. Darrell had previously tried to play the drums; Vinnie later said: "I just got better than him and wouldn't let him play them anymore." The Abbott brothers' first jam session consisted of six hours of "Smoke on the Water". They took inspiration from Alex and Eddie Van Halen, and Vinnie said in a 2016 interview that he and Darrell were "inseparable" after they began playing music together. At age 14, Abbott entered a guitar contest at the Agora Ballroom in Dallas, in which Dean Zelinsky, founder of Dean Guitars, was one of the judges. Abbott's mother accompanied him to the club because he was not old enough to enter on his own. He won the competition; Zelinsky recalled that "[Abbott] blew everyone away." Abbott won many other guitar contests in the area, and was eventually asked not to compete and instead judge the competitions so others could win. Music career Pantera Early glam metal years Pantera was formed in 1981. Vinnie was asked to join a band alongside his high school classmates Terry Glaze (guitar), Tommy Bradford (bass) and Donny Hart (vocals). Vinnie accepted the invitation, but on the condition that Darrell would also join the band. Glaze later recalled that they were unsure about this request, as Darrell "wasn't very good" and, two years their junior, "was a little skinny, scrawny dude", but they ultimately agreed. In 1989, Darrell made the same request when Dave Mustaine asked him to join Megadeth. As Mustaine had already recruited drummer Nick Menza and would not hire Vinnie, Darrell decided to stay with Pantera. By 1982, Hart left the band and was replaced by Glaze on vocals, while Rex Brown took Bradford's place as bassist. Abbott originally shared lead guitar with Glaze, but soon took permanent status as lead guitarist. Glaze said: "[Abbott] just morphed over a six-month period. ... When he came out, he could play, like, "Eruption" and "Crazy Train"." Abbott adopted the stage name "Diamond Darrell", in reference to the Kiss song "Black Diamond". Inspired by Kiss, Van Halen and Judas Priest, Pantera originally had a glam metal style and was image-conscious: the members wore spandex, makeup and hairspray when on stage. The band signed to Metal Magic Records, which was created by "Jerry Eld'n", an alias of Abbott's father Jerry. Pantera released its first album, Metal Magic, in 1983, when Abbott was 16. A review in the November 1983 issue of Texas-based music magazine Buddy said Abbott's solos "tend to be asymmetrical in that the old theory of musical thought consisting of statements alternating with appropriate responses is ignored and replaced by authoritative delivery of the player's own concept of what should happen". Pantera released Projects in the Jungle and I Am the Night in 1984 and 1985, respectively. Both albums followed on in the glam metal style, and were comparable to Shout at the Devil-era Mötley Crüe, though I Am the Night had a slightly heavier sound than previous releases. Around this time, the Abbott brothers began listening to bands such as Metallica and Slayer. Darrell was particularly taken by Metallica's Ride the Lightning (1984). Glaze was unhappy with the Abbott brothers' desire to move towards a heavier sound; he later said he "didn't want to go that heavy. I didn't like it as well if the guitar was the main thing, like the Metallica songs." This conflict, along with a contractual dispute, led to his departure in 1986. Glaze was replaced by Phil Anselmo in late 1986. This new lineup briefly signed with Gold Mountain Records, but released Power Metal (1988) on Metal Magic. Abbott said Gold Mountain "wanted to change our style and make us sound like Bon Jovi, which is not quite up our alley". Anselmo did not write any of the lyrics for Power Metal, and the band was still in the process of distancing themselves from glam metal, but the album evidenced a stylistic change. A retrospective AllMusic album review by Bradley Torreano said Abbott's "speedy riffs" were one of the "more charming elements" of the band's sound. Brown said in a 1988 interview that "Darrell has always been chunking those riffs out from the start. But now with Phil in the band we've got a chance to make those riffs fully happen instead of having some gay singer over the top of them!" Development of groove metal After the release of Power Metal, Pantera formed a relationship with Walter O'Brien and Andy Gould of Concrete Management. As Concrete managed other bands that were signed to Metal Blade Records, Gould contacted Brian Slagel of Metal Blade and asked him to sign Pantera. The $75,000 requested for the production of a new album was too much for Slagel, who rejected the offer. The Metal Blade rejection was one of many rejections for the band. Pantera eventually attained a major-label deal with Atco Records, after Atco's talent scout Mark Ross was impressed by one of the band's live performances. Cowboys from Hell was released on July 24, 1990. The album was produced by Terry Date; Max Norman was the original choice for producer but he opted to produce Lynch Mob's Wicked Sensation instead. Date also served as producer for Pantera's next three albums. Cowboys from Hell marked the development of what would become Pantera's familiar sound, to which Abbott's guitar playing was central. Self-described as "power groove", the album became a "blueprint-defining" work for groove metal, a sub-genre with the heaviness and intensity of thrash metal but played at a slower tempo. Southern rock elements were incorporated into the sound; Pantera's "groove" is commonly attributed to the Abbott brothers' fondness for ZZ Top. Cowboys from Hell was certified gold in 1993, and platinum in 1997. Pantera played close to 200 shows supporting Cowboys from Hell, as it toured for nearly two years. Aside from breaks to develop new material, the band spent most of the 1990s touring; Abbott gained a reputation as a wild figure on tour and a heavy drinker. Pantera recorded its second major-label album in the space of two months. Released on February 25, 1992, Vulgar Display of Power was a refinement of the groove metal sound. The band had sought to create a heavier album than Cowboys from Hell, as Anselmo fully embraced a hardcore-inspired shouted vocal delivery. Abbott composed most of the riffs and song structures, and further attempted to mesh his guitar with Brown's bass to create what Brown later described as "one giant tone". Vulgar Display of Power debuted at No. 44 on the Billboard 200, and it stayed on the chart for 79 weeks. In 2017, it was ranked at No. 10 on Rolling Stones list of "The 100 Greatest Metal Albums of All Time", with Abbott's "serrated rhythms and squealing solos" highlighted. Abbott had transformed his appearance by the time of Vulgar Display of Powers release to that which he would maintain for the rest of his life. He sported a dyed goatee, a razorblade pendant (in homage to Judas Priest's British Steel), cargo shorts and sleeveless shirts. Feeling that "Diamond Darrell" no longer suited his image or sound, Abbott adopted the stage name "Dimebag Darrell" instead. The name was originally coined by Anselmo. It was in reference to Abbott's refusal to accept more than a dime bag (slang for $10 worth) of cannabis at one time—even if offered for free—as he did not want to be caught with the drug on-hand. All of Pantera's albums until 1994 were recorded at Pantego Sound, the studio owned by the Abbott brothers' father Jerry. It was conveniently located a short distance from the Abbotts' home. After Vulgar Display of Power was released, Jerry closed Pantego Sound and opened a new studio, Abtrax, in Nashville, Tennessee, as he hoped to fulfill his dream of becoming a country songwriter. Pantera's third major-label album, Far Beyond Driven, was recorded at Abtrax. Abbott said in a 1994 Guitar Player interview: "We were fuckin' flying [to Nashville] for three weeks at a time, writing songs and cutting them." This led to the members spending most of their downtime in each other's hotel rooms consuming drugs, rather than following their normal routines as they did when recording at Pantego Sound. They mixed the album at Dallas Sound Labs, which was close to their homes. Far Beyond Driven was released on March 15, 1994, on EastWest Records. It sold 186,000 copies in its first week to debut at No. 1 on the Billboard 200, and has since been described as the heaviest album ever to debut at No. 1. Before the release, the band was expected to follow the lead of Metallica's eponymous album by taking a more commercially-friendly approach. Instead, Pantera wanted an even heavier work than Vulgar Display of Power. Abbott said in 1994: "We're into topping ourselves. Most bands come out with a heavy record, then it gets lighter and lighter. You're stuck listening to the first record, wishing and dreaming. That ain't what we're about." Band tensions and separation The lead single from Far Beyond Driven, "I'm Broken", was inspired by Anselmo's chronic back pain. To treat the pain during the tour supporting Far Beyond Driven, Anselmo began heavily consuming alcohol, painkillers and ultimately heroin. He would travel on his own tour bus and isolate himself from the other band members until twenty or thirty minutes before they were due to perform. Anselmo recalled in a 2014 interview that he would drink "an entire bottle of Wild Turkey every night before a show to numb the pain", and he often interrupted the performances by ranting on stage. Due to the tensions within the band, recordings for Pantera's next album, The Great Southern Trendkill, were held separately: Darrell, Vinnie and Brown recorded at Chasin' Jason Studio (a studio Darrell had constructed in a barn in his backyard) while Anselmo recorded the vocals at Trent Reznor's Nothing Studios in New Orleans. Abbott experimented with new guitars during the recording; he stated in 1996 that he wrote "Suicide Note Pt. 1" the first time he used a twelve-string guitar which Washburn Guitars had sent to him. The recording also saw Abbott draw on riffs he had composed much earlier: he wrote the outro-solo to "Floods" in the pre-Anselmo era, and he had previously recorded a 90-minute loop of it as a lullaby for his girlfriend. On May 7, 1996, The Great Southern Trendkill was released. It peaked at No. 4 on the Billboard 200, staying on the chart for 13 weeks. It is considered to be Pantera's most extreme work, and features some of the band's lowest-tuned tracks. On July 13, Anselmo overdosed on heroin following the band's performance at the Dallas Starplex Amphitheatre and was clinically dead for "four to five minutes". He recovered quickly and performed at the band's next show in San Antonio two days afterward, but the incident created a lasting rift within the band. Anselmo also had released NOLA, the debut album of one of his side projects Down, in 1995, and supported the album with a 13-show tour. The other Pantera members were originally unperturbed by Anselmo's side projects; Abbott explained at the time: "Phil's a musical guy and he likes to stay busy." The touring for The Great Southern Trendkill widened the rift within the band, and the recording sessions for their next album, Reinventing the Steel, were troublesome. Vinnie said in an interview after the album's release: "It was like pulling teeth to get [Anselmo] down to the studio. He didn't like any of the material, and it was always just like this head-butting contest." Also during the recording, the Abbotts' mother, Carolyn, was diagnosed with lung cancer, and died six weeks later on September 12, 1999. This had a profound effect on the brothers, especially Darrell. Reinventing the Steel was released on March 21, 2000. Abbott said of it: "We still play lead guitar ... Bands hardly ever play lead guitar anymore. Dude, back in the seventies, if you couldn't play the guitar or sing, you were nobody. Now music is so easy—all you've got to do is tune your guitar to an open chord and jump around." Like The Great Southern Trendkill, Reinventing the Steel peaked at No. 4 on the Billboard 200. Pantera were in Ireland, set to begin a European tour, on September 11, 2001. Due to the September 11 attacks, the tour was canceled and the members returned to Texas, where they agreed to take a short hiatus. In March 2002, Down released its second record, Down II: A Bustle in Your Hedgerow, which featured Brown on bass. Two months later, Superjoint Ritual—another of Anselmo's bands—released its debut album, Use Once and Destroy. The Abbotts believed that Pantera would regroup in 2003, after the tours supporting Down II and Use Once and Destroy were concluded. Instead, Anselmo recorded a second album with Superjoint Ritual, A Lethal Dose of American Hatred (2003). Also around this time, Darrell received a phone call from Brown, who indicated that he would not return to Pantera. The separation of Pantera was marked by the release of a greatest hits album, The Best of Pantera: Far Beyond the Great Southern Cowboys' Vulgar Hits!, on September 23, 2003. Damageplan Abbott was dejected by the separation of Pantera; he felt that all he had worked for had been "ripped out from under [him]". As continuing Pantera without Anselmo likely would have resulted in a lengthy and expensive legal battle regarding the ownership of the "Pantera" brand, the Abbott brothers decided to form a new band. They recorded demos at Darrell's backyard studio in February 2003. Patrick Lachman of Halford joined as vocalist and Bob Kakaha was recruited on bass, and the band signed with Elektra Records later in 2003. The name of the band originally was New Found Power, but they later decided on Damageplan. New Found Power instead served as the title of the group's debut album, which was released on February 10, 2004. It did not near the commercial success of Pantera's major-label releases: it sold 44,000 copies in its first week to debut at No. 38 on the Billboard 200 and had sold a modest 160,000 copies by December. Damageplan spent most of 2004 on its Devastation Across the Nation tour. To rebuild a fanbase, the band toured nightclubs across the country. The members had planned to record a follow-up album. This did not materialize due to Abbott's murder at a show in Columbus, Ohio, on December 8, 2004. Other projects The Abbott brothers listened to country singer David Allan Coe while growing up as their parents were fans of the performer, and often used Coe's "Jack Daniels If You Please" as introductory music for Pantera shows. Darrell first met Coe in 1999, at one of his performances at Billy Bob's Texas. After the performance, Darrell waited in an autograph line to introduce himself and give Coe his phone number. They subsequently formed a friendship and Coe began spending time at Darrell's house, where the Abbott brothers and Coe played music in Darrell's backyard studio. They recruited Brown to play bass and the group sporadically recorded from 1999 to 2003. The resulting album, Rebel Meets Rebel, was released on May 2, 2006, on Vinnie's Big Vin Records. Megan Frye of AllMusic stated Rebel Meets Rebel is "groundbreaking in that it will please fans of both country and metal because the music is simultaneously both styles – it's never a fusion, they simply exist together". In 1992, Abbott and the other Pantera members collaborated with Rob Halford on a track titled "Light Comes Out of Black", which was released on the Buffy the Vampire Slayer soundtrack. Abbott recorded the song "Caged in a Rage", on which he performed lead vocals and guitar, under his own name. It was included on the soundtrack to the 1996 film Supercop. Adam Greenberg of AllMusic said Abbott sounded "oddly similar to Rob Zombie" on "Caged in a Rage". Abbott provided guest guitar solos for Anthrax on several occasions: "King Size" and "Riding Shotgun" from Stomp 442 (1995), "Inside Out" and "Born Again Idiot" from Volume 8: The Threat Is Real (1998), and "Strap It On" and "Cadillac Rock Box" from We've Come for You All (2003). Anthrax's Scott Ian referred to Abbott as the "sixth member" of the band due to his frequent appearances. Abbott also performed a guest solo on the title track of King Diamond's Voodoo (1998) and on "Eyes of the South" (2004) by Premenishen, a band that featured Abbott's cousins Heather Manly and April Adkisson on bass and guitar, respectively. After Darrell's death, Vinnie granted Nickelback permission to use outtakes of Darrell's solos from the Vulgar Display of Power and Far Beyond Driven recordings on its tribute track "Side of a Bullet". Darrell was a friend of Nickelback's Chad Kroeger and had provided a solo for Nickelback's cover of "Saturday Night's Alright for Fighting" on the soundtrack to the 2003 film Charlie's Angels: Full Throttle. Darrell and Vinnie performed shows as Gasoline each New Year's Eve. Gasoline predominantly played covers of artists such as Ted Nugent and Pat Travers, but also composed original songs such as "Get Drunk Now" and "This Ain't a Beer Belly, It's a Gas Tank for My Love Machine". Gasoline once served as a support act for Drowning Pool. In 2006, "Country Western Transvestite Whore", a song that Abbott recorded with local Dallas musician Throbbin' Donnie Rodd, was released. It features Abbott on lead guitar and vocals. Other works by Abbott that have been posthumously released include "Dime's Blackout Society" (2010) and The Hitz (2017), a five-track EP. Death On December 8, 2004, Damageplan was performing at the Alrosa Villa nightclub in Columbus, Ohio. Nathan Gale, a fan, rushed onto the stage as the band played the first song of its setlist, and shot Abbott multiple times with a Beretta 92FS, a 9mm semi-automatic pistol. The band's head of security, Jeffrey "Mayhem" Thompson, then tackled Gale, but was fatally shot in the ensuing struggle. A fan, Nathan Bray, was also killed as he attempted to aid Abbott and Thompson, as was Erin Halk, an employee of the venue who tried to disarm Gale while he was reloading. Three others were wounded before Columbus police officer James Niggemeyer entered the club and shot Gale once in the head with a 12-gauge Remington Model 870, killing him. Abbott was pronounced dead at the scene, aged 38. Thousands of fans attended his public memorial, and the guest list included artists such as Eddie Van Halen, Zakk Wylde, Corey Taylor, Jerry Cantrell and Dino Cazares. Abbott was buried alongside his mother Carolyn at the Moore Memorial Gardens cemetery in Arlington, Texas. Gene Simmons donated a Kiss Kasket for the burial, and Eddie Van Halen donated his original black-and-yellow-striped 1979 Charvel "Bumblebee" guitar, which was featured on the back cover of Van Halen II, to be included in the casket. A few weeks prior to his death, Abbott had met Van Halen and asked him for a replica of the Bumblebee. Van Halen said at the funeral: "Dime was an original and only an original deserves the original." After Vinnie Paul's death in 2018, he was buried next to Carolyn and Darrell, also in a Kiss Kasket. In late 2020, a protective fence was installed around the Abbott burial ground in an effort to stop vandalism, as Darrell's grave had previously been scratched and defaced by people over the years. In a 2010 interview, Paul called the vandalism "a real disrespectful thing". Musical style Originally a glam metal musician, Abbott distanced himself from the subgenre by the late 1980s, and was a driving force behind the development of groove metal in the 1990s. Influences Although his father was a country music producer and songwriter, Abbott's primary musical influences were heavy metal acts such as Black Sabbath, Iron Maiden, Judas Priest, Kiss and Van Halen. Ace Frehley of Kiss inspired him to play guitar. He was a member of the Kiss Army and had a portrait of Frehley tattooed on his chest in 1992. While at a photoshoot for the August 1993 issue of Guitar World along with Frehley, Abbott asked Frehley to sign an autograph near the tattoo. Abbott then had the signature tattooed. No musician other than Frehley exerted more of an influence on Abbott than Eddie Van Halen. Abbott stated that his background mirrored Van Halen's as both he and Van Halen were younger brothers who first played drums before moving on to the guitar due to competition from their elder brothers on drums. Another influence was Randy Rhoads. Abbott said in 1994: "To me, Eddie Van Halen was heavy rock and roll, but Randy was heavy metal." He discovered double tracking leads through Rhoads. In numerous interviews, Abbott credited Tony Iommi of Black Sabbath for inspiring his guitar riffs. Abbott also said Def Leppard's original guitarist Pete Willis "was a great player. I was inspired by him because I was a small young dude and he was a small young dude, too—and he was out there kickin' ass. He made me want to get out there and play." Abbott was a fan of the Southern rock band ZZ Top, and he was influenced by the band's guitarist and lead singer Billy Gibbons. He said in 1993: "I'm not a super blues player, but I was exposed to the Texas blues sound while I was growing up, and that definitely rubbed off on me." Abbott was also influenced by contemporary metal guitarists such as Kerry King of Slayer, James Hetfield of Metallica, and Zakk Wylde of Ozzy Osbourne and Black Label Society. Technique Abbott did not receive formal guitar lessons. He stated in a 1994 Guitar World interview that he once received "a guitar lesson off this cat. He wrote down some weird scale and tried to explain how it worked. After we finished he said, 'Now go on home, practice that scale, and show me how well you can play it next week.' So I took it home, played around with it for a few minutes and said, 'Fuck this, I just want to jam.' I respect people that can read tablature and all that shit, but I just don't even have the patience to read the newspaper." Unlike many other heavy metal guitarists, Abbott made extensive use of the major third in his riffs and leads, which added dissonance to minor key tonalities. This was a Van Halen-inspired technique, as was his employment of symmetrical fingerings. Although Abbott had exceptional picking ability, he favored legato phrasing. His love of legato gave his playing a fluid quality, and his powerful left-hand technique enabled the implementation of the symmetrical patterns in his lead licks. Abbott avoided using scales and modes in traditional fashions, and often used passing tones between scalar tones to add tension. These chromatic licks made up much of his playing. Regardless of the note or chord, Abbott played with a "Texas style", meaning a variety of techniques such as sliding, bending, palm muting, and use of the whammy bar and effects pedal to produce an idiosyncratic sound. One of the most distinctive features of Abbott's guitar playing was his use of harmonics to create a squealing sound, which he picked up from Gibbons. Unsatisfied with standard techniques, Abbott often used dyads in place of traditional power chords. This added texture to his riffs and, when played with distortion, created a tense sound. Abbott experimented with alternate tunings throughout his career. Early on, his guitar was tuned down more than a quarter step, similar to Van Halen I and Van Halen II tuning. On Cowboys From Hell (1990), he utilized drop D tuning, and beginning with Vulgar Display of Power (1992) he tuned his guitar down a whole step, which became his main tuning by the release of Reinventing the Steel (2000). He also used drop D down one step, down 1 ½ steps and drop D down 1 ½ steps tunings. Down 1 ½ steps tuning was prevalent on The Great Southern Trendkill (1996) and was Abbott's main tuning on New Found Power (2004). Three of Abbott's solos were ranked in Guitar Worlds "100 Greatest Guitar Solos of All Time": "Walk" at No. 57; "Cemetery Gates" at No. 35; and "Floods" at No. 19. Despite his virtuosity, Abbott said that while "jerking off all over the neck", as he described, was suited to competing in guitar contests, it often did not benefit a song's composition. "Slaughtered" from Far Beyond Driven originally had a slow, melodic solo, but Abbott removed it after noting that it disrupted the song's momentum. Equipment In 1982, Abbott won a maroon Dean ML at a guitar contest in Dallas. Unbeknownst to Abbott, his father had bought him a sunburst ML shortly before the contest. Nearing driving age and seeking to purchase a Pontiac Firebird, Abbott attempted to sell the maroon ML to his friend Buddy Blaze, a luthier and musician. Blaze felt that a guitar won as a prize should stay with its owner and refused to buy it. Abbott instead sold the guitar to one of Blaze's bandmates. Blaze negotiated with his bandmate, and took possession of the ML in exchange for a Kramer Pacer. Blaze then replaced the standard ML hardware: he installed a custom Floyd Rose vibrato bridge and Bill Lawrence L-500XL pickups, and moved the stock DiMarzio pickup to the neck. He also repainted the guitar, from its original maroon to blue-and-black with a lightning bolt finish. Blaze returned the ML to Abbott in 1987, who was initially unaware that it was the same guitar he won as a prize. It subsequently became Abbott's signature guitar and was later dubbed the "Dean from Hell". After the release of Cowboys from Hell, Abbott signed an endorsement deal with Dean Guitars. Dean went out of business in 1994 and Abbott then signed a ten-year contract with Washburn Guitars. With Washburn, he played various signature guitars modeled after the ML, such as the Dime 333, Culprit and Stealth. When his contract with Washburn expired in 2004, he became the main endorsee of the re-opened Dean. Abbott's murder came shortly before the Dean contract was set to begin. Abbott had designed the Dean Razorback and Razorback V in the months prior to his death. Dean also posthumously released replicas of the Dean from Hell. Abbott was praised for his instrumental tone and was included in Guitar Players list of "The 50 Greatest Tones of All Time". Abbott used solid-state Randall amplifiers for most of his career; he remarked in the liner notes for Cowboys from Hell: "Gotta have that Randall Crunch!" He had won his first Randall amplifier in a guitar contest; he said in a 1993 interview it "was a little nasty sounding, a little gritty, but I liked it. I knew that with time I could make it my own sound, and it came around." Abbott released a signature amplifier, the Randall Warhead, in 1999. The goal was to replicate the sound of his own rig: a Randall RG-100 head, Furman PQ-3 parametric equalizer, MXR six-band graphic equalizer and MXR 126 flanger. He set his Furman EQ to boost the highs and lows while scooping the mids, and he used both the Furman EQ and MXR EQ to increase the gain to the Randall's front end. Abbott also used a Digitech whammy pedal, a Korg DT-7 chromatic tuner and a Rocktron Hush IIC noise gate. The noise gate allowed him to control the feedback associated with high levels of gain, and to create the distinctive holes of silence in his playing. When Abbott's endorsement deal with Washburn ended, his deal with Randall also ended, as Randall and Washburn both were subsidiaries of the U.S. Music Corporation. Abbott subsequently formed a partnership with Krank Amplifiers, a relatively small supplier. He used the Krank Revolution, a tube amplifier. Abbott also invested in the company and designed an amplifier named the Krankenstein; he approved the final revision of the Krankenstein just days before his murder. Abbott helped design many other products. With Dunlop Manufacturing, he designed the Dimebag Cry Baby from Hell, a wah-wah pedal, and the Dime Distortion, a distortion pedal. He also designed a signature pickup with Seymour Duncan titled the Dimebucker, which was based on the Bill Lawrence pickups that he used in most of his guitars. Dean Zelinsky of Dean said in 2010 that Abbott's death was a "bigger loss than we'll ever know. ... I'm very proud of the work I did with him, but who knows what he would have accomplished if he was still with us." Personal life Abbott grew up in the same neighborhood as his long-time partner Rita Haney, whom he first met at the age of eight. They began dating in 1984. The couple never married. Haney said in a 2006 interview: "We didn't believe in the marriage thing. ... Why have someone you don't know tell you it's OK to be with someone you do know? We didn't need the middleman! We had a one-on-one with the man upstairs ourselves." In 1995, Abbott bought a house with Haney in Dalworthington Gardens, Texas, a short distance from his hometown Arlington. Abbott kept a pet goat on the residence, and dyed its goatee like his own. He was remembered by his neighbors as approachable. One neighbor who often walked dogs with Abbott said he "was a hick with an attitude, and I say that respectfully. We'd talk conservative politics. He was a big, big supporter of George Bush." Darrell and Vinnie opened the Clubhouse, an all-nude strip club in north-west Dallas, in 1996. Vinnie's original idea was a rock-and-roll-themed golf course, with "a strip club at the nineteenth hole", but the construction of a golf course was prohibitively expensive. Under the Abbott brothers' ownership, the Clubhouse was patronized by many artists who toured in the area, such as Black Sabbath, Kiss and Metallica, as well as NASCAR drivers, professional golfers, and members of the Dallas Cowboys and the Dallas Stars (whose fight song, "Puck Off", was written and produced by Pantera). After the Dallas Stars won the 1999 Stanley Cup Finals, the Abbott brothers hosted a party for the team at Vinnie's house. Vinnie later stated that the Stanley Cup was dented during the party after Guy Carbonneau threw it out of a window into a swimming pool, but missed the pool and hit the edge. The brothers also performed on a float during the celebration of the Stars' victory. Legacy On May 17, 2007, Abbott was posthumously inducted into Hollywood's RockWalk. Ace Frehley was among the attendees at the induction ceremony, where he spoke in honor of Abbott. Frehley also dedicated his 2009 album Anomaly to Abbott, as well as former Kiss drummer Eric Carr. In 2015, Abbott was ranked as the most influential metal guitarist of the past 25 years by VH1. Doc Coyle of God Forbid stated: "[Abbott's] sparse, low-end, bluesy chug was the blueprint for post-thrash, nu-metal, and metalcore in the subsequent years." Also in 2015, Abbott placed at No. 5 on Gibson's list of "The Top 10 Metal Guitarists of All Time". Anne Erickson said Abbott "proved metal guitar could shred wildly, but still groove. ... He'll always be remembered as one of the most significant engineers of modern metal." Rolling Stone ranked Abbott at No. 92 on its list of "The 100 Greatest Guitarists of All Time" in 2011, and described him as "one of modern metal's key figures". Geezer Butler of Black Sabbath said Abbott was "one of the greatest musicians to grace our world". In 2018, Abbott ranked at No. 19 on Louders list of "The 50 Greatest Guitarists of All Time". Sebastian Bach of Skid Row commented that Abbott "reinvented heavy metal guitar". Jamie Humphries of Premier Guitar remarked in 2014: "If there were ever a band and guitarist to credit for reinventing post-Metallica metal, it would have to be Pantera and the late Dimebag Darrell." Abbott also ranked at No. 9 in a 2012 Guitar World readers' poll of "The 100 Greatest Guitarists of All Time", and was named the "Greatest Metal Guitarist" by Loudwire in 2013 after winning a reader-voted tournament bracket. Jonathan Davis of Korn said in a 2014 interview with Loudwire that Abbott is "one of the greatest guitar players ever. I mean if there was no Dimebag Darrell, there would be no Korn." Slash stated that Abbott "had a great tone and a great original style ... He was one of the best new guitar players that came out over a long period of time." Max Cavalera described Abbott as "very talented, an amazing musician and a humble and cool guy – not a rock star asshole". A concert in memory of Abbott titled Dimebash has been held annually since 2010. All of the concert's proceeds go towards the Ronnie James Dio Stand Up and Shout Cancer Fund. Performers at Dimebash events have included artists such as Dave Grohl, Kerry King, Robb Flynn, Tom Morello, and Serj Tankian. Discography Pantera Metal Magic (1983) Projects in the Jungle (1984) I Am the Night (1985) Power Metal (1988) Cowboys from Hell (1990) Vulgar Display of Power (1992) Far Beyond Driven (1994) The Great Southern Trendkill (1996) Reinventing the Steel (2000) Damageplan New Found Power (2004) Rebel Meets Rebel Rebel Meets Rebel (2006) (recorded in 2000) References Sources External links 1966 births 2004 deaths 20th-century American guitarists 21st-century American guitarists American heavy metal guitarists American male guitarists American murder victims Burials in Texas Damageplan members Deaths by firearm in Ohio Filmed deaths of entertainers Guitarists from Texas Lead guitarists Musicians from Texas Musicians who died on stage Pantera members People from Arlington, Texas People from Ennis, Texas People murdered in Ohio 20th-century American male musicians 2004 murders in the United States
false
[ "The Samjiyon Band () is a North Korean classical music ensemble.\n\nThe Samjiyon Band performs traditional European classical music, instrumental, percussion, and sung pieces, ranging from orchestral to solos. It has been said that calling the \"band\" an orchestra would be more fitting. Uncommonly for a North Korean orchestra of its kind, the Samjiyon Band is led by a woman, Ri Sune. The band is part of the umbrella organization Mansudae Art Troupe.\n\nThe history of the band began in 2009 when North Korean leader Kim Jong-il ordered the band to be formed. Later, several members of the band joined in a new Moranbong Band. When the current leader Kim Jong-un began promoting the latter band, popularity of the Samjiyon Band began to decline. While live performances of the band are numerous, it is not clear if they have ever released any records.\n\nIt is currently unknown if the band has any relation to the Samjiyon Orchestra that performed at the start of the 2018 Winter Olympics in South Korea. Multiple foreign observers, including officials from South Korea's Ministry of Unification, expect the two musical groups to be related someway.\n\nNaming\nThe band is named after the town of Samjiyon, Ryanggang Province near Mount Paektu that is symbolic of the Kim dynasty. In North Korean propaganda, the town is portrayed as a \"sacred site of the revolution\", where the founding leader Kim Il-sung won an important battle against the Japanese and where his son Kim Jong-il was born.\n\nHistory\n\nThe Samjiyon Band was created in January 2009 by Kim Jong-il, who had changed his policy toward musical groups since he had a stroke in 2008. The band was created from musicians of the Merited Women's Instrumental Ensemble of the Mansudae Art Troupe, an umbrella organization of North Korean artists.\n\nThe Moranbong Band was formed from members of the Samjiyon Band and debuted in 2012. The future members of the Moranbong Band had been performing together in the Samjiyon Band since at least September 2009. Previously, the Samjiyon Band was considered more sophisticated of the two by North Korean artists, but since the leader Kim Jong-un began promoting the Moranbong Band, the popularity of the Samjiyon has waned and the band has even \"fallen into relative obscurity\". Accordingly, a 2018 defector testimony of a performing arts graduate says: \"Many beautiful 'princess-like' girls appeared in the Samjiyon Band, but typically you hear of them moving up to the Moranbong Band or Unhasu Orchestra.\"\n\nIn February 2018, the Orchestra performed in South Korea, marking the first time in 12 years that any North Korean Orchestra had done so.\n\nBand\nThe Samjiyon Band remains part of the umbrella organization Mansudae Art Troupe. The Samjiyon Band itself is a chamber orchestra of young musicians who perform mostly classical music. They perform separately from other Mansudae Art Troupe groups.\n\nThe Samjiyon Band performs traditional European classical music, instrumental, percussion, and sung pieces, ranging from orchestral to solos. They play mostly classical instruments, including wind and string instruments, such as violin, cello, harp, trumpet, trombone, clarinet, flute, and timpani, with the occasional piano, accordion, and saxophone. Although titled a \"band\", \"[i]t would have been fair to call the Samjiyon Band an orchestra because the band [includes] cellos, violins, and other orchestral instruments\", according to a defector. It sometimes performs together with foreign performers as part of cultural exchange, including a 2011 concert conducted by Pavel Ovsyannikov.\n\nLive performances of the Samjiyon Band are numerous, including a recent performance during 2017 New Year's celebration. It is not known if the Samjiyon Band has released any records; their music is known abroad only through videos on YouTube.\n\nMembers\n\nThe band has between 50 and 60 members, \"winners of national and international contests and excellent graduates from Pyongyang Kim Won Gyun Conservatory\". The band members are in their 20s or 30s.\n\nThe leader of the band in 2017 was Ri Sune (), a female violinist. She also conducted the band. It is rare for a North Korean orchestra of its kind to be led by a woman. In 2018 the leader of the Samjiyon Orchestra that visited South Korea was Hyon Song-wol, another female artist and lead singer of Moranbong Band.\n\nThe band members have \"long elaborately arranged hair that fit well with evening dress and classical music\".\n\nAlthough North Korean bands routinely rotate members, some affiliations appear to be long-term. Such is the case of violinist Hong Su-kyong in the Samjiyon Band, for instance.\n\nList of members of the Samjiyon Band\n\nRi Sune (conductor, leader)\nSuno Hyang-hui (violin)\nHong Su-kyong (violin)\n\nSamjiyon Orchestra\n\nThe Samjiyon Band is possibly distinct from the Samjiyon Orchestra, but the two groups seem to be closely related.\n\nThe Samjiyon Orchestra was hastily founded ahead of inter-Korean high-level talks concerning North Korea's participation in the 2018 Winter Olympics in South Korea for the purpose of performing during the Games. The Orchestra performed in the South at the start of the Games. Two months later, the Samjiyon Orchestra performed in Pyongyang together with South Korean musicians in the Spring is Coming concert tour that brought together artists from both countries.\n\nThe orchestra might be formed from members of the original Samjiyon Band, with additional members. This opinion is shared by multiple observers, including the South Korean Ministry of Unification, and defectors familiar with the cultural circles. Jeon Young-sun of the Institute of the Humanities for Unification at the Konkuk University points out that because North Korean groups are under government control, it is easy to reorganize them keeping some of the original elements and adding new ones on an ad hoc basis.\n\nList of members of the Samjiyon Orchestra\n\nHyon Song-wol (leader)\n\nSee also\nUnhasu Orchestra\nMusic of North Korea\nList of North Korean musicians\n\nReferences\n\nWorks cited\n\nFurther reading\n\nExternal links\n\nNorth Korean musical groups\nMusical groups established in 2009\n2009 establishments in North Korea", "Swamp Baby was a Canadian rock band, active in the 1990s. They are most noted for collaborating with Michael Turner and Peter J. Moore on the music for the film Hard Core Logo; their song \"Who the Hell Do You Think You Are?\" won the Genie Award for Best Original Song at the 17th Genie Awards in 1996.\n\nThe band members were vocalist Steve Cowal, guitarists Randall Bergs and Ërno Vlasics, bassist Rick Sentence and drummer Jim Mattachione. They released two albums, Swamp Baby (1990) and Rock Heavy Ripple (1995), on the independent label First Stone Productions; Moore was the producer of both albums. Although the band's own music followed a classic rock style that typically saw them compared to Dr. Hook & the Medicine Show, The Black Crowes and The Doors, several of the band's members had prior experience in punk rock bands, leading Moore to ask them to help compose and produce the music for the film. They played all of the film's songs, although lead actor Hugh Dillon performed lead vocals in lieu of Cowal.\n\nThe band did not record or release any further material after the Hard Core Logo soundtrack.\n\nReferences\n\nCanadian rock music groups\nBest Original Song Genie and Canadian Screen Award winners" ]
[ "Dimebag Darrell", "Death", "When did Dimebag Darrell die?", "On December 8, 2004,", "How did he die?", "Abbott was shot on-stage", "Where was he performing?", "Columbus, Ohio.", "Who shot Dimebag Darrell?", "25-year-old former Marine Nathan Gale shot Abbott five times in the head with a 9 mm Beretta 92F pistol.", "Was anyone else injured or killed by Nathan Gale?", "Firing a total of 15 shots, Gale killed three other people and wounded seven more.", "Were any of them members of the band?", "Jeff \"Mayhem\" Thompson, the band's head of security, was killed tackling Gale," ]
C_169d72a4dd46424b938515174716c6cd_0
What happened to Gale?
7
What happened to Gale?
Dimebag Darrell
On December 8, 2004, during the Devastation Across The Nation tour, Abbott was shot on-stage while performing with Damageplan at the Alrosa Villa in Columbus, Ohio. A crowd of approximately 250 had watched four support acts (two local bands entitled Volume Dealer and 12 Gauge, and the tour support Shadows Fall and The Haunted). Moments into Damageplan's set, 25-year-old former Marine Nathan Gale shot Abbott five times in the head with a 9 mm Beretta 92F pistol. Some in attendance initially believed the shooting was part of the act, but as Gale continued shooting, the audience quickly came to the realization that the event was not staged. Firing a total of 15 shots, Gale killed three other people and wounded seven more. Jeff "Mayhem" Thompson, the band's head of security, was killed tackling Gale, as was Alrosa Villa employee Erin Halk. Audience member Nathan Bray was killed while trying to perform CPR on Abbott and Thompson. It was rumored that one crowd member leapt in front of the gunman, saving the lives of several band members. Damageplan's drum technician, John "Kat" Brooks, was shot three times as he attempted to disarm Gale, but was overpowered and taken hostage in a headlock hold. Tour manager Chris Paluska was also injured. Responding within three minutes to a dispatch call made at 10:15pm, seven police officers entered through the front entrance and moved toward the stage. Officer James Niggemeyer came in through the back door, behind the stage. Gale only saw the officers in front of the stage; he did not see Niggemeyer, who was armed with a 12 gauge Remington 870 shotgun. Niggemeyer approached Gale from the opposite side of the stage past a group of security guards, and saw Gale lift his gun to Brooks' head, and fired a single shot as Gale noticed him. Gale was struck in the face with eight of the nine buckshot pellets and was killed instantly. Gale was found to have had 35 rounds of ammunition remaining. Two fans, including Mindy Reece, a certified nurse, administered CPR on Abbott until paramedics arrived, but were unable to revive him and he was pronounced dead at the scene. Early speculation about motive suggested that Gale, who was a Pantera fan, might have turned to violence in response to the breakup of the band, or the public dispute between Abbott and Pantera singer Phil Anselmo, but these were later ruled out by investigators. In VH1's documentary, Behind the Music, Damageplan's sound engineer Aaron Barnes stated that the whole time, after shooting Dimebag, Gale was looking for Vinnie, possibly planning to murder him too. Another conjecture was that Gale believed Abbott had stolen a song that he had written. About six months prior to the shooting, Gale got into an altercation at a Damageplan concert in Cincinnati where he damaged $5,000 worth of equipment while being removed from the stage by security. CANNOTANSWER
CANNOTANSWER
Darrell Lance Abbott (August 20, 1966 – December 8, 2004), best known by his stage name Dimebag Darrell, was an American musician. He was the guitarist of the heavy metal bands Pantera and Damageplan, both of which he co-founded alongside his brother Vinnie Paul. A son of country music producer Jerry Abbott, Abbott began playing guitar at age 12, and Pantera released its debut album, Metal Magic (1983), when he was 16. Originally a glam metal musician, Abbott went by the stage name Diamond Darrell at the time. Two further albums in the glam metal style followed in 1984 and 1985, before original vocalist Terry Glaze was replaced by Phil Anselmo in 1986 and Power Metal (1988) was released. The band's major-label debut, Cowboys from Hell (1990), introduced a groove metal sound to which Abbott's guitar playing was central. This sound was refined on Vulgar Display of Power (1992), and the group's third major-label record, Far Beyond Driven, debuted at No. 1 on the Billboard 200 in 1994. Tensions within Pantera reduced its output after the release of The Great Southern Trendkill in 1996, and Reinventing the Steel (2000) was the band's final studio album before its acrimonious separation in 2003. Abbott subsequently formed Damageplan with his brother Vinnie Paul and released New Found Power, the band's only album, in 2004. Other works by Abbott included a collaboration with David Allan Coe titled Rebel Meets Rebel (2006) and numerous guest guitar solos for bands such as Anthrax. On December 8, 2004, Abbott was shot and killed by a fan while on stage with Damageplan at the Alrosa Villa nightclub in Columbus, Ohio. Three others were murdered in the shooting before the perpetrator was killed by a police officer. Abbott was ranked at No. 92 on Rolling Stones list of "The 100 Greatest Guitarists of All Time" in 2011, and No. 19 on Louders list of "The 50 Greatest Guitarists of All Time" in 2018. He placed at No. 5 on Gibson's list of "The Top 10 Metal Guitarists of All Time" in 2015, and the same year was ranked as the most influential metal guitarist of the past 25 years by VH1. Early life Darrell Lance Abbott was born in Ennis, Texas, on August 20, 1966, the second son to Carolyn and Jerry Abbott, a country music producer. His elder brother Vinnie Paul was born on March 11, 1964. Abbott's parents divorced in 1979, after seventeen years of marriage, but his family life remained happy. The brothers lived with their mother Carolyn, in a ranch-style house on Monterrey Street in Arlington. Carolyn was supportive of her sons' musical endeavors. Abbott took up the guitar when he was twelve. His first guitar was a Les Paul-style Hohner, which he received along with a Pignose amplifier on his twelfth birthday. Influenced by Black Sabbath, Judas Priest, Kiss and Van Halen, he would initially spend time in his room standing in front of a mirror holding the guitar while wearing Ace Frehley-style makeup, though he was unable to play the instrument at the time. Jerry learned Kiss songs on guitar in order to teach Darrell how to play them. Darrell also learned from country musicians who recorded at Jerry's studio, such as Bugs Henderson. Vinnie had begun playing the drums before Darrell received his first guitar. Darrell had previously tried to play the drums; Vinnie later said: "I just got better than him and wouldn't let him play them anymore." The Abbott brothers' first jam session consisted of six hours of "Smoke on the Water". They took inspiration from Alex and Eddie Van Halen, and Vinnie said in a 2016 interview that he and Darrell were "inseparable" after they began playing music together. At age 14, Abbott entered a guitar contest at the Agora Ballroom in Dallas, in which Dean Zelinsky, founder of Dean Guitars, was one of the judges. Abbott's mother accompanied him to the club because he was not old enough to enter on his own. He won the competition; Zelinsky recalled that "[Abbott] blew everyone away." Abbott won many other guitar contests in the area, and was eventually asked not to compete and instead judge the competitions so others could win. Music career Pantera Early glam metal years Pantera was formed in 1981. Vinnie was asked to join a band alongside his high school classmates Terry Glaze (guitar), Tommy Bradford (bass) and Donny Hart (vocals). Vinnie accepted the invitation, but on the condition that Darrell would also join the band. Glaze later recalled that they were unsure about this request, as Darrell "wasn't very good" and, two years their junior, "was a little skinny, scrawny dude", but they ultimately agreed. In 1989, Darrell made the same request when Dave Mustaine asked him to join Megadeth. As Mustaine had already recruited drummer Nick Menza and would not hire Vinnie, Darrell decided to stay with Pantera. By 1982, Hart left the band and was replaced by Glaze on vocals, while Rex Brown took Bradford's place as bassist. Abbott originally shared lead guitar with Glaze, but soon took permanent status as lead guitarist. Glaze said: "[Abbott] just morphed over a six-month period. ... When he came out, he could play, like, "Eruption" and "Crazy Train"." Abbott adopted the stage name "Diamond Darrell", in reference to the Kiss song "Black Diamond". Inspired by Kiss, Van Halen and Judas Priest, Pantera originally had a glam metal style and was image-conscious: the members wore spandex, makeup and hairspray when on stage. The band signed to Metal Magic Records, which was created by "Jerry Eld'n", an alias of Abbott's father Jerry. Pantera released its first album, Metal Magic, in 1983, when Abbott was 16. A review in the November 1983 issue of Texas-based music magazine Buddy said Abbott's solos "tend to be asymmetrical in that the old theory of musical thought consisting of statements alternating with appropriate responses is ignored and replaced by authoritative delivery of the player's own concept of what should happen". Pantera released Projects in the Jungle and I Am the Night in 1984 and 1985, respectively. Both albums followed on in the glam metal style, and were comparable to Shout at the Devil-era Mötley Crüe, though I Am the Night had a slightly heavier sound than previous releases. Around this time, the Abbott brothers began listening to bands such as Metallica and Slayer. Darrell was particularly taken by Metallica's Ride the Lightning (1984). Glaze was unhappy with the Abbott brothers' desire to move towards a heavier sound; he later said he "didn't want to go that heavy. I didn't like it as well if the guitar was the main thing, like the Metallica songs." This conflict, along with a contractual dispute, led to his departure in 1986. Glaze was replaced by Phil Anselmo in late 1986. This new lineup briefly signed with Gold Mountain Records, but released Power Metal (1988) on Metal Magic. Abbott said Gold Mountain "wanted to change our style and make us sound like Bon Jovi, which is not quite up our alley". Anselmo did not write any of the lyrics for Power Metal, and the band was still in the process of distancing themselves from glam metal, but the album evidenced a stylistic change. A retrospective AllMusic album review by Bradley Torreano said Abbott's "speedy riffs" were one of the "more charming elements" of the band's sound. Brown said in a 1988 interview that "Darrell has always been chunking those riffs out from the start. But now with Phil in the band we've got a chance to make those riffs fully happen instead of having some gay singer over the top of them!" Development of groove metal After the release of Power Metal, Pantera formed a relationship with Walter O'Brien and Andy Gould of Concrete Management. As Concrete managed other bands that were signed to Metal Blade Records, Gould contacted Brian Slagel of Metal Blade and asked him to sign Pantera. The $75,000 requested for the production of a new album was too much for Slagel, who rejected the offer. The Metal Blade rejection was one of many rejections for the band. Pantera eventually attained a major-label deal with Atco Records, after Atco's talent scout Mark Ross was impressed by one of the band's live performances. Cowboys from Hell was released on July 24, 1990. The album was produced by Terry Date; Max Norman was the original choice for producer but he opted to produce Lynch Mob's Wicked Sensation instead. Date also served as producer for Pantera's next three albums. Cowboys from Hell marked the development of what would become Pantera's familiar sound, to which Abbott's guitar playing was central. Self-described as "power groove", the album became a "blueprint-defining" work for groove metal, a sub-genre with the heaviness and intensity of thrash metal but played at a slower tempo. Southern rock elements were incorporated into the sound; Pantera's "groove" is commonly attributed to the Abbott brothers' fondness for ZZ Top. Cowboys from Hell was certified gold in 1993, and platinum in 1997. Pantera played close to 200 shows supporting Cowboys from Hell, as it toured for nearly two years. Aside from breaks to develop new material, the band spent most of the 1990s touring; Abbott gained a reputation as a wild figure on tour and a heavy drinker. Pantera recorded its second major-label album in the space of two months. Released on February 25, 1992, Vulgar Display of Power was a refinement of the groove metal sound. The band had sought to create a heavier album than Cowboys from Hell, as Anselmo fully embraced a hardcore-inspired shouted vocal delivery. Abbott composed most of the riffs and song structures, and further attempted to mesh his guitar with Brown's bass to create what Brown later described as "one giant tone". Vulgar Display of Power debuted at No. 44 on the Billboard 200, and it stayed on the chart for 79 weeks. In 2017, it was ranked at No. 10 on Rolling Stones list of "The 100 Greatest Metal Albums of All Time", with Abbott's "serrated rhythms and squealing solos" highlighted. Abbott had transformed his appearance by the time of Vulgar Display of Powers release to that which he would maintain for the rest of his life. He sported a dyed goatee, a razorblade pendant (in homage to Judas Priest's British Steel), cargo shorts and sleeveless shirts. Feeling that "Diamond Darrell" no longer suited his image or sound, Abbott adopted the stage name "Dimebag Darrell" instead. The name was originally coined by Anselmo. It was in reference to Abbott's refusal to accept more than a dime bag (slang for $10 worth) of cannabis at one time—even if offered for free—as he did not want to be caught with the drug on-hand. All of Pantera's albums until 1994 were recorded at Pantego Sound, the studio owned by the Abbott brothers' father Jerry. It was conveniently located a short distance from the Abbotts' home. After Vulgar Display of Power was released, Jerry closed Pantego Sound and opened a new studio, Abtrax, in Nashville, Tennessee, as he hoped to fulfill his dream of becoming a country songwriter. Pantera's third major-label album, Far Beyond Driven, was recorded at Abtrax. Abbott said in a 1994 Guitar Player interview: "We were fuckin' flying [to Nashville] for three weeks at a time, writing songs and cutting them." This led to the members spending most of their downtime in each other's hotel rooms consuming drugs, rather than following their normal routines as they did when recording at Pantego Sound. They mixed the album at Dallas Sound Labs, which was close to their homes. Far Beyond Driven was released on March 15, 1994, on EastWest Records. It sold 186,000 copies in its first week to debut at No. 1 on the Billboard 200, and has since been described as the heaviest album ever to debut at No. 1. Before the release, the band was expected to follow the lead of Metallica's eponymous album by taking a more commercially-friendly approach. Instead, Pantera wanted an even heavier work than Vulgar Display of Power. Abbott said in 1994: "We're into topping ourselves. Most bands come out with a heavy record, then it gets lighter and lighter. You're stuck listening to the first record, wishing and dreaming. That ain't what we're about." Band tensions and separation The lead single from Far Beyond Driven, "I'm Broken", was inspired by Anselmo's chronic back pain. To treat the pain during the tour supporting Far Beyond Driven, Anselmo began heavily consuming alcohol, painkillers and ultimately heroin. He would travel on his own tour bus and isolate himself from the other band members until twenty or thirty minutes before they were due to perform. Anselmo recalled in a 2014 interview that he would drink "an entire bottle of Wild Turkey every night before a show to numb the pain", and he often interrupted the performances by ranting on stage. Due to the tensions within the band, recordings for Pantera's next album, The Great Southern Trendkill, were held separately: Darrell, Vinnie and Brown recorded at Chasin' Jason Studio (a studio Darrell had constructed in a barn in his backyard) while Anselmo recorded the vocals at Trent Reznor's Nothing Studios in New Orleans. Abbott experimented with new guitars during the recording; he stated in 1996 that he wrote "Suicide Note Pt. 1" the first time he used a twelve-string guitar which Washburn Guitars had sent to him. The recording also saw Abbott draw on riffs he had composed much earlier: he wrote the outro-solo to "Floods" in the pre-Anselmo era, and he had previously recorded a 90-minute loop of it as a lullaby for his girlfriend. On May 7, 1996, The Great Southern Trendkill was released. It peaked at No. 4 on the Billboard 200, staying on the chart for 13 weeks. It is considered to be Pantera's most extreme work, and features some of the band's lowest-tuned tracks. On July 13, Anselmo overdosed on heroin following the band's performance at the Dallas Starplex Amphitheatre and was clinically dead for "four to five minutes". He recovered quickly and performed at the band's next show in San Antonio two days afterward, but the incident created a lasting rift within the band. Anselmo also had released NOLA, the debut album of one of his side projects Down, in 1995, and supported the album with a 13-show tour. The other Pantera members were originally unperturbed by Anselmo's side projects; Abbott explained at the time: "Phil's a musical guy and he likes to stay busy." The touring for The Great Southern Trendkill widened the rift within the band, and the recording sessions for their next album, Reinventing the Steel, were troublesome. Vinnie said in an interview after the album's release: "It was like pulling teeth to get [Anselmo] down to the studio. He didn't like any of the material, and it was always just like this head-butting contest." Also during the recording, the Abbotts' mother, Carolyn, was diagnosed with lung cancer, and died six weeks later on September 12, 1999. This had a profound effect on the brothers, especially Darrell. Reinventing the Steel was released on March 21, 2000. Abbott said of it: "We still play lead guitar ... Bands hardly ever play lead guitar anymore. Dude, back in the seventies, if you couldn't play the guitar or sing, you were nobody. Now music is so easy—all you've got to do is tune your guitar to an open chord and jump around." Like The Great Southern Trendkill, Reinventing the Steel peaked at No. 4 on the Billboard 200. Pantera were in Ireland, set to begin a European tour, on September 11, 2001. Due to the September 11 attacks, the tour was canceled and the members returned to Texas, where they agreed to take a short hiatus. In March 2002, Down released its second record, Down II: A Bustle in Your Hedgerow, which featured Brown on bass. Two months later, Superjoint Ritual—another of Anselmo's bands—released its debut album, Use Once and Destroy. The Abbotts believed that Pantera would regroup in 2003, after the tours supporting Down II and Use Once and Destroy were concluded. Instead, Anselmo recorded a second album with Superjoint Ritual, A Lethal Dose of American Hatred (2003). Also around this time, Darrell received a phone call from Brown, who indicated that he would not return to Pantera. The separation of Pantera was marked by the release of a greatest hits album, The Best of Pantera: Far Beyond the Great Southern Cowboys' Vulgar Hits!, on September 23, 2003. Damageplan Abbott was dejected by the separation of Pantera; he felt that all he had worked for had been "ripped out from under [him]". As continuing Pantera without Anselmo likely would have resulted in a lengthy and expensive legal battle regarding the ownership of the "Pantera" brand, the Abbott brothers decided to form a new band. They recorded demos at Darrell's backyard studio in February 2003. Patrick Lachman of Halford joined as vocalist and Bob Kakaha was recruited on bass, and the band signed with Elektra Records later in 2003. The name of the band originally was New Found Power, but they later decided on Damageplan. New Found Power instead served as the title of the group's debut album, which was released on February 10, 2004. It did not near the commercial success of Pantera's major-label releases: it sold 44,000 copies in its first week to debut at No. 38 on the Billboard 200 and had sold a modest 160,000 copies by December. Damageplan spent most of 2004 on its Devastation Across the Nation tour. To rebuild a fanbase, the band toured nightclubs across the country. The members had planned to record a follow-up album. This did not materialize due to Abbott's murder at a show in Columbus, Ohio, on December 8, 2004. Other projects The Abbott brothers listened to country singer David Allan Coe while growing up as their parents were fans of the performer, and often used Coe's "Jack Daniels If You Please" as introductory music for Pantera shows. Darrell first met Coe in 1999, at one of his performances at Billy Bob's Texas. After the performance, Darrell waited in an autograph line to introduce himself and give Coe his phone number. They subsequently formed a friendship and Coe began spending time at Darrell's house, where the Abbott brothers and Coe played music in Darrell's backyard studio. They recruited Brown to play bass and the group sporadically recorded from 1999 to 2003. The resulting album, Rebel Meets Rebel, was released on May 2, 2006, on Vinnie's Big Vin Records. Megan Frye of AllMusic stated Rebel Meets Rebel is "groundbreaking in that it will please fans of both country and metal because the music is simultaneously both styles – it's never a fusion, they simply exist together". In 1992, Abbott and the other Pantera members collaborated with Rob Halford on a track titled "Light Comes Out of Black", which was released on the Buffy the Vampire Slayer soundtrack. Abbott recorded the song "Caged in a Rage", on which he performed lead vocals and guitar, under his own name. It was included on the soundtrack to the 1996 film Supercop. Adam Greenberg of AllMusic said Abbott sounded "oddly similar to Rob Zombie" on "Caged in a Rage". Abbott provided guest guitar solos for Anthrax on several occasions: "King Size" and "Riding Shotgun" from Stomp 442 (1995), "Inside Out" and "Born Again Idiot" from Volume 8: The Threat Is Real (1998), and "Strap It On" and "Cadillac Rock Box" from We've Come for You All (2003). Anthrax's Scott Ian referred to Abbott as the "sixth member" of the band due to his frequent appearances. Abbott also performed a guest solo on the title track of King Diamond's Voodoo (1998) and on "Eyes of the South" (2004) by Premenishen, a band that featured Abbott's cousins Heather Manly and April Adkisson on bass and guitar, respectively. After Darrell's death, Vinnie granted Nickelback permission to use outtakes of Darrell's solos from the Vulgar Display of Power and Far Beyond Driven recordings on its tribute track "Side of a Bullet". Darrell was a friend of Nickelback's Chad Kroeger and had provided a solo for Nickelback's cover of "Saturday Night's Alright for Fighting" on the soundtrack to the 2003 film Charlie's Angels: Full Throttle. Darrell and Vinnie performed shows as Gasoline each New Year's Eve. Gasoline predominantly played covers of artists such as Ted Nugent and Pat Travers, but also composed original songs such as "Get Drunk Now" and "This Ain't a Beer Belly, It's a Gas Tank for My Love Machine". Gasoline once served as a support act for Drowning Pool. In 2006, "Country Western Transvestite Whore", a song that Abbott recorded with local Dallas musician Throbbin' Donnie Rodd, was released. It features Abbott on lead guitar and vocals. Other works by Abbott that have been posthumously released include "Dime's Blackout Society" (2010) and The Hitz (2017), a five-track EP. Death On December 8, 2004, Damageplan was performing at the Alrosa Villa nightclub in Columbus, Ohio. Nathan Gale, a fan, rushed onto the stage as the band played the first song of its setlist, and shot Abbott multiple times with a Beretta 92FS, a 9mm semi-automatic pistol. The band's head of security, Jeffrey "Mayhem" Thompson, then tackled Gale, but was fatally shot in the ensuing struggle. A fan, Nathan Bray, was also killed as he attempted to aid Abbott and Thompson, as was Erin Halk, an employee of the venue who tried to disarm Gale while he was reloading. Three others were wounded before Columbus police officer James Niggemeyer entered the club and shot Gale once in the head with a 12-gauge Remington Model 870, killing him. Abbott was pronounced dead at the scene, aged 38. Thousands of fans attended his public memorial, and the guest list included artists such as Eddie Van Halen, Zakk Wylde, Corey Taylor, Jerry Cantrell and Dino Cazares. Abbott was buried alongside his mother Carolyn at the Moore Memorial Gardens cemetery in Arlington, Texas. Gene Simmons donated a Kiss Kasket for the burial, and Eddie Van Halen donated his original black-and-yellow-striped 1979 Charvel "Bumblebee" guitar, which was featured on the back cover of Van Halen II, to be included in the casket. A few weeks prior to his death, Abbott had met Van Halen and asked him for a replica of the Bumblebee. Van Halen said at the funeral: "Dime was an original and only an original deserves the original." After Vinnie Paul's death in 2018, he was buried next to Carolyn and Darrell, also in a Kiss Kasket. In late 2020, a protective fence was installed around the Abbott burial ground in an effort to stop vandalism, as Darrell's grave had previously been scratched and defaced by people over the years. In a 2010 interview, Paul called the vandalism "a real disrespectful thing". Musical style Originally a glam metal musician, Abbott distanced himself from the subgenre by the late 1980s, and was a driving force behind the development of groove metal in the 1990s. Influences Although his father was a country music producer and songwriter, Abbott's primary musical influences were heavy metal acts such as Black Sabbath, Iron Maiden, Judas Priest, Kiss and Van Halen. Ace Frehley of Kiss inspired him to play guitar. He was a member of the Kiss Army and had a portrait of Frehley tattooed on his chest in 1992. While at a photoshoot for the August 1993 issue of Guitar World along with Frehley, Abbott asked Frehley to sign an autograph near the tattoo. Abbott then had the signature tattooed. No musician other than Frehley exerted more of an influence on Abbott than Eddie Van Halen. Abbott stated that his background mirrored Van Halen's as both he and Van Halen were younger brothers who first played drums before moving on to the guitar due to competition from their elder brothers on drums. Another influence was Randy Rhoads. Abbott said in 1994: "To me, Eddie Van Halen was heavy rock and roll, but Randy was heavy metal." He discovered double tracking leads through Rhoads. In numerous interviews, Abbott credited Tony Iommi of Black Sabbath for inspiring his guitar riffs. Abbott also said Def Leppard's original guitarist Pete Willis "was a great player. I was inspired by him because I was a small young dude and he was a small young dude, too—and he was out there kickin' ass. He made me want to get out there and play." Abbott was a fan of the Southern rock band ZZ Top, and he was influenced by the band's guitarist and lead singer Billy Gibbons. He said in 1993: "I'm not a super blues player, but I was exposed to the Texas blues sound while I was growing up, and that definitely rubbed off on me." Abbott was also influenced by contemporary metal guitarists such as Kerry King of Slayer, James Hetfield of Metallica, and Zakk Wylde of Ozzy Osbourne and Black Label Society. Technique Abbott did not receive formal guitar lessons. He stated in a 1994 Guitar World interview that he once received "a guitar lesson off this cat. He wrote down some weird scale and tried to explain how it worked. After we finished he said, 'Now go on home, practice that scale, and show me how well you can play it next week.' So I took it home, played around with it for a few minutes and said, 'Fuck this, I just want to jam.' I respect people that can read tablature and all that shit, but I just don't even have the patience to read the newspaper." Unlike many other heavy metal guitarists, Abbott made extensive use of the major third in his riffs and leads, which added dissonance to minor key tonalities. This was a Van Halen-inspired technique, as was his employment of symmetrical fingerings. Although Abbott had exceptional picking ability, he favored legato phrasing. His love of legato gave his playing a fluid quality, and his powerful left-hand technique enabled the implementation of the symmetrical patterns in his lead licks. Abbott avoided using scales and modes in traditional fashions, and often used passing tones between scalar tones to add tension. These chromatic licks made up much of his playing. Regardless of the note or chord, Abbott played with a "Texas style", meaning a variety of techniques such as sliding, bending, palm muting, and use of the whammy bar and effects pedal to produce an idiosyncratic sound. One of the most distinctive features of Abbott's guitar playing was his use of harmonics to create a squealing sound, which he picked up from Gibbons. Unsatisfied with standard techniques, Abbott often used dyads in place of traditional power chords. This added texture to his riffs and, when played with distortion, created a tense sound. Abbott experimented with alternate tunings throughout his career. Early on, his guitar was tuned down more than a quarter step, similar to Van Halen I and Van Halen II tuning. On Cowboys From Hell (1990), he utilized drop D tuning, and beginning with Vulgar Display of Power (1992) he tuned his guitar down a whole step, which became his main tuning by the release of Reinventing the Steel (2000). He also used drop D down one step, down 1 ½ steps and drop D down 1 ½ steps tunings. Down 1 ½ steps tuning was prevalent on The Great Southern Trendkill (1996) and was Abbott's main tuning on New Found Power (2004). Three of Abbott's solos were ranked in Guitar Worlds "100 Greatest Guitar Solos of All Time": "Walk" at No. 57; "Cemetery Gates" at No. 35; and "Floods" at No. 19. Despite his virtuosity, Abbott said that while "jerking off all over the neck", as he described, was suited to competing in guitar contests, it often did not benefit a song's composition. "Slaughtered" from Far Beyond Driven originally had a slow, melodic solo, but Abbott removed it after noting that it disrupted the song's momentum. Equipment In 1982, Abbott won a maroon Dean ML at a guitar contest in Dallas. Unbeknownst to Abbott, his father had bought him a sunburst ML shortly before the contest. Nearing driving age and seeking to purchase a Pontiac Firebird, Abbott attempted to sell the maroon ML to his friend Buddy Blaze, a luthier and musician. Blaze felt that a guitar won as a prize should stay with its owner and refused to buy it. Abbott instead sold the guitar to one of Blaze's bandmates. Blaze negotiated with his bandmate, and took possession of the ML in exchange for a Kramer Pacer. Blaze then replaced the standard ML hardware: he installed a custom Floyd Rose vibrato bridge and Bill Lawrence L-500XL pickups, and moved the stock DiMarzio pickup to the neck. He also repainted the guitar, from its original maroon to blue-and-black with a lightning bolt finish. Blaze returned the ML to Abbott in 1987, who was initially unaware that it was the same guitar he won as a prize. It subsequently became Abbott's signature guitar and was later dubbed the "Dean from Hell". After the release of Cowboys from Hell, Abbott signed an endorsement deal with Dean Guitars. Dean went out of business in 1994 and Abbott then signed a ten-year contract with Washburn Guitars. With Washburn, he played various signature guitars modeled after the ML, such as the Dime 333, Culprit and Stealth. When his contract with Washburn expired in 2004, he became the main endorsee of the re-opened Dean. Abbott's murder came shortly before the Dean contract was set to begin. Abbott had designed the Dean Razorback and Razorback V in the months prior to his death. Dean also posthumously released replicas of the Dean from Hell. Abbott was praised for his instrumental tone and was included in Guitar Players list of "The 50 Greatest Tones of All Time". Abbott used solid-state Randall amplifiers for most of his career; he remarked in the liner notes for Cowboys from Hell: "Gotta have that Randall Crunch!" He had won his first Randall amplifier in a guitar contest; he said in a 1993 interview it "was a little nasty sounding, a little gritty, but I liked it. I knew that with time I could make it my own sound, and it came around." Abbott released a signature amplifier, the Randall Warhead, in 1999. The goal was to replicate the sound of his own rig: a Randall RG-100 head, Furman PQ-3 parametric equalizer, MXR six-band graphic equalizer and MXR 126 flanger. He set his Furman EQ to boost the highs and lows while scooping the mids, and he used both the Furman EQ and MXR EQ to increase the gain to the Randall's front end. Abbott also used a Digitech whammy pedal, a Korg DT-7 chromatic tuner and a Rocktron Hush IIC noise gate. The noise gate allowed him to control the feedback associated with high levels of gain, and to create the distinctive holes of silence in his playing. When Abbott's endorsement deal with Washburn ended, his deal with Randall also ended, as Randall and Washburn both were subsidiaries of the U.S. Music Corporation. Abbott subsequently formed a partnership with Krank Amplifiers, a relatively small supplier. He used the Krank Revolution, a tube amplifier. Abbott also invested in the company and designed an amplifier named the Krankenstein; he approved the final revision of the Krankenstein just days before his murder. Abbott helped design many other products. With Dunlop Manufacturing, he designed the Dimebag Cry Baby from Hell, a wah-wah pedal, and the Dime Distortion, a distortion pedal. He also designed a signature pickup with Seymour Duncan titled the Dimebucker, which was based on the Bill Lawrence pickups that he used in most of his guitars. Dean Zelinsky of Dean said in 2010 that Abbott's death was a "bigger loss than we'll ever know. ... I'm very proud of the work I did with him, but who knows what he would have accomplished if he was still with us." Personal life Abbott grew up in the same neighborhood as his long-time partner Rita Haney, whom he first met at the age of eight. They began dating in 1984. The couple never married. Haney said in a 2006 interview: "We didn't believe in the marriage thing. ... Why have someone you don't know tell you it's OK to be with someone you do know? We didn't need the middleman! We had a one-on-one with the man upstairs ourselves." In 1995, Abbott bought a house with Haney in Dalworthington Gardens, Texas, a short distance from his hometown Arlington. Abbott kept a pet goat on the residence, and dyed its goatee like his own. He was remembered by his neighbors as approachable. One neighbor who often walked dogs with Abbott said he "was a hick with an attitude, and I say that respectfully. We'd talk conservative politics. He was a big, big supporter of George Bush." Darrell and Vinnie opened the Clubhouse, an all-nude strip club in north-west Dallas, in 1996. Vinnie's original idea was a rock-and-roll-themed golf course, with "a strip club at the nineteenth hole", but the construction of a golf course was prohibitively expensive. Under the Abbott brothers' ownership, the Clubhouse was patronized by many artists who toured in the area, such as Black Sabbath, Kiss and Metallica, as well as NASCAR drivers, professional golfers, and members of the Dallas Cowboys and the Dallas Stars (whose fight song, "Puck Off", was written and produced by Pantera). After the Dallas Stars won the 1999 Stanley Cup Finals, the Abbott brothers hosted a party for the team at Vinnie's house. Vinnie later stated that the Stanley Cup was dented during the party after Guy Carbonneau threw it out of a window into a swimming pool, but missed the pool and hit the edge. The brothers also performed on a float during the celebration of the Stars' victory. Legacy On May 17, 2007, Abbott was posthumously inducted into Hollywood's RockWalk. Ace Frehley was among the attendees at the induction ceremony, where he spoke in honor of Abbott. Frehley also dedicated his 2009 album Anomaly to Abbott, as well as former Kiss drummer Eric Carr. In 2015, Abbott was ranked as the most influential metal guitarist of the past 25 years by VH1. Doc Coyle of God Forbid stated: "[Abbott's] sparse, low-end, bluesy chug was the blueprint for post-thrash, nu-metal, and metalcore in the subsequent years." Also in 2015, Abbott placed at No. 5 on Gibson's list of "The Top 10 Metal Guitarists of All Time". Anne Erickson said Abbott "proved metal guitar could shred wildly, but still groove. ... He'll always be remembered as one of the most significant engineers of modern metal." Rolling Stone ranked Abbott at No. 92 on its list of "The 100 Greatest Guitarists of All Time" in 2011, and described him as "one of modern metal's key figures". Geezer Butler of Black Sabbath said Abbott was "one of the greatest musicians to grace our world". In 2018, Abbott ranked at No. 19 on Louders list of "The 50 Greatest Guitarists of All Time". Sebastian Bach of Skid Row commented that Abbott "reinvented heavy metal guitar". Jamie Humphries of Premier Guitar remarked in 2014: "If there were ever a band and guitarist to credit for reinventing post-Metallica metal, it would have to be Pantera and the late Dimebag Darrell." Abbott also ranked at No. 9 in a 2012 Guitar World readers' poll of "The 100 Greatest Guitarists of All Time", and was named the "Greatest Metal Guitarist" by Loudwire in 2013 after winning a reader-voted tournament bracket. Jonathan Davis of Korn said in a 2014 interview with Loudwire that Abbott is "one of the greatest guitar players ever. I mean if there was no Dimebag Darrell, there would be no Korn." Slash stated that Abbott "had a great tone and a great original style ... He was one of the best new guitar players that came out over a long period of time." Max Cavalera described Abbott as "very talented, an amazing musician and a humble and cool guy – not a rock star asshole". A concert in memory of Abbott titled Dimebash has been held annually since 2010. All of the concert's proceeds go towards the Ronnie James Dio Stand Up and Shout Cancer Fund. Performers at Dimebash events have included artists such as Dave Grohl, Kerry King, Robb Flynn, Tom Morello, and Serj Tankian. Discography Pantera Metal Magic (1983) Projects in the Jungle (1984) I Am the Night (1985) Power Metal (1988) Cowboys from Hell (1990) Vulgar Display of Power (1992) Far Beyond Driven (1994) The Great Southern Trendkill (1996) Reinventing the Steel (2000) Damageplan New Found Power (2004) Rebel Meets Rebel Rebel Meets Rebel (2006) (recorded in 2000) References Sources External links 1966 births 2004 deaths 20th-century American guitarists 21st-century American guitarists American heavy metal guitarists American male guitarists American murder victims Burials in Texas Damageplan members Deaths by firearm in Ohio Filmed deaths of entertainers Guitarists from Texas Lead guitarists Musicians from Texas Musicians who died on stage Pantera members People from Arlington, Texas People from Ennis, Texas People murdered in Ohio 20th-century American male musicians 2004 murders in the United States
false
[ "Fleetwing was a schooner that sank in Lake Michigan off Liberty Grove, Wisconsin, United States. In 2001 the shipwreck site was added to the National Register of Historic Places.\n\nHistory\nFleetwing was constructed in Manitowoc, Wisconsin, in 1867 by what is now known as the Burger Boat Company. Her finished cost was $30,000. She was rebuilt in 1885.\n\nOn September 26, 1888, Fleetwing departed Menominee, Michigan, bound for Chicago, Illinois, with a cargo of lumber. Later that night, as the ship approached Porte des Morts, a gale began to form. Reports of what happened later conflict, but what is known is that at 11:00 p.m., the ship struck a rocky beach that apparently sheared off a mast. Initially, efforts were made to save the vessel, but another gale began to form during the process and the tugboat that had been attempting to retrieve Fleetwing was forced to leave the area. By the time the tugboat was able to return, the second gale had caused irreparable damage to Fleetwing.\n\nThe State of Wisconsin owns the wreck of Fleetwing and the Wisconsin Historical Society and Wisconsin Department of Natural Resources manage the wreck site. The wreck lies in of water in Garrett Bay.\n\nReferences\n\n1867 ships\nMaritime incidents in 1888\nShipwrecks of Lake Michigan\nShipwrecks of the Wisconsin coast\nShipwrecks on the National Register of Historic Places in Wisconsin\nNational Register of Historic Places in Door County, Wisconsin\nShips built in Manitowoc, Wisconsin\nWreck diving sites", "Mysterious Intruder is a 1946 American mystery film noir based on the radio drama The Whistler. Directed by William Castle, the production features Richard Dix, Barton MacLane and Nina Vale. It is the fifth of Columbia Pictures' eight \"Whistler\" films produced in the 1940s, the first seven starring Dix.\n\nPlot\nEdward Stillwell, the aged proprietor of a music store, hires private detective Don Gale (Dix) to find Elora Lund, a then 14-year-old who vanished seven years ago at the time her mother died. Stillwell can only pay $100, but hints mysteriously that finding Lund could make Gale a rich man.\n\nA young woman claiming to be Elora Lund shows up at Stillwell's shop, supposedly in answer to his newspaper advertisement. Stillwell tells her that her mother gave him some \"odds and ends\" to sell; he discovered something very valuable among them, but refuses to give her any details until he telephones Gale. Meanwhile, Harry Pontos sneaks into the basement and finds a package marked as belonging to Lund. He grabs it, then stabs Stillwell to death and kidnaps \"Elora Lund\". Gale informs the reporters at the murder scene that the woman is not Lund. The news results in her release unharmed.\n\nGale goes to see her; her real name is Freda Hanson, and she is Gale's accomplice. From clues that Hanson is able to provide, Gale retraces her steps and finds the house occupied by Pontos. Finding Pontos drunk and passed out, he looks around, but just then, Police Detectives Taggart and Burns bang on the door. Pontos awakens, grabs a gun and a shootout ensues. Gale sneaks away, but is seen by a neighbor and loses a shoe in the process.\n\nTaggart and Burns question Gale, inform him that Pontos is dead and return his shoe. When he refuses to cooperate, they arrest him, but release him a little later (hoping he will lead them somewhere). He goes to see Hanson and finally gets her to admit that what she is after is worth $200,000. When there is a knock on the door, he hides and finds a newspaper clipping indicating that a magnate has offered $100,000 each for two wax cylinder recordings legendary Swedish singer Jenny Lind made shortly before her death.\n\nMeanwhile, the real Elora Lund goes to the police. Taggert and Burns send her to see Gale to try to find out what he knows. She remembers the recordings; Gale offers to secure them for 25% of their value. He persuades her to stay with his associate Rose Deming while he does so.\n\nJames Summers, the manager of the apartment building in which Hanson lives, finds her strangled body in her closet. The police figure Gale is guilty, as he was seen leaving her apartment around the time of the murder. Joan Hill, Gale's secretary, warns him he is a wanted man.\n\nHe heads to Stillwell's place, finding his neighbor and friend, Mr. Brown, dead too. Down in the basement, he sees Summers and an accomplice. They have found the recordings. Summers offers to cut Gale in, but Gale does not like what happened to Summers' other partners: Hanson and Pontos. A gunfight breaks out. Gale shoots Summers, grabs the recordings and flees. He telephones police headquarters and announces he has the recordings. When he hears someone coming after him, he fires. He is shot and killed ... by the police. Taggart notes that one of the shots has shattered the recordings.\n\nCast\n Richard Dix as Don Gale\n Barton MacLane as Detective Taggart\n Nina Vale as Joan Hill\n Regis Toomey as James Summers\n Helen Mowery as Freda Hanson\n Mike Mazurki as Harry Pontos\n Pamela Blake as Elora Lund\n Charles Lane as Detective Burns\n Paul E. Burns as Edward Stillwell\n Kathleen Howard as Rose Deming\n Harlan Briggs as Mr. Brown\n\nReception\nFilm critic Dennis Schwartz liked the film and wrote a positive film review, \"This was the fifth episode in Columbia Picture's \"The Whistler\" series, and is one of the better ones. William Castle (The Tingler/Strait-Jacket/Shanks) directs this low-budget black-and-white enjoyable minor film noir, that comes with a choice narration by the disguised Whistler (Otto Forrest) ... It has a good performance by Richard Dix as the unscrupulous private detective and a plausible surprise ending.\"\n\nReferences\n\nExternal links\n \n \n \n \n \n\n1946 films\n1940s crime thriller films\nAmerican crime thriller films\nAmerican films\nAmerican black-and-white films\nColumbia Pictures films\nAmerican detective films\nEnglish-language films\nFilm noir\nFilms based on radio series\nFilms directed by William Castle\nThe Whistler films" ]
[ "Don Hutson", "Early years and college" ]
C_d0f7588f4bb64b6eaf4fd307f6d1b91d_1
WHere was he born?
1
WHere was Don Hutson born?
Don Hutson
Hutson was born on January 31, 1913, in Pine Bluff, Arkansas, one of three sons of Roy B. Hutson and Mabel Clark Hutson. While a Boy Scout, he played with snakes. He said that's where he got his quickness and agility. As a teenager Hutson played baseball for Pine Bluff's town team. As a senior at Pine Bluff High School he was an all-state basketball player, which he said was his favorite sport. "I'm like most [athletes]," he said. "I'd rather see football, but I'd rather play basketball." Hutson played one year of football at Pine Bluff. Hutson played at end for coach Frank Thomas's Alabama Crimson Tide football team from 1932 to 1934. Bear Bryant, future long-time coach of the Tide, was the self-described "other end" on the Tide in 1933 and 1934. Bryant once remarked, "...he was something to see even then. We'd hitchhike to Pine Bluff just to watch him play. I saw him catch five touchdown passes in one game in high school." Sportswriter Morgan Blake ranked the undefeated 1934 Tide as the best team he ever saw. Hutson's College Football Hall of Fame profile reads: "Fluid in motion, wondrously elusive with the fake, inventive in his patterns and magnificently at ease when catching the ball ... Hutson and fellow Hall of Famer Millard "Dixie" Howell became football's most celebrated passing combination." Hutson had six catches for 165 yards, including two touchdowns of 54 and 59 yards in the 1935 Rose Bowl against Stanford. He also scored the winning touchdown over Robert Neyland's Tennessee Volunteers on an end-around. Hutson was recognized as a first-team All-American for six different organizations and received a second-team selection by one other. In an attempt to name retroactive Heisman Trophy winners before its first year of 1936, Hutson was awarded it for 1934 by the National Football Foundation. Georgia Tech coach Bill Alexander once said, "All Don Hutson can do is beat you with clever hands and the most baffling change of pace I've ever seen." CANNOTANSWER
Pine Bluff, Arkansas,
Donald Montgomery Hutson (January 31, 1913 – June 26, 1997) was an American professional football player and assistant coach in the National Football League (NFL). He played as an end and spent his entire 11-year professional career with the Green Bay Packers. Under head coach Curly Lambeau, Hutson led the Packers to four NFL Championship Games, winning three: 1936, 1939, and 1944. Hutson joined the Packers in 1935 and played 11 seasons before he retired in 1945. He led the league in receiving yards in seven separate seasons and in receiving touchdowns in nine. A talented safety on defense, he also led the NFL in interceptions in 1940. Hutson was an eight-time All-Pro selection, a four-time All-Star, and was twice awarded the Joe F. Carr Trophy as the NFL Most Valuable Player. Hutson is considered to have been the first modern wide receiver, and is credited with creating many of the modern pass routes used in the NFL today. He was the dominant receiver of his day, and is widely considered one of the greatest receivers in NFL history. Hutson was the first 1,000 yard receiver in the NFL. He held almost all major receiving records at the time of his retirement, including career receptions, yards, and touchdowns. He was inducted as a charter member of both the College Football Hall of Fame and the Pro Football Hall of Fame. Hutson's number 14 was the first jersey retired by the Packers, and he is a member of the Green Bay Packers Hall of Fame. In 1969, Hutson was selected to the National Football League 50th Anniversary All-Time Team as one of the greatest players of the NFL's first 50 years. In 1994, Hutson was selected to the National Football League 75th Anniversary All-Time Team as one of the greatest players of the NFL's first 75 years. In 2019, he was unanimously selected to the NFL 100th Anniversary All-Time Team as one of the greatest players of the NFL's first 100 years. Early years and college Hutson was born on January 31, 1913, in Pine Bluff, Arkansas, one of three sons of Roy B. Hutson and Mabel Clark Hutson. While a Boy Scout, he played with snakes. He said that is where he got his quickness and agility. As a teenager Hutson played baseball for Pine Bluff's town team. As a senior at Pine Bluff High School he was an all-state basketball player, which he said was his favorite sport. "I'm like most [athletes]," he said. "I'd rather see football, but I'd rather play basketball." Hutson played one year of football at Pine Bluff. Hutson played at end for coach Frank Thomas's Alabama Crimson Tide football team from 1932 to 1934. Bear Bryant, future long-time coach of the Tide, was the self-described "other end" on the Tide in 1933 and 1934. Bryant once remarked, "...he was something to see even then. We'd hitchhike to Pine Bluff just to watch him play. I saw him catch five touchdown passes in one game in high school." Sportswriter Morgan Blake ranked the undefeated 1934 Tide as the best team he ever saw. Hutson's College Football Hall of Fame profile reads: "Fluid in motion, wondrously elusive with the fake, inventive in his patterns and magnificently at ease when catching the ball ... Hutson and fellow Hall of Famer Millard "Dixie" Howell became football's most celebrated passing combination." Hutson had six catches for 165 yards, including two touchdowns of 54 and 59 yards in the 1935 Rose Bowl against Stanford. He also scored the winning touchdown over Robert Neyland's Tennessee Volunteers on an end-around. Hutson was recognized as a first-team All-American for six different organizations and received a second-team selection by one other. In an attempt to name retroactive Heisman Trophy winners before its first year of 1936, Hutson was awarded it for 1934 by the National Football Foundation. Georgia Tech coach Bill Alexander once said, "All Don Hutson can do is beat you with clever hands and the most baffling change of pace I've ever seen." NFL career When he graduated from Alabama, Hutson did not plan on playing professionally. In those days, the NFL was not highly regarded in the South compared to college football. But Green Bay Packers head coach Curly Lambeau saw Hutson as the perfect receiver for his passing attack, which at the time was headed by quarterback Arnie Herber and end John "Blood" McNally. By this time, a number of teams, including Alabama, were experimenting with spreading the field by moving one end far out near the sideline, drawing the defense away from running plays and leaving them more open on passing ones. Hutson had thrived in this scheme, leading Lambeau to conclude that he would be the perfect fit for Green Bay's offense. Before the draft existed, college players could sign with any team they wanted, and while Hutson did sign a contract with Green Bay, he had also signed a contract with the NFL's Brooklyn Dodgers. Both contracts came to the NFL office at the same time, and NFL president Joseph Carr declared that Hutson would go to Green Bay, as the Green Bay contract had an earlier date of signing. Hutson later stated he chose the Packers because they offered the most money—$300 a game. "That was far and above what they had ever paid a player," said Hutson. "Each week they'd give me a check for $150 from one bank and $150 from another so nobody would know how much I was getting paid." Split end Hutson's first catch as a professional was on an 83-yard touchdown pass from Herber on the first play from scrimmage against the Chicago Bears, in the second game of the 1935 season. It was the only score of the game as the Packers won 7–0. He caught six touchdowns total in his rookie season, which led the league. It was the first in a string of four straight seasons and nine seasons total that Hutson led the league in touchdown receptions. The next season the Packers won their fourth league title, with a 21–6 win over the Boston Redskins in the 1936 NFL Championship Game. Hutson scored the first touchdown of the game, on a 48-yard pass from Herber in the first quarter. Hutson completed the season with 34 receptions for 536 yards and eight touchdowns, which were all league records, and helped Herber set the NFL season passing yards record. Hutson's yardage record was broken the next season by Chicago Cardinals receiver Gaynell Tinsley, who challenged Hutson over the next few years for the title of best receiver in the NFL. In 1938, Hutson had nine touchdown receptions, again setting the league record, as he led the Packers to another NFL Championship Game, this time against the New York Giants. However, a knee injury he suffered four weeks earlier kept him out of the game's starting lineup. He entered as a substitute three separate times late in the game but was unable to be a factor, catching no passes as Green Bay was defeated 23–17. Hutson reclaimed the season receiving yards record from Tinsley in 1939 by catching 34 passes for 846 yards—an average of 24.9 yards per reception, the highest of his career. He again led the Packers to the championship game, for a rematch against the Giants. This time Green Bay was victorious, with a 27–0 shutout win. Hutson had two receptions in the game for 21 yards and a rushing attempt that went for three yards. In 1940, Hutson scored seven touchdowns and kicked 15 extra points to lead the league in scoring by edging out Rams fullback Johnny Drake by a single point. On September 29, Hutson caught his 38th career touchdown pass, breaking Johnny Blood's record. With 99 touchdown receptions for his career, he remained the record holder for almost 50 years, until surpassed by the last touchdown of Steve Largent's career in 1989. In 1941, Hutson became the first receiver to catch 50 passes in a season, doing so while again leading the league in receptions, receiving yards, and touchdowns. He also scored two rushing touchdowns, for a total of 12. After the season, he was awarded the Joe F. Carr Trophy as the league's most valuable player. He received six of the nine first place votes, finishing ahead of his quarterback Cecil Isbell, who received two first place votes. Hutson repeated as league MVP in 1942 as he shattered most of his own records; he caught 74 passes for 1,211 yards and 17 touchdowns and averaged over 110 receiving yards per game. This was the first time a receiver had reached the 1,000 yard milestone. He again received six of nine first place votes for the Joe F. Carr Trophy. "The selection did not rest alone on his great pass catching ability," reasoned the selection committee. "Also considered were his nuisance value as a disrupter of enemy defenses and his ability to transform the Packers into a confident, powerful aggregation in clutch situations." His production helped Isbell become the first NFL quarterback to throw for over 2,000 yards in a season. In February 1943, Hutson announced his retirement from football due to a lingering chest injury. He changed his mind and returned for the 1943 season, however, and caught 47 passes for 776 yards and eleven touchdowns, leading the league in all three. He also threw his first and only completed pass of his career: a 38-yard touchdown pass to Harry Jacunski against the Bears. Additionally, he successfully kicked 36 extra points on 36 tries, and had an 83-yard interception return touchdown. After the season Hutson again announced his intention to retire as a player, this time to be an assistant coach for the Packers. He once again returned as a player in 1944 and again led the league with 58 receptions, 866 yards, and nine touchdowns, while also serving as assistant coach. He led the Packers to the 1944 NFL Championship Game against the Giants and caught two passes for 47 yards, as the Packers won their third and final championship with Hutson, 14–7. For the third time in as many years Hutson announced his retirement, and for the third time he returned as a player in 1945. A sportswriter for The Pittsburgh Press jokingly declared Hutson "holder of the world's record for coming out of retirement." In a week three, 57–21 blowout win against the Detroit Lions, Hutson set an NFL record with four touchdown receptions in a game, all of them coming in the second quarter. He also kicked five extra points in the quarter, for a total of 29 points, which as of 2015 remains a record for points by a player in a single quarter. In all, Hutson caught 488 passes for 7,991 yards and 99 touchdowns. He rushed for three touchdowns, scored two touchdowns on blocked punts, and had an interception return touchdown for a career total of 105. He scored at least six receiving touchdowns in each of his 11 seasons. Hutson led the NFL in receptions eight times, including five consecutive times: 1941 to 1945. He led the NFL in receiving yards seven times, including four straight times: 1941 to 1944. He led the NFL in scoring five times: 1941 to 1945. As of 2016, Hutson still holds the highest career average touchdowns per game for a receiver, at 0.85. Hutson's single season record of 17 touchdown receptions in 1942 stood for 42 years until broken by receiver Mark Clayton in 1984, a year in which Miami's quarterback Dan Marino had more completions (362) than the entire 1942 Packers team's pass attempts (330). His four receiving touchdowns in a game has been surpassed three times and tied several times, but his four in a single quarter has yet to be matched. His record 99 touchdown receptions stood for 44 years, well into the modern era. In his 11-year professional career, Hutson never missed a game due to injury. He invented many pass routes still in use today, including the chair route. At his peak, Hutson was a challenge to defend, mainly because no one had ever seen anything like him in the NFL before. Even when opposing defenses deployed their best defender or multiple defenders against Hutson, he was almost always able to break free. Hutson's ability to beat defenders was remarkable considering he played in an era when there were far fewer restrictions on how and when a defender could legally hit a receiver. It was initially thought that the 6-1, 185-pound Hutson was too fragile for the NFL. However, according to Tony Canadeo, who played alongside Hutson from 1941 to 1944, Hutson was as skilled going over the middle as he was going deep. Defense and special teams For many of his 11 seasons, Hutson was also the Packers' kicker. He added 172 extra points on 183 attempts and seven field goals on 15 attempts for another league record 823 points. He led the league in extra points made and attempted in 1941, 1942 and 1945 and in field goals made in 1943. As did almost all players in his day, Hutson played both offense and defense. On defense, he played safety and intercepted 30 passes over the final six years of his career. His highest season total was in 1943, when he intercepted eight passes in ten games. In 1940, he led the NFL with six interceptions. Hutson was a player-coach during the last two seasons of his playing career. After his retirement as a player, Hutson remained on the Packers staff as an assistant until 1948. Personal and later life From an early age Hutson was interested in business. "At the university [of Alabama], I was the only athlete in the business school," he said. "The only reason I wanted to play pro sports was to get a stake." While both were students at Alabama, he partnered with Bear Bryant to operate a laundromat in Tuscaloosa called Captain Kidd Cleaners. However, neither were educated in laundering, and they sold the business after two years. While in Green Bay, Hutson opened the Packer Playdium bowling alley, which proved so successful that he twice considered retirement from football to fully dedicate his time to its operation. He then started the Hutson Motor Car Co. dealership and in 1951 purchased Chevrolet and Cadillac agencies in Racine, Wisconsin. "I never aimed for automobiles," said Hutson. "That just happened to be the thing I got into. I just wanted to run a business, any business. He also served on the Packers board of directors from 1952 to 1980, when he was elected a director emeritus. After he retired from the dealership business, Hutson settled in Rancho Mirage, California, where he lived until his death on June 26, 1997, at the age of 84. Honors and recognition Hutson has been honored in a variety of ways. He was elected to the Wisconsin Athletic Hall of Fame as a charter member in 1951, and the Alabama Sports Hall of Fame in 1968, also as an initial member. His number 14 was the first number retired by the Packers, in a public ceremony at a game at City Stadium on December 2, 1951. Hutson Street in the Packerland Industrial Park in Green Bay is named for him, and in 1994 the Packers named their new state-of-the-art indoor practice facility across the street from Lambeau Field the "Don Hutson Center." Hutson was inducted as a charter member of both the College Football Hall of Fame in 1951, and Pro Football Hall of Fame in 1963. His college career made him a unanimous choice for the Associated Press Southeast Area All-Time football team 1920–1969 era. Hutson is a member of the Green Bay Packers Hall of Fame, inducted in 1972 along with his quarterbacks, Arnie Herber and Cecil Isbell. There is a park named after him in his hometown of Pine Bluff, Arkansas. On the occasion of his 75th birthday he performed the ceremonial coin toss of Super Bowl XXII to end the pregame ceremonies. Hutson was named to the NFL's 1930s All-Decade Team and 50th Anniversary Team in 1970, and in 1994 he was named to the NFL 75th Anniversary All-Time Team. In 1999, he was ranked sixth on The Sporting News list of the 100 Greatest Football Players, the highest-ranking Packer and the highest-ranking pre–World War II player. In 2012, the NFL Network named Hutson the greatest Green Bay Packer of all time. In 2005, the Flagstad family of Green Bay donated to the Green Bay Packers Hall of Fame an authentic Packers No. 14 jersey worn by Hutson. The jersey was found in a trunk of old uniforms in 1946 at the Rockwood Lodge, the Packers' summer training camp from 1946 to 1949, owned by Melvin and Helen Flagstad. The jersey, a rare NFL artifact valued at over $17,000, was donated by son Daniel Flagstad in memory of his parents. Hutson's most productive seasons were from 1942 to 1945, a time in which the NFL was severely depleted with many of its most talented players and prospective college athletes serving in the military during World War II. Hutson was classified I-A for the military draft, but had three daughters, so was able to avoid conscription. On the notion that Hutson exploited watered-down defenses, former Packers Hall of Fame running back Paul Hornung responded as such: "I'm a believer. Am I a believer! You know what Hutson would do in this league today? The same things he did when he played." NFL records As of the end of the 2017 NFL season, Hutson still holds the following records: most seasons leading league in pass receptions (8), most consecutive seasons leading league in pass receptions (5), most seasons leading league in pass receiving yards gained (7), most consecutive seasons leading league in pass receiving yards gained (4), most seasons leading league in pass receiving touchdowns (9), most seasons leading the league in total touchdowns (8), Most consecutive seasons leading league in pass receiving touchdowns (5), most seasons leading league in scoring (5, now tied), and most consecutive seasons leading league in scoring (5). Sportswriter Zipp Newman referred to Hutson as "the Ty Cobb of the gridiron." Records held as of retirement: Most seasons led league, scoring: 5* Most consecutive seasons led league, scoring: 5* Most touchdowns scored in a quarter: 4* Most touchdown receptions in a quarter: 4* Most points scored in a quarter: 29* Most seasons led league, touchdowns: 8* Most consecutive seasons led league, touchdowns: 4* Most seasons led league, receiving touchdowns: 9* Most consecutive seasons led league, receiving touchdowns: 5* Most seasons led league, receptions: 8* Most consecutive seasons led league, receptions: 5* Most seasons led league, receiving yards: 7* Most consecutive seasons led league, receiving yards: 4* Most receptions, career: 488 Most receptions, season: 74 Most receptions, game: 14 Most receiving yards, career: 7,991 Most receiving yards, season: 1,211 Most receiving yards, game: 209 Most receiving touchdowns, career: 99 Most touchdowns, season: 17 Most touchdowns, game: 4 Most points scored in a calendar month: 74 (Four games in October 1945) Note: * = remains an NFL record as of 2017 season NFL career statistics Regular season Notes References General Footnotes Further reading Eisenberg, John (2009), That First Season: How Vince Lombardi Took the Worst Team in the NFL and Set It on the Path to Glory. New York: Houghton Mifflin Harcourt. Poling, Jerry (2006), After They Were Packers: The Super Bowl XXXI Champs & Other Green Bay Legends. Big Earth Publishing. External links 1913 births 1997 deaths American football ends American football wide receivers Alabama Crimson Tide football players Green Bay Packers coaches Green Bay Packers players All-American college football players College Football Hall of Fame inductees National Football League players with retired numbers Pro Football Hall of Fame inductees Sportspeople from Pine Bluff, Arkansas People from Rancho Mirage, California Players of American football from Arkansas National Football League Most Valuable Player Award winners
true
[ "Miguel Skrobot (Warsaw, 1873 – Curitiba, February 20, 1912) was a businessman Brazilian of Polish origin.\n\nMiguel Skrobot was born in 1873, in Warsaw, Poland, to José Skrobot and Rosa Skrobot. When he was 18 he migrated to Brazil and settled in Curitiba as a merchant.\n\nHe married Maria Pansardi, who was born in Tibagi, Paraná, to Italian immigrants, and she bore him three children. He kept a steam-powered factory where he worked on grinding and toasting coffee beans under the \"Rio Branco\" brand, located on the spot where today stands the square called Praça Zacarias (square located in the center of Curitiba). He also owned a grocery store near Praça Tiradentes (also a square in the center of Curitiba, where the city was born). He died an early death, when he was 39, on February 20, 1912.\n\nReferences\n\n1873 births\n1912 deaths\nBrazilian businesspeople\nPeople from Curitiba\nPolish emigrants to Brazil", "Adolf von Rauch (22 April 1798 - 12 December 1882) was a German paper manufacturer in Heilbronn, where he was born and died and where he was a major builder of social housing.\n\nPapermakers\n1798 births\n1882 deaths\nPeople from Heilbronn" ]
[ "Don Hutson", "Early years and college", "WHere was he born?", "Pine Bluff, Arkansas," ]
C_d0f7588f4bb64b6eaf4fd307f6d1b91d_1
Are there any other interesting aspects about this article?
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Are there any other interesting aspects about this article on Don Hutson, Early years and college other than where he was born?
Don Hutson
Hutson was born on January 31, 1913, in Pine Bluff, Arkansas, one of three sons of Roy B. Hutson and Mabel Clark Hutson. While a Boy Scout, he played with snakes. He said that's where he got his quickness and agility. As a teenager Hutson played baseball for Pine Bluff's town team. As a senior at Pine Bluff High School he was an all-state basketball player, which he said was his favorite sport. "I'm like most [athletes]," he said. "I'd rather see football, but I'd rather play basketball." Hutson played one year of football at Pine Bluff. Hutson played at end for coach Frank Thomas's Alabama Crimson Tide football team from 1932 to 1934. Bear Bryant, future long-time coach of the Tide, was the self-described "other end" on the Tide in 1933 and 1934. Bryant once remarked, "...he was something to see even then. We'd hitchhike to Pine Bluff just to watch him play. I saw him catch five touchdown passes in one game in high school." Sportswriter Morgan Blake ranked the undefeated 1934 Tide as the best team he ever saw. Hutson's College Football Hall of Fame profile reads: "Fluid in motion, wondrously elusive with the fake, inventive in his patterns and magnificently at ease when catching the ball ... Hutson and fellow Hall of Famer Millard "Dixie" Howell became football's most celebrated passing combination." Hutson had six catches for 165 yards, including two touchdowns of 54 and 59 yards in the 1935 Rose Bowl against Stanford. He also scored the winning touchdown over Robert Neyland's Tennessee Volunteers on an end-around. Hutson was recognized as a first-team All-American for six different organizations and received a second-team selection by one other. In an attempt to name retroactive Heisman Trophy winners before its first year of 1936, Hutson was awarded it for 1934 by the National Football Foundation. Georgia Tech coach Bill Alexander once said, "All Don Hutson can do is beat you with clever hands and the most baffling change of pace I've ever seen." CANNOTANSWER
While a Boy Scout, he played with snakes.
Donald Montgomery Hutson (January 31, 1913 – June 26, 1997) was an American professional football player and assistant coach in the National Football League (NFL). He played as an end and spent his entire 11-year professional career with the Green Bay Packers. Under head coach Curly Lambeau, Hutson led the Packers to four NFL Championship Games, winning three: 1936, 1939, and 1944. Hutson joined the Packers in 1935 and played 11 seasons before he retired in 1945. He led the league in receiving yards in seven separate seasons and in receiving touchdowns in nine. A talented safety on defense, he also led the NFL in interceptions in 1940. Hutson was an eight-time All-Pro selection, a four-time All-Star, and was twice awarded the Joe F. Carr Trophy as the NFL Most Valuable Player. Hutson is considered to have been the first modern wide receiver, and is credited with creating many of the modern pass routes used in the NFL today. He was the dominant receiver of his day, and is widely considered one of the greatest receivers in NFL history. Hutson was the first 1,000 yard receiver in the NFL. He held almost all major receiving records at the time of his retirement, including career receptions, yards, and touchdowns. He was inducted as a charter member of both the College Football Hall of Fame and the Pro Football Hall of Fame. Hutson's number 14 was the first jersey retired by the Packers, and he is a member of the Green Bay Packers Hall of Fame. In 1969, Hutson was selected to the National Football League 50th Anniversary All-Time Team as one of the greatest players of the NFL's first 50 years. In 1994, Hutson was selected to the National Football League 75th Anniversary All-Time Team as one of the greatest players of the NFL's first 75 years. In 2019, he was unanimously selected to the NFL 100th Anniversary All-Time Team as one of the greatest players of the NFL's first 100 years. Early years and college Hutson was born on January 31, 1913, in Pine Bluff, Arkansas, one of three sons of Roy B. Hutson and Mabel Clark Hutson. While a Boy Scout, he played with snakes. He said that is where he got his quickness and agility. As a teenager Hutson played baseball for Pine Bluff's town team. As a senior at Pine Bluff High School he was an all-state basketball player, which he said was his favorite sport. "I'm like most [athletes]," he said. "I'd rather see football, but I'd rather play basketball." Hutson played one year of football at Pine Bluff. Hutson played at end for coach Frank Thomas's Alabama Crimson Tide football team from 1932 to 1934. Bear Bryant, future long-time coach of the Tide, was the self-described "other end" on the Tide in 1933 and 1934. Bryant once remarked, "...he was something to see even then. We'd hitchhike to Pine Bluff just to watch him play. I saw him catch five touchdown passes in one game in high school." Sportswriter Morgan Blake ranked the undefeated 1934 Tide as the best team he ever saw. Hutson's College Football Hall of Fame profile reads: "Fluid in motion, wondrously elusive with the fake, inventive in his patterns and magnificently at ease when catching the ball ... Hutson and fellow Hall of Famer Millard "Dixie" Howell became football's most celebrated passing combination." Hutson had six catches for 165 yards, including two touchdowns of 54 and 59 yards in the 1935 Rose Bowl against Stanford. He also scored the winning touchdown over Robert Neyland's Tennessee Volunteers on an end-around. Hutson was recognized as a first-team All-American for six different organizations and received a second-team selection by one other. In an attempt to name retroactive Heisman Trophy winners before its first year of 1936, Hutson was awarded it for 1934 by the National Football Foundation. Georgia Tech coach Bill Alexander once said, "All Don Hutson can do is beat you with clever hands and the most baffling change of pace I've ever seen." NFL career When he graduated from Alabama, Hutson did not plan on playing professionally. In those days, the NFL was not highly regarded in the South compared to college football. But Green Bay Packers head coach Curly Lambeau saw Hutson as the perfect receiver for his passing attack, which at the time was headed by quarterback Arnie Herber and end John "Blood" McNally. By this time, a number of teams, including Alabama, were experimenting with spreading the field by moving one end far out near the sideline, drawing the defense away from running plays and leaving them more open on passing ones. Hutson had thrived in this scheme, leading Lambeau to conclude that he would be the perfect fit for Green Bay's offense. Before the draft existed, college players could sign with any team they wanted, and while Hutson did sign a contract with Green Bay, he had also signed a contract with the NFL's Brooklyn Dodgers. Both contracts came to the NFL office at the same time, and NFL president Joseph Carr declared that Hutson would go to Green Bay, as the Green Bay contract had an earlier date of signing. Hutson later stated he chose the Packers because they offered the most money—$300 a game. "That was far and above what they had ever paid a player," said Hutson. "Each week they'd give me a check for $150 from one bank and $150 from another so nobody would know how much I was getting paid." Split end Hutson's first catch as a professional was on an 83-yard touchdown pass from Herber on the first play from scrimmage against the Chicago Bears, in the second game of the 1935 season. It was the only score of the game as the Packers won 7–0. He caught six touchdowns total in his rookie season, which led the league. It was the first in a string of four straight seasons and nine seasons total that Hutson led the league in touchdown receptions. The next season the Packers won their fourth league title, with a 21–6 win over the Boston Redskins in the 1936 NFL Championship Game. Hutson scored the first touchdown of the game, on a 48-yard pass from Herber in the first quarter. Hutson completed the season with 34 receptions for 536 yards and eight touchdowns, which were all league records, and helped Herber set the NFL season passing yards record. Hutson's yardage record was broken the next season by Chicago Cardinals receiver Gaynell Tinsley, who challenged Hutson over the next few years for the title of best receiver in the NFL. In 1938, Hutson had nine touchdown receptions, again setting the league record, as he led the Packers to another NFL Championship Game, this time against the New York Giants. However, a knee injury he suffered four weeks earlier kept him out of the game's starting lineup. He entered as a substitute three separate times late in the game but was unable to be a factor, catching no passes as Green Bay was defeated 23–17. Hutson reclaimed the season receiving yards record from Tinsley in 1939 by catching 34 passes for 846 yards—an average of 24.9 yards per reception, the highest of his career. He again led the Packers to the championship game, for a rematch against the Giants. This time Green Bay was victorious, with a 27–0 shutout win. Hutson had two receptions in the game for 21 yards and a rushing attempt that went for three yards. In 1940, Hutson scored seven touchdowns and kicked 15 extra points to lead the league in scoring by edging out Rams fullback Johnny Drake by a single point. On September 29, Hutson caught his 38th career touchdown pass, breaking Johnny Blood's record. With 99 touchdown receptions for his career, he remained the record holder for almost 50 years, until surpassed by the last touchdown of Steve Largent's career in 1989. In 1941, Hutson became the first receiver to catch 50 passes in a season, doing so while again leading the league in receptions, receiving yards, and touchdowns. He also scored two rushing touchdowns, for a total of 12. After the season, he was awarded the Joe F. Carr Trophy as the league's most valuable player. He received six of the nine first place votes, finishing ahead of his quarterback Cecil Isbell, who received two first place votes. Hutson repeated as league MVP in 1942 as he shattered most of his own records; he caught 74 passes for 1,211 yards and 17 touchdowns and averaged over 110 receiving yards per game. This was the first time a receiver had reached the 1,000 yard milestone. He again received six of nine first place votes for the Joe F. Carr Trophy. "The selection did not rest alone on his great pass catching ability," reasoned the selection committee. "Also considered were his nuisance value as a disrupter of enemy defenses and his ability to transform the Packers into a confident, powerful aggregation in clutch situations." His production helped Isbell become the first NFL quarterback to throw for over 2,000 yards in a season. In February 1943, Hutson announced his retirement from football due to a lingering chest injury. He changed his mind and returned for the 1943 season, however, and caught 47 passes for 776 yards and eleven touchdowns, leading the league in all three. He also threw his first and only completed pass of his career: a 38-yard touchdown pass to Harry Jacunski against the Bears. Additionally, he successfully kicked 36 extra points on 36 tries, and had an 83-yard interception return touchdown. After the season Hutson again announced his intention to retire as a player, this time to be an assistant coach for the Packers. He once again returned as a player in 1944 and again led the league with 58 receptions, 866 yards, and nine touchdowns, while also serving as assistant coach. He led the Packers to the 1944 NFL Championship Game against the Giants and caught two passes for 47 yards, as the Packers won their third and final championship with Hutson, 14–7. For the third time in as many years Hutson announced his retirement, and for the third time he returned as a player in 1945. A sportswriter for The Pittsburgh Press jokingly declared Hutson "holder of the world's record for coming out of retirement." In a week three, 57–21 blowout win against the Detroit Lions, Hutson set an NFL record with four touchdown receptions in a game, all of them coming in the second quarter. He also kicked five extra points in the quarter, for a total of 29 points, which as of 2015 remains a record for points by a player in a single quarter. In all, Hutson caught 488 passes for 7,991 yards and 99 touchdowns. He rushed for three touchdowns, scored two touchdowns on blocked punts, and had an interception return touchdown for a career total of 105. He scored at least six receiving touchdowns in each of his 11 seasons. Hutson led the NFL in receptions eight times, including five consecutive times: 1941 to 1945. He led the NFL in receiving yards seven times, including four straight times: 1941 to 1944. He led the NFL in scoring five times: 1941 to 1945. As of 2016, Hutson still holds the highest career average touchdowns per game for a receiver, at 0.85. Hutson's single season record of 17 touchdown receptions in 1942 stood for 42 years until broken by receiver Mark Clayton in 1984, a year in which Miami's quarterback Dan Marino had more completions (362) than the entire 1942 Packers team's pass attempts (330). His four receiving touchdowns in a game has been surpassed three times and tied several times, but his four in a single quarter has yet to be matched. His record 99 touchdown receptions stood for 44 years, well into the modern era. In his 11-year professional career, Hutson never missed a game due to injury. He invented many pass routes still in use today, including the chair route. At his peak, Hutson was a challenge to defend, mainly because no one had ever seen anything like him in the NFL before. Even when opposing defenses deployed their best defender or multiple defenders against Hutson, he was almost always able to break free. Hutson's ability to beat defenders was remarkable considering he played in an era when there were far fewer restrictions on how and when a defender could legally hit a receiver. It was initially thought that the 6-1, 185-pound Hutson was too fragile for the NFL. However, according to Tony Canadeo, who played alongside Hutson from 1941 to 1944, Hutson was as skilled going over the middle as he was going deep. Defense and special teams For many of his 11 seasons, Hutson was also the Packers' kicker. He added 172 extra points on 183 attempts and seven field goals on 15 attempts for another league record 823 points. He led the league in extra points made and attempted in 1941, 1942 and 1945 and in field goals made in 1943. As did almost all players in his day, Hutson played both offense and defense. On defense, he played safety and intercepted 30 passes over the final six years of his career. His highest season total was in 1943, when he intercepted eight passes in ten games. In 1940, he led the NFL with six interceptions. Hutson was a player-coach during the last two seasons of his playing career. After his retirement as a player, Hutson remained on the Packers staff as an assistant until 1948. Personal and later life From an early age Hutson was interested in business. "At the university [of Alabama], I was the only athlete in the business school," he said. "The only reason I wanted to play pro sports was to get a stake." While both were students at Alabama, he partnered with Bear Bryant to operate a laundromat in Tuscaloosa called Captain Kidd Cleaners. However, neither were educated in laundering, and they sold the business after two years. While in Green Bay, Hutson opened the Packer Playdium bowling alley, which proved so successful that he twice considered retirement from football to fully dedicate his time to its operation. He then started the Hutson Motor Car Co. dealership and in 1951 purchased Chevrolet and Cadillac agencies in Racine, Wisconsin. "I never aimed for automobiles," said Hutson. "That just happened to be the thing I got into. I just wanted to run a business, any business. He also served on the Packers board of directors from 1952 to 1980, when he was elected a director emeritus. After he retired from the dealership business, Hutson settled in Rancho Mirage, California, where he lived until his death on June 26, 1997, at the age of 84. Honors and recognition Hutson has been honored in a variety of ways. He was elected to the Wisconsin Athletic Hall of Fame as a charter member in 1951, and the Alabama Sports Hall of Fame in 1968, also as an initial member. His number 14 was the first number retired by the Packers, in a public ceremony at a game at City Stadium on December 2, 1951. Hutson Street in the Packerland Industrial Park in Green Bay is named for him, and in 1994 the Packers named their new state-of-the-art indoor practice facility across the street from Lambeau Field the "Don Hutson Center." Hutson was inducted as a charter member of both the College Football Hall of Fame in 1951, and Pro Football Hall of Fame in 1963. His college career made him a unanimous choice for the Associated Press Southeast Area All-Time football team 1920–1969 era. Hutson is a member of the Green Bay Packers Hall of Fame, inducted in 1972 along with his quarterbacks, Arnie Herber and Cecil Isbell. There is a park named after him in his hometown of Pine Bluff, Arkansas. On the occasion of his 75th birthday he performed the ceremonial coin toss of Super Bowl XXII to end the pregame ceremonies. Hutson was named to the NFL's 1930s All-Decade Team and 50th Anniversary Team in 1970, and in 1994 he was named to the NFL 75th Anniversary All-Time Team. In 1999, he was ranked sixth on The Sporting News list of the 100 Greatest Football Players, the highest-ranking Packer and the highest-ranking pre–World War II player. In 2012, the NFL Network named Hutson the greatest Green Bay Packer of all time. In 2005, the Flagstad family of Green Bay donated to the Green Bay Packers Hall of Fame an authentic Packers No. 14 jersey worn by Hutson. The jersey was found in a trunk of old uniforms in 1946 at the Rockwood Lodge, the Packers' summer training camp from 1946 to 1949, owned by Melvin and Helen Flagstad. The jersey, a rare NFL artifact valued at over $17,000, was donated by son Daniel Flagstad in memory of his parents. Hutson's most productive seasons were from 1942 to 1945, a time in which the NFL was severely depleted with many of its most talented players and prospective college athletes serving in the military during World War II. Hutson was classified I-A for the military draft, but had three daughters, so was able to avoid conscription. On the notion that Hutson exploited watered-down defenses, former Packers Hall of Fame running back Paul Hornung responded as such: "I'm a believer. Am I a believer! You know what Hutson would do in this league today? The same things he did when he played." NFL records As of the end of the 2017 NFL season, Hutson still holds the following records: most seasons leading league in pass receptions (8), most consecutive seasons leading league in pass receptions (5), most seasons leading league in pass receiving yards gained (7), most consecutive seasons leading league in pass receiving yards gained (4), most seasons leading league in pass receiving touchdowns (9), most seasons leading the league in total touchdowns (8), Most consecutive seasons leading league in pass receiving touchdowns (5), most seasons leading league in scoring (5, now tied), and most consecutive seasons leading league in scoring (5). Sportswriter Zipp Newman referred to Hutson as "the Ty Cobb of the gridiron." Records held as of retirement: Most seasons led league, scoring: 5* Most consecutive seasons led league, scoring: 5* Most touchdowns scored in a quarter: 4* Most touchdown receptions in a quarter: 4* Most points scored in a quarter: 29* Most seasons led league, touchdowns: 8* Most consecutive seasons led league, touchdowns: 4* Most seasons led league, receiving touchdowns: 9* Most consecutive seasons led league, receiving touchdowns: 5* Most seasons led league, receptions: 8* Most consecutive seasons led league, receptions: 5* Most seasons led league, receiving yards: 7* Most consecutive seasons led league, receiving yards: 4* Most receptions, career: 488 Most receptions, season: 74 Most receptions, game: 14 Most receiving yards, career: 7,991 Most receiving yards, season: 1,211 Most receiving yards, game: 209 Most receiving touchdowns, career: 99 Most touchdowns, season: 17 Most touchdowns, game: 4 Most points scored in a calendar month: 74 (Four games in October 1945) Note: * = remains an NFL record as of 2017 season NFL career statistics Regular season Notes References General Footnotes Further reading Eisenberg, John (2009), That First Season: How Vince Lombardi Took the Worst Team in the NFL and Set It on the Path to Glory. New York: Houghton Mifflin Harcourt. Poling, Jerry (2006), After They Were Packers: The Super Bowl XXXI Champs & Other Green Bay Legends. Big Earth Publishing. External links 1913 births 1997 deaths American football ends American football wide receivers Alabama Crimson Tide football players Green Bay Packers coaches Green Bay Packers players All-American college football players College Football Hall of Fame inductees National Football League players with retired numbers Pro Football Hall of Fame inductees Sportspeople from Pine Bluff, Arkansas People from Rancho Mirage, California Players of American football from Arkansas National Football League Most Valuable Player Award winners
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" ]
[ "Don Hutson", "Early years and college", "WHere was he born?", "Pine Bluff, Arkansas,", "Are there any other interesting aspects about this article?", "While a Boy Scout, he played with snakes." ]
C_d0f7588f4bb64b6eaf4fd307f6d1b91d_1
Who are his parents?
3
Who are Don Hutson's parents?
Don Hutson
Hutson was born on January 31, 1913, in Pine Bluff, Arkansas, one of three sons of Roy B. Hutson and Mabel Clark Hutson. While a Boy Scout, he played with snakes. He said that's where he got his quickness and agility. As a teenager Hutson played baseball for Pine Bluff's town team. As a senior at Pine Bluff High School he was an all-state basketball player, which he said was his favorite sport. "I'm like most [athletes]," he said. "I'd rather see football, but I'd rather play basketball." Hutson played one year of football at Pine Bluff. Hutson played at end for coach Frank Thomas's Alabama Crimson Tide football team from 1932 to 1934. Bear Bryant, future long-time coach of the Tide, was the self-described "other end" on the Tide in 1933 and 1934. Bryant once remarked, "...he was something to see even then. We'd hitchhike to Pine Bluff just to watch him play. I saw him catch five touchdown passes in one game in high school." Sportswriter Morgan Blake ranked the undefeated 1934 Tide as the best team he ever saw. Hutson's College Football Hall of Fame profile reads: "Fluid in motion, wondrously elusive with the fake, inventive in his patterns and magnificently at ease when catching the ball ... Hutson and fellow Hall of Famer Millard "Dixie" Howell became football's most celebrated passing combination." Hutson had six catches for 165 yards, including two touchdowns of 54 and 59 yards in the 1935 Rose Bowl against Stanford. He also scored the winning touchdown over Robert Neyland's Tennessee Volunteers on an end-around. Hutson was recognized as a first-team All-American for six different organizations and received a second-team selection by one other. In an attempt to name retroactive Heisman Trophy winners before its first year of 1936, Hutson was awarded it for 1934 by the National Football Foundation. Georgia Tech coach Bill Alexander once said, "All Don Hutson can do is beat you with clever hands and the most baffling change of pace I've ever seen." CANNOTANSWER
CANNOTANSWER
Donald Montgomery Hutson (January 31, 1913 – June 26, 1997) was an American professional football player and assistant coach in the National Football League (NFL). He played as an end and spent his entire 11-year professional career with the Green Bay Packers. Under head coach Curly Lambeau, Hutson led the Packers to four NFL Championship Games, winning three: 1936, 1939, and 1944. Hutson joined the Packers in 1935 and played 11 seasons before he retired in 1945. He led the league in receiving yards in seven separate seasons and in receiving touchdowns in nine. A talented safety on defense, he also led the NFL in interceptions in 1940. Hutson was an eight-time All-Pro selection, a four-time All-Star, and was twice awarded the Joe F. Carr Trophy as the NFL Most Valuable Player. Hutson is considered to have been the first modern wide receiver, and is credited with creating many of the modern pass routes used in the NFL today. He was the dominant receiver of his day, and is widely considered one of the greatest receivers in NFL history. Hutson was the first 1,000 yard receiver in the NFL. He held almost all major receiving records at the time of his retirement, including career receptions, yards, and touchdowns. He was inducted as a charter member of both the College Football Hall of Fame and the Pro Football Hall of Fame. Hutson's number 14 was the first jersey retired by the Packers, and he is a member of the Green Bay Packers Hall of Fame. In 1969, Hutson was selected to the National Football League 50th Anniversary All-Time Team as one of the greatest players of the NFL's first 50 years. In 1994, Hutson was selected to the National Football League 75th Anniversary All-Time Team as one of the greatest players of the NFL's first 75 years. In 2019, he was unanimously selected to the NFL 100th Anniversary All-Time Team as one of the greatest players of the NFL's first 100 years. Early years and college Hutson was born on January 31, 1913, in Pine Bluff, Arkansas, one of three sons of Roy B. Hutson and Mabel Clark Hutson. While a Boy Scout, he played with snakes. He said that is where he got his quickness and agility. As a teenager Hutson played baseball for Pine Bluff's town team. As a senior at Pine Bluff High School he was an all-state basketball player, which he said was his favorite sport. "I'm like most [athletes]," he said. "I'd rather see football, but I'd rather play basketball." Hutson played one year of football at Pine Bluff. Hutson played at end for coach Frank Thomas's Alabama Crimson Tide football team from 1932 to 1934. Bear Bryant, future long-time coach of the Tide, was the self-described "other end" on the Tide in 1933 and 1934. Bryant once remarked, "...he was something to see even then. We'd hitchhike to Pine Bluff just to watch him play. I saw him catch five touchdown passes in one game in high school." Sportswriter Morgan Blake ranked the undefeated 1934 Tide as the best team he ever saw. Hutson's College Football Hall of Fame profile reads: "Fluid in motion, wondrously elusive with the fake, inventive in his patterns and magnificently at ease when catching the ball ... Hutson and fellow Hall of Famer Millard "Dixie" Howell became football's most celebrated passing combination." Hutson had six catches for 165 yards, including two touchdowns of 54 and 59 yards in the 1935 Rose Bowl against Stanford. He also scored the winning touchdown over Robert Neyland's Tennessee Volunteers on an end-around. Hutson was recognized as a first-team All-American for six different organizations and received a second-team selection by one other. In an attempt to name retroactive Heisman Trophy winners before its first year of 1936, Hutson was awarded it for 1934 by the National Football Foundation. Georgia Tech coach Bill Alexander once said, "All Don Hutson can do is beat you with clever hands and the most baffling change of pace I've ever seen." NFL career When he graduated from Alabama, Hutson did not plan on playing professionally. In those days, the NFL was not highly regarded in the South compared to college football. But Green Bay Packers head coach Curly Lambeau saw Hutson as the perfect receiver for his passing attack, which at the time was headed by quarterback Arnie Herber and end John "Blood" McNally. By this time, a number of teams, including Alabama, were experimenting with spreading the field by moving one end far out near the sideline, drawing the defense away from running plays and leaving them more open on passing ones. Hutson had thrived in this scheme, leading Lambeau to conclude that he would be the perfect fit for Green Bay's offense. Before the draft existed, college players could sign with any team they wanted, and while Hutson did sign a contract with Green Bay, he had also signed a contract with the NFL's Brooklyn Dodgers. Both contracts came to the NFL office at the same time, and NFL president Joseph Carr declared that Hutson would go to Green Bay, as the Green Bay contract had an earlier date of signing. Hutson later stated he chose the Packers because they offered the most money—$300 a game. "That was far and above what they had ever paid a player," said Hutson. "Each week they'd give me a check for $150 from one bank and $150 from another so nobody would know how much I was getting paid." Split end Hutson's first catch as a professional was on an 83-yard touchdown pass from Herber on the first play from scrimmage against the Chicago Bears, in the second game of the 1935 season. It was the only score of the game as the Packers won 7–0. He caught six touchdowns total in his rookie season, which led the league. It was the first in a string of four straight seasons and nine seasons total that Hutson led the league in touchdown receptions. The next season the Packers won their fourth league title, with a 21–6 win over the Boston Redskins in the 1936 NFL Championship Game. Hutson scored the first touchdown of the game, on a 48-yard pass from Herber in the first quarter. Hutson completed the season with 34 receptions for 536 yards and eight touchdowns, which were all league records, and helped Herber set the NFL season passing yards record. Hutson's yardage record was broken the next season by Chicago Cardinals receiver Gaynell Tinsley, who challenged Hutson over the next few years for the title of best receiver in the NFL. In 1938, Hutson had nine touchdown receptions, again setting the league record, as he led the Packers to another NFL Championship Game, this time against the New York Giants. However, a knee injury he suffered four weeks earlier kept him out of the game's starting lineup. He entered as a substitute three separate times late in the game but was unable to be a factor, catching no passes as Green Bay was defeated 23–17. Hutson reclaimed the season receiving yards record from Tinsley in 1939 by catching 34 passes for 846 yards—an average of 24.9 yards per reception, the highest of his career. He again led the Packers to the championship game, for a rematch against the Giants. This time Green Bay was victorious, with a 27–0 shutout win. Hutson had two receptions in the game for 21 yards and a rushing attempt that went for three yards. In 1940, Hutson scored seven touchdowns and kicked 15 extra points to lead the league in scoring by edging out Rams fullback Johnny Drake by a single point. On September 29, Hutson caught his 38th career touchdown pass, breaking Johnny Blood's record. With 99 touchdown receptions for his career, he remained the record holder for almost 50 years, until surpassed by the last touchdown of Steve Largent's career in 1989. In 1941, Hutson became the first receiver to catch 50 passes in a season, doing so while again leading the league in receptions, receiving yards, and touchdowns. He also scored two rushing touchdowns, for a total of 12. After the season, he was awarded the Joe F. Carr Trophy as the league's most valuable player. He received six of the nine first place votes, finishing ahead of his quarterback Cecil Isbell, who received two first place votes. Hutson repeated as league MVP in 1942 as he shattered most of his own records; he caught 74 passes for 1,211 yards and 17 touchdowns and averaged over 110 receiving yards per game. This was the first time a receiver had reached the 1,000 yard milestone. He again received six of nine first place votes for the Joe F. Carr Trophy. "The selection did not rest alone on his great pass catching ability," reasoned the selection committee. "Also considered were his nuisance value as a disrupter of enemy defenses and his ability to transform the Packers into a confident, powerful aggregation in clutch situations." His production helped Isbell become the first NFL quarterback to throw for over 2,000 yards in a season. In February 1943, Hutson announced his retirement from football due to a lingering chest injury. He changed his mind and returned for the 1943 season, however, and caught 47 passes for 776 yards and eleven touchdowns, leading the league in all three. He also threw his first and only completed pass of his career: a 38-yard touchdown pass to Harry Jacunski against the Bears. Additionally, he successfully kicked 36 extra points on 36 tries, and had an 83-yard interception return touchdown. After the season Hutson again announced his intention to retire as a player, this time to be an assistant coach for the Packers. He once again returned as a player in 1944 and again led the league with 58 receptions, 866 yards, and nine touchdowns, while also serving as assistant coach. He led the Packers to the 1944 NFL Championship Game against the Giants and caught two passes for 47 yards, as the Packers won their third and final championship with Hutson, 14–7. For the third time in as many years Hutson announced his retirement, and for the third time he returned as a player in 1945. A sportswriter for The Pittsburgh Press jokingly declared Hutson "holder of the world's record for coming out of retirement." In a week three, 57–21 blowout win against the Detroit Lions, Hutson set an NFL record with four touchdown receptions in a game, all of them coming in the second quarter. He also kicked five extra points in the quarter, for a total of 29 points, which as of 2015 remains a record for points by a player in a single quarter. In all, Hutson caught 488 passes for 7,991 yards and 99 touchdowns. He rushed for three touchdowns, scored two touchdowns on blocked punts, and had an interception return touchdown for a career total of 105. He scored at least six receiving touchdowns in each of his 11 seasons. Hutson led the NFL in receptions eight times, including five consecutive times: 1941 to 1945. He led the NFL in receiving yards seven times, including four straight times: 1941 to 1944. He led the NFL in scoring five times: 1941 to 1945. As of 2016, Hutson still holds the highest career average touchdowns per game for a receiver, at 0.85. Hutson's single season record of 17 touchdown receptions in 1942 stood for 42 years until broken by receiver Mark Clayton in 1984, a year in which Miami's quarterback Dan Marino had more completions (362) than the entire 1942 Packers team's pass attempts (330). His four receiving touchdowns in a game has been surpassed three times and tied several times, but his four in a single quarter has yet to be matched. His record 99 touchdown receptions stood for 44 years, well into the modern era. In his 11-year professional career, Hutson never missed a game due to injury. He invented many pass routes still in use today, including the chair route. At his peak, Hutson was a challenge to defend, mainly because no one had ever seen anything like him in the NFL before. Even when opposing defenses deployed their best defender or multiple defenders against Hutson, he was almost always able to break free. Hutson's ability to beat defenders was remarkable considering he played in an era when there were far fewer restrictions on how and when a defender could legally hit a receiver. It was initially thought that the 6-1, 185-pound Hutson was too fragile for the NFL. However, according to Tony Canadeo, who played alongside Hutson from 1941 to 1944, Hutson was as skilled going over the middle as he was going deep. Defense and special teams For many of his 11 seasons, Hutson was also the Packers' kicker. He added 172 extra points on 183 attempts and seven field goals on 15 attempts for another league record 823 points. He led the league in extra points made and attempted in 1941, 1942 and 1945 and in field goals made in 1943. As did almost all players in his day, Hutson played both offense and defense. On defense, he played safety and intercepted 30 passes over the final six years of his career. His highest season total was in 1943, when he intercepted eight passes in ten games. In 1940, he led the NFL with six interceptions. Hutson was a player-coach during the last two seasons of his playing career. After his retirement as a player, Hutson remained on the Packers staff as an assistant until 1948. Personal and later life From an early age Hutson was interested in business. "At the university [of Alabama], I was the only athlete in the business school," he said. "The only reason I wanted to play pro sports was to get a stake." While both were students at Alabama, he partnered with Bear Bryant to operate a laundromat in Tuscaloosa called Captain Kidd Cleaners. However, neither were educated in laundering, and they sold the business after two years. While in Green Bay, Hutson opened the Packer Playdium bowling alley, which proved so successful that he twice considered retirement from football to fully dedicate his time to its operation. He then started the Hutson Motor Car Co. dealership and in 1951 purchased Chevrolet and Cadillac agencies in Racine, Wisconsin. "I never aimed for automobiles," said Hutson. "That just happened to be the thing I got into. I just wanted to run a business, any business. He also served on the Packers board of directors from 1952 to 1980, when he was elected a director emeritus. After he retired from the dealership business, Hutson settled in Rancho Mirage, California, where he lived until his death on June 26, 1997, at the age of 84. Honors and recognition Hutson has been honored in a variety of ways. He was elected to the Wisconsin Athletic Hall of Fame as a charter member in 1951, and the Alabama Sports Hall of Fame in 1968, also as an initial member. His number 14 was the first number retired by the Packers, in a public ceremony at a game at City Stadium on December 2, 1951. Hutson Street in the Packerland Industrial Park in Green Bay is named for him, and in 1994 the Packers named their new state-of-the-art indoor practice facility across the street from Lambeau Field the "Don Hutson Center." Hutson was inducted as a charter member of both the College Football Hall of Fame in 1951, and Pro Football Hall of Fame in 1963. His college career made him a unanimous choice for the Associated Press Southeast Area All-Time football team 1920–1969 era. Hutson is a member of the Green Bay Packers Hall of Fame, inducted in 1972 along with his quarterbacks, Arnie Herber and Cecil Isbell. There is a park named after him in his hometown of Pine Bluff, Arkansas. On the occasion of his 75th birthday he performed the ceremonial coin toss of Super Bowl XXII to end the pregame ceremonies. Hutson was named to the NFL's 1930s All-Decade Team and 50th Anniversary Team in 1970, and in 1994 he was named to the NFL 75th Anniversary All-Time Team. In 1999, he was ranked sixth on The Sporting News list of the 100 Greatest Football Players, the highest-ranking Packer and the highest-ranking pre–World War II player. In 2012, the NFL Network named Hutson the greatest Green Bay Packer of all time. In 2005, the Flagstad family of Green Bay donated to the Green Bay Packers Hall of Fame an authentic Packers No. 14 jersey worn by Hutson. The jersey was found in a trunk of old uniforms in 1946 at the Rockwood Lodge, the Packers' summer training camp from 1946 to 1949, owned by Melvin and Helen Flagstad. The jersey, a rare NFL artifact valued at over $17,000, was donated by son Daniel Flagstad in memory of his parents. Hutson's most productive seasons were from 1942 to 1945, a time in which the NFL was severely depleted with many of its most talented players and prospective college athletes serving in the military during World War II. Hutson was classified I-A for the military draft, but had three daughters, so was able to avoid conscription. On the notion that Hutson exploited watered-down defenses, former Packers Hall of Fame running back Paul Hornung responded as such: "I'm a believer. Am I a believer! You know what Hutson would do in this league today? The same things he did when he played." NFL records As of the end of the 2017 NFL season, Hutson still holds the following records: most seasons leading league in pass receptions (8), most consecutive seasons leading league in pass receptions (5), most seasons leading league in pass receiving yards gained (7), most consecutive seasons leading league in pass receiving yards gained (4), most seasons leading league in pass receiving touchdowns (9), most seasons leading the league in total touchdowns (8), Most consecutive seasons leading league in pass receiving touchdowns (5), most seasons leading league in scoring (5, now tied), and most consecutive seasons leading league in scoring (5). Sportswriter Zipp Newman referred to Hutson as "the Ty Cobb of the gridiron." Records held as of retirement: Most seasons led league, scoring: 5* Most consecutive seasons led league, scoring: 5* Most touchdowns scored in a quarter: 4* Most touchdown receptions in a quarter: 4* Most points scored in a quarter: 29* Most seasons led league, touchdowns: 8* Most consecutive seasons led league, touchdowns: 4* Most seasons led league, receiving touchdowns: 9* Most consecutive seasons led league, receiving touchdowns: 5* Most seasons led league, receptions: 8* Most consecutive seasons led league, receptions: 5* Most seasons led league, receiving yards: 7* Most consecutive seasons led league, receiving yards: 4* Most receptions, career: 488 Most receptions, season: 74 Most receptions, game: 14 Most receiving yards, career: 7,991 Most receiving yards, season: 1,211 Most receiving yards, game: 209 Most receiving touchdowns, career: 99 Most touchdowns, season: 17 Most touchdowns, game: 4 Most points scored in a calendar month: 74 (Four games in October 1945) Note: * = remains an NFL record as of 2017 season NFL career statistics Regular season Notes References General Footnotes Further reading Eisenberg, John (2009), That First Season: How Vince Lombardi Took the Worst Team in the NFL and Set It on the Path to Glory. New York: Houghton Mifflin Harcourt. Poling, Jerry (2006), After They Were Packers: The Super Bowl XXXI Champs & Other Green Bay Legends. Big Earth Publishing. External links 1913 births 1997 deaths American football ends American football wide receivers Alabama Crimson Tide football players Green Bay Packers coaches Green Bay Packers players All-American college football players College Football Hall of Fame inductees National Football League players with retired numbers Pro Football Hall of Fame inductees Sportspeople from Pine Bluff, Arkansas People from Rancho Mirage, California Players of American football from Arkansas National Football League Most Valuable Player Award winners
false
[ "Polovchak v. Meese, 774 F.2d 731 (7th Cir. 1985), was a federal court case involving a 12-year-old who did not want to leave the United States and to return with his parents to Soviet Ukraine.\n\nWalter Polovchak was living in Chicago when his parents decided to return to Ukraine, then part of the USSR. He objected, running away from his parents to the home of a cousin and requesting asylum, which prompted the case. His parents returned to the Soviet Union with his two siblings.\n\nThe sympathetic Reagan administration allowed the legal proceedings to drag on for years, with the result that by the time a final decision was rendered, Polovchak had turned 18. No longer a minor, he was allowed to remain in the United States.\n\nA court ruled that parents who are citizens of another country cannot remove their own child from the United States to their native land over the objection of their child unless the child is first afforded a hearing, to determine whether living in another nation is in the child's interests.\n\nSee also\n Elián González — legal case involving a child who wanted to return to Cuba to live with his father.\n\nReferences\n\nExternal links\n \n\nUnited States Court of Appeals for the Seventh Circuit cases\n1985 in United States case law", "My Parents are Aliens is a British children's television sitcom airing from 1998 until 2006. The full cast for My Parents are Aliens is tabled below including both the character and the actor/actress who played the role in each season.\n\nCharacters\n\nMy Parents Are Aliens" ]
[ "Don Hutson", "Early years and college", "WHere was he born?", "Pine Bluff, Arkansas,", "Are there any other interesting aspects about this article?", "While a Boy Scout, he played with snakes.", "Who are his parents?", "I don't know." ]
C_d0f7588f4bb64b6eaf4fd307f6d1b91d_1
Where did he go to college?
4
Where did Don Hutson go to college?
Don Hutson
Hutson was born on January 31, 1913, in Pine Bluff, Arkansas, one of three sons of Roy B. Hutson and Mabel Clark Hutson. While a Boy Scout, he played with snakes. He said that's where he got his quickness and agility. As a teenager Hutson played baseball for Pine Bluff's town team. As a senior at Pine Bluff High School he was an all-state basketball player, which he said was his favorite sport. "I'm like most [athletes]," he said. "I'd rather see football, but I'd rather play basketball." Hutson played one year of football at Pine Bluff. Hutson played at end for coach Frank Thomas's Alabama Crimson Tide football team from 1932 to 1934. Bear Bryant, future long-time coach of the Tide, was the self-described "other end" on the Tide in 1933 and 1934. Bryant once remarked, "...he was something to see even then. We'd hitchhike to Pine Bluff just to watch him play. I saw him catch five touchdown passes in one game in high school." Sportswriter Morgan Blake ranked the undefeated 1934 Tide as the best team he ever saw. Hutson's College Football Hall of Fame profile reads: "Fluid in motion, wondrously elusive with the fake, inventive in his patterns and magnificently at ease when catching the ball ... Hutson and fellow Hall of Famer Millard "Dixie" Howell became football's most celebrated passing combination." Hutson had six catches for 165 yards, including two touchdowns of 54 and 59 yards in the 1935 Rose Bowl against Stanford. He also scored the winning touchdown over Robert Neyland's Tennessee Volunteers on an end-around. Hutson was recognized as a first-team All-American for six different organizations and received a second-team selection by one other. In an attempt to name retroactive Heisman Trophy winners before its first year of 1936, Hutson was awarded it for 1934 by the National Football Foundation. Georgia Tech coach Bill Alexander once said, "All Don Hutson can do is beat you with clever hands and the most baffling change of pace I've ever seen." CANNOTANSWER
Alabama Crimson
Donald Montgomery Hutson (January 31, 1913 – June 26, 1997) was an American professional football player and assistant coach in the National Football League (NFL). He played as an end and spent his entire 11-year professional career with the Green Bay Packers. Under head coach Curly Lambeau, Hutson led the Packers to four NFL Championship Games, winning three: 1936, 1939, and 1944. Hutson joined the Packers in 1935 and played 11 seasons before he retired in 1945. He led the league in receiving yards in seven separate seasons and in receiving touchdowns in nine. A talented safety on defense, he also led the NFL in interceptions in 1940. Hutson was an eight-time All-Pro selection, a four-time All-Star, and was twice awarded the Joe F. Carr Trophy as the NFL Most Valuable Player. Hutson is considered to have been the first modern wide receiver, and is credited with creating many of the modern pass routes used in the NFL today. He was the dominant receiver of his day, and is widely considered one of the greatest receivers in NFL history. Hutson was the first 1,000 yard receiver in the NFL. He held almost all major receiving records at the time of his retirement, including career receptions, yards, and touchdowns. He was inducted as a charter member of both the College Football Hall of Fame and the Pro Football Hall of Fame. Hutson's number 14 was the first jersey retired by the Packers, and he is a member of the Green Bay Packers Hall of Fame. In 1969, Hutson was selected to the National Football League 50th Anniversary All-Time Team as one of the greatest players of the NFL's first 50 years. In 1994, Hutson was selected to the National Football League 75th Anniversary All-Time Team as one of the greatest players of the NFL's first 75 years. In 2019, he was unanimously selected to the NFL 100th Anniversary All-Time Team as one of the greatest players of the NFL's first 100 years. Early years and college Hutson was born on January 31, 1913, in Pine Bluff, Arkansas, one of three sons of Roy B. Hutson and Mabel Clark Hutson. While a Boy Scout, he played with snakes. He said that is where he got his quickness and agility. As a teenager Hutson played baseball for Pine Bluff's town team. As a senior at Pine Bluff High School he was an all-state basketball player, which he said was his favorite sport. "I'm like most [athletes]," he said. "I'd rather see football, but I'd rather play basketball." Hutson played one year of football at Pine Bluff. Hutson played at end for coach Frank Thomas's Alabama Crimson Tide football team from 1932 to 1934. Bear Bryant, future long-time coach of the Tide, was the self-described "other end" on the Tide in 1933 and 1934. Bryant once remarked, "...he was something to see even then. We'd hitchhike to Pine Bluff just to watch him play. I saw him catch five touchdown passes in one game in high school." Sportswriter Morgan Blake ranked the undefeated 1934 Tide as the best team he ever saw. Hutson's College Football Hall of Fame profile reads: "Fluid in motion, wondrously elusive with the fake, inventive in his patterns and magnificently at ease when catching the ball ... Hutson and fellow Hall of Famer Millard "Dixie" Howell became football's most celebrated passing combination." Hutson had six catches for 165 yards, including two touchdowns of 54 and 59 yards in the 1935 Rose Bowl against Stanford. He also scored the winning touchdown over Robert Neyland's Tennessee Volunteers on an end-around. Hutson was recognized as a first-team All-American for six different organizations and received a second-team selection by one other. In an attempt to name retroactive Heisman Trophy winners before its first year of 1936, Hutson was awarded it for 1934 by the National Football Foundation. Georgia Tech coach Bill Alexander once said, "All Don Hutson can do is beat you with clever hands and the most baffling change of pace I've ever seen." NFL career When he graduated from Alabama, Hutson did not plan on playing professionally. In those days, the NFL was not highly regarded in the South compared to college football. But Green Bay Packers head coach Curly Lambeau saw Hutson as the perfect receiver for his passing attack, which at the time was headed by quarterback Arnie Herber and end John "Blood" McNally. By this time, a number of teams, including Alabama, were experimenting with spreading the field by moving one end far out near the sideline, drawing the defense away from running plays and leaving them more open on passing ones. Hutson had thrived in this scheme, leading Lambeau to conclude that he would be the perfect fit for Green Bay's offense. Before the draft existed, college players could sign with any team they wanted, and while Hutson did sign a contract with Green Bay, he had also signed a contract with the NFL's Brooklyn Dodgers. Both contracts came to the NFL office at the same time, and NFL president Joseph Carr declared that Hutson would go to Green Bay, as the Green Bay contract had an earlier date of signing. Hutson later stated he chose the Packers because they offered the most money—$300 a game. "That was far and above what they had ever paid a player," said Hutson. "Each week they'd give me a check for $150 from one bank and $150 from another so nobody would know how much I was getting paid." Split end Hutson's first catch as a professional was on an 83-yard touchdown pass from Herber on the first play from scrimmage against the Chicago Bears, in the second game of the 1935 season. It was the only score of the game as the Packers won 7–0. He caught six touchdowns total in his rookie season, which led the league. It was the first in a string of four straight seasons and nine seasons total that Hutson led the league in touchdown receptions. The next season the Packers won their fourth league title, with a 21–6 win over the Boston Redskins in the 1936 NFL Championship Game. Hutson scored the first touchdown of the game, on a 48-yard pass from Herber in the first quarter. Hutson completed the season with 34 receptions for 536 yards and eight touchdowns, which were all league records, and helped Herber set the NFL season passing yards record. Hutson's yardage record was broken the next season by Chicago Cardinals receiver Gaynell Tinsley, who challenged Hutson over the next few years for the title of best receiver in the NFL. In 1938, Hutson had nine touchdown receptions, again setting the league record, as he led the Packers to another NFL Championship Game, this time against the New York Giants. However, a knee injury he suffered four weeks earlier kept him out of the game's starting lineup. He entered as a substitute three separate times late in the game but was unable to be a factor, catching no passes as Green Bay was defeated 23–17. Hutson reclaimed the season receiving yards record from Tinsley in 1939 by catching 34 passes for 846 yards—an average of 24.9 yards per reception, the highest of his career. He again led the Packers to the championship game, for a rematch against the Giants. This time Green Bay was victorious, with a 27–0 shutout win. Hutson had two receptions in the game for 21 yards and a rushing attempt that went for three yards. In 1940, Hutson scored seven touchdowns and kicked 15 extra points to lead the league in scoring by edging out Rams fullback Johnny Drake by a single point. On September 29, Hutson caught his 38th career touchdown pass, breaking Johnny Blood's record. With 99 touchdown receptions for his career, he remained the record holder for almost 50 years, until surpassed by the last touchdown of Steve Largent's career in 1989. In 1941, Hutson became the first receiver to catch 50 passes in a season, doing so while again leading the league in receptions, receiving yards, and touchdowns. He also scored two rushing touchdowns, for a total of 12. After the season, he was awarded the Joe F. Carr Trophy as the league's most valuable player. He received six of the nine first place votes, finishing ahead of his quarterback Cecil Isbell, who received two first place votes. Hutson repeated as league MVP in 1942 as he shattered most of his own records; he caught 74 passes for 1,211 yards and 17 touchdowns and averaged over 110 receiving yards per game. This was the first time a receiver had reached the 1,000 yard milestone. He again received six of nine first place votes for the Joe F. Carr Trophy. "The selection did not rest alone on his great pass catching ability," reasoned the selection committee. "Also considered were his nuisance value as a disrupter of enemy defenses and his ability to transform the Packers into a confident, powerful aggregation in clutch situations." His production helped Isbell become the first NFL quarterback to throw for over 2,000 yards in a season. In February 1943, Hutson announced his retirement from football due to a lingering chest injury. He changed his mind and returned for the 1943 season, however, and caught 47 passes for 776 yards and eleven touchdowns, leading the league in all three. He also threw his first and only completed pass of his career: a 38-yard touchdown pass to Harry Jacunski against the Bears. Additionally, he successfully kicked 36 extra points on 36 tries, and had an 83-yard interception return touchdown. After the season Hutson again announced his intention to retire as a player, this time to be an assistant coach for the Packers. He once again returned as a player in 1944 and again led the league with 58 receptions, 866 yards, and nine touchdowns, while also serving as assistant coach. He led the Packers to the 1944 NFL Championship Game against the Giants and caught two passes for 47 yards, as the Packers won their third and final championship with Hutson, 14–7. For the third time in as many years Hutson announced his retirement, and for the third time he returned as a player in 1945. A sportswriter for The Pittsburgh Press jokingly declared Hutson "holder of the world's record for coming out of retirement." In a week three, 57–21 blowout win against the Detroit Lions, Hutson set an NFL record with four touchdown receptions in a game, all of them coming in the second quarter. He also kicked five extra points in the quarter, for a total of 29 points, which as of 2015 remains a record for points by a player in a single quarter. In all, Hutson caught 488 passes for 7,991 yards and 99 touchdowns. He rushed for three touchdowns, scored two touchdowns on blocked punts, and had an interception return touchdown for a career total of 105. He scored at least six receiving touchdowns in each of his 11 seasons. Hutson led the NFL in receptions eight times, including five consecutive times: 1941 to 1945. He led the NFL in receiving yards seven times, including four straight times: 1941 to 1944. He led the NFL in scoring five times: 1941 to 1945. As of 2016, Hutson still holds the highest career average touchdowns per game for a receiver, at 0.85. Hutson's single season record of 17 touchdown receptions in 1942 stood for 42 years until broken by receiver Mark Clayton in 1984, a year in which Miami's quarterback Dan Marino had more completions (362) than the entire 1942 Packers team's pass attempts (330). His four receiving touchdowns in a game has been surpassed three times and tied several times, but his four in a single quarter has yet to be matched. His record 99 touchdown receptions stood for 44 years, well into the modern era. In his 11-year professional career, Hutson never missed a game due to injury. He invented many pass routes still in use today, including the chair route. At his peak, Hutson was a challenge to defend, mainly because no one had ever seen anything like him in the NFL before. Even when opposing defenses deployed their best defender or multiple defenders against Hutson, he was almost always able to break free. Hutson's ability to beat defenders was remarkable considering he played in an era when there were far fewer restrictions on how and when a defender could legally hit a receiver. It was initially thought that the 6-1, 185-pound Hutson was too fragile for the NFL. However, according to Tony Canadeo, who played alongside Hutson from 1941 to 1944, Hutson was as skilled going over the middle as he was going deep. Defense and special teams For many of his 11 seasons, Hutson was also the Packers' kicker. He added 172 extra points on 183 attempts and seven field goals on 15 attempts for another league record 823 points. He led the league in extra points made and attempted in 1941, 1942 and 1945 and in field goals made in 1943. As did almost all players in his day, Hutson played both offense and defense. On defense, he played safety and intercepted 30 passes over the final six years of his career. His highest season total was in 1943, when he intercepted eight passes in ten games. In 1940, he led the NFL with six interceptions. Hutson was a player-coach during the last two seasons of his playing career. After his retirement as a player, Hutson remained on the Packers staff as an assistant until 1948. Personal and later life From an early age Hutson was interested in business. "At the university [of Alabama], I was the only athlete in the business school," he said. "The only reason I wanted to play pro sports was to get a stake." While both were students at Alabama, he partnered with Bear Bryant to operate a laundromat in Tuscaloosa called Captain Kidd Cleaners. However, neither were educated in laundering, and they sold the business after two years. While in Green Bay, Hutson opened the Packer Playdium bowling alley, which proved so successful that he twice considered retirement from football to fully dedicate his time to its operation. He then started the Hutson Motor Car Co. dealership and in 1951 purchased Chevrolet and Cadillac agencies in Racine, Wisconsin. "I never aimed for automobiles," said Hutson. "That just happened to be the thing I got into. I just wanted to run a business, any business. He also served on the Packers board of directors from 1952 to 1980, when he was elected a director emeritus. After he retired from the dealership business, Hutson settled in Rancho Mirage, California, where he lived until his death on June 26, 1997, at the age of 84. Honors and recognition Hutson has been honored in a variety of ways. He was elected to the Wisconsin Athletic Hall of Fame as a charter member in 1951, and the Alabama Sports Hall of Fame in 1968, also as an initial member. His number 14 was the first number retired by the Packers, in a public ceremony at a game at City Stadium on December 2, 1951. Hutson Street in the Packerland Industrial Park in Green Bay is named for him, and in 1994 the Packers named their new state-of-the-art indoor practice facility across the street from Lambeau Field the "Don Hutson Center." Hutson was inducted as a charter member of both the College Football Hall of Fame in 1951, and Pro Football Hall of Fame in 1963. His college career made him a unanimous choice for the Associated Press Southeast Area All-Time football team 1920–1969 era. Hutson is a member of the Green Bay Packers Hall of Fame, inducted in 1972 along with his quarterbacks, Arnie Herber and Cecil Isbell. There is a park named after him in his hometown of Pine Bluff, Arkansas. On the occasion of his 75th birthday he performed the ceremonial coin toss of Super Bowl XXII to end the pregame ceremonies. Hutson was named to the NFL's 1930s All-Decade Team and 50th Anniversary Team in 1970, and in 1994 he was named to the NFL 75th Anniversary All-Time Team. In 1999, he was ranked sixth on The Sporting News list of the 100 Greatest Football Players, the highest-ranking Packer and the highest-ranking pre–World War II player. In 2012, the NFL Network named Hutson the greatest Green Bay Packer of all time. In 2005, the Flagstad family of Green Bay donated to the Green Bay Packers Hall of Fame an authentic Packers No. 14 jersey worn by Hutson. The jersey was found in a trunk of old uniforms in 1946 at the Rockwood Lodge, the Packers' summer training camp from 1946 to 1949, owned by Melvin and Helen Flagstad. The jersey, a rare NFL artifact valued at over $17,000, was donated by son Daniel Flagstad in memory of his parents. Hutson's most productive seasons were from 1942 to 1945, a time in which the NFL was severely depleted with many of its most talented players and prospective college athletes serving in the military during World War II. Hutson was classified I-A for the military draft, but had three daughters, so was able to avoid conscription. On the notion that Hutson exploited watered-down defenses, former Packers Hall of Fame running back Paul Hornung responded as such: "I'm a believer. Am I a believer! You know what Hutson would do in this league today? The same things he did when he played." NFL records As of the end of the 2017 NFL season, Hutson still holds the following records: most seasons leading league in pass receptions (8), most consecutive seasons leading league in pass receptions (5), most seasons leading league in pass receiving yards gained (7), most consecutive seasons leading league in pass receiving yards gained (4), most seasons leading league in pass receiving touchdowns (9), most seasons leading the league in total touchdowns (8), Most consecutive seasons leading league in pass receiving touchdowns (5), most seasons leading league in scoring (5, now tied), and most consecutive seasons leading league in scoring (5). Sportswriter Zipp Newman referred to Hutson as "the Ty Cobb of the gridiron." Records held as of retirement: Most seasons led league, scoring: 5* Most consecutive seasons led league, scoring: 5* Most touchdowns scored in a quarter: 4* Most touchdown receptions in a quarter: 4* Most points scored in a quarter: 29* Most seasons led league, touchdowns: 8* Most consecutive seasons led league, touchdowns: 4* Most seasons led league, receiving touchdowns: 9* Most consecutive seasons led league, receiving touchdowns: 5* Most seasons led league, receptions: 8* Most consecutive seasons led league, receptions: 5* Most seasons led league, receiving yards: 7* Most consecutive seasons led league, receiving yards: 4* Most receptions, career: 488 Most receptions, season: 74 Most receptions, game: 14 Most receiving yards, career: 7,991 Most receiving yards, season: 1,211 Most receiving yards, game: 209 Most receiving touchdowns, career: 99 Most touchdowns, season: 17 Most touchdowns, game: 4 Most points scored in a calendar month: 74 (Four games in October 1945) Note: * = remains an NFL record as of 2017 season NFL career statistics Regular season Notes References General Footnotes Further reading Eisenberg, John (2009), That First Season: How Vince Lombardi Took the Worst Team in the NFL and Set It on the Path to Glory. New York: Houghton Mifflin Harcourt. Poling, Jerry (2006), After They Were Packers: The Super Bowl XXXI Champs & Other Green Bay Legends. Big Earth Publishing. External links 1913 births 1997 deaths American football ends American football wide receivers Alabama Crimson Tide football players Green Bay Packers coaches Green Bay Packers players All-American college football players College Football Hall of Fame inductees National Football League players with retired numbers Pro Football Hall of Fame inductees Sportspeople from Pine Bluff, Arkansas People from Rancho Mirage, California Players of American football from Arkansas National Football League Most Valuable Player Award winners
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", "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" ]
[ "Don Hutson", "Early years and college", "WHere was he born?", "Pine Bluff, Arkansas,", "Are there any other interesting aspects about this article?", "While a Boy Scout, he played with snakes.", "Who are his parents?", "I don't know.", "Where did he go to college?", "Alabama Crimson" ]
C_d0f7588f4bb64b6eaf4fd307f6d1b91d_1
What did he study?
5
What did Don Hutson study in college?
Don Hutson
Hutson was born on January 31, 1913, in Pine Bluff, Arkansas, one of three sons of Roy B. Hutson and Mabel Clark Hutson. While a Boy Scout, he played with snakes. He said that's where he got his quickness and agility. As a teenager Hutson played baseball for Pine Bluff's town team. As a senior at Pine Bluff High School he was an all-state basketball player, which he said was his favorite sport. "I'm like most [athletes]," he said. "I'd rather see football, but I'd rather play basketball." Hutson played one year of football at Pine Bluff. Hutson played at end for coach Frank Thomas's Alabama Crimson Tide football team from 1932 to 1934. Bear Bryant, future long-time coach of the Tide, was the self-described "other end" on the Tide in 1933 and 1934. Bryant once remarked, "...he was something to see even then. We'd hitchhike to Pine Bluff just to watch him play. I saw him catch five touchdown passes in one game in high school." Sportswriter Morgan Blake ranked the undefeated 1934 Tide as the best team he ever saw. Hutson's College Football Hall of Fame profile reads: "Fluid in motion, wondrously elusive with the fake, inventive in his patterns and magnificently at ease when catching the ball ... Hutson and fellow Hall of Famer Millard "Dixie" Howell became football's most celebrated passing combination." Hutson had six catches for 165 yards, including two touchdowns of 54 and 59 yards in the 1935 Rose Bowl against Stanford. He also scored the winning touchdown over Robert Neyland's Tennessee Volunteers on an end-around. Hutson was recognized as a first-team All-American for six different organizations and received a second-team selection by one other. In an attempt to name retroactive Heisman Trophy winners before its first year of 1936, Hutson was awarded it for 1934 by the National Football Foundation. Georgia Tech coach Bill Alexander once said, "All Don Hutson can do is beat you with clever hands and the most baffling change of pace I've ever seen." CANNOTANSWER
CANNOTANSWER
Donald Montgomery Hutson (January 31, 1913 – June 26, 1997) was an American professional football player and assistant coach in the National Football League (NFL). He played as an end and spent his entire 11-year professional career with the Green Bay Packers. Under head coach Curly Lambeau, Hutson led the Packers to four NFL Championship Games, winning three: 1936, 1939, and 1944. Hutson joined the Packers in 1935 and played 11 seasons before he retired in 1945. He led the league in receiving yards in seven separate seasons and in receiving touchdowns in nine. A talented safety on defense, he also led the NFL in interceptions in 1940. Hutson was an eight-time All-Pro selection, a four-time All-Star, and was twice awarded the Joe F. Carr Trophy as the NFL Most Valuable Player. Hutson is considered to have been the first modern wide receiver, and is credited with creating many of the modern pass routes used in the NFL today. He was the dominant receiver of his day, and is widely considered one of the greatest receivers in NFL history. Hutson was the first 1,000 yard receiver in the NFL. He held almost all major receiving records at the time of his retirement, including career receptions, yards, and touchdowns. He was inducted as a charter member of both the College Football Hall of Fame and the Pro Football Hall of Fame. Hutson's number 14 was the first jersey retired by the Packers, and he is a member of the Green Bay Packers Hall of Fame. In 1969, Hutson was selected to the National Football League 50th Anniversary All-Time Team as one of the greatest players of the NFL's first 50 years. In 1994, Hutson was selected to the National Football League 75th Anniversary All-Time Team as one of the greatest players of the NFL's first 75 years. In 2019, he was unanimously selected to the NFL 100th Anniversary All-Time Team as one of the greatest players of the NFL's first 100 years. Early years and college Hutson was born on January 31, 1913, in Pine Bluff, Arkansas, one of three sons of Roy B. Hutson and Mabel Clark Hutson. While a Boy Scout, he played with snakes. He said that is where he got his quickness and agility. As a teenager Hutson played baseball for Pine Bluff's town team. As a senior at Pine Bluff High School he was an all-state basketball player, which he said was his favorite sport. "I'm like most [athletes]," he said. "I'd rather see football, but I'd rather play basketball." Hutson played one year of football at Pine Bluff. Hutson played at end for coach Frank Thomas's Alabama Crimson Tide football team from 1932 to 1934. Bear Bryant, future long-time coach of the Tide, was the self-described "other end" on the Tide in 1933 and 1934. Bryant once remarked, "...he was something to see even then. We'd hitchhike to Pine Bluff just to watch him play. I saw him catch five touchdown passes in one game in high school." Sportswriter Morgan Blake ranked the undefeated 1934 Tide as the best team he ever saw. Hutson's College Football Hall of Fame profile reads: "Fluid in motion, wondrously elusive with the fake, inventive in his patterns and magnificently at ease when catching the ball ... Hutson and fellow Hall of Famer Millard "Dixie" Howell became football's most celebrated passing combination." Hutson had six catches for 165 yards, including two touchdowns of 54 and 59 yards in the 1935 Rose Bowl against Stanford. He also scored the winning touchdown over Robert Neyland's Tennessee Volunteers on an end-around. Hutson was recognized as a first-team All-American for six different organizations and received a second-team selection by one other. In an attempt to name retroactive Heisman Trophy winners before its first year of 1936, Hutson was awarded it for 1934 by the National Football Foundation. Georgia Tech coach Bill Alexander once said, "All Don Hutson can do is beat you with clever hands and the most baffling change of pace I've ever seen." NFL career When he graduated from Alabama, Hutson did not plan on playing professionally. In those days, the NFL was not highly regarded in the South compared to college football. But Green Bay Packers head coach Curly Lambeau saw Hutson as the perfect receiver for his passing attack, which at the time was headed by quarterback Arnie Herber and end John "Blood" McNally. By this time, a number of teams, including Alabama, were experimenting with spreading the field by moving one end far out near the sideline, drawing the defense away from running plays and leaving them more open on passing ones. Hutson had thrived in this scheme, leading Lambeau to conclude that he would be the perfect fit for Green Bay's offense. Before the draft existed, college players could sign with any team they wanted, and while Hutson did sign a contract with Green Bay, he had also signed a contract with the NFL's Brooklyn Dodgers. Both contracts came to the NFL office at the same time, and NFL president Joseph Carr declared that Hutson would go to Green Bay, as the Green Bay contract had an earlier date of signing. Hutson later stated he chose the Packers because they offered the most money—$300 a game. "That was far and above what they had ever paid a player," said Hutson. "Each week they'd give me a check for $150 from one bank and $150 from another so nobody would know how much I was getting paid." Split end Hutson's first catch as a professional was on an 83-yard touchdown pass from Herber on the first play from scrimmage against the Chicago Bears, in the second game of the 1935 season. It was the only score of the game as the Packers won 7–0. He caught six touchdowns total in his rookie season, which led the league. It was the first in a string of four straight seasons and nine seasons total that Hutson led the league in touchdown receptions. The next season the Packers won their fourth league title, with a 21–6 win over the Boston Redskins in the 1936 NFL Championship Game. Hutson scored the first touchdown of the game, on a 48-yard pass from Herber in the first quarter. Hutson completed the season with 34 receptions for 536 yards and eight touchdowns, which were all league records, and helped Herber set the NFL season passing yards record. Hutson's yardage record was broken the next season by Chicago Cardinals receiver Gaynell Tinsley, who challenged Hutson over the next few years for the title of best receiver in the NFL. In 1938, Hutson had nine touchdown receptions, again setting the league record, as he led the Packers to another NFL Championship Game, this time against the New York Giants. However, a knee injury he suffered four weeks earlier kept him out of the game's starting lineup. He entered as a substitute three separate times late in the game but was unable to be a factor, catching no passes as Green Bay was defeated 23–17. Hutson reclaimed the season receiving yards record from Tinsley in 1939 by catching 34 passes for 846 yards—an average of 24.9 yards per reception, the highest of his career. He again led the Packers to the championship game, for a rematch against the Giants. This time Green Bay was victorious, with a 27–0 shutout win. Hutson had two receptions in the game for 21 yards and a rushing attempt that went for three yards. In 1940, Hutson scored seven touchdowns and kicked 15 extra points to lead the league in scoring by edging out Rams fullback Johnny Drake by a single point. On September 29, Hutson caught his 38th career touchdown pass, breaking Johnny Blood's record. With 99 touchdown receptions for his career, he remained the record holder for almost 50 years, until surpassed by the last touchdown of Steve Largent's career in 1989. In 1941, Hutson became the first receiver to catch 50 passes in a season, doing so while again leading the league in receptions, receiving yards, and touchdowns. He also scored two rushing touchdowns, for a total of 12. After the season, he was awarded the Joe F. Carr Trophy as the league's most valuable player. He received six of the nine first place votes, finishing ahead of his quarterback Cecil Isbell, who received two first place votes. Hutson repeated as league MVP in 1942 as he shattered most of his own records; he caught 74 passes for 1,211 yards and 17 touchdowns and averaged over 110 receiving yards per game. This was the first time a receiver had reached the 1,000 yard milestone. He again received six of nine first place votes for the Joe F. Carr Trophy. "The selection did not rest alone on his great pass catching ability," reasoned the selection committee. "Also considered were his nuisance value as a disrupter of enemy defenses and his ability to transform the Packers into a confident, powerful aggregation in clutch situations." His production helped Isbell become the first NFL quarterback to throw for over 2,000 yards in a season. In February 1943, Hutson announced his retirement from football due to a lingering chest injury. He changed his mind and returned for the 1943 season, however, and caught 47 passes for 776 yards and eleven touchdowns, leading the league in all three. He also threw his first and only completed pass of his career: a 38-yard touchdown pass to Harry Jacunski against the Bears. Additionally, he successfully kicked 36 extra points on 36 tries, and had an 83-yard interception return touchdown. After the season Hutson again announced his intention to retire as a player, this time to be an assistant coach for the Packers. He once again returned as a player in 1944 and again led the league with 58 receptions, 866 yards, and nine touchdowns, while also serving as assistant coach. He led the Packers to the 1944 NFL Championship Game against the Giants and caught two passes for 47 yards, as the Packers won their third and final championship with Hutson, 14–7. For the third time in as many years Hutson announced his retirement, and for the third time he returned as a player in 1945. A sportswriter for The Pittsburgh Press jokingly declared Hutson "holder of the world's record for coming out of retirement." In a week three, 57–21 blowout win against the Detroit Lions, Hutson set an NFL record with four touchdown receptions in a game, all of them coming in the second quarter. He also kicked five extra points in the quarter, for a total of 29 points, which as of 2015 remains a record for points by a player in a single quarter. In all, Hutson caught 488 passes for 7,991 yards and 99 touchdowns. He rushed for three touchdowns, scored two touchdowns on blocked punts, and had an interception return touchdown for a career total of 105. He scored at least six receiving touchdowns in each of his 11 seasons. Hutson led the NFL in receptions eight times, including five consecutive times: 1941 to 1945. He led the NFL in receiving yards seven times, including four straight times: 1941 to 1944. He led the NFL in scoring five times: 1941 to 1945. As of 2016, Hutson still holds the highest career average touchdowns per game for a receiver, at 0.85. Hutson's single season record of 17 touchdown receptions in 1942 stood for 42 years until broken by receiver Mark Clayton in 1984, a year in which Miami's quarterback Dan Marino had more completions (362) than the entire 1942 Packers team's pass attempts (330). His four receiving touchdowns in a game has been surpassed three times and tied several times, but his four in a single quarter has yet to be matched. His record 99 touchdown receptions stood for 44 years, well into the modern era. In his 11-year professional career, Hutson never missed a game due to injury. He invented many pass routes still in use today, including the chair route. At his peak, Hutson was a challenge to defend, mainly because no one had ever seen anything like him in the NFL before. Even when opposing defenses deployed their best defender or multiple defenders against Hutson, he was almost always able to break free. Hutson's ability to beat defenders was remarkable considering he played in an era when there were far fewer restrictions on how and when a defender could legally hit a receiver. It was initially thought that the 6-1, 185-pound Hutson was too fragile for the NFL. However, according to Tony Canadeo, who played alongside Hutson from 1941 to 1944, Hutson was as skilled going over the middle as he was going deep. Defense and special teams For many of his 11 seasons, Hutson was also the Packers' kicker. He added 172 extra points on 183 attempts and seven field goals on 15 attempts for another league record 823 points. He led the league in extra points made and attempted in 1941, 1942 and 1945 and in field goals made in 1943. As did almost all players in his day, Hutson played both offense and defense. On defense, he played safety and intercepted 30 passes over the final six years of his career. His highest season total was in 1943, when he intercepted eight passes in ten games. In 1940, he led the NFL with six interceptions. Hutson was a player-coach during the last two seasons of his playing career. After his retirement as a player, Hutson remained on the Packers staff as an assistant until 1948. Personal and later life From an early age Hutson was interested in business. "At the university [of Alabama], I was the only athlete in the business school," he said. "The only reason I wanted to play pro sports was to get a stake." While both were students at Alabama, he partnered with Bear Bryant to operate a laundromat in Tuscaloosa called Captain Kidd Cleaners. However, neither were educated in laundering, and they sold the business after two years. While in Green Bay, Hutson opened the Packer Playdium bowling alley, which proved so successful that he twice considered retirement from football to fully dedicate his time to its operation. He then started the Hutson Motor Car Co. dealership and in 1951 purchased Chevrolet and Cadillac agencies in Racine, Wisconsin. "I never aimed for automobiles," said Hutson. "That just happened to be the thing I got into. I just wanted to run a business, any business. He also served on the Packers board of directors from 1952 to 1980, when he was elected a director emeritus. After he retired from the dealership business, Hutson settled in Rancho Mirage, California, where he lived until his death on June 26, 1997, at the age of 84. Honors and recognition Hutson has been honored in a variety of ways. He was elected to the Wisconsin Athletic Hall of Fame as a charter member in 1951, and the Alabama Sports Hall of Fame in 1968, also as an initial member. His number 14 was the first number retired by the Packers, in a public ceremony at a game at City Stadium on December 2, 1951. Hutson Street in the Packerland Industrial Park in Green Bay is named for him, and in 1994 the Packers named their new state-of-the-art indoor practice facility across the street from Lambeau Field the "Don Hutson Center." Hutson was inducted as a charter member of both the College Football Hall of Fame in 1951, and Pro Football Hall of Fame in 1963. His college career made him a unanimous choice for the Associated Press Southeast Area All-Time football team 1920–1969 era. Hutson is a member of the Green Bay Packers Hall of Fame, inducted in 1972 along with his quarterbacks, Arnie Herber and Cecil Isbell. There is a park named after him in his hometown of Pine Bluff, Arkansas. On the occasion of his 75th birthday he performed the ceremonial coin toss of Super Bowl XXII to end the pregame ceremonies. Hutson was named to the NFL's 1930s All-Decade Team and 50th Anniversary Team in 1970, and in 1994 he was named to the NFL 75th Anniversary All-Time Team. In 1999, he was ranked sixth on The Sporting News list of the 100 Greatest Football Players, the highest-ranking Packer and the highest-ranking pre–World War II player. In 2012, the NFL Network named Hutson the greatest Green Bay Packer of all time. In 2005, the Flagstad family of Green Bay donated to the Green Bay Packers Hall of Fame an authentic Packers No. 14 jersey worn by Hutson. The jersey was found in a trunk of old uniforms in 1946 at the Rockwood Lodge, the Packers' summer training camp from 1946 to 1949, owned by Melvin and Helen Flagstad. The jersey, a rare NFL artifact valued at over $17,000, was donated by son Daniel Flagstad in memory of his parents. Hutson's most productive seasons were from 1942 to 1945, a time in which the NFL was severely depleted with many of its most talented players and prospective college athletes serving in the military during World War II. Hutson was classified I-A for the military draft, but had three daughters, so was able to avoid conscription. On the notion that Hutson exploited watered-down defenses, former Packers Hall of Fame running back Paul Hornung responded as such: "I'm a believer. Am I a believer! You know what Hutson would do in this league today? The same things he did when he played." NFL records As of the end of the 2017 NFL season, Hutson still holds the following records: most seasons leading league in pass receptions (8), most consecutive seasons leading league in pass receptions (5), most seasons leading league in pass receiving yards gained (7), most consecutive seasons leading league in pass receiving yards gained (4), most seasons leading league in pass receiving touchdowns (9), most seasons leading the league in total touchdowns (8), Most consecutive seasons leading league in pass receiving touchdowns (5), most seasons leading league in scoring (5, now tied), and most consecutive seasons leading league in scoring (5). Sportswriter Zipp Newman referred to Hutson as "the Ty Cobb of the gridiron." Records held as of retirement: Most seasons led league, scoring: 5* Most consecutive seasons led league, scoring: 5* Most touchdowns scored in a quarter: 4* Most touchdown receptions in a quarter: 4* Most points scored in a quarter: 29* Most seasons led league, touchdowns: 8* Most consecutive seasons led league, touchdowns: 4* Most seasons led league, receiving touchdowns: 9* Most consecutive seasons led league, receiving touchdowns: 5* Most seasons led league, receptions: 8* Most consecutive seasons led league, receptions: 5* Most seasons led league, receiving yards: 7* Most consecutive seasons led league, receiving yards: 4* Most receptions, career: 488 Most receptions, season: 74 Most receptions, game: 14 Most receiving yards, career: 7,991 Most receiving yards, season: 1,211 Most receiving yards, game: 209 Most receiving touchdowns, career: 99 Most touchdowns, season: 17 Most touchdowns, game: 4 Most points scored in a calendar month: 74 (Four games in October 1945) Note: * = remains an NFL record as of 2017 season NFL career statistics Regular season Notes References General Footnotes Further reading Eisenberg, John (2009), That First Season: How Vince Lombardi Took the Worst Team in the NFL and Set It on the Path to Glory. New York: Houghton Mifflin Harcourt. Poling, Jerry (2006), After They Were Packers: The Super Bowl XXXI Champs & Other Green Bay Legends. Big Earth Publishing. External links 1913 births 1997 deaths American football ends American football wide receivers Alabama Crimson Tide football players Green Bay Packers coaches Green Bay Packers players All-American college football players College Football Hall of Fame inductees National Football League players with retired numbers Pro Football Hall of Fame inductees Sportspeople from Pine Bluff, Arkansas People from Rancho Mirage, California Players of American football from Arkansas National Football League Most Valuable Player Award winners
false
[ "The Predator is the third EP by American metalcore band Ice Nine Kills and was self-released by the band on January 15, 2013. The EP debuted at No. 9 on the Billboard Heatseekers chart.\n\nIt is the only album to feature Steve Koch as bassist and backup singer after his departure in 2013, and the last album to feature Justin Morrow as rhythm guitarist; he would switch to bass guitar and backing vocals (on live performance only) while still playing rhythm guitar in studio in 2013.\n\nThe tracks \"The Coffin Is Moving\" and \"What I Never Learned in Study Hall\" later would be featured on the band's 2014 album The Predator Becomes the Prey.\n\nThe track \"What I Never Learned in Study Hall\" was later re-recorded acoustically for Take Action. Vol. 11 making it similar to the song's predecessors \"What I Really Learned in Study Hall\" and \"What I Should Have Learned in Study Hall\". Unlike the original version, the acoustic version did not feature Tyler Carter as guest vocalist, but instead featured former Kid's Jackson Summer vocalist Kate Ellen Dean.\n\nTrack listing\n\nPersonnel \n Spencer Charnas - lead vocals, piano on \"A Reptile's Dysfunction\"\n Justin \"JD\" DeBlieck - lead guitar, lead vocals\n Justin Morrow - rhythm guitar\n Steve Koch - bass guitar, backing vocals\n Connor Sullivan - drums\n Steve Sopchak - producer, engineer, mixing\n\nCharts\n\nReferences\n\n2013 EPs\nIce Nine Kills EPs\nSelf-released EPs", "Homeric psychology is a field of study with regards to the psychology of ancient Greek culture no later than Mycenaean Greece, around 1700–1200 BCE, during the Homeric epic poems (specifically the Illiad and the Odyssey).\n\nHistory of Homeric psychology\nThe first scholar to present a theory was Bruno Snell in his 1953 book, originally in German. His argument was that the ancient Greek individual did not have a sense of self, and that later the Greek culture \"self-realized\" or \"discovered\" what we consider to be the modern \"intellect\".\n\nLater, Eric Robertson Dodds in 1951, wrote how ancient Greek thought may have been irrational, as compared to modern \"rational\" culture. In this Dodds' theory, the Greeks may have known that an individual did things, but the reason an individual did things were attributed to divine externalities, such as gods or daemons.\n\nJulian Jaynes proposed a theory in 1976. He stipulated that Greek consciousness emerged from the use of special words related to cognition. Some of Jaynes' findings were empirically supported in a 2021 study by Boban Dedović, a psychohistorian. The study compared the word counts of mental language between thirty-four versions of the Iliad and Odyssey.\n\nReferences \n\nConsciousness studies\nPhilosophy of mind\nPhilology\nCognitive psychology\nHistorical linguistics\nArguments in philosophy of mind" ]
[ "Don Hutson", "Early years and college", "WHere was he born?", "Pine Bluff, Arkansas,", "Are there any other interesting aspects about this article?", "While a Boy Scout, he played with snakes.", "Who are his parents?", "I don't know.", "Where did he go to college?", "Alabama Crimson", "What did he study?", "I don't know." ]
C_d0f7588f4bb64b6eaf4fd307f6d1b91d_1
Did he graduatet?
6
Did Don Hutson graduate in college?
Don Hutson
Hutson was born on January 31, 1913, in Pine Bluff, Arkansas, one of three sons of Roy B. Hutson and Mabel Clark Hutson. While a Boy Scout, he played with snakes. He said that's where he got his quickness and agility. As a teenager Hutson played baseball for Pine Bluff's town team. As a senior at Pine Bluff High School he was an all-state basketball player, which he said was his favorite sport. "I'm like most [athletes]," he said. "I'd rather see football, but I'd rather play basketball." Hutson played one year of football at Pine Bluff. Hutson played at end for coach Frank Thomas's Alabama Crimson Tide football team from 1932 to 1934. Bear Bryant, future long-time coach of the Tide, was the self-described "other end" on the Tide in 1933 and 1934. Bryant once remarked, "...he was something to see even then. We'd hitchhike to Pine Bluff just to watch him play. I saw him catch five touchdown passes in one game in high school." Sportswriter Morgan Blake ranked the undefeated 1934 Tide as the best team he ever saw. Hutson's College Football Hall of Fame profile reads: "Fluid in motion, wondrously elusive with the fake, inventive in his patterns and magnificently at ease when catching the ball ... Hutson and fellow Hall of Famer Millard "Dixie" Howell became football's most celebrated passing combination." Hutson had six catches for 165 yards, including two touchdowns of 54 and 59 yards in the 1935 Rose Bowl against Stanford. He also scored the winning touchdown over Robert Neyland's Tennessee Volunteers on an end-around. Hutson was recognized as a first-team All-American for six different organizations and received a second-team selection by one other. In an attempt to name retroactive Heisman Trophy winners before its first year of 1936, Hutson was awarded it for 1934 by the National Football Foundation. Georgia Tech coach Bill Alexander once said, "All Don Hutson can do is beat you with clever hands and the most baffling change of pace I've ever seen." CANNOTANSWER
CANNOTANSWER
Donald Montgomery Hutson (January 31, 1913 – June 26, 1997) was an American professional football player and assistant coach in the National Football League (NFL). He played as an end and spent his entire 11-year professional career with the Green Bay Packers. Under head coach Curly Lambeau, Hutson led the Packers to four NFL Championship Games, winning three: 1936, 1939, and 1944. Hutson joined the Packers in 1935 and played 11 seasons before he retired in 1945. He led the league in receiving yards in seven separate seasons and in receiving touchdowns in nine. A talented safety on defense, he also led the NFL in interceptions in 1940. Hutson was an eight-time All-Pro selection, a four-time All-Star, and was twice awarded the Joe F. Carr Trophy as the NFL Most Valuable Player. Hutson is considered to have been the first modern wide receiver, and is credited with creating many of the modern pass routes used in the NFL today. He was the dominant receiver of his day, and is widely considered one of the greatest receivers in NFL history. Hutson was the first 1,000 yard receiver in the NFL. He held almost all major receiving records at the time of his retirement, including career receptions, yards, and touchdowns. He was inducted as a charter member of both the College Football Hall of Fame and the Pro Football Hall of Fame. Hutson's number 14 was the first jersey retired by the Packers, and he is a member of the Green Bay Packers Hall of Fame. In 1969, Hutson was selected to the National Football League 50th Anniversary All-Time Team as one of the greatest players of the NFL's first 50 years. In 1994, Hutson was selected to the National Football League 75th Anniversary All-Time Team as one of the greatest players of the NFL's first 75 years. In 2019, he was unanimously selected to the NFL 100th Anniversary All-Time Team as one of the greatest players of the NFL's first 100 years. Early years and college Hutson was born on January 31, 1913, in Pine Bluff, Arkansas, one of three sons of Roy B. Hutson and Mabel Clark Hutson. While a Boy Scout, he played with snakes. He said that is where he got his quickness and agility. As a teenager Hutson played baseball for Pine Bluff's town team. As a senior at Pine Bluff High School he was an all-state basketball player, which he said was his favorite sport. "I'm like most [athletes]," he said. "I'd rather see football, but I'd rather play basketball." Hutson played one year of football at Pine Bluff. Hutson played at end for coach Frank Thomas's Alabama Crimson Tide football team from 1932 to 1934. Bear Bryant, future long-time coach of the Tide, was the self-described "other end" on the Tide in 1933 and 1934. Bryant once remarked, "...he was something to see even then. We'd hitchhike to Pine Bluff just to watch him play. I saw him catch five touchdown passes in one game in high school." Sportswriter Morgan Blake ranked the undefeated 1934 Tide as the best team he ever saw. Hutson's College Football Hall of Fame profile reads: "Fluid in motion, wondrously elusive with the fake, inventive in his patterns and magnificently at ease when catching the ball ... Hutson and fellow Hall of Famer Millard "Dixie" Howell became football's most celebrated passing combination." Hutson had six catches for 165 yards, including two touchdowns of 54 and 59 yards in the 1935 Rose Bowl against Stanford. He also scored the winning touchdown over Robert Neyland's Tennessee Volunteers on an end-around. Hutson was recognized as a first-team All-American for six different organizations and received a second-team selection by one other. In an attempt to name retroactive Heisman Trophy winners before its first year of 1936, Hutson was awarded it for 1934 by the National Football Foundation. Georgia Tech coach Bill Alexander once said, "All Don Hutson can do is beat you with clever hands and the most baffling change of pace I've ever seen." NFL career When he graduated from Alabama, Hutson did not plan on playing professionally. In those days, the NFL was not highly regarded in the South compared to college football. But Green Bay Packers head coach Curly Lambeau saw Hutson as the perfect receiver for his passing attack, which at the time was headed by quarterback Arnie Herber and end John "Blood" McNally. By this time, a number of teams, including Alabama, were experimenting with spreading the field by moving one end far out near the sideline, drawing the defense away from running plays and leaving them more open on passing ones. Hutson had thrived in this scheme, leading Lambeau to conclude that he would be the perfect fit for Green Bay's offense. Before the draft existed, college players could sign with any team they wanted, and while Hutson did sign a contract with Green Bay, he had also signed a contract with the NFL's Brooklyn Dodgers. Both contracts came to the NFL office at the same time, and NFL president Joseph Carr declared that Hutson would go to Green Bay, as the Green Bay contract had an earlier date of signing. Hutson later stated he chose the Packers because they offered the most money—$300 a game. "That was far and above what they had ever paid a player," said Hutson. "Each week they'd give me a check for $150 from one bank and $150 from another so nobody would know how much I was getting paid." Split end Hutson's first catch as a professional was on an 83-yard touchdown pass from Herber on the first play from scrimmage against the Chicago Bears, in the second game of the 1935 season. It was the only score of the game as the Packers won 7–0. He caught six touchdowns total in his rookie season, which led the league. It was the first in a string of four straight seasons and nine seasons total that Hutson led the league in touchdown receptions. The next season the Packers won their fourth league title, with a 21–6 win over the Boston Redskins in the 1936 NFL Championship Game. Hutson scored the first touchdown of the game, on a 48-yard pass from Herber in the first quarter. Hutson completed the season with 34 receptions for 536 yards and eight touchdowns, which were all league records, and helped Herber set the NFL season passing yards record. Hutson's yardage record was broken the next season by Chicago Cardinals receiver Gaynell Tinsley, who challenged Hutson over the next few years for the title of best receiver in the NFL. In 1938, Hutson had nine touchdown receptions, again setting the league record, as he led the Packers to another NFL Championship Game, this time against the New York Giants. However, a knee injury he suffered four weeks earlier kept him out of the game's starting lineup. He entered as a substitute three separate times late in the game but was unable to be a factor, catching no passes as Green Bay was defeated 23–17. Hutson reclaimed the season receiving yards record from Tinsley in 1939 by catching 34 passes for 846 yards—an average of 24.9 yards per reception, the highest of his career. He again led the Packers to the championship game, for a rematch against the Giants. This time Green Bay was victorious, with a 27–0 shutout win. Hutson had two receptions in the game for 21 yards and a rushing attempt that went for three yards. In 1940, Hutson scored seven touchdowns and kicked 15 extra points to lead the league in scoring by edging out Rams fullback Johnny Drake by a single point. On September 29, Hutson caught his 38th career touchdown pass, breaking Johnny Blood's record. With 99 touchdown receptions for his career, he remained the record holder for almost 50 years, until surpassed by the last touchdown of Steve Largent's career in 1989. In 1941, Hutson became the first receiver to catch 50 passes in a season, doing so while again leading the league in receptions, receiving yards, and touchdowns. He also scored two rushing touchdowns, for a total of 12. After the season, he was awarded the Joe F. Carr Trophy as the league's most valuable player. He received six of the nine first place votes, finishing ahead of his quarterback Cecil Isbell, who received two first place votes. Hutson repeated as league MVP in 1942 as he shattered most of his own records; he caught 74 passes for 1,211 yards and 17 touchdowns and averaged over 110 receiving yards per game. This was the first time a receiver had reached the 1,000 yard milestone. He again received six of nine first place votes for the Joe F. Carr Trophy. "The selection did not rest alone on his great pass catching ability," reasoned the selection committee. "Also considered were his nuisance value as a disrupter of enemy defenses and his ability to transform the Packers into a confident, powerful aggregation in clutch situations." His production helped Isbell become the first NFL quarterback to throw for over 2,000 yards in a season. In February 1943, Hutson announced his retirement from football due to a lingering chest injury. He changed his mind and returned for the 1943 season, however, and caught 47 passes for 776 yards and eleven touchdowns, leading the league in all three. He also threw his first and only completed pass of his career: a 38-yard touchdown pass to Harry Jacunski against the Bears. Additionally, he successfully kicked 36 extra points on 36 tries, and had an 83-yard interception return touchdown. After the season Hutson again announced his intention to retire as a player, this time to be an assistant coach for the Packers. He once again returned as a player in 1944 and again led the league with 58 receptions, 866 yards, and nine touchdowns, while also serving as assistant coach. He led the Packers to the 1944 NFL Championship Game against the Giants and caught two passes for 47 yards, as the Packers won their third and final championship with Hutson, 14–7. For the third time in as many years Hutson announced his retirement, and for the third time he returned as a player in 1945. A sportswriter for The Pittsburgh Press jokingly declared Hutson "holder of the world's record for coming out of retirement." In a week three, 57–21 blowout win against the Detroit Lions, Hutson set an NFL record with four touchdown receptions in a game, all of them coming in the second quarter. He also kicked five extra points in the quarter, for a total of 29 points, which as of 2015 remains a record for points by a player in a single quarter. In all, Hutson caught 488 passes for 7,991 yards and 99 touchdowns. He rushed for three touchdowns, scored two touchdowns on blocked punts, and had an interception return touchdown for a career total of 105. He scored at least six receiving touchdowns in each of his 11 seasons. Hutson led the NFL in receptions eight times, including five consecutive times: 1941 to 1945. He led the NFL in receiving yards seven times, including four straight times: 1941 to 1944. He led the NFL in scoring five times: 1941 to 1945. As of 2016, Hutson still holds the highest career average touchdowns per game for a receiver, at 0.85. Hutson's single season record of 17 touchdown receptions in 1942 stood for 42 years until broken by receiver Mark Clayton in 1984, a year in which Miami's quarterback Dan Marino had more completions (362) than the entire 1942 Packers team's pass attempts (330). His four receiving touchdowns in a game has been surpassed three times and tied several times, but his four in a single quarter has yet to be matched. His record 99 touchdown receptions stood for 44 years, well into the modern era. In his 11-year professional career, Hutson never missed a game due to injury. He invented many pass routes still in use today, including the chair route. At his peak, Hutson was a challenge to defend, mainly because no one had ever seen anything like him in the NFL before. Even when opposing defenses deployed their best defender or multiple defenders against Hutson, he was almost always able to break free. Hutson's ability to beat defenders was remarkable considering he played in an era when there were far fewer restrictions on how and when a defender could legally hit a receiver. It was initially thought that the 6-1, 185-pound Hutson was too fragile for the NFL. However, according to Tony Canadeo, who played alongside Hutson from 1941 to 1944, Hutson was as skilled going over the middle as he was going deep. Defense and special teams For many of his 11 seasons, Hutson was also the Packers' kicker. He added 172 extra points on 183 attempts and seven field goals on 15 attempts for another league record 823 points. He led the league in extra points made and attempted in 1941, 1942 and 1945 and in field goals made in 1943. As did almost all players in his day, Hutson played both offense and defense. On defense, he played safety and intercepted 30 passes over the final six years of his career. His highest season total was in 1943, when he intercepted eight passes in ten games. In 1940, he led the NFL with six interceptions. Hutson was a player-coach during the last two seasons of his playing career. After his retirement as a player, Hutson remained on the Packers staff as an assistant until 1948. Personal and later life From an early age Hutson was interested in business. "At the university [of Alabama], I was the only athlete in the business school," he said. "The only reason I wanted to play pro sports was to get a stake." While both were students at Alabama, he partnered with Bear Bryant to operate a laundromat in Tuscaloosa called Captain Kidd Cleaners. However, neither were educated in laundering, and they sold the business after two years. While in Green Bay, Hutson opened the Packer Playdium bowling alley, which proved so successful that he twice considered retirement from football to fully dedicate his time to its operation. He then started the Hutson Motor Car Co. dealership and in 1951 purchased Chevrolet and Cadillac agencies in Racine, Wisconsin. "I never aimed for automobiles," said Hutson. "That just happened to be the thing I got into. I just wanted to run a business, any business. He also served on the Packers board of directors from 1952 to 1980, when he was elected a director emeritus. After he retired from the dealership business, Hutson settled in Rancho Mirage, California, where he lived until his death on June 26, 1997, at the age of 84. Honors and recognition Hutson has been honored in a variety of ways. He was elected to the Wisconsin Athletic Hall of Fame as a charter member in 1951, and the Alabama Sports Hall of Fame in 1968, also as an initial member. His number 14 was the first number retired by the Packers, in a public ceremony at a game at City Stadium on December 2, 1951. Hutson Street in the Packerland Industrial Park in Green Bay is named for him, and in 1994 the Packers named their new state-of-the-art indoor practice facility across the street from Lambeau Field the "Don Hutson Center." Hutson was inducted as a charter member of both the College Football Hall of Fame in 1951, and Pro Football Hall of Fame in 1963. His college career made him a unanimous choice for the Associated Press Southeast Area All-Time football team 1920–1969 era. Hutson is a member of the Green Bay Packers Hall of Fame, inducted in 1972 along with his quarterbacks, Arnie Herber and Cecil Isbell. There is a park named after him in his hometown of Pine Bluff, Arkansas. On the occasion of his 75th birthday he performed the ceremonial coin toss of Super Bowl XXII to end the pregame ceremonies. Hutson was named to the NFL's 1930s All-Decade Team and 50th Anniversary Team in 1970, and in 1994 he was named to the NFL 75th Anniversary All-Time Team. In 1999, he was ranked sixth on The Sporting News list of the 100 Greatest Football Players, the highest-ranking Packer and the highest-ranking pre–World War II player. In 2012, the NFL Network named Hutson the greatest Green Bay Packer of all time. In 2005, the Flagstad family of Green Bay donated to the Green Bay Packers Hall of Fame an authentic Packers No. 14 jersey worn by Hutson. The jersey was found in a trunk of old uniforms in 1946 at the Rockwood Lodge, the Packers' summer training camp from 1946 to 1949, owned by Melvin and Helen Flagstad. The jersey, a rare NFL artifact valued at over $17,000, was donated by son Daniel Flagstad in memory of his parents. Hutson's most productive seasons were from 1942 to 1945, a time in which the NFL was severely depleted with many of its most talented players and prospective college athletes serving in the military during World War II. Hutson was classified I-A for the military draft, but had three daughters, so was able to avoid conscription. On the notion that Hutson exploited watered-down defenses, former Packers Hall of Fame running back Paul Hornung responded as such: "I'm a believer. Am I a believer! You know what Hutson would do in this league today? The same things he did when he played." NFL records As of the end of the 2017 NFL season, Hutson still holds the following records: most seasons leading league in pass receptions (8), most consecutive seasons leading league in pass receptions (5), most seasons leading league in pass receiving yards gained (7), most consecutive seasons leading league in pass receiving yards gained (4), most seasons leading league in pass receiving touchdowns (9), most seasons leading the league in total touchdowns (8), Most consecutive seasons leading league in pass receiving touchdowns (5), most seasons leading league in scoring (5, now tied), and most consecutive seasons leading league in scoring (5). Sportswriter Zipp Newman referred to Hutson as "the Ty Cobb of the gridiron." Records held as of retirement: Most seasons led league, scoring: 5* Most consecutive seasons led league, scoring: 5* Most touchdowns scored in a quarter: 4* Most touchdown receptions in a quarter: 4* Most points scored in a quarter: 29* Most seasons led league, touchdowns: 8* Most consecutive seasons led league, touchdowns: 4* Most seasons led league, receiving touchdowns: 9* Most consecutive seasons led league, receiving touchdowns: 5* Most seasons led league, receptions: 8* Most consecutive seasons led league, receptions: 5* Most seasons led league, receiving yards: 7* Most consecutive seasons led league, receiving yards: 4* Most receptions, career: 488 Most receptions, season: 74 Most receptions, game: 14 Most receiving yards, career: 7,991 Most receiving yards, season: 1,211 Most receiving yards, game: 209 Most receiving touchdowns, career: 99 Most touchdowns, season: 17 Most touchdowns, game: 4 Most points scored in a calendar month: 74 (Four games in October 1945) Note: * = remains an NFL record as of 2017 season NFL career statistics Regular season Notes References General Footnotes Further reading Eisenberg, John (2009), That First Season: How Vince Lombardi Took the Worst Team in the NFL and Set It on the Path to Glory. New York: Houghton Mifflin Harcourt. Poling, Jerry (2006), After They Were Packers: The Super Bowl XXXI Champs & Other Green Bay Legends. Big Earth Publishing. External links 1913 births 1997 deaths American football ends American football wide receivers Alabama Crimson Tide football players Green Bay Packers coaches Green Bay Packers players All-American college football players College Football Hall of Fame inductees National Football League players with retired numbers Pro Football Hall of Fame inductees Sportspeople from Pine Bluff, Arkansas People from Rancho Mirage, California Players of American football from Arkansas National Football League Most Valuable Player Award winners
false
[ "\"He Did That\" is the first single released by American rapper Silkk the Shocker from his fourth album, My World, My Way. It is among his popular singles. It was produced by Donald XL Robertson and featured Mac and Master P. \"He Did That\" was successful, peaking at #14 on the Billboard Hot R&B/Hip-Hop Singles & Tracks and #3 on the Billboard Hot Rap Singles.\n\nThe music video takes place a mansion filled with Mercedes Benz featuring appearances by Master P.\n\nSingle track listing\n\nCD\n\"He Did That\" [Radio Edit]- 3:26\n\"He Did That\" [Album Version]- 3:30\n\"He Did That\" [Multimedia track]- 3:36\n\"He Did That\" [Instrumental]- 3:20\n\nCharts\n\n2000 singles\nSilkk the Shocker songs\n2000 songs", "is a former Japanese football player.\n\nPlaying career\nIwamaru was born in Fujioka on December 4, 1981. After graduating from high school, he joined the J1 League club Vissel Kobe in 2000. However he did not play as much as Makoto Kakegawa until 2003. In 2004, he played more often, after Kakegawa got hurt. In September 2004, he moved to Júbilo Iwata. In late 2004, he played often, after regular goalkeeper Yohei Sato got hurt. In 2005, he moved to the newly promoted J2 League club, Thespa Kusatsu (later Thespakusatsu Gunma), based in his home region. He competed with Nobuyuki Kojima for the position and played often. \n\nIn 2006, he moved to the newly promoted J1 club, Avispa Fukuoka. However he did not play as much as Yuichi Mizutani. In 2007, he moved to the newly promoted J1 club, Yokohama FC. However he did not play as much as Takanori Sugeno and the club was relegated to J2 within a year. Although he did not play as much as Kenji Koyama in 2008, he played often in 2009. He did not play at all in 2010. \n\nIn 2011, he moved to the J2 club Roasso Kumamoto. He did not play as much as Yuta Minami. In 2013, he moved to the newly promoted J2 club, V-Varen Nagasaki. Although he played in the first three matches, he did play at all after the fourth match, when Junki Kanayama played in his place. In 2014, he moved to the J2 club Thespakusatsu Gunma based in his local region. However he did not play at all, and retired at the end of the 2014 season.\n\nClub statistics\n\nReferences\n\nExternal links \n\n \n\n1981 births\nLiving people\nAssociation football people from Gunma Prefecture\nJapanese footballers\nJ1 League players\nJ2 League players\nVissel Kobe players\nJúbilo Iwata players\nThespakusatsu Gunma players\nAvispa Fukuoka players\nYokohama FC players\nRoasso Kumamoto players\nV-Varen Nagasaki players\nAssociation football goalkeepers" ]
[ "Frank Zappa", "Childhood" ]
C_c267823eee05494a9c5c9ea1bd2b8b46_1
when did his childhood begin
1
when did Frank Zappa's childhood begin
Frank Zappa
Zappa was born on December 21, 1940 in Baltimore, Maryland. His mother, Rosemarie (nee Collimore) was of Italian (Neapolitan and Sicilian) and French ancestry; his father, whose name was anglicized to Francis Vincent Zappa, was an immigrant from Partinico, Sicily, with Greek and Arab ancestry. Frank, the eldest of four children, was raised in an Italian-American household where Italian was often spoken by his grandparents. The family moved often because his father, a chemist and mathematician, worked in the defense industry. After a time in Florida in the 1940s, the family returned to Maryland, where Zappa's father worked at the Edgewood Arsenal chemical warfare facility of the Aberdeen Proving Ground. Due to their home's proximity to the arsenal, which stored mustard gas, gas masks were kept in the home in case of an accident. This had a profound effect on Zappa, and references to germs, germ warfare and the defense industry occur throughout his work. Zappa was often sick as a child, suffering from asthma, earaches and sinus problems. A doctor treated his sinusitis by inserting a pellet of radium into each of Zappa's nostrils. At the time, little was known about the potential dangers of even small amounts of therapeutic radiation, and although it has since been claimed that nasal radium treatment has causal connections to cancer, no studies have provided significant enough evidence to confirm this. Nasal imagery and references appear in his music and lyrics, as well as in the collage album covers created by his long-time collaborator Cal Schenkel. Zappa believed his childhood diseases might have been due to exposure to mustard gas, released by the nearby chemical warfare facility. His health worsened when he lived in Baltimore. In 1952, his family relocated for reasons of health. They next moved to Monterey, California, where his father taught metallurgy at the Naval Postgraduate School. They soon moved to Claremont, California, then to El Cajon, before finally settling in San Diego. CANNOTANSWER
Zappa was born on December 21, 1940 in Baltimore, Maryland.
Frank Vincent Zappa (December 21, 1940 – December 4, 1993) was an American musician, singer, composer, songwriter and bandleader. His work is characterized by nonconformity, free-form improvisation, sound experiments, musical virtuosity and satire of American culture. In a career spanning more than 30 years, Zappa composed rock, pop, jazz, jazz fusion, orchestral and musique concrète works, and produced almost all of the 60-plus albums that he released with his band the Mothers of Invention and as a solo artist. Zappa also directed feature-length films and music videos, and designed album covers. He is considered one of the most innovative and stylistically diverse musicians of his generation. As a self-taught composer and performer, Zappa had diverse musical influences that led him to create music that was sometimes difficult to categorize. While in his teens, he acquired a taste for 20th-century classical modernism, African-American rhythm and blues, and doo-wop music. He began writing classical music in high school, while at the same time playing drums in rhythm-and-blues bands, later switching to electric guitar. His 1966 debut album with the Mothers of Invention, Freak Out!, combined songs in conventional rock and roll format with collective improvisations and studio-generated sound collages. He continued this eclectic and experimental approach whether the fundamental format was rock, jazz, or classical. Zappa's output is unified by a conceptual continuity he termed "Project/Object", with numerous musical phrases, ideas, and characters reappearing across his albums. His lyrics reflected his iconoclastic views of established social and political processes, structures and movements, often humorously so, and he has been described as the "godfather" of comedy rock. He was a strident critic of mainstream education and organized religion, and a forthright and passionate advocate for freedom of speech, self-education, political participation and the abolition of censorship. Unlike many other rock musicians of his generation, he disapproved of recreational drug use, but supported decriminalization and regulation. Zappa was a highly productive and prolific artist with a controversial critical standing; supporters of his music admired its compositional complexity, while critics found it lacking emotional depth. He had greater commercial success outside the US, particularly in Europe. Though he worked as an independent artist, Zappa mostly relied on distribution agreements he had negotiated with the major record labels. He remains a major influence on musicians and composers. His honors include his 1995 induction into the Rock and Roll Hall of Fame and the 1997 Grammy Lifetime Achievement Award. 1940s–1960s: early life and career Childhood Zappa was born on December 21, 1940, in Baltimore, Maryland. His mother, Rose Marie ( Colimore), was of Italian (Neapolitan and Sicilian) and French ancestry; his father, whose name was anglicized to Francis Vincent Zappa, was an immigrant from Partinico, Sicily, with Greek and Arab ancestry. Frank, the eldest of four children, was raised in an Italian-American household where Italian was often spoken by his grandparents. The family moved often because his father, a chemist and mathematician, worked in the defense industry. After a time in Florida in the 1940s, the family returned to Maryland, where Zappa's father worked at the Edgewood Arsenal chemical warfare facility of the Aberdeen Proving Ground run by the U.S. Army. Due to their home's proximity to the arsenal, which stored mustard gas, gas masks were kept in the home in case of an accident. This living arrangement had a profound effect on Zappa, and references to germs, germ warfare, ailments and the defense industry occur frequently throughout his work. Zappa was often sick as a child, suffering from asthma, earaches and sinus problems. A doctor treated his sinusitis by inserting a pellet of radium into each of Zappa's nostrils. At the time, little was known about the potential dangers of even small amounts of therapeutic radiation, and although it has since been claimed that nasal radium treatment has causal connections to cancer, no studies have provided enough evidence to confirm this. Nasal imagery and references appear in his music and lyrics, as well as in the collage album covers created by his long-time collaborator Cal Schenkel. Zappa believed his childhood diseases might have been due to exposure to mustard gas, released by the nearby chemical warfare facility, and his health worsened when he lived in Baltimore. In 1952, his family relocated for reasons of health to Monterey, California, where his father taught metallurgy at the Naval Postgraduate School. They soon moved to Clairemont, and then to El Cajon, before finally settling in nearby San Diego. First musical interests Zappa joined his first band at Mission Bay High School in San Diego as the drummer. At about the same time, his parents bought a phonograph, which allowed him to develop his interest in music, and to begin building his record collection. According to The Rough Guide to Rock (2003), "as a teenager Zappa was simultaneously enthralled by black R&B (Johnny 'Guitar' Watson, Guitar Slim), doo-wop (The Channels, The Velvets), the modernism of Igor Stravinsky and Anton Webern, and the dissonant sound experiments of Edgard Varese." R&B singles were early purchases for Zappa, starting a large collection he kept for the rest of his life. He was interested in sounds for their own sake, particularly the sounds of drums and other percussion instruments. By age twelve, he had obtained a snare drum and began learning the basics of orchestral percussion. Zappa's deep interest in modern classical music began when he read a LOOK magazine article about the Sam Goody record store chain that lauded its ability to sell an LP as obscure as The Complete Works of Edgard Varèse, Volume One. The article described Varèse's percussion composition Ionisation, produced by EMS Recordings, as "a weird jumble of drums and other unpleasant sounds". Zappa decided to seek out Varèse's music. After searching for over a year, Zappa found a copy (he noticed the LP because of the "mad scientist" looking photo of Varèse on the cover). Not having enough money with him, he persuaded the salesman to sell him the record at a discount. Thus began his lifelong passion for Varèse's music and that of other modern classical composers. He also liked the Italian classical music listened to by his grandparents, especially Puccini's opera arias. By 1956, the Zappa family had moved to Lancaster, a small aerospace and farming town in the Antelope Valley of the Mojave Desert close to Edwards Air Force Base; he would later refer to Sun Village (a town close to Lancaster) in the 1973 track "Village of the Sun". Zappa's mother encouraged him in his musical interests. Although she disliked Varèse's music, she was indulgent enough to give her son a long-distance call to the New York composer as a fifteenth birthday present. Unfortunately, Varèse was in Europe at the time, so Zappa spoke to the composer's wife and she suggested he call back later. In a letter, Varèse thanked him for his interest, and told him about a composition he was working on called "Déserts". Living in the desert town of Lancaster, Zappa found this very exciting. Varèse invited him to visit if he ever came to New York. The meeting never took place (Varèse died in 1965), but Zappa framed the letter and kept it on display for the rest of his life. At Antelope Valley High School, Zappa met Don Glen Vliet (who later changed his name to Don Van Vliet and adopted the stage name Captain Beefheart). Zappa and Vliet became close friends, sharing an interest in R&B records and influencing each other musically throughout their careers. Around the same time, Zappa started playing drums in a local band, the Blackouts. The band was racially diverse and included Euclid James "Motorhead" Sherwood who later became a member of the Mothers of Invention. Zappa's interest in the guitar grew, and in 1957 he was given his first instrument. Among his early influences were Johnny "Guitar" Watson, Howlin' Wolf and Clarence "Gatemouth" Brown. In the 1970s/1980s, he invited Watson to perform on several albums. Zappa considered soloing as the equivalent of forming "air sculptures", and developed an eclectic, innovative and highly personal style. He was also influenced by Egyptian composer Halim El-Dabh. Zappa's interest in composing and arranging flourished in his last high-school years. By his final year, he was writing, arranging and conducting avant-garde performance pieces for the school orchestra. He graduated from Antelope Valley High School in 1958, and later acknowledged two of his music teachers on the sleeve of the 1966 album Freak Out! Due to his family's frequent moves, Zappa attended at least six different high schools, and as a student he was often bored and given to distracting the rest of the class with juvenile antics. In 1959, he attended Chaffey College but left after one semester, and maintained thereafter a disdain for formal education, taking his children out of school at age 15 and refusing to pay for their college. Zappa left home in 1959, and moved into a small apartment in Echo Park, Los Angeles. After he met Kathryn J. "Kay" Sherman during his short period of private composition study with Prof. Karl Kohn of Pomona College, they moved in together in Ontario, and were married December 28, 1960. Zappa worked for a short period in advertising as a copywriter. His sojourn in the commercial world was brief, but gave him valuable insights into its workings. Throughout his career, he took a keen interest in the visual presentation of his work, designing some of his album covers and directing his own films and videos. Studio Z Zappa attempted to earn a living as a musician and composer, and played different nightclub gigs, some with a new version of the Blackouts. Zappa's earliest professional recordings, two soundtracks for the low-budget films The World's Greatest Sinner (1962) and Run Home Slow (1965) were more financially rewarding. The former score was commissioned by actor-producer Timothy Carey and recorded in 1961. It contains many themes that appeared on later Zappa records. The latter soundtrack was recorded in 1963 after the film was completed, but it was commissioned by one of Zappa's former high school teachers in 1959 and Zappa may have worked on it before the film was shot. Excerpts from the soundtrack can be heard on the posthumous album The Lost Episodes (1996). During the early 1960s, Zappa wrote and produced songs for other local artists, often working with singer-songwriter Ray Collins and producer Paul Buff. Their "Memories of El Monte" was recorded by the Penguins, although only Cleve Duncan of the original group was featured. Buff owned the small Pal Recording Studio in Cucamonga, which included a unique five-track tape recorder he had built. At that time, only a handful of the most sophisticated commercial studios had multi-track facilities; the industry standard for smaller studios was still mono or two-track. Although none of the recordings from the period achieved major commercial success, Zappa earned enough money to allow him to stage a concert of his orchestral music in 1963 and to broadcast and record it. He appeared on Steve Allen's syndicated late night show the same year, in which he played a bicycle as a musical instrument. Using a bow borrowed from the band's bass player, as well as drum sticks, he proceeded to pluck, bang, and bow the spokes of the bike, producing strange, comical sounds from his newfound instrument. With Captain Beefheart, Zappa recorded some songs under the name of the Soots. They were rejected by Dot Records. Later, the Mothers were also rejected by Columbia Records for having "no commercial potential", a verdict Zappa subsequently quoted on the sleeve of Freak Out! In 1964, after his marriage started to break up, he moved into the Pal studio and began routinely working 12 hours or more per day recording and experimenting with overdubbing and audio tape manipulation. This established a work pattern that endured for most of his life. Aided by his income from film composing, Zappa took over the studio from Paul Buff, who was now working with Art Laboe at Original Sound. It was renamed Studio Z. Studio Z was rarely booked for recordings by other musicians. Instead, friends moved in, notably James "Motorhead" Sherwood. Zappa started performing in local bars as a guitarist with a power trio, the Muthers, to support himself. An article in the local press describing Zappa as "the Movie King of Cucamonga" prompted the local police to suspect that he was making pornographic films. In March 1965, Zappa was approached by a vice squad undercover officer, and accepted an offer of $100 () to produce a suggestive audio tape for an alleged stag party. Zappa and a female friend recorded a faked erotic episode. When Zappa was about to hand over the tape, he was arrested, and the police stripped the studio of all recorded material. The press was tipped off beforehand, and next day's The Daily Report wrote that "Vice Squad investigators stilled the tape recorders of a free-swinging, a-go-go film and recording studio here Friday and arrested a self-styled movie producer". Zappa was charged with "conspiracy to commit pornography". This felony charge was reduced and he was sentenced to six months in jail on a misdemeanor, with all but ten days suspended. His brief imprisonment left a permanent mark, and was central to the formation of his anti-authoritarian stance. Zappa lost several recordings made at Studio Z in the process, as the police returned only 30 of 80 hours of tape seized. Eventually, he could no longer afford to pay the rent on the studio and was evicted. Zappa managed to recover some of his possessions before the studio was torn down in 1966. Late 1960s: the Mothers of Invention Formation In 1965, Ray Collins asked Zappa to take over as guitarist in local R&B band the Soul Giants, following a fight between Collins and the group's original guitarist. Zappa accepted, and soon assumed leadership and the role as co-lead singer (even though he never considered himself a singer, then or later). He convinced the other members that they should play his music to increase the chances of getting a record contract. The band was renamed the Mothers, coincidentally on Mother's Day. They increased their bookings after beginning an association with manager Herb Cohen, and gradually gained attention on the burgeoning Los Angeles underground music scene. In early 1966, they were spotted by leading record producer Tom Wilson when playing "Trouble Every Day", a song about the Watts riots. Wilson had earned acclaim as the producer for Bob Dylan and Simon & Garfunkel, and was one of the few African-Americans working as a major label pop music producer at this time. Wilson signed the Mothers to the Verve division of MGM, which had built up a strong reputation for its releases of modern jazz recordings in the 1940s and 1950s, but was attempting to diversify into pop and rock audiences. Verve insisted that the band officially rename themselves the Mothers of Invention as Mother was short for motherfucker—a term that, apart from its profane meanings, can denote a skilled musician. Debut album: Freak Out! With Wilson credited as producer, the Mothers of Invention, augmented by a studio orchestra, recorded the groundbreaking Freak Out! (1966), which, after Bob Dylan's Blonde on Blonde, was the second rock double album ever released. It mixed R&B, doo-wop, musique concrète, and experimental sound collages that captured the "freak" subculture of Los Angeles at that time. Although he was dissatisfied with the final product, Freak Out immediately established Zappa as a radical new voice in rock music, providing an antidote to the "relentless consumer culture of America". The sound was raw, but the arrangements were sophisticated. While recording in the studio, some of the additional session musicians were shocked that they were expected to read the notes on sheet music from charts with Zappa conducting them, since it was not standard when recording rock music. The lyrics praised non-conformity, disparaged authorities, and had dadaist elements. Yet, there was a place for seemingly conventional love songs. Most compositions are Zappa's, which set a precedent for the rest of his recording career. He had full control over the arrangements and musical decisions and did most overdubs. Wilson provided the industry clout and connections and was able to provide the group with the financial resources needed. Although Wilson was able to provide Zappa and the Mothers with an extraordinary degree of artistic freedom for the time, the recording did not go entirely as planned. In a 1967 radio interview, Zappa explained that the album's outlandish 11-minute closing track, "Return of the Son of Monster Magnet" was not finished. The track as it appears on the album was only a backing track for a much more complex piece, but MGM refused to allow the additional recording time needed for completion. Much to Zappa's chagrin, it was issued in its unfinished state. During the recording of Freak Out!, Zappa moved into a house in Laurel Canyon with friend Pamela Zarubica, who appeared on the album. The house became a meeting (and living) place for many LA musicians and groupies of the time, despite Zappa's disapproval of their illicit drug use. After a short promotional tour following the release of Freak Out!, Zappa met Adelaide Gail Sloatman. He fell in love within "a couple of minutes", and she moved into the house over the summer. They married in 1967, had four children and remained together until Zappa's death. Wilson nominally produced the Mothers' second album Absolutely Free (1967), which was recorded in November 1966, and later mixed in New York, although by this time Zappa was in de facto control of most facets of the production. It featured extended playing by the Mothers of Invention and focused on songs that defined Zappa's compositional style of introducing abrupt, rhythmical changes into songs that were built from diverse elements. Examples are "Plastic People" and "Brown Shoes Don't Make It", which contained lyrics critical of the hypocrisy and conformity of American society, but also of the counterculture of the 1960s. As Zappa put it, "[W]e're satirists, and we are out to satirize everything." At the same time, Zappa had recorded material for an album of orchestral works to be released under his own name, Lumpy Gravy, released by Capitol Records in 1967. Due to contractual problems, the album was pulled. Zappa took the opportunity to radically restructure the contents, adding newly recorded, improvised dialogue. After the contractual problems were resolved, the album was reissued by Verve in 1968. It is an "incredible ambitious musical project", a "monument to John Cage", which intertwines orchestral themes, spoken words and electronic noises through radical audio editing techniques. New York period (1966–1968) The Mothers of Invention played in New York in late 1966 and were offered a contract at the Garrick Theater (at 152 Bleecker Street, above the Cafe au Go Go) during Easter 1967. This proved successful and Herb Cohen extended the booking, which eventually lasted half a year. As a result, Zappa and his wife Gail, along with the Mothers of Invention, moved to New York. Their shows became a combination of improvised acts showcasing individual talents of the band as well as tight performances of Zappa's music. Everything was directed by Zappa using hand signals. Guest performers and audience participation became a regular part of the Garrick Theater shows. One evening, Zappa managed to entice some U.S. Marines from the audience onto the stage, where they proceeded to dismember a big baby doll, having been told by Zappa to pretend that it was a "gook baby". Situated in New York, and interrupted by the band's first European tour, the Mothers of Invention recorded the album widely regarded as the peak of the group's late 1960s work, We're Only in It for the Money (released 1968). It was produced by Zappa, with Wilson credited as executive producer. From then on, Zappa produced all albums released by the Mothers of Invention and as a solo artist. We're Only in It for the Money featured some of the most creative audio editing and production yet heard in pop music, and the songs ruthlessly satirized the hippie and flower power phenomena. He sampled plundered surf music in We're only in It for the Money, as well as the Beatles' tape work from their song "Tomorrow Never Knows". The cover photo parodied that of the Beatles' Sgt. Pepper's Lonely Hearts Club Band. The cover art was provided by Cal Schenkel whom Zappa met in New York. This initiated a lifelong collaboration in which Schenkel designed covers for numerous Zappa and Mothers albums. Reflecting Zappa's eclectic approach to music, the next album, Cruising with Ruben & the Jets (1968), was very different. It represented a collection of doo-wop songs; listeners and critics were not sure whether the album was a satire or a tribute. Zappa later remarked that the album was conceived like Stravinsky's compositions in his neo-classical period: "If he could take the forms and clichés of the classical era and pervert them, why not do the same ... to doo-wop in the fifties?" A theme from Stravinsky's The Rite of Spring is heard during one song. In 1967 and 1968, Zappa made two appearances with the Monkees. The first appearance was on an episode of their TV series, "The Monkees Blow Their Minds", where Zappa, dressed up as Mike Nesmith, interviews Nesmith who is dressed up as Zappa. After the interview, Zappa destroys a car with a sledgehammer as the song "Mother People" plays. He later provided a cameo in the Monkees' movie Head where, leading a cow, he tells Davy Jones "the youth of America depends on you to show them the way." Zappa respected the Monkees and recruited Micky Dolenz to the Mothers but RCA/Columbia/Colgems would not release Dolenz from his contract. During the late 1960s, Zappa continued to develop the business side of his career. He and Herb Cohen formed the Bizarre Records and Straight Records labels to increase creative control and produce recordings by other artists. These labels were distributed in the US by Warner Bros. Records. Zappa/Mothers recordings appeared on Bizarre along with Wild Man Fischer and Lenny Bruce. Straight released the double album Trout Mask Replica for Captain Beefheart, and releases by Alice Cooper, The Persuasions, and the GTOs. In the Mothers' second European tour in September/October 1968 they performed for the at the Grugahalle in Essen, Germany; at the Tivoli in Copenhagen, Denmark; for TV programs in Germany (Beat-Club), France, and England; at the Concertgebouw in Amsterdam; at the Royal Festival Hall in London; and at the Olympia in Paris. Disbandment Zappa and the Mothers of Invention returned to Los Angeles in mid-1968, and the Zappas moved into a house on Laurel Canyon Boulevard, only to move again to Woodrow Wilson Drive. This was Zappa's home for the rest of his life. Despite being successful in Europe, the Mothers of Invention were not doing well financially. Their first records were vocally oriented, but as Zappa wrote more instrumental jazz and classical style music for the band's concerts, audiences were confused. Zappa felt that audiences failed to appreciate his "electrical chamber music". In 1969 there were nine band members and Zappa was supporting the group from his publishing royalties whether they played or not. In late 1969, Zappa broke up the band. He often cited the financial strain as the main reason, but also commented on the band members' lack of diligence. Many band members were bitter about Zappa's decision, and some took it as a sign of Zappa's perfectionism at the expense of human feeling. Others were irritated by 'his autocratic ways', exemplified by Zappa's never staying at the same hotel as the band members. Several members played for Zappa in years to come. Remaining recordings of the band from this period were collected on Weasels Ripped My Flesh and Burnt Weeny Sandwich (both released in 1970). After he disbanded the Mothers of Invention, Zappa released the acclaimed solo album Hot Rats (1969). It features, for the first time on record, Zappa playing extended guitar solos and contains one of his most enduring compositions, "Peaches en Regalia", which reappeared several times on future recordings. He was backed by jazz, blues and R&B session players including violinist Don "Sugarcane" Harris, drummers John Guerin and Paul Humphrey, multi-instrumentalist and former Mothers of Invention member Ian Underwood, and multi-instrumentalist Shuggie Otis on bass, along with a guest appearance by Captain Beefheart on the only vocal track, "Willie the Pimp". It became a popular album in England, and had a major influence on the development of jazz-rock fusion. 1970s Rebirth of the Mothers and filmmaking In 1970 Zappa met conductor Zubin Mehta. They arranged a May 1970 concert where Mehta conducted the Los Angeles Philharmonic augmented by a rock band. According to Zappa, the music was mostly written in motel rooms while on tour with the Mothers of Invention. Some of it was later featured in the movie 200 Motels. Although the concert was a success, Zappa's experience working with a symphony orchestra was not a happy one. His dissatisfaction became a recurring theme throughout his career; he often felt that the quality of performance of his material delivered by orchestras was not commensurate with the money he spent on orchestral concerts and recordings. Later in 1970, Zappa formed a new version of the Mothers (from then on, he mostly dropped the "of Invention"). It included British drummer Aynsley Dunbar, jazz keyboardist George Duke, Ian Underwood, Jeff Simmons (bass, rhythm guitar), and three members of the Turtles: bass player Jim Pons, and singers Mark Volman and Howard Kaylan, who, due to persistent legal and contractual problems, adopted the stage name "The Phlorescent Leech and Eddie", or "Flo & Eddie". This version of the Mothers debuted on Zappa's next solo album Chunga's Revenge (1970), which was followed by the double-album soundtrack to the movie 200 Motels (1971), featuring the Mothers, the Royal Philharmonic Orchestra, Ringo Starr, Theodore Bikel, and Keith Moon. Co-directed by Zappa and Tony Palmer, it was filmed in a week at Pinewood Studios outside London. Tensions between Zappa and several cast and crew members arose before and during shooting. The film deals loosely with life on the road as a rock musician. It was the first feature film photographed on videotape and transferred to 35 mm film, a process that allowed for novel visual effects. It was released to mixed reviews. The score relied extensively on orchestral music, and Zappa's dissatisfaction with the classical music world intensified when a concert, scheduled at the Royal Albert Hall after filming, was canceled because a representative of the venue found some of the lyrics obscene. In 1975, he lost a lawsuit against the Royal Albert Hall for breach of contract. After 200 Motels, the band went on tour, which resulted in two live albums, Fillmore East – June 1971 and Just Another Band from L.A.; the latter included the 20-minute track "Billy the Mountain", Zappa's satire on rock opera set in Southern California. This track was representative of the band's theatrical performances—which used songs to build sketches based on 200 Motels scenes, as well as new situations that often portrayed the band members' sexual encounters on the road. Accident, attack, and aftermath On December 4, 1971, Zappa suffered his first of two serious setbacks. While performing at Casino de Montreux in Switzerland, the Mothers' equipment was destroyed when a flare set off by an audience member started a fire that burned down the casino. Immortalized in Deep Purple's song "Smoke on the Water", the event and immediate aftermath can be heard on the bootleg album Swiss Cheese/Fire, released legally as part of Zappa's Beat the Boots II compilation. After losing $50,000 () worth of equipment and a week's break, the Mothers played at the Rainbow Theatre, London, with rented gear. During the encore, an audience member jealous because of his girlfriend's infatuation with Zappa pushed him off the stage and into the concrete-floored orchestra pit. The band thought Zappa had been killed—he had suffered serious fractures, head trauma and injuries to his back, leg, and neck, as well as a crushed larynx, which ultimately caused his voice to drop a third after healing. After the attack Zappa needed to use a wheelchair for an extended period, making touring impossible for over half a year. Upon return to the stage in September 1972, Zappa was still wearing a leg brace, had a noticeable limp and could not stand for very long while on stage. Zappa noted that one leg healed "shorter than the other" (a reference later found in the lyrics of songs "Zomby Woof" and "Dancin' Fool"), resulting in chronic back pain. Meanwhile, the Mothers were left in limbo and eventually formed the core of Flo and Eddie's band as they set out on their own. During 1971–1972 Zappa released two strongly jazz-oriented solo LPs, Waka/Jawaka and The Grand Wazoo, which were recorded during the forced layoff from concert touring, using floating line-ups of session players and Mothers alumni. Musically, the albums were akin to Hot Rats, in that they featured extended instrumental tracks with extended soloing. Zappa began touring again in late 1972. His first effort was a series of concerts in September 1972 with a 20-piece big band referred to as the Grand Wazoo. This was followed by a scaled-down version known as the Petit Wazoo that toured the U.S. for five weeks from October to December 1972. Top 10 album: Apostrophe () Zappa then formed and toured with smaller groups that variously included Ian Underwood (reeds, keyboards), Ruth Underwood (vibes, marimba), Sal Marquez (trumpet, vocals), Napoleon Murphy Brock (sax, flute and vocals), Bruce Fowler (trombone), Tom Fowler (bass), Chester Thompson (drums), Ralph Humphrey (drums), George Duke (keyboards, vocals), and Jean-Luc Ponty (violin). By 1973 the Bizarre and Straight labels were discontinued. In their place, Zappa and Cohen created DiscReet Records, also distributed by Warner. Zappa continued a high rate of production through the first half of the 1970s, including the solo album Apostrophe (') (1974), which reached a career-high No. 10 on the Billboard pop album charts helped by the No. 86 chart hit "Don't Eat The Yellow Snow". Other albums from the period are Over-Nite Sensation (1973), which contained several future concert favorites, such as "Dinah-Moe Humm" and "Montana", and the albums Roxy & Elsewhere (1974) and One Size Fits All (1975) which feature ever-changing versions of a band still called the Mothers, and are notable for the tight renditions of highly difficult jazz fusion songs in such pieces as "Inca Roads", "Echidna's Arf (Of You)" and "Be-Bop Tango (Of the Old Jazzmen's Church)". A live recording from 1974, You Can't Do That on Stage Anymore, Vol. 2 (1988), captures "the full spirit and excellence of the 1973–1975 band". Zappa released Bongo Fury (1975), which featured a live recording at the Armadillo World Headquarters in Austin from a tour the same year that reunited him with Captain Beefheart for a brief period. They later became estranged for a period of years, but were in contact at the end of Zappa's life. Business breakups and touring In 1976 Zappa produced the album Good Singin', Good Playin' for Grand Funk Railroad. Zappa's relationship with long-time manager Herb Cohen ended in May 1976. Zappa sued Cohen for skimming more than he was allocated from DiscReet Records, as well as for signing acts of which Zappa did not approve. Cohen filed a lawsuit against Zappa in return, which froze the money Zappa and Cohen had gained from an out-of-court settlement with MGM over the rights of the early Mothers of Invention recordings. It also prevented Zappa having access to any of his previously recorded material during the trials. Zappa therefore took his personal master copies of the rock-oriented Zoot Allures (1976) directly to Warner, thereby bypassing DiscReet. Following the split with Cohen, Zappa hired Bennett Glotzer as new manager. By late 1976 Zappa was upset with Warner over inadequate promotion of his recordings and he was eager to move on as soon as possible. In March 1977 Zappa delivered four albums (five full-length LPs) to Warner to complete his contract. These albums contained recordings mostly made between 1972 and 1976. Warner failed to meet contractual obligations to Zappa, but after a lengthy legal dispute they did eventually release these recordings during 1978 and 1979 in censored form. Also, in 1977 Zappa prepared a four-LP box set called Läther (pronounced "leather") and negotiated distribution with Phonogram Inc. for release on the Zappa Records label. The Läther box set was scheduled for release on Halloween 1977, but legal action from Warner forced Zappa to shelve this project. In December 1977 Zappa appeared on the Pasadena, California radio station KROQ-FM and played the entire Läther album, while encouraging listeners to make tape recordings of the broadcast. Both sets of recordings (five-LP and four-LP) have much of the same material, but each also has unique content. The albums integrate many aspects of Zappa's 1970s work: heavy rock, orchestral works, and complex jazz instrumentals, along with Zappa's distinctive guitar solos. Läther was officially released posthumously in 1996. It is still debated as to whether Zappa had conceived the material as a four-LP set from the beginning, or only later when working with Phonogram. Although Zappa eventually gained the rights to all his material created under the MGM and Warner contracts, the various lawsuits meant that for a period Zappa's only income came from touring, which he therefore did extensively in 1975–1977 with relatively small, mainly rock-oriented, bands. Drummer Terry Bozzio became a regular band member, Napoleon Murphy Brock stayed on for a while, and original Mothers of Invention bassist Roy Estrada joined. Among other musicians were bassist Patrick O'Hearn, singer-guitarist Ray White and keyboardist/violinist Eddie Jobson. In December 1976, Zappa appeared as a featured musical guest on the NBC television show Saturday Night Live. Zappa's song "I'm the Slime" was performed with a voice-over by SNL booth announcer Don Pardo, who also introduced "Peaches En Regalia" on the same airing. In 1978, Zappa served both as host and musical act on the show, and as an actor in various sketches. The performances included an impromptu musical collaboration with cast member John Belushi during the instrumental piece "The Purple Lagoon". Belushi appeared as his Samurai Futaba character playing the tenor sax with Zappa conducting. Zappa's band had a series of Christmas shows in New York City in 1976, recordings of which appear on Zappa in New York (1978) and also on the four-LP Läther project. The band included Ruth Underwood and a horn section (featuring Michael and Randy Brecker). It mixes complex instrumentals such as "The Black Page" and humorous songs like "Titties and Beer". The former composition, written originally for drum kit but later developed for larger bands, is notorious for its complexity in rhythmic structure and short, densely arranged passages. Zappa in New York also featured a song about sex criminal Michael H. Kenyon, "The Illinois Enema Bandit", in which Don Pardo provides the opening narrative. Like many songs on the album, it contained numerous sexual references, leading to many critics objecting and being offended by the content. Zappa dismissed the criticism by noting that he was a journalist reporting on life as he saw it. Predating his later fight against censorship, he remarked: "What do you make of a society that is so primitive that it clings to the belief that certain words in its language are so powerful that they could corrupt you the moment you hear them?" The remaining albums released by Warner without Zappa's approval were Studio Tan in 1978 and Sleep Dirt and Orchestral Favorites in 1979. These releases were largely overlooked in midst of the press about Zappa's legal problems. Zappa Records label Zappa released two of his most important projects in 1979. These were the best-selling album of his career, Sheik Yerbouti, and what author Kelley Lowe called the "bona fide masterpiece", Joe's Garage. The double album Sheik Yerbouti appeared in March 1979 and was the first release to appear on Zappa Records. It contained the Grammy-nominated single "Dancin' Fool", which reached No. 45 on the Billboard charts. It also contained "Jewish Princess", which received attention when a Jewish group, the Anti-Defamation League (ADL), attempted to prevent the song from receiving radio airplay due to its alleged anti-Semitic lyrics. Zappa vehemently denied any anti-Semitic sentiments, and dismissed the ADL as a "noisemaking organization that tries to apply pressure on people in order to manufacture a stereotype image of Jews that suits their idea of a good time." The album's commercial success was attributable in part to "Bobby Brown". Due to its explicit lyrics about a young man's encounter with a "dyke by the name of Freddie", the song did not get airplay in the U.S., but it topped the charts in several European countries where English is not the primary language. Joe's Garage initially had to be released in two parts. The first was a single LP Joe's Garage Act I in September 1979, followed by a double LP Joe's Garage Acts II and III in November 1979. The albums feature singer Ike Willis as lead character "Joe" in a rock opera about the danger of political systems, the suppression of freedom of speech and music—inspired in part by the 1979 Islamic Iranian revolution that had made music illegal—and about the "strange relationship Americans have with sex and sexual frankness". The first act contains the song "Catholic Girls" (a riposte to the controversies of "Jewish Princess"), and the title track, which was also released as a single. The second and third acts have extended guitar improvisations, which were recorded live, then combined with studio backing tracks. Zappa described this process as xenochrony. In this period the band included drummer Vinnie Colaiuta (with whom Zappa had a particularly strong musical rapport) Joe's Garage contains one of Zappa's most famous guitar "signature pieces", "Watermelon in Easter Hay". This work later appeared as a three-LP, or two-CD set. On December 21, 1979, Zappa's movie Baby Snakes premiered in New York. The movie's tagline was "A movie about people who do stuff that is not normal". The 2 hour and 40 minutes movie was based on footage from concerts in New York around Halloween 1977, with a band featuring keyboardist Tommy Mars and percussionist Ed Mann (who would both return on later tours) as well as guitarist Adrian Belew. It also contained several extraordinary sequences of clay animation by Bruce Bickford who had earlier provided animation sequences to Zappa for a 1974 TV special (which became available on the 1982 video The Dub Room Special). The movie did not do well in theatrical distribution, but won the Premier Grand Prix at the First International Music Festival in Paris in 1981. 1980s–1990s Zappa cut ties with Phonogram after the distributor refused to release his song "I Don't Wanna Get Drafted", which was recorded in February 1980. The single was released independently by Zappa in the United States and was picked up by CBS Records internationally. After spending much of 1980 on the road, Zappa released Tinsel Town Rebellion in 1981. It was the first release on his own Barking Pumpkin Records, and it contains songs taken from a 1979 tour, one studio track and material from the 1980 tours. The album is a mixture of complicated instrumentals and Zappa's use of sprechstimme (speaking song or voice)—a compositional technique utilized by such composers as Arnold Schoenberg and Alban Berg—showcasing some of the most accomplished bands Zappa ever had (mostly featuring drummer Vinnie Colaiuta). While some lyrics still raised controversy among critics, some of whom found them sexist, the political and sociological satire in songs like the title track and "The Blue Light" have been described as a "hilarious critique of the willingness of the American people to believe anything". The album is also notable for the presence of guitarist Steve Vai, who joined Zappa's touring band in late 1980. The same year the double album You Are What You Is was released. Most of it was recorded in Zappa's brand new Utility Muffin Research Kitchen (UMRK) studios, which were located at his house, thereby giving him complete freedom in his work. The album included one complex instrumental, "Theme from the 3rd Movement of Sinister Footwear", but mainly consisted of rock songs with Zappa's sardonic social commentary—satirical lyrics directed at teenagers, the media, and religious and political hypocrisy. "Dumb All Over" is a tirade on religion, as is "Heavenly Bank Account", wherein Zappa rails against TV evangelists such as Jerry Falwell and Pat Robertson for their purported influence on the U.S. administration as well as their use of religion as a means of raising money. Songs like "Society Pages" and "I'm a Beautiful Guy" show Zappa's dismay with the Reagan era and its "obscene pursuit of wealth and happiness". Zappa made his only music video for a song from this album - "You Are What You Is" - directed by Jerry Watson, produced by Paul Flattery. It was banned from MTV. Zappa's management relationship with Bennett Glotzer ended in 1984. From then on Gail acted as co-manager with Frank of all his business interests. In 1981, Zappa also released three instrumental albums, Shut Up 'n Play Yer Guitar, Shut Up 'N Play Yer Guitar Some More, and The Return of the Son of Shut Up 'N Play Yer Guitar, which were initially sold via mail order, but later released through CBS Records (now Sony Music Entertainment) due to popular demand. The albums focus exclusively on Frank Zappa as a guitar soloist, and the tracks are predominantly live recordings from 1979 to 1980; they highlight Zappa's improvisational skills with "beautiful performances from the backing group as well". Another guitar-only album, Guitar, was released in 1988, and a third, Trance-Fusion, which Zappa completed shortly before his death, was released in 2006. Zappa later expanded on his television appearances in a non-musical role. He was an actor or voice artist in episodes of Shelley Duvall's Faerie Tale Theatre, Miami Vice and The Ren & Stimpy Show. A voice part in The Simpsons never materialized, to creator Matt Groening's disappointment (Groening was a neighbor of Zappa and a lifelong fan). "Valley Girl" and classical performances In May 1982, Zappa released Ship Arriving Too Late to Save a Drowning Witch, which featured his biggest selling single ever, the Grammy Award-nominated song "Valley Girl" (topping out at No. 32 on the Billboard charts). In her improvised lyrics to the song, Zappa's daughter Moon satirized the patois of teenage girls from the San Fernando Valley, which popularized many "Valspeak" expressions such as "gag me with a spoon", "fer sure, fer sure", "grody to the max", and "barf out". In 1983, two different projects were released, beginning with The Man from Utopia, a rock-oriented work. The album is eclectic, featuring the vocal-led "Dangerous Kitchen" and "The Jazz Discharge Party Hats", both continuations of the sprechstimme excursions on Tinseltown Rebellion. The second album, London Symphony Orchestra, Vol. I, contained orchestral Zappa compositions conducted by Kent Nagano and performed by the London Symphony Orchestra (LSO). A second record of these sessions, London Symphony Orchestra, Vol. II was released in 1987. The material was recorded under a tight schedule with Zappa providing all funding, helped by the commercial success of "Valley Girl". Zappa was not satisfied with the LSO recordings. One reason is "Strictly Genteel", which was recorded after the trumpet section had been out for drinks on a break: the track took 40 edits to hide out-of-tune notes. Conductor Nagano, who was pleased with the experience, noted that "in fairness to the orchestra, the music is humanly very, very difficult". Some reviews noted that the recordings were the best representation of Zappa's orchestral work so far. In 1984 Zappa teamed again with Nagano and the Berkeley Symphony Orchestra for a live performance of A Zappa Affair with augmented orchestra, life-size puppets, and moving stage sets. Although critically acclaimed the work was a financial failure, and only performed twice. Zappa was invited by conference organizer Thomas Wells to be the keynote speaker at the American Society of University Composers at the Ohio State University. It was there Zappa delivered his famous "Bingo! There Goes Your Tenure" address, and had two of his orchestra pieces, "Dupree's Paradise" and "Naval Aviation in Art?" performed by the Columbus Symphony and ProMusica Chamber Orchestra of Columbus. Synclavier For the remainder of his career, much of Zappa's work was influenced by his use of the Synclavier, an early digital synthesizer, as a compositional and performance tool. According to Zappa, "With the Synclavier, any group of imaginary instruments can be invited to play the most difficult passages ... with one-millisecond accuracy—every time". Even though it essentially did away with the need for musicians, Zappa viewed the Synclavier and real-life musicians as separate. In 1984, he released four albums. Boulez Conducts Zappa: The Perfect Stranger contains orchestral works commissioned and conducted by celebrated conductor, composer and pianist Pierre Boulez (who was listed as an influence on Freak Out!), and performed by his Ensemble InterContemporain. These were juxtaposed with premiere Synclavier pieces. Again, Zappa was not satisfied with the performances of his orchestral works, regarding them as under-rehearsed, but in the album liner notes he respectfully thanks Boulez's demands for precision. The Synclavier pieces stood in contrast to the orchestral works, as the sounds were electronically generated and not, as became possible shortly thereafter, sampled. The album Thing-Fish was an ambitious three-record set in the style of a Broadway play dealing with a dystopian "what-if" scenario involving feminism, homosexuality, manufacturing and distribution of the AIDS virus, and a eugenics program conducted by the United States government. New vocals were combined with previously released tracks and new Synclavier music; "the work is an extraordinary example of bricolage". Francesco Zappa, a Synclavier rendition of works by 18th-century composer Francesco Zappa, was also released in 1984. Merchandising Zappa’s mail-order merchandise business Barfko-Swill was run by Gerry Fialka, who also worked for Zappa as archivist and production assistant from 1983 to 1993 and answered the phone for Zappa’s Barking Pumpkin Records hotline. Fialka appears giving a tour of Barfko-Swill in the 1987 VHS release (but not the original 1979 film release) of Zappa's film Baby Snakes. He is credited on-screen as "GERALD FIALKA Cool Guy Who Wraps Stuff So It Doesn't Break". A short clip of this tour is also included in the 2020 documentary film Zappa. Digital medium and last tour Around 1986, Zappa undertook a comprehensive re-release program of his earlier vinyl recordings. He personally oversaw the remastering of all his 1960s, 1970s and early 1980s albums for the new digital compact disc medium. Certain aspects of these re-issues were criticized by some fans as being unfaithful to the original recordings. Nearly twenty years before the advent of online music stores, Zappa had proposed to replace "phonographic record merchandising" of music by "direct digital-to-digital transfer" through phone or cable TV (with royalty payments and consumer billing automatically built into the accompanying software). In 1989, Zappa considered his idea a "miserable flop". The album Jazz from Hell, released in 1986, earned Zappa his first Grammy Award in 1988 for Best Rock Instrumental Performance. Except for one live guitar solo ("St. Etienne"), the album exclusively featured compositions brought to life by the Synclavier. Zappa's last tour in a rock and jazz band format took place in 1988 with a 12-piece group which had a repertoire of over 100 (mostly Zappa) compositions, but which split under acrimonious circumstances before the tour was completed. The tour was documented on the albums Broadway the Hard Way (new material featuring songs with strong political emphasis); The Best Band You Never Heard in Your Life (Zappa "standards" and an eclectic collection of cover tunes, ranging from Maurice Ravel's Boléro to Led Zeppelin's Stairway to Heaven to The Beatles' I Am The Walrus); and also, Make a Jazz Noise Here. Parts are also found on You Can't Do That on Stage Anymore, volumes 4 and 6. Recordings from this tour also appear on the 2006 album Trance-Fusion. Health deterioration In 1990, Zappa was diagnosed with terminal prostate cancer. The disease had been developing unnoticed for years and was considered inoperable. After the diagnosis, Zappa devoted most of his energy to modern orchestral and Synclavier works. Shortly before his death in 1993 he completed Civilization Phaze III, a major Synclavier work which he had begun in the 1980s. In 1991, Zappa was chosen to be one of four featured composers at the Frankfurt Festival in 1992 (the others were John Cage, Karlheinz Stockhausen, and Alexander Knaifel). Zappa was approached by the German chamber ensemble Ensemble Modern which was interested in playing his music for the event. Although ill, he invited them to Los Angeles for rehearsals of new compositions and new arrangements of older material. Zappa also got along with the musicians, and the concerts in Germany and Austria were set up for later in the year. Zappa also performed in 1991 in Prague, claiming that "was the first time that he had a reason to play his guitar in 3 years", and that that moment was just "the beginning of a new country", and asked the public to "try to keep your country unique, do not change it into something else". In September 1992, the concerts went ahead as scheduled but Zappa could only appear at two in Frankfurt due to illness. At the first concert, he conducted the opening "Overture", and the final "G-Spot Tornado" as well as the theatrical "Food Gathering in Post-Industrial America, 1992" and "Welcome to the United States" (the remainder of the program was conducted by the ensemble's regular conductor Peter Rundel). Zappa received a 20-minute ovation. G-Spot Tornado was performed with Canadian dancer Louise Lecavalier. It was Zappa's last professional public appearance as the cancer was spreading to such an extent that he was in too much pain to enjoy an event that he otherwise found "exhilarating". Recordings from the concerts appeared on The Yellow Shark (1993), Zappa's last release during his lifetime, and some material from studio rehearsals appeared on the posthumous Everything Is Healing Nicely (1999). Death Zappa died from prostate cancer on December 4, 1993, 17 days before his 53rd birthday at his home with his wife and children by his side. At a private ceremony the following day, his body was buried in a grave at the Westwood Village Memorial Park Cemetery, in Los Angeles. The grave is unmarked. On December 6, his family publicly announced that "Composer Frank Zappa left for his final tour just before 6:00 pm on Saturday". Musical style and development Genres The general phases of Zappa's music have been variously categorized under experimental rock, jazz, classical, avant-pop, experimental pop, comedy rock, doo-wop, jazz fusion, progressive rock, proto-prog, avant-jazz, and psychedelic rock. Influences Zappa grew up influenced by avant-garde composers such as Edgard Varèse, Igor Stravinsky, and Anton Webern; 1950s blues artists Clarence "Gatemouth" Brown, Guitar Slim, Howlin' Wolf, Johnny "Guitar" Watson, and B.B. King; Egyptian composer Halim El-Dabh; R&B and doo-wop groups (particularly local pachuco groups); and modern jazz. His own heterogeneous ethnic background, and the diverse social and cultural mix in and around greater Los Angeles, were crucial in the formation of Zappa as a practitioner of underground music and of his later distrustful and openly critical attitude towards "mainstream" social, political and musical movements. He frequently lampooned musical fads like psychedelia, rock opera and disco. Television also exerted a strong influence, as demonstrated by quotations from show themes and advertising jingles found in his later works. In his book The Real Frank Zappa Book, Frank credited composer Spike Jones for Zappa's frequent use of funny sound effects, mouth noises, and humorous percussion interjections. After explaining his ideas on this, he said "I owe this part of my musical existence to Spike Jones." Project/Object Zappa's albums make extensive use of segued tracks, breaklessly joining the elements of his albums. His total output is unified by a conceptual continuity he termed "Project/Object", with numerous musical phrases, ideas, and characters reappearing across his albums. He also called it a "conceptual continuity", meaning that any project or album was part of a larger project. Everything was connected, and musical themes and lyrics reappeared in different form on later albums. Conceptual continuity clues are found throughout Zappa's entire œuvre. Techniques Guitar playing Zappa is widely recognized as one of the most significant electric guitar soloists. In a 1983 issue of Guitar World, John Swenson declared: "the fact of the matter is that [Zappa] is one of the greatest guitarists we have and is sorely unappreciated as such." His idiosyncratic style developed gradually and was mature by the early 1980s, by which time his live performances featured lengthy improvised solos during many songs. A November 2016 feature by the editors of Guitar Player magazine wrote: "Brimming with sophisticated motifs and convoluted rhythms, Zappa's extended excursions are more akin to symphonies than they are to guitar solos." The symphonic comparison stems from his habit of introducing melodic themes that, like a symphony's main melodies, were repeated with variations throughout his solos. He was further described as using a wide variety of scales and modes, enlivened by "unusual rhythmic combinations". His left hand was capable of smooth legato technique, while Zappa's right was "one of the fastest pick hands in the business." In 2016, Dweezil Zappa explained a distinctive element of his father's guitar improvisation technique was relying heavily on upstrokes much more than many other guitarists, who are more likely to use downstrokes with their picking. His song "Outside Now" from Joe's Garage poked fun at the negative reception of Zappa's guitar technique by those more commercially minded, as the song's narrator lives in a world where music is outlawed and he imagines "imaginary guitar notes that would irritate/An executive kind of guy", lyrics that are followed by one of Zappa's characteristically quirky solos in 11/8 time. Zappa transcriptionist Kasper Sloots wrote, "Zappa's guitar solos aren't meant to show off technically (Zappa hasn't claimed to be a big virtuoso on the instrument), but for the pleasure it gives trying to build a composition right in front of an audience without knowing what the outcome will be." Zappa's guitar style was not without its critics. English guitarist and bandleader John McLaughlin, whose band Mahavishnu Orchestra toured with the Mothers of Invention in 1973, opined that Zappa was "very interesting as a human being and a very interesting composer" and that he "was a very good musician but he was a dictator in his band," and that he "was taking very long guitar solos [when performing live]– 10–15 minute guitar solos and really he should have taken two or three minute guitar solos, because they were a little bit boring." In 2000, he was ranked number 36 on VH1's 100 Greatest Artists of Hard Rock. In 2004, Rolling Stone magazine ranked him at number 71 on its list of the "100 Greatest Artists of All Time", and in 2011 at number 22 on its list of the "100 Greatest Guitarists of All Time". Tape manipulation In New York, Zappa increasingly used tape editing as a compositional tool. A prime example is found on the double album Uncle Meat (1969), where the track "King Kong" is edited from various studio and live performances. Zappa had begun regularly recording concerts, and because of his insistence on precise tuning and timing, he was able to augment his studio productions with excerpts from live shows, and vice versa. Later, he combined recordings of different compositions into new pieces, irrespective of the tempo or meter of the sources. He dubbed this process "xenochrony" (strange synchronizations)—reflecting the Greek "xeno" (alien or strange) and "chronos" (time). Personal life Zappa was married to Kathryn J. "Kay" Sherman from 1960 to 1963. In 1967, he married Adelaide Gail Sloatman. He and his second wife had four children: Moon, Dweezil, Ahmet, and Diva. Following Zappa's death, his widow Gail created the Zappa Family Trust, which owns the rights to Zappa's music and some other creative output: more than 60 albums were released during Zappa's lifetime and 40 posthumously. Upon Gail's death in October 2015, the Zappa children received shares of the trust; Ahmet and Diva received 30% each, Moon and Dweezil received 20% each. Beliefs and politics Drugs Zappa stated, "Drugs do not become a problem until the person who uses the drugs does something to you, or does something that would affect your life that you don't want to have happen to you, like an airline pilot who crashes because he was full of drugs." Zappa was a heavy tobacco smoker for most of his life, and strongly critical of anti-tobacco campaigns. While he disapproved of drug use, he criticized the War on Drugs, comparing it to alcohol prohibition, and stated that the United States Treasury would benefit from the decriminalization and regulation of drugs. Describing his philosophical views, Zappa stated, "I believe that people have a right to decide their own destinies; people own themselves. I also believe that, in a democracy, government exists because (and only so long as) individual citizens give it a 'temporary license to exist'—in exchange for a promise that it will behave itself. In a democracy, you own the government—it doesn't own you." Government and religion In a 1991 interview, Zappa reported that he was a registered Democrat but added "that might not last long—I'm going to shred that". Describing his political views, Zappa categorized himself as a "practical conservative". He favored limited government and low taxes; he also stated that he approved of national defense, social security, and other federal programs, but only if recipients of such programs are willing and able to pay for them. He favored capitalism, entrepreneurship, and independent business, stating that musicians could make more from owning their own businesses than from collecting royalties. He opposed communism, stating, "A system that doesn't allow ownership ... has—to put it mildly—a fatal design flaw." He had always encouraged his fans to register to vote on album covers, and throughout 1988 he had registration booths at his concerts. He even considered running for president of the United States as an independent. Zappa was an atheist. He recalled his parents being "pretty religious" and trying to make him go to Catholic school despite his resentment. He felt disgust towards organized religion (Christianity in particular) because he believed that it promoted ignorance and anti-intellectualism. He held the view that the Garden of Eden story shows that the essence of Christianity is to oppose gaining knowledge. Some of his songs, concert performances, interviews and public debates in the 1980s criticized and derided Republicans and their policies, President Ronald Reagan, the Strategic Defense Initiative (SDI), televangelism, and the Christian Right, and warned that the United States government was in danger of becoming a "fascist theocracy". In early 1990, Zappa visited Czechoslovakia at the request of President Václav Havel. Havel designated him as Czechoslovakia's "Special Ambassador to the West on Trade, Culture and Tourism". Havel was a lifelong fan of Zappa, who had great influence in the avant-garde and underground scene in Central Europe in the 1970s and 1980s (a Czech rock group that was imprisoned in 1976 took its name from Zappa's 1968 song "Plastic People"). Under pressure from Secretary of State James Baker, Zappa's posting was withdrawn. Havel made Zappa an unofficial cultural attaché instead. Zappa planned to develop an international consulting enterprise to facilitate trade between the former Eastern Bloc and Western businesses. Anti-censorship Zappa expressed opinions on censorship when he appeared on CNN's Crossfire TV series and debated issues with Washington Times commentator John Lofton in 1986. On September 19, 1985, Zappa testified before the United States Senate Commerce, Technology, and Transportation committee, attacking the Parents Music Resource Center or PMRC, a music organization co-founded by Tipper Gore, wife of then-senator Al Gore. The PMRC consisted of many wives of politicians, including the wives of five members of the committee, and was founded to address the issue of song lyrics with sexual or satanic content. During Zappa's testimony, he stated that there was a clear conflict of interest between the PMRC due to the relations of its founders to the politicians who were then trying to pass what he referred to as the "Blank Tape Tax." Kandy Stroud, a spokeswoman for the PMRC, announced that Senator Gore (who co-founded the committee) was a co-sponsor of that legislation. Zappa suggested that record labels were trying to get the bill passed quickly through committees, one of which was chaired by Senator Strom Thurmond, who was also affiliated with the PMRC. Zappa further pointed out that this committee was being used as a distraction from that bill being passed, which would lead only to the benefit of a select few in the music industry. Zappa saw their activities as on a path towards censorship and called their proposal for voluntary labelling of records with explicit content "extortion" of the music industry. In his prepared statement, he said: The PMRC proposal is an ill-conceived piece of nonsense which fails to deliver any real benefits to children, infringes the civil liberties of people who are not children, and promises to keep the courts busy for years dealing with the interpretational and enforcemental problems inherent in the proposal's design. It is my understanding that, in law, First Amendment issues are decided with a preference for the least restrictive alternative. In this context, the PMRC's demands are the equivalent of treating dandruff by decapitation. ... The establishment of a rating system, voluntary or otherwise, opens the door to an endless parade of moral quality control programs based on things certain Christians do not like. What if the next bunch of Washington wives demands a large yellow "J" on all material written or performed by Jews, in order to save helpless children from exposure to concealed Zionist doctrine? Zappa set excerpts from the PMRC hearings to Synclavier music in his composition "Porn Wars" on the 1985 album Frank Zappa Meets the Mothers of Prevention, and the full recording was released in 2010 as Congress Shall Make No Law... Zappa is heard interacting with Senators Fritz Hollings, Slade Gorton and Al Gore. Legacy Zappa had a controversial critical standing during his lifetime. As Geoffrey Himes noted in 1993 after the artist's death, Zappa was hailed as a genius by conductor Kent Nagano and nominated by Czechoslovakian President Václav Havel to the country's cultural ambassadorship, but he was in his lifetime rejected twice for admission into the Rock and Roll Hall of Fame and been found by critics to lack emotional depth. In Christgau's Record Guide: Rock Albums of the Seventies (1981), Robert Christgau dismissed Zappa's music as "sexist adolescent drivel ... with meters and voicings and key changes that are as hard to play as they are easy to forget." According to Himes: Acclaim and honors The Rolling Stone Album Guide (2004) writes: "Frank Zappa dabbled in virtually all kinds of music—and, whether guised as a satirical rocker, jazz-rock fusionist, guitar virtuoso, electronics wizard, or orchestral innovator, his eccentric genius was undeniable." Even though his work drew inspiration from many different genres, Zappa was seen as establishing a coherent and personal expression. In 1971, biographer David Walley noted that "The whole structure of his music is unified, not neatly divided by dates or time sequences and it is all building into a composite". On commenting on Zappa's music, politics and philosophy, Barry Miles noted in 2004 that they cannot be separated: "It was all one; all part of his 'conceptual continuity'." Guitar Player devoted a special issue to Zappa in 1992, and asked on the cover "Is FZ America's Best Kept Musical Secret?" Editor Don Menn remarked that the issue was about "The most important composer to come out of modern popular music". Among those contributing to the issue was composer and musicologist Nicolas Slonimsky, who conducted premiere performances of works of Ives and Varèse in the 1930s. He became friends with Zappa in the 1980s, and said, "I admire everything Frank does, because he practically created the new musical millennium. He does beautiful, beautiful work ... It has been my luck to have lived to see the emergence of this totally new type of music." Conductor Kent Nagano remarked in the same issue that "Frank is a genius. That's a word I don't use often ... In Frank's case it is not too strong ... He is extremely literate musically. I'm not sure if the general public knows that." Pierre Boulez told Musician magazine's posthumous Zappa tribute article that Zappa "was an exceptional figure because he was part of the worlds of rock and classical music and that both types of his work would survive." In 1994, jazz magazine DownBeats critics poll placed Zappa in its Hall of Fame. Zappa was posthumously inducted into the Rock and Roll Hall of Fame in 1995. There, it was written that "Frank Zappa was rock and roll's sharpest musical mind and most astute social critic. He was the most prolific composer of his age, and he bridged genres—rock, jazz, classical, avant-garde and even novelty music—with masterful ease". He was ranked number 36 on VH1's 100 Greatest Artists of Hard Rock in 2000. In 2005, the U.S. National Recording Preservation Board included We're Only in It for the Money in the National Recording Registry as "Frank Zappa's inventive and iconoclastic album presents a unique political stance, both anti-conservative and anti-counterculture, and features a scathing satire on hippiedom and America's reactions to it". The same year, Rolling Stone magazine ranked him at No. 71 on its list of the 100 Greatest Artists of All Time. In 2011, he was ranked at No. 22 on the list of the 100 Greatest Guitarists of All Time by the same magazine. In 2016, Guitar World magazine placed Zappa atop of its list "15 of the best progressive rock guitarists through the years." The street of Partinico where his father lived at number 13, Via Zammatà, has been renamed to Via Frank Zappa. Since his death, several musicians have been considered by critics as filling the artistic niche left behind by Zappa, in view of their prolific output, eclecticism and other qualities, including Devin Townsend, Mike Patton and Omar Rodríguez-López. Grammy Awards In the course of his career, Zappa was nominated for nine competitive Grammy Awards, which resulted in two wins (one posthumous). In 1998, he received the Grammy Lifetime Achievement Award. |- |rowspan="2"| 1980 || "Rat Tomago" || Best Rock Instrumental Performance || |- | "Dancin' Fool" || Best Male Rock Vocal Performance || |- | 1983 || "Valley Girl" || Best Rock Performance by a Duo or Group with Vocal || |- | 1985 || The Perfect Stranger || Best New Classical Composition || |- |rowspan="2"| 1988 || "Jazz from Hell" || Best Instrumental Composition || |- | Jazz from Hell ||rowspan="2"| Best Rock Instrumental Performance (Orchestra, Group or Soloist) || |- | 1989 || Guitar || |- | 1990 || Broadway the Hard Way || Best Musical Cast Show Album || |- | 1996 || Civilization Phaze III || Best Recording Package – Boxed || |- | 1998 || Frank Zappa || Lifetime Achievement Award || Artists influenced by Zappa Many musicians, bands and orchestras from diverse genres have been influenced by Zappa's music. Rock artists such as The Plastic People of the Universe, Alice Cooper, Larry LaLonde of Primus, Fee Waybill of the Tubes all cite Zappa's influence, as do progressive, alternative, electronic and avant-garde/experimental rock artists like Can, Pere Ubu, Yes, Soft Machine, Henry Cow, Faust, Devo, Kraftwerk, Trey Anastasio and Jon Fishman of Phish, Jeff Buckley, John Frusciante, Steven Wilson, and The Aristocrats. Paul McCartney regarded Sgt. Pepper's Lonely Hearts Club Band as the Beatles' Freak Out!. Jimi Hendrix and heavy rock and metal acts like Black Sabbath, Simon Phillips, Mike Portnoy, Warren DeMartini, Alex Skolnick, Steve Vai, Strapping Young Lad, System of a Down, and Clawfinger have acknowledged Zappa as inspiration. On the classical music scene, Tomas Ulrich, Meridian Arts Ensemble, Ensemble Ambrosius and the Fireworks Ensemble regularly perform Zappa's compositions and quote his influence. Contemporary jazz musicians and composers Bobby Sanabria, Bill Frisell and John Zorn are inspired by Zappa, as is funk legend George Clinton. Other artists affected by Zappa include ambient composer Brian Eno, new age pianist George Winston, electronic composer Bob Gluck, parodist artist and disk jockey Dr. Demento, parodist and novelty composer "Weird Al" Yankovic, industrial music pioneer Genesis P-Orridge, singer Cree Summer, noise music artist Masami Akita of Merzbow, and Chilean composer Cristián Crisosto from Fulano and Mediabanda. References in arts and sciences Scientists from various fields have honored Zappa by naming new discoveries after him. In 1967, paleontologist Leo P. Plas, Jr., identified an extinct mollusc in Nevada and named it Amaurotoma zappa with the motivation that, "The specific name, zappa, honors Frank Zappa". In the 1980s, biologist Ed Murdy named a genus of gobiid fishes of New Guinea Zappa, with a species named Zappa confluentus. Biologist Ferdinando Boero named a Californian jellyfish Phialella zappai (1987), noting that he had "pleasure in naming this species after the modern music composer". Belgian biologists Bosmans and Bosselaers discovered in the early 1980s a Cameroonese spider, which they in 1994 named Pachygnatha zappa because "the ventral side of the abdomen of the female of this species strikingly resembles the artist's legendary moustache". A gene of the bacterium Proteus mirabilis that causes urinary tract infections was in 1995 named zapA by three biologists from Maryland. In their scientific article, they "especially thank the late Frank Zappa for inspiration and assistance with genetic nomenclature". Repeating regions of the genome of the human tumor virus KSHV were named frnk, vnct and zppa in 1996 by Yuan Chang and Patrick S. Moore who discovered the virus. Also, a 143 base pair repeat sequence occurring at two positions was named waka/jwka. In the late 1990s, American paleontologists Marc Salak and Halard L. Lescinsky discovered a metazoan fossil, and named it Spygori zappania to honor "the late Frank Zappa ... whose mission paralleled that of the earliest paleontologists: to challenge conventional and traditional beliefs when such beliefs lacked roots in logic and reason". In 1994, lobbying efforts initiated by psychiatrist John Scialli led the International Astronomical Union's Minor Planet Center to name an asteroid in Zappa's honor: 3834 Zappafrank. The asteroid was discovered in 1980 by Czechoslovakian astronomer Ladislav Brožek, and the citation for its naming says that "Zappa was an eclectic, self-trained artist and composer ... Before 1989 he was regarded as a symbol of democracy and freedom by many people in Czechoslovakia". In 1995, a bust of Zappa by sculptor Konstantinas Bogdanas was installed in Vilnius, the Lithuanian capital . The choice of Zappa was explained as "a symbol that would mark the end of communism, but at the same time express that it wasn't always doom and gloom." A replica was offered to the city of Baltimore in 2008, and on September 19, 2010 — the twenty-fifth anniversary of Zappa's testimony to the U.S. Senate — a ceremony dedicating the replica was held, and the bust was unveiled at a library in the city. In 2002, a bronze bust was installed in German city Bad Doberan, location of the Zappanale since 1990, an annual music festival celebrating Zappa. At the initiative of musicians community ORWOhaus, the city of Berlin named a street in the Marzahn district "Frank-Zappa-Straße" in 2007. The same year, Baltimore mayor Sheila Dixon proclaimed August 9 as the city's official "Frank Zappa Day" citing Zappa's musical accomplishments as well as his defense of the First Amendment to the United States Constitution. Zappa documentary The biographical documentary Zappa, directed by Alex Winter and released on November 27, 2020, includes previously unreleased footage from Zappa's personal vault, to which he was granted access by the Zappa Family Trust. Discography During his lifetime, Zappa released 62 albums. Since 1994, the Zappa Family Trust has released 57 posthumous albums, making a total of 119 albums. The current distributor of Zappa's recorded output is Universal Music Enterprises. See also List of performers on Frank Zappa records Frank Zappa in popular culture Notes References Bibliography External links 1940 births 1993 deaths 20th-century American guitarists 20th-century American male actors 20th-century American singers American classical musicians American activists American anti-communists American anti-fascists American atheists American comedy musicians American male composers American music arrangers American experimental filmmakers American experimental guitarists American experimental musicians American humanists American jazz guitarists American male voice actors American multi-instrumentalists Record producers from Maryland American rock guitarists American male guitarists American rock singers American electronic musicians American avant-garde musicians American people of Arab descent American people of Italian descent American people of French descent American people of Greek descent American satirists American surrealist artists Angel Records artists Surrealist filmmakers Antelope Valley High School alumni Articles containing video clips Avant-garde guitarists Avant-pop musicians Burials at Westwood Village Memorial Park Cemetery California Democrats Captain Beefheart Censorship in the arts American contemporary classical composers Contemporary classical music performers Copywriters Critics of the Catholic Church Deaths from cancer in California Deaths from prostate cancer Deaths from kidney failure Advocates of unschooling and homeschooling EMI Records artists Experimental pop musicians Experimental rock musicians Free speech activists Grammy Award winners Grammy Lifetime Achievement Award winners Humor in classical music Lead guitarists Maryland Democrats Musicians from Baltimore People from Echo Park, Los Angeles People from Edgewood, Maryland People from Ontario, California Progressive rock guitarists Proto-prog musicians Rykodisc artists Singers from Los Angeles The Mothers of Invention members Verve Records artists Warner Records artists Guitarists from Los Angeles Guitarists from Maryland 20th-century classical composers Singer-songwriters from Maryland Writers from Los Angeles 20th-century American composers Parody musicians Freak scene Freak artists Jazz musicians from Maryland American male jazz musicians American libertarians People from Lancaster, California American male singer-songwriters Zappa family 20th-century American male singers People from Laurel Canyon, Los Angeles Jazz musicians from California Singer-songwriters from California Surrealist groups
false
[ "Gypsy: A Memoir is a 1957 autobiography of renowned striptease artist Gypsy Rose Lee, which inspired the 1959 Broadway musical Gypsy: A Musical Fable. The book tells Lee's true life story in three acts beginning with her early childhood days in theatre when she toured with her sister, June Havoc. The book ends just as Gypsy has gotten on a train and is headed to Hollywood to begin her career in the movies. Her Hollywood career was short lived and she did not get many roles. The roles she did get were so small that at one point she wanted to be billed under her birth name, Louise Hovick.\n\nThe first edition was published by Harper in 1957. It is now available in a 1999 paperback reprint.\n\n1957 non-fiction books\nAmerican memoirs", "Min Fynske Barndom, translated into English as My Childhood, is Carl Nielsen's autobiographical account of his childhood on the Danish island of Funen. Published in 1927, it was the basis of the Erik Clausen's film of the same name in 1994, translated into English as My Childhood Symphony.\n\nBook\n\nIn his autobiography, the Danish composer Carl Nielsen describes his early life on the island of Funen until he moved to Copenhagen in 1884 in order to study at the Conservatory. It has been pointed out, however, that as he did not begin writing the account until prompted by his daughter in 1922, the story he tells may have been somewhat over-romanticised, reflecting Hans Christian Andersen's similarly difficult childhood, also on the island of Funen.\n\nThe work does nevertheless provide a detailed account of the composer's early years and is a primary source of information about this period of his life. It describes the hardships of his family, how his father, a painter and farm labourer, went off playing the fiddle at local dances and celebrations to earn a little more. It tells of his earliest musical memories, especially the time when his mother handed him a violin when he was in bed with the measles. We also learn of his school life: \"I was not very good at bookish subjects, but not one of the worst either\". He was fortunate that Emil Petersen, a teacher at the school, \"taught me later on to play the violin properly from notation\", enabling him to play at dances with his father. He also tells us of jobs as a goose-herd when still quite small, a summer spent at a tile works, and an apprenticeship with a shopkeeper who went bankrupt. His musical career began when his father \"had heard that there was an opening for a musician with the Sixteenth Battalion in Odense, We agreed that I should practise the trumpet intensively and register for the audition...\" All went well and Nielsen was able to play in the band while taking violin lessons in Odense.\n\nFilm\n\nIn 1994, Eric Clausen directed the 125-minute film, Min Fynske Barndom, which is based heavily on Nielsen's autobiography. It describes how Nielsen evolved from being a gooseherd and a drummer for the village players to first a member of a regimental band and then a composer of international renown. It also tells the story of an unsuccessful romance. The English-language version is entitled My Childhood Symphony.\n\nBibliography\n Carl Nielsen: Min fynske Barndom, Copenhagen: Martin, 1927, 220 pp. (original edition)\n Carl Nielsen: Min fynske barndom, Frederiksberg: Fisker & Schou, 1995, 181 pp. (current edition)\n Carl Nielsen, Reginald Spink (translator): My childhood, Copenhagen: Wilhelm Hansen, 1972, 152 pp.\n\nReferences\n\nAutobiographies\nMusic autobiographies\n1994 films\nDanish films\nDanish-language films\nDanish non-fiction books\nCarl Nielsen" ]
[ "Frank Zappa", "Childhood", "when did his childhood begin", "Zappa was born on December 21, 1940 in Baltimore, Maryland." ]
C_c267823eee05494a9c5c9ea1bd2b8b46_1
when did he die
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when did Frank Zappa die
Frank Zappa
Zappa was born on December 21, 1940 in Baltimore, Maryland. His mother, Rosemarie (nee Collimore) was of Italian (Neapolitan and Sicilian) and French ancestry; his father, whose name was anglicized to Francis Vincent Zappa, was an immigrant from Partinico, Sicily, with Greek and Arab ancestry. Frank, the eldest of four children, was raised in an Italian-American household where Italian was often spoken by his grandparents. The family moved often because his father, a chemist and mathematician, worked in the defense industry. After a time in Florida in the 1940s, the family returned to Maryland, where Zappa's father worked at the Edgewood Arsenal chemical warfare facility of the Aberdeen Proving Ground. Due to their home's proximity to the arsenal, which stored mustard gas, gas masks were kept in the home in case of an accident. This had a profound effect on Zappa, and references to germs, germ warfare and the defense industry occur throughout his work. Zappa was often sick as a child, suffering from asthma, earaches and sinus problems. A doctor treated his sinusitis by inserting a pellet of radium into each of Zappa's nostrils. At the time, little was known about the potential dangers of even small amounts of therapeutic radiation, and although it has since been claimed that nasal radium treatment has causal connections to cancer, no studies have provided significant enough evidence to confirm this. Nasal imagery and references appear in his music and lyrics, as well as in the collage album covers created by his long-time collaborator Cal Schenkel. Zappa believed his childhood diseases might have been due to exposure to mustard gas, released by the nearby chemical warfare facility. His health worsened when he lived in Baltimore. In 1952, his family relocated for reasons of health. They next moved to Monterey, California, where his father taught metallurgy at the Naval Postgraduate School. They soon moved to Claremont, California, then to El Cajon, before finally settling in San Diego. CANNOTANSWER
CANNOTANSWER
Frank Vincent Zappa (December 21, 1940 – December 4, 1993) was an American musician, singer, composer, songwriter and bandleader. His work is characterized by nonconformity, free-form improvisation, sound experiments, musical virtuosity and satire of American culture. In a career spanning more than 30 years, Zappa composed rock, pop, jazz, jazz fusion, orchestral and musique concrète works, and produced almost all of the 60-plus albums that he released with his band the Mothers of Invention and as a solo artist. Zappa also directed feature-length films and music videos, and designed album covers. He is considered one of the most innovative and stylistically diverse musicians of his generation. As a self-taught composer and performer, Zappa had diverse musical influences that led him to create music that was sometimes difficult to categorize. While in his teens, he acquired a taste for 20th-century classical modernism, African-American rhythm and blues, and doo-wop music. He began writing classical music in high school, while at the same time playing drums in rhythm-and-blues bands, later switching to electric guitar. His 1966 debut album with the Mothers of Invention, Freak Out!, combined songs in conventional rock and roll format with collective improvisations and studio-generated sound collages. He continued this eclectic and experimental approach whether the fundamental format was rock, jazz, or classical. Zappa's output is unified by a conceptual continuity he termed "Project/Object", with numerous musical phrases, ideas, and characters reappearing across his albums. His lyrics reflected his iconoclastic views of established social and political processes, structures and movements, often humorously so, and he has been described as the "godfather" of comedy rock. He was a strident critic of mainstream education and organized religion, and a forthright and passionate advocate for freedom of speech, self-education, political participation and the abolition of censorship. Unlike many other rock musicians of his generation, he disapproved of recreational drug use, but supported decriminalization and regulation. Zappa was a highly productive and prolific artist with a controversial critical standing; supporters of his music admired its compositional complexity, while critics found it lacking emotional depth. He had greater commercial success outside the US, particularly in Europe. Though he worked as an independent artist, Zappa mostly relied on distribution agreements he had negotiated with the major record labels. He remains a major influence on musicians and composers. His honors include his 1995 induction into the Rock and Roll Hall of Fame and the 1997 Grammy Lifetime Achievement Award. 1940s–1960s: early life and career Childhood Zappa was born on December 21, 1940, in Baltimore, Maryland. His mother, Rose Marie ( Colimore), was of Italian (Neapolitan and Sicilian) and French ancestry; his father, whose name was anglicized to Francis Vincent Zappa, was an immigrant from Partinico, Sicily, with Greek and Arab ancestry. Frank, the eldest of four children, was raised in an Italian-American household where Italian was often spoken by his grandparents. The family moved often because his father, a chemist and mathematician, worked in the defense industry. After a time in Florida in the 1940s, the family returned to Maryland, where Zappa's father worked at the Edgewood Arsenal chemical warfare facility of the Aberdeen Proving Ground run by the U.S. Army. Due to their home's proximity to the arsenal, which stored mustard gas, gas masks were kept in the home in case of an accident. This living arrangement had a profound effect on Zappa, and references to germs, germ warfare, ailments and the defense industry occur frequently throughout his work. Zappa was often sick as a child, suffering from asthma, earaches and sinus problems. A doctor treated his sinusitis by inserting a pellet of radium into each of Zappa's nostrils. At the time, little was known about the potential dangers of even small amounts of therapeutic radiation, and although it has since been claimed that nasal radium treatment has causal connections to cancer, no studies have provided enough evidence to confirm this. Nasal imagery and references appear in his music and lyrics, as well as in the collage album covers created by his long-time collaborator Cal Schenkel. Zappa believed his childhood diseases might have been due to exposure to mustard gas, released by the nearby chemical warfare facility, and his health worsened when he lived in Baltimore. In 1952, his family relocated for reasons of health to Monterey, California, where his father taught metallurgy at the Naval Postgraduate School. They soon moved to Clairemont, and then to El Cajon, before finally settling in nearby San Diego. First musical interests Zappa joined his first band at Mission Bay High School in San Diego as the drummer. At about the same time, his parents bought a phonograph, which allowed him to develop his interest in music, and to begin building his record collection. According to The Rough Guide to Rock (2003), "as a teenager Zappa was simultaneously enthralled by black R&B (Johnny 'Guitar' Watson, Guitar Slim), doo-wop (The Channels, The Velvets), the modernism of Igor Stravinsky and Anton Webern, and the dissonant sound experiments of Edgard Varese." R&B singles were early purchases for Zappa, starting a large collection he kept for the rest of his life. He was interested in sounds for their own sake, particularly the sounds of drums and other percussion instruments. By age twelve, he had obtained a snare drum and began learning the basics of orchestral percussion. Zappa's deep interest in modern classical music began when he read a LOOK magazine article about the Sam Goody record store chain that lauded its ability to sell an LP as obscure as The Complete Works of Edgard Varèse, Volume One. The article described Varèse's percussion composition Ionisation, produced by EMS Recordings, as "a weird jumble of drums and other unpleasant sounds". Zappa decided to seek out Varèse's music. After searching for over a year, Zappa found a copy (he noticed the LP because of the "mad scientist" looking photo of Varèse on the cover). Not having enough money with him, he persuaded the salesman to sell him the record at a discount. Thus began his lifelong passion for Varèse's music and that of other modern classical composers. He also liked the Italian classical music listened to by his grandparents, especially Puccini's opera arias. By 1956, the Zappa family had moved to Lancaster, a small aerospace and farming town in the Antelope Valley of the Mojave Desert close to Edwards Air Force Base; he would later refer to Sun Village (a town close to Lancaster) in the 1973 track "Village of the Sun". Zappa's mother encouraged him in his musical interests. Although she disliked Varèse's music, she was indulgent enough to give her son a long-distance call to the New York composer as a fifteenth birthday present. Unfortunately, Varèse was in Europe at the time, so Zappa spoke to the composer's wife and she suggested he call back later. In a letter, Varèse thanked him for his interest, and told him about a composition he was working on called "Déserts". Living in the desert town of Lancaster, Zappa found this very exciting. Varèse invited him to visit if he ever came to New York. The meeting never took place (Varèse died in 1965), but Zappa framed the letter and kept it on display for the rest of his life. At Antelope Valley High School, Zappa met Don Glen Vliet (who later changed his name to Don Van Vliet and adopted the stage name Captain Beefheart). Zappa and Vliet became close friends, sharing an interest in R&B records and influencing each other musically throughout their careers. Around the same time, Zappa started playing drums in a local band, the Blackouts. The band was racially diverse and included Euclid James "Motorhead" Sherwood who later became a member of the Mothers of Invention. Zappa's interest in the guitar grew, and in 1957 he was given his first instrument. Among his early influences were Johnny "Guitar" Watson, Howlin' Wolf and Clarence "Gatemouth" Brown. In the 1970s/1980s, he invited Watson to perform on several albums. Zappa considered soloing as the equivalent of forming "air sculptures", and developed an eclectic, innovative and highly personal style. He was also influenced by Egyptian composer Halim El-Dabh. Zappa's interest in composing and arranging flourished in his last high-school years. By his final year, he was writing, arranging and conducting avant-garde performance pieces for the school orchestra. He graduated from Antelope Valley High School in 1958, and later acknowledged two of his music teachers on the sleeve of the 1966 album Freak Out! Due to his family's frequent moves, Zappa attended at least six different high schools, and as a student he was often bored and given to distracting the rest of the class with juvenile antics. In 1959, he attended Chaffey College but left after one semester, and maintained thereafter a disdain for formal education, taking his children out of school at age 15 and refusing to pay for their college. Zappa left home in 1959, and moved into a small apartment in Echo Park, Los Angeles. After he met Kathryn J. "Kay" Sherman during his short period of private composition study with Prof. Karl Kohn of Pomona College, they moved in together in Ontario, and were married December 28, 1960. Zappa worked for a short period in advertising as a copywriter. His sojourn in the commercial world was brief, but gave him valuable insights into its workings. Throughout his career, he took a keen interest in the visual presentation of his work, designing some of his album covers and directing his own films and videos. Studio Z Zappa attempted to earn a living as a musician and composer, and played different nightclub gigs, some with a new version of the Blackouts. Zappa's earliest professional recordings, two soundtracks for the low-budget films The World's Greatest Sinner (1962) and Run Home Slow (1965) were more financially rewarding. The former score was commissioned by actor-producer Timothy Carey and recorded in 1961. It contains many themes that appeared on later Zappa records. The latter soundtrack was recorded in 1963 after the film was completed, but it was commissioned by one of Zappa's former high school teachers in 1959 and Zappa may have worked on it before the film was shot. Excerpts from the soundtrack can be heard on the posthumous album The Lost Episodes (1996). During the early 1960s, Zappa wrote and produced songs for other local artists, often working with singer-songwriter Ray Collins and producer Paul Buff. Their "Memories of El Monte" was recorded by the Penguins, although only Cleve Duncan of the original group was featured. Buff owned the small Pal Recording Studio in Cucamonga, which included a unique five-track tape recorder he had built. At that time, only a handful of the most sophisticated commercial studios had multi-track facilities; the industry standard for smaller studios was still mono or two-track. Although none of the recordings from the period achieved major commercial success, Zappa earned enough money to allow him to stage a concert of his orchestral music in 1963 and to broadcast and record it. He appeared on Steve Allen's syndicated late night show the same year, in which he played a bicycle as a musical instrument. Using a bow borrowed from the band's bass player, as well as drum sticks, he proceeded to pluck, bang, and bow the spokes of the bike, producing strange, comical sounds from his newfound instrument. With Captain Beefheart, Zappa recorded some songs under the name of the Soots. They were rejected by Dot Records. Later, the Mothers were also rejected by Columbia Records for having "no commercial potential", a verdict Zappa subsequently quoted on the sleeve of Freak Out! In 1964, after his marriage started to break up, he moved into the Pal studio and began routinely working 12 hours or more per day recording and experimenting with overdubbing and audio tape manipulation. This established a work pattern that endured for most of his life. Aided by his income from film composing, Zappa took over the studio from Paul Buff, who was now working with Art Laboe at Original Sound. It was renamed Studio Z. Studio Z was rarely booked for recordings by other musicians. Instead, friends moved in, notably James "Motorhead" Sherwood. Zappa started performing in local bars as a guitarist with a power trio, the Muthers, to support himself. An article in the local press describing Zappa as "the Movie King of Cucamonga" prompted the local police to suspect that he was making pornographic films. In March 1965, Zappa was approached by a vice squad undercover officer, and accepted an offer of $100 () to produce a suggestive audio tape for an alleged stag party. Zappa and a female friend recorded a faked erotic episode. When Zappa was about to hand over the tape, he was arrested, and the police stripped the studio of all recorded material. The press was tipped off beforehand, and next day's The Daily Report wrote that "Vice Squad investigators stilled the tape recorders of a free-swinging, a-go-go film and recording studio here Friday and arrested a self-styled movie producer". Zappa was charged with "conspiracy to commit pornography". This felony charge was reduced and he was sentenced to six months in jail on a misdemeanor, with all but ten days suspended. His brief imprisonment left a permanent mark, and was central to the formation of his anti-authoritarian stance. Zappa lost several recordings made at Studio Z in the process, as the police returned only 30 of 80 hours of tape seized. Eventually, he could no longer afford to pay the rent on the studio and was evicted. Zappa managed to recover some of his possessions before the studio was torn down in 1966. Late 1960s: the Mothers of Invention Formation In 1965, Ray Collins asked Zappa to take over as guitarist in local R&B band the Soul Giants, following a fight between Collins and the group's original guitarist. Zappa accepted, and soon assumed leadership and the role as co-lead singer (even though he never considered himself a singer, then or later). He convinced the other members that they should play his music to increase the chances of getting a record contract. The band was renamed the Mothers, coincidentally on Mother's Day. They increased their bookings after beginning an association with manager Herb Cohen, and gradually gained attention on the burgeoning Los Angeles underground music scene. In early 1966, they were spotted by leading record producer Tom Wilson when playing "Trouble Every Day", a song about the Watts riots. Wilson had earned acclaim as the producer for Bob Dylan and Simon & Garfunkel, and was one of the few African-Americans working as a major label pop music producer at this time. Wilson signed the Mothers to the Verve division of MGM, which had built up a strong reputation for its releases of modern jazz recordings in the 1940s and 1950s, but was attempting to diversify into pop and rock audiences. Verve insisted that the band officially rename themselves the Mothers of Invention as Mother was short for motherfucker—a term that, apart from its profane meanings, can denote a skilled musician. Debut album: Freak Out! With Wilson credited as producer, the Mothers of Invention, augmented by a studio orchestra, recorded the groundbreaking Freak Out! (1966), which, after Bob Dylan's Blonde on Blonde, was the second rock double album ever released. It mixed R&B, doo-wop, musique concrète, and experimental sound collages that captured the "freak" subculture of Los Angeles at that time. Although he was dissatisfied with the final product, Freak Out immediately established Zappa as a radical new voice in rock music, providing an antidote to the "relentless consumer culture of America". The sound was raw, but the arrangements were sophisticated. While recording in the studio, some of the additional session musicians were shocked that they were expected to read the notes on sheet music from charts with Zappa conducting them, since it was not standard when recording rock music. The lyrics praised non-conformity, disparaged authorities, and had dadaist elements. Yet, there was a place for seemingly conventional love songs. Most compositions are Zappa's, which set a precedent for the rest of his recording career. He had full control over the arrangements and musical decisions and did most overdubs. Wilson provided the industry clout and connections and was able to provide the group with the financial resources needed. Although Wilson was able to provide Zappa and the Mothers with an extraordinary degree of artistic freedom for the time, the recording did not go entirely as planned. In a 1967 radio interview, Zappa explained that the album's outlandish 11-minute closing track, "Return of the Son of Monster Magnet" was not finished. The track as it appears on the album was only a backing track for a much more complex piece, but MGM refused to allow the additional recording time needed for completion. Much to Zappa's chagrin, it was issued in its unfinished state. During the recording of Freak Out!, Zappa moved into a house in Laurel Canyon with friend Pamela Zarubica, who appeared on the album. The house became a meeting (and living) place for many LA musicians and groupies of the time, despite Zappa's disapproval of their illicit drug use. After a short promotional tour following the release of Freak Out!, Zappa met Adelaide Gail Sloatman. He fell in love within "a couple of minutes", and she moved into the house over the summer. They married in 1967, had four children and remained together until Zappa's death. Wilson nominally produced the Mothers' second album Absolutely Free (1967), which was recorded in November 1966, and later mixed in New York, although by this time Zappa was in de facto control of most facets of the production. It featured extended playing by the Mothers of Invention and focused on songs that defined Zappa's compositional style of introducing abrupt, rhythmical changes into songs that were built from diverse elements. Examples are "Plastic People" and "Brown Shoes Don't Make It", which contained lyrics critical of the hypocrisy and conformity of American society, but also of the counterculture of the 1960s. As Zappa put it, "[W]e're satirists, and we are out to satirize everything." At the same time, Zappa had recorded material for an album of orchestral works to be released under his own name, Lumpy Gravy, released by Capitol Records in 1967. Due to contractual problems, the album was pulled. Zappa took the opportunity to radically restructure the contents, adding newly recorded, improvised dialogue. After the contractual problems were resolved, the album was reissued by Verve in 1968. It is an "incredible ambitious musical project", a "monument to John Cage", which intertwines orchestral themes, spoken words and electronic noises through radical audio editing techniques. New York period (1966–1968) The Mothers of Invention played in New York in late 1966 and were offered a contract at the Garrick Theater (at 152 Bleecker Street, above the Cafe au Go Go) during Easter 1967. This proved successful and Herb Cohen extended the booking, which eventually lasted half a year. As a result, Zappa and his wife Gail, along with the Mothers of Invention, moved to New York. Their shows became a combination of improvised acts showcasing individual talents of the band as well as tight performances of Zappa's music. Everything was directed by Zappa using hand signals. Guest performers and audience participation became a regular part of the Garrick Theater shows. One evening, Zappa managed to entice some U.S. Marines from the audience onto the stage, where they proceeded to dismember a big baby doll, having been told by Zappa to pretend that it was a "gook baby". Situated in New York, and interrupted by the band's first European tour, the Mothers of Invention recorded the album widely regarded as the peak of the group's late 1960s work, We're Only in It for the Money (released 1968). It was produced by Zappa, with Wilson credited as executive producer. From then on, Zappa produced all albums released by the Mothers of Invention and as a solo artist. We're Only in It for the Money featured some of the most creative audio editing and production yet heard in pop music, and the songs ruthlessly satirized the hippie and flower power phenomena. He sampled plundered surf music in We're only in It for the Money, as well as the Beatles' tape work from their song "Tomorrow Never Knows". The cover photo parodied that of the Beatles' Sgt. Pepper's Lonely Hearts Club Band. The cover art was provided by Cal Schenkel whom Zappa met in New York. This initiated a lifelong collaboration in which Schenkel designed covers for numerous Zappa and Mothers albums. Reflecting Zappa's eclectic approach to music, the next album, Cruising with Ruben & the Jets (1968), was very different. It represented a collection of doo-wop songs; listeners and critics were not sure whether the album was a satire or a tribute. Zappa later remarked that the album was conceived like Stravinsky's compositions in his neo-classical period: "If he could take the forms and clichés of the classical era and pervert them, why not do the same ... to doo-wop in the fifties?" A theme from Stravinsky's The Rite of Spring is heard during one song. In 1967 and 1968, Zappa made two appearances with the Monkees. The first appearance was on an episode of their TV series, "The Monkees Blow Their Minds", where Zappa, dressed up as Mike Nesmith, interviews Nesmith who is dressed up as Zappa. After the interview, Zappa destroys a car with a sledgehammer as the song "Mother People" plays. He later provided a cameo in the Monkees' movie Head where, leading a cow, he tells Davy Jones "the youth of America depends on you to show them the way." Zappa respected the Monkees and recruited Micky Dolenz to the Mothers but RCA/Columbia/Colgems would not release Dolenz from his contract. During the late 1960s, Zappa continued to develop the business side of his career. He and Herb Cohen formed the Bizarre Records and Straight Records labels to increase creative control and produce recordings by other artists. These labels were distributed in the US by Warner Bros. Records. Zappa/Mothers recordings appeared on Bizarre along with Wild Man Fischer and Lenny Bruce. Straight released the double album Trout Mask Replica for Captain Beefheart, and releases by Alice Cooper, The Persuasions, and the GTOs. In the Mothers' second European tour in September/October 1968 they performed for the at the Grugahalle in Essen, Germany; at the Tivoli in Copenhagen, Denmark; for TV programs in Germany (Beat-Club), France, and England; at the Concertgebouw in Amsterdam; at the Royal Festival Hall in London; and at the Olympia in Paris. Disbandment Zappa and the Mothers of Invention returned to Los Angeles in mid-1968, and the Zappas moved into a house on Laurel Canyon Boulevard, only to move again to Woodrow Wilson Drive. This was Zappa's home for the rest of his life. Despite being successful in Europe, the Mothers of Invention were not doing well financially. Their first records were vocally oriented, but as Zappa wrote more instrumental jazz and classical style music for the band's concerts, audiences were confused. Zappa felt that audiences failed to appreciate his "electrical chamber music". In 1969 there were nine band members and Zappa was supporting the group from his publishing royalties whether they played or not. In late 1969, Zappa broke up the band. He often cited the financial strain as the main reason, but also commented on the band members' lack of diligence. Many band members were bitter about Zappa's decision, and some took it as a sign of Zappa's perfectionism at the expense of human feeling. Others were irritated by 'his autocratic ways', exemplified by Zappa's never staying at the same hotel as the band members. Several members played for Zappa in years to come. Remaining recordings of the band from this period were collected on Weasels Ripped My Flesh and Burnt Weeny Sandwich (both released in 1970). After he disbanded the Mothers of Invention, Zappa released the acclaimed solo album Hot Rats (1969). It features, for the first time on record, Zappa playing extended guitar solos and contains one of his most enduring compositions, "Peaches en Regalia", which reappeared several times on future recordings. He was backed by jazz, blues and R&B session players including violinist Don "Sugarcane" Harris, drummers John Guerin and Paul Humphrey, multi-instrumentalist and former Mothers of Invention member Ian Underwood, and multi-instrumentalist Shuggie Otis on bass, along with a guest appearance by Captain Beefheart on the only vocal track, "Willie the Pimp". It became a popular album in England, and had a major influence on the development of jazz-rock fusion. 1970s Rebirth of the Mothers and filmmaking In 1970 Zappa met conductor Zubin Mehta. They arranged a May 1970 concert where Mehta conducted the Los Angeles Philharmonic augmented by a rock band. According to Zappa, the music was mostly written in motel rooms while on tour with the Mothers of Invention. Some of it was later featured in the movie 200 Motels. Although the concert was a success, Zappa's experience working with a symphony orchestra was not a happy one. His dissatisfaction became a recurring theme throughout his career; he often felt that the quality of performance of his material delivered by orchestras was not commensurate with the money he spent on orchestral concerts and recordings. Later in 1970, Zappa formed a new version of the Mothers (from then on, he mostly dropped the "of Invention"). It included British drummer Aynsley Dunbar, jazz keyboardist George Duke, Ian Underwood, Jeff Simmons (bass, rhythm guitar), and three members of the Turtles: bass player Jim Pons, and singers Mark Volman and Howard Kaylan, who, due to persistent legal and contractual problems, adopted the stage name "The Phlorescent Leech and Eddie", or "Flo & Eddie". This version of the Mothers debuted on Zappa's next solo album Chunga's Revenge (1970), which was followed by the double-album soundtrack to the movie 200 Motels (1971), featuring the Mothers, the Royal Philharmonic Orchestra, Ringo Starr, Theodore Bikel, and Keith Moon. Co-directed by Zappa and Tony Palmer, it was filmed in a week at Pinewood Studios outside London. Tensions between Zappa and several cast and crew members arose before and during shooting. The film deals loosely with life on the road as a rock musician. It was the first feature film photographed on videotape and transferred to 35 mm film, a process that allowed for novel visual effects. It was released to mixed reviews. The score relied extensively on orchestral music, and Zappa's dissatisfaction with the classical music world intensified when a concert, scheduled at the Royal Albert Hall after filming, was canceled because a representative of the venue found some of the lyrics obscene. In 1975, he lost a lawsuit against the Royal Albert Hall for breach of contract. After 200 Motels, the band went on tour, which resulted in two live albums, Fillmore East – June 1971 and Just Another Band from L.A.; the latter included the 20-minute track "Billy the Mountain", Zappa's satire on rock opera set in Southern California. This track was representative of the band's theatrical performances—which used songs to build sketches based on 200 Motels scenes, as well as new situations that often portrayed the band members' sexual encounters on the road. Accident, attack, and aftermath On December 4, 1971, Zappa suffered his first of two serious setbacks. While performing at Casino de Montreux in Switzerland, the Mothers' equipment was destroyed when a flare set off by an audience member started a fire that burned down the casino. Immortalized in Deep Purple's song "Smoke on the Water", the event and immediate aftermath can be heard on the bootleg album Swiss Cheese/Fire, released legally as part of Zappa's Beat the Boots II compilation. After losing $50,000 () worth of equipment and a week's break, the Mothers played at the Rainbow Theatre, London, with rented gear. During the encore, an audience member jealous because of his girlfriend's infatuation with Zappa pushed him off the stage and into the concrete-floored orchestra pit. The band thought Zappa had been killed—he had suffered serious fractures, head trauma and injuries to his back, leg, and neck, as well as a crushed larynx, which ultimately caused his voice to drop a third after healing. After the attack Zappa needed to use a wheelchair for an extended period, making touring impossible for over half a year. Upon return to the stage in September 1972, Zappa was still wearing a leg brace, had a noticeable limp and could not stand for very long while on stage. Zappa noted that one leg healed "shorter than the other" (a reference later found in the lyrics of songs "Zomby Woof" and "Dancin' Fool"), resulting in chronic back pain. Meanwhile, the Mothers were left in limbo and eventually formed the core of Flo and Eddie's band as they set out on their own. During 1971–1972 Zappa released two strongly jazz-oriented solo LPs, Waka/Jawaka and The Grand Wazoo, which were recorded during the forced layoff from concert touring, using floating line-ups of session players and Mothers alumni. Musically, the albums were akin to Hot Rats, in that they featured extended instrumental tracks with extended soloing. Zappa began touring again in late 1972. His first effort was a series of concerts in September 1972 with a 20-piece big band referred to as the Grand Wazoo. This was followed by a scaled-down version known as the Petit Wazoo that toured the U.S. for five weeks from October to December 1972. Top 10 album: Apostrophe () Zappa then formed and toured with smaller groups that variously included Ian Underwood (reeds, keyboards), Ruth Underwood (vibes, marimba), Sal Marquez (trumpet, vocals), Napoleon Murphy Brock (sax, flute and vocals), Bruce Fowler (trombone), Tom Fowler (bass), Chester Thompson (drums), Ralph Humphrey (drums), George Duke (keyboards, vocals), and Jean-Luc Ponty (violin). By 1973 the Bizarre and Straight labels were discontinued. In their place, Zappa and Cohen created DiscReet Records, also distributed by Warner. Zappa continued a high rate of production through the first half of the 1970s, including the solo album Apostrophe (') (1974), which reached a career-high No. 10 on the Billboard pop album charts helped by the No. 86 chart hit "Don't Eat The Yellow Snow". Other albums from the period are Over-Nite Sensation (1973), which contained several future concert favorites, such as "Dinah-Moe Humm" and "Montana", and the albums Roxy & Elsewhere (1974) and One Size Fits All (1975) which feature ever-changing versions of a band still called the Mothers, and are notable for the tight renditions of highly difficult jazz fusion songs in such pieces as "Inca Roads", "Echidna's Arf (Of You)" and "Be-Bop Tango (Of the Old Jazzmen's Church)". A live recording from 1974, You Can't Do That on Stage Anymore, Vol. 2 (1988), captures "the full spirit and excellence of the 1973–1975 band". Zappa released Bongo Fury (1975), which featured a live recording at the Armadillo World Headquarters in Austin from a tour the same year that reunited him with Captain Beefheart for a brief period. They later became estranged for a period of years, but were in contact at the end of Zappa's life. Business breakups and touring In 1976 Zappa produced the album Good Singin', Good Playin' for Grand Funk Railroad. Zappa's relationship with long-time manager Herb Cohen ended in May 1976. Zappa sued Cohen for skimming more than he was allocated from DiscReet Records, as well as for signing acts of which Zappa did not approve. Cohen filed a lawsuit against Zappa in return, which froze the money Zappa and Cohen had gained from an out-of-court settlement with MGM over the rights of the early Mothers of Invention recordings. It also prevented Zappa having access to any of his previously recorded material during the trials. Zappa therefore took his personal master copies of the rock-oriented Zoot Allures (1976) directly to Warner, thereby bypassing DiscReet. Following the split with Cohen, Zappa hired Bennett Glotzer as new manager. By late 1976 Zappa was upset with Warner over inadequate promotion of his recordings and he was eager to move on as soon as possible. In March 1977 Zappa delivered four albums (five full-length LPs) to Warner to complete his contract. These albums contained recordings mostly made between 1972 and 1976. Warner failed to meet contractual obligations to Zappa, but after a lengthy legal dispute they did eventually release these recordings during 1978 and 1979 in censored form. Also, in 1977 Zappa prepared a four-LP box set called Läther (pronounced "leather") and negotiated distribution with Phonogram Inc. for release on the Zappa Records label. The Läther box set was scheduled for release on Halloween 1977, but legal action from Warner forced Zappa to shelve this project. In December 1977 Zappa appeared on the Pasadena, California radio station KROQ-FM and played the entire Läther album, while encouraging listeners to make tape recordings of the broadcast. Both sets of recordings (five-LP and four-LP) have much of the same material, but each also has unique content. The albums integrate many aspects of Zappa's 1970s work: heavy rock, orchestral works, and complex jazz instrumentals, along with Zappa's distinctive guitar solos. Läther was officially released posthumously in 1996. It is still debated as to whether Zappa had conceived the material as a four-LP set from the beginning, or only later when working with Phonogram. Although Zappa eventually gained the rights to all his material created under the MGM and Warner contracts, the various lawsuits meant that for a period Zappa's only income came from touring, which he therefore did extensively in 1975–1977 with relatively small, mainly rock-oriented, bands. Drummer Terry Bozzio became a regular band member, Napoleon Murphy Brock stayed on for a while, and original Mothers of Invention bassist Roy Estrada joined. Among other musicians were bassist Patrick O'Hearn, singer-guitarist Ray White and keyboardist/violinist Eddie Jobson. In December 1976, Zappa appeared as a featured musical guest on the NBC television show Saturday Night Live. Zappa's song "I'm the Slime" was performed with a voice-over by SNL booth announcer Don Pardo, who also introduced "Peaches En Regalia" on the same airing. In 1978, Zappa served both as host and musical act on the show, and as an actor in various sketches. The performances included an impromptu musical collaboration with cast member John Belushi during the instrumental piece "The Purple Lagoon". Belushi appeared as his Samurai Futaba character playing the tenor sax with Zappa conducting. Zappa's band had a series of Christmas shows in New York City in 1976, recordings of which appear on Zappa in New York (1978) and also on the four-LP Läther project. The band included Ruth Underwood and a horn section (featuring Michael and Randy Brecker). It mixes complex instrumentals such as "The Black Page" and humorous songs like "Titties and Beer". The former composition, written originally for drum kit but later developed for larger bands, is notorious for its complexity in rhythmic structure and short, densely arranged passages. Zappa in New York also featured a song about sex criminal Michael H. Kenyon, "The Illinois Enema Bandit", in which Don Pardo provides the opening narrative. Like many songs on the album, it contained numerous sexual references, leading to many critics objecting and being offended by the content. Zappa dismissed the criticism by noting that he was a journalist reporting on life as he saw it. Predating his later fight against censorship, he remarked: "What do you make of a society that is so primitive that it clings to the belief that certain words in its language are so powerful that they could corrupt you the moment you hear them?" The remaining albums released by Warner without Zappa's approval were Studio Tan in 1978 and Sleep Dirt and Orchestral Favorites in 1979. These releases were largely overlooked in midst of the press about Zappa's legal problems. Zappa Records label Zappa released two of his most important projects in 1979. These were the best-selling album of his career, Sheik Yerbouti, and what author Kelley Lowe called the "bona fide masterpiece", Joe's Garage. The double album Sheik Yerbouti appeared in March 1979 and was the first release to appear on Zappa Records. It contained the Grammy-nominated single "Dancin' Fool", which reached No. 45 on the Billboard charts. It also contained "Jewish Princess", which received attention when a Jewish group, the Anti-Defamation League (ADL), attempted to prevent the song from receiving radio airplay due to its alleged anti-Semitic lyrics. Zappa vehemently denied any anti-Semitic sentiments, and dismissed the ADL as a "noisemaking organization that tries to apply pressure on people in order to manufacture a stereotype image of Jews that suits their idea of a good time." The album's commercial success was attributable in part to "Bobby Brown". Due to its explicit lyrics about a young man's encounter with a "dyke by the name of Freddie", the song did not get airplay in the U.S., but it topped the charts in several European countries where English is not the primary language. Joe's Garage initially had to be released in two parts. The first was a single LP Joe's Garage Act I in September 1979, followed by a double LP Joe's Garage Acts II and III in November 1979. The albums feature singer Ike Willis as lead character "Joe" in a rock opera about the danger of political systems, the suppression of freedom of speech and music—inspired in part by the 1979 Islamic Iranian revolution that had made music illegal—and about the "strange relationship Americans have with sex and sexual frankness". The first act contains the song "Catholic Girls" (a riposte to the controversies of "Jewish Princess"), and the title track, which was also released as a single. The second and third acts have extended guitar improvisations, which were recorded live, then combined with studio backing tracks. Zappa described this process as xenochrony. In this period the band included drummer Vinnie Colaiuta (with whom Zappa had a particularly strong musical rapport) Joe's Garage contains one of Zappa's most famous guitar "signature pieces", "Watermelon in Easter Hay". This work later appeared as a three-LP, or two-CD set. On December 21, 1979, Zappa's movie Baby Snakes premiered in New York. The movie's tagline was "A movie about people who do stuff that is not normal". The 2 hour and 40 minutes movie was based on footage from concerts in New York around Halloween 1977, with a band featuring keyboardist Tommy Mars and percussionist Ed Mann (who would both return on later tours) as well as guitarist Adrian Belew. It also contained several extraordinary sequences of clay animation by Bruce Bickford who had earlier provided animation sequences to Zappa for a 1974 TV special (which became available on the 1982 video The Dub Room Special). The movie did not do well in theatrical distribution, but won the Premier Grand Prix at the First International Music Festival in Paris in 1981. 1980s–1990s Zappa cut ties with Phonogram after the distributor refused to release his song "I Don't Wanna Get Drafted", which was recorded in February 1980. The single was released independently by Zappa in the United States and was picked up by CBS Records internationally. After spending much of 1980 on the road, Zappa released Tinsel Town Rebellion in 1981. It was the first release on his own Barking Pumpkin Records, and it contains songs taken from a 1979 tour, one studio track and material from the 1980 tours. The album is a mixture of complicated instrumentals and Zappa's use of sprechstimme (speaking song or voice)—a compositional technique utilized by such composers as Arnold Schoenberg and Alban Berg—showcasing some of the most accomplished bands Zappa ever had (mostly featuring drummer Vinnie Colaiuta). While some lyrics still raised controversy among critics, some of whom found them sexist, the political and sociological satire in songs like the title track and "The Blue Light" have been described as a "hilarious critique of the willingness of the American people to believe anything". The album is also notable for the presence of guitarist Steve Vai, who joined Zappa's touring band in late 1980. The same year the double album You Are What You Is was released. Most of it was recorded in Zappa's brand new Utility Muffin Research Kitchen (UMRK) studios, which were located at his house, thereby giving him complete freedom in his work. The album included one complex instrumental, "Theme from the 3rd Movement of Sinister Footwear", but mainly consisted of rock songs with Zappa's sardonic social commentary—satirical lyrics directed at teenagers, the media, and religious and political hypocrisy. "Dumb All Over" is a tirade on religion, as is "Heavenly Bank Account", wherein Zappa rails against TV evangelists such as Jerry Falwell and Pat Robertson for their purported influence on the U.S. administration as well as their use of religion as a means of raising money. Songs like "Society Pages" and "I'm a Beautiful Guy" show Zappa's dismay with the Reagan era and its "obscene pursuit of wealth and happiness". Zappa made his only music video for a song from this album - "You Are What You Is" - directed by Jerry Watson, produced by Paul Flattery. It was banned from MTV. Zappa's management relationship with Bennett Glotzer ended in 1984. From then on Gail acted as co-manager with Frank of all his business interests. In 1981, Zappa also released three instrumental albums, Shut Up 'n Play Yer Guitar, Shut Up 'N Play Yer Guitar Some More, and The Return of the Son of Shut Up 'N Play Yer Guitar, which were initially sold via mail order, but later released through CBS Records (now Sony Music Entertainment) due to popular demand. The albums focus exclusively on Frank Zappa as a guitar soloist, and the tracks are predominantly live recordings from 1979 to 1980; they highlight Zappa's improvisational skills with "beautiful performances from the backing group as well". Another guitar-only album, Guitar, was released in 1988, and a third, Trance-Fusion, which Zappa completed shortly before his death, was released in 2006. Zappa later expanded on his television appearances in a non-musical role. He was an actor or voice artist in episodes of Shelley Duvall's Faerie Tale Theatre, Miami Vice and The Ren & Stimpy Show. A voice part in The Simpsons never materialized, to creator Matt Groening's disappointment (Groening was a neighbor of Zappa and a lifelong fan). "Valley Girl" and classical performances In May 1982, Zappa released Ship Arriving Too Late to Save a Drowning Witch, which featured his biggest selling single ever, the Grammy Award-nominated song "Valley Girl" (topping out at No. 32 on the Billboard charts). In her improvised lyrics to the song, Zappa's daughter Moon satirized the patois of teenage girls from the San Fernando Valley, which popularized many "Valspeak" expressions such as "gag me with a spoon", "fer sure, fer sure", "grody to the max", and "barf out". In 1983, two different projects were released, beginning with The Man from Utopia, a rock-oriented work. The album is eclectic, featuring the vocal-led "Dangerous Kitchen" and "The Jazz Discharge Party Hats", both continuations of the sprechstimme excursions on Tinseltown Rebellion. The second album, London Symphony Orchestra, Vol. I, contained orchestral Zappa compositions conducted by Kent Nagano and performed by the London Symphony Orchestra (LSO). A second record of these sessions, London Symphony Orchestra, Vol. II was released in 1987. The material was recorded under a tight schedule with Zappa providing all funding, helped by the commercial success of "Valley Girl". Zappa was not satisfied with the LSO recordings. One reason is "Strictly Genteel", which was recorded after the trumpet section had been out for drinks on a break: the track took 40 edits to hide out-of-tune notes. Conductor Nagano, who was pleased with the experience, noted that "in fairness to the orchestra, the music is humanly very, very difficult". Some reviews noted that the recordings were the best representation of Zappa's orchestral work so far. In 1984 Zappa teamed again with Nagano and the Berkeley Symphony Orchestra for a live performance of A Zappa Affair with augmented orchestra, life-size puppets, and moving stage sets. Although critically acclaimed the work was a financial failure, and only performed twice. Zappa was invited by conference organizer Thomas Wells to be the keynote speaker at the American Society of University Composers at the Ohio State University. It was there Zappa delivered his famous "Bingo! There Goes Your Tenure" address, and had two of his orchestra pieces, "Dupree's Paradise" and "Naval Aviation in Art?" performed by the Columbus Symphony and ProMusica Chamber Orchestra of Columbus. Synclavier For the remainder of his career, much of Zappa's work was influenced by his use of the Synclavier, an early digital synthesizer, as a compositional and performance tool. According to Zappa, "With the Synclavier, any group of imaginary instruments can be invited to play the most difficult passages ... with one-millisecond accuracy—every time". Even though it essentially did away with the need for musicians, Zappa viewed the Synclavier and real-life musicians as separate. In 1984, he released four albums. Boulez Conducts Zappa: The Perfect Stranger contains orchestral works commissioned and conducted by celebrated conductor, composer and pianist Pierre Boulez (who was listed as an influence on Freak Out!), and performed by his Ensemble InterContemporain. These were juxtaposed with premiere Synclavier pieces. Again, Zappa was not satisfied with the performances of his orchestral works, regarding them as under-rehearsed, but in the album liner notes he respectfully thanks Boulez's demands for precision. The Synclavier pieces stood in contrast to the orchestral works, as the sounds were electronically generated and not, as became possible shortly thereafter, sampled. The album Thing-Fish was an ambitious three-record set in the style of a Broadway play dealing with a dystopian "what-if" scenario involving feminism, homosexuality, manufacturing and distribution of the AIDS virus, and a eugenics program conducted by the United States government. New vocals were combined with previously released tracks and new Synclavier music; "the work is an extraordinary example of bricolage". Francesco Zappa, a Synclavier rendition of works by 18th-century composer Francesco Zappa, was also released in 1984. Merchandising Zappa’s mail-order merchandise business Barfko-Swill was run by Gerry Fialka, who also worked for Zappa as archivist and production assistant from 1983 to 1993 and answered the phone for Zappa’s Barking Pumpkin Records hotline. Fialka appears giving a tour of Barfko-Swill in the 1987 VHS release (but not the original 1979 film release) of Zappa's film Baby Snakes. He is credited on-screen as "GERALD FIALKA Cool Guy Who Wraps Stuff So It Doesn't Break". A short clip of this tour is also included in the 2020 documentary film Zappa. Digital medium and last tour Around 1986, Zappa undertook a comprehensive re-release program of his earlier vinyl recordings. He personally oversaw the remastering of all his 1960s, 1970s and early 1980s albums for the new digital compact disc medium. Certain aspects of these re-issues were criticized by some fans as being unfaithful to the original recordings. Nearly twenty years before the advent of online music stores, Zappa had proposed to replace "phonographic record merchandising" of music by "direct digital-to-digital transfer" through phone or cable TV (with royalty payments and consumer billing automatically built into the accompanying software). In 1989, Zappa considered his idea a "miserable flop". The album Jazz from Hell, released in 1986, earned Zappa his first Grammy Award in 1988 for Best Rock Instrumental Performance. Except for one live guitar solo ("St. Etienne"), the album exclusively featured compositions brought to life by the Synclavier. Zappa's last tour in a rock and jazz band format took place in 1988 with a 12-piece group which had a repertoire of over 100 (mostly Zappa) compositions, but which split under acrimonious circumstances before the tour was completed. The tour was documented on the albums Broadway the Hard Way (new material featuring songs with strong political emphasis); The Best Band You Never Heard in Your Life (Zappa "standards" and an eclectic collection of cover tunes, ranging from Maurice Ravel's Boléro to Led Zeppelin's Stairway to Heaven to The Beatles' I Am The Walrus); and also, Make a Jazz Noise Here. Parts are also found on You Can't Do That on Stage Anymore, volumes 4 and 6. Recordings from this tour also appear on the 2006 album Trance-Fusion. Health deterioration In 1990, Zappa was diagnosed with terminal prostate cancer. The disease had been developing unnoticed for years and was considered inoperable. After the diagnosis, Zappa devoted most of his energy to modern orchestral and Synclavier works. Shortly before his death in 1993 he completed Civilization Phaze III, a major Synclavier work which he had begun in the 1980s. In 1991, Zappa was chosen to be one of four featured composers at the Frankfurt Festival in 1992 (the others were John Cage, Karlheinz Stockhausen, and Alexander Knaifel). Zappa was approached by the German chamber ensemble Ensemble Modern which was interested in playing his music for the event. Although ill, he invited them to Los Angeles for rehearsals of new compositions and new arrangements of older material. Zappa also got along with the musicians, and the concerts in Germany and Austria were set up for later in the year. Zappa also performed in 1991 in Prague, claiming that "was the first time that he had a reason to play his guitar in 3 years", and that that moment was just "the beginning of a new country", and asked the public to "try to keep your country unique, do not change it into something else". In September 1992, the concerts went ahead as scheduled but Zappa could only appear at two in Frankfurt due to illness. At the first concert, he conducted the opening "Overture", and the final "G-Spot Tornado" as well as the theatrical "Food Gathering in Post-Industrial America, 1992" and "Welcome to the United States" (the remainder of the program was conducted by the ensemble's regular conductor Peter Rundel). Zappa received a 20-minute ovation. G-Spot Tornado was performed with Canadian dancer Louise Lecavalier. It was Zappa's last professional public appearance as the cancer was spreading to such an extent that he was in too much pain to enjoy an event that he otherwise found "exhilarating". Recordings from the concerts appeared on The Yellow Shark (1993), Zappa's last release during his lifetime, and some material from studio rehearsals appeared on the posthumous Everything Is Healing Nicely (1999). Death Zappa died from prostate cancer on December 4, 1993, 17 days before his 53rd birthday at his home with his wife and children by his side. At a private ceremony the following day, his body was buried in a grave at the Westwood Village Memorial Park Cemetery, in Los Angeles. The grave is unmarked. On December 6, his family publicly announced that "Composer Frank Zappa left for his final tour just before 6:00 pm on Saturday". Musical style and development Genres The general phases of Zappa's music have been variously categorized under experimental rock, jazz, classical, avant-pop, experimental pop, comedy rock, doo-wop, jazz fusion, progressive rock, proto-prog, avant-jazz, and psychedelic rock. Influences Zappa grew up influenced by avant-garde composers such as Edgard Varèse, Igor Stravinsky, and Anton Webern; 1950s blues artists Clarence "Gatemouth" Brown, Guitar Slim, Howlin' Wolf, Johnny "Guitar" Watson, and B.B. King; Egyptian composer Halim El-Dabh; R&B and doo-wop groups (particularly local pachuco groups); and modern jazz. His own heterogeneous ethnic background, and the diverse social and cultural mix in and around greater Los Angeles, were crucial in the formation of Zappa as a practitioner of underground music and of his later distrustful and openly critical attitude towards "mainstream" social, political and musical movements. He frequently lampooned musical fads like psychedelia, rock opera and disco. Television also exerted a strong influence, as demonstrated by quotations from show themes and advertising jingles found in his later works. In his book The Real Frank Zappa Book, Frank credited composer Spike Jones for Zappa's frequent use of funny sound effects, mouth noises, and humorous percussion interjections. After explaining his ideas on this, he said "I owe this part of my musical existence to Spike Jones." Project/Object Zappa's albums make extensive use of segued tracks, breaklessly joining the elements of his albums. His total output is unified by a conceptual continuity he termed "Project/Object", with numerous musical phrases, ideas, and characters reappearing across his albums. He also called it a "conceptual continuity", meaning that any project or album was part of a larger project. Everything was connected, and musical themes and lyrics reappeared in different form on later albums. Conceptual continuity clues are found throughout Zappa's entire œuvre. Techniques Guitar playing Zappa is widely recognized as one of the most significant electric guitar soloists. In a 1983 issue of Guitar World, John Swenson declared: "the fact of the matter is that [Zappa] is one of the greatest guitarists we have and is sorely unappreciated as such." His idiosyncratic style developed gradually and was mature by the early 1980s, by which time his live performances featured lengthy improvised solos during many songs. A November 2016 feature by the editors of Guitar Player magazine wrote: "Brimming with sophisticated motifs and convoluted rhythms, Zappa's extended excursions are more akin to symphonies than they are to guitar solos." The symphonic comparison stems from his habit of introducing melodic themes that, like a symphony's main melodies, were repeated with variations throughout his solos. He was further described as using a wide variety of scales and modes, enlivened by "unusual rhythmic combinations". His left hand was capable of smooth legato technique, while Zappa's right was "one of the fastest pick hands in the business." In 2016, Dweezil Zappa explained a distinctive element of his father's guitar improvisation technique was relying heavily on upstrokes much more than many other guitarists, who are more likely to use downstrokes with their picking. His song "Outside Now" from Joe's Garage poked fun at the negative reception of Zappa's guitar technique by those more commercially minded, as the song's narrator lives in a world where music is outlawed and he imagines "imaginary guitar notes that would irritate/An executive kind of guy", lyrics that are followed by one of Zappa's characteristically quirky solos in 11/8 time. Zappa transcriptionist Kasper Sloots wrote, "Zappa's guitar solos aren't meant to show off technically (Zappa hasn't claimed to be a big virtuoso on the instrument), but for the pleasure it gives trying to build a composition right in front of an audience without knowing what the outcome will be." Zappa's guitar style was not without its critics. English guitarist and bandleader John McLaughlin, whose band Mahavishnu Orchestra toured with the Mothers of Invention in 1973, opined that Zappa was "very interesting as a human being and a very interesting composer" and that he "was a very good musician but he was a dictator in his band," and that he "was taking very long guitar solos [when performing live]– 10–15 minute guitar solos and really he should have taken two or three minute guitar solos, because they were a little bit boring." In 2000, he was ranked number 36 on VH1's 100 Greatest Artists of Hard Rock. In 2004, Rolling Stone magazine ranked him at number 71 on its list of the "100 Greatest Artists of All Time", and in 2011 at number 22 on its list of the "100 Greatest Guitarists of All Time". Tape manipulation In New York, Zappa increasingly used tape editing as a compositional tool. A prime example is found on the double album Uncle Meat (1969), where the track "King Kong" is edited from various studio and live performances. Zappa had begun regularly recording concerts, and because of his insistence on precise tuning and timing, he was able to augment his studio productions with excerpts from live shows, and vice versa. Later, he combined recordings of different compositions into new pieces, irrespective of the tempo or meter of the sources. He dubbed this process "xenochrony" (strange synchronizations)—reflecting the Greek "xeno" (alien or strange) and "chronos" (time). Personal life Zappa was married to Kathryn J. "Kay" Sherman from 1960 to 1963. In 1967, he married Adelaide Gail Sloatman. He and his second wife had four children: Moon, Dweezil, Ahmet, and Diva. Following Zappa's death, his widow Gail created the Zappa Family Trust, which owns the rights to Zappa's music and some other creative output: more than 60 albums were released during Zappa's lifetime and 40 posthumously. Upon Gail's death in October 2015, the Zappa children received shares of the trust; Ahmet and Diva received 30% each, Moon and Dweezil received 20% each. Beliefs and politics Drugs Zappa stated, "Drugs do not become a problem until the person who uses the drugs does something to you, or does something that would affect your life that you don't want to have happen to you, like an airline pilot who crashes because he was full of drugs." Zappa was a heavy tobacco smoker for most of his life, and strongly critical of anti-tobacco campaigns. While he disapproved of drug use, he criticized the War on Drugs, comparing it to alcohol prohibition, and stated that the United States Treasury would benefit from the decriminalization and regulation of drugs. Describing his philosophical views, Zappa stated, "I believe that people have a right to decide their own destinies; people own themselves. I also believe that, in a democracy, government exists because (and only so long as) individual citizens give it a 'temporary license to exist'—in exchange for a promise that it will behave itself. In a democracy, you own the government—it doesn't own you." Government and religion In a 1991 interview, Zappa reported that he was a registered Democrat but added "that might not last long—I'm going to shred that". Describing his political views, Zappa categorized himself as a "practical conservative". He favored limited government and low taxes; he also stated that he approved of national defense, social security, and other federal programs, but only if recipients of such programs are willing and able to pay for them. He favored capitalism, entrepreneurship, and independent business, stating that musicians could make more from owning their own businesses than from collecting royalties. He opposed communism, stating, "A system that doesn't allow ownership ... has—to put it mildly—a fatal design flaw." He had always encouraged his fans to register to vote on album covers, and throughout 1988 he had registration booths at his concerts. He even considered running for president of the United States as an independent. Zappa was an atheist. He recalled his parents being "pretty religious" and trying to make him go to Catholic school despite his resentment. He felt disgust towards organized religion (Christianity in particular) because he believed that it promoted ignorance and anti-intellectualism. He held the view that the Garden of Eden story shows that the essence of Christianity is to oppose gaining knowledge. Some of his songs, concert performances, interviews and public debates in the 1980s criticized and derided Republicans and their policies, President Ronald Reagan, the Strategic Defense Initiative (SDI), televangelism, and the Christian Right, and warned that the United States government was in danger of becoming a "fascist theocracy". In early 1990, Zappa visited Czechoslovakia at the request of President Václav Havel. Havel designated him as Czechoslovakia's "Special Ambassador to the West on Trade, Culture and Tourism". Havel was a lifelong fan of Zappa, who had great influence in the avant-garde and underground scene in Central Europe in the 1970s and 1980s (a Czech rock group that was imprisoned in 1976 took its name from Zappa's 1968 song "Plastic People"). Under pressure from Secretary of State James Baker, Zappa's posting was withdrawn. Havel made Zappa an unofficial cultural attaché instead. Zappa planned to develop an international consulting enterprise to facilitate trade between the former Eastern Bloc and Western businesses. Anti-censorship Zappa expressed opinions on censorship when he appeared on CNN's Crossfire TV series and debated issues with Washington Times commentator John Lofton in 1986. On September 19, 1985, Zappa testified before the United States Senate Commerce, Technology, and Transportation committee, attacking the Parents Music Resource Center or PMRC, a music organization co-founded by Tipper Gore, wife of then-senator Al Gore. The PMRC consisted of many wives of politicians, including the wives of five members of the committee, and was founded to address the issue of song lyrics with sexual or satanic content. During Zappa's testimony, he stated that there was a clear conflict of interest between the PMRC due to the relations of its founders to the politicians who were then trying to pass what he referred to as the "Blank Tape Tax." Kandy Stroud, a spokeswoman for the PMRC, announced that Senator Gore (who co-founded the committee) was a co-sponsor of that legislation. Zappa suggested that record labels were trying to get the bill passed quickly through committees, one of which was chaired by Senator Strom Thurmond, who was also affiliated with the PMRC. Zappa further pointed out that this committee was being used as a distraction from that bill being passed, which would lead only to the benefit of a select few in the music industry. Zappa saw their activities as on a path towards censorship and called their proposal for voluntary labelling of records with explicit content "extortion" of the music industry. In his prepared statement, he said: The PMRC proposal is an ill-conceived piece of nonsense which fails to deliver any real benefits to children, infringes the civil liberties of people who are not children, and promises to keep the courts busy for years dealing with the interpretational and enforcemental problems inherent in the proposal's design. It is my understanding that, in law, First Amendment issues are decided with a preference for the least restrictive alternative. In this context, the PMRC's demands are the equivalent of treating dandruff by decapitation. ... The establishment of a rating system, voluntary or otherwise, opens the door to an endless parade of moral quality control programs based on things certain Christians do not like. What if the next bunch of Washington wives demands a large yellow "J" on all material written or performed by Jews, in order to save helpless children from exposure to concealed Zionist doctrine? Zappa set excerpts from the PMRC hearings to Synclavier music in his composition "Porn Wars" on the 1985 album Frank Zappa Meets the Mothers of Prevention, and the full recording was released in 2010 as Congress Shall Make No Law... Zappa is heard interacting with Senators Fritz Hollings, Slade Gorton and Al Gore. Legacy Zappa had a controversial critical standing during his lifetime. As Geoffrey Himes noted in 1993 after the artist's death, Zappa was hailed as a genius by conductor Kent Nagano and nominated by Czechoslovakian President Václav Havel to the country's cultural ambassadorship, but he was in his lifetime rejected twice for admission into the Rock and Roll Hall of Fame and been found by critics to lack emotional depth. In Christgau's Record Guide: Rock Albums of the Seventies (1981), Robert Christgau dismissed Zappa's music as "sexist adolescent drivel ... with meters and voicings and key changes that are as hard to play as they are easy to forget." According to Himes: Acclaim and honors The Rolling Stone Album Guide (2004) writes: "Frank Zappa dabbled in virtually all kinds of music—and, whether guised as a satirical rocker, jazz-rock fusionist, guitar virtuoso, electronics wizard, or orchestral innovator, his eccentric genius was undeniable." Even though his work drew inspiration from many different genres, Zappa was seen as establishing a coherent and personal expression. In 1971, biographer David Walley noted that "The whole structure of his music is unified, not neatly divided by dates or time sequences and it is all building into a composite". On commenting on Zappa's music, politics and philosophy, Barry Miles noted in 2004 that they cannot be separated: "It was all one; all part of his 'conceptual continuity'." Guitar Player devoted a special issue to Zappa in 1992, and asked on the cover "Is FZ America's Best Kept Musical Secret?" Editor Don Menn remarked that the issue was about "The most important composer to come out of modern popular music". Among those contributing to the issue was composer and musicologist Nicolas Slonimsky, who conducted premiere performances of works of Ives and Varèse in the 1930s. He became friends with Zappa in the 1980s, and said, "I admire everything Frank does, because he practically created the new musical millennium. He does beautiful, beautiful work ... It has been my luck to have lived to see the emergence of this totally new type of music." Conductor Kent Nagano remarked in the same issue that "Frank is a genius. That's a word I don't use often ... In Frank's case it is not too strong ... He is extremely literate musically. I'm not sure if the general public knows that." Pierre Boulez told Musician magazine's posthumous Zappa tribute article that Zappa "was an exceptional figure because he was part of the worlds of rock and classical music and that both types of his work would survive." In 1994, jazz magazine DownBeats critics poll placed Zappa in its Hall of Fame. Zappa was posthumously inducted into the Rock and Roll Hall of Fame in 1995. There, it was written that "Frank Zappa was rock and roll's sharpest musical mind and most astute social critic. He was the most prolific composer of his age, and he bridged genres—rock, jazz, classical, avant-garde and even novelty music—with masterful ease". He was ranked number 36 on VH1's 100 Greatest Artists of Hard Rock in 2000. In 2005, the U.S. National Recording Preservation Board included We're Only in It for the Money in the National Recording Registry as "Frank Zappa's inventive and iconoclastic album presents a unique political stance, both anti-conservative and anti-counterculture, and features a scathing satire on hippiedom and America's reactions to it". The same year, Rolling Stone magazine ranked him at No. 71 on its list of the 100 Greatest Artists of All Time. In 2011, he was ranked at No. 22 on the list of the 100 Greatest Guitarists of All Time by the same magazine. In 2016, Guitar World magazine placed Zappa atop of its list "15 of the best progressive rock guitarists through the years." The street of Partinico where his father lived at number 13, Via Zammatà, has been renamed to Via Frank Zappa. Since his death, several musicians have been considered by critics as filling the artistic niche left behind by Zappa, in view of their prolific output, eclecticism and other qualities, including Devin Townsend, Mike Patton and Omar Rodríguez-López. Grammy Awards In the course of his career, Zappa was nominated for nine competitive Grammy Awards, which resulted in two wins (one posthumous). In 1998, he received the Grammy Lifetime Achievement Award. |- |rowspan="2"| 1980 || "Rat Tomago" || Best Rock Instrumental Performance || |- | "Dancin' Fool" || Best Male Rock Vocal Performance || |- | 1983 || "Valley Girl" || Best Rock Performance by a Duo or Group with Vocal || |- | 1985 || The Perfect Stranger || Best New Classical Composition || |- |rowspan="2"| 1988 || "Jazz from Hell" || Best Instrumental Composition || |- | Jazz from Hell ||rowspan="2"| Best Rock Instrumental Performance (Orchestra, Group or Soloist) || |- | 1989 || Guitar || |- | 1990 || Broadway the Hard Way || Best Musical Cast Show Album || |- | 1996 || Civilization Phaze III || Best Recording Package – Boxed || |- | 1998 || Frank Zappa || Lifetime Achievement Award || Artists influenced by Zappa Many musicians, bands and orchestras from diverse genres have been influenced by Zappa's music. Rock artists such as The Plastic People of the Universe, Alice Cooper, Larry LaLonde of Primus, Fee Waybill of the Tubes all cite Zappa's influence, as do progressive, alternative, electronic and avant-garde/experimental rock artists like Can, Pere Ubu, Yes, Soft Machine, Henry Cow, Faust, Devo, Kraftwerk, Trey Anastasio and Jon Fishman of Phish, Jeff Buckley, John Frusciante, Steven Wilson, and The Aristocrats. Paul McCartney regarded Sgt. Pepper's Lonely Hearts Club Band as the Beatles' Freak Out!. Jimi Hendrix and heavy rock and metal acts like Black Sabbath, Simon Phillips, Mike Portnoy, Warren DeMartini, Alex Skolnick, Steve Vai, Strapping Young Lad, System of a Down, and Clawfinger have acknowledged Zappa as inspiration. On the classical music scene, Tomas Ulrich, Meridian Arts Ensemble, Ensemble Ambrosius and the Fireworks Ensemble regularly perform Zappa's compositions and quote his influence. Contemporary jazz musicians and composers Bobby Sanabria, Bill Frisell and John Zorn are inspired by Zappa, as is funk legend George Clinton. Other artists affected by Zappa include ambient composer Brian Eno, new age pianist George Winston, electronic composer Bob Gluck, parodist artist and disk jockey Dr. Demento, parodist and novelty composer "Weird Al" Yankovic, industrial music pioneer Genesis P-Orridge, singer Cree Summer, noise music artist Masami Akita of Merzbow, and Chilean composer Cristián Crisosto from Fulano and Mediabanda. References in arts and sciences Scientists from various fields have honored Zappa by naming new discoveries after him. In 1967, paleontologist Leo P. Plas, Jr., identified an extinct mollusc in Nevada and named it Amaurotoma zappa with the motivation that, "The specific name, zappa, honors Frank Zappa". In the 1980s, biologist Ed Murdy named a genus of gobiid fishes of New Guinea Zappa, with a species named Zappa confluentus. Biologist Ferdinando Boero named a Californian jellyfish Phialella zappai (1987), noting that he had "pleasure in naming this species after the modern music composer". Belgian biologists Bosmans and Bosselaers discovered in the early 1980s a Cameroonese spider, which they in 1994 named Pachygnatha zappa because "the ventral side of the abdomen of the female of this species strikingly resembles the artist's legendary moustache". A gene of the bacterium Proteus mirabilis that causes urinary tract infections was in 1995 named zapA by three biologists from Maryland. In their scientific article, they "especially thank the late Frank Zappa for inspiration and assistance with genetic nomenclature". Repeating regions of the genome of the human tumor virus KSHV were named frnk, vnct and zppa in 1996 by Yuan Chang and Patrick S. Moore who discovered the virus. Also, a 143 base pair repeat sequence occurring at two positions was named waka/jwka. In the late 1990s, American paleontologists Marc Salak and Halard L. Lescinsky discovered a metazoan fossil, and named it Spygori zappania to honor "the late Frank Zappa ... whose mission paralleled that of the earliest paleontologists: to challenge conventional and traditional beliefs when such beliefs lacked roots in logic and reason". In 1994, lobbying efforts initiated by psychiatrist John Scialli led the International Astronomical Union's Minor Planet Center to name an asteroid in Zappa's honor: 3834 Zappafrank. The asteroid was discovered in 1980 by Czechoslovakian astronomer Ladislav Brožek, and the citation for its naming says that "Zappa was an eclectic, self-trained artist and composer ... Before 1989 he was regarded as a symbol of democracy and freedom by many people in Czechoslovakia". In 1995, a bust of Zappa by sculptor Konstantinas Bogdanas was installed in Vilnius, the Lithuanian capital . The choice of Zappa was explained as "a symbol that would mark the end of communism, but at the same time express that it wasn't always doom and gloom." A replica was offered to the city of Baltimore in 2008, and on September 19, 2010 — the twenty-fifth anniversary of Zappa's testimony to the U.S. Senate — a ceremony dedicating the replica was held, and the bust was unveiled at a library in the city. In 2002, a bronze bust was installed in German city Bad Doberan, location of the Zappanale since 1990, an annual music festival celebrating Zappa. At the initiative of musicians community ORWOhaus, the city of Berlin named a street in the Marzahn district "Frank-Zappa-Straße" in 2007. The same year, Baltimore mayor Sheila Dixon proclaimed August 9 as the city's official "Frank Zappa Day" citing Zappa's musical accomplishments as well as his defense of the First Amendment to the United States Constitution. Zappa documentary The biographical documentary Zappa, directed by Alex Winter and released on November 27, 2020, includes previously unreleased footage from Zappa's personal vault, to which he was granted access by the Zappa Family Trust. Discography During his lifetime, Zappa released 62 albums. Since 1994, the Zappa Family Trust has released 57 posthumous albums, making a total of 119 albums. The current distributor of Zappa's recorded output is Universal Music Enterprises. See also List of performers on Frank Zappa records Frank Zappa in popular culture Notes References Bibliography External links 1940 births 1993 deaths 20th-century American guitarists 20th-century American male actors 20th-century American singers American classical musicians American activists American anti-communists American anti-fascists American atheists American comedy musicians American male composers American music arrangers American experimental filmmakers American experimental guitarists American experimental musicians American humanists American jazz guitarists American male voice actors American multi-instrumentalists Record producers from Maryland American rock guitarists American male guitarists American rock singers American electronic musicians American avant-garde musicians American people of Arab descent American people of Italian descent American people of French descent American people of Greek descent American satirists American surrealist artists Angel Records artists Surrealist filmmakers Antelope Valley High School alumni Articles containing video clips Avant-garde guitarists Avant-pop musicians Burials at Westwood Village Memorial Park Cemetery California Democrats Captain Beefheart Censorship in the arts American contemporary classical composers Contemporary classical music performers Copywriters Critics of the Catholic Church Deaths from cancer in California Deaths from prostate cancer Deaths from kidney failure Advocates of unschooling and homeschooling EMI Records artists Experimental pop musicians Experimental rock musicians Free speech activists Grammy Award winners Grammy Lifetime Achievement Award winners Humor in classical music Lead guitarists Maryland Democrats Musicians from Baltimore People from Echo Park, Los Angeles People from Edgewood, Maryland People from Ontario, California Progressive rock guitarists Proto-prog musicians Rykodisc artists Singers from Los Angeles The Mothers of Invention members Verve Records artists Warner Records artists Guitarists from Los Angeles Guitarists from Maryland 20th-century classical composers Singer-songwriters from Maryland Writers from Los Angeles 20th-century American composers Parody musicians Freak scene Freak artists Jazz musicians from Maryland American male jazz musicians American libertarians People from Lancaster, California American male singer-songwriters Zappa family 20th-century American male singers People from Laurel Canyon, Los Angeles Jazz musicians from California Singer-songwriters from California Surrealist groups
false
[ "Hagen Friedrich Liebing (18 February 1961 – 25 September 2016), nicknamed \"The Incredible Hagen\", was a German musician and journalist, best known as the bassist for the influential punk band Die Ärzte. \n\nIn 1986, drummer Bela B invited him to join Die Ärzte. The two knew each other from early Berlin punk days. The band disbanded in 1988. Liebing tried his hand at journalism shortly thereafter. He wrote several articles for Der Tagesspiegel, and was the senior music editor of Tip Berlin since the mid-1990s. \n\nWhen Die Ärzte reunited in 1993, Liebing did not join them. However, he did join them on stage as a special guest in 2002. In 2003, he published his memoirs The Incredible Hagen – My Years with Die Ärzte. From 2003 to 2010, he headed the Press and Public Relations at the football club Tennis Borussia Berlin. \n\nLiebing died in Berlin on 25 September 2016, after a battle with a brain tumor.\n\nReferences\n\n1961 births\n2016 deaths\nMusicians from Berlin\nGerman male musicians\nGerman journalists\nDeaths from cancer in Germany\nDeaths from brain tumor", "Johann Karl Wezel (October 31, 1747 in Sondershausen, Germany – January 28, 1819 in Sondershausen), also Johann Carl Wezel, was a German poet, novelist and philosopher of the Enlightenment.\n\nLife\nBorn the son of domestic servants, Wezel studied Theology, Law, Philosophy and Philology at the University of Leipzig. Early philosophical influences include John Locke and Julien Offray de La Mettrie. After positions as tutor at the courts of Bautzen and Berlin, Wezel lived as a freelance writer. A short stay in Vienna did not result in him getting employed by the local national theater. He thus moved back to Leipzig and, in 1793, to Sondershausen, which he did not leave again until his death in 1819.\n\nAlthough his works were extremely successful when they were published, Wezel was almost forgotten when he died. His rediscovery in the second half of the 20th century is mainly due to German author Arno Schmidt who published a radio essay about him in 1959.\n\nWorks\n Filibert und Theodosia (1772)\n Lebensgeschichte Tobias Knauts, des Weisen, sonst der Stammler genannt: aus Familiennachrichten gesammelt (1773–1776)\n Der Graf von Wickham (1774)\n Epistel an die deutschen Dichter (1775)\n Belphegor oder die wahrscheinlichste Geschichte unter der Sonne (1776)\n Herrmann und Ulrike (1780)\n Appellation der Vokalen an das Publikum (1778)\n Die wilde Betty (1779)\n Zelmor und Ermide (1779)\n Tagebuch eines neuen Ehmanns (1779)\n Robinson Krusoe. Neu bearbeitet (1779)\n Ueber Sprache, Wißenschaften und Geschmack der Teutschen (1781)\n Meine Auferstehung (1782)\n Wilhelmine Arend oder die Gefahren der Empfindsamkeit (1782)\n Kakerlak, oder Geschichte eines Rosenkreuzers aus dem vorigen Jahrhunderte (1784)\n Versuch über die Kenntniß des Menschen (1784–1785)\n\nReferences\n\nExternal links\n \n \n\n1747 births\n1819 deaths\nPeople from Sondershausen\n\nGerman male writershuort escrouesr" ]
[ "Frank Zappa", "Childhood", "when did his childhood begin", "Zappa was born on December 21, 1940 in Baltimore, Maryland.", "when did he die", "I don't know." ]
C_c267823eee05494a9c5c9ea1bd2b8b46_1
where did he live for the most part of his life
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where did Frank Zappa live for the most part of his life
Frank Zappa
Zappa was born on December 21, 1940 in Baltimore, Maryland. His mother, Rosemarie (nee Collimore) was of Italian (Neapolitan and Sicilian) and French ancestry; his father, whose name was anglicized to Francis Vincent Zappa, was an immigrant from Partinico, Sicily, with Greek and Arab ancestry. Frank, the eldest of four children, was raised in an Italian-American household where Italian was often spoken by his grandparents. The family moved often because his father, a chemist and mathematician, worked in the defense industry. After a time in Florida in the 1940s, the family returned to Maryland, where Zappa's father worked at the Edgewood Arsenal chemical warfare facility of the Aberdeen Proving Ground. Due to their home's proximity to the arsenal, which stored mustard gas, gas masks were kept in the home in case of an accident. This had a profound effect on Zappa, and references to germs, germ warfare and the defense industry occur throughout his work. Zappa was often sick as a child, suffering from asthma, earaches and sinus problems. A doctor treated his sinusitis by inserting a pellet of radium into each of Zappa's nostrils. At the time, little was known about the potential dangers of even small amounts of therapeutic radiation, and although it has since been claimed that nasal radium treatment has causal connections to cancer, no studies have provided significant enough evidence to confirm this. Nasal imagery and references appear in his music and lyrics, as well as in the collage album covers created by his long-time collaborator Cal Schenkel. Zappa believed his childhood diseases might have been due to exposure to mustard gas, released by the nearby chemical warfare facility. His health worsened when he lived in Baltimore. In 1952, his family relocated for reasons of health. They next moved to Monterey, California, where his father taught metallurgy at the Naval Postgraduate School. They soon moved to Claremont, California, then to El Cajon, before finally settling in San Diego. CANNOTANSWER
California,
Frank Vincent Zappa (December 21, 1940 – December 4, 1993) was an American musician, singer, composer, songwriter and bandleader. His work is characterized by nonconformity, free-form improvisation, sound experiments, musical virtuosity and satire of American culture. In a career spanning more than 30 years, Zappa composed rock, pop, jazz, jazz fusion, orchestral and musique concrète works, and produced almost all of the 60-plus albums that he released with his band the Mothers of Invention and as a solo artist. Zappa also directed feature-length films and music videos, and designed album covers. He is considered one of the most innovative and stylistically diverse musicians of his generation. As a self-taught composer and performer, Zappa had diverse musical influences that led him to create music that was sometimes difficult to categorize. While in his teens, he acquired a taste for 20th-century classical modernism, African-American rhythm and blues, and doo-wop music. He began writing classical music in high school, while at the same time playing drums in rhythm-and-blues bands, later switching to electric guitar. His 1966 debut album with the Mothers of Invention, Freak Out!, combined songs in conventional rock and roll format with collective improvisations and studio-generated sound collages. He continued this eclectic and experimental approach whether the fundamental format was rock, jazz, or classical. Zappa's output is unified by a conceptual continuity he termed "Project/Object", with numerous musical phrases, ideas, and characters reappearing across his albums. His lyrics reflected his iconoclastic views of established social and political processes, structures and movements, often humorously so, and he has been described as the "godfather" of comedy rock. He was a strident critic of mainstream education and organized religion, and a forthright and passionate advocate for freedom of speech, self-education, political participation and the abolition of censorship. Unlike many other rock musicians of his generation, he disapproved of recreational drug use, but supported decriminalization and regulation. Zappa was a highly productive and prolific artist with a controversial critical standing; supporters of his music admired its compositional complexity, while critics found it lacking emotional depth. He had greater commercial success outside the US, particularly in Europe. Though he worked as an independent artist, Zappa mostly relied on distribution agreements he had negotiated with the major record labels. He remains a major influence on musicians and composers. His honors include his 1995 induction into the Rock and Roll Hall of Fame and the 1997 Grammy Lifetime Achievement Award. 1940s–1960s: early life and career Childhood Zappa was born on December 21, 1940, in Baltimore, Maryland. His mother, Rose Marie ( Colimore), was of Italian (Neapolitan and Sicilian) and French ancestry; his father, whose name was anglicized to Francis Vincent Zappa, was an immigrant from Partinico, Sicily, with Greek and Arab ancestry. Frank, the eldest of four children, was raised in an Italian-American household where Italian was often spoken by his grandparents. The family moved often because his father, a chemist and mathematician, worked in the defense industry. After a time in Florida in the 1940s, the family returned to Maryland, where Zappa's father worked at the Edgewood Arsenal chemical warfare facility of the Aberdeen Proving Ground run by the U.S. Army. Due to their home's proximity to the arsenal, which stored mustard gas, gas masks were kept in the home in case of an accident. This living arrangement had a profound effect on Zappa, and references to germs, germ warfare, ailments and the defense industry occur frequently throughout his work. Zappa was often sick as a child, suffering from asthma, earaches and sinus problems. A doctor treated his sinusitis by inserting a pellet of radium into each of Zappa's nostrils. At the time, little was known about the potential dangers of even small amounts of therapeutic radiation, and although it has since been claimed that nasal radium treatment has causal connections to cancer, no studies have provided enough evidence to confirm this. Nasal imagery and references appear in his music and lyrics, as well as in the collage album covers created by his long-time collaborator Cal Schenkel. Zappa believed his childhood diseases might have been due to exposure to mustard gas, released by the nearby chemical warfare facility, and his health worsened when he lived in Baltimore. In 1952, his family relocated for reasons of health to Monterey, California, where his father taught metallurgy at the Naval Postgraduate School. They soon moved to Clairemont, and then to El Cajon, before finally settling in nearby San Diego. First musical interests Zappa joined his first band at Mission Bay High School in San Diego as the drummer. At about the same time, his parents bought a phonograph, which allowed him to develop his interest in music, and to begin building his record collection. According to The Rough Guide to Rock (2003), "as a teenager Zappa was simultaneously enthralled by black R&B (Johnny 'Guitar' Watson, Guitar Slim), doo-wop (The Channels, The Velvets), the modernism of Igor Stravinsky and Anton Webern, and the dissonant sound experiments of Edgard Varese." R&B singles were early purchases for Zappa, starting a large collection he kept for the rest of his life. He was interested in sounds for their own sake, particularly the sounds of drums and other percussion instruments. By age twelve, he had obtained a snare drum and began learning the basics of orchestral percussion. Zappa's deep interest in modern classical music began when he read a LOOK magazine article about the Sam Goody record store chain that lauded its ability to sell an LP as obscure as The Complete Works of Edgard Varèse, Volume One. The article described Varèse's percussion composition Ionisation, produced by EMS Recordings, as "a weird jumble of drums and other unpleasant sounds". Zappa decided to seek out Varèse's music. After searching for over a year, Zappa found a copy (he noticed the LP because of the "mad scientist" looking photo of Varèse on the cover). Not having enough money with him, he persuaded the salesman to sell him the record at a discount. Thus began his lifelong passion for Varèse's music and that of other modern classical composers. He also liked the Italian classical music listened to by his grandparents, especially Puccini's opera arias. By 1956, the Zappa family had moved to Lancaster, a small aerospace and farming town in the Antelope Valley of the Mojave Desert close to Edwards Air Force Base; he would later refer to Sun Village (a town close to Lancaster) in the 1973 track "Village of the Sun". Zappa's mother encouraged him in his musical interests. Although she disliked Varèse's music, she was indulgent enough to give her son a long-distance call to the New York composer as a fifteenth birthday present. Unfortunately, Varèse was in Europe at the time, so Zappa spoke to the composer's wife and she suggested he call back later. In a letter, Varèse thanked him for his interest, and told him about a composition he was working on called "Déserts". Living in the desert town of Lancaster, Zappa found this very exciting. Varèse invited him to visit if he ever came to New York. The meeting never took place (Varèse died in 1965), but Zappa framed the letter and kept it on display for the rest of his life. At Antelope Valley High School, Zappa met Don Glen Vliet (who later changed his name to Don Van Vliet and adopted the stage name Captain Beefheart). Zappa and Vliet became close friends, sharing an interest in R&B records and influencing each other musically throughout their careers. Around the same time, Zappa started playing drums in a local band, the Blackouts. The band was racially diverse and included Euclid James "Motorhead" Sherwood who later became a member of the Mothers of Invention. Zappa's interest in the guitar grew, and in 1957 he was given his first instrument. Among his early influences were Johnny "Guitar" Watson, Howlin' Wolf and Clarence "Gatemouth" Brown. In the 1970s/1980s, he invited Watson to perform on several albums. Zappa considered soloing as the equivalent of forming "air sculptures", and developed an eclectic, innovative and highly personal style. He was also influenced by Egyptian composer Halim El-Dabh. Zappa's interest in composing and arranging flourished in his last high-school years. By his final year, he was writing, arranging and conducting avant-garde performance pieces for the school orchestra. He graduated from Antelope Valley High School in 1958, and later acknowledged two of his music teachers on the sleeve of the 1966 album Freak Out! Due to his family's frequent moves, Zappa attended at least six different high schools, and as a student he was often bored and given to distracting the rest of the class with juvenile antics. In 1959, he attended Chaffey College but left after one semester, and maintained thereafter a disdain for formal education, taking his children out of school at age 15 and refusing to pay for their college. Zappa left home in 1959, and moved into a small apartment in Echo Park, Los Angeles. After he met Kathryn J. "Kay" Sherman during his short period of private composition study with Prof. Karl Kohn of Pomona College, they moved in together in Ontario, and were married December 28, 1960. Zappa worked for a short period in advertising as a copywriter. His sojourn in the commercial world was brief, but gave him valuable insights into its workings. Throughout his career, he took a keen interest in the visual presentation of his work, designing some of his album covers and directing his own films and videos. Studio Z Zappa attempted to earn a living as a musician and composer, and played different nightclub gigs, some with a new version of the Blackouts. Zappa's earliest professional recordings, two soundtracks for the low-budget films The World's Greatest Sinner (1962) and Run Home Slow (1965) were more financially rewarding. The former score was commissioned by actor-producer Timothy Carey and recorded in 1961. It contains many themes that appeared on later Zappa records. The latter soundtrack was recorded in 1963 after the film was completed, but it was commissioned by one of Zappa's former high school teachers in 1959 and Zappa may have worked on it before the film was shot. Excerpts from the soundtrack can be heard on the posthumous album The Lost Episodes (1996). During the early 1960s, Zappa wrote and produced songs for other local artists, often working with singer-songwriter Ray Collins and producer Paul Buff. Their "Memories of El Monte" was recorded by the Penguins, although only Cleve Duncan of the original group was featured. Buff owned the small Pal Recording Studio in Cucamonga, which included a unique five-track tape recorder he had built. At that time, only a handful of the most sophisticated commercial studios had multi-track facilities; the industry standard for smaller studios was still mono or two-track. Although none of the recordings from the period achieved major commercial success, Zappa earned enough money to allow him to stage a concert of his orchestral music in 1963 and to broadcast and record it. He appeared on Steve Allen's syndicated late night show the same year, in which he played a bicycle as a musical instrument. Using a bow borrowed from the band's bass player, as well as drum sticks, he proceeded to pluck, bang, and bow the spokes of the bike, producing strange, comical sounds from his newfound instrument. With Captain Beefheart, Zappa recorded some songs under the name of the Soots. They were rejected by Dot Records. Later, the Mothers were also rejected by Columbia Records for having "no commercial potential", a verdict Zappa subsequently quoted on the sleeve of Freak Out! In 1964, after his marriage started to break up, he moved into the Pal studio and began routinely working 12 hours or more per day recording and experimenting with overdubbing and audio tape manipulation. This established a work pattern that endured for most of his life. Aided by his income from film composing, Zappa took over the studio from Paul Buff, who was now working with Art Laboe at Original Sound. It was renamed Studio Z. Studio Z was rarely booked for recordings by other musicians. Instead, friends moved in, notably James "Motorhead" Sherwood. Zappa started performing in local bars as a guitarist with a power trio, the Muthers, to support himself. An article in the local press describing Zappa as "the Movie King of Cucamonga" prompted the local police to suspect that he was making pornographic films. In March 1965, Zappa was approached by a vice squad undercover officer, and accepted an offer of $100 () to produce a suggestive audio tape for an alleged stag party. Zappa and a female friend recorded a faked erotic episode. When Zappa was about to hand over the tape, he was arrested, and the police stripped the studio of all recorded material. The press was tipped off beforehand, and next day's The Daily Report wrote that "Vice Squad investigators stilled the tape recorders of a free-swinging, a-go-go film and recording studio here Friday and arrested a self-styled movie producer". Zappa was charged with "conspiracy to commit pornography". This felony charge was reduced and he was sentenced to six months in jail on a misdemeanor, with all but ten days suspended. His brief imprisonment left a permanent mark, and was central to the formation of his anti-authoritarian stance. Zappa lost several recordings made at Studio Z in the process, as the police returned only 30 of 80 hours of tape seized. Eventually, he could no longer afford to pay the rent on the studio and was evicted. Zappa managed to recover some of his possessions before the studio was torn down in 1966. Late 1960s: the Mothers of Invention Formation In 1965, Ray Collins asked Zappa to take over as guitarist in local R&B band the Soul Giants, following a fight between Collins and the group's original guitarist. Zappa accepted, and soon assumed leadership and the role as co-lead singer (even though he never considered himself a singer, then or later). He convinced the other members that they should play his music to increase the chances of getting a record contract. The band was renamed the Mothers, coincidentally on Mother's Day. They increased their bookings after beginning an association with manager Herb Cohen, and gradually gained attention on the burgeoning Los Angeles underground music scene. In early 1966, they were spotted by leading record producer Tom Wilson when playing "Trouble Every Day", a song about the Watts riots. Wilson had earned acclaim as the producer for Bob Dylan and Simon & Garfunkel, and was one of the few African-Americans working as a major label pop music producer at this time. Wilson signed the Mothers to the Verve division of MGM, which had built up a strong reputation for its releases of modern jazz recordings in the 1940s and 1950s, but was attempting to diversify into pop and rock audiences. Verve insisted that the band officially rename themselves the Mothers of Invention as Mother was short for motherfucker—a term that, apart from its profane meanings, can denote a skilled musician. Debut album: Freak Out! With Wilson credited as producer, the Mothers of Invention, augmented by a studio orchestra, recorded the groundbreaking Freak Out! (1966), which, after Bob Dylan's Blonde on Blonde, was the second rock double album ever released. It mixed R&B, doo-wop, musique concrète, and experimental sound collages that captured the "freak" subculture of Los Angeles at that time. Although he was dissatisfied with the final product, Freak Out immediately established Zappa as a radical new voice in rock music, providing an antidote to the "relentless consumer culture of America". The sound was raw, but the arrangements were sophisticated. While recording in the studio, some of the additional session musicians were shocked that they were expected to read the notes on sheet music from charts with Zappa conducting them, since it was not standard when recording rock music. The lyrics praised non-conformity, disparaged authorities, and had dadaist elements. Yet, there was a place for seemingly conventional love songs. Most compositions are Zappa's, which set a precedent for the rest of his recording career. He had full control over the arrangements and musical decisions and did most overdubs. Wilson provided the industry clout and connections and was able to provide the group with the financial resources needed. Although Wilson was able to provide Zappa and the Mothers with an extraordinary degree of artistic freedom for the time, the recording did not go entirely as planned. In a 1967 radio interview, Zappa explained that the album's outlandish 11-minute closing track, "Return of the Son of Monster Magnet" was not finished. The track as it appears on the album was only a backing track for a much more complex piece, but MGM refused to allow the additional recording time needed for completion. Much to Zappa's chagrin, it was issued in its unfinished state. During the recording of Freak Out!, Zappa moved into a house in Laurel Canyon with friend Pamela Zarubica, who appeared on the album. The house became a meeting (and living) place for many LA musicians and groupies of the time, despite Zappa's disapproval of their illicit drug use. After a short promotional tour following the release of Freak Out!, Zappa met Adelaide Gail Sloatman. He fell in love within "a couple of minutes", and she moved into the house over the summer. They married in 1967, had four children and remained together until Zappa's death. Wilson nominally produced the Mothers' second album Absolutely Free (1967), which was recorded in November 1966, and later mixed in New York, although by this time Zappa was in de facto control of most facets of the production. It featured extended playing by the Mothers of Invention and focused on songs that defined Zappa's compositional style of introducing abrupt, rhythmical changes into songs that were built from diverse elements. Examples are "Plastic People" and "Brown Shoes Don't Make It", which contained lyrics critical of the hypocrisy and conformity of American society, but also of the counterculture of the 1960s. As Zappa put it, "[W]e're satirists, and we are out to satirize everything." At the same time, Zappa had recorded material for an album of orchestral works to be released under his own name, Lumpy Gravy, released by Capitol Records in 1967. Due to contractual problems, the album was pulled. Zappa took the opportunity to radically restructure the contents, adding newly recorded, improvised dialogue. After the contractual problems were resolved, the album was reissued by Verve in 1968. It is an "incredible ambitious musical project", a "monument to John Cage", which intertwines orchestral themes, spoken words and electronic noises through radical audio editing techniques. New York period (1966–1968) The Mothers of Invention played in New York in late 1966 and were offered a contract at the Garrick Theater (at 152 Bleecker Street, above the Cafe au Go Go) during Easter 1967. This proved successful and Herb Cohen extended the booking, which eventually lasted half a year. As a result, Zappa and his wife Gail, along with the Mothers of Invention, moved to New York. Their shows became a combination of improvised acts showcasing individual talents of the band as well as tight performances of Zappa's music. Everything was directed by Zappa using hand signals. Guest performers and audience participation became a regular part of the Garrick Theater shows. One evening, Zappa managed to entice some U.S. Marines from the audience onto the stage, where they proceeded to dismember a big baby doll, having been told by Zappa to pretend that it was a "gook baby". Situated in New York, and interrupted by the band's first European tour, the Mothers of Invention recorded the album widely regarded as the peak of the group's late 1960s work, We're Only in It for the Money (released 1968). It was produced by Zappa, with Wilson credited as executive producer. From then on, Zappa produced all albums released by the Mothers of Invention and as a solo artist. We're Only in It for the Money featured some of the most creative audio editing and production yet heard in pop music, and the songs ruthlessly satirized the hippie and flower power phenomena. He sampled plundered surf music in We're only in It for the Money, as well as the Beatles' tape work from their song "Tomorrow Never Knows". The cover photo parodied that of the Beatles' Sgt. Pepper's Lonely Hearts Club Band. The cover art was provided by Cal Schenkel whom Zappa met in New York. This initiated a lifelong collaboration in which Schenkel designed covers for numerous Zappa and Mothers albums. Reflecting Zappa's eclectic approach to music, the next album, Cruising with Ruben & the Jets (1968), was very different. It represented a collection of doo-wop songs; listeners and critics were not sure whether the album was a satire or a tribute. Zappa later remarked that the album was conceived like Stravinsky's compositions in his neo-classical period: "If he could take the forms and clichés of the classical era and pervert them, why not do the same ... to doo-wop in the fifties?" A theme from Stravinsky's The Rite of Spring is heard during one song. In 1967 and 1968, Zappa made two appearances with the Monkees. The first appearance was on an episode of their TV series, "The Monkees Blow Their Minds", where Zappa, dressed up as Mike Nesmith, interviews Nesmith who is dressed up as Zappa. After the interview, Zappa destroys a car with a sledgehammer as the song "Mother People" plays. He later provided a cameo in the Monkees' movie Head where, leading a cow, he tells Davy Jones "the youth of America depends on you to show them the way." Zappa respected the Monkees and recruited Micky Dolenz to the Mothers but RCA/Columbia/Colgems would not release Dolenz from his contract. During the late 1960s, Zappa continued to develop the business side of his career. He and Herb Cohen formed the Bizarre Records and Straight Records labels to increase creative control and produce recordings by other artists. These labels were distributed in the US by Warner Bros. Records. Zappa/Mothers recordings appeared on Bizarre along with Wild Man Fischer and Lenny Bruce. Straight released the double album Trout Mask Replica for Captain Beefheart, and releases by Alice Cooper, The Persuasions, and the GTOs. In the Mothers' second European tour in September/October 1968 they performed for the at the Grugahalle in Essen, Germany; at the Tivoli in Copenhagen, Denmark; for TV programs in Germany (Beat-Club), France, and England; at the Concertgebouw in Amsterdam; at the Royal Festival Hall in London; and at the Olympia in Paris. Disbandment Zappa and the Mothers of Invention returned to Los Angeles in mid-1968, and the Zappas moved into a house on Laurel Canyon Boulevard, only to move again to Woodrow Wilson Drive. This was Zappa's home for the rest of his life. Despite being successful in Europe, the Mothers of Invention were not doing well financially. Their first records were vocally oriented, but as Zappa wrote more instrumental jazz and classical style music for the band's concerts, audiences were confused. Zappa felt that audiences failed to appreciate his "electrical chamber music". In 1969 there were nine band members and Zappa was supporting the group from his publishing royalties whether they played or not. In late 1969, Zappa broke up the band. He often cited the financial strain as the main reason, but also commented on the band members' lack of diligence. Many band members were bitter about Zappa's decision, and some took it as a sign of Zappa's perfectionism at the expense of human feeling. Others were irritated by 'his autocratic ways', exemplified by Zappa's never staying at the same hotel as the band members. Several members played for Zappa in years to come. Remaining recordings of the band from this period were collected on Weasels Ripped My Flesh and Burnt Weeny Sandwich (both released in 1970). After he disbanded the Mothers of Invention, Zappa released the acclaimed solo album Hot Rats (1969). It features, for the first time on record, Zappa playing extended guitar solos and contains one of his most enduring compositions, "Peaches en Regalia", which reappeared several times on future recordings. He was backed by jazz, blues and R&B session players including violinist Don "Sugarcane" Harris, drummers John Guerin and Paul Humphrey, multi-instrumentalist and former Mothers of Invention member Ian Underwood, and multi-instrumentalist Shuggie Otis on bass, along with a guest appearance by Captain Beefheart on the only vocal track, "Willie the Pimp". It became a popular album in England, and had a major influence on the development of jazz-rock fusion. 1970s Rebirth of the Mothers and filmmaking In 1970 Zappa met conductor Zubin Mehta. They arranged a May 1970 concert where Mehta conducted the Los Angeles Philharmonic augmented by a rock band. According to Zappa, the music was mostly written in motel rooms while on tour with the Mothers of Invention. Some of it was later featured in the movie 200 Motels. Although the concert was a success, Zappa's experience working with a symphony orchestra was not a happy one. His dissatisfaction became a recurring theme throughout his career; he often felt that the quality of performance of his material delivered by orchestras was not commensurate with the money he spent on orchestral concerts and recordings. Later in 1970, Zappa formed a new version of the Mothers (from then on, he mostly dropped the "of Invention"). It included British drummer Aynsley Dunbar, jazz keyboardist George Duke, Ian Underwood, Jeff Simmons (bass, rhythm guitar), and three members of the Turtles: bass player Jim Pons, and singers Mark Volman and Howard Kaylan, who, due to persistent legal and contractual problems, adopted the stage name "The Phlorescent Leech and Eddie", or "Flo & Eddie". This version of the Mothers debuted on Zappa's next solo album Chunga's Revenge (1970), which was followed by the double-album soundtrack to the movie 200 Motels (1971), featuring the Mothers, the Royal Philharmonic Orchestra, Ringo Starr, Theodore Bikel, and Keith Moon. Co-directed by Zappa and Tony Palmer, it was filmed in a week at Pinewood Studios outside London. Tensions between Zappa and several cast and crew members arose before and during shooting. The film deals loosely with life on the road as a rock musician. It was the first feature film photographed on videotape and transferred to 35 mm film, a process that allowed for novel visual effects. It was released to mixed reviews. The score relied extensively on orchestral music, and Zappa's dissatisfaction with the classical music world intensified when a concert, scheduled at the Royal Albert Hall after filming, was canceled because a representative of the venue found some of the lyrics obscene. In 1975, he lost a lawsuit against the Royal Albert Hall for breach of contract. After 200 Motels, the band went on tour, which resulted in two live albums, Fillmore East – June 1971 and Just Another Band from L.A.; the latter included the 20-minute track "Billy the Mountain", Zappa's satire on rock opera set in Southern California. This track was representative of the band's theatrical performances—which used songs to build sketches based on 200 Motels scenes, as well as new situations that often portrayed the band members' sexual encounters on the road. Accident, attack, and aftermath On December 4, 1971, Zappa suffered his first of two serious setbacks. While performing at Casino de Montreux in Switzerland, the Mothers' equipment was destroyed when a flare set off by an audience member started a fire that burned down the casino. Immortalized in Deep Purple's song "Smoke on the Water", the event and immediate aftermath can be heard on the bootleg album Swiss Cheese/Fire, released legally as part of Zappa's Beat the Boots II compilation. After losing $50,000 () worth of equipment and a week's break, the Mothers played at the Rainbow Theatre, London, with rented gear. During the encore, an audience member jealous because of his girlfriend's infatuation with Zappa pushed him off the stage and into the concrete-floored orchestra pit. The band thought Zappa had been killed—he had suffered serious fractures, head trauma and injuries to his back, leg, and neck, as well as a crushed larynx, which ultimately caused his voice to drop a third after healing. After the attack Zappa needed to use a wheelchair for an extended period, making touring impossible for over half a year. Upon return to the stage in September 1972, Zappa was still wearing a leg brace, had a noticeable limp and could not stand for very long while on stage. Zappa noted that one leg healed "shorter than the other" (a reference later found in the lyrics of songs "Zomby Woof" and "Dancin' Fool"), resulting in chronic back pain. Meanwhile, the Mothers were left in limbo and eventually formed the core of Flo and Eddie's band as they set out on their own. During 1971–1972 Zappa released two strongly jazz-oriented solo LPs, Waka/Jawaka and The Grand Wazoo, which were recorded during the forced layoff from concert touring, using floating line-ups of session players and Mothers alumni. Musically, the albums were akin to Hot Rats, in that they featured extended instrumental tracks with extended soloing. Zappa began touring again in late 1972. His first effort was a series of concerts in September 1972 with a 20-piece big band referred to as the Grand Wazoo. This was followed by a scaled-down version known as the Petit Wazoo that toured the U.S. for five weeks from October to December 1972. Top 10 album: Apostrophe () Zappa then formed and toured with smaller groups that variously included Ian Underwood (reeds, keyboards), Ruth Underwood (vibes, marimba), Sal Marquez (trumpet, vocals), Napoleon Murphy Brock (sax, flute and vocals), Bruce Fowler (trombone), Tom Fowler (bass), Chester Thompson (drums), Ralph Humphrey (drums), George Duke (keyboards, vocals), and Jean-Luc Ponty (violin). By 1973 the Bizarre and Straight labels were discontinued. In their place, Zappa and Cohen created DiscReet Records, also distributed by Warner. Zappa continued a high rate of production through the first half of the 1970s, including the solo album Apostrophe (') (1974), which reached a career-high No. 10 on the Billboard pop album charts helped by the No. 86 chart hit "Don't Eat The Yellow Snow". Other albums from the period are Over-Nite Sensation (1973), which contained several future concert favorites, such as "Dinah-Moe Humm" and "Montana", and the albums Roxy & Elsewhere (1974) and One Size Fits All (1975) which feature ever-changing versions of a band still called the Mothers, and are notable for the tight renditions of highly difficult jazz fusion songs in such pieces as "Inca Roads", "Echidna's Arf (Of You)" and "Be-Bop Tango (Of the Old Jazzmen's Church)". A live recording from 1974, You Can't Do That on Stage Anymore, Vol. 2 (1988), captures "the full spirit and excellence of the 1973–1975 band". Zappa released Bongo Fury (1975), which featured a live recording at the Armadillo World Headquarters in Austin from a tour the same year that reunited him with Captain Beefheart for a brief period. They later became estranged for a period of years, but were in contact at the end of Zappa's life. Business breakups and touring In 1976 Zappa produced the album Good Singin', Good Playin' for Grand Funk Railroad. Zappa's relationship with long-time manager Herb Cohen ended in May 1976. Zappa sued Cohen for skimming more than he was allocated from DiscReet Records, as well as for signing acts of which Zappa did not approve. Cohen filed a lawsuit against Zappa in return, which froze the money Zappa and Cohen had gained from an out-of-court settlement with MGM over the rights of the early Mothers of Invention recordings. It also prevented Zappa having access to any of his previously recorded material during the trials. Zappa therefore took his personal master copies of the rock-oriented Zoot Allures (1976) directly to Warner, thereby bypassing DiscReet. Following the split with Cohen, Zappa hired Bennett Glotzer as new manager. By late 1976 Zappa was upset with Warner over inadequate promotion of his recordings and he was eager to move on as soon as possible. In March 1977 Zappa delivered four albums (five full-length LPs) to Warner to complete his contract. These albums contained recordings mostly made between 1972 and 1976. Warner failed to meet contractual obligations to Zappa, but after a lengthy legal dispute they did eventually release these recordings during 1978 and 1979 in censored form. Also, in 1977 Zappa prepared a four-LP box set called Läther (pronounced "leather") and negotiated distribution with Phonogram Inc. for release on the Zappa Records label. The Läther box set was scheduled for release on Halloween 1977, but legal action from Warner forced Zappa to shelve this project. In December 1977 Zappa appeared on the Pasadena, California radio station KROQ-FM and played the entire Läther album, while encouraging listeners to make tape recordings of the broadcast. Both sets of recordings (five-LP and four-LP) have much of the same material, but each also has unique content. The albums integrate many aspects of Zappa's 1970s work: heavy rock, orchestral works, and complex jazz instrumentals, along with Zappa's distinctive guitar solos. Läther was officially released posthumously in 1996. It is still debated as to whether Zappa had conceived the material as a four-LP set from the beginning, or only later when working with Phonogram. Although Zappa eventually gained the rights to all his material created under the MGM and Warner contracts, the various lawsuits meant that for a period Zappa's only income came from touring, which he therefore did extensively in 1975–1977 with relatively small, mainly rock-oriented, bands. Drummer Terry Bozzio became a regular band member, Napoleon Murphy Brock stayed on for a while, and original Mothers of Invention bassist Roy Estrada joined. Among other musicians were bassist Patrick O'Hearn, singer-guitarist Ray White and keyboardist/violinist Eddie Jobson. In December 1976, Zappa appeared as a featured musical guest on the NBC television show Saturday Night Live. Zappa's song "I'm the Slime" was performed with a voice-over by SNL booth announcer Don Pardo, who also introduced "Peaches En Regalia" on the same airing. In 1978, Zappa served both as host and musical act on the show, and as an actor in various sketches. The performances included an impromptu musical collaboration with cast member John Belushi during the instrumental piece "The Purple Lagoon". Belushi appeared as his Samurai Futaba character playing the tenor sax with Zappa conducting. Zappa's band had a series of Christmas shows in New York City in 1976, recordings of which appear on Zappa in New York (1978) and also on the four-LP Läther project. The band included Ruth Underwood and a horn section (featuring Michael and Randy Brecker). It mixes complex instrumentals such as "The Black Page" and humorous songs like "Titties and Beer". The former composition, written originally for drum kit but later developed for larger bands, is notorious for its complexity in rhythmic structure and short, densely arranged passages. Zappa in New York also featured a song about sex criminal Michael H. Kenyon, "The Illinois Enema Bandit", in which Don Pardo provides the opening narrative. Like many songs on the album, it contained numerous sexual references, leading to many critics objecting and being offended by the content. Zappa dismissed the criticism by noting that he was a journalist reporting on life as he saw it. Predating his later fight against censorship, he remarked: "What do you make of a society that is so primitive that it clings to the belief that certain words in its language are so powerful that they could corrupt you the moment you hear them?" The remaining albums released by Warner without Zappa's approval were Studio Tan in 1978 and Sleep Dirt and Orchestral Favorites in 1979. These releases were largely overlooked in midst of the press about Zappa's legal problems. Zappa Records label Zappa released two of his most important projects in 1979. These were the best-selling album of his career, Sheik Yerbouti, and what author Kelley Lowe called the "bona fide masterpiece", Joe's Garage. The double album Sheik Yerbouti appeared in March 1979 and was the first release to appear on Zappa Records. It contained the Grammy-nominated single "Dancin' Fool", which reached No. 45 on the Billboard charts. It also contained "Jewish Princess", which received attention when a Jewish group, the Anti-Defamation League (ADL), attempted to prevent the song from receiving radio airplay due to its alleged anti-Semitic lyrics. Zappa vehemently denied any anti-Semitic sentiments, and dismissed the ADL as a "noisemaking organization that tries to apply pressure on people in order to manufacture a stereotype image of Jews that suits their idea of a good time." The album's commercial success was attributable in part to "Bobby Brown". Due to its explicit lyrics about a young man's encounter with a "dyke by the name of Freddie", the song did not get airplay in the U.S., but it topped the charts in several European countries where English is not the primary language. Joe's Garage initially had to be released in two parts. The first was a single LP Joe's Garage Act I in September 1979, followed by a double LP Joe's Garage Acts II and III in November 1979. The albums feature singer Ike Willis as lead character "Joe" in a rock opera about the danger of political systems, the suppression of freedom of speech and music—inspired in part by the 1979 Islamic Iranian revolution that had made music illegal—and about the "strange relationship Americans have with sex and sexual frankness". The first act contains the song "Catholic Girls" (a riposte to the controversies of "Jewish Princess"), and the title track, which was also released as a single. The second and third acts have extended guitar improvisations, which were recorded live, then combined with studio backing tracks. Zappa described this process as xenochrony. In this period the band included drummer Vinnie Colaiuta (with whom Zappa had a particularly strong musical rapport) Joe's Garage contains one of Zappa's most famous guitar "signature pieces", "Watermelon in Easter Hay". This work later appeared as a three-LP, or two-CD set. On December 21, 1979, Zappa's movie Baby Snakes premiered in New York. The movie's tagline was "A movie about people who do stuff that is not normal". The 2 hour and 40 minutes movie was based on footage from concerts in New York around Halloween 1977, with a band featuring keyboardist Tommy Mars and percussionist Ed Mann (who would both return on later tours) as well as guitarist Adrian Belew. It also contained several extraordinary sequences of clay animation by Bruce Bickford who had earlier provided animation sequences to Zappa for a 1974 TV special (which became available on the 1982 video The Dub Room Special). The movie did not do well in theatrical distribution, but won the Premier Grand Prix at the First International Music Festival in Paris in 1981. 1980s–1990s Zappa cut ties with Phonogram after the distributor refused to release his song "I Don't Wanna Get Drafted", which was recorded in February 1980. The single was released independently by Zappa in the United States and was picked up by CBS Records internationally. After spending much of 1980 on the road, Zappa released Tinsel Town Rebellion in 1981. It was the first release on his own Barking Pumpkin Records, and it contains songs taken from a 1979 tour, one studio track and material from the 1980 tours. The album is a mixture of complicated instrumentals and Zappa's use of sprechstimme (speaking song or voice)—a compositional technique utilized by such composers as Arnold Schoenberg and Alban Berg—showcasing some of the most accomplished bands Zappa ever had (mostly featuring drummer Vinnie Colaiuta). While some lyrics still raised controversy among critics, some of whom found them sexist, the political and sociological satire in songs like the title track and "The Blue Light" have been described as a "hilarious critique of the willingness of the American people to believe anything". The album is also notable for the presence of guitarist Steve Vai, who joined Zappa's touring band in late 1980. The same year the double album You Are What You Is was released. Most of it was recorded in Zappa's brand new Utility Muffin Research Kitchen (UMRK) studios, which were located at his house, thereby giving him complete freedom in his work. The album included one complex instrumental, "Theme from the 3rd Movement of Sinister Footwear", but mainly consisted of rock songs with Zappa's sardonic social commentary—satirical lyrics directed at teenagers, the media, and religious and political hypocrisy. "Dumb All Over" is a tirade on religion, as is "Heavenly Bank Account", wherein Zappa rails against TV evangelists such as Jerry Falwell and Pat Robertson for their purported influence on the U.S. administration as well as their use of religion as a means of raising money. Songs like "Society Pages" and "I'm a Beautiful Guy" show Zappa's dismay with the Reagan era and its "obscene pursuit of wealth and happiness". Zappa made his only music video for a song from this album - "You Are What You Is" - directed by Jerry Watson, produced by Paul Flattery. It was banned from MTV. Zappa's management relationship with Bennett Glotzer ended in 1984. From then on Gail acted as co-manager with Frank of all his business interests. In 1981, Zappa also released three instrumental albums, Shut Up 'n Play Yer Guitar, Shut Up 'N Play Yer Guitar Some More, and The Return of the Son of Shut Up 'N Play Yer Guitar, which were initially sold via mail order, but later released through CBS Records (now Sony Music Entertainment) due to popular demand. The albums focus exclusively on Frank Zappa as a guitar soloist, and the tracks are predominantly live recordings from 1979 to 1980; they highlight Zappa's improvisational skills with "beautiful performances from the backing group as well". Another guitar-only album, Guitar, was released in 1988, and a third, Trance-Fusion, which Zappa completed shortly before his death, was released in 2006. Zappa later expanded on his television appearances in a non-musical role. He was an actor or voice artist in episodes of Shelley Duvall's Faerie Tale Theatre, Miami Vice and The Ren & Stimpy Show. A voice part in The Simpsons never materialized, to creator Matt Groening's disappointment (Groening was a neighbor of Zappa and a lifelong fan). "Valley Girl" and classical performances In May 1982, Zappa released Ship Arriving Too Late to Save a Drowning Witch, which featured his biggest selling single ever, the Grammy Award-nominated song "Valley Girl" (topping out at No. 32 on the Billboard charts). In her improvised lyrics to the song, Zappa's daughter Moon satirized the patois of teenage girls from the San Fernando Valley, which popularized many "Valspeak" expressions such as "gag me with a spoon", "fer sure, fer sure", "grody to the max", and "barf out". In 1983, two different projects were released, beginning with The Man from Utopia, a rock-oriented work. The album is eclectic, featuring the vocal-led "Dangerous Kitchen" and "The Jazz Discharge Party Hats", both continuations of the sprechstimme excursions on Tinseltown Rebellion. The second album, London Symphony Orchestra, Vol. I, contained orchestral Zappa compositions conducted by Kent Nagano and performed by the London Symphony Orchestra (LSO). A second record of these sessions, London Symphony Orchestra, Vol. II was released in 1987. The material was recorded under a tight schedule with Zappa providing all funding, helped by the commercial success of "Valley Girl". Zappa was not satisfied with the LSO recordings. One reason is "Strictly Genteel", which was recorded after the trumpet section had been out for drinks on a break: the track took 40 edits to hide out-of-tune notes. Conductor Nagano, who was pleased with the experience, noted that "in fairness to the orchestra, the music is humanly very, very difficult". Some reviews noted that the recordings were the best representation of Zappa's orchestral work so far. In 1984 Zappa teamed again with Nagano and the Berkeley Symphony Orchestra for a live performance of A Zappa Affair with augmented orchestra, life-size puppets, and moving stage sets. Although critically acclaimed the work was a financial failure, and only performed twice. Zappa was invited by conference organizer Thomas Wells to be the keynote speaker at the American Society of University Composers at the Ohio State University. It was there Zappa delivered his famous "Bingo! There Goes Your Tenure" address, and had two of his orchestra pieces, "Dupree's Paradise" and "Naval Aviation in Art?" performed by the Columbus Symphony and ProMusica Chamber Orchestra of Columbus. Synclavier For the remainder of his career, much of Zappa's work was influenced by his use of the Synclavier, an early digital synthesizer, as a compositional and performance tool. According to Zappa, "With the Synclavier, any group of imaginary instruments can be invited to play the most difficult passages ... with one-millisecond accuracy—every time". Even though it essentially did away with the need for musicians, Zappa viewed the Synclavier and real-life musicians as separate. In 1984, he released four albums. Boulez Conducts Zappa: The Perfect Stranger contains orchestral works commissioned and conducted by celebrated conductor, composer and pianist Pierre Boulez (who was listed as an influence on Freak Out!), and performed by his Ensemble InterContemporain. These were juxtaposed with premiere Synclavier pieces. Again, Zappa was not satisfied with the performances of his orchestral works, regarding them as under-rehearsed, but in the album liner notes he respectfully thanks Boulez's demands for precision. The Synclavier pieces stood in contrast to the orchestral works, as the sounds were electronically generated and not, as became possible shortly thereafter, sampled. The album Thing-Fish was an ambitious three-record set in the style of a Broadway play dealing with a dystopian "what-if" scenario involving feminism, homosexuality, manufacturing and distribution of the AIDS virus, and a eugenics program conducted by the United States government. New vocals were combined with previously released tracks and new Synclavier music; "the work is an extraordinary example of bricolage". Francesco Zappa, a Synclavier rendition of works by 18th-century composer Francesco Zappa, was also released in 1984. Merchandising Zappa’s mail-order merchandise business Barfko-Swill was run by Gerry Fialka, who also worked for Zappa as archivist and production assistant from 1983 to 1993 and answered the phone for Zappa’s Barking Pumpkin Records hotline. Fialka appears giving a tour of Barfko-Swill in the 1987 VHS release (but not the original 1979 film release) of Zappa's film Baby Snakes. He is credited on-screen as "GERALD FIALKA Cool Guy Who Wraps Stuff So It Doesn't Break". A short clip of this tour is also included in the 2020 documentary film Zappa. Digital medium and last tour Around 1986, Zappa undertook a comprehensive re-release program of his earlier vinyl recordings. He personally oversaw the remastering of all his 1960s, 1970s and early 1980s albums for the new digital compact disc medium. Certain aspects of these re-issues were criticized by some fans as being unfaithful to the original recordings. Nearly twenty years before the advent of online music stores, Zappa had proposed to replace "phonographic record merchandising" of music by "direct digital-to-digital transfer" through phone or cable TV (with royalty payments and consumer billing automatically built into the accompanying software). In 1989, Zappa considered his idea a "miserable flop". The album Jazz from Hell, released in 1986, earned Zappa his first Grammy Award in 1988 for Best Rock Instrumental Performance. Except for one live guitar solo ("St. Etienne"), the album exclusively featured compositions brought to life by the Synclavier. Zappa's last tour in a rock and jazz band format took place in 1988 with a 12-piece group which had a repertoire of over 100 (mostly Zappa) compositions, but which split under acrimonious circumstances before the tour was completed. The tour was documented on the albums Broadway the Hard Way (new material featuring songs with strong political emphasis); The Best Band You Never Heard in Your Life (Zappa "standards" and an eclectic collection of cover tunes, ranging from Maurice Ravel's Boléro to Led Zeppelin's Stairway to Heaven to The Beatles' I Am The Walrus); and also, Make a Jazz Noise Here. Parts are also found on You Can't Do That on Stage Anymore, volumes 4 and 6. Recordings from this tour also appear on the 2006 album Trance-Fusion. Health deterioration In 1990, Zappa was diagnosed with terminal prostate cancer. The disease had been developing unnoticed for years and was considered inoperable. After the diagnosis, Zappa devoted most of his energy to modern orchestral and Synclavier works. Shortly before his death in 1993 he completed Civilization Phaze III, a major Synclavier work which he had begun in the 1980s. In 1991, Zappa was chosen to be one of four featured composers at the Frankfurt Festival in 1992 (the others were John Cage, Karlheinz Stockhausen, and Alexander Knaifel). Zappa was approached by the German chamber ensemble Ensemble Modern which was interested in playing his music for the event. Although ill, he invited them to Los Angeles for rehearsals of new compositions and new arrangements of older material. Zappa also got along with the musicians, and the concerts in Germany and Austria were set up for later in the year. Zappa also performed in 1991 in Prague, claiming that "was the first time that he had a reason to play his guitar in 3 years", and that that moment was just "the beginning of a new country", and asked the public to "try to keep your country unique, do not change it into something else". In September 1992, the concerts went ahead as scheduled but Zappa could only appear at two in Frankfurt due to illness. At the first concert, he conducted the opening "Overture", and the final "G-Spot Tornado" as well as the theatrical "Food Gathering in Post-Industrial America, 1992" and "Welcome to the United States" (the remainder of the program was conducted by the ensemble's regular conductor Peter Rundel). Zappa received a 20-minute ovation. G-Spot Tornado was performed with Canadian dancer Louise Lecavalier. It was Zappa's last professional public appearance as the cancer was spreading to such an extent that he was in too much pain to enjoy an event that he otherwise found "exhilarating". Recordings from the concerts appeared on The Yellow Shark (1993), Zappa's last release during his lifetime, and some material from studio rehearsals appeared on the posthumous Everything Is Healing Nicely (1999). Death Zappa died from prostate cancer on December 4, 1993, 17 days before his 53rd birthday at his home with his wife and children by his side. At a private ceremony the following day, his body was buried in a grave at the Westwood Village Memorial Park Cemetery, in Los Angeles. The grave is unmarked. On December 6, his family publicly announced that "Composer Frank Zappa left for his final tour just before 6:00 pm on Saturday". Musical style and development Genres The general phases of Zappa's music have been variously categorized under experimental rock, jazz, classical, avant-pop, experimental pop, comedy rock, doo-wop, jazz fusion, progressive rock, proto-prog, avant-jazz, and psychedelic rock. Influences Zappa grew up influenced by avant-garde composers such as Edgard Varèse, Igor Stravinsky, and Anton Webern; 1950s blues artists Clarence "Gatemouth" Brown, Guitar Slim, Howlin' Wolf, Johnny "Guitar" Watson, and B.B. King; Egyptian composer Halim El-Dabh; R&B and doo-wop groups (particularly local pachuco groups); and modern jazz. His own heterogeneous ethnic background, and the diverse social and cultural mix in and around greater Los Angeles, were crucial in the formation of Zappa as a practitioner of underground music and of his later distrustful and openly critical attitude towards "mainstream" social, political and musical movements. He frequently lampooned musical fads like psychedelia, rock opera and disco. Television also exerted a strong influence, as demonstrated by quotations from show themes and advertising jingles found in his later works. In his book The Real Frank Zappa Book, Frank credited composer Spike Jones for Zappa's frequent use of funny sound effects, mouth noises, and humorous percussion interjections. After explaining his ideas on this, he said "I owe this part of my musical existence to Spike Jones." Project/Object Zappa's albums make extensive use of segued tracks, breaklessly joining the elements of his albums. His total output is unified by a conceptual continuity he termed "Project/Object", with numerous musical phrases, ideas, and characters reappearing across his albums. He also called it a "conceptual continuity", meaning that any project or album was part of a larger project. Everything was connected, and musical themes and lyrics reappeared in different form on later albums. Conceptual continuity clues are found throughout Zappa's entire œuvre. Techniques Guitar playing Zappa is widely recognized as one of the most significant electric guitar soloists. In a 1983 issue of Guitar World, John Swenson declared: "the fact of the matter is that [Zappa] is one of the greatest guitarists we have and is sorely unappreciated as such." His idiosyncratic style developed gradually and was mature by the early 1980s, by which time his live performances featured lengthy improvised solos during many songs. A November 2016 feature by the editors of Guitar Player magazine wrote: "Brimming with sophisticated motifs and convoluted rhythms, Zappa's extended excursions are more akin to symphonies than they are to guitar solos." The symphonic comparison stems from his habit of introducing melodic themes that, like a symphony's main melodies, were repeated with variations throughout his solos. He was further described as using a wide variety of scales and modes, enlivened by "unusual rhythmic combinations". His left hand was capable of smooth legato technique, while Zappa's right was "one of the fastest pick hands in the business." In 2016, Dweezil Zappa explained a distinctive element of his father's guitar improvisation technique was relying heavily on upstrokes much more than many other guitarists, who are more likely to use downstrokes with their picking. His song "Outside Now" from Joe's Garage poked fun at the negative reception of Zappa's guitar technique by those more commercially minded, as the song's narrator lives in a world where music is outlawed and he imagines "imaginary guitar notes that would irritate/An executive kind of guy", lyrics that are followed by one of Zappa's characteristically quirky solos in 11/8 time. Zappa transcriptionist Kasper Sloots wrote, "Zappa's guitar solos aren't meant to show off technically (Zappa hasn't claimed to be a big virtuoso on the instrument), but for the pleasure it gives trying to build a composition right in front of an audience without knowing what the outcome will be." Zappa's guitar style was not without its critics. English guitarist and bandleader John McLaughlin, whose band Mahavishnu Orchestra toured with the Mothers of Invention in 1973, opined that Zappa was "very interesting as a human being and a very interesting composer" and that he "was a very good musician but he was a dictator in his band," and that he "was taking very long guitar solos [when performing live]– 10–15 minute guitar solos and really he should have taken two or three minute guitar solos, because they were a little bit boring." In 2000, he was ranked number 36 on VH1's 100 Greatest Artists of Hard Rock. In 2004, Rolling Stone magazine ranked him at number 71 on its list of the "100 Greatest Artists of All Time", and in 2011 at number 22 on its list of the "100 Greatest Guitarists of All Time". Tape manipulation In New York, Zappa increasingly used tape editing as a compositional tool. A prime example is found on the double album Uncle Meat (1969), where the track "King Kong" is edited from various studio and live performances. Zappa had begun regularly recording concerts, and because of his insistence on precise tuning and timing, he was able to augment his studio productions with excerpts from live shows, and vice versa. Later, he combined recordings of different compositions into new pieces, irrespective of the tempo or meter of the sources. He dubbed this process "xenochrony" (strange synchronizations)—reflecting the Greek "xeno" (alien or strange) and "chronos" (time). Personal life Zappa was married to Kathryn J. "Kay" Sherman from 1960 to 1963. In 1967, he married Adelaide Gail Sloatman. He and his second wife had four children: Moon, Dweezil, Ahmet, and Diva. Following Zappa's death, his widow Gail created the Zappa Family Trust, which owns the rights to Zappa's music and some other creative output: more than 60 albums were released during Zappa's lifetime and 40 posthumously. Upon Gail's death in October 2015, the Zappa children received shares of the trust; Ahmet and Diva received 30% each, Moon and Dweezil received 20% each. Beliefs and politics Drugs Zappa stated, "Drugs do not become a problem until the person who uses the drugs does something to you, or does something that would affect your life that you don't want to have happen to you, like an airline pilot who crashes because he was full of drugs." Zappa was a heavy tobacco smoker for most of his life, and strongly critical of anti-tobacco campaigns. While he disapproved of drug use, he criticized the War on Drugs, comparing it to alcohol prohibition, and stated that the United States Treasury would benefit from the decriminalization and regulation of drugs. Describing his philosophical views, Zappa stated, "I believe that people have a right to decide their own destinies; people own themselves. I also believe that, in a democracy, government exists because (and only so long as) individual citizens give it a 'temporary license to exist'—in exchange for a promise that it will behave itself. In a democracy, you own the government—it doesn't own you." Government and religion In a 1991 interview, Zappa reported that he was a registered Democrat but added "that might not last long—I'm going to shred that". Describing his political views, Zappa categorized himself as a "practical conservative". He favored limited government and low taxes; he also stated that he approved of national defense, social security, and other federal programs, but only if recipients of such programs are willing and able to pay for them. He favored capitalism, entrepreneurship, and independent business, stating that musicians could make more from owning their own businesses than from collecting royalties. He opposed communism, stating, "A system that doesn't allow ownership ... has—to put it mildly—a fatal design flaw." He had always encouraged his fans to register to vote on album covers, and throughout 1988 he had registration booths at his concerts. He even considered running for president of the United States as an independent. Zappa was an atheist. He recalled his parents being "pretty religious" and trying to make him go to Catholic school despite his resentment. He felt disgust towards organized religion (Christianity in particular) because he believed that it promoted ignorance and anti-intellectualism. He held the view that the Garden of Eden story shows that the essence of Christianity is to oppose gaining knowledge. Some of his songs, concert performances, interviews and public debates in the 1980s criticized and derided Republicans and their policies, President Ronald Reagan, the Strategic Defense Initiative (SDI), televangelism, and the Christian Right, and warned that the United States government was in danger of becoming a "fascist theocracy". In early 1990, Zappa visited Czechoslovakia at the request of President Václav Havel. Havel designated him as Czechoslovakia's "Special Ambassador to the West on Trade, Culture and Tourism". Havel was a lifelong fan of Zappa, who had great influence in the avant-garde and underground scene in Central Europe in the 1970s and 1980s (a Czech rock group that was imprisoned in 1976 took its name from Zappa's 1968 song "Plastic People"). Under pressure from Secretary of State James Baker, Zappa's posting was withdrawn. Havel made Zappa an unofficial cultural attaché instead. Zappa planned to develop an international consulting enterprise to facilitate trade between the former Eastern Bloc and Western businesses. Anti-censorship Zappa expressed opinions on censorship when he appeared on CNN's Crossfire TV series and debated issues with Washington Times commentator John Lofton in 1986. On September 19, 1985, Zappa testified before the United States Senate Commerce, Technology, and Transportation committee, attacking the Parents Music Resource Center or PMRC, a music organization co-founded by Tipper Gore, wife of then-senator Al Gore. The PMRC consisted of many wives of politicians, including the wives of five members of the committee, and was founded to address the issue of song lyrics with sexual or satanic content. During Zappa's testimony, he stated that there was a clear conflict of interest between the PMRC due to the relations of its founders to the politicians who were then trying to pass what he referred to as the "Blank Tape Tax." Kandy Stroud, a spokeswoman for the PMRC, announced that Senator Gore (who co-founded the committee) was a co-sponsor of that legislation. Zappa suggested that record labels were trying to get the bill passed quickly through committees, one of which was chaired by Senator Strom Thurmond, who was also affiliated with the PMRC. Zappa further pointed out that this committee was being used as a distraction from that bill being passed, which would lead only to the benefit of a select few in the music industry. Zappa saw their activities as on a path towards censorship and called their proposal for voluntary labelling of records with explicit content "extortion" of the music industry. In his prepared statement, he said: The PMRC proposal is an ill-conceived piece of nonsense which fails to deliver any real benefits to children, infringes the civil liberties of people who are not children, and promises to keep the courts busy for years dealing with the interpretational and enforcemental problems inherent in the proposal's design. It is my understanding that, in law, First Amendment issues are decided with a preference for the least restrictive alternative. In this context, the PMRC's demands are the equivalent of treating dandruff by decapitation. ... The establishment of a rating system, voluntary or otherwise, opens the door to an endless parade of moral quality control programs based on things certain Christians do not like. What if the next bunch of Washington wives demands a large yellow "J" on all material written or performed by Jews, in order to save helpless children from exposure to concealed Zionist doctrine? Zappa set excerpts from the PMRC hearings to Synclavier music in his composition "Porn Wars" on the 1985 album Frank Zappa Meets the Mothers of Prevention, and the full recording was released in 2010 as Congress Shall Make No Law... Zappa is heard interacting with Senators Fritz Hollings, Slade Gorton and Al Gore. Legacy Zappa had a controversial critical standing during his lifetime. As Geoffrey Himes noted in 1993 after the artist's death, Zappa was hailed as a genius by conductor Kent Nagano and nominated by Czechoslovakian President Václav Havel to the country's cultural ambassadorship, but he was in his lifetime rejected twice for admission into the Rock and Roll Hall of Fame and been found by critics to lack emotional depth. In Christgau's Record Guide: Rock Albums of the Seventies (1981), Robert Christgau dismissed Zappa's music as "sexist adolescent drivel ... with meters and voicings and key changes that are as hard to play as they are easy to forget." According to Himes: Acclaim and honors The Rolling Stone Album Guide (2004) writes: "Frank Zappa dabbled in virtually all kinds of music—and, whether guised as a satirical rocker, jazz-rock fusionist, guitar virtuoso, electronics wizard, or orchestral innovator, his eccentric genius was undeniable." Even though his work drew inspiration from many different genres, Zappa was seen as establishing a coherent and personal expression. In 1971, biographer David Walley noted that "The whole structure of his music is unified, not neatly divided by dates or time sequences and it is all building into a composite". On commenting on Zappa's music, politics and philosophy, Barry Miles noted in 2004 that they cannot be separated: "It was all one; all part of his 'conceptual continuity'." Guitar Player devoted a special issue to Zappa in 1992, and asked on the cover "Is FZ America's Best Kept Musical Secret?" Editor Don Menn remarked that the issue was about "The most important composer to come out of modern popular music". Among those contributing to the issue was composer and musicologist Nicolas Slonimsky, who conducted premiere performances of works of Ives and Varèse in the 1930s. He became friends with Zappa in the 1980s, and said, "I admire everything Frank does, because he practically created the new musical millennium. He does beautiful, beautiful work ... It has been my luck to have lived to see the emergence of this totally new type of music." Conductor Kent Nagano remarked in the same issue that "Frank is a genius. That's a word I don't use often ... In Frank's case it is not too strong ... He is extremely literate musically. I'm not sure if the general public knows that." Pierre Boulez told Musician magazine's posthumous Zappa tribute article that Zappa "was an exceptional figure because he was part of the worlds of rock and classical music and that both types of his work would survive." In 1994, jazz magazine DownBeats critics poll placed Zappa in its Hall of Fame. Zappa was posthumously inducted into the Rock and Roll Hall of Fame in 1995. There, it was written that "Frank Zappa was rock and roll's sharpest musical mind and most astute social critic. He was the most prolific composer of his age, and he bridged genres—rock, jazz, classical, avant-garde and even novelty music—with masterful ease". He was ranked number 36 on VH1's 100 Greatest Artists of Hard Rock in 2000. In 2005, the U.S. National Recording Preservation Board included We're Only in It for the Money in the National Recording Registry as "Frank Zappa's inventive and iconoclastic album presents a unique political stance, both anti-conservative and anti-counterculture, and features a scathing satire on hippiedom and America's reactions to it". The same year, Rolling Stone magazine ranked him at No. 71 on its list of the 100 Greatest Artists of All Time. In 2011, he was ranked at No. 22 on the list of the 100 Greatest Guitarists of All Time by the same magazine. In 2016, Guitar World magazine placed Zappa atop of its list "15 of the best progressive rock guitarists through the years." The street of Partinico where his father lived at number 13, Via Zammatà, has been renamed to Via Frank Zappa. Since his death, several musicians have been considered by critics as filling the artistic niche left behind by Zappa, in view of their prolific output, eclecticism and other qualities, including Devin Townsend, Mike Patton and Omar Rodríguez-López. Grammy Awards In the course of his career, Zappa was nominated for nine competitive Grammy Awards, which resulted in two wins (one posthumous). In 1998, he received the Grammy Lifetime Achievement Award. |- |rowspan="2"| 1980 || "Rat Tomago" || Best Rock Instrumental Performance || |- | "Dancin' Fool" || Best Male Rock Vocal Performance || |- | 1983 || "Valley Girl" || Best Rock Performance by a Duo or Group with Vocal || |- | 1985 || The Perfect Stranger || Best New Classical Composition || |- |rowspan="2"| 1988 || "Jazz from Hell" || Best Instrumental Composition || |- | Jazz from Hell ||rowspan="2"| Best Rock Instrumental Performance (Orchestra, Group or Soloist) || |- | 1989 || Guitar || |- | 1990 || Broadway the Hard Way || Best Musical Cast Show Album || |- | 1996 || Civilization Phaze III || Best Recording Package – Boxed || |- | 1998 || Frank Zappa || Lifetime Achievement Award || Artists influenced by Zappa Many musicians, bands and orchestras from diverse genres have been influenced by Zappa's music. Rock artists such as The Plastic People of the Universe, Alice Cooper, Larry LaLonde of Primus, Fee Waybill of the Tubes all cite Zappa's influence, as do progressive, alternative, electronic and avant-garde/experimental rock artists like Can, Pere Ubu, Yes, Soft Machine, Henry Cow, Faust, Devo, Kraftwerk, Trey Anastasio and Jon Fishman of Phish, Jeff Buckley, John Frusciante, Steven Wilson, and The Aristocrats. Paul McCartney regarded Sgt. Pepper's Lonely Hearts Club Band as the Beatles' Freak Out!. Jimi Hendrix and heavy rock and metal acts like Black Sabbath, Simon Phillips, Mike Portnoy, Warren DeMartini, Alex Skolnick, Steve Vai, Strapping Young Lad, System of a Down, and Clawfinger have acknowledged Zappa as inspiration. On the classical music scene, Tomas Ulrich, Meridian Arts Ensemble, Ensemble Ambrosius and the Fireworks Ensemble regularly perform Zappa's compositions and quote his influence. Contemporary jazz musicians and composers Bobby Sanabria, Bill Frisell and John Zorn are inspired by Zappa, as is funk legend George Clinton. Other artists affected by Zappa include ambient composer Brian Eno, new age pianist George Winston, electronic composer Bob Gluck, parodist artist and disk jockey Dr. Demento, parodist and novelty composer "Weird Al" Yankovic, industrial music pioneer Genesis P-Orridge, singer Cree Summer, noise music artist Masami Akita of Merzbow, and Chilean composer Cristián Crisosto from Fulano and Mediabanda. References in arts and sciences Scientists from various fields have honored Zappa by naming new discoveries after him. In 1967, paleontologist Leo P. Plas, Jr., identified an extinct mollusc in Nevada and named it Amaurotoma zappa with the motivation that, "The specific name, zappa, honors Frank Zappa". In the 1980s, biologist Ed Murdy named a genus of gobiid fishes of New Guinea Zappa, with a species named Zappa confluentus. Biologist Ferdinando Boero named a Californian jellyfish Phialella zappai (1987), noting that he had "pleasure in naming this species after the modern music composer". Belgian biologists Bosmans and Bosselaers discovered in the early 1980s a Cameroonese spider, which they in 1994 named Pachygnatha zappa because "the ventral side of the abdomen of the female of this species strikingly resembles the artist's legendary moustache". A gene of the bacterium Proteus mirabilis that causes urinary tract infections was in 1995 named zapA by three biologists from Maryland. In their scientific article, they "especially thank the late Frank Zappa for inspiration and assistance with genetic nomenclature". Repeating regions of the genome of the human tumor virus KSHV were named frnk, vnct and zppa in 1996 by Yuan Chang and Patrick S. Moore who discovered the virus. Also, a 143 base pair repeat sequence occurring at two positions was named waka/jwka. In the late 1990s, American paleontologists Marc Salak and Halard L. Lescinsky discovered a metazoan fossil, and named it Spygori zappania to honor "the late Frank Zappa ... whose mission paralleled that of the earliest paleontologists: to challenge conventional and traditional beliefs when such beliefs lacked roots in logic and reason". In 1994, lobbying efforts initiated by psychiatrist John Scialli led the International Astronomical Union's Minor Planet Center to name an asteroid in Zappa's honor: 3834 Zappafrank. The asteroid was discovered in 1980 by Czechoslovakian astronomer Ladislav Brožek, and the citation for its naming says that "Zappa was an eclectic, self-trained artist and composer ... Before 1989 he was regarded as a symbol of democracy and freedom by many people in Czechoslovakia". In 1995, a bust of Zappa by sculptor Konstantinas Bogdanas was installed in Vilnius, the Lithuanian capital . The choice of Zappa was explained as "a symbol that would mark the end of communism, but at the same time express that it wasn't always doom and gloom." A replica was offered to the city of Baltimore in 2008, and on September 19, 2010 — the twenty-fifth anniversary of Zappa's testimony to the U.S. Senate — a ceremony dedicating the replica was held, and the bust was unveiled at a library in the city. In 2002, a bronze bust was installed in German city Bad Doberan, location of the Zappanale since 1990, an annual music festival celebrating Zappa. At the initiative of musicians community ORWOhaus, the city of Berlin named a street in the Marzahn district "Frank-Zappa-Straße" in 2007. The same year, Baltimore mayor Sheila Dixon proclaimed August 9 as the city's official "Frank Zappa Day" citing Zappa's musical accomplishments as well as his defense of the First Amendment to the United States Constitution. Zappa documentary The biographical documentary Zappa, directed by Alex Winter and released on November 27, 2020, includes previously unreleased footage from Zappa's personal vault, to which he was granted access by the Zappa Family Trust. Discography During his lifetime, Zappa released 62 albums. Since 1994, the Zappa Family Trust has released 57 posthumous albums, making a total of 119 albums. The current distributor of Zappa's recorded output is Universal Music Enterprises. See also List of performers on Frank Zappa records Frank Zappa in popular culture Notes References Bibliography External links 1940 births 1993 deaths 20th-century American guitarists 20th-century American male actors 20th-century American singers American classical musicians American activists American anti-communists American anti-fascists American atheists American comedy musicians American male composers American music arrangers American experimental filmmakers American experimental guitarists American experimental musicians American humanists American jazz guitarists American male voice actors American multi-instrumentalists Record producers from Maryland American rock guitarists American male guitarists American rock singers American electronic musicians American avant-garde musicians American people of Arab descent American people of Italian descent American people of French descent American people of Greek descent American satirists American surrealist artists Angel Records artists Surrealist filmmakers Antelope Valley High School alumni Articles containing video clips Avant-garde guitarists Avant-pop musicians Burials at Westwood Village Memorial Park Cemetery California Democrats Captain Beefheart Censorship in the arts American contemporary classical composers Contemporary classical music performers Copywriters Critics of the Catholic Church Deaths from cancer in California Deaths from prostate cancer Deaths from kidney failure Advocates of unschooling and homeschooling EMI Records artists Experimental pop musicians Experimental rock musicians Free speech activists Grammy Award winners Grammy Lifetime Achievement Award winners Humor in classical music Lead guitarists Maryland Democrats Musicians from Baltimore People from Echo Park, Los Angeles People from Edgewood, Maryland People from Ontario, California Progressive rock guitarists Proto-prog musicians Rykodisc artists Singers from Los Angeles The Mothers of Invention members Verve Records artists Warner Records artists Guitarists from Los Angeles Guitarists from Maryland 20th-century classical composers Singer-songwriters from Maryland Writers from Los Angeles 20th-century American composers Parody musicians Freak scene Freak artists Jazz musicians from Maryland American male jazz musicians American libertarians People from Lancaster, California American male singer-songwriters Zappa family 20th-century American male singers People from Laurel Canyon, Los Angeles Jazz musicians from California Singer-songwriters from California Surrealist groups
true
[ "Francis Carew (1530?–1611), of Beddington, Surrey was an English politician.\n\nFamily\nCarew was the son of Nicholas Carew, friend of Henry VIII of England, and his wife, Elizabeth Bryan, who has been suggested as a possible mistress of Henry VIII's. Through his mother, he was a third cousin of both Edward VI and Elizabeth I, through their mothers.\n\nHis father was executed for his supposed part in the Exeter Conspiracy in March 1539 and his lands were forfeited to the Crown. However his mother was a sister of Sir Francis Bryan, an intimate friend of the King, and through his goodwill the family were able to live in reasonable comfort. By 1561 Carew had succeeded in recovering most of his father's forfeited estates, though he was forced to buy back Beddington from Thomas Darcy, 1st Baron Darcy of Chiche.\n\nLittle is known of Carew's early life, but he is thought to have been attached to the household of Queen Catherine Parr.\n\nHe rebuilt Beddington Hall, where he frequently entertained Elizabeth I and later James I of England. He built an orangery there, and a garden where he cultivated exotic plants.\n\nHe never married and on his death most of his estates passed to his nephew Nicholas Throckmorton, son of his sister Anne, who married the leading diplomat Sir Nicholas Throckmorton, on condition that he take the name Carew. He also left property to another nephew, Sir Francis Darcy, younger son of his sister Mary and Sir Arthur Darcy \"for the comfort I have had in his company and conversation\".\n\nCareer\nIn general he took little interest in politics, and avoided taking any public office; he prided himself on not asking for favours from the Crown, either for himself or others.\n\nHe was a Member (MP) of the Parliament of England for Castle Rising in 1563. He took no part in the Commons debates, and did not stand for election again.\n\nReferences\n\n1530 births\n1611 deaths\nEnglish MPs 1563–1567\nPeople from Surrey\nFrancis\nFrancis", "Moacyr Claudino Pinto da Silva (born 18 May 1936 in São Paulo), nicknamed Moacir or Moacyr, is a Brazilian former footballer.\n\nEarly life\nSon of railman, Moacir ran away from home and lived for more than ten years in an orphanage in Osasco.\n\nRecommended by a friend, he went to CR Flamengo to be part of the youth teams, where he started to live in the club dorms.\n\nHe still resides in Guayaquil City, where he raised his family.\n\nCareer\n\nAfter his time as a junior player, he highlighted and was select to be part of the princpal team of CR Flamengo.\n\nLater in his career, he also played for Flamengo, River Plate of Argentina, Peñarol of Uruguay, and Everest and Barcelona of Ecuador.\n\nInternational\n\nHe earned 6 caps and scored 2 goals for the Brazil national football team. He was part of the 1958 FIFA World Cup winning squad, but he did not play any matches during the tournament, mainly because he was reserve for one the most important brazilian players of all time Valdir Pereira.\n\nReferences\n\n1936 births\nLiving people\nBrazilian footballers\nBrazil international footballers\n1958 FIFA World Cup players\nFIFA World Cup-winning players\nPeñarol players\nClub Atlético River Plate footballers\nBarcelona S.C. footballers\nClube de Regatas do Flamengo footballers\nArgentine Primera División players\nBrazilian expatriate footballers\nExpatriate footballers in Argentina\nExpatriate footballers in Ecuador\nExpatriate footballers in Uruguay\nAssociation football forwards\nAssociation football midfielders" ]
[ "Frank Zappa", "Childhood", "when did his childhood begin", "Zappa was born on December 21, 1940 in Baltimore, Maryland.", "when did he die", "I don't know.", "where did he live for the most part of his life", "California," ]
C_c267823eee05494a9c5c9ea1bd2b8b46_1
did he die in cali as well?
4
did Frank Zappa die in cali?
Frank Zappa
Zappa was born on December 21, 1940 in Baltimore, Maryland. His mother, Rosemarie (nee Collimore) was of Italian (Neapolitan and Sicilian) and French ancestry; his father, whose name was anglicized to Francis Vincent Zappa, was an immigrant from Partinico, Sicily, with Greek and Arab ancestry. Frank, the eldest of four children, was raised in an Italian-American household where Italian was often spoken by his grandparents. The family moved often because his father, a chemist and mathematician, worked in the defense industry. After a time in Florida in the 1940s, the family returned to Maryland, where Zappa's father worked at the Edgewood Arsenal chemical warfare facility of the Aberdeen Proving Ground. Due to their home's proximity to the arsenal, which stored mustard gas, gas masks were kept in the home in case of an accident. This had a profound effect on Zappa, and references to germs, germ warfare and the defense industry occur throughout his work. Zappa was often sick as a child, suffering from asthma, earaches and sinus problems. A doctor treated his sinusitis by inserting a pellet of radium into each of Zappa's nostrils. At the time, little was known about the potential dangers of even small amounts of therapeutic radiation, and although it has since been claimed that nasal radium treatment has causal connections to cancer, no studies have provided significant enough evidence to confirm this. Nasal imagery and references appear in his music and lyrics, as well as in the collage album covers created by his long-time collaborator Cal Schenkel. Zappa believed his childhood diseases might have been due to exposure to mustard gas, released by the nearby chemical warfare facility. His health worsened when he lived in Baltimore. In 1952, his family relocated for reasons of health. They next moved to Monterey, California, where his father taught metallurgy at the Naval Postgraduate School. They soon moved to Claremont, California, then to El Cajon, before finally settling in San Diego. CANNOTANSWER
CANNOTANSWER
Frank Vincent Zappa (December 21, 1940 – December 4, 1993) was an American musician, singer, composer, songwriter and bandleader. His work is characterized by nonconformity, free-form improvisation, sound experiments, musical virtuosity and satire of American culture. In a career spanning more than 30 years, Zappa composed rock, pop, jazz, jazz fusion, orchestral and musique concrète works, and produced almost all of the 60-plus albums that he released with his band the Mothers of Invention and as a solo artist. Zappa also directed feature-length films and music videos, and designed album covers. He is considered one of the most innovative and stylistically diverse musicians of his generation. As a self-taught composer and performer, Zappa had diverse musical influences that led him to create music that was sometimes difficult to categorize. While in his teens, he acquired a taste for 20th-century classical modernism, African-American rhythm and blues, and doo-wop music. He began writing classical music in high school, while at the same time playing drums in rhythm-and-blues bands, later switching to electric guitar. His 1966 debut album with the Mothers of Invention, Freak Out!, combined songs in conventional rock and roll format with collective improvisations and studio-generated sound collages. He continued this eclectic and experimental approach whether the fundamental format was rock, jazz, or classical. Zappa's output is unified by a conceptual continuity he termed "Project/Object", with numerous musical phrases, ideas, and characters reappearing across his albums. His lyrics reflected his iconoclastic views of established social and political processes, structures and movements, often humorously so, and he has been described as the "godfather" of comedy rock. He was a strident critic of mainstream education and organized religion, and a forthright and passionate advocate for freedom of speech, self-education, political participation and the abolition of censorship. Unlike many other rock musicians of his generation, he disapproved of recreational drug use, but supported decriminalization and regulation. Zappa was a highly productive and prolific artist with a controversial critical standing; supporters of his music admired its compositional complexity, while critics found it lacking emotional depth. He had greater commercial success outside the US, particularly in Europe. Though he worked as an independent artist, Zappa mostly relied on distribution agreements he had negotiated with the major record labels. He remains a major influence on musicians and composers. His honors include his 1995 induction into the Rock and Roll Hall of Fame and the 1997 Grammy Lifetime Achievement Award. 1940s–1960s: early life and career Childhood Zappa was born on December 21, 1940, in Baltimore, Maryland. His mother, Rose Marie ( Colimore), was of Italian (Neapolitan and Sicilian) and French ancestry; his father, whose name was anglicized to Francis Vincent Zappa, was an immigrant from Partinico, Sicily, with Greek and Arab ancestry. Frank, the eldest of four children, was raised in an Italian-American household where Italian was often spoken by his grandparents. The family moved often because his father, a chemist and mathematician, worked in the defense industry. After a time in Florida in the 1940s, the family returned to Maryland, where Zappa's father worked at the Edgewood Arsenal chemical warfare facility of the Aberdeen Proving Ground run by the U.S. Army. Due to their home's proximity to the arsenal, which stored mustard gas, gas masks were kept in the home in case of an accident. This living arrangement had a profound effect on Zappa, and references to germs, germ warfare, ailments and the defense industry occur frequently throughout his work. Zappa was often sick as a child, suffering from asthma, earaches and sinus problems. A doctor treated his sinusitis by inserting a pellet of radium into each of Zappa's nostrils. At the time, little was known about the potential dangers of even small amounts of therapeutic radiation, and although it has since been claimed that nasal radium treatment has causal connections to cancer, no studies have provided enough evidence to confirm this. Nasal imagery and references appear in his music and lyrics, as well as in the collage album covers created by his long-time collaborator Cal Schenkel. Zappa believed his childhood diseases might have been due to exposure to mustard gas, released by the nearby chemical warfare facility, and his health worsened when he lived in Baltimore. In 1952, his family relocated for reasons of health to Monterey, California, where his father taught metallurgy at the Naval Postgraduate School. They soon moved to Clairemont, and then to El Cajon, before finally settling in nearby San Diego. First musical interests Zappa joined his first band at Mission Bay High School in San Diego as the drummer. At about the same time, his parents bought a phonograph, which allowed him to develop his interest in music, and to begin building his record collection. According to The Rough Guide to Rock (2003), "as a teenager Zappa was simultaneously enthralled by black R&B (Johnny 'Guitar' Watson, Guitar Slim), doo-wop (The Channels, The Velvets), the modernism of Igor Stravinsky and Anton Webern, and the dissonant sound experiments of Edgard Varese." R&B singles were early purchases for Zappa, starting a large collection he kept for the rest of his life. He was interested in sounds for their own sake, particularly the sounds of drums and other percussion instruments. By age twelve, he had obtained a snare drum and began learning the basics of orchestral percussion. Zappa's deep interest in modern classical music began when he read a LOOK magazine article about the Sam Goody record store chain that lauded its ability to sell an LP as obscure as The Complete Works of Edgard Varèse, Volume One. The article described Varèse's percussion composition Ionisation, produced by EMS Recordings, as "a weird jumble of drums and other unpleasant sounds". Zappa decided to seek out Varèse's music. After searching for over a year, Zappa found a copy (he noticed the LP because of the "mad scientist" looking photo of Varèse on the cover). Not having enough money with him, he persuaded the salesman to sell him the record at a discount. Thus began his lifelong passion for Varèse's music and that of other modern classical composers. He also liked the Italian classical music listened to by his grandparents, especially Puccini's opera arias. By 1956, the Zappa family had moved to Lancaster, a small aerospace and farming town in the Antelope Valley of the Mojave Desert close to Edwards Air Force Base; he would later refer to Sun Village (a town close to Lancaster) in the 1973 track "Village of the Sun". Zappa's mother encouraged him in his musical interests. Although she disliked Varèse's music, she was indulgent enough to give her son a long-distance call to the New York composer as a fifteenth birthday present. Unfortunately, Varèse was in Europe at the time, so Zappa spoke to the composer's wife and she suggested he call back later. In a letter, Varèse thanked him for his interest, and told him about a composition he was working on called "Déserts". Living in the desert town of Lancaster, Zappa found this very exciting. Varèse invited him to visit if he ever came to New York. The meeting never took place (Varèse died in 1965), but Zappa framed the letter and kept it on display for the rest of his life. At Antelope Valley High School, Zappa met Don Glen Vliet (who later changed his name to Don Van Vliet and adopted the stage name Captain Beefheart). Zappa and Vliet became close friends, sharing an interest in R&B records and influencing each other musically throughout their careers. Around the same time, Zappa started playing drums in a local band, the Blackouts. The band was racially diverse and included Euclid James "Motorhead" Sherwood who later became a member of the Mothers of Invention. Zappa's interest in the guitar grew, and in 1957 he was given his first instrument. Among his early influences were Johnny "Guitar" Watson, Howlin' Wolf and Clarence "Gatemouth" Brown. In the 1970s/1980s, he invited Watson to perform on several albums. Zappa considered soloing as the equivalent of forming "air sculptures", and developed an eclectic, innovative and highly personal style. He was also influenced by Egyptian composer Halim El-Dabh. Zappa's interest in composing and arranging flourished in his last high-school years. By his final year, he was writing, arranging and conducting avant-garde performance pieces for the school orchestra. He graduated from Antelope Valley High School in 1958, and later acknowledged two of his music teachers on the sleeve of the 1966 album Freak Out! Due to his family's frequent moves, Zappa attended at least six different high schools, and as a student he was often bored and given to distracting the rest of the class with juvenile antics. In 1959, he attended Chaffey College but left after one semester, and maintained thereafter a disdain for formal education, taking his children out of school at age 15 and refusing to pay for their college. Zappa left home in 1959, and moved into a small apartment in Echo Park, Los Angeles. After he met Kathryn J. "Kay" Sherman during his short period of private composition study with Prof. Karl Kohn of Pomona College, they moved in together in Ontario, and were married December 28, 1960. Zappa worked for a short period in advertising as a copywriter. His sojourn in the commercial world was brief, but gave him valuable insights into its workings. Throughout his career, he took a keen interest in the visual presentation of his work, designing some of his album covers and directing his own films and videos. Studio Z Zappa attempted to earn a living as a musician and composer, and played different nightclub gigs, some with a new version of the Blackouts. Zappa's earliest professional recordings, two soundtracks for the low-budget films The World's Greatest Sinner (1962) and Run Home Slow (1965) were more financially rewarding. The former score was commissioned by actor-producer Timothy Carey and recorded in 1961. It contains many themes that appeared on later Zappa records. The latter soundtrack was recorded in 1963 after the film was completed, but it was commissioned by one of Zappa's former high school teachers in 1959 and Zappa may have worked on it before the film was shot. Excerpts from the soundtrack can be heard on the posthumous album The Lost Episodes (1996). During the early 1960s, Zappa wrote and produced songs for other local artists, often working with singer-songwriter Ray Collins and producer Paul Buff. Their "Memories of El Monte" was recorded by the Penguins, although only Cleve Duncan of the original group was featured. Buff owned the small Pal Recording Studio in Cucamonga, which included a unique five-track tape recorder he had built. At that time, only a handful of the most sophisticated commercial studios had multi-track facilities; the industry standard for smaller studios was still mono or two-track. Although none of the recordings from the period achieved major commercial success, Zappa earned enough money to allow him to stage a concert of his orchestral music in 1963 and to broadcast and record it. He appeared on Steve Allen's syndicated late night show the same year, in which he played a bicycle as a musical instrument. Using a bow borrowed from the band's bass player, as well as drum sticks, he proceeded to pluck, bang, and bow the spokes of the bike, producing strange, comical sounds from his newfound instrument. With Captain Beefheart, Zappa recorded some songs under the name of the Soots. They were rejected by Dot Records. Later, the Mothers were also rejected by Columbia Records for having "no commercial potential", a verdict Zappa subsequently quoted on the sleeve of Freak Out! In 1964, after his marriage started to break up, he moved into the Pal studio and began routinely working 12 hours or more per day recording and experimenting with overdubbing and audio tape manipulation. This established a work pattern that endured for most of his life. Aided by his income from film composing, Zappa took over the studio from Paul Buff, who was now working with Art Laboe at Original Sound. It was renamed Studio Z. Studio Z was rarely booked for recordings by other musicians. Instead, friends moved in, notably James "Motorhead" Sherwood. Zappa started performing in local bars as a guitarist with a power trio, the Muthers, to support himself. An article in the local press describing Zappa as "the Movie King of Cucamonga" prompted the local police to suspect that he was making pornographic films. In March 1965, Zappa was approached by a vice squad undercover officer, and accepted an offer of $100 () to produce a suggestive audio tape for an alleged stag party. Zappa and a female friend recorded a faked erotic episode. When Zappa was about to hand over the tape, he was arrested, and the police stripped the studio of all recorded material. The press was tipped off beforehand, and next day's The Daily Report wrote that "Vice Squad investigators stilled the tape recorders of a free-swinging, a-go-go film and recording studio here Friday and arrested a self-styled movie producer". Zappa was charged with "conspiracy to commit pornography". This felony charge was reduced and he was sentenced to six months in jail on a misdemeanor, with all but ten days suspended. His brief imprisonment left a permanent mark, and was central to the formation of his anti-authoritarian stance. Zappa lost several recordings made at Studio Z in the process, as the police returned only 30 of 80 hours of tape seized. Eventually, he could no longer afford to pay the rent on the studio and was evicted. Zappa managed to recover some of his possessions before the studio was torn down in 1966. Late 1960s: the Mothers of Invention Formation In 1965, Ray Collins asked Zappa to take over as guitarist in local R&B band the Soul Giants, following a fight between Collins and the group's original guitarist. Zappa accepted, and soon assumed leadership and the role as co-lead singer (even though he never considered himself a singer, then or later). He convinced the other members that they should play his music to increase the chances of getting a record contract. The band was renamed the Mothers, coincidentally on Mother's Day. They increased their bookings after beginning an association with manager Herb Cohen, and gradually gained attention on the burgeoning Los Angeles underground music scene. In early 1966, they were spotted by leading record producer Tom Wilson when playing "Trouble Every Day", a song about the Watts riots. Wilson had earned acclaim as the producer for Bob Dylan and Simon & Garfunkel, and was one of the few African-Americans working as a major label pop music producer at this time. Wilson signed the Mothers to the Verve division of MGM, which had built up a strong reputation for its releases of modern jazz recordings in the 1940s and 1950s, but was attempting to diversify into pop and rock audiences. Verve insisted that the band officially rename themselves the Mothers of Invention as Mother was short for motherfucker—a term that, apart from its profane meanings, can denote a skilled musician. Debut album: Freak Out! With Wilson credited as producer, the Mothers of Invention, augmented by a studio orchestra, recorded the groundbreaking Freak Out! (1966), which, after Bob Dylan's Blonde on Blonde, was the second rock double album ever released. It mixed R&B, doo-wop, musique concrète, and experimental sound collages that captured the "freak" subculture of Los Angeles at that time. Although he was dissatisfied with the final product, Freak Out immediately established Zappa as a radical new voice in rock music, providing an antidote to the "relentless consumer culture of America". The sound was raw, but the arrangements were sophisticated. While recording in the studio, some of the additional session musicians were shocked that they were expected to read the notes on sheet music from charts with Zappa conducting them, since it was not standard when recording rock music. The lyrics praised non-conformity, disparaged authorities, and had dadaist elements. Yet, there was a place for seemingly conventional love songs. Most compositions are Zappa's, which set a precedent for the rest of his recording career. He had full control over the arrangements and musical decisions and did most overdubs. Wilson provided the industry clout and connections and was able to provide the group with the financial resources needed. Although Wilson was able to provide Zappa and the Mothers with an extraordinary degree of artistic freedom for the time, the recording did not go entirely as planned. In a 1967 radio interview, Zappa explained that the album's outlandish 11-minute closing track, "Return of the Son of Monster Magnet" was not finished. The track as it appears on the album was only a backing track for a much more complex piece, but MGM refused to allow the additional recording time needed for completion. Much to Zappa's chagrin, it was issued in its unfinished state. During the recording of Freak Out!, Zappa moved into a house in Laurel Canyon with friend Pamela Zarubica, who appeared on the album. The house became a meeting (and living) place for many LA musicians and groupies of the time, despite Zappa's disapproval of their illicit drug use. After a short promotional tour following the release of Freak Out!, Zappa met Adelaide Gail Sloatman. He fell in love within "a couple of minutes", and she moved into the house over the summer. They married in 1967, had four children and remained together until Zappa's death. Wilson nominally produced the Mothers' second album Absolutely Free (1967), which was recorded in November 1966, and later mixed in New York, although by this time Zappa was in de facto control of most facets of the production. It featured extended playing by the Mothers of Invention and focused on songs that defined Zappa's compositional style of introducing abrupt, rhythmical changes into songs that were built from diverse elements. Examples are "Plastic People" and "Brown Shoes Don't Make It", which contained lyrics critical of the hypocrisy and conformity of American society, but also of the counterculture of the 1960s. As Zappa put it, "[W]e're satirists, and we are out to satirize everything." At the same time, Zappa had recorded material for an album of orchestral works to be released under his own name, Lumpy Gravy, released by Capitol Records in 1967. Due to contractual problems, the album was pulled. Zappa took the opportunity to radically restructure the contents, adding newly recorded, improvised dialogue. After the contractual problems were resolved, the album was reissued by Verve in 1968. It is an "incredible ambitious musical project", a "monument to John Cage", which intertwines orchestral themes, spoken words and electronic noises through radical audio editing techniques. New York period (1966–1968) The Mothers of Invention played in New York in late 1966 and were offered a contract at the Garrick Theater (at 152 Bleecker Street, above the Cafe au Go Go) during Easter 1967. This proved successful and Herb Cohen extended the booking, which eventually lasted half a year. As a result, Zappa and his wife Gail, along with the Mothers of Invention, moved to New York. Their shows became a combination of improvised acts showcasing individual talents of the band as well as tight performances of Zappa's music. Everything was directed by Zappa using hand signals. Guest performers and audience participation became a regular part of the Garrick Theater shows. One evening, Zappa managed to entice some U.S. Marines from the audience onto the stage, where they proceeded to dismember a big baby doll, having been told by Zappa to pretend that it was a "gook baby". Situated in New York, and interrupted by the band's first European tour, the Mothers of Invention recorded the album widely regarded as the peak of the group's late 1960s work, We're Only in It for the Money (released 1968). It was produced by Zappa, with Wilson credited as executive producer. From then on, Zappa produced all albums released by the Mothers of Invention and as a solo artist. We're Only in It for the Money featured some of the most creative audio editing and production yet heard in pop music, and the songs ruthlessly satirized the hippie and flower power phenomena. He sampled plundered surf music in We're only in It for the Money, as well as the Beatles' tape work from their song "Tomorrow Never Knows". The cover photo parodied that of the Beatles' Sgt. Pepper's Lonely Hearts Club Band. The cover art was provided by Cal Schenkel whom Zappa met in New York. This initiated a lifelong collaboration in which Schenkel designed covers for numerous Zappa and Mothers albums. Reflecting Zappa's eclectic approach to music, the next album, Cruising with Ruben & the Jets (1968), was very different. It represented a collection of doo-wop songs; listeners and critics were not sure whether the album was a satire or a tribute. Zappa later remarked that the album was conceived like Stravinsky's compositions in his neo-classical period: "If he could take the forms and clichés of the classical era and pervert them, why not do the same ... to doo-wop in the fifties?" A theme from Stravinsky's The Rite of Spring is heard during one song. In 1967 and 1968, Zappa made two appearances with the Monkees. The first appearance was on an episode of their TV series, "The Monkees Blow Their Minds", where Zappa, dressed up as Mike Nesmith, interviews Nesmith who is dressed up as Zappa. After the interview, Zappa destroys a car with a sledgehammer as the song "Mother People" plays. He later provided a cameo in the Monkees' movie Head where, leading a cow, he tells Davy Jones "the youth of America depends on you to show them the way." Zappa respected the Monkees and recruited Micky Dolenz to the Mothers but RCA/Columbia/Colgems would not release Dolenz from his contract. During the late 1960s, Zappa continued to develop the business side of his career. He and Herb Cohen formed the Bizarre Records and Straight Records labels to increase creative control and produce recordings by other artists. These labels were distributed in the US by Warner Bros. Records. Zappa/Mothers recordings appeared on Bizarre along with Wild Man Fischer and Lenny Bruce. Straight released the double album Trout Mask Replica for Captain Beefheart, and releases by Alice Cooper, The Persuasions, and the GTOs. In the Mothers' second European tour in September/October 1968 they performed for the at the Grugahalle in Essen, Germany; at the Tivoli in Copenhagen, Denmark; for TV programs in Germany (Beat-Club), France, and England; at the Concertgebouw in Amsterdam; at the Royal Festival Hall in London; and at the Olympia in Paris. Disbandment Zappa and the Mothers of Invention returned to Los Angeles in mid-1968, and the Zappas moved into a house on Laurel Canyon Boulevard, only to move again to Woodrow Wilson Drive. This was Zappa's home for the rest of his life. Despite being successful in Europe, the Mothers of Invention were not doing well financially. Their first records were vocally oriented, but as Zappa wrote more instrumental jazz and classical style music for the band's concerts, audiences were confused. Zappa felt that audiences failed to appreciate his "electrical chamber music". In 1969 there were nine band members and Zappa was supporting the group from his publishing royalties whether they played or not. In late 1969, Zappa broke up the band. He often cited the financial strain as the main reason, but also commented on the band members' lack of diligence. Many band members were bitter about Zappa's decision, and some took it as a sign of Zappa's perfectionism at the expense of human feeling. Others were irritated by 'his autocratic ways', exemplified by Zappa's never staying at the same hotel as the band members. Several members played for Zappa in years to come. Remaining recordings of the band from this period were collected on Weasels Ripped My Flesh and Burnt Weeny Sandwich (both released in 1970). After he disbanded the Mothers of Invention, Zappa released the acclaimed solo album Hot Rats (1969). It features, for the first time on record, Zappa playing extended guitar solos and contains one of his most enduring compositions, "Peaches en Regalia", which reappeared several times on future recordings. He was backed by jazz, blues and R&B session players including violinist Don "Sugarcane" Harris, drummers John Guerin and Paul Humphrey, multi-instrumentalist and former Mothers of Invention member Ian Underwood, and multi-instrumentalist Shuggie Otis on bass, along with a guest appearance by Captain Beefheart on the only vocal track, "Willie the Pimp". It became a popular album in England, and had a major influence on the development of jazz-rock fusion. 1970s Rebirth of the Mothers and filmmaking In 1970 Zappa met conductor Zubin Mehta. They arranged a May 1970 concert where Mehta conducted the Los Angeles Philharmonic augmented by a rock band. According to Zappa, the music was mostly written in motel rooms while on tour with the Mothers of Invention. Some of it was later featured in the movie 200 Motels. Although the concert was a success, Zappa's experience working with a symphony orchestra was not a happy one. His dissatisfaction became a recurring theme throughout his career; he often felt that the quality of performance of his material delivered by orchestras was not commensurate with the money he spent on orchestral concerts and recordings. Later in 1970, Zappa formed a new version of the Mothers (from then on, he mostly dropped the "of Invention"). It included British drummer Aynsley Dunbar, jazz keyboardist George Duke, Ian Underwood, Jeff Simmons (bass, rhythm guitar), and three members of the Turtles: bass player Jim Pons, and singers Mark Volman and Howard Kaylan, who, due to persistent legal and contractual problems, adopted the stage name "The Phlorescent Leech and Eddie", or "Flo & Eddie". This version of the Mothers debuted on Zappa's next solo album Chunga's Revenge (1970), which was followed by the double-album soundtrack to the movie 200 Motels (1971), featuring the Mothers, the Royal Philharmonic Orchestra, Ringo Starr, Theodore Bikel, and Keith Moon. Co-directed by Zappa and Tony Palmer, it was filmed in a week at Pinewood Studios outside London. Tensions between Zappa and several cast and crew members arose before and during shooting. The film deals loosely with life on the road as a rock musician. It was the first feature film photographed on videotape and transferred to 35 mm film, a process that allowed for novel visual effects. It was released to mixed reviews. The score relied extensively on orchestral music, and Zappa's dissatisfaction with the classical music world intensified when a concert, scheduled at the Royal Albert Hall after filming, was canceled because a representative of the venue found some of the lyrics obscene. In 1975, he lost a lawsuit against the Royal Albert Hall for breach of contract. After 200 Motels, the band went on tour, which resulted in two live albums, Fillmore East – June 1971 and Just Another Band from L.A.; the latter included the 20-minute track "Billy the Mountain", Zappa's satire on rock opera set in Southern California. This track was representative of the band's theatrical performances—which used songs to build sketches based on 200 Motels scenes, as well as new situations that often portrayed the band members' sexual encounters on the road. Accident, attack, and aftermath On December 4, 1971, Zappa suffered his first of two serious setbacks. While performing at Casino de Montreux in Switzerland, the Mothers' equipment was destroyed when a flare set off by an audience member started a fire that burned down the casino. Immortalized in Deep Purple's song "Smoke on the Water", the event and immediate aftermath can be heard on the bootleg album Swiss Cheese/Fire, released legally as part of Zappa's Beat the Boots II compilation. After losing $50,000 () worth of equipment and a week's break, the Mothers played at the Rainbow Theatre, London, with rented gear. During the encore, an audience member jealous because of his girlfriend's infatuation with Zappa pushed him off the stage and into the concrete-floored orchestra pit. The band thought Zappa had been killed—he had suffered serious fractures, head trauma and injuries to his back, leg, and neck, as well as a crushed larynx, which ultimately caused his voice to drop a third after healing. After the attack Zappa needed to use a wheelchair for an extended period, making touring impossible for over half a year. Upon return to the stage in September 1972, Zappa was still wearing a leg brace, had a noticeable limp and could not stand for very long while on stage. Zappa noted that one leg healed "shorter than the other" (a reference later found in the lyrics of songs "Zomby Woof" and "Dancin' Fool"), resulting in chronic back pain. Meanwhile, the Mothers were left in limbo and eventually formed the core of Flo and Eddie's band as they set out on their own. During 1971–1972 Zappa released two strongly jazz-oriented solo LPs, Waka/Jawaka and The Grand Wazoo, which were recorded during the forced layoff from concert touring, using floating line-ups of session players and Mothers alumni. Musically, the albums were akin to Hot Rats, in that they featured extended instrumental tracks with extended soloing. Zappa began touring again in late 1972. His first effort was a series of concerts in September 1972 with a 20-piece big band referred to as the Grand Wazoo. This was followed by a scaled-down version known as the Petit Wazoo that toured the U.S. for five weeks from October to December 1972. Top 10 album: Apostrophe () Zappa then formed and toured with smaller groups that variously included Ian Underwood (reeds, keyboards), Ruth Underwood (vibes, marimba), Sal Marquez (trumpet, vocals), Napoleon Murphy Brock (sax, flute and vocals), Bruce Fowler (trombone), Tom Fowler (bass), Chester Thompson (drums), Ralph Humphrey (drums), George Duke (keyboards, vocals), and Jean-Luc Ponty (violin). By 1973 the Bizarre and Straight labels were discontinued. In their place, Zappa and Cohen created DiscReet Records, also distributed by Warner. Zappa continued a high rate of production through the first half of the 1970s, including the solo album Apostrophe (') (1974), which reached a career-high No. 10 on the Billboard pop album charts helped by the No. 86 chart hit "Don't Eat The Yellow Snow". Other albums from the period are Over-Nite Sensation (1973), which contained several future concert favorites, such as "Dinah-Moe Humm" and "Montana", and the albums Roxy & Elsewhere (1974) and One Size Fits All (1975) which feature ever-changing versions of a band still called the Mothers, and are notable for the tight renditions of highly difficult jazz fusion songs in such pieces as "Inca Roads", "Echidna's Arf (Of You)" and "Be-Bop Tango (Of the Old Jazzmen's Church)". A live recording from 1974, You Can't Do That on Stage Anymore, Vol. 2 (1988), captures "the full spirit and excellence of the 1973–1975 band". Zappa released Bongo Fury (1975), which featured a live recording at the Armadillo World Headquarters in Austin from a tour the same year that reunited him with Captain Beefheart for a brief period. They later became estranged for a period of years, but were in contact at the end of Zappa's life. Business breakups and touring In 1976 Zappa produced the album Good Singin', Good Playin' for Grand Funk Railroad. Zappa's relationship with long-time manager Herb Cohen ended in May 1976. Zappa sued Cohen for skimming more than he was allocated from DiscReet Records, as well as for signing acts of which Zappa did not approve. Cohen filed a lawsuit against Zappa in return, which froze the money Zappa and Cohen had gained from an out-of-court settlement with MGM over the rights of the early Mothers of Invention recordings. It also prevented Zappa having access to any of his previously recorded material during the trials. Zappa therefore took his personal master copies of the rock-oriented Zoot Allures (1976) directly to Warner, thereby bypassing DiscReet. Following the split with Cohen, Zappa hired Bennett Glotzer as new manager. By late 1976 Zappa was upset with Warner over inadequate promotion of his recordings and he was eager to move on as soon as possible. In March 1977 Zappa delivered four albums (five full-length LPs) to Warner to complete his contract. These albums contained recordings mostly made between 1972 and 1976. Warner failed to meet contractual obligations to Zappa, but after a lengthy legal dispute they did eventually release these recordings during 1978 and 1979 in censored form. Also, in 1977 Zappa prepared a four-LP box set called Läther (pronounced "leather") and negotiated distribution with Phonogram Inc. for release on the Zappa Records label. The Läther box set was scheduled for release on Halloween 1977, but legal action from Warner forced Zappa to shelve this project. In December 1977 Zappa appeared on the Pasadena, California radio station KROQ-FM and played the entire Läther album, while encouraging listeners to make tape recordings of the broadcast. Both sets of recordings (five-LP and four-LP) have much of the same material, but each also has unique content. The albums integrate many aspects of Zappa's 1970s work: heavy rock, orchestral works, and complex jazz instrumentals, along with Zappa's distinctive guitar solos. Läther was officially released posthumously in 1996. It is still debated as to whether Zappa had conceived the material as a four-LP set from the beginning, or only later when working with Phonogram. Although Zappa eventually gained the rights to all his material created under the MGM and Warner contracts, the various lawsuits meant that for a period Zappa's only income came from touring, which he therefore did extensively in 1975–1977 with relatively small, mainly rock-oriented, bands. Drummer Terry Bozzio became a regular band member, Napoleon Murphy Brock stayed on for a while, and original Mothers of Invention bassist Roy Estrada joined. Among other musicians were bassist Patrick O'Hearn, singer-guitarist Ray White and keyboardist/violinist Eddie Jobson. In December 1976, Zappa appeared as a featured musical guest on the NBC television show Saturday Night Live. Zappa's song "I'm the Slime" was performed with a voice-over by SNL booth announcer Don Pardo, who also introduced "Peaches En Regalia" on the same airing. In 1978, Zappa served both as host and musical act on the show, and as an actor in various sketches. The performances included an impromptu musical collaboration with cast member John Belushi during the instrumental piece "The Purple Lagoon". Belushi appeared as his Samurai Futaba character playing the tenor sax with Zappa conducting. Zappa's band had a series of Christmas shows in New York City in 1976, recordings of which appear on Zappa in New York (1978) and also on the four-LP Läther project. The band included Ruth Underwood and a horn section (featuring Michael and Randy Brecker). It mixes complex instrumentals such as "The Black Page" and humorous songs like "Titties and Beer". The former composition, written originally for drum kit but later developed for larger bands, is notorious for its complexity in rhythmic structure and short, densely arranged passages. Zappa in New York also featured a song about sex criminal Michael H. Kenyon, "The Illinois Enema Bandit", in which Don Pardo provides the opening narrative. Like many songs on the album, it contained numerous sexual references, leading to many critics objecting and being offended by the content. Zappa dismissed the criticism by noting that he was a journalist reporting on life as he saw it. Predating his later fight against censorship, he remarked: "What do you make of a society that is so primitive that it clings to the belief that certain words in its language are so powerful that they could corrupt you the moment you hear them?" The remaining albums released by Warner without Zappa's approval were Studio Tan in 1978 and Sleep Dirt and Orchestral Favorites in 1979. These releases were largely overlooked in midst of the press about Zappa's legal problems. Zappa Records label Zappa released two of his most important projects in 1979. These were the best-selling album of his career, Sheik Yerbouti, and what author Kelley Lowe called the "bona fide masterpiece", Joe's Garage. The double album Sheik Yerbouti appeared in March 1979 and was the first release to appear on Zappa Records. It contained the Grammy-nominated single "Dancin' Fool", which reached No. 45 on the Billboard charts. It also contained "Jewish Princess", which received attention when a Jewish group, the Anti-Defamation League (ADL), attempted to prevent the song from receiving radio airplay due to its alleged anti-Semitic lyrics. Zappa vehemently denied any anti-Semitic sentiments, and dismissed the ADL as a "noisemaking organization that tries to apply pressure on people in order to manufacture a stereotype image of Jews that suits their idea of a good time." The album's commercial success was attributable in part to "Bobby Brown". Due to its explicit lyrics about a young man's encounter with a "dyke by the name of Freddie", the song did not get airplay in the U.S., but it topped the charts in several European countries where English is not the primary language. Joe's Garage initially had to be released in two parts. The first was a single LP Joe's Garage Act I in September 1979, followed by a double LP Joe's Garage Acts II and III in November 1979. The albums feature singer Ike Willis as lead character "Joe" in a rock opera about the danger of political systems, the suppression of freedom of speech and music—inspired in part by the 1979 Islamic Iranian revolution that had made music illegal—and about the "strange relationship Americans have with sex and sexual frankness". The first act contains the song "Catholic Girls" (a riposte to the controversies of "Jewish Princess"), and the title track, which was also released as a single. The second and third acts have extended guitar improvisations, which were recorded live, then combined with studio backing tracks. Zappa described this process as xenochrony. In this period the band included drummer Vinnie Colaiuta (with whom Zappa had a particularly strong musical rapport) Joe's Garage contains one of Zappa's most famous guitar "signature pieces", "Watermelon in Easter Hay". This work later appeared as a three-LP, or two-CD set. On December 21, 1979, Zappa's movie Baby Snakes premiered in New York. The movie's tagline was "A movie about people who do stuff that is not normal". The 2 hour and 40 minutes movie was based on footage from concerts in New York around Halloween 1977, with a band featuring keyboardist Tommy Mars and percussionist Ed Mann (who would both return on later tours) as well as guitarist Adrian Belew. It also contained several extraordinary sequences of clay animation by Bruce Bickford who had earlier provided animation sequences to Zappa for a 1974 TV special (which became available on the 1982 video The Dub Room Special). The movie did not do well in theatrical distribution, but won the Premier Grand Prix at the First International Music Festival in Paris in 1981. 1980s–1990s Zappa cut ties with Phonogram after the distributor refused to release his song "I Don't Wanna Get Drafted", which was recorded in February 1980. The single was released independently by Zappa in the United States and was picked up by CBS Records internationally. After spending much of 1980 on the road, Zappa released Tinsel Town Rebellion in 1981. It was the first release on his own Barking Pumpkin Records, and it contains songs taken from a 1979 tour, one studio track and material from the 1980 tours. The album is a mixture of complicated instrumentals and Zappa's use of sprechstimme (speaking song or voice)—a compositional technique utilized by such composers as Arnold Schoenberg and Alban Berg—showcasing some of the most accomplished bands Zappa ever had (mostly featuring drummer Vinnie Colaiuta). While some lyrics still raised controversy among critics, some of whom found them sexist, the political and sociological satire in songs like the title track and "The Blue Light" have been described as a "hilarious critique of the willingness of the American people to believe anything". The album is also notable for the presence of guitarist Steve Vai, who joined Zappa's touring band in late 1980. The same year the double album You Are What You Is was released. Most of it was recorded in Zappa's brand new Utility Muffin Research Kitchen (UMRK) studios, which were located at his house, thereby giving him complete freedom in his work. The album included one complex instrumental, "Theme from the 3rd Movement of Sinister Footwear", but mainly consisted of rock songs with Zappa's sardonic social commentary—satirical lyrics directed at teenagers, the media, and religious and political hypocrisy. "Dumb All Over" is a tirade on religion, as is "Heavenly Bank Account", wherein Zappa rails against TV evangelists such as Jerry Falwell and Pat Robertson for their purported influence on the U.S. administration as well as their use of religion as a means of raising money. Songs like "Society Pages" and "I'm a Beautiful Guy" show Zappa's dismay with the Reagan era and its "obscene pursuit of wealth and happiness". Zappa made his only music video for a song from this album - "You Are What You Is" - directed by Jerry Watson, produced by Paul Flattery. It was banned from MTV. Zappa's management relationship with Bennett Glotzer ended in 1984. From then on Gail acted as co-manager with Frank of all his business interests. In 1981, Zappa also released three instrumental albums, Shut Up 'n Play Yer Guitar, Shut Up 'N Play Yer Guitar Some More, and The Return of the Son of Shut Up 'N Play Yer Guitar, which were initially sold via mail order, but later released through CBS Records (now Sony Music Entertainment) due to popular demand. The albums focus exclusively on Frank Zappa as a guitar soloist, and the tracks are predominantly live recordings from 1979 to 1980; they highlight Zappa's improvisational skills with "beautiful performances from the backing group as well". Another guitar-only album, Guitar, was released in 1988, and a third, Trance-Fusion, which Zappa completed shortly before his death, was released in 2006. Zappa later expanded on his television appearances in a non-musical role. He was an actor or voice artist in episodes of Shelley Duvall's Faerie Tale Theatre, Miami Vice and The Ren & Stimpy Show. A voice part in The Simpsons never materialized, to creator Matt Groening's disappointment (Groening was a neighbor of Zappa and a lifelong fan). "Valley Girl" and classical performances In May 1982, Zappa released Ship Arriving Too Late to Save a Drowning Witch, which featured his biggest selling single ever, the Grammy Award-nominated song "Valley Girl" (topping out at No. 32 on the Billboard charts). In her improvised lyrics to the song, Zappa's daughter Moon satirized the patois of teenage girls from the San Fernando Valley, which popularized many "Valspeak" expressions such as "gag me with a spoon", "fer sure, fer sure", "grody to the max", and "barf out". In 1983, two different projects were released, beginning with The Man from Utopia, a rock-oriented work. The album is eclectic, featuring the vocal-led "Dangerous Kitchen" and "The Jazz Discharge Party Hats", both continuations of the sprechstimme excursions on Tinseltown Rebellion. The second album, London Symphony Orchestra, Vol. I, contained orchestral Zappa compositions conducted by Kent Nagano and performed by the London Symphony Orchestra (LSO). A second record of these sessions, London Symphony Orchestra, Vol. II was released in 1987. The material was recorded under a tight schedule with Zappa providing all funding, helped by the commercial success of "Valley Girl". Zappa was not satisfied with the LSO recordings. One reason is "Strictly Genteel", which was recorded after the trumpet section had been out for drinks on a break: the track took 40 edits to hide out-of-tune notes. Conductor Nagano, who was pleased with the experience, noted that "in fairness to the orchestra, the music is humanly very, very difficult". Some reviews noted that the recordings were the best representation of Zappa's orchestral work so far. In 1984 Zappa teamed again with Nagano and the Berkeley Symphony Orchestra for a live performance of A Zappa Affair with augmented orchestra, life-size puppets, and moving stage sets. Although critically acclaimed the work was a financial failure, and only performed twice. Zappa was invited by conference organizer Thomas Wells to be the keynote speaker at the American Society of University Composers at the Ohio State University. It was there Zappa delivered his famous "Bingo! There Goes Your Tenure" address, and had two of his orchestra pieces, "Dupree's Paradise" and "Naval Aviation in Art?" performed by the Columbus Symphony and ProMusica Chamber Orchestra of Columbus. Synclavier For the remainder of his career, much of Zappa's work was influenced by his use of the Synclavier, an early digital synthesizer, as a compositional and performance tool. According to Zappa, "With the Synclavier, any group of imaginary instruments can be invited to play the most difficult passages ... with one-millisecond accuracy—every time". Even though it essentially did away with the need for musicians, Zappa viewed the Synclavier and real-life musicians as separate. In 1984, he released four albums. Boulez Conducts Zappa: The Perfect Stranger contains orchestral works commissioned and conducted by celebrated conductor, composer and pianist Pierre Boulez (who was listed as an influence on Freak Out!), and performed by his Ensemble InterContemporain. These were juxtaposed with premiere Synclavier pieces. Again, Zappa was not satisfied with the performances of his orchestral works, regarding them as under-rehearsed, but in the album liner notes he respectfully thanks Boulez's demands for precision. The Synclavier pieces stood in contrast to the orchestral works, as the sounds were electronically generated and not, as became possible shortly thereafter, sampled. The album Thing-Fish was an ambitious three-record set in the style of a Broadway play dealing with a dystopian "what-if" scenario involving feminism, homosexuality, manufacturing and distribution of the AIDS virus, and a eugenics program conducted by the United States government. New vocals were combined with previously released tracks and new Synclavier music; "the work is an extraordinary example of bricolage". Francesco Zappa, a Synclavier rendition of works by 18th-century composer Francesco Zappa, was also released in 1984. Merchandising Zappa’s mail-order merchandise business Barfko-Swill was run by Gerry Fialka, who also worked for Zappa as archivist and production assistant from 1983 to 1993 and answered the phone for Zappa’s Barking Pumpkin Records hotline. Fialka appears giving a tour of Barfko-Swill in the 1987 VHS release (but not the original 1979 film release) of Zappa's film Baby Snakes. He is credited on-screen as "GERALD FIALKA Cool Guy Who Wraps Stuff So It Doesn't Break". A short clip of this tour is also included in the 2020 documentary film Zappa. Digital medium and last tour Around 1986, Zappa undertook a comprehensive re-release program of his earlier vinyl recordings. He personally oversaw the remastering of all his 1960s, 1970s and early 1980s albums for the new digital compact disc medium. Certain aspects of these re-issues were criticized by some fans as being unfaithful to the original recordings. Nearly twenty years before the advent of online music stores, Zappa had proposed to replace "phonographic record merchandising" of music by "direct digital-to-digital transfer" through phone or cable TV (with royalty payments and consumer billing automatically built into the accompanying software). In 1989, Zappa considered his idea a "miserable flop". The album Jazz from Hell, released in 1986, earned Zappa his first Grammy Award in 1988 for Best Rock Instrumental Performance. Except for one live guitar solo ("St. Etienne"), the album exclusively featured compositions brought to life by the Synclavier. Zappa's last tour in a rock and jazz band format took place in 1988 with a 12-piece group which had a repertoire of over 100 (mostly Zappa) compositions, but which split under acrimonious circumstances before the tour was completed. The tour was documented on the albums Broadway the Hard Way (new material featuring songs with strong political emphasis); The Best Band You Never Heard in Your Life (Zappa "standards" and an eclectic collection of cover tunes, ranging from Maurice Ravel's Boléro to Led Zeppelin's Stairway to Heaven to The Beatles' I Am The Walrus); and also, Make a Jazz Noise Here. Parts are also found on You Can't Do That on Stage Anymore, volumes 4 and 6. Recordings from this tour also appear on the 2006 album Trance-Fusion. Health deterioration In 1990, Zappa was diagnosed with terminal prostate cancer. The disease had been developing unnoticed for years and was considered inoperable. After the diagnosis, Zappa devoted most of his energy to modern orchestral and Synclavier works. Shortly before his death in 1993 he completed Civilization Phaze III, a major Synclavier work which he had begun in the 1980s. In 1991, Zappa was chosen to be one of four featured composers at the Frankfurt Festival in 1992 (the others were John Cage, Karlheinz Stockhausen, and Alexander Knaifel). Zappa was approached by the German chamber ensemble Ensemble Modern which was interested in playing his music for the event. Although ill, he invited them to Los Angeles for rehearsals of new compositions and new arrangements of older material. Zappa also got along with the musicians, and the concerts in Germany and Austria were set up for later in the year. Zappa also performed in 1991 in Prague, claiming that "was the first time that he had a reason to play his guitar in 3 years", and that that moment was just "the beginning of a new country", and asked the public to "try to keep your country unique, do not change it into something else". In September 1992, the concerts went ahead as scheduled but Zappa could only appear at two in Frankfurt due to illness. At the first concert, he conducted the opening "Overture", and the final "G-Spot Tornado" as well as the theatrical "Food Gathering in Post-Industrial America, 1992" and "Welcome to the United States" (the remainder of the program was conducted by the ensemble's regular conductor Peter Rundel). Zappa received a 20-minute ovation. G-Spot Tornado was performed with Canadian dancer Louise Lecavalier. It was Zappa's last professional public appearance as the cancer was spreading to such an extent that he was in too much pain to enjoy an event that he otherwise found "exhilarating". Recordings from the concerts appeared on The Yellow Shark (1993), Zappa's last release during his lifetime, and some material from studio rehearsals appeared on the posthumous Everything Is Healing Nicely (1999). Death Zappa died from prostate cancer on December 4, 1993, 17 days before his 53rd birthday at his home with his wife and children by his side. At a private ceremony the following day, his body was buried in a grave at the Westwood Village Memorial Park Cemetery, in Los Angeles. The grave is unmarked. On December 6, his family publicly announced that "Composer Frank Zappa left for his final tour just before 6:00 pm on Saturday". Musical style and development Genres The general phases of Zappa's music have been variously categorized under experimental rock, jazz, classical, avant-pop, experimental pop, comedy rock, doo-wop, jazz fusion, progressive rock, proto-prog, avant-jazz, and psychedelic rock. Influences Zappa grew up influenced by avant-garde composers such as Edgard Varèse, Igor Stravinsky, and Anton Webern; 1950s blues artists Clarence "Gatemouth" Brown, Guitar Slim, Howlin' Wolf, Johnny "Guitar" Watson, and B.B. King; Egyptian composer Halim El-Dabh; R&B and doo-wop groups (particularly local pachuco groups); and modern jazz. His own heterogeneous ethnic background, and the diverse social and cultural mix in and around greater Los Angeles, were crucial in the formation of Zappa as a practitioner of underground music and of his later distrustful and openly critical attitude towards "mainstream" social, political and musical movements. He frequently lampooned musical fads like psychedelia, rock opera and disco. Television also exerted a strong influence, as demonstrated by quotations from show themes and advertising jingles found in his later works. In his book The Real Frank Zappa Book, Frank credited composer Spike Jones for Zappa's frequent use of funny sound effects, mouth noises, and humorous percussion interjections. After explaining his ideas on this, he said "I owe this part of my musical existence to Spike Jones." Project/Object Zappa's albums make extensive use of segued tracks, breaklessly joining the elements of his albums. His total output is unified by a conceptual continuity he termed "Project/Object", with numerous musical phrases, ideas, and characters reappearing across his albums. He also called it a "conceptual continuity", meaning that any project or album was part of a larger project. Everything was connected, and musical themes and lyrics reappeared in different form on later albums. Conceptual continuity clues are found throughout Zappa's entire œuvre. Techniques Guitar playing Zappa is widely recognized as one of the most significant electric guitar soloists. In a 1983 issue of Guitar World, John Swenson declared: "the fact of the matter is that [Zappa] is one of the greatest guitarists we have and is sorely unappreciated as such." His idiosyncratic style developed gradually and was mature by the early 1980s, by which time his live performances featured lengthy improvised solos during many songs. A November 2016 feature by the editors of Guitar Player magazine wrote: "Brimming with sophisticated motifs and convoluted rhythms, Zappa's extended excursions are more akin to symphonies than they are to guitar solos." The symphonic comparison stems from his habit of introducing melodic themes that, like a symphony's main melodies, were repeated with variations throughout his solos. He was further described as using a wide variety of scales and modes, enlivened by "unusual rhythmic combinations". His left hand was capable of smooth legato technique, while Zappa's right was "one of the fastest pick hands in the business." In 2016, Dweezil Zappa explained a distinctive element of his father's guitar improvisation technique was relying heavily on upstrokes much more than many other guitarists, who are more likely to use downstrokes with their picking. His song "Outside Now" from Joe's Garage poked fun at the negative reception of Zappa's guitar technique by those more commercially minded, as the song's narrator lives in a world where music is outlawed and he imagines "imaginary guitar notes that would irritate/An executive kind of guy", lyrics that are followed by one of Zappa's characteristically quirky solos in 11/8 time. Zappa transcriptionist Kasper Sloots wrote, "Zappa's guitar solos aren't meant to show off technically (Zappa hasn't claimed to be a big virtuoso on the instrument), but for the pleasure it gives trying to build a composition right in front of an audience without knowing what the outcome will be." Zappa's guitar style was not without its critics. English guitarist and bandleader John McLaughlin, whose band Mahavishnu Orchestra toured with the Mothers of Invention in 1973, opined that Zappa was "very interesting as a human being and a very interesting composer" and that he "was a very good musician but he was a dictator in his band," and that he "was taking very long guitar solos [when performing live]– 10–15 minute guitar solos and really he should have taken two or three minute guitar solos, because they were a little bit boring." In 2000, he was ranked number 36 on VH1's 100 Greatest Artists of Hard Rock. In 2004, Rolling Stone magazine ranked him at number 71 on its list of the "100 Greatest Artists of All Time", and in 2011 at number 22 on its list of the "100 Greatest Guitarists of All Time". Tape manipulation In New York, Zappa increasingly used tape editing as a compositional tool. A prime example is found on the double album Uncle Meat (1969), where the track "King Kong" is edited from various studio and live performances. Zappa had begun regularly recording concerts, and because of his insistence on precise tuning and timing, he was able to augment his studio productions with excerpts from live shows, and vice versa. Later, he combined recordings of different compositions into new pieces, irrespective of the tempo or meter of the sources. He dubbed this process "xenochrony" (strange synchronizations)—reflecting the Greek "xeno" (alien or strange) and "chronos" (time). Personal life Zappa was married to Kathryn J. "Kay" Sherman from 1960 to 1963. In 1967, he married Adelaide Gail Sloatman. He and his second wife had four children: Moon, Dweezil, Ahmet, and Diva. Following Zappa's death, his widow Gail created the Zappa Family Trust, which owns the rights to Zappa's music and some other creative output: more than 60 albums were released during Zappa's lifetime and 40 posthumously. Upon Gail's death in October 2015, the Zappa children received shares of the trust; Ahmet and Diva received 30% each, Moon and Dweezil received 20% each. Beliefs and politics Drugs Zappa stated, "Drugs do not become a problem until the person who uses the drugs does something to you, or does something that would affect your life that you don't want to have happen to you, like an airline pilot who crashes because he was full of drugs." Zappa was a heavy tobacco smoker for most of his life, and strongly critical of anti-tobacco campaigns. While he disapproved of drug use, he criticized the War on Drugs, comparing it to alcohol prohibition, and stated that the United States Treasury would benefit from the decriminalization and regulation of drugs. Describing his philosophical views, Zappa stated, "I believe that people have a right to decide their own destinies; people own themselves. I also believe that, in a democracy, government exists because (and only so long as) individual citizens give it a 'temporary license to exist'—in exchange for a promise that it will behave itself. In a democracy, you own the government—it doesn't own you." Government and religion In a 1991 interview, Zappa reported that he was a registered Democrat but added "that might not last long—I'm going to shred that". Describing his political views, Zappa categorized himself as a "practical conservative". He favored limited government and low taxes; he also stated that he approved of national defense, social security, and other federal programs, but only if recipients of such programs are willing and able to pay for them. He favored capitalism, entrepreneurship, and independent business, stating that musicians could make more from owning their own businesses than from collecting royalties. He opposed communism, stating, "A system that doesn't allow ownership ... has—to put it mildly—a fatal design flaw." He had always encouraged his fans to register to vote on album covers, and throughout 1988 he had registration booths at his concerts. He even considered running for president of the United States as an independent. Zappa was an atheist. He recalled his parents being "pretty religious" and trying to make him go to Catholic school despite his resentment. He felt disgust towards organized religion (Christianity in particular) because he believed that it promoted ignorance and anti-intellectualism. He held the view that the Garden of Eden story shows that the essence of Christianity is to oppose gaining knowledge. Some of his songs, concert performances, interviews and public debates in the 1980s criticized and derided Republicans and their policies, President Ronald Reagan, the Strategic Defense Initiative (SDI), televangelism, and the Christian Right, and warned that the United States government was in danger of becoming a "fascist theocracy". In early 1990, Zappa visited Czechoslovakia at the request of President Václav Havel. Havel designated him as Czechoslovakia's "Special Ambassador to the West on Trade, Culture and Tourism". Havel was a lifelong fan of Zappa, who had great influence in the avant-garde and underground scene in Central Europe in the 1970s and 1980s (a Czech rock group that was imprisoned in 1976 took its name from Zappa's 1968 song "Plastic People"). Under pressure from Secretary of State James Baker, Zappa's posting was withdrawn. Havel made Zappa an unofficial cultural attaché instead. Zappa planned to develop an international consulting enterprise to facilitate trade between the former Eastern Bloc and Western businesses. Anti-censorship Zappa expressed opinions on censorship when he appeared on CNN's Crossfire TV series and debated issues with Washington Times commentator John Lofton in 1986. On September 19, 1985, Zappa testified before the United States Senate Commerce, Technology, and Transportation committee, attacking the Parents Music Resource Center or PMRC, a music organization co-founded by Tipper Gore, wife of then-senator Al Gore. The PMRC consisted of many wives of politicians, including the wives of five members of the committee, and was founded to address the issue of song lyrics with sexual or satanic content. During Zappa's testimony, he stated that there was a clear conflict of interest between the PMRC due to the relations of its founders to the politicians who were then trying to pass what he referred to as the "Blank Tape Tax." Kandy Stroud, a spokeswoman for the PMRC, announced that Senator Gore (who co-founded the committee) was a co-sponsor of that legislation. Zappa suggested that record labels were trying to get the bill passed quickly through committees, one of which was chaired by Senator Strom Thurmond, who was also affiliated with the PMRC. Zappa further pointed out that this committee was being used as a distraction from that bill being passed, which would lead only to the benefit of a select few in the music industry. Zappa saw their activities as on a path towards censorship and called their proposal for voluntary labelling of records with explicit content "extortion" of the music industry. In his prepared statement, he said: The PMRC proposal is an ill-conceived piece of nonsense which fails to deliver any real benefits to children, infringes the civil liberties of people who are not children, and promises to keep the courts busy for years dealing with the interpretational and enforcemental problems inherent in the proposal's design. It is my understanding that, in law, First Amendment issues are decided with a preference for the least restrictive alternative. In this context, the PMRC's demands are the equivalent of treating dandruff by decapitation. ... The establishment of a rating system, voluntary or otherwise, opens the door to an endless parade of moral quality control programs based on things certain Christians do not like. What if the next bunch of Washington wives demands a large yellow "J" on all material written or performed by Jews, in order to save helpless children from exposure to concealed Zionist doctrine? Zappa set excerpts from the PMRC hearings to Synclavier music in his composition "Porn Wars" on the 1985 album Frank Zappa Meets the Mothers of Prevention, and the full recording was released in 2010 as Congress Shall Make No Law... Zappa is heard interacting with Senators Fritz Hollings, Slade Gorton and Al Gore. Legacy Zappa had a controversial critical standing during his lifetime. As Geoffrey Himes noted in 1993 after the artist's death, Zappa was hailed as a genius by conductor Kent Nagano and nominated by Czechoslovakian President Václav Havel to the country's cultural ambassadorship, but he was in his lifetime rejected twice for admission into the Rock and Roll Hall of Fame and been found by critics to lack emotional depth. In Christgau's Record Guide: Rock Albums of the Seventies (1981), Robert Christgau dismissed Zappa's music as "sexist adolescent drivel ... with meters and voicings and key changes that are as hard to play as they are easy to forget." According to Himes: Acclaim and honors The Rolling Stone Album Guide (2004) writes: "Frank Zappa dabbled in virtually all kinds of music—and, whether guised as a satirical rocker, jazz-rock fusionist, guitar virtuoso, electronics wizard, or orchestral innovator, his eccentric genius was undeniable." Even though his work drew inspiration from many different genres, Zappa was seen as establishing a coherent and personal expression. In 1971, biographer David Walley noted that "The whole structure of his music is unified, not neatly divided by dates or time sequences and it is all building into a composite". On commenting on Zappa's music, politics and philosophy, Barry Miles noted in 2004 that they cannot be separated: "It was all one; all part of his 'conceptual continuity'." Guitar Player devoted a special issue to Zappa in 1992, and asked on the cover "Is FZ America's Best Kept Musical Secret?" Editor Don Menn remarked that the issue was about "The most important composer to come out of modern popular music". Among those contributing to the issue was composer and musicologist Nicolas Slonimsky, who conducted premiere performances of works of Ives and Varèse in the 1930s. He became friends with Zappa in the 1980s, and said, "I admire everything Frank does, because he practically created the new musical millennium. He does beautiful, beautiful work ... It has been my luck to have lived to see the emergence of this totally new type of music." Conductor Kent Nagano remarked in the same issue that "Frank is a genius. That's a word I don't use often ... In Frank's case it is not too strong ... He is extremely literate musically. I'm not sure if the general public knows that." Pierre Boulez told Musician magazine's posthumous Zappa tribute article that Zappa "was an exceptional figure because he was part of the worlds of rock and classical music and that both types of his work would survive." In 1994, jazz magazine DownBeats critics poll placed Zappa in its Hall of Fame. Zappa was posthumously inducted into the Rock and Roll Hall of Fame in 1995. There, it was written that "Frank Zappa was rock and roll's sharpest musical mind and most astute social critic. He was the most prolific composer of his age, and he bridged genres—rock, jazz, classical, avant-garde and even novelty music—with masterful ease". He was ranked number 36 on VH1's 100 Greatest Artists of Hard Rock in 2000. In 2005, the U.S. National Recording Preservation Board included We're Only in It for the Money in the National Recording Registry as "Frank Zappa's inventive and iconoclastic album presents a unique political stance, both anti-conservative and anti-counterculture, and features a scathing satire on hippiedom and America's reactions to it". The same year, Rolling Stone magazine ranked him at No. 71 on its list of the 100 Greatest Artists of All Time. In 2011, he was ranked at No. 22 on the list of the 100 Greatest Guitarists of All Time by the same magazine. In 2016, Guitar World magazine placed Zappa atop of its list "15 of the best progressive rock guitarists through the years." The street of Partinico where his father lived at number 13, Via Zammatà, has been renamed to Via Frank Zappa. Since his death, several musicians have been considered by critics as filling the artistic niche left behind by Zappa, in view of their prolific output, eclecticism and other qualities, including Devin Townsend, Mike Patton and Omar Rodríguez-López. Grammy Awards In the course of his career, Zappa was nominated for nine competitive Grammy Awards, which resulted in two wins (one posthumous). In 1998, he received the Grammy Lifetime Achievement Award. |- |rowspan="2"| 1980 || "Rat Tomago" || Best Rock Instrumental Performance || |- | "Dancin' Fool" || Best Male Rock Vocal Performance || |- | 1983 || "Valley Girl" || Best Rock Performance by a Duo or Group with Vocal || |- | 1985 || The Perfect Stranger || Best New Classical Composition || |- |rowspan="2"| 1988 || "Jazz from Hell" || Best Instrumental Composition || |- | Jazz from Hell ||rowspan="2"| Best Rock Instrumental Performance (Orchestra, Group or Soloist) || |- | 1989 || Guitar || |- | 1990 || Broadway the Hard Way || Best Musical Cast Show Album || |- | 1996 || Civilization Phaze III || Best Recording Package – Boxed || |- | 1998 || Frank Zappa || Lifetime Achievement Award || Artists influenced by Zappa Many musicians, bands and orchestras from diverse genres have been influenced by Zappa's music. Rock artists such as The Plastic People of the Universe, Alice Cooper, Larry LaLonde of Primus, Fee Waybill of the Tubes all cite Zappa's influence, as do progressive, alternative, electronic and avant-garde/experimental rock artists like Can, Pere Ubu, Yes, Soft Machine, Henry Cow, Faust, Devo, Kraftwerk, Trey Anastasio and Jon Fishman of Phish, Jeff Buckley, John Frusciante, Steven Wilson, and The Aristocrats. Paul McCartney regarded Sgt. Pepper's Lonely Hearts Club Band as the Beatles' Freak Out!. Jimi Hendrix and heavy rock and metal acts like Black Sabbath, Simon Phillips, Mike Portnoy, Warren DeMartini, Alex Skolnick, Steve Vai, Strapping Young Lad, System of a Down, and Clawfinger have acknowledged Zappa as inspiration. On the classical music scene, Tomas Ulrich, Meridian Arts Ensemble, Ensemble Ambrosius and the Fireworks Ensemble regularly perform Zappa's compositions and quote his influence. Contemporary jazz musicians and composers Bobby Sanabria, Bill Frisell and John Zorn are inspired by Zappa, as is funk legend George Clinton. Other artists affected by Zappa include ambient composer Brian Eno, new age pianist George Winston, electronic composer Bob Gluck, parodist artist and disk jockey Dr. Demento, parodist and novelty composer "Weird Al" Yankovic, industrial music pioneer Genesis P-Orridge, singer Cree Summer, noise music artist Masami Akita of Merzbow, and Chilean composer Cristián Crisosto from Fulano and Mediabanda. References in arts and sciences Scientists from various fields have honored Zappa by naming new discoveries after him. In 1967, paleontologist Leo P. Plas, Jr., identified an extinct mollusc in Nevada and named it Amaurotoma zappa with the motivation that, "The specific name, zappa, honors Frank Zappa". In the 1980s, biologist Ed Murdy named a genus of gobiid fishes of New Guinea Zappa, with a species named Zappa confluentus. Biologist Ferdinando Boero named a Californian jellyfish Phialella zappai (1987), noting that he had "pleasure in naming this species after the modern music composer". Belgian biologists Bosmans and Bosselaers discovered in the early 1980s a Cameroonese spider, which they in 1994 named Pachygnatha zappa because "the ventral side of the abdomen of the female of this species strikingly resembles the artist's legendary moustache". A gene of the bacterium Proteus mirabilis that causes urinary tract infections was in 1995 named zapA by three biologists from Maryland. In their scientific article, they "especially thank the late Frank Zappa for inspiration and assistance with genetic nomenclature". Repeating regions of the genome of the human tumor virus KSHV were named frnk, vnct and zppa in 1996 by Yuan Chang and Patrick S. Moore who discovered the virus. Also, a 143 base pair repeat sequence occurring at two positions was named waka/jwka. In the late 1990s, American paleontologists Marc Salak and Halard L. Lescinsky discovered a metazoan fossil, and named it Spygori zappania to honor "the late Frank Zappa ... whose mission paralleled that of the earliest paleontologists: to challenge conventional and traditional beliefs when such beliefs lacked roots in logic and reason". In 1994, lobbying efforts initiated by psychiatrist John Scialli led the International Astronomical Union's Minor Planet Center to name an asteroid in Zappa's honor: 3834 Zappafrank. The asteroid was discovered in 1980 by Czechoslovakian astronomer Ladislav Brožek, and the citation for its naming says that "Zappa was an eclectic, self-trained artist and composer ... Before 1989 he was regarded as a symbol of democracy and freedom by many people in Czechoslovakia". In 1995, a bust of Zappa by sculptor Konstantinas Bogdanas was installed in Vilnius, the Lithuanian capital . The choice of Zappa was explained as "a symbol that would mark the end of communism, but at the same time express that it wasn't always doom and gloom." A replica was offered to the city of Baltimore in 2008, and on September 19, 2010 — the twenty-fifth anniversary of Zappa's testimony to the U.S. Senate — a ceremony dedicating the replica was held, and the bust was unveiled at a library in the city. In 2002, a bronze bust was installed in German city Bad Doberan, location of the Zappanale since 1990, an annual music festival celebrating Zappa. At the initiative of musicians community ORWOhaus, the city of Berlin named a street in the Marzahn district "Frank-Zappa-Straße" in 2007. The same year, Baltimore mayor Sheila Dixon proclaimed August 9 as the city's official "Frank Zappa Day" citing Zappa's musical accomplishments as well as his defense of the First Amendment to the United States Constitution. Zappa documentary The biographical documentary Zappa, directed by Alex Winter and released on November 27, 2020, includes previously unreleased footage from Zappa's personal vault, to which he was granted access by the Zappa Family Trust. Discography During his lifetime, Zappa released 62 albums. Since 1994, the Zappa Family Trust has released 57 posthumous albums, making a total of 119 albums. The current distributor of Zappa's recorded output is Universal Music Enterprises. See also List of performers on Frank Zappa records Frank Zappa in popular culture Notes References Bibliography External links 1940 births 1993 deaths 20th-century American guitarists 20th-century American male actors 20th-century American singers American classical musicians American activists American anti-communists American anti-fascists American atheists American comedy musicians American male composers American music arrangers American experimental filmmakers American experimental guitarists American experimental musicians American humanists American jazz guitarists American male voice actors American multi-instrumentalists Record producers from Maryland American rock guitarists American male guitarists American rock singers American electronic musicians American avant-garde musicians American people of Arab descent American people of Italian descent American people of French descent American people of Greek descent American satirists American surrealist artists Angel Records artists Surrealist filmmakers Antelope Valley High School alumni Articles containing video clips Avant-garde guitarists Avant-pop musicians Burials at Westwood Village Memorial Park Cemetery California Democrats Captain Beefheart Censorship in the arts American contemporary classical composers Contemporary classical music performers Copywriters Critics of the Catholic Church Deaths from cancer in California Deaths from prostate cancer Deaths from kidney failure Advocates of unschooling and homeschooling EMI Records artists Experimental pop musicians Experimental rock musicians Free speech activists Grammy Award winners Grammy Lifetime Achievement Award winners Humor in classical music Lead guitarists Maryland Democrats Musicians from Baltimore People from Echo Park, Los Angeles People from Edgewood, Maryland People from Ontario, California Progressive rock guitarists Proto-prog musicians Rykodisc artists Singers from Los Angeles The Mothers of Invention members Verve Records artists Warner Records artists Guitarists from Los Angeles Guitarists from Maryland 20th-century classical composers Singer-songwriters from Maryland Writers from Los Angeles 20th-century American composers Parody musicians Freak scene Freak artists Jazz musicians from Maryland American male jazz musicians American libertarians People from Lancaster, California American male singer-songwriters Zappa family 20th-century American male singers People from Laurel Canyon, Los Angeles Jazz musicians from California Singer-songwriters from California Surrealist groups
false
[ "Tulio Alberto Gómez Giraldo (Manizales, Colombia), is a Colombian businessman. He is the founder and owner of supermarket chain Superinter. He is the 21st president and biggest shareholder of Colombian football club América de Cali.\n\nCareer \nHe founded the supermarket chain Supeinter in Cali in 1990.\n\nIn 2014, he bought a few shares in America de Cali, taking his wife's advice. Realizing that he did not have many rights, he bought more and kept 53% of the shares of the club that allowed him to make all the decisions. On 10 May 2016, he became the Chairman of America de Cali.\n\nOn 27 November 2016, Tulio Gómez was one of the architects in the rise of América de Cali to the Categoría Primera A of Colombian football, together with the team's coach that year Hernán Torres.\n\nOn 16 May 2018, Tulio Gómez announced his retirement as President after an irregular campaign in the 2018 Liga Águila. He declared that he would continue as the team owner.\n\nReferences\n\nExternal links\n América de Cali\n Official Tulio Gómez Twitter\n\nPeople from Manizales\nPeople from Cali\nAmérica de Cali presidents\nColombian businesspeople\nLiving people\nYear of birth missing (living people)", "The Clásico Vallecaucano (Spanish for \"Valle del Cauca Derby\") is a football local derby contested between América de Cali and Deportivo Cali, both clubs based in Cali, Colombia. It is regarded as one of Colombia's oldest and most passionate rivalries, having been first played in an amateur regional championship in 1931, and with both contenders being closely matched in the all-time series. It has also been mentioned as one of the world's greatest football derbies by international media.\n\nHistory\n\nThe rivalry between the two top clubs from Cali can be traced back to their cultural and social origins. Deportivo Cali, founded in 1912 as The Cali Football Club by a group of students returning from Europe, has always been considered the representative of the wealthy classes of the city and the Valle del Cauca region. On the other hand, América de Cali (founded in 1927) attracted supporters from the poorest, working class and popular areas of the city since its beginnings. Their first meeting is reported to have been held in a regional tournament in 1931, and was won by Deportivo Cali 1–0 after América de Cali had two goals disallowed for offside. América de Cali protested against the refereeing of this match and the club was handed a one-year suspension from local tournaments as a result. The first match between both teams in the professional league was played on 26 September 1948, with Deportivo Cali winning by a score of 4–3.\n\nThe performances of both clubs have also offered further reasons for contrast between them throughout time, with Deportivo Cali cementing their status as one of Colombia's top clubs by winning five league titles between 1965 and 1974, whilst América de Cali had to wait 35 years for their first domestic title in 1979. Furthermore, América de Cali's success during the 1980s in which the team won the domestic league five times in a row between 1982 and 1986 as well as reaching the Copa Libertadores final thrice in a row between 1985 and 1987 attracted fans from all over Colombia, greatly increasing América's supporter base. América de Cali's 1986 league title was clinched with a victory over their crosstown rival, while Deportivo Cali clinched their sixth league title in 1996 (and first in 22 years) with a scoreless draw against América de Cali on the last day of the season. With the adoption of barra brava culture by Colombian football fans in the early years of the 1990s, the rivalry between both sets of fans turned violent and matches between both teams started demanding an increased level of safety.\n\nStatistics\n\nHead-to-head\n\nHonours\n\nRecords\nRecord wins\nAmérica de Cali: \nHome: América de Cali – Deportivo Cali 5–0, Estadio Pascual Guerrero, 29 June 1961\nAway: Deportivo Cali – América de Cali 0–4, Estadio Pascual Guerrero, 14 November 1993Deportivo Cali – América de Cali 0–4, Estadio Pascual Guerrero, 22 March 2008\nDeportivo Cali: \nHome: Deportivo Cali – América de Cali 5–1, Estadio Pascual Guerrero, 18 April 1951Deportivo Cali – América de Cali 6–3, Estadio Deportivo Cali, 10 October 2010\nAway: América de Cali – Deportivo Cali 1–4, Estadio Pascual Guerrero, 2 October 1949América de Cali – Deportivo Cali 1–4, Estadio Pascual Guerrero, 3 March 1968\n\nReferences\n\nColombian football rivalries\nAmérica de Cali\nDeportivo Cali" ]
[ "Frank Zappa", "Childhood", "when did his childhood begin", "Zappa was born on December 21, 1940 in Baltimore, Maryland.", "when did he die", "I don't know.", "where did he live for the most part of his life", "California,", "did he die in cali as well?", "I don't know." ]
C_c267823eee05494a9c5c9ea1bd2b8b46_1
what was his big accomplishment
5
what was Frank Zappa's big accomplishment
Frank Zappa
Zappa was born on December 21, 1940 in Baltimore, Maryland. His mother, Rosemarie (nee Collimore) was of Italian (Neapolitan and Sicilian) and French ancestry; his father, whose name was anglicized to Francis Vincent Zappa, was an immigrant from Partinico, Sicily, with Greek and Arab ancestry. Frank, the eldest of four children, was raised in an Italian-American household where Italian was often spoken by his grandparents. The family moved often because his father, a chemist and mathematician, worked in the defense industry. After a time in Florida in the 1940s, the family returned to Maryland, where Zappa's father worked at the Edgewood Arsenal chemical warfare facility of the Aberdeen Proving Ground. Due to their home's proximity to the arsenal, which stored mustard gas, gas masks were kept in the home in case of an accident. This had a profound effect on Zappa, and references to germs, germ warfare and the defense industry occur throughout his work. Zappa was often sick as a child, suffering from asthma, earaches and sinus problems. A doctor treated his sinusitis by inserting a pellet of radium into each of Zappa's nostrils. At the time, little was known about the potential dangers of even small amounts of therapeutic radiation, and although it has since been claimed that nasal radium treatment has causal connections to cancer, no studies have provided significant enough evidence to confirm this. Nasal imagery and references appear in his music and lyrics, as well as in the collage album covers created by his long-time collaborator Cal Schenkel. Zappa believed his childhood diseases might have been due to exposure to mustard gas, released by the nearby chemical warfare facility. His health worsened when he lived in Baltimore. In 1952, his family relocated for reasons of health. They next moved to Monterey, California, where his father taught metallurgy at the Naval Postgraduate School. They soon moved to Claremont, California, then to El Cajon, before finally settling in San Diego. CANNOTANSWER
CANNOTANSWER
Frank Vincent Zappa (December 21, 1940 – December 4, 1993) was an American musician, singer, composer, songwriter and bandleader. His work is characterized by nonconformity, free-form improvisation, sound experiments, musical virtuosity and satire of American culture. In a career spanning more than 30 years, Zappa composed rock, pop, jazz, jazz fusion, orchestral and musique concrète works, and produced almost all of the 60-plus albums that he released with his band the Mothers of Invention and as a solo artist. Zappa also directed feature-length films and music videos, and designed album covers. He is considered one of the most innovative and stylistically diverse musicians of his generation. As a self-taught composer and performer, Zappa had diverse musical influences that led him to create music that was sometimes difficult to categorize. While in his teens, he acquired a taste for 20th-century classical modernism, African-American rhythm and blues, and doo-wop music. He began writing classical music in high school, while at the same time playing drums in rhythm-and-blues bands, later switching to electric guitar. His 1966 debut album with the Mothers of Invention, Freak Out!, combined songs in conventional rock and roll format with collective improvisations and studio-generated sound collages. He continued this eclectic and experimental approach whether the fundamental format was rock, jazz, or classical. Zappa's output is unified by a conceptual continuity he termed "Project/Object", with numerous musical phrases, ideas, and characters reappearing across his albums. His lyrics reflected his iconoclastic views of established social and political processes, structures and movements, often humorously so, and he has been described as the "godfather" of comedy rock. He was a strident critic of mainstream education and organized religion, and a forthright and passionate advocate for freedom of speech, self-education, political participation and the abolition of censorship. Unlike many other rock musicians of his generation, he disapproved of recreational drug use, but supported decriminalization and regulation. Zappa was a highly productive and prolific artist with a controversial critical standing; supporters of his music admired its compositional complexity, while critics found it lacking emotional depth. He had greater commercial success outside the US, particularly in Europe. Though he worked as an independent artist, Zappa mostly relied on distribution agreements he had negotiated with the major record labels. He remains a major influence on musicians and composers. His honors include his 1995 induction into the Rock and Roll Hall of Fame and the 1997 Grammy Lifetime Achievement Award. 1940s–1960s: early life and career Childhood Zappa was born on December 21, 1940, in Baltimore, Maryland. His mother, Rose Marie ( Colimore), was of Italian (Neapolitan and Sicilian) and French ancestry; his father, whose name was anglicized to Francis Vincent Zappa, was an immigrant from Partinico, Sicily, with Greek and Arab ancestry. Frank, the eldest of four children, was raised in an Italian-American household where Italian was often spoken by his grandparents. The family moved often because his father, a chemist and mathematician, worked in the defense industry. After a time in Florida in the 1940s, the family returned to Maryland, where Zappa's father worked at the Edgewood Arsenal chemical warfare facility of the Aberdeen Proving Ground run by the U.S. Army. Due to their home's proximity to the arsenal, which stored mustard gas, gas masks were kept in the home in case of an accident. This living arrangement had a profound effect on Zappa, and references to germs, germ warfare, ailments and the defense industry occur frequently throughout his work. Zappa was often sick as a child, suffering from asthma, earaches and sinus problems. A doctor treated his sinusitis by inserting a pellet of radium into each of Zappa's nostrils. At the time, little was known about the potential dangers of even small amounts of therapeutic radiation, and although it has since been claimed that nasal radium treatment has causal connections to cancer, no studies have provided enough evidence to confirm this. Nasal imagery and references appear in his music and lyrics, as well as in the collage album covers created by his long-time collaborator Cal Schenkel. Zappa believed his childhood diseases might have been due to exposure to mustard gas, released by the nearby chemical warfare facility, and his health worsened when he lived in Baltimore. In 1952, his family relocated for reasons of health to Monterey, California, where his father taught metallurgy at the Naval Postgraduate School. They soon moved to Clairemont, and then to El Cajon, before finally settling in nearby San Diego. First musical interests Zappa joined his first band at Mission Bay High School in San Diego as the drummer. At about the same time, his parents bought a phonograph, which allowed him to develop his interest in music, and to begin building his record collection. According to The Rough Guide to Rock (2003), "as a teenager Zappa was simultaneously enthralled by black R&B (Johnny 'Guitar' Watson, Guitar Slim), doo-wop (The Channels, The Velvets), the modernism of Igor Stravinsky and Anton Webern, and the dissonant sound experiments of Edgard Varese." R&B singles were early purchases for Zappa, starting a large collection he kept for the rest of his life. He was interested in sounds for their own sake, particularly the sounds of drums and other percussion instruments. By age twelve, he had obtained a snare drum and began learning the basics of orchestral percussion. Zappa's deep interest in modern classical music began when he read a LOOK magazine article about the Sam Goody record store chain that lauded its ability to sell an LP as obscure as The Complete Works of Edgard Varèse, Volume One. The article described Varèse's percussion composition Ionisation, produced by EMS Recordings, as "a weird jumble of drums and other unpleasant sounds". Zappa decided to seek out Varèse's music. After searching for over a year, Zappa found a copy (he noticed the LP because of the "mad scientist" looking photo of Varèse on the cover). Not having enough money with him, he persuaded the salesman to sell him the record at a discount. Thus began his lifelong passion for Varèse's music and that of other modern classical composers. He also liked the Italian classical music listened to by his grandparents, especially Puccini's opera arias. By 1956, the Zappa family had moved to Lancaster, a small aerospace and farming town in the Antelope Valley of the Mojave Desert close to Edwards Air Force Base; he would later refer to Sun Village (a town close to Lancaster) in the 1973 track "Village of the Sun". Zappa's mother encouraged him in his musical interests. Although she disliked Varèse's music, she was indulgent enough to give her son a long-distance call to the New York composer as a fifteenth birthday present. Unfortunately, Varèse was in Europe at the time, so Zappa spoke to the composer's wife and she suggested he call back later. In a letter, Varèse thanked him for his interest, and told him about a composition he was working on called "Déserts". Living in the desert town of Lancaster, Zappa found this very exciting. Varèse invited him to visit if he ever came to New York. The meeting never took place (Varèse died in 1965), but Zappa framed the letter and kept it on display for the rest of his life. At Antelope Valley High School, Zappa met Don Glen Vliet (who later changed his name to Don Van Vliet and adopted the stage name Captain Beefheart). Zappa and Vliet became close friends, sharing an interest in R&B records and influencing each other musically throughout their careers. Around the same time, Zappa started playing drums in a local band, the Blackouts. The band was racially diverse and included Euclid James "Motorhead" Sherwood who later became a member of the Mothers of Invention. Zappa's interest in the guitar grew, and in 1957 he was given his first instrument. Among his early influences were Johnny "Guitar" Watson, Howlin' Wolf and Clarence "Gatemouth" Brown. In the 1970s/1980s, he invited Watson to perform on several albums. Zappa considered soloing as the equivalent of forming "air sculptures", and developed an eclectic, innovative and highly personal style. He was also influenced by Egyptian composer Halim El-Dabh. Zappa's interest in composing and arranging flourished in his last high-school years. By his final year, he was writing, arranging and conducting avant-garde performance pieces for the school orchestra. He graduated from Antelope Valley High School in 1958, and later acknowledged two of his music teachers on the sleeve of the 1966 album Freak Out! Due to his family's frequent moves, Zappa attended at least six different high schools, and as a student he was often bored and given to distracting the rest of the class with juvenile antics. In 1959, he attended Chaffey College but left after one semester, and maintained thereafter a disdain for formal education, taking his children out of school at age 15 and refusing to pay for their college. Zappa left home in 1959, and moved into a small apartment in Echo Park, Los Angeles. After he met Kathryn J. "Kay" Sherman during his short period of private composition study with Prof. Karl Kohn of Pomona College, they moved in together in Ontario, and were married December 28, 1960. Zappa worked for a short period in advertising as a copywriter. His sojourn in the commercial world was brief, but gave him valuable insights into its workings. Throughout his career, he took a keen interest in the visual presentation of his work, designing some of his album covers and directing his own films and videos. Studio Z Zappa attempted to earn a living as a musician and composer, and played different nightclub gigs, some with a new version of the Blackouts. Zappa's earliest professional recordings, two soundtracks for the low-budget films The World's Greatest Sinner (1962) and Run Home Slow (1965) were more financially rewarding. The former score was commissioned by actor-producer Timothy Carey and recorded in 1961. It contains many themes that appeared on later Zappa records. The latter soundtrack was recorded in 1963 after the film was completed, but it was commissioned by one of Zappa's former high school teachers in 1959 and Zappa may have worked on it before the film was shot. Excerpts from the soundtrack can be heard on the posthumous album The Lost Episodes (1996). During the early 1960s, Zappa wrote and produced songs for other local artists, often working with singer-songwriter Ray Collins and producer Paul Buff. Their "Memories of El Monte" was recorded by the Penguins, although only Cleve Duncan of the original group was featured. Buff owned the small Pal Recording Studio in Cucamonga, which included a unique five-track tape recorder he had built. At that time, only a handful of the most sophisticated commercial studios had multi-track facilities; the industry standard for smaller studios was still mono or two-track. Although none of the recordings from the period achieved major commercial success, Zappa earned enough money to allow him to stage a concert of his orchestral music in 1963 and to broadcast and record it. He appeared on Steve Allen's syndicated late night show the same year, in which he played a bicycle as a musical instrument. Using a bow borrowed from the band's bass player, as well as drum sticks, he proceeded to pluck, bang, and bow the spokes of the bike, producing strange, comical sounds from his newfound instrument. With Captain Beefheart, Zappa recorded some songs under the name of the Soots. They were rejected by Dot Records. Later, the Mothers were also rejected by Columbia Records for having "no commercial potential", a verdict Zappa subsequently quoted on the sleeve of Freak Out! In 1964, after his marriage started to break up, he moved into the Pal studio and began routinely working 12 hours or more per day recording and experimenting with overdubbing and audio tape manipulation. This established a work pattern that endured for most of his life. Aided by his income from film composing, Zappa took over the studio from Paul Buff, who was now working with Art Laboe at Original Sound. It was renamed Studio Z. Studio Z was rarely booked for recordings by other musicians. Instead, friends moved in, notably James "Motorhead" Sherwood. Zappa started performing in local bars as a guitarist with a power trio, the Muthers, to support himself. An article in the local press describing Zappa as "the Movie King of Cucamonga" prompted the local police to suspect that he was making pornographic films. In March 1965, Zappa was approached by a vice squad undercover officer, and accepted an offer of $100 () to produce a suggestive audio tape for an alleged stag party. Zappa and a female friend recorded a faked erotic episode. When Zappa was about to hand over the tape, he was arrested, and the police stripped the studio of all recorded material. The press was tipped off beforehand, and next day's The Daily Report wrote that "Vice Squad investigators stilled the tape recorders of a free-swinging, a-go-go film and recording studio here Friday and arrested a self-styled movie producer". Zappa was charged with "conspiracy to commit pornography". This felony charge was reduced and he was sentenced to six months in jail on a misdemeanor, with all but ten days suspended. His brief imprisonment left a permanent mark, and was central to the formation of his anti-authoritarian stance. Zappa lost several recordings made at Studio Z in the process, as the police returned only 30 of 80 hours of tape seized. Eventually, he could no longer afford to pay the rent on the studio and was evicted. Zappa managed to recover some of his possessions before the studio was torn down in 1966. Late 1960s: the Mothers of Invention Formation In 1965, Ray Collins asked Zappa to take over as guitarist in local R&B band the Soul Giants, following a fight between Collins and the group's original guitarist. Zappa accepted, and soon assumed leadership and the role as co-lead singer (even though he never considered himself a singer, then or later). He convinced the other members that they should play his music to increase the chances of getting a record contract. The band was renamed the Mothers, coincidentally on Mother's Day. They increased their bookings after beginning an association with manager Herb Cohen, and gradually gained attention on the burgeoning Los Angeles underground music scene. In early 1966, they were spotted by leading record producer Tom Wilson when playing "Trouble Every Day", a song about the Watts riots. Wilson had earned acclaim as the producer for Bob Dylan and Simon & Garfunkel, and was one of the few African-Americans working as a major label pop music producer at this time. Wilson signed the Mothers to the Verve division of MGM, which had built up a strong reputation for its releases of modern jazz recordings in the 1940s and 1950s, but was attempting to diversify into pop and rock audiences. Verve insisted that the band officially rename themselves the Mothers of Invention as Mother was short for motherfucker—a term that, apart from its profane meanings, can denote a skilled musician. Debut album: Freak Out! With Wilson credited as producer, the Mothers of Invention, augmented by a studio orchestra, recorded the groundbreaking Freak Out! (1966), which, after Bob Dylan's Blonde on Blonde, was the second rock double album ever released. It mixed R&B, doo-wop, musique concrète, and experimental sound collages that captured the "freak" subculture of Los Angeles at that time. Although he was dissatisfied with the final product, Freak Out immediately established Zappa as a radical new voice in rock music, providing an antidote to the "relentless consumer culture of America". The sound was raw, but the arrangements were sophisticated. While recording in the studio, some of the additional session musicians were shocked that they were expected to read the notes on sheet music from charts with Zappa conducting them, since it was not standard when recording rock music. The lyrics praised non-conformity, disparaged authorities, and had dadaist elements. Yet, there was a place for seemingly conventional love songs. Most compositions are Zappa's, which set a precedent for the rest of his recording career. He had full control over the arrangements and musical decisions and did most overdubs. Wilson provided the industry clout and connections and was able to provide the group with the financial resources needed. Although Wilson was able to provide Zappa and the Mothers with an extraordinary degree of artistic freedom for the time, the recording did not go entirely as planned. In a 1967 radio interview, Zappa explained that the album's outlandish 11-minute closing track, "Return of the Son of Monster Magnet" was not finished. The track as it appears on the album was only a backing track for a much more complex piece, but MGM refused to allow the additional recording time needed for completion. Much to Zappa's chagrin, it was issued in its unfinished state. During the recording of Freak Out!, Zappa moved into a house in Laurel Canyon with friend Pamela Zarubica, who appeared on the album. The house became a meeting (and living) place for many LA musicians and groupies of the time, despite Zappa's disapproval of their illicit drug use. After a short promotional tour following the release of Freak Out!, Zappa met Adelaide Gail Sloatman. He fell in love within "a couple of minutes", and she moved into the house over the summer. They married in 1967, had four children and remained together until Zappa's death. Wilson nominally produced the Mothers' second album Absolutely Free (1967), which was recorded in November 1966, and later mixed in New York, although by this time Zappa was in de facto control of most facets of the production. It featured extended playing by the Mothers of Invention and focused on songs that defined Zappa's compositional style of introducing abrupt, rhythmical changes into songs that were built from diverse elements. Examples are "Plastic People" and "Brown Shoes Don't Make It", which contained lyrics critical of the hypocrisy and conformity of American society, but also of the counterculture of the 1960s. As Zappa put it, "[W]e're satirists, and we are out to satirize everything." At the same time, Zappa had recorded material for an album of orchestral works to be released under his own name, Lumpy Gravy, released by Capitol Records in 1967. Due to contractual problems, the album was pulled. Zappa took the opportunity to radically restructure the contents, adding newly recorded, improvised dialogue. After the contractual problems were resolved, the album was reissued by Verve in 1968. It is an "incredible ambitious musical project", a "monument to John Cage", which intertwines orchestral themes, spoken words and electronic noises through radical audio editing techniques. New York period (1966–1968) The Mothers of Invention played in New York in late 1966 and were offered a contract at the Garrick Theater (at 152 Bleecker Street, above the Cafe au Go Go) during Easter 1967. This proved successful and Herb Cohen extended the booking, which eventually lasted half a year. As a result, Zappa and his wife Gail, along with the Mothers of Invention, moved to New York. Their shows became a combination of improvised acts showcasing individual talents of the band as well as tight performances of Zappa's music. Everything was directed by Zappa using hand signals. Guest performers and audience participation became a regular part of the Garrick Theater shows. One evening, Zappa managed to entice some U.S. Marines from the audience onto the stage, where they proceeded to dismember a big baby doll, having been told by Zappa to pretend that it was a "gook baby". Situated in New York, and interrupted by the band's first European tour, the Mothers of Invention recorded the album widely regarded as the peak of the group's late 1960s work, We're Only in It for the Money (released 1968). It was produced by Zappa, with Wilson credited as executive producer. From then on, Zappa produced all albums released by the Mothers of Invention and as a solo artist. We're Only in It for the Money featured some of the most creative audio editing and production yet heard in pop music, and the songs ruthlessly satirized the hippie and flower power phenomena. He sampled plundered surf music in We're only in It for the Money, as well as the Beatles' tape work from their song "Tomorrow Never Knows". The cover photo parodied that of the Beatles' Sgt. Pepper's Lonely Hearts Club Band. The cover art was provided by Cal Schenkel whom Zappa met in New York. This initiated a lifelong collaboration in which Schenkel designed covers for numerous Zappa and Mothers albums. Reflecting Zappa's eclectic approach to music, the next album, Cruising with Ruben & the Jets (1968), was very different. It represented a collection of doo-wop songs; listeners and critics were not sure whether the album was a satire or a tribute. Zappa later remarked that the album was conceived like Stravinsky's compositions in his neo-classical period: "If he could take the forms and clichés of the classical era and pervert them, why not do the same ... to doo-wop in the fifties?" A theme from Stravinsky's The Rite of Spring is heard during one song. In 1967 and 1968, Zappa made two appearances with the Monkees. The first appearance was on an episode of their TV series, "The Monkees Blow Their Minds", where Zappa, dressed up as Mike Nesmith, interviews Nesmith who is dressed up as Zappa. After the interview, Zappa destroys a car with a sledgehammer as the song "Mother People" plays. He later provided a cameo in the Monkees' movie Head where, leading a cow, he tells Davy Jones "the youth of America depends on you to show them the way." Zappa respected the Monkees and recruited Micky Dolenz to the Mothers but RCA/Columbia/Colgems would not release Dolenz from his contract. During the late 1960s, Zappa continued to develop the business side of his career. He and Herb Cohen formed the Bizarre Records and Straight Records labels to increase creative control and produce recordings by other artists. These labels were distributed in the US by Warner Bros. Records. Zappa/Mothers recordings appeared on Bizarre along with Wild Man Fischer and Lenny Bruce. Straight released the double album Trout Mask Replica for Captain Beefheart, and releases by Alice Cooper, The Persuasions, and the GTOs. In the Mothers' second European tour in September/October 1968 they performed for the at the Grugahalle in Essen, Germany; at the Tivoli in Copenhagen, Denmark; for TV programs in Germany (Beat-Club), France, and England; at the Concertgebouw in Amsterdam; at the Royal Festival Hall in London; and at the Olympia in Paris. Disbandment Zappa and the Mothers of Invention returned to Los Angeles in mid-1968, and the Zappas moved into a house on Laurel Canyon Boulevard, only to move again to Woodrow Wilson Drive. This was Zappa's home for the rest of his life. Despite being successful in Europe, the Mothers of Invention were not doing well financially. Their first records were vocally oriented, but as Zappa wrote more instrumental jazz and classical style music for the band's concerts, audiences were confused. Zappa felt that audiences failed to appreciate his "electrical chamber music". In 1969 there were nine band members and Zappa was supporting the group from his publishing royalties whether they played or not. In late 1969, Zappa broke up the band. He often cited the financial strain as the main reason, but also commented on the band members' lack of diligence. Many band members were bitter about Zappa's decision, and some took it as a sign of Zappa's perfectionism at the expense of human feeling. Others were irritated by 'his autocratic ways', exemplified by Zappa's never staying at the same hotel as the band members. Several members played for Zappa in years to come. Remaining recordings of the band from this period were collected on Weasels Ripped My Flesh and Burnt Weeny Sandwich (both released in 1970). After he disbanded the Mothers of Invention, Zappa released the acclaimed solo album Hot Rats (1969). It features, for the first time on record, Zappa playing extended guitar solos and contains one of his most enduring compositions, "Peaches en Regalia", which reappeared several times on future recordings. He was backed by jazz, blues and R&B session players including violinist Don "Sugarcane" Harris, drummers John Guerin and Paul Humphrey, multi-instrumentalist and former Mothers of Invention member Ian Underwood, and multi-instrumentalist Shuggie Otis on bass, along with a guest appearance by Captain Beefheart on the only vocal track, "Willie the Pimp". It became a popular album in England, and had a major influence on the development of jazz-rock fusion. 1970s Rebirth of the Mothers and filmmaking In 1970 Zappa met conductor Zubin Mehta. They arranged a May 1970 concert where Mehta conducted the Los Angeles Philharmonic augmented by a rock band. According to Zappa, the music was mostly written in motel rooms while on tour with the Mothers of Invention. Some of it was later featured in the movie 200 Motels. Although the concert was a success, Zappa's experience working with a symphony orchestra was not a happy one. His dissatisfaction became a recurring theme throughout his career; he often felt that the quality of performance of his material delivered by orchestras was not commensurate with the money he spent on orchestral concerts and recordings. Later in 1970, Zappa formed a new version of the Mothers (from then on, he mostly dropped the "of Invention"). It included British drummer Aynsley Dunbar, jazz keyboardist George Duke, Ian Underwood, Jeff Simmons (bass, rhythm guitar), and three members of the Turtles: bass player Jim Pons, and singers Mark Volman and Howard Kaylan, who, due to persistent legal and contractual problems, adopted the stage name "The Phlorescent Leech and Eddie", or "Flo & Eddie". This version of the Mothers debuted on Zappa's next solo album Chunga's Revenge (1970), which was followed by the double-album soundtrack to the movie 200 Motels (1971), featuring the Mothers, the Royal Philharmonic Orchestra, Ringo Starr, Theodore Bikel, and Keith Moon. Co-directed by Zappa and Tony Palmer, it was filmed in a week at Pinewood Studios outside London. Tensions between Zappa and several cast and crew members arose before and during shooting. The film deals loosely with life on the road as a rock musician. It was the first feature film photographed on videotape and transferred to 35 mm film, a process that allowed for novel visual effects. It was released to mixed reviews. The score relied extensively on orchestral music, and Zappa's dissatisfaction with the classical music world intensified when a concert, scheduled at the Royal Albert Hall after filming, was canceled because a representative of the venue found some of the lyrics obscene. In 1975, he lost a lawsuit against the Royal Albert Hall for breach of contract. After 200 Motels, the band went on tour, which resulted in two live albums, Fillmore East – June 1971 and Just Another Band from L.A.; the latter included the 20-minute track "Billy the Mountain", Zappa's satire on rock opera set in Southern California. This track was representative of the band's theatrical performances—which used songs to build sketches based on 200 Motels scenes, as well as new situations that often portrayed the band members' sexual encounters on the road. Accident, attack, and aftermath On December 4, 1971, Zappa suffered his first of two serious setbacks. While performing at Casino de Montreux in Switzerland, the Mothers' equipment was destroyed when a flare set off by an audience member started a fire that burned down the casino. Immortalized in Deep Purple's song "Smoke on the Water", the event and immediate aftermath can be heard on the bootleg album Swiss Cheese/Fire, released legally as part of Zappa's Beat the Boots II compilation. After losing $50,000 () worth of equipment and a week's break, the Mothers played at the Rainbow Theatre, London, with rented gear. During the encore, an audience member jealous because of his girlfriend's infatuation with Zappa pushed him off the stage and into the concrete-floored orchestra pit. The band thought Zappa had been killed—he had suffered serious fractures, head trauma and injuries to his back, leg, and neck, as well as a crushed larynx, which ultimately caused his voice to drop a third after healing. After the attack Zappa needed to use a wheelchair for an extended period, making touring impossible for over half a year. Upon return to the stage in September 1972, Zappa was still wearing a leg brace, had a noticeable limp and could not stand for very long while on stage. Zappa noted that one leg healed "shorter than the other" (a reference later found in the lyrics of songs "Zomby Woof" and "Dancin' Fool"), resulting in chronic back pain. Meanwhile, the Mothers were left in limbo and eventually formed the core of Flo and Eddie's band as they set out on their own. During 1971–1972 Zappa released two strongly jazz-oriented solo LPs, Waka/Jawaka and The Grand Wazoo, which were recorded during the forced layoff from concert touring, using floating line-ups of session players and Mothers alumni. Musically, the albums were akin to Hot Rats, in that they featured extended instrumental tracks with extended soloing. Zappa began touring again in late 1972. His first effort was a series of concerts in September 1972 with a 20-piece big band referred to as the Grand Wazoo. This was followed by a scaled-down version known as the Petit Wazoo that toured the U.S. for five weeks from October to December 1972. Top 10 album: Apostrophe () Zappa then formed and toured with smaller groups that variously included Ian Underwood (reeds, keyboards), Ruth Underwood (vibes, marimba), Sal Marquez (trumpet, vocals), Napoleon Murphy Brock (sax, flute and vocals), Bruce Fowler (trombone), Tom Fowler (bass), Chester Thompson (drums), Ralph Humphrey (drums), George Duke (keyboards, vocals), and Jean-Luc Ponty (violin). By 1973 the Bizarre and Straight labels were discontinued. In their place, Zappa and Cohen created DiscReet Records, also distributed by Warner. Zappa continued a high rate of production through the first half of the 1970s, including the solo album Apostrophe (') (1974), which reached a career-high No. 10 on the Billboard pop album charts helped by the No. 86 chart hit "Don't Eat The Yellow Snow". Other albums from the period are Over-Nite Sensation (1973), which contained several future concert favorites, such as "Dinah-Moe Humm" and "Montana", and the albums Roxy & Elsewhere (1974) and One Size Fits All (1975) which feature ever-changing versions of a band still called the Mothers, and are notable for the tight renditions of highly difficult jazz fusion songs in such pieces as "Inca Roads", "Echidna's Arf (Of You)" and "Be-Bop Tango (Of the Old Jazzmen's Church)". A live recording from 1974, You Can't Do That on Stage Anymore, Vol. 2 (1988), captures "the full spirit and excellence of the 1973–1975 band". Zappa released Bongo Fury (1975), which featured a live recording at the Armadillo World Headquarters in Austin from a tour the same year that reunited him with Captain Beefheart for a brief period. They later became estranged for a period of years, but were in contact at the end of Zappa's life. Business breakups and touring In 1976 Zappa produced the album Good Singin', Good Playin' for Grand Funk Railroad. Zappa's relationship with long-time manager Herb Cohen ended in May 1976. Zappa sued Cohen for skimming more than he was allocated from DiscReet Records, as well as for signing acts of which Zappa did not approve. Cohen filed a lawsuit against Zappa in return, which froze the money Zappa and Cohen had gained from an out-of-court settlement with MGM over the rights of the early Mothers of Invention recordings. It also prevented Zappa having access to any of his previously recorded material during the trials. Zappa therefore took his personal master copies of the rock-oriented Zoot Allures (1976) directly to Warner, thereby bypassing DiscReet. Following the split with Cohen, Zappa hired Bennett Glotzer as new manager. By late 1976 Zappa was upset with Warner over inadequate promotion of his recordings and he was eager to move on as soon as possible. In March 1977 Zappa delivered four albums (five full-length LPs) to Warner to complete his contract. These albums contained recordings mostly made between 1972 and 1976. Warner failed to meet contractual obligations to Zappa, but after a lengthy legal dispute they did eventually release these recordings during 1978 and 1979 in censored form. Also, in 1977 Zappa prepared a four-LP box set called Läther (pronounced "leather") and negotiated distribution with Phonogram Inc. for release on the Zappa Records label. The Läther box set was scheduled for release on Halloween 1977, but legal action from Warner forced Zappa to shelve this project. In December 1977 Zappa appeared on the Pasadena, California radio station KROQ-FM and played the entire Läther album, while encouraging listeners to make tape recordings of the broadcast. Both sets of recordings (five-LP and four-LP) have much of the same material, but each also has unique content. The albums integrate many aspects of Zappa's 1970s work: heavy rock, orchestral works, and complex jazz instrumentals, along with Zappa's distinctive guitar solos. Läther was officially released posthumously in 1996. It is still debated as to whether Zappa had conceived the material as a four-LP set from the beginning, or only later when working with Phonogram. Although Zappa eventually gained the rights to all his material created under the MGM and Warner contracts, the various lawsuits meant that for a period Zappa's only income came from touring, which he therefore did extensively in 1975–1977 with relatively small, mainly rock-oriented, bands. Drummer Terry Bozzio became a regular band member, Napoleon Murphy Brock stayed on for a while, and original Mothers of Invention bassist Roy Estrada joined. Among other musicians were bassist Patrick O'Hearn, singer-guitarist Ray White and keyboardist/violinist Eddie Jobson. In December 1976, Zappa appeared as a featured musical guest on the NBC television show Saturday Night Live. Zappa's song "I'm the Slime" was performed with a voice-over by SNL booth announcer Don Pardo, who also introduced "Peaches En Regalia" on the same airing. In 1978, Zappa served both as host and musical act on the show, and as an actor in various sketches. The performances included an impromptu musical collaboration with cast member John Belushi during the instrumental piece "The Purple Lagoon". Belushi appeared as his Samurai Futaba character playing the tenor sax with Zappa conducting. Zappa's band had a series of Christmas shows in New York City in 1976, recordings of which appear on Zappa in New York (1978) and also on the four-LP Läther project. The band included Ruth Underwood and a horn section (featuring Michael and Randy Brecker). It mixes complex instrumentals such as "The Black Page" and humorous songs like "Titties and Beer". The former composition, written originally for drum kit but later developed for larger bands, is notorious for its complexity in rhythmic structure and short, densely arranged passages. Zappa in New York also featured a song about sex criminal Michael H. Kenyon, "The Illinois Enema Bandit", in which Don Pardo provides the opening narrative. Like many songs on the album, it contained numerous sexual references, leading to many critics objecting and being offended by the content. Zappa dismissed the criticism by noting that he was a journalist reporting on life as he saw it. Predating his later fight against censorship, he remarked: "What do you make of a society that is so primitive that it clings to the belief that certain words in its language are so powerful that they could corrupt you the moment you hear them?" The remaining albums released by Warner without Zappa's approval were Studio Tan in 1978 and Sleep Dirt and Orchestral Favorites in 1979. These releases were largely overlooked in midst of the press about Zappa's legal problems. Zappa Records label Zappa released two of his most important projects in 1979. These were the best-selling album of his career, Sheik Yerbouti, and what author Kelley Lowe called the "bona fide masterpiece", Joe's Garage. The double album Sheik Yerbouti appeared in March 1979 and was the first release to appear on Zappa Records. It contained the Grammy-nominated single "Dancin' Fool", which reached No. 45 on the Billboard charts. It also contained "Jewish Princess", which received attention when a Jewish group, the Anti-Defamation League (ADL), attempted to prevent the song from receiving radio airplay due to its alleged anti-Semitic lyrics. Zappa vehemently denied any anti-Semitic sentiments, and dismissed the ADL as a "noisemaking organization that tries to apply pressure on people in order to manufacture a stereotype image of Jews that suits their idea of a good time." The album's commercial success was attributable in part to "Bobby Brown". Due to its explicit lyrics about a young man's encounter with a "dyke by the name of Freddie", the song did not get airplay in the U.S., but it topped the charts in several European countries where English is not the primary language. Joe's Garage initially had to be released in two parts. The first was a single LP Joe's Garage Act I in September 1979, followed by a double LP Joe's Garage Acts II and III in November 1979. The albums feature singer Ike Willis as lead character "Joe" in a rock opera about the danger of political systems, the suppression of freedom of speech and music—inspired in part by the 1979 Islamic Iranian revolution that had made music illegal—and about the "strange relationship Americans have with sex and sexual frankness". The first act contains the song "Catholic Girls" (a riposte to the controversies of "Jewish Princess"), and the title track, which was also released as a single. The second and third acts have extended guitar improvisations, which were recorded live, then combined with studio backing tracks. Zappa described this process as xenochrony. In this period the band included drummer Vinnie Colaiuta (with whom Zappa had a particularly strong musical rapport) Joe's Garage contains one of Zappa's most famous guitar "signature pieces", "Watermelon in Easter Hay". This work later appeared as a three-LP, or two-CD set. On December 21, 1979, Zappa's movie Baby Snakes premiered in New York. The movie's tagline was "A movie about people who do stuff that is not normal". The 2 hour and 40 minutes movie was based on footage from concerts in New York around Halloween 1977, with a band featuring keyboardist Tommy Mars and percussionist Ed Mann (who would both return on later tours) as well as guitarist Adrian Belew. It also contained several extraordinary sequences of clay animation by Bruce Bickford who had earlier provided animation sequences to Zappa for a 1974 TV special (which became available on the 1982 video The Dub Room Special). The movie did not do well in theatrical distribution, but won the Premier Grand Prix at the First International Music Festival in Paris in 1981. 1980s–1990s Zappa cut ties with Phonogram after the distributor refused to release his song "I Don't Wanna Get Drafted", which was recorded in February 1980. The single was released independently by Zappa in the United States and was picked up by CBS Records internationally. After spending much of 1980 on the road, Zappa released Tinsel Town Rebellion in 1981. It was the first release on his own Barking Pumpkin Records, and it contains songs taken from a 1979 tour, one studio track and material from the 1980 tours. The album is a mixture of complicated instrumentals and Zappa's use of sprechstimme (speaking song or voice)—a compositional technique utilized by such composers as Arnold Schoenberg and Alban Berg—showcasing some of the most accomplished bands Zappa ever had (mostly featuring drummer Vinnie Colaiuta). While some lyrics still raised controversy among critics, some of whom found them sexist, the political and sociological satire in songs like the title track and "The Blue Light" have been described as a "hilarious critique of the willingness of the American people to believe anything". The album is also notable for the presence of guitarist Steve Vai, who joined Zappa's touring band in late 1980. The same year the double album You Are What You Is was released. Most of it was recorded in Zappa's brand new Utility Muffin Research Kitchen (UMRK) studios, which were located at his house, thereby giving him complete freedom in his work. The album included one complex instrumental, "Theme from the 3rd Movement of Sinister Footwear", but mainly consisted of rock songs with Zappa's sardonic social commentary—satirical lyrics directed at teenagers, the media, and religious and political hypocrisy. "Dumb All Over" is a tirade on religion, as is "Heavenly Bank Account", wherein Zappa rails against TV evangelists such as Jerry Falwell and Pat Robertson for their purported influence on the U.S. administration as well as their use of religion as a means of raising money. Songs like "Society Pages" and "I'm a Beautiful Guy" show Zappa's dismay with the Reagan era and its "obscene pursuit of wealth and happiness". Zappa made his only music video for a song from this album - "You Are What You Is" - directed by Jerry Watson, produced by Paul Flattery. It was banned from MTV. Zappa's management relationship with Bennett Glotzer ended in 1984. From then on Gail acted as co-manager with Frank of all his business interests. In 1981, Zappa also released three instrumental albums, Shut Up 'n Play Yer Guitar, Shut Up 'N Play Yer Guitar Some More, and The Return of the Son of Shut Up 'N Play Yer Guitar, which were initially sold via mail order, but later released through CBS Records (now Sony Music Entertainment) due to popular demand. The albums focus exclusively on Frank Zappa as a guitar soloist, and the tracks are predominantly live recordings from 1979 to 1980; they highlight Zappa's improvisational skills with "beautiful performances from the backing group as well". Another guitar-only album, Guitar, was released in 1988, and a third, Trance-Fusion, which Zappa completed shortly before his death, was released in 2006. Zappa later expanded on his television appearances in a non-musical role. He was an actor or voice artist in episodes of Shelley Duvall's Faerie Tale Theatre, Miami Vice and The Ren & Stimpy Show. A voice part in The Simpsons never materialized, to creator Matt Groening's disappointment (Groening was a neighbor of Zappa and a lifelong fan). "Valley Girl" and classical performances In May 1982, Zappa released Ship Arriving Too Late to Save a Drowning Witch, which featured his biggest selling single ever, the Grammy Award-nominated song "Valley Girl" (topping out at No. 32 on the Billboard charts). In her improvised lyrics to the song, Zappa's daughter Moon satirized the patois of teenage girls from the San Fernando Valley, which popularized many "Valspeak" expressions such as "gag me with a spoon", "fer sure, fer sure", "grody to the max", and "barf out". In 1983, two different projects were released, beginning with The Man from Utopia, a rock-oriented work. The album is eclectic, featuring the vocal-led "Dangerous Kitchen" and "The Jazz Discharge Party Hats", both continuations of the sprechstimme excursions on Tinseltown Rebellion. The second album, London Symphony Orchestra, Vol. I, contained orchestral Zappa compositions conducted by Kent Nagano and performed by the London Symphony Orchestra (LSO). A second record of these sessions, London Symphony Orchestra, Vol. II was released in 1987. The material was recorded under a tight schedule with Zappa providing all funding, helped by the commercial success of "Valley Girl". Zappa was not satisfied with the LSO recordings. One reason is "Strictly Genteel", which was recorded after the trumpet section had been out for drinks on a break: the track took 40 edits to hide out-of-tune notes. Conductor Nagano, who was pleased with the experience, noted that "in fairness to the orchestra, the music is humanly very, very difficult". Some reviews noted that the recordings were the best representation of Zappa's orchestral work so far. In 1984 Zappa teamed again with Nagano and the Berkeley Symphony Orchestra for a live performance of A Zappa Affair with augmented orchestra, life-size puppets, and moving stage sets. Although critically acclaimed the work was a financial failure, and only performed twice. Zappa was invited by conference organizer Thomas Wells to be the keynote speaker at the American Society of University Composers at the Ohio State University. It was there Zappa delivered his famous "Bingo! There Goes Your Tenure" address, and had two of his orchestra pieces, "Dupree's Paradise" and "Naval Aviation in Art?" performed by the Columbus Symphony and ProMusica Chamber Orchestra of Columbus. Synclavier For the remainder of his career, much of Zappa's work was influenced by his use of the Synclavier, an early digital synthesizer, as a compositional and performance tool. According to Zappa, "With the Synclavier, any group of imaginary instruments can be invited to play the most difficult passages ... with one-millisecond accuracy—every time". Even though it essentially did away with the need for musicians, Zappa viewed the Synclavier and real-life musicians as separate. In 1984, he released four albums. Boulez Conducts Zappa: The Perfect Stranger contains orchestral works commissioned and conducted by celebrated conductor, composer and pianist Pierre Boulez (who was listed as an influence on Freak Out!), and performed by his Ensemble InterContemporain. These were juxtaposed with premiere Synclavier pieces. Again, Zappa was not satisfied with the performances of his orchestral works, regarding them as under-rehearsed, but in the album liner notes he respectfully thanks Boulez's demands for precision. The Synclavier pieces stood in contrast to the orchestral works, as the sounds were electronically generated and not, as became possible shortly thereafter, sampled. The album Thing-Fish was an ambitious three-record set in the style of a Broadway play dealing with a dystopian "what-if" scenario involving feminism, homosexuality, manufacturing and distribution of the AIDS virus, and a eugenics program conducted by the United States government. New vocals were combined with previously released tracks and new Synclavier music; "the work is an extraordinary example of bricolage". Francesco Zappa, a Synclavier rendition of works by 18th-century composer Francesco Zappa, was also released in 1984. Merchandising Zappa’s mail-order merchandise business Barfko-Swill was run by Gerry Fialka, who also worked for Zappa as archivist and production assistant from 1983 to 1993 and answered the phone for Zappa’s Barking Pumpkin Records hotline. Fialka appears giving a tour of Barfko-Swill in the 1987 VHS release (but not the original 1979 film release) of Zappa's film Baby Snakes. He is credited on-screen as "GERALD FIALKA Cool Guy Who Wraps Stuff So It Doesn't Break". A short clip of this tour is also included in the 2020 documentary film Zappa. Digital medium and last tour Around 1986, Zappa undertook a comprehensive re-release program of his earlier vinyl recordings. He personally oversaw the remastering of all his 1960s, 1970s and early 1980s albums for the new digital compact disc medium. Certain aspects of these re-issues were criticized by some fans as being unfaithful to the original recordings. Nearly twenty years before the advent of online music stores, Zappa had proposed to replace "phonographic record merchandising" of music by "direct digital-to-digital transfer" through phone or cable TV (with royalty payments and consumer billing automatically built into the accompanying software). In 1989, Zappa considered his idea a "miserable flop". The album Jazz from Hell, released in 1986, earned Zappa his first Grammy Award in 1988 for Best Rock Instrumental Performance. Except for one live guitar solo ("St. Etienne"), the album exclusively featured compositions brought to life by the Synclavier. Zappa's last tour in a rock and jazz band format took place in 1988 with a 12-piece group which had a repertoire of over 100 (mostly Zappa) compositions, but which split under acrimonious circumstances before the tour was completed. The tour was documented on the albums Broadway the Hard Way (new material featuring songs with strong political emphasis); The Best Band You Never Heard in Your Life (Zappa "standards" and an eclectic collection of cover tunes, ranging from Maurice Ravel's Boléro to Led Zeppelin's Stairway to Heaven to The Beatles' I Am The Walrus); and also, Make a Jazz Noise Here. Parts are also found on You Can't Do That on Stage Anymore, volumes 4 and 6. Recordings from this tour also appear on the 2006 album Trance-Fusion. Health deterioration In 1990, Zappa was diagnosed with terminal prostate cancer. The disease had been developing unnoticed for years and was considered inoperable. After the diagnosis, Zappa devoted most of his energy to modern orchestral and Synclavier works. Shortly before his death in 1993 he completed Civilization Phaze III, a major Synclavier work which he had begun in the 1980s. In 1991, Zappa was chosen to be one of four featured composers at the Frankfurt Festival in 1992 (the others were John Cage, Karlheinz Stockhausen, and Alexander Knaifel). Zappa was approached by the German chamber ensemble Ensemble Modern which was interested in playing his music for the event. Although ill, he invited them to Los Angeles for rehearsals of new compositions and new arrangements of older material. Zappa also got along with the musicians, and the concerts in Germany and Austria were set up for later in the year. Zappa also performed in 1991 in Prague, claiming that "was the first time that he had a reason to play his guitar in 3 years", and that that moment was just "the beginning of a new country", and asked the public to "try to keep your country unique, do not change it into something else". In September 1992, the concerts went ahead as scheduled but Zappa could only appear at two in Frankfurt due to illness. At the first concert, he conducted the opening "Overture", and the final "G-Spot Tornado" as well as the theatrical "Food Gathering in Post-Industrial America, 1992" and "Welcome to the United States" (the remainder of the program was conducted by the ensemble's regular conductor Peter Rundel). Zappa received a 20-minute ovation. G-Spot Tornado was performed with Canadian dancer Louise Lecavalier. It was Zappa's last professional public appearance as the cancer was spreading to such an extent that he was in too much pain to enjoy an event that he otherwise found "exhilarating". Recordings from the concerts appeared on The Yellow Shark (1993), Zappa's last release during his lifetime, and some material from studio rehearsals appeared on the posthumous Everything Is Healing Nicely (1999). Death Zappa died from prostate cancer on December 4, 1993, 17 days before his 53rd birthday at his home with his wife and children by his side. At a private ceremony the following day, his body was buried in a grave at the Westwood Village Memorial Park Cemetery, in Los Angeles. The grave is unmarked. On December 6, his family publicly announced that "Composer Frank Zappa left for his final tour just before 6:00 pm on Saturday". Musical style and development Genres The general phases of Zappa's music have been variously categorized under experimental rock, jazz, classical, avant-pop, experimental pop, comedy rock, doo-wop, jazz fusion, progressive rock, proto-prog, avant-jazz, and psychedelic rock. Influences Zappa grew up influenced by avant-garde composers such as Edgard Varèse, Igor Stravinsky, and Anton Webern; 1950s blues artists Clarence "Gatemouth" Brown, Guitar Slim, Howlin' Wolf, Johnny "Guitar" Watson, and B.B. King; Egyptian composer Halim El-Dabh; R&B and doo-wop groups (particularly local pachuco groups); and modern jazz. His own heterogeneous ethnic background, and the diverse social and cultural mix in and around greater Los Angeles, were crucial in the formation of Zappa as a practitioner of underground music and of his later distrustful and openly critical attitude towards "mainstream" social, political and musical movements. He frequently lampooned musical fads like psychedelia, rock opera and disco. Television also exerted a strong influence, as demonstrated by quotations from show themes and advertising jingles found in his later works. In his book The Real Frank Zappa Book, Frank credited composer Spike Jones for Zappa's frequent use of funny sound effects, mouth noises, and humorous percussion interjections. After explaining his ideas on this, he said "I owe this part of my musical existence to Spike Jones." Project/Object Zappa's albums make extensive use of segued tracks, breaklessly joining the elements of his albums. His total output is unified by a conceptual continuity he termed "Project/Object", with numerous musical phrases, ideas, and characters reappearing across his albums. He also called it a "conceptual continuity", meaning that any project or album was part of a larger project. Everything was connected, and musical themes and lyrics reappeared in different form on later albums. Conceptual continuity clues are found throughout Zappa's entire œuvre. Techniques Guitar playing Zappa is widely recognized as one of the most significant electric guitar soloists. In a 1983 issue of Guitar World, John Swenson declared: "the fact of the matter is that [Zappa] is one of the greatest guitarists we have and is sorely unappreciated as such." His idiosyncratic style developed gradually and was mature by the early 1980s, by which time his live performances featured lengthy improvised solos during many songs. A November 2016 feature by the editors of Guitar Player magazine wrote: "Brimming with sophisticated motifs and convoluted rhythms, Zappa's extended excursions are more akin to symphonies than they are to guitar solos." The symphonic comparison stems from his habit of introducing melodic themes that, like a symphony's main melodies, were repeated with variations throughout his solos. He was further described as using a wide variety of scales and modes, enlivened by "unusual rhythmic combinations". His left hand was capable of smooth legato technique, while Zappa's right was "one of the fastest pick hands in the business." In 2016, Dweezil Zappa explained a distinctive element of his father's guitar improvisation technique was relying heavily on upstrokes much more than many other guitarists, who are more likely to use downstrokes with their picking. His song "Outside Now" from Joe's Garage poked fun at the negative reception of Zappa's guitar technique by those more commercially minded, as the song's narrator lives in a world where music is outlawed and he imagines "imaginary guitar notes that would irritate/An executive kind of guy", lyrics that are followed by one of Zappa's characteristically quirky solos in 11/8 time. Zappa transcriptionist Kasper Sloots wrote, "Zappa's guitar solos aren't meant to show off technically (Zappa hasn't claimed to be a big virtuoso on the instrument), but for the pleasure it gives trying to build a composition right in front of an audience without knowing what the outcome will be." Zappa's guitar style was not without its critics. English guitarist and bandleader John McLaughlin, whose band Mahavishnu Orchestra toured with the Mothers of Invention in 1973, opined that Zappa was "very interesting as a human being and a very interesting composer" and that he "was a very good musician but he was a dictator in his band," and that he "was taking very long guitar solos [when performing live]– 10–15 minute guitar solos and really he should have taken two or three minute guitar solos, because they were a little bit boring." In 2000, he was ranked number 36 on VH1's 100 Greatest Artists of Hard Rock. In 2004, Rolling Stone magazine ranked him at number 71 on its list of the "100 Greatest Artists of All Time", and in 2011 at number 22 on its list of the "100 Greatest Guitarists of All Time". Tape manipulation In New York, Zappa increasingly used tape editing as a compositional tool. A prime example is found on the double album Uncle Meat (1969), where the track "King Kong" is edited from various studio and live performances. Zappa had begun regularly recording concerts, and because of his insistence on precise tuning and timing, he was able to augment his studio productions with excerpts from live shows, and vice versa. Later, he combined recordings of different compositions into new pieces, irrespective of the tempo or meter of the sources. He dubbed this process "xenochrony" (strange synchronizations)—reflecting the Greek "xeno" (alien or strange) and "chronos" (time). Personal life Zappa was married to Kathryn J. "Kay" Sherman from 1960 to 1963. In 1967, he married Adelaide Gail Sloatman. He and his second wife had four children: Moon, Dweezil, Ahmet, and Diva. Following Zappa's death, his widow Gail created the Zappa Family Trust, which owns the rights to Zappa's music and some other creative output: more than 60 albums were released during Zappa's lifetime and 40 posthumously. Upon Gail's death in October 2015, the Zappa children received shares of the trust; Ahmet and Diva received 30% each, Moon and Dweezil received 20% each. Beliefs and politics Drugs Zappa stated, "Drugs do not become a problem until the person who uses the drugs does something to you, or does something that would affect your life that you don't want to have happen to you, like an airline pilot who crashes because he was full of drugs." Zappa was a heavy tobacco smoker for most of his life, and strongly critical of anti-tobacco campaigns. While he disapproved of drug use, he criticized the War on Drugs, comparing it to alcohol prohibition, and stated that the United States Treasury would benefit from the decriminalization and regulation of drugs. Describing his philosophical views, Zappa stated, "I believe that people have a right to decide their own destinies; people own themselves. I also believe that, in a democracy, government exists because (and only so long as) individual citizens give it a 'temporary license to exist'—in exchange for a promise that it will behave itself. In a democracy, you own the government—it doesn't own you." Government and religion In a 1991 interview, Zappa reported that he was a registered Democrat but added "that might not last long—I'm going to shred that". Describing his political views, Zappa categorized himself as a "practical conservative". He favored limited government and low taxes; he also stated that he approved of national defense, social security, and other federal programs, but only if recipients of such programs are willing and able to pay for them. He favored capitalism, entrepreneurship, and independent business, stating that musicians could make more from owning their own businesses than from collecting royalties. He opposed communism, stating, "A system that doesn't allow ownership ... has—to put it mildly—a fatal design flaw." He had always encouraged his fans to register to vote on album covers, and throughout 1988 he had registration booths at his concerts. He even considered running for president of the United States as an independent. Zappa was an atheist. He recalled his parents being "pretty religious" and trying to make him go to Catholic school despite his resentment. He felt disgust towards organized religion (Christianity in particular) because he believed that it promoted ignorance and anti-intellectualism. He held the view that the Garden of Eden story shows that the essence of Christianity is to oppose gaining knowledge. Some of his songs, concert performances, interviews and public debates in the 1980s criticized and derided Republicans and their policies, President Ronald Reagan, the Strategic Defense Initiative (SDI), televangelism, and the Christian Right, and warned that the United States government was in danger of becoming a "fascist theocracy". In early 1990, Zappa visited Czechoslovakia at the request of President Václav Havel. Havel designated him as Czechoslovakia's "Special Ambassador to the West on Trade, Culture and Tourism". Havel was a lifelong fan of Zappa, who had great influence in the avant-garde and underground scene in Central Europe in the 1970s and 1980s (a Czech rock group that was imprisoned in 1976 took its name from Zappa's 1968 song "Plastic People"). Under pressure from Secretary of State James Baker, Zappa's posting was withdrawn. Havel made Zappa an unofficial cultural attaché instead. Zappa planned to develop an international consulting enterprise to facilitate trade between the former Eastern Bloc and Western businesses. Anti-censorship Zappa expressed opinions on censorship when he appeared on CNN's Crossfire TV series and debated issues with Washington Times commentator John Lofton in 1986. On September 19, 1985, Zappa testified before the United States Senate Commerce, Technology, and Transportation committee, attacking the Parents Music Resource Center or PMRC, a music organization co-founded by Tipper Gore, wife of then-senator Al Gore. The PMRC consisted of many wives of politicians, including the wives of five members of the committee, and was founded to address the issue of song lyrics with sexual or satanic content. During Zappa's testimony, he stated that there was a clear conflict of interest between the PMRC due to the relations of its founders to the politicians who were then trying to pass what he referred to as the "Blank Tape Tax." Kandy Stroud, a spokeswoman for the PMRC, announced that Senator Gore (who co-founded the committee) was a co-sponsor of that legislation. Zappa suggested that record labels were trying to get the bill passed quickly through committees, one of which was chaired by Senator Strom Thurmond, who was also affiliated with the PMRC. Zappa further pointed out that this committee was being used as a distraction from that bill being passed, which would lead only to the benefit of a select few in the music industry. Zappa saw their activities as on a path towards censorship and called their proposal for voluntary labelling of records with explicit content "extortion" of the music industry. In his prepared statement, he said: The PMRC proposal is an ill-conceived piece of nonsense which fails to deliver any real benefits to children, infringes the civil liberties of people who are not children, and promises to keep the courts busy for years dealing with the interpretational and enforcemental problems inherent in the proposal's design. It is my understanding that, in law, First Amendment issues are decided with a preference for the least restrictive alternative. In this context, the PMRC's demands are the equivalent of treating dandruff by decapitation. ... The establishment of a rating system, voluntary or otherwise, opens the door to an endless parade of moral quality control programs based on things certain Christians do not like. What if the next bunch of Washington wives demands a large yellow "J" on all material written or performed by Jews, in order to save helpless children from exposure to concealed Zionist doctrine? Zappa set excerpts from the PMRC hearings to Synclavier music in his composition "Porn Wars" on the 1985 album Frank Zappa Meets the Mothers of Prevention, and the full recording was released in 2010 as Congress Shall Make No Law... Zappa is heard interacting with Senators Fritz Hollings, Slade Gorton and Al Gore. Legacy Zappa had a controversial critical standing during his lifetime. As Geoffrey Himes noted in 1993 after the artist's death, Zappa was hailed as a genius by conductor Kent Nagano and nominated by Czechoslovakian President Václav Havel to the country's cultural ambassadorship, but he was in his lifetime rejected twice for admission into the Rock and Roll Hall of Fame and been found by critics to lack emotional depth. In Christgau's Record Guide: Rock Albums of the Seventies (1981), Robert Christgau dismissed Zappa's music as "sexist adolescent drivel ... with meters and voicings and key changes that are as hard to play as they are easy to forget." According to Himes: Acclaim and honors The Rolling Stone Album Guide (2004) writes: "Frank Zappa dabbled in virtually all kinds of music—and, whether guised as a satirical rocker, jazz-rock fusionist, guitar virtuoso, electronics wizard, or orchestral innovator, his eccentric genius was undeniable." Even though his work drew inspiration from many different genres, Zappa was seen as establishing a coherent and personal expression. In 1971, biographer David Walley noted that "The whole structure of his music is unified, not neatly divided by dates or time sequences and it is all building into a composite". On commenting on Zappa's music, politics and philosophy, Barry Miles noted in 2004 that they cannot be separated: "It was all one; all part of his 'conceptual continuity'." Guitar Player devoted a special issue to Zappa in 1992, and asked on the cover "Is FZ America's Best Kept Musical Secret?" Editor Don Menn remarked that the issue was about "The most important composer to come out of modern popular music". Among those contributing to the issue was composer and musicologist Nicolas Slonimsky, who conducted premiere performances of works of Ives and Varèse in the 1930s. He became friends with Zappa in the 1980s, and said, "I admire everything Frank does, because he practically created the new musical millennium. He does beautiful, beautiful work ... It has been my luck to have lived to see the emergence of this totally new type of music." Conductor Kent Nagano remarked in the same issue that "Frank is a genius. That's a word I don't use often ... In Frank's case it is not too strong ... He is extremely literate musically. I'm not sure if the general public knows that." Pierre Boulez told Musician magazine's posthumous Zappa tribute article that Zappa "was an exceptional figure because he was part of the worlds of rock and classical music and that both types of his work would survive." In 1994, jazz magazine DownBeats critics poll placed Zappa in its Hall of Fame. Zappa was posthumously inducted into the Rock and Roll Hall of Fame in 1995. There, it was written that "Frank Zappa was rock and roll's sharpest musical mind and most astute social critic. He was the most prolific composer of his age, and he bridged genres—rock, jazz, classical, avant-garde and even novelty music—with masterful ease". He was ranked number 36 on VH1's 100 Greatest Artists of Hard Rock in 2000. In 2005, the U.S. National Recording Preservation Board included We're Only in It for the Money in the National Recording Registry as "Frank Zappa's inventive and iconoclastic album presents a unique political stance, both anti-conservative and anti-counterculture, and features a scathing satire on hippiedom and America's reactions to it". The same year, Rolling Stone magazine ranked him at No. 71 on its list of the 100 Greatest Artists of All Time. In 2011, he was ranked at No. 22 on the list of the 100 Greatest Guitarists of All Time by the same magazine. In 2016, Guitar World magazine placed Zappa atop of its list "15 of the best progressive rock guitarists through the years." The street of Partinico where his father lived at number 13, Via Zammatà, has been renamed to Via Frank Zappa. Since his death, several musicians have been considered by critics as filling the artistic niche left behind by Zappa, in view of their prolific output, eclecticism and other qualities, including Devin Townsend, Mike Patton and Omar Rodríguez-López. Grammy Awards In the course of his career, Zappa was nominated for nine competitive Grammy Awards, which resulted in two wins (one posthumous). In 1998, he received the Grammy Lifetime Achievement Award. |- |rowspan="2"| 1980 || "Rat Tomago" || Best Rock Instrumental Performance || |- | "Dancin' Fool" || Best Male Rock Vocal Performance || |- | 1983 || "Valley Girl" || Best Rock Performance by a Duo or Group with Vocal || |- | 1985 || The Perfect Stranger || Best New Classical Composition || |- |rowspan="2"| 1988 || "Jazz from Hell" || Best Instrumental Composition || |- | Jazz from Hell ||rowspan="2"| Best Rock Instrumental Performance (Orchestra, Group or Soloist) || |- | 1989 || Guitar || |- | 1990 || Broadway the Hard Way || Best Musical Cast Show Album || |- | 1996 || Civilization Phaze III || Best Recording Package – Boxed || |- | 1998 || Frank Zappa || Lifetime Achievement Award || Artists influenced by Zappa Many musicians, bands and orchestras from diverse genres have been influenced by Zappa's music. Rock artists such as The Plastic People of the Universe, Alice Cooper, Larry LaLonde of Primus, Fee Waybill of the Tubes all cite Zappa's influence, as do progressive, alternative, electronic and avant-garde/experimental rock artists like Can, Pere Ubu, Yes, Soft Machine, Henry Cow, Faust, Devo, Kraftwerk, Trey Anastasio and Jon Fishman of Phish, Jeff Buckley, John Frusciante, Steven Wilson, and The Aristocrats. Paul McCartney regarded Sgt. Pepper's Lonely Hearts Club Band as the Beatles' Freak Out!. Jimi Hendrix and heavy rock and metal acts like Black Sabbath, Simon Phillips, Mike Portnoy, Warren DeMartini, Alex Skolnick, Steve Vai, Strapping Young Lad, System of a Down, and Clawfinger have acknowledged Zappa as inspiration. On the classical music scene, Tomas Ulrich, Meridian Arts Ensemble, Ensemble Ambrosius and the Fireworks Ensemble regularly perform Zappa's compositions and quote his influence. Contemporary jazz musicians and composers Bobby Sanabria, Bill Frisell and John Zorn are inspired by Zappa, as is funk legend George Clinton. Other artists affected by Zappa include ambient composer Brian Eno, new age pianist George Winston, electronic composer Bob Gluck, parodist artist and disk jockey Dr. Demento, parodist and novelty composer "Weird Al" Yankovic, industrial music pioneer Genesis P-Orridge, singer Cree Summer, noise music artist Masami Akita of Merzbow, and Chilean composer Cristián Crisosto from Fulano and Mediabanda. References in arts and sciences Scientists from various fields have honored Zappa by naming new discoveries after him. In 1967, paleontologist Leo P. Plas, Jr., identified an extinct mollusc in Nevada and named it Amaurotoma zappa with the motivation that, "The specific name, zappa, honors Frank Zappa". In the 1980s, biologist Ed Murdy named a genus of gobiid fishes of New Guinea Zappa, with a species named Zappa confluentus. Biologist Ferdinando Boero named a Californian jellyfish Phialella zappai (1987), noting that he had "pleasure in naming this species after the modern music composer". Belgian biologists Bosmans and Bosselaers discovered in the early 1980s a Cameroonese spider, which they in 1994 named Pachygnatha zappa because "the ventral side of the abdomen of the female of this species strikingly resembles the artist's legendary moustache". A gene of the bacterium Proteus mirabilis that causes urinary tract infections was in 1995 named zapA by three biologists from Maryland. In their scientific article, they "especially thank the late Frank Zappa for inspiration and assistance with genetic nomenclature". Repeating regions of the genome of the human tumor virus KSHV were named frnk, vnct and zppa in 1996 by Yuan Chang and Patrick S. Moore who discovered the virus. Also, a 143 base pair repeat sequence occurring at two positions was named waka/jwka. In the late 1990s, American paleontologists Marc Salak and Halard L. Lescinsky discovered a metazoan fossil, and named it Spygori zappania to honor "the late Frank Zappa ... whose mission paralleled that of the earliest paleontologists: to challenge conventional and traditional beliefs when such beliefs lacked roots in logic and reason". In 1994, lobbying efforts initiated by psychiatrist John Scialli led the International Astronomical Union's Minor Planet Center to name an asteroid in Zappa's honor: 3834 Zappafrank. The asteroid was discovered in 1980 by Czechoslovakian astronomer Ladislav Brožek, and the citation for its naming says that "Zappa was an eclectic, self-trained artist and composer ... Before 1989 he was regarded as a symbol of democracy and freedom by many people in Czechoslovakia". In 1995, a bust of Zappa by sculptor Konstantinas Bogdanas was installed in Vilnius, the Lithuanian capital . The choice of Zappa was explained as "a symbol that would mark the end of communism, but at the same time express that it wasn't always doom and gloom." A replica was offered to the city of Baltimore in 2008, and on September 19, 2010 — the twenty-fifth anniversary of Zappa's testimony to the U.S. Senate — a ceremony dedicating the replica was held, and the bust was unveiled at a library in the city. In 2002, a bronze bust was installed in German city Bad Doberan, location of the Zappanale since 1990, an annual music festival celebrating Zappa. At the initiative of musicians community ORWOhaus, the city of Berlin named a street in the Marzahn district "Frank-Zappa-Straße" in 2007. The same year, Baltimore mayor Sheila Dixon proclaimed August 9 as the city's official "Frank Zappa Day" citing Zappa's musical accomplishments as well as his defense of the First Amendment to the United States Constitution. Zappa documentary The biographical documentary Zappa, directed by Alex Winter and released on November 27, 2020, includes previously unreleased footage from Zappa's personal vault, to which he was granted access by the Zappa Family Trust. Discography During his lifetime, Zappa released 62 albums. Since 1994, the Zappa Family Trust has released 57 posthumous albums, making a total of 119 albums. The current distributor of Zappa's recorded output is Universal Music Enterprises. See also List of performers on Frank Zappa records Frank Zappa in popular culture Notes References Bibliography External links 1940 births 1993 deaths 20th-century American guitarists 20th-century American male actors 20th-century American singers American classical musicians American activists American anti-communists American anti-fascists American atheists American comedy musicians American male composers American music arrangers American experimental filmmakers American experimental guitarists American experimental musicians American humanists American jazz guitarists American male voice actors American multi-instrumentalists Record producers from Maryland American rock guitarists American male guitarists American rock singers American electronic musicians American avant-garde musicians American people of Arab descent American people of Italian descent American people of French descent American people of Greek descent American satirists American surrealist artists Angel Records artists Surrealist filmmakers Antelope Valley High School alumni Articles containing video clips Avant-garde guitarists Avant-pop musicians Burials at Westwood Village Memorial Park Cemetery California Democrats Captain Beefheart Censorship in the arts American contemporary classical composers Contemporary classical music performers Copywriters Critics of the Catholic Church Deaths from cancer in California Deaths from prostate cancer Deaths from kidney failure Advocates of unschooling and homeschooling EMI Records artists Experimental pop musicians Experimental rock musicians Free speech activists Grammy Award winners Grammy Lifetime Achievement Award winners Humor in classical music Lead guitarists Maryland Democrats Musicians from Baltimore People from Echo Park, Los Angeles People from Edgewood, Maryland People from Ontario, California Progressive rock guitarists Proto-prog musicians Rykodisc artists Singers from Los Angeles The Mothers of Invention members Verve Records artists Warner Records artists Guitarists from Los Angeles Guitarists from Maryland 20th-century classical composers Singer-songwriters from Maryland Writers from Los Angeles 20th-century American composers Parody musicians Freak scene Freak artists Jazz musicians from Maryland American male jazz musicians American libertarians People from Lancaster, California American male singer-songwriters Zappa family 20th-century American male singers People from Laurel Canyon, Los Angeles Jazz musicians from California Singer-songwriters from California Surrealist groups
false
[ "George Edward Sharpe (6 November 1908 – 20 November 1985) was a Canadian politician serving as an alderman and the 36th Mayor of Winnipeg.\n\nHe became a Winnipeg alderman in 1946 and served in that role until his election as Mayor for 1955 and 1956.\n\nSharpe's significant accomplishment as Mayor was the elimination of the city's streetcar service in September 1955, in the belief that \"another big step has been taken in the progress of our city.\"\n\nReferences\n\n1908 births\n1985 deaths\nMayors of Winnipeg", "The UEFA Cup Winners' Cup (CWC) was an annual association football cup competition organized by UEFA since 1960. Prior to 1994 the tournament was officially called the European Cup Winners' Cup. The competition was a straight knockout competition open only to the cup winner club of each country, or the losing finalist, if the winner managed a double. After the establishment of the UEFA Champions League (formerly called the European Champion Clubs' Cup) in the early 1990s, the standing and prestige of the Cup Winners' Cup began to decline. With the expansion of the Champions League in 1997 to allow more than one team from the highest ranked member associations to enter, the CWC began to look noticeably inferior. By the late 1990s, the CWC had come to be seen as a second-rate competition with only one or two big name teams available to enter each year and the interest in the tournament from both major clubs and the public dropped. Finally, with the further expansion of the UEFA Champions League to include as many as three or four teams from the top footballing nations, the decision was taken to abolish the competition after the end of the 1998–99 tournament, which was won by Lazio.\n\nAll-time top scorers\n\nTop scorers by season\n\nThe top scorer award is for the player who amassed the most goals in the tournament.\n\nBy player\n\n * Two or more players were equal top scorers.\n List is ordered by date of accomplishment.\n\nBy club\n\n * Two or more players were equal top scorers.\n List is ordered by date of accomplishment.\n\nBy country\n\n * Two or more players were equal top scorers.\n List is ordered by date of accomplishment.\n\nNotes\n\nReferences\n\ntop scorers\n3" ]
[ "Mihail Sadoveanu", "1910s and World War I" ]
C_f789d8273c5b43b2a57524472ce50d02_0
what happened in 1910's?
1
What happened to Mihail Sadoveanu in the 1910's?
Mihail Sadoveanu
Sadoveanu returned to his administrative job in 1907, the year of the Peasants' Revolt. Kept in office by the National Liberal cabinet of Ion I. C. Bratianu, he served under the reform-minded Education Minister Spiru Haret. Inspired by the bloody outcome of the Revolt, as well as by Haret's moves to educate the peasantry, Sadoveanu reportedly drew suspicion from the Police when he published self-help guides aimed at industrious ploughmen, a brand of social activism which even resulted in a formal inquiry. Mihail Sadoveanu became a professional writer in 1908-1909, after joining the Romanian Writers' Society, created in the previous year by poets Cincinat Pavelescu and Dimitrie Anghel, and becoming its President in September of that year. The same year, he, Iosif, and Anghel, together with author Emil Garleanu, set up Cumpana, a monthly directed against both Ovid Densusianu's eclecticism and the Junimist school (the magazine was no longer in print by 1910). At the time, he became a noted presence among the group of intellectuals meeting in Bucharest's Kubler Coffeehouse. In 1910, he was also appointed head of the National Theater Iasi, a position which he filled until 1919. That year, he translated from the French one of Hippolyte Taine's studies on the genesis of artworks. He resigned his office within the Writers' Society in November 1911, being replaced by Garleanu, but continued to partake in its administration as a member of its leadership committee and a censor. He was a leading presence at Minerva newspaper, alongside Anghel and critic Dumitru Karnabatt, and also published in the Transylvanian traditionalist journal, Luceafarul. Sadoveanu was again called under arms during the Second Balkan War of 1913, when Romania confronted Bulgaria. Having reached the rank of Lieutenant, he was stationed in Falticeni with the 15th Infantry Regiment, after which he spent a short period on the front. He returned to literary life. Becoming good friends with poet and humorist George Topirceanu, he accompanied him and other writers on cultural tours during 1914 and 1915. The series of writings he published at the time includes the 1915 Neamul Soimarestilor. In 1916-1917, as Romania entered World War I and was invaded by the Central Powers, Sadoveanu stayed in Moldavia, the only part of Romania's territory still under the state's authority (see Romanian Campaign). The writer oscillated between the Germanophilia of his Viata Romaneasca friends, the stated belief that war was misery and the welcoming of Romania's commitment to the Entente Powers. At the time, he was reelected President of the Writers' Society, a provisional mandate which ended in 1918, when Romania signed the peace with the Central Powers, and, as Army reservist, edited the Entente's regional propaganda outlet, Romania. He was joined by Topirceanu, who had just been released from a POW camp in Bulgaria, and with whom he founded the magazine Insemnari Literare. Sadoveanu subsequently settled in the Iasi neighborhood of Copou, purchasing and redecorating the villa known locally as Casa cu turn ("The House with a Tower"). In the 19th century, it had been the residence of politician Mihail Kogalniceanu, and, during the war, hosted composer George Enescu. During that period, he collaborated with leftist intellectual Vasile Mortun and, together with him and Arthur Gorovei, founded and edited the magazine Ravasul Poporului. CANNOTANSWER
In 1910, he was also appointed head of the National Theater Iasi, a position which he filled until 1919.
Mihail Sadoveanu (; occasionally referred to as Mihai Sadoveanu; November 5, 1880 – October 19, 1961) was a Romanian novelist, short story writer, journalist and political figure, who twice served as acting head of state for the communist republic (1947–1948 and 1958). One of the most prolific Romanian-language writers, he is remembered mostly for his historical and adventure novels, as well as for his nature writing. An author whose career spanned five decades, Sadoveanu was an early associate of the traditionalist magazine Sămănătorul, before becoming known as a Realist writer and an adherent to the Poporanist current represented by Viața Românească journal. His books, critically acclaimed for their vision of age-old solitude and natural abundance, are generally set in the historical region of Moldavia, building on themes from Romania's medieval and early modern history. Among them are Neamul Șoimăreștilor ("The Șoimărești Family"), Frații Jderi ("The Jderi Brothers") and Zodia Cancerului ("Under the Sign of the Crab"). With Venea o moară pe Siret... ("A Mill Was Floating down the Siret..."), Baltagul ("The Hatchet") and some other works of fiction, Sadoveanu extends his fresco to contemporary history and adapts his style to the psychological novel, Naturalism and Social realism. A traditionalist figure whose perspective on life was a combination of nationalism and Humanism, Sadoveanu moved between right- and left-wing political forces throughout the interwar period, while serving terms in Parliament. Rallying with People's Party, the National Agrarian Party, and the National Liberal Party-Brătianu, he was editor of the leftist newspapers Adevărul and Dimineața, and was the target of a violent far right press campaign. After World War II, Sadoveanu became a political associate of the Romanian Communist Party. He wrote in favor of the Soviet Union and Stalinism, joined the Society for Friendship with the Soviet Union and adopted Socialist realism. Many of his texts and speeches, including the political novel Mitrea Cocor and the famous slogan Lumina vine de la Răsărit ("The Light Arises in the East"), are also viewed as propaganda in favor of communization. A founding member of the Romanian Writers' Society and later President of the Romanian Writers' Union, Sadoveanu was also a member of the Romanian Academy since 1921 and a recipient of the Lenin Peace Prize for 1961. He was also Grand Master of the Romanian Freemasonry during the 1930s. The father of Profira and Paul-Mihu Sadoveanu, who also pursued careers as writers, he was the brother-in-law of literary critic Izabela Sadoveanu-Evan. Biography Early years Sadoveanu was born in Pașcani, in western Moldavia. His father's family hailed from the southwestern part of the Old Kingdom, in Oltenia. Their place of origin, Sadova, provided their chosen surname (lit. "from Sadova"), which was adopted by the family only in 1891. Mihail's father was the lawyer Alexandru Sadoveanu (d. 1921), whom literary critic George Călinescu described as "a bearded and well-to-do man"; according to the writer's own notes, Alexandru was unhappy in marriage, and his progressive isolation from public life impacted on the entire family. Mihail's mother, Profira née Ursachi (or Ursaki; d. 1895), hailed from a line of Moldavian shepherds, all of whom, as the writer recalled, had been illiterate. Literary historian Tudor Vianu believes this contrast of regional and social identities played a part in shaping the author, opening him up to a "Romanian universality", but notes that, throughout his career, Sadoveanu was especially connected with his Moldavian roots. Mihail had a brother, also named Alexandru, whose wife was the Swiss-educated literary critic Izabela Morțun (later known as Sadoveanu-Evan, she was the cousin of socialist activist Vasile Morțun). Another one of his brothers, Vasile Sadoveanu, was an agricultural engineer. Beginning in 1887, Sadoveanu attended primary school in Pașcani. His favorite teacher, a Mr. Busuioc, later served as inspiration for one of his best-known short stories, Domnu Trandafir ("Master Trandafir"). While away from school, young Sadoveanu used much of his spare time exploring his native region on foot, hunting, fishing, or just contemplating nature. He was also spending his vacations in his mother's native Verșeni. During his journeys, Sadoveanu visited peasants, and his impression of the way in which they were relating to authority is credited by critics with having shaped his perspective on society. Shortly after this episode, the young Sadoveanu left to complete his secondary studies in Fălticeni and at the National High School in Iași. While in Fălticeni, he was in the same class as future authors Eugen Lovinescu and I. Dragoslav, but, having lost interest in schoolwork, he failed to get his remove, before eventually graduating top of his class. First literary attempts, marriage and family In 1896, when he was aged sixteen, Sadoveanu gave thought to writing a monograph on Moldavian Prince Stephen the Great, but his first literary attempts date from the following year. It was in 1897 that a sketch story, titled Domnișoara M din Fălticeni ("Miss M from Fălticeni") and signed Mihai din Pașcani ("Mihai from Pașcani"), was successfully submitted for publishing to the Bucharest-based satirical magazine Dracu. He started writing for Ovid Densusianu's journal Vieața Nouă in 1898. His contributions, featured alongside those of Gala Galaction, N. D. Cocea, and Tudor Arghezi, include another sketch story and a lyric poem. Sadoveanu was however dissatisfied with Densusianu's agenda, and critical of the entire Romanian Symbolist movement for which the review spoke. He ultimately began writing pieces for non-Symbolist magazines such as Opinia and Pagini Literare. In parallel, he founded and printed by hand a short-lived journal, known to researches as either Aurora or Lumea. Sadoveanu left for Bucharest in 1900, intending to study Law at the University's Faculty of Law, but withdrew soon after, deciding to dedicate himself to literature. He began frequenting the bohemian society in the capital, but, following a sudden change in outlook, abandoned poetry and focused his work entirely on Realist prose. In 1901, Sadoveanu married Ecaterina Bâlu, with whom he settled in Fălticeni, where he began work on his first novellas and decided to make his living as a professional writer. His first draft for a novel, Frații Potcoavă ("The Potcoavă Brothers"), came out in 1902, when fragments were published by Pagini Alese magazine under the pseudonym M. S. Cobuz. The following year, Sadoveanu was drafted into the Romanian Land Forces, stationed as a guard near Târgu Ocna, and inspired by the experience to write some of his first social criticism narratives. After that time, he spent much of his home in the country, where he raised a large family. Initially, the Sadoveanus lived in a house previously owned by celebrated Moldavian raconteur Ion Creangă, before they commissioned a new building, famed for its surrounding Grădina Liniștii ("Garden of Quietude"). He was the father of eleven, among whom were three daughters: Despina, Teodora and Profira Sadoveanu, the latter of whom was a poet and a novelist. Of his sons, Dimitrie Sadoveanu became a painter, while Paul-Mihu, the youngest (born 1920), was author of the novel Ca floarea câmpului... ("Like the Flower of the Field...") which was published posthumously. Sămănătorul, Viața Românească and literary debut After receiving an invitation from poet Ștefan Octavian Iosif in 1903, Sadoveanu contributed works to the traditionalist journal Sămănătorul, led at the time by historian and critic Nicolae Iorga. He was by then also a contributor to Voința Națională, a newspaper published by the National Liberal Party and managed by politician Vintilă Brătianu—beginning December of the same year, the paper serialized Șoimii ("The Hawks"), an extended variant of Frații Potcoavă, with an introduction by historian Vasile Pârvan. In 1904, he regained Bucharest, where he became a copyist for the Ministry of Education's Board of Schools, returning to Fălticeni two years later. After 1906, he rallied with the group formed around Viața Românească, which was also joined by his sister-in-law Izabela. Sămănătorul and Viața Românească, having comparable influence over the literature of Romania, stood for a traditionalist and ruralist approach to art, even though the latter adopted a more left-wing perspective, known as Poporanism. The leading Poporanist ideologue, Garabet Ibrăileanu, became a personal friend of the young writer after inviting him on an excursion down the Râșca River. With his subsequent pieces for Viața Românească, Sadoveanu became especially known as the raconteur of hunting trips, but also sparked controversy when a young woman writer, Constanța Marino-Moscu, accused him of having plagiarized her works in his Mariana Vidrașcu, a serialized novel which was discontinued and later largely forgotten. 1904 was Sadoveanu's effective debut year: he published four separate books, including Șoimii, Povestiri ("Stories"), Dureri înăbușite ("Suppressed Pains") and Crâșma lui Moș Petcu ("Old Man Petcu's Alehouse"). The beginning of a prolific literary career covering more than a half century and of his collaboration with Editura Minerva publishing house, this debut was marked by intense preparation, and drew on literary exercises spanning the previous decade. His Sămănătorul colleague Iorga deemed 1904 "Sadoveanu's Year", while the influential and aging critic Titu Maiorescu, leader of the conservative literary society Junimea, gave a positive review to Povestiri, and successfully proposed it for a Romanian Academy award in 1906. In a 1908 essay, Maiorescu was to list Sadoveanu among Romania's greatest writers. According to Vianu, Maiorescu saw in Sadoveanu and other young writers the triumph of his theory on a "popular" form of Realism, a vision which the Junimist thinker had advocated in his essays from as early as 1882. Sadoveanu later credited Iorga, Maiorescu, and especially so the cultural promoter Constantin Banu and Sămănătorul poet George Coșbuc, with having helped him capture the interest of the public and his peers. He was by then facing adversity from opponents of Sămănătorul, primarily critic Henric Sanielevici and his Curentul Nou review, which published claims that Sadoveanu's volumes, which depicted immoral acts such as adultery and rape, showed that Iorga's program of moral didacticism was hypocritical. As he latter recalled, Sadoveanu was himself upset with some of Iorga's critical judgments regarding his own work, noting that the Sămănătorist doyen had once declared him equal to Vasile Pop (one of Iorga's protegés, and viewed as overrated by Sadoveanu). The same year, Sadoveanu became one of Sămănătoruls editors, alongside Iorga and Iosif. The magazine, originally a traditionalist mouthpiece founded by Alexandru Vlahuță and George Coșbuc, proclaimed with Iorga its purpose of establishing "a national culture", emancipated from foreign influence. However, according to Călinescu, this ambitious goal was only manifested in a "great cultural influence", as the journal continued to be an eclectic venue which grouped together ruralist traditionalists of the "national tendency" and adherents to the cosmopolitan currents such as Symbolism. Călinescu and Vianu agree that Sămănătorul was, for a large part, a promoter of older guidelines set by Junimea. Vianu also argues that Sadoveanu's contribution to the literary circle was the main original artistic element in its history, and credits Iosif with having accurately predicted that, during a period of literary "crisis", Sadoveanu was the person to provide innovation. He continued to publish at an impressive rate: in 1906, he again handed down for print four separate volumes. In parallel, Sadoveanu pursued his career as a civil servant. In 1905, he was employed as a clerk by the Ministry of Education, headed by the Conservative Party's Mihail Vlădescu. His direct supervisor was poet D. Nanu, and he had for his colleagues the geographer George Vâlsan and the short story writer Nicolae N. Beldiceanu. Nanu wrote of this period: "It is a clerical packed full with men of letters, no work is being done, people smoke, drink coffee, create dreams, poems and prose [...]." Having interrupted his administrative service, Sadoveanu was again drafted into the Land Forces in 1906, being granted an officer's rank. An already overweight man, he had to march from Probota in Central Moldavia to Bukovina, which caused him intense suffering. 1910s and World War I Sadoveanu returned to his administrative job in 1907, the year of the Peasants' Revolt. Kept in office by the National Liberal cabinet of Ion I. C. Brătianu, he served under the reform-minded Education Minister Spiru Haret. Inspired by the bloody outcome of the Revolt, as well as by Haret's moves to educate the peasantry, Sadoveanu reportedly drew suspicion from the Police when he published self-help guides aimed at industrious ploughmen, a brand of social activism which even resulted in a formal inquiry. Mihail Sadoveanu became a professional writer in 1908–1909, after joining the Romanian Writers' Society, created in the previous year by poets Cincinat Pavelescu and Dimitrie Anghel, and becoming its President in September of that year. The same year, he, Iosif, and Anghel, together with author Emil Gârleanu, set up Cumpăna, a monthly directed against both Ovid Densusianu's eclecticism and the Junimist school (the magazine was no longer in print by 1910). At the time, he became a noted presence among the group of intellectuals meeting in Bucharest's Kübler Coffeehouse. In 1910, he was also appointed head of the National Theater Iași, a position which he filled until 1919. That year, he translated from the French one of Hippolyte Taine's studies on the genesis of artworks. He resigned his office within the Writers' Society in November 1911, being replaced by Gârleanu, but continued to partake in its administration as a member of its leadership committee and a censor. He was a leading presence at Minerva newspaper, alongside Anghel and critic Dumitru Karnabatt, and also published in the Transylvanian traditionalist journal, Luceafărul. Sadoveanu was again called under arms during the Second Balkan War of 1913, when Romania confronted Bulgaria. Having reached the rank of Lieutenant, he was stationed in Fălticeni with the 15th Infantry Regiment, after which he spent a short period on the front. He returned to literary life. Becoming good friends with poet and humorist George Topîrceanu, he accompanied him and other writers on cultural tours during 1914 and 1915. The series of writings he published at the time includes the 1915 Neamul Șoimăreștilor. In 1916–1917, as Romania entered World War I and was invaded by the Central Powers, Sadoveanu stayed in Moldavia, the only part of Romania's territory still under the state's authority (see Romanian Campaign). The writer oscillated between the Germanophilia of his Viața Românească friends, the stated belief that war was misery and the welcoming of Romania's commitment to the Entente Powers. At the time, he was reelected President of the Writers' Society, a provisional mandate which ended in 1918, when Romania signed the peace with the Central Powers, and, as Army reservist, edited the Entente's regional propaganda outlet, România. He was joined by Topîrceanu, who had just been released from a POW camp in Bulgaria, and with whom he founded the magazine Însemnări Literare. Sadoveanu subsequently settled in the Iași neighborhood of Copou, purchasing and redecorating the villa known locally as Casa cu turn ("The House with a Tower"). In the 19th century, it had been the residence of politician Mihail Kogălniceanu, and, during the war, hosted composer George Enescu. During that period, he collaborated with leftist intellectual Vasile Morțun and, together with him and Arthur Gorovei, founded and edited the magazine Răvașul Poporului. Creative maturity and early political career In 1921, Sadoveanu was elected a full member of the Romanian Academy; he gave his reception speech in front of the cultural forum two years later, structuring it as a praise of Romanian folklore in general and folkloric poetry in particular. At the time, he renewed his contacts with Viața Românească: with Garabet Ibrăileanu and several others, he joined its interwar nucleus, while the review often featured samples of his novels (some of which were originally published in full by its publishing venture). His house was by then host to many cultural figures, among whom were writers Topîrceanu, Gala Galaction, Otilia Cazimir, Ionel and Păstorel Teodoreanu, and Dimitrie D. Pătrășcanu, as well as conductor Sergiu Celibidache. He was also close to a minor socialist poet and short story author, Ioan N. Roman, whose work he helped promote, to the aristocrat and memoirist Gheorghe Jurgea-Negrilești, and to a satirist named Radu Cosmin. Despite his health problems, Sadoveanu frequently traveled throughout Romania, notably visiting local sights which inspired his work: the Romanian Orthodox monasteries of Agapia and Văratec, and the Neamț Fortress. After 1923, together with Topîrceanu, Demostene Botez and other Viața Românească affiliates, he also embarked on a series of hunting trips. He was charmed in particular by the sights he discovered during a 1927 visit to the Transylvanian area of Arieș. The same year, he also visited the Netherlands, which he reached by means of the Orient Express. His popularity continued to grow: in 1925, 1929 and 1930 respectively, he published his critically acclaimed novels Venea o moară pe Siret..., Zodia Cancerului and Baltagul, and his 50th anniversary was celebrated at a national level. In 1930, Sadoveanu, Topîrceanu and the schoolteacher T. C. Stan wrote and edited a series of primary school textbooks. In 1926, after a period of indecision, Sadoveanu rallied with the People's Party, where his friend, the poet Octavian Goga, was a prominent activist. He then rallied with Goga's own National Agrarian Party. During the general election of 1927, he won a seat in the Chamber for Bihor County, in Transylvania, holding a seat in the Senate for Iași County after the 1931 suffrage. Under Nicolae Iorga's National Peasants' Party cabinet of the period, Sadoveanu was President of the Senate. The choice was motivated by his status as "a cultural personality". Around that date, he was affiliated with the National Liberal Party-Brătianu, a right-wing party inside the liberal current, who stood in opposition to the main National Liberal group. In parallel, he began contributing to the left-wing daily Adevărul. Sadoveanu was by then affiliated with the Freemasonry, as first recorded by the organization in 1928, but was probably a member since 1926 or 1927. Reaching the 33rd degree within the organization and overseeing the Masonic Lodge Dimitrie Cantemir of Iași, he was elected Grand Master of the National Union of Lodges in 1932, thus replacing the vacating George Valentin Bibescu. There subsequently occurred a split between Bibescu and Sadoveanu's supporters, aggravated by their publicized conflict with a third group, that of Ioan Pangal—splits which ended after some three years, when Sadoveanu marginalized both of his opponents, without however earning legitimate recognition from the Grand Orient de France. By 1934, he was recognized as Grand Master of the United Romanian Freemasonry, which regrouped all major local Lodges. Late 1930s and World War II He was publishing new works at a regular rate, culminating in the first volume of his historical epic Frații Jderi, which saw print in 1935. In 1936, the writer accepted the honorary chairmanship of Adevărul and its morning edition, Dimineața. During that time, he was involved in a public dispute with the far right and fascist press, replying to their attacks in several columns. Affiliates of the radical right organized public burnings of his volumes. The scandal prolonged itself over the following years, with Sadoveanu being supported by his friends in the literary community. Among them was Topîrceanu, who was at the time hospitalized, and whose expression of support was made shortly before his death to liver cancer. In September 1937, as a statement of solidarity and appreciation, the University of Iași conferred Sadoveanu the title of doctor honoris causa. Mihail Sadoveanu withdrew from politics in the late 1930s and early 1940s, as Romania came to be led by successive right-wing dictatorships, he offered a measure of support to King Carol II and his National Renaissance Front, which attempted to block the more radically fascist Iron Guard from power. He was personally appointed a member of the reduced corporatist Senate by Carol. In 1940, the official establishment Editura Fundațiilor Regale published the first volume of his Opere ("Works"). Sadoveanu kept a low profile under the Iron Guard's Nazi-allied National Legionary regime. After Conducător Ion Antonescu overthrew the Guard during the Legionary Rebellion and established his own fascist regime, the still-apolitical Sadoveanu was more present in public life, and lectured on cultural subjects for the Romanian Radio. After publishing the final section of his Frații Jderi in 1942, Sadoveanu again retreated to the countryside, in his beloved Arieș area, where he had built himself a chalet and a church; this seclusion produced his Povestirile de la Bradu-Strâmb ("Bradu-Strâmb Stories"). During those years, the sixty-year-old writer met Valeria Mitru, a much younger feminist journalist, whom he married after a brief courtship. In August 1944, Romania's King Michael Coup toppled Antonescu and switched sides in the war, rallying with the Allies. As a Soviet occupation began at home, Romanian troops fought alongside the Red Army on the European theater. Paul-Mihu Sadoveanu was killed in action in Transylvania on September 22. During the same months, Sadoveanu was a candidate for the Writers' Society presidency, but, in what has been read as proof of a rivalry within the Freemasonry, was defeated by Victor Eftimiu. Later that year, the 40th anniversary of Mihail Sadoveanu's debut was celebrated with a special ceremony at the Academy and Tudor Vianu's speech, offered as a retrospective of his colleague's entire work. Communist system and political rise After the Soviet-backed advent of the Communist system in Romania, Sadoveanu supported the new authorities, and turned from his own version of Realism to officially-endorsed Socialist realism (see Socialist realism in Romania). This was also the start of his association with the Soviet-sponsored Romanian Society for Friendship with the Soviet Union (ARLUS), which was led by biologist and physician Constantin Ion Parhon. Having served as a host to official Soviet envoys Andrey Vyshinsky and Vladimir Kemenov during their late 1944 visits, he soon after became president of the ARLUS "Literary and Philosophical Section" (seconded by Mihai Ralea and Perpessicius). In February 1945, he joined Parhon, Enescu, linguist Alexandru Rosetti, composer George Enescu, biologist Traian Săvulescu and mathematician Dimitrie Pompeiu in a protest against the cultural policies of Premier Nicolae Rădescu and his cabinet, one in a series of moves to discredit the non-communist Rădescu and make him leave power. With Ion Pas, Gala Galaction, Horia Deleanu, Octav Livezeanu and N. D. Cocea, Sadoveanu edited the association's weekly literary magazine Veac Nou after June 1946. Sadoveanu's literary and political change became known to the general public in March 1945, when he lectured about Soviet leader Joseph Stalin at a conference hall in Bucharest. Part of a conference cycle, his speech was famously titled Lumina vine de la Răsărit, which soon became synonymous with the attempts to improve the image of Stalinism in Romania. ARLUS would issue the text of his conference as a printed volume later in the year. Also in 1945, Sadoveanu journeyed to the Soviet Union together with some of his fellow ARLUS members—among them biologists Parhon and Săvulescu, sociologist Dimitrie Gusti, linguist Iorgu Iordan, and mathematician Simion Stoilow. Invited by the Soviet Academy of Sciences to attend the 220th anniversary of its foundation, they also visited research institutes, kolhozy, and day care centers, notably meeting with Nikolay Tsitsin, an agronomist favored by Stalin. After his return, he wrote other controversial texts and gave lectures which offered ample praise to the Soviet system. That year, the ARLUS enterprise Editura Cartea Rusă also published his translation of Ivan Turgenev's A Sportsman's Sketches. During the rigged election of that year, Sadoveanu was a candidate for the Communist party-organized Bloc of Democratic Parties (BPD) in Bucharest, winning a seat in the newly unified Parliament of Romania. In its first-ever session (December 1946), the legislative body elected him its President. He was at the time residing in Ciorogârla, having been awarded a villa previously owned by Pamfil Șeicaru, a journalist whose support for fascist regimes had made him undesirable, and who had moved out of Romania. The decision was viewed as evidence of political corruption by the opposition National Peasants' Party, whose press deemed Sadoveanu the "Count of Ciorogârla". In 1948, after Romania's King Michael I was overthrown by the BPD-member parties and the communist regime officially established, Sadoveanu rose to the highest positions ever granted to a Romanian writer, and received significant material benefits. In 1947–1948, he was, alongside Parhon, Ștefan Voitec, Gheorghe Stere, and Ion Niculi, a member of the Presidium of the People's Republic, which was elected by the BPD-dominated legislative. He also kept his seat at the Academy, which at the time was undergoing a communist-led purge, and, with several other pro-Soviet intellectuals, was voted in the Academy Presidium. Final years, illness and death After the Writers' Society was restructured as the Romanian Writers' Union in 1949, Sadoveanu became its Honorary President. In 1950, he was named President of the Writers' Union, replacing Zaharia Stancu. According to writer Valeriu Râpeanu, this last appointment was a sign of Stancu's marginalization after he had been excluded from the Romanian Communist Party, while the Writers' Union was actually controlled by its First Secretary, the communist poet Mihai Beniuc. Sadoveanu and Beniuc were reelected at the Union's first Congress (1956). In the meanwhile, Sadoveanu published several Socialist realist volumes, among which was Mitrea Cocor, a controversial praise of collectivization policies. First published in 1949, it earned Sadoveanu the first-ever State Prize for Prose. Throughout the period, Sadoveanu was involved in major communist-endorsed cultural campaigns. Thus, in June 1952, he presided over the Academy's Scientific Council, charged with modifying the Romanian alphabet, at the end of which the letter â was discarded, and replaced everywhere with î (a spelling Sadoveanu is alleged to have already shown preference for in his early works). In March 1953, soon after Stalin's death, he led discussions within the Writers' Union, confronting his fellow writers with the new Soviet cultural directives as listed by Georgy Malenkov, and reacting against young authors who had not discarded the since-condemned doctrines of proletkult. The author was also becoming involved in the Eastern Bloc's peace movement, and led the National Committee for the Defense of Peace at a time when the Soviet Union was seeking to portray its Cold War enemies as warmongers and the sole agents of nuclear proliferation. He also represented Romania to the World Peace Council, and received its International Peace Prize for 1951. As a parliamentarian, Sadoveanu stood on the committee charged with elaborating the new republican constitution, which, in its final form, reflected both Soviet influence and the assimilation of Stalinism into Romanian political discourse. In November 1955, shortly after turning 75, he was granted the title of "Hero of Socialist Labor". After 1956, when the regime announced that it had embarked on a limited version of De-Stalinization, it continued to recommend Mihail Sadoveanu as one of its prime cultural models. Having donated Casa cu turn to the state in 1950, he moved back to Bucharest, where he owned a house near the Zambaccian Museum. From January 7 to January 11, 1958, Sadoveanu, Ion Gheorghe Maurer and Anton Moisescu were acting Chairmen of the Presidium of the Great National Assembly, which again propelled him to a position as titular head of state. His literary stature but also his political allegiance earned him the Soviet Lenin Peace Prize, which he received shortly before his death. After a long illness marked by a stroke which impaired his speech and left him almost completely blind, Sadoveanu was cared for by a staff of physicians supervised by Nicolae Gh. Lupu and reporting to the Great National Assembly. The Sadoveanus withdrew to Neamț region, where they lived in a villa assigned to them by the state and located near the Voividenia hermitage and the locality of Vânători-Neamț, being visited regularly by literary and political friends, among them Alexandru Rosetti. Mihail Sadoveanu died there at 9 AM on October 19, 1961, and was buried at Bellu cemetery, in Bucharest. His successor as President of the Writers' Union was Beniuc, elected during the Congress of January 1962. Following her husband's death, Valeria Sadoveanu settled in proximity to the Văratec Monastery, where she set up an informal literary circle and Orthodox prayer group, notably attended by literary historian Zoe Dumitrescu-Bușulenga and by poet Ștefana Velisar, and dedicated herself to protecting the community of nuns. She survived Mihail Sadoveanu by over 30 years. Literary contributions Context Often seen as the leading author of his generation, and generally viewed as one of the most representative Romanian writers, Mihail Sadoveanu was also believed to be a first-class story-teller, and received praise especially for his nature writing and his depictions of rural landscapes. An exceptionally prolific author by Romanian standards, he published over a hundred individual volumes (120 according to the American magazine Time). His contemporaries tended to place Sadoveanu alongside Liviu Rebreanu and Cezar Petrescu—for all the differences in style between the three figures, the interwar public saw them as the "great novelists" of the day. Critic Ovid Crohmălniceanu describes their activity, altogether focused on depicting the rural world but diverging in bias, as one sign that the Romanian interwar itself was exceptionally effervescent, while Romanian-born American historian of literature Marcel Cornis-Pope sees Sadoveanu and Rebreanu as their country's "two most important novelists of the first half of the twentieth century". In 1944, Tudor Vianu spoke of Sadoveanu as "the most significant writer Romanians [presently] have, the first among his equals." While underlining his originality in the context of Romanian literature and among the writers standing for "the national tendency" (as opposed to the more cosmopolitan modernists), George Călinescu also noted that, through several of his stories and novels, Sadoveanu echoed the style of his predecessors and contemporaries Ion Luca Caragiale, Ioan Alexandru Brătescu-Voinești, Emil Gârleanu, Demostene Botez, Otilia Cazimir, Calistrat Hogaș, I. A. Bassarabescu and Ionel Teodoreanu. Also included among the "national tendency" writers, Gârleanu was for long seen as Sadoveanu's counterpart, and even, Călinescu writes, "undeservedly upstaged" him. Cornis-Pope also writes that Sadoveanu's epic is a continuation of "the national narrative" explored earlier by Nicolae Filimon, Ioan Slavici and Duiliu Zamfirescu, while literary historians Vianu and Z. Ornea note that Sadoveanu also took inspiration from the themes and genres explored by Junimist author Nicolae Gane. In his youth, Sadoveanu also admired and collected the works of N. D. Popescu-Popnedea, a prolific and successful author of almanacs, historical novels and adventure novels. Later, his approach to Realism was also inspired by his reading of Gustave Flaubert and especially Nikolai Gogol. Both Sadoveanu and Gane were also indirectly influenced by Wilhelm von Kotzebue, the 19th century Imperial Russian diplomat and author of the Romanian-themed story Laskar Vioresku. In Vianu's assessment, Sadoveanu's work signified an artistic revolution within the local Realist school, comparable to the adoption of perspective by the visual artists of the Renaissance. Mihail Sadoveanu's interest in the rural world and his views on tradition were subjects of debate among the modernists. The modernist doyen Eugen Lovinescu, who envisaged an urban literature in tune with European tendencies, was one of Sadoveanu's most notorious critics. However, Sadoveanu was well received by Lovinescu's adversaries within the modernist camp: Perpessicius and Contimporanul editor Ion Vinea, the latter of whom, in search for literary authenticity, believed in bridging the gap between the avant-garde and folk culture. This opinion was shared by Swedish literary historian Tom Sandqvist, who sees Sadoveanu's main point of contact with modernism was his interest in the pagan elements and occasional absurdist streaks of local folklore. In the larger dispute about national specificity, and partly in response to Vinea's claim, modernist poet and essayist Benjamin Fondane argued that, as a sign Romanian culture was tributary to those it had come into contact with, "Sadoveanu's soul can be easily reduced to the Slavic soul". Characteristics Sadoveanu's personality and experience played a major part in shaping his literary style. After his 1901 marriage, Mihail Sadoveanu adopted what Călinescu deemed "patriarchal" lifestyle. The literary historian noted that he took a personal interest in educating his many children, and that this also implied "making use of a whip". An Epicurean, the writer was a homemaker, an avid hunter and fisherman, and a chess aficionado. Recognized, like his epigramist colleague Păstorel Teodoreanu, as a man of refined culinary tastes, Sadoveanu cherished Romanian cuisine and Romanian wine. The lifestyle choices were akin to his literary interests: alongside the secluded and rudimentary existence of his main characters (connected by Călinescu with the writer's supposed longing for "regressions to the patriarchal times"), Sadoveanu's work is noted for its imagery of primitive abundance, and in particular for its lavish depictions of ritualistic feasts, hunting parties and fishing trips. Călinescu opined that the value of such descriptions within individual narratives grew with time, and that the author, once he had discarded lyricism, used them as "a means for the senses to enjoy the fleshes and the forms that nature offers man." He added that Sadoveanu's aesthetics could be said to recall the art of the Golden Age in Holland: "One could almost say that Sadoveanu rebuilds in present day Moldavia [...] the Holland of wine jugs and kitchen tables covered in venison and fish." Vianu also argued that Sadoveanu never abandoned himself to purely aesthetic descriptions, and that, although often depicted with Impressionistic means, nature is assigned a specific if discreet role within the plot lines, or serves to render a structure. The traditionalist Garabet Ibrăileanu, referring to Sadoveanu's poetic nature writing, even declared it to have "surpassed nature." At the other end, the modernist Eugen Lovinescu specifically objected to Sadoveanu's depiction of a primordial landscape, arguing that, despite adopting Realism, his rival was indebted to Romanticism and subjectivity. Lovinescu's attitude, critic Ion Simuț notes, was partly justified by the fact that Sadoveanu never truly parted with the traditionalism of Sămănătorul. In 1962, Time also commented that his style was "curiously dated" and recalled not Sadoveanu's generation, but that of Leo Tolstoy and Ivan Turgenev, "although he has nothing like the power or skill of any of them." For Călinescu and Vianu too, Sadoveanu is a creator with seemingly Romantic tastes, which recall those of François-René de Chateaubriand. Unlike Lovinescu, Vianu saw these traits as "not at all detrimental to the balance of [Sadoveanu's] art." Seen by literary critic Ioan Stanomir as marked by "volubility", and thus contrasting with his famously taciturn and seemingly embittered nature, the form of Romanian used by Mihail Sadoveanu, particularly in his historical novels, was noted for both its use of archaisms and the inventive approach to the Romanian lexis. Often borrowing plot lines and means of expression from medieval and early modern Moldavian chroniclers such as Ion Neculce and Miron Costin, the author creatively intercalates several local dialects and registers of speech, moving away from a mere imitation of the historical language. Generally third-person narratives, his books often make little or no dialectal difference between the speech used by the story-teller and the character's voices. According to Călinescu, Sadoveanu displays "an enormous capacity of authentic speech", similar to that of Caragiale and Ion Creangă. The writer himself recorded his fascination with the "eloquence" of rudimentary orality, and in particular with the speech of Rudari Roma he encountered during his travels. Building on observations made by several critics, who generally praised the poetic qualities of Sadoveanu's prose, Crohmălniceanu spoke in detail about the Moldavian novelist's role in reshaping the literary language. This particular contribution was first described early in the 20th century, when Sadoveanu was acclaimed by Titu Maiorescu for having adapted his writing style to the social environment and the circumstances of his narratives. Vianu however notes that Sadoveanu's late writings tend to leave more room for neologisms, mostly present in those parts where the narrator's voice takes distance from the plot. Another unifying element in Sadoveanu's creation is his recourse to literary types. As early as 1904, Maiorescu praised the young raconteur for accurately depicting characters in everyday life and settings. Tudor Vianu stressed that, unlike most of his Realist predecessors, Sadoveanu introduced an overtly sympathetic view of the peasant character, as "a higher type of human, a heroic human". He added: "Simple, in the sense that they are moved by a few devices [which] coincide with the fundamental instincts of mankind, [they] are, in general, mysterious." In this line, Sadoveanu also creates images of folk sages, whose views on life are of a Humanist nature, and often depicted in contrast with the rationalist tenets of Western culture. Commenting on this aspect, Sadoveanu's friend George Topîrceanu believed that Sadoveanu's work transcended the "more intellectual [and] more artificial" notion of "types", and that "he creates [...] humans." The main topic of his subsequent work, Sandqvist argues, was "an archaic world where the farmers and the landlords were free men with equal rights" (or, according to Simuț, "a utopia of archaic heroism"). Thus, Călinescu stresses, Sadoveanu's work seems to be the monolithic creation through which "a single man" reflects "a single, universal nature, inhabited by a single type of man", and which echoes a similar vision of archaic completeness as found in the literature of poet Mihai Eminescu. The similarity in vision with Eminescu's "nostalgia, return, protest, demand, aspiration toward a [rural] world [he has] left" was also proposed by Vianu, while Topîrceanu spoke of "the paradoxical discovery that [Sadoveanu] is our greatest poet since Eminescu." Mihail Sadoveanu also shaped his traditionalist views on literature by investigating Romanian folklore, which he recommended as a source of inspiration to his fellow writers during his 1923 speech at the Romanian Academy. In Călinescu's view, Sadoveanu's outlook on life was even mirrored in his physical aspect, his "large body, voluminous head, his measured shepherd-like gestures, his affluent but prudent and monologic speech [and] feral indifference; his eyes [...] of an unknown race." His assessment of the writer as an archaic figure, bluntly stated in a 1930 article ("I believe him to be very uncultured"), was contrasted by other literary historians: Alexandru Paleologu described Sadoveanu as a prominent intellectual figure, while his own private notes show that he was well-read and acquainted with the literatures of many countries. Often seen as a spontaneous writer, Sadoveanu nevertheless took pains to elaborate his plots and research historical context, keeping most records of his investigations confined to his diaries. Debut The writer's debut novel, Povestiri, was celebrated for its accomplished style, featuring early drafts of all themes he developed upon later in life. However, Călinescu argued, some of the stories in the volume were still "awkward", and showed that Sadoveanu had problems in outlining epics. The pieces mainly feature episodes in the lives of boyars (members of Moldavia's medieval aristocracy), showing the ways in which they relate to each other, to their servants, and to their country. In one of the stories, titled Cântecul de dragoste ("The Love Song"), Sadoveanu touches on the issue of slavery, depicting the death of a Rom slave who is killed by his jealous master, while in Răzbunarea lui Nour ("Nour's Revenge"), a boyar refuses to make his peace with God until his son's death is avenged. Other fragments deal solely with the isolated existence of villagers: for example, in Într-un sat odată ("Once, in a Village"), a mysterious man dies in a Moldavian hamlet, and the locals, unable to discover his identity, sell his horse. The prose piece Năluca ("The Apparition") centers on the conjugal conflict between two old people, both of whom attempt to hide the shame of their past. George Călinescu notes that, particularly in Năluca, Sadoveanu begins to explore the staple technique of his literary contributions, which involves "suggesting the smolder of passions [through] a contemplative breath in which he evokes a static element: landscapes or set pieces from nature." Sadoveanu's subsequent collection of short stories, Dureri înăbușite, builds on the latter technique and takes his work into the realm of social realism and naturalism (believed by Călinescu to have been borrowed from either the French writer Émile Zola or from the Romanian Alexandru Vlahuță). For Călinescu, this choice of style brought "damaging effects" on Sadoveanu's writings, and made Dureri înăbușite "perhaps the poorest" of his collections of stories. In Lovinescu's view, Sadoveanu's move toward naturalism did not imply the necessary recourse to objectivity. The pieces focus on dramatic moments of individual existences. In Lupul ("The Wolf"), an animal is chased and trapped by a group of peasants; the eponymous character in Ion Ursu leaves his village to become a proletarian, and succumbs to alcoholism; the indentured laborer in Sluga ("The Servant") is unable to take revenge on his cruel employer at the right moment; in Doi feciori ("Two Sons"), a boyar comes to feel affection for his illegitimate son, whom he has nonetheless reduced to a lowly condition. In 1905, Sadoveanu also published Povestiri din război ("Stories from the War"), which compose scenes from the lives of Romanian soldiers fighting in the War of 1878. Objecting to a series of exaggerations in the book, Time nevertheless noted that Sadoveanu "sometimes had the writing skill to make compelling even quite traditional reactions to old-fashioned war". It concluded: "Sadoveanu's sketches have the virtues—and the vices—of old hunting prints and the romantically mannered battle scenes of the 19th century." Early selections of major themes Sadoveanu renounces this grim perspective on life in his volume Crâșma lui Moș Petcu, where he returns to a depiction of rural life as unchanged by outside factors. Petcu's establishment, located on the Moldova Valley, is a serene place, visited by quiet and subdued customers, whose occasional outburst of violence are, according to Călinescu, "dominated by slow, stereotypical mechanics, as is with people who can only accommodate within them a single drama." The literary critic celebrated Crâșma lui Moș Petcu for its depictions of nature, whose purpose is to evoke "the indifferent eternity" of conflicts between the protagonists, and who, at times, relies "on a vast richness of sounds and words." He did however reproach the writer "a certain monotony", arguing that Sadoveanu came to use such techniques in virtually all his later works. However, Sadoveanu's stories of the period often returned to a naturalistic perspective, particularly in a series of sketch stories and novellas which portray the modest lives of Romanian Railways employees, of young men drafted into the Romanian Land Forces, of Bovaryist women who playfully seduce adolescents, or of the provincial petite bourgeoisie. At times, they confront the morals of barely literate people with the stern authorities: a peasant obstinately believes that the 1859 union between Wallachia and Moldavia was meant to ensure the supremacy of his class; a young lower-class woman becomes the love interest of a boyar but chooses a life of freedom; and a Rom deserts from the Army after being told to bathe. In La noi, la Viișoara ("At Our Place in Viișoara"), the life of an old man degenerates into bigotry and avarice, to the point where he makes his wife starve to death. Sadoveanu's positive portrayal of hajduks as fundamentally honest outlaws standing up to feudal injustice, replicates stereotypes found in Romanian folklore, and is mostly present in some of the stories through (sometimes recurrent) heroic characters: Vasile the Great, Cozma Răcoare, Liță Florea etc. In the piece titled Bordeenii (roughly, "The Mud-hut Dwellers"), he shows eccentrics and misanthropes presided upon by the dark figure of Sandu Faliboga, brigands who flee all public authority and whom commentators have likened to settlers of the Americas. Lepădatu, an unwanted child, speaks for the entire group: "What could I do [...] wherever there are big fairs and lots of people? I'd have a better time with the cattle; it is with them that I have grown up and with them that I get along." Romanticizing the obscure events of early medieval history in Vremuri de bejenie ("Roving Times", 1907), Sadoveanu sketches the improvised self-defense of a refugee community, their last stand against nomadic Tatars. In reference to the stories in this series, Călinescu stresses that Sadoveanu's main interest is in depicting men and women cut away from civilization, who view the elements of Westernization with nothing more than "wonderment": "Sadoveanu's literature is the highest expression of the savage instinct." In later works, the critic believed, Sadoveanu moved away from depicting isolation as the escape of primitives into their manageable world, but as "the refinement of souls whom civilization has upset." These views are echoed by Ovid Crohmălniceanu, who believes that, unlike other Romanian Realists, Sadoveanu was able to show a peasant society that was not merely the prey of modern corruption or historical oppression, but rather refusing all contacts with the wider world—even to the point of Luddite-like hostility in front of new objects. Some of the early stories, Crohmălniceanu argues, do follow the moralizing Sămănătorist pattern, but part with it when they refuse to present the countryside in "idyllic" fashion, or when they adopt a specific "mythical realism". Sadoveanu began his career as a novelist with more in-depth explorations into subjects present in his stories and novellas. At the time, Crohmălniceanu stresses, he was being influenced by the naturalism of Caragiale (minus the comedic effect), and by his own experience growing up in characteristically underdeveloped Moldavian cities and târguri (somewhat similar to the aesthetic of boredom, adopted in poetry by George Bacovia, Demostene Botez or Benjamin Fondane). Among his first works of the kind is Floare ofilită ("Wizened Flower"), where a simple girl, Tincuța, marries a provincial civil servant, and finds herself deeply unhappy and unable to enrich her life on any level. Tincuța, seen by Călinescu as one of Sadoveanu's "savage" characters, only maintains urban refinement when persuading her husband to return for supper, but, according to Crohmălniceanu, is also a credible witness to the "small-mindedness" of "bourgeois" environments. A rather similar plot is built for Însemnările lui Neculai Manea ("The Recordings of Neculai Manea"), where the eponymous character, an educated peasant, experiences two unhappy romantic affairs before successfully courting a married woman who, although grossly uncultured, makes him happy. Apa morților ("The Dead Men's Water") is about a Bovaryist woman who discards lovers over imprecise feelings of dissatisfaction, finding refuge in the monotonous countryside. Călinescu noted that such novels were "usually less valuable than direct accounts", and deemed Însemnările lui Neculai Manea "without literary interest"; in Ovid Crohmălniceanu's view, the same story presents relevant detail on professional and intellectual failure. Praised by its commentators, the short novel Haia Sanis (1908) shows the eponymous character, a Jewish woman who throws herself into the arms of a local Gentile, although she knows him to be a seducer. Călinescu, who wrote with admiration about how the subject dissimulated pathos into "technical indifference", notes that the erotic rage motivating Haia has drawn "well justified" comparisons with Jean Racine's tragedy Phèdre. Crohmălniceanu believes Haia Sanis to be "perhaps [Sadoveanu's] best novella", particularly since the "wild beauty" Haia has to overcome at once antisemitism, endogamy and shame, before dying "in terrible pain" during a botched abortion. Sadoveanu's work of the time also includes Balta liniștii ("Tranquillity Pond"), where Alexandrina, pushed into an arranged marriage, has a belated and sad revelation of true love. In other sketch stories, such as O zi ca altele ("A Day like Any Other") or Câinele ("The Dog"), Sadoveanu follows Caragiale's close study of suburban banality. Hanu Ancuței, Șoimii and Neamul Șoimăreștilor The novella Hanu Ancuței ("Ancuța's Inn"), described by George Călinescu as a "masterpiece of the jovial idyllicism and barbarian subtlety", and by Z. Ornea as the first evidence of Sadoveanu's "new age", is a frame story in the line of medieval allegories such as Giovanni Boccaccio's Decameron and Geoffrey Chaucer's Canterbury Tales. It retells the stories of travelers meeting in the eponymous inn. Much of the story deals with statements of culinary tastes and shared recipes, as well as with the overall contrast between civilization and rudimentary ways: in one episode of the book, a merchant arriving from the Leipzig Trade Fair bemuses the other protagonists when he explains the more frugal ways and the technical innovations of Western Europe. Sadoveanu applied the same narrative technique in his Soarele în baltă ("The Sun in the Waterhole"), which, Călinescu argues, displays "a trickier style." In Șoimii, Sadoveanu's first historical novel, the main character is Nicoară Potcoavă, a late 16th-century Moldavian nobleman who became Hetman of the Zaporozhian Cossacks and Prince of Moldavia. The narrative, whose basic lines had been drawn by Sadoveanu in his adolescent years, focuses on early events in Nicoară's life, building on the story according to which he and his brother Alexandru were the brothers of Prince Ioan Vodă cel Cumplit, whose execution by the Ottomans they tried to avenge. The text also follows their attempt to seize and kill Ieremia Golia, a boyar whose alleged betrayal had led to Prince Ioan's capture, and whose daughter Ilinca becomes the brothers' prisoner. This story as well features several episodes where the focus is on depicting customary feasts, as well as a fragment where the Potcoavăs and their Zaporozhian Cossack allies engage in binge drinking. Glossing over several years in Nicoară's life, and culminating in his seizure of the throne, the narrative shows his victory against pretender Petru Șchiopul and Golia, and the price he has to pay for his rise. Alexandru, who falls in love with Ilinca, unsuccessfully asks for the captured Golia not to be killed. Following the murder, both brothers become embittered and renounce power. Călinescu described Șoimii novel as "still awkward", noting that Sadoveanu was only beginning to experiment with the genre. The 1915 Neamul Șoimăreștilor is a Bildungsroman centered on the coming of age of one Tudor Șoimaru. The protagonist, born a free peasant in Orhei area, fights alongside Ștefan Tomșa in the 1612 battles to capture the Moldavian throne. After participating in the capture of Iași, he returns home and helps local boyar Stroie in recovering his daughter, Magda, who had been kidnapped by Cossacks. Șoimaru, who feels for Magda, is however enraged by news that her father has forced his community into serfdom. Trying to deal with his internal conflict, he travels into Poland–Lithuania, where he discovers that Stroie is plotting against Tomșa, while Magda, who is in love with a szlachta nobleman, scorns his affection. He returns a second time to Orhei, marries into his social group, and plots revenge on Stroie by again rallying with Ștefan Tomșa. Following Tomșa's defeat, he again loses the lands of his ancestors, as Stroie returns home to celebrate his victory and have the Șoimarus put to death. Unexpectedly warned of this by Magda, Tudor manages to turn the tide: he and his family destroy Stroie's manor, killing the master but allowing Magda to escape unharmed. In Călinescu's view, the novel is "somewhat more consistent from an epic perspective", but fails to respect the conventions of the adventure novel it sets out to replicate. The critic, who deemed Magda's courtship by Tudor "sentimental", argued that the book lacks "the richness and unpredictable nature of the love intrigue"; he also objected to the depiction of Tudor as indecisive and inadequate for a heroic role. However, Ovid Crohmălniceanu argued that the suddenness of Tudor's sentimental commitments was characteristic for the "peasant soul" as observed by Sadoveanu. Zodia Cancerului and Nunta Domniței Ruxandra Zodia Cancerului, Sadoveanu's later historical novel, is set late in the 17th century, during the third rule of Moldavian Prince Gheorghe Duca, and is seen by Călinescu as "of a superior artistic level." The plot centers on a conflict between Duca and the Ruset boyars: the young Alecu Ruset, son of the deposed Prince Antonie, is spared persecution on account of his good relations with the Ottomans, but has to live under close watch. Himself a tormented, if cultured and refined, man, Alecu falls in love with Duca's daughter Catrina, whom he attempts to kidnap. The episode, set to coincide with the start of a major social crisis, ends with Alecu's defeat and killing on Duca's orders. In the background, the story depicts the visit of an Abbé de Marenne, a Roman Catholic priest and French envoy, who meets and befriends Ruset. Their encounter is another opportunity for Sadoveanu to show the amiable but incomplete exchange between the mentalities of Western and Eastern Europe. In various episodes of the novel, de Marenne shows himself perplexed by the omnipresent wilderness of underpopulated Moldavia, and in particular by the abundance of resources this provides. In one paragraph, seen by George Călinescu as a key to the book, Sadoveanu writes: "[De Marenne's] curious eye was permanently satisfied. Here was a desolation of solitudes, one that his friends in France could not even guess existed, no matter how much imagination they had been gifted with; for at the antipode of civilization one occasionally finds such things that have remained unchanged from the onset of creation, preserving their mysterious beauty." In a shorter novel of the period, Sadoveanu explored the late years of Vasile Lupu's rule over Moldavia, centering on the marriage of Cossack leader Tymofiy Khmelnytsky and Lupu's daughter, Ruxandra. Titled Nunta Domniței Ruxandra ("Princess Ruxandra's Wedding"), it shows the Cossacks' brutal celebration of the event around the court in Iași, depicting Tymofiy himself as an uncouth, violent and withdrawn figure. The narrative then focuses on the Battle of Finta and the siege of Suceava, through which a Wallachian-Transylvanian force repelled the Moldo-Cossack forces and, turning the tide, entered deep into Moldavia and placed Gheorghe Ștefan on the throne. Sadoveanu also invents a love story between Ruxandra and the boyar Bogdan, whose rivalry with Tymofiy ends in the latter's killing. While Călinescu criticized the plot as being over-detailed, and the character studies as incomplete, Crohmălniceanu found the intricate depiction of boyar customs to be a relevant part of Sadoveanu's "vast historical fresco." In both Zodia Cancerului and Nunta Domniței Ruxandra, the author took significant liberties with the historical facts. In addition to Tymofiy's death at the hands of Bogdan, the latter narrative used invented or incorrect names for some of the personages, and portrays the muscular, mustachioed, Gheorghe Ștefan as thin and bearded; likewise, in Zodia Cancerului, Sadoveanu invents the character Guido Celesti, who stands in for the actual Franciscan leader of Duca's Iași, Bariona da Monte Rotondo. Frații Jderi, Venea o moară pe Siret... and Baltagul With Frații Jderi, Sadoveanu's fresco of Moldavian history maintains its setting, but moves back in time to the 15th century rule of Prince Stephen the Great. Writing in 1941, before its final part was in print, Călinescu argued that the novel was part of Sadoveanu's "most valuable work", and noted "the maturity of its verbal means." In the first volume, titled Ucenicia lui Ionuț ("Ionuț's Apprenticeship"), the eponymous Jderi brothers, allies of Stephen and friends of his son Alexandru, fight off the enemies of their lord on several occasions. In what is the start of a Bildungsroman, the youngest Jder, Ionuț Păr-Negru, consumed by love for Lady Nasta, who was kidnapped by Tatars. He goes to her rescue, only to find out that she had preferred suicide to a life of slavery. Călinescu, who believed the volumes show Sadoveanu's move to the consecrated elements of adventure novels, called them "remarkable", but stressed that the narrative could render "the feeling of stumbling, of a languishing flow", and that the dénouement was "rather depressing". The second book in the series (Izvorul alb, "The White Water Spring") intertwines the life of the Jderi brothers with that of Stephen's family: the ruler weds the Byzantine princess Mary of Mangop, while Simion Jder falls for Marușca, who is supposedly Stephen's illegitimate daughter. The major episodes in the narrative are Marușca's kidnapping by a boyar, her captivity in Jagiellon Poland, and her rescue at the hands of the Jderi. The 1942 conclusion of the cycle, Oamenii Măriei-sale ("His Lordship's Men"), the brothers are shown defending their ancestral rights and their lord against the Ottoman invader and ambivalent boyars, and crushing the former at the Battle of Vaslui. The Jderi books, again set to the background of primitivism and natural abundance, also feature episodes of intense horror. These, Călinescu proposes, are willingly depicted "with an indolent complacency", as if to underline that the slow pace and monumental scale of history give little importance to personal tragedies. The same commentator notes a difference between the role nature plays in the first and second volumes: from serene, the landscape becomes hostile, and people are shown fearing earthquakes and droughts, although contemplative depictions of euphoria play a central part in both writings. The meeting between the wider world and the immobile local tradition surfaces in Frații Jderi as well: a messenger is shown wondering how the letter he brought could talk to the addressee; when she is supposed to encounter strange men, Marușca requests to be allowed to "shy away" in another room; a secondary character, claiming precognition, prepares his own funeral. For the 1925 Venea o moară pe Siret..., Sadoveanu received much critical acclaim. The boyar Alexandru Filotti falls in love with a miller's daughter, Anuța, whom he educates and introduces to high society. The beautiful young lady is also courted by Filotti's son Costi and by the peasant Vasile Brebu—in the end, overwhelmed by jealousy, Brebu kills the object of his affection. George Călinescu writes that the good reception was not fully deserved, claiming that the novel is "colorless", that it was merely based on the writer's early stories, and that it failed in its goal of depicting "crumbling boyardom". In Baltagul (1930), Sadoveanu merged psychological techniques and a pretext borrowed from crime fiction with several of his major themes. Written in just 30 days on the basis of previous drafts, the condensed novel shows Vitoria Lipan, the widow of a murdered shepherd, following in her husband's tracks to discover his killer and avenge his death. Accompanied by her son, and using for a guide the shepherd's dog, Vitoria discovers both the body and the murderer, but, before she can take revenge, her dog jumps on the man and bites into his neck. By means of this plot line, Sadoveanu also builds a fresco of transhumance and traces its ancestral paths, taking as a source of inspiration one of the best-known poems in local folklore, the ballad Miorița. Vitoria's sheer determination is the central aspect of the volume. Călinescu, who ranks the book among Sadoveanu's best, praises its "remarkable artistry" and "unforgettable dialogues", but nonetheless writes that Lipan's "detective-like" search and a "stubbornness" are weak points in the narrative. Crohmălniceanu declares Baltagul one of the "capital works" in world literature, proposing that, on its own, it manages to reconstruct "an entire shepherding civilization"; Cornis-Pope, who rates the book as "Sadoveanu's masterpiece", also notes that it "restated the theme of crime and punishment". Main travel writings and memoirs Before the 1940s, Sadoveanu also became known as a travel writer. His contributions notably include accounts of his hunting trips: Țara de dincolo de negură ("The Land beyond the Fog"), and one dedicated to the region of Dobruja (Priveliști dobrogene, "Dobrujan Sights"). Călinescu wrote that they both comprised "pages of great beauty". Țara de dincolo..., primarily showing recluse men in real-life symbiosis with the wilderness, also attention for its sympathetic depiction of the Hutsuls, a minority Slavic-speaking population, as an ancient tribe threatened by cultural assimilation. Sadoveanu's other travelogues include the reportage Oameni și locuri ("People and Places") and an account of his trips into Bessarabia (Drumuri basarabene, "Bessarabian Roads"). He also collected and commented upon the memoirs of other avid hunters (Istorisiri de vânătoare, "Hunting Stories"). A noted writing in this series was Împărăția apelor ("The Realm of Waters"). It forms a detailed and contemplative memoir of his journeys as a fisherman, and, according to Crohmălniceanu, one of the most eloquent proofs of Sadoveanu's "permanent and intimate correspondence with nature." Călinescu saw the text as a "fantastic vision of the entire aquatic universe", merging a form of pessimism similar to Arthur Schopenhauer's with a "calm kief" (cannabis-induced torpor), and as such illustrating "the great joy of participating in the transformations of matter, of eating and allowing oneself to be eaten." Sadoveanu also contributed an account of his travels into the Netherlands, Olanda ("Holland"). It provides insight into his preoccupation with the meeting of civilization and wilderness: upset by what he called "the [Dutch] rampancy of cleanliness", the writer confesses his perplexity at coming face to face with a contained and structured natural world, and details his own temptation to go "against the current". One of Sadoveanu's main conclusions is that Holland lacks in "true and lively wonders". Sadoveanu also sporadically wrote memoirs of his early life career, such as Însemnări ieșene ("Recordings from Iași"), which deals with the period during which he worked for Viața Românească, a book about the Second Balkan War (44 de zile în Bulgaria, "44 Days in Bulgaria"), and the account of years in primary school, Domnu Trandafir. They were followed in 1944 by Anii de ucenicie ("The Apprenticeship Years"), where Sadoveanu details some of his earliest experiences. Despite his temptation for destroying all raw personal notes, Sadoveanu wrote and kept a large number of diaries, which were never published in his lifetime. Other early writings Also during that time, he retold and prefaced the journeys of Thomas Witlam Atkinson, an English architect and stonemason who spent years in Tartary (a book he titled Cuibul invaziilor, "The Nest of Invasions"). This was evidence of his growing interest in exotic subjects, which he later adapted to a series of novels, where the setting is "Scythia", seen as an ancestral area of culture connecting Central Asia with the European region of Dacia (partly coinciding with present-day Romania). The home of mysterious Asiatic peoples, Sadoveanu's Scythia is notably the background to his novels Uvar and Nopțile de Sânziene. The former shows its eponymous character, a Yakut, exposed to the scrutiny of a Russian officer. In the latter, titled after the ancestral celebration of Sânziene during the month of June, shows a French intellectual meeting a nomadic tribe of Moldavian Rom people, who, the reader learns, are actually the descendants of Pechenegs. Călinescu notes that, in such writings, "the intrigue is a pretext", again serving to depict the vast wilderness confronted with the keen eye of foreign observers. He sees Nopțile de Sânziene as "the novel of millenarian immobility", and its theme as one of mythological proportions. The narrative pretexts, including the Sânziene celebration and the Rom people's social atavism, connect Nopțile... with another one of Sadoveanu's writings, 24 iunie ("June 24"). According to Tudor Vianu, the 1933 fantasy novel Creanga de aur ("The Golden Bow") takes partial inspiration from Byzantine literature, and is evidence of a form of Humanism found in Eastern philosophy. Marcel Cornis-Pope places it among Sadoveanu's "mythic-poetic narratives that explored the ontology and symbolics of history." The writer himself acknowledged that the esoteric nature of the book was inspired by his own affiliation to the Freemasonry, whose symbolism it partly reflected. Its protagonist, Kesarion Brebu, is included by Vianu among the images of sages and soothsayers in Mihail Sadoveanu's fiction, and, as "the last Deceneus", is a treasurer of ancient secret sciences mastered by the Dacians and the Ancient Egyptians. The novel is often interpreted as Sadoveanu's perspective on the Dacian contribution to Romanian culture. Sadoveanu's series of minor novels and stories of the interwar years also comprises a set of usually urban-themed writings, which, Călinescu argues, resemble the works of Honoré de Balzac, but develop into "regressive" texts with "a lyrical intrigue". They include Duduia Margareta ("Miss Margareta"), where a conflict occurs between a young woman and her governess, and Locul unde nu s-a întâmplat nimic ("The Place Where Nothing Happened"), where, in what is a retake on his own Apa morților, Sadoveanu depicts the cultured but bored boyar Lai Cantacuzin and his growing affection for a modest young woman, Daria Mazu. In Cazul Eugeniței Costea ("The Case of Eugenița Costea"), a civil servant kills himself to avoid prosecution, and his end is replicated by that of his daughter, brought to despair by her stepfather's character and by her mother's irrational jealousy. Demonul tinereții ("The Demon of Youth"), believed by Călinescu to be "the most charming" in this series, has for its protagonist Natanail, a university dropout who has developed a morbid fear of women since losing the love of his life, and who lives in seclusion as a monk. In the rural-themed Paștele blajinilor ("Thomas Sunday") of 1935, a defeated brigand seeks a dignified end to his wasted life. Written in 1938, the short story Ochi de urs ("Bear's Eye") introduces its hero Culi Ursake, the toughened hunter, into a bizarre scenery that seems to mock a human's understanding. During the period, Mihail Sadoveanu also wrote children's literature. His most significant pieces in this field are Dumbrava minunată ("The Enchanted Grove", 1926), Măria-sa Puiul Pădurii ("His Highness the Forest Boy", 1931), and a collection of stories adapted from Persian literature (Divanul persian, "The Persian Divan", 1940). Măria-sa Puiul Pădurii is itself an adaptation of the Geneviève de Brabant story, considered "somewhat highbrow" by George Călinescu, while the frame story Divanul persian consciously recalls the work of 19th century Wallachian writer Anton Pann. In 1909, Sadoveanu also published adapted version of two ancient writings: the Alexander Romance (as Alexandria) and Aesop's Fables (as Esopia). His 1921 book Cocostârcul albastru ("The Blue Crane") is a series of short stories with lyrical themes. Among his early writings are two biographical novels which retell historical events from the source, Viața lui Ștefan cel Mare ("The Life of Stephen the Great") and Lacrimile ieromonahului Veniamin ("The Tears of Veniamin the Hieromonk"), both of which, Călinescu objected, lacked in originality. The former, published in 1934, was more noted among critics, for both intimate tone and hagiographic character (recounting Stephen's life on the model of saints' biographies). Socialist realism years Despite the post-1944 change in approach, Sadoveanu's characteristic narrative style remained largely unmodified. In contrast, his choice of themes changed, a transition which reflected political imperatives. At the end of the process, literary historian Ana Selejan argues, Sadoveanu became the most influential prose author among Romanian Socialist realists, equaled only by the younger Petru Dumitriu. Historian Bogdan Ivașcu writes that Sadoveanu's affiliation with "proletarian culture" and "its masquerade", like that of Tudor Arghezi and George Călinescu, although it may have been intended to rally "prestige and depth" to Socialist realism, only succeeded in bring their late works to the level of "propaganda and agitation materials." In contrast to these retrospective assessments, communist literary critics and cultural promoters of the 1950s regularly described Sadoveanu as the model to follow, both before and after Georgy Malenkov's views on culture were adopted as the norm. In his Lumina vine de la Răsărit, the writer built on the opposition between light and darkness, identifying the former with Soviet policies and the latter with capitalism. Sadoveanu thus spoke of "the dragon of my own doubts" being vanquished by "the Sun of the East". Historian Adrian Cioroianu notes that this literary antithesis came to be widely used by various Romanian authors who rallied with Stalinism during the late 1940s, citing among these Cezar Petrescu and the former avant-garde writer Sașa Pană. He also notes that such imagery, accompanied by portrayals of Soviet joy and abundance, replicated an ancient "structure of myth", adapting it to a new ideology on the basis of "what could be imagined, not of what could be believed." Ioan Stanomir writes that Sadoveanu and his fellow ARLUS members use a discourse recalling the theme of a religious conversion, analogous to that of Paul the Apostle (see Road to Damascus), and critic Cornel Ungureanu stresses that Sadoveanu's texts of the period frequently quote the Bible. Following his return from the Soviet Union, Sadoveanu published travelogues and reportage piece, including the 1945 Moscova ("Moscow", co-authored with Traian Săvulescu and economist Mitiță Constantinescu) and the 1946 Caleidoscop ("Kaleidoscope"). In one of these accounts, he details his encounter with Lysenkoist agronomist Nikolay Tsistsin, and claims to have tasted bread made from a brand of wheat which yielded 4,000 kilograms of grain per hectare. In a later memoir, Sadoveanu depicted his existence and the destiny of his country as improved by the communist system, and gave accounts of his renewed journeys in the countryside, where he claimed to have witnessed a "spiritual splendor" supported by "the practice of the new times". He would follow up with hundreds of articles on various subjects, published by the communist press, including two 1953 pieces in which he lamented Stalin's death (one of them referred to the Soviet leader as "the great genius of progressive mankind"). Upon its publication, the political novel Mitrea Cocor, which depicts the hardships and eventual triumph of its eponymous peasant protagonist, was officially described as the first Socialist realist writing in local literature, and as a turning point in literary history. Often compared to Dan Deșliu's ideologized poem Lazăr de la Rusca, it is remembered as a controversial epic dictated by ideological requirements, and argued to have been written with assistance from several other authors. Seen by historiographer Lucian Boia as an "embarrassing literary fabrication", it was rated by literary critics Dan C. Mihăilescu and Luminița Marcu both as one of "the most harmful books in Romanian literature", and by historian Ioan Lăcustă as "a propaganda writing, a failure from a literary point of view". A praise of collectivization policies that some critics believe was a testimony that Sadoveanu was submitting himself and imposing his public to brainwashing, Mitrea Cocor was preceded by Păuna-Mică, a novel which also idealizes collective farming. With his final published work, the 1951-1952 novel Nicoară Potcoavă, Sadoveanu retells the narrative of his Șoimii, modifying the plot and adding new characters. Noted among the latter is Olimbiada, a female soothsayer and healer through whose words Sadoveanu again dispenses his own perspective on human existence. The focus of the narrative is also changed: from the avenger of his brother's death in Șoimii, the pretender becomes a purveyor of folk identity, aiming to reestablish the Moldavia of Stephen the Great's times. Praised early on by Dumitriu, who believed it was proof of "artistic excellence", Nicoară Potcoavă is itself seen as a source for communist-inspired political messages. According to Cornel Ungureanu, this explains why it highlights the brotherhood between Cossacks and Moldavians, supposedly replicating the official view on Soviet-Romanian relations. Cornis-Pope, who considers the novel one of Sadoveanu's "mere variations" on old subjects, suggests that it transforms its protagonist "from medieval fighter into political philosopher who announces the rise of a 'new world'." Victor Frunză also notes that, although Sadoveanu returned to old subjects, he "no longer rises to the level he had reached before the war." The final part of Sadoveanu's creation also comprises a series of pieces where the narrative approach was, according to Crohmălniceanu, "corrected" to show his favorite recluse type won over by the new society. In essence, Ungureanu argues, the new style that of "reportage and plain information, adapted to orders coming from above". Such works include the 1951 Nada Florilor ("The Flowers' Lure") and Clonț-de-fier ("Iron Bucktooth"), alongside an unfinished piece, Cântecul mioarei ("Song of the Ewe"). In Nada..., the peasant boy Culai follows his hero, tinsmith Alecuțu, into factory life. Clonț-de-fier, an ideologized retake on Demonul tinereții, is about a monk returning from seclusion into the world of workers, where the landscape is reshaped by large-scale construction works. According to Ungureanu, it also shows Sadoveanu's universe stripped of "all its deep meanings." While their author came to personify the new cultural guidelines, Sadoveanu's previous books, from Frații Jderi to Baltagul, were subject to communist censorship. Various statements contradicting the ideological guidelines were cut out of new editions: the books in general could no longer include mentions of Bessarabia (a region first incorporated into the Soviet Union by a 1940 occupation) or Romanian Orthodox beliefs. In one such instance, censors of Baltagul removed a character's claim that "the Russian" was by nature "the drunkest of them all, [...] a worthy beggar and singer at the fairs." Politics Nationalism and Humanism Sadoveanu's engagement in politics was marked by abrupt changes in convictions, seeing him move from right- to left-wing stances several times in his life. In close connection with his traditionalist views on literature, but in contrast to his career under a Conservative Party and National Liberal cabinets, Sadoveanu initially rallied with nationalist groups of various hues, associating with both Nicolae Iorga and, in 1906, with the left-wing Poporanists at Viața Românească. An early cause of his was his attempt to reconcile Iorga with the Poporanists, but his efforts were largely fruitless. In the 1910s, the anti-Iorga traditionalist Ilarie Chendi recognized in Sadoveanu one of the Poporanists who promoted "the spiritual healing of our people through culture." Around that time, he formulated a ruralist and nationalist perspective on life, rejecting what he deemed "the hybrid urban world" for "the world of our national realities". In Călinescu's analysis, this signifies that, like his predecessor, the conservative Eminescu, Sadoveanu believed the cities were victims of the "superimposed category" of foreigners, in particular those administrating leasehold estates. Following the 1907 Peasants' Revolt, Sadoveanu sent a report to his Minister of Education Spiru Haret, informing him on the state of rural education, and, beyond this, of the problems faced by villagers in Moldavia. It read: "The leaseholders and landowners, no matter what their nationality, make a mockery of the Romanians' labors. Every surtucar [that is, urbanized character] in the village, mayors, notaries, paper-pushers, shamelessly [and] mercilessly milk this milk cow. They are joined by the priest—who [...] is in disagreement with the teacher." With Neamul Șoimăreștilor, the burdens of feudal society and mercantilism, most of all the restriction of economic rights, were becoming a background theme in his fiction, which later depicted Stephen the Great as the original champion of social justice (Frații Jderi). During most of his World War I activity, Sadoveanu also followed the Poporanists' Russophobia and dislike of the Entente side, describing the Russian Empire's national policies in Bessarabia as far more barbaric than Austria-Hungary's rule over Transylvania. In 1916, he abruptly switched to the Entente camp: his enthusiasm as propaganda officer was touched by controversy once Romania experienced massive defeats; Sadoveanu himself abandoned the Entente cause by 1918, when he was decommissioned, and resumed his flirtation with Constantin Stere's Germanophile lobby. Călinescu sees Sadoveanu, alongside Stere, as one of Viața Româneascăs chief ideologues, noting that he was nonetheless "rendered notorious by his inconsistency and opportunism." He writes that Sadoveanu and Stere both showed a resentment for ethnic minorities, particularly members of the Jewish community, whom they saw as agents of exploitation, but that, as Humanists, they had a form of "humane sympathy" for Jews and foreigners taken individually. The Poporanist aspect of Sadoveanu's literature was also highlighted by Garabet Ibrăileanu in the late 1920s, when he referred to his contributions as evidence that Romanian culture was successfully returning to its specific originality. In essence, Crohmălniceanu writes, Sadoveanu was tied to Viața Românească by his advocacy of national specificity, his preference for the large-scale narrative, and his vision of pristine, "natural", human beings. According to Z. Ornea, Sadoveanu's affiliation to the Freemasonry shaped not only his political "demophilia", but also his "Weltanschauung, and, through a reflex, his [literary] work." By consequence, Ornea argues, Sadoveanu became a supporter of democracy, a stance which led him into open conflict with extreme nationalists. Alongside its Humanism, Sadoveanu's nationalism was noted for being secular, and thus in contrast with the Romanian Orthodox imagery favored by nationalists on the far right. Sadoveanu rejected the notion that ancestral Romanians were religious individuals, stating that their belief was in fact "limited to rituals and customs." He was also a vocal supporter of international cooperation, particularly among countries in Eastern and Central Europe. Writing for the magazine Familia in 1935, 17 years after Transylvania's union with Romania and 15 years after the Treaty of Trianon, Sadoveanu joined the Hungarian author Gyula Illyés in pleading for good relations between the two neighbors. As noted by Crohmălniceanu, although Sadoveanu's interwar novels may depict both clashes between polities and benign misunderstandings, they ultimately discourage ethnic stereotypes, suggesting that "the gifts and qualities of various kinships" are mutually compatible. According to Marcel Cornis-Pope, this cooperative vision is the background theme to Divanul persian, a book "demonstrating the value of intercultural dialogue at a time of sharp political polarization." The same text was described by Vianu as evidence of Sadoveanu's "understanding, gentleness and tolerance". In 1926, the year of his entry into Alexandru Averescu's People's Party, Sadoveanu motivated his choice in a letter to Octavian Goga, indicating his belief that the intelligentsia needed to partake in politics: "It would seem that what is foremost needed is the contribution of intellectuals, in an epoch when the overall intellectual level is decreasing." His sincerity was doubted by his contemporaries: both his friend Gheorghe Jurgea-Negrilești and the communist Petre Pandrea recount how, in 1926–1927, Sadoveanu and Păstorel Teodoreanu requested public funds from Interior Minister Goga, with Sadoveanu motivating that he wanted to set up a cultural magazine and later spending the money on his personal wardrobe. In contrast, Adrian Cioroianu notes that the People's Party episode, and especially the "mutual wariness" between Sadoveanu and the National Liberals, underlined the writer's sympathy for the "intellectual Left". Himself a Marxist, Ovid Crohmălniceanu suggested that, as early as the 1930s, Sadoveanu's attitudes were rather similar to the official line of communist groups. Opposition to fascism and support for King Carol During the 1930s, following his stint as head of Adevărul, a leftist newspaper owned by Jewish entrepreneurs, Sadoveanu was targeted by right-wing voices, who claimed that he had chosen to abandon his nationalist credentials. Thus, Sadoveanu became the target of a press campaign in the antisemitic and fascist press, and in particular in Nichifor Crainic's Sfarmă-Piatră and the journals connected with the Iron Guard. The former publication deplored his supposed "betrayal" of the nationalist cause. In it, Ovidiu Papadima portrayed Sadoveanu as the victim of Jewish manipulation, and equated his affiliation to the Freemasonry with devil worship, and mocked his obesity, while Crainic himself compared the writer to his own character, the treacherous Ieremia Golia. Porunca Vremii often referred to him as Jidoveanu (from jidov, a dismissive term for "Jew"), depicted him as an agent of "Judaeo-communism" motivated by "perversity", and called on the public to harass the writer and beat him with stones. It also protested when the public authorities in Fălticeni refused to withdraw Sadoveanu the title of honorary citizen, and again when the University of Iași made him a doctor honoris causa, and, through the voice of novelist N. Crevedia, even suggested that the writer should use his hunting rifle to commit suicide. In 1937, Porunca Vremii congratulated ultra-nationalists who had organized public burnings of Sadoveanu's works in Southern Dobruja and in Hunedoara, as well as non-identified people who sent the writer packages containing shredded copies of his own volumes. In April 1937, the anti-Sadoveanu campaign was met with the indignation of various public figures, who issued an "Appeal of the Intellectuals", signed by Liviu Rebreanu, Eugen Lovinescu, Petru Groza, Victor Eftimiu, George Topîrceanu, Zaharia Stancu, Demostene Botez, Alexandru Al. Philippide, Constantin Balmuș and others. Denouncing the campaign as a "moral assassination", it referred to Sadoveanu as the author of "the most Romanian [works] in our literature." Sadoveanu himself defended his fellow writer Tudor Arghezi, who stood accused by the far right press of having written "pornography". Reviewing the consequences of these scandals, Ovid Crohmălniceanu suggests that all of what Mihail Sadoveanu wrote from 1938 to 1943 is in some way connected to the cause of anti-fascism. According to Cornis-Pope, Sadoveanu's dislike for the far right can be discovered in Creanga de aur, which doubles as "a political parable opposing an archaic peasant civilization to the growing threat of fascism." However, George Călinescu claims, the writer himself had not actually revised his nationalist outlook, that he continued to believe that minorities and foreigners were a risky presence in Greater Romania, and that his Humanism was "a light tincture". In one of his columns, Sadoveanu replied to those organizing the acts of vandalism, indicating that, had they actually read the novels they were destroying, they would have found "a burning faith in this nation, for so long mistreated by cunning men". Elsewhere, stating that he was not going to take his detractors into consideration, Sadoveanu defined himself as an adversary of both Nazi Germany and any form of advocacy for a "National-Socialist regime in our country". Sadoveanu's subsequent endorsement of authoritarian King Carol II and his corporatist force, the National Renaissance Front, saw his participation in the monarch's personality cult. In 1940, he offered controversial praise to the ruler through the official journal, Revista Fundațiilor Regale, which caused Carol's political adversary, psychologist Nicolae Mărgineanu, to deem Sadoveanu and his fellow contributors "scoundrels". His renewed mandate in the Senate was a favor from Carol, also granted to George Enescu, philosopher Lucian Blaga, scientists Emil Racoviță and Iuliu Hațieganu, and several other public figures. During the Ion Antonescu dictatorship, Sadoveanu kept a low profile and was apolitical. However, Cioroianu writes, he supported the invasion of the Soviet Union and Romania's cooperation with the Axis Powers on the Eastern Front, seeing in this a chance to recover Bessarabia and the northern part of Bukovina (lost to the 1940 Soviet occupation). In spring 1944, months before the King Michael Coup toppled the regime, he was approached by the clandestine Romanian Communist Party and its sympathizers in academia to sign an open letter condemning Romania's alliance to Nazi Germany. According to the communist activist Belu Zilber, who took part in this action, Sadoveanu, like his fellow intellectuals Dimitrie Gusti, Simion Stoilow and Horia Hulubei, refused to sign the document. Also according to Zilber, Sadoveanu motivated his refusal by stating that the letter needed to be addressed not to Antonescu, but to King Michael I. However, and aside from its main topic, Păuna-Mică was noted as one of the few prose works of the 1940s to mention the wartime deportation of Romanian Jews by Antonescu's regime; Caleidoscop also speaks about the 1941 Iași pogrom as "our shame", and commends those who opposed it. Partnership with the communists Following his Lumina vine de la Răsărit lecture, Sadoveanu became noted for his positive portrayals of communization and collectivization. In particular, Sadoveanu offered praise to one of the major pillars of Stalinism, the 1936 Soviet Constitution. In 1945, claiming to have been "flashed upon" by "Stalin's argumentation", he urged the public to read the document for its "sincerity"; elsewhere, he equated reading the constitution with "a mystical revelation". Adrian Cioroianu describes this as "an office assignment" from the ARLUS, at a time when the group was circulating free translated copies of the Soviet constitution. The enthusiasm of his writings also manifested itself in his public behavior: according to his ARLUS colleague Iorgu Iordan, Sadoveanu was emotional during the 1945 Soviet trip, shedding tears of joy upon visiting a day care center in the countryside. Running in the 1946 election, Sadoveanu blamed the old political class in general for the problems faced by Romanian peasants, including the major drought of that year. By then, his political partners were making use of his literary fame, and his electoral pamphlet read: "There is no doubt that the thousands of people who have read his works will rush out on [election day] to vote for him." After 1948, when the Romanian communist regime was installed, Sadoveanu directed his praise toward the new authorities. In 1952, as Romania adopted its second republican constitution and the authorities intensified repression against anti-communists, Sadoveanu made some of his most controversial statements. Declaring the defunct kingdom to have been a "long interval of organized injustice and crooked development in all areas", he presented the new order as an era of social justice, human dignity, available culture and universal public education. Criticism of Sadoveanu's moral choices also focuses on the fact that, while he led a luxurious existence, many of his generation colleagues and fellow intellectuals were being persecuted or jailed in notoriously harsh circumstances. Having tolerated the purge within the Romanian Academy, Cioroianu notes, Sadoveanu accepted being colleagues with newly promoted "secondary characters [...] whom the new regime needed", such as poet Dumitru Theodor Neculuță and historian Mihail Roller. In his official capacity, Sadoveanu even signed several death sentences declared by communist tribunals, and, in the wake of the Tămădău Affair of summer 1947, presided over the Chamber sessions which outlawed the opposition National Peasants' Party: according to researcher Victor Frunză, he was a willing participant in this, having been upset by the exposure of his personal wealth in the National Peasantist press. Later, Sadoveanu made a reference to his former colleague, the National Peasantist activist Ion Mihalache, arguing that his old Agrarianist approach to politics had made him a "ridiculous character". Ioan Stanomir describes this fragment as one of "intellectual abjection", indicating that Mihalache, already a political prisoner of the regime, was to die in captivity. However, as leader of the Romanian Writers' Union, the aging writer is credited by some with having protected poet Nicolae Labiș, a disillusioned communist who had been excluded from the Union of Worker Youth in spring 1954, and whose work Sadoveanu treasured. He is also reported to have helped George Călinescu publish the novel Scrinul negru, mediating between him and communist leader Gheorghe Gheorghiu-Dej. Mihail Sadoveanu provided a definition of his own political transition in conversation with fellow writer Ion Biberi (1946). At the time, he claimed: "I have never engaged in politics, in the sense that one assigns to this word." He elaborated: "I am a left-wing person, following the line of a Poporanist zeal in the spirit of Viața Românească, but one adapted to the new circumstances." Cioroianu sees in such statements evidence that, trying to discard his past, Sadoveanu was including himself among the socialist intellectuals "willing to let themselves be won over by the indescribable charm and the full swing of the communist utopia", but that he may in reality have been "motivated by fear". Paraphrasing communist vocabulary, Stanomir describes the writer as one of the "bourgeois" personalities who became "fellow travelers" of the communists, and argues that Sadoveanu's claim to have always leaned towards a "people's democracy" inaugurated "a pattern of chameleonism". In the view of historian Vladimir Tismăneanu, Sadoveanu, like Parhon, George Călinescu, Traian Săvulescu and others, was one of the "non-communist intellectuals" attracted into cooperation with the Romanian Communist Party and the communist regime (Tismăneanu also argues that these figures' good relationship with Gheorghiu-Dej was a factor in the process, as was Gheorghiu-Dej's ability to make himself look "harmless"). Others have submitted that Sadoveanu's faction in the Freemasonry, which included far left advocates Mihai Ralea and Alexandru Claudian, and officially supported evolutionary socialism, was a natural partner of the communists, to the point of sanctioning its own state-organized suppression. According to Adrian Cioroianu, Sadoveanu was not necessarily an "apostle of communization", and his role in the process is subject to much debate. Describing the writer's "conversion to philosovietism" as "purely contextual", Cioroianu also points out that the very notion of "light arising in the East" is read by some as Sadoveanu's encoded message to other Freemasons, warning them of a Soviet threat to the organization. The historian notes that, for all their possible lack in sincerity, Sadoveanu's statements provided a template for other intellectuals to follow—this, he argues, was the case of Cezar Petrescu. Other statements made by Sadoveanu also displayed a possibly studied ambiguity, as is the case with a 1952 lecture he gave in front of young writers attending the Party-controlled School of Literature, where he implicitly denied that one could be created a writer unless by "God or Mother Nature". Legacy Influence Sadoveanu's prose, in particular his treatment of natural settings, was a direct influence in the works of writers such as Dimitrie D. Pătrășcanu, Nicolae N. Beldiceanu, Jean Bart, and Al. Lascarov-Moldovanu; his storytelling techniques were also sometimes borrowed by comedic novelist Damian Stănoiu, and, in later years, by historical novelist Dumitru Vacariu. According to Călinescu, Sadoveanu's early hunting stories published by Viața Românească, together with those of Junimist Nicolae Gane, helped establish the genre within the framework of Romanian literature, and paved the way for its predilect use in the works of Ioan Alexandru Brătescu-Voinești. Călinescu also notes that Scrisorile unui răzeș ("Letters of a Peasant"), an early work by novelist Cezar Petrescu, are deeply marked by Sadoveanu's influence, and that the same writer's use of the Moldavian dialect is a "pastiche" from Sadoveanu. Ion Vinea too, while expressing admiration for Sadoveanu, defined all his disciples and imitators as "mushroom-writers from Sadoveanu's woods" and "butlers who steal [their lord's lingerie] in order to wear his blazon". The issue was much later discussed by writer-critic Ioan Holban, who likewise described most historical novelists inspired by Sadoveanu as "insignificant" to Romanian letters. Under the early stages of the communist regime, before the rise of Nicolae Ceaușescu engendered a series of rehabilitations and accommodated nationalism, the Romanian curriculum was dependent on ideological guidelines. At the time, Sadoveanu was one of the writers from the interwar whose work was still made available to Romanian schoolchildren. In the 1953 Romanian language and literature manual, he represented his generation alongside the communist authors Alexandru Toma and Alexandru Sahia, and was introduced mainly through his Mitrea Cocor. At the time, studies of his work were published by prominent communist critics, among them Ovid Crohmălniceanu, Paul Georgescu, Traian Șelmaru, Mihai Novicov, Eugen Campus and Dumitru Isac, while a 1953 reissue of Baltagul was published in 30,000 copies (a number rarely met by the Romanian publishing industry in that context). In later years, Profira Sadoveanu became a noted promoter of her father's literature and public image, publishing children's versions of his biography, notably featuring illustrations by Mac Constantinescu (1955 edition). Although Sadoveanu continued to be hailed as a major writer during the Ceaușescu years, and the seventy years of his debut were marked with state ceremony, the reaction against Soviet influence affected presentations of his work: his official bibliography no longer included any mention of Păuna-Mică. Among the memoirs dealing with Sadoveanu's late years were those of Alexandru Rosetti, published in 1977. The official revival of nationalist discourse in the 1960s allowed controversial critic Edgar Papu to formulate his version of Protochronism, which postulated that phenomenons within Romanian culture preceded developments in world culture. In this context, Papu spoke of Sadoveanu as "one of the great precursory voices", comparing him to Rabindranath Tagore. After the 1989 Revolution toppled communism, Sadoveanu remained an influence on some young authors, who recovered the themes of his work in a Postmodern or parodic manner. Among them is Dan Lungu, who, according to critic Andrei Terian, alluded to the Hanu Ancuței frame story when constructing his 2004 novel Paradisul găinilor. In 2001, a poll carried among literati by Observator Cultural magazine listed six of his works as some of the best 150 Romanian novels. Mihail Sadoveanu's various works were widely circulated abroad. This phenomenon began as early as 1905, when German-language translations were first published, and continued during the 1930s, when Venea o moară pe Siret... was translated very soon after its original Romanian edition. In 1931, female author and feminist militant Sarina Cassvan included French-language versions of his texts into an anthology designed to promote modern Romanian culture internationally. Also then, some of Sadoveanu's texts were rendered in Chinese by Lu Xun. Tudor Vianu attributes the warm international reception Sadoveanu generally received to his abilities in rendering the Romanians' "own way of sensing and seeing nature and humanity", while literary historian Adrian Marino points out that, Sadoveanu and Liviu Rebreanu were exceptional in their generation for taking an active interest in how their texts were translated, edited and published abroad. Later, publicizing Sadoveanu's work to Eastern Bloc and world audiences became a priority for the communist regime. Thus, Mitrea Cocor was, together with similar works by Zaharia Stancu and Eusebiu Camilar, among the first wave of Romanian books to have been translated into Czech and published in Communist Czechoslovakia. Alongside similar works by Petru Dumitriu, Mitrea Cocor was also among the few English-language editions sanctioned by the Romanian regime, being translated and published, with a preface by Jack Lindsay, in 1953. Nine years later, the collected short stories were a tool for cultural exchange between Romania and the United States. Sadoveanu's good standing in the Soviet Union after World War II also made him one of the few Romanian writers whose works were still being published in the Moldavian SSR (which, as part of Bessarabia, had previously been a region of Greater Romania). Sadoveanu's diaries and notes were collected and edited during the early 2000s, being published in 2006 by Editura Junimea and the MLR. The main coordinators of this project were literary historian Constantin Ciopraga and Constantin Mitru, who was Sadoveanu's brother-in-law and personal secretary. The popularity of his writings remained high into the early 21st century: in 2004, when the country marked a hundred years since Sadoveanu's debut, Șoimii was published in its 15th edition. According to Simuț, the occasion itself was nevertheless marked with "the impression of general indifference", making Sadoveanu seem "a submerged continent, remembered by us only with piousness and confusion". Tributes Sadoveanu is an occasional presence in the literary works of his fellow generation members. His Țara de dincolo de negură was partly written as a tribute to George Topîrceanu's piece of the same name, with both authors sketching an affectionate portrait of one another. Topîrceanu also parodied his friend's style in a five-paragraph sketch, part of a series of such fragments, recorded their encounters in various other autobiographical writings, and dedicated him the first version of his poem Balada popii din Rudeni ("Ballad of the Priest from Rudeni"). Under the name Nicolae Pădureanu, Sadoveanu is a character in the novel and disguised autobiography În preajma revoluției ("On the Eve of the Revolution"), authored by his colleague Constantin Stere. Sadoveanu is honored in two writings by Nicolae Labiș, collectively titled Sadoveniene ("Sadovenians"). The first, titled Mihail Sadoveanu, is a prose poem which alludes to Sadoveanu's prose, and the other, a free verse piece, is titled Cozma Răcoare. In his scientific study of Sadoveanu's work, Eugen Lovinescu himself turns to pure literature, portraying Sadoveanu as a child blessed by the Moirai or ursitoare with ironic gifts, such as an obstinacy for nature writing in the absence of actual observation ("You shall write; you shall write and could never stop yourself writing [...]. The readers will grow tired, but you will remain tireless; you shall not known rest, just as you shall not know nature [...]"). George Călinescu was one to object to this portrayal, noting that it was merely a "literary device which hardly covers the emptiness of [Lovinescu's] idea." Also during the interwar, philosopher Mihai Ralea made Mihail Sadoveanu the subject of a sociological study investigating his literary contributions in the context of social evolutions. A portrait of Sadoveanu was drawn by graphic artist Ary Murnu, within a larger work which depicts the Kübler Coffeehouse society. Sadoveanu was also the subject of a 1929 painting by Ștefan Dumitrescu, part of a series on Viața Românească figures. In its original edition, Mitrea Cocor was supposed to feature a series of drawings made by Corneliu Baba, one of the best-known Romanian visual artists for his generation. Baba, who had been officially criticized for "formalism", was pressured by the authorities into accepting the commission or risk a precarious existence. The result of his work was rejected with a similar label, and the sketches were for long not made available to the public. Baba also painted Sadoveanu's portrait, which, in 1958, art critic Krikor Zambaccian as "the synthesis of Baba's art", depicting "a man of letters aware of his mission [and] the leading presence of an active consciousness". Constantin Mitru inherited the painting and passed it on to the Museum of Romanian Literature (MLR). A marble bust of Sadoveanu, the work of Ion Irimescu, was set up in Fălticeni in 1977. In Bucharest, a memorial plaque was placed on Pitar Moș Street, on a house where he lived for a period. During the 1990s, another bust of Sadoveanu, the work of several sculptors, was unveiled in Chișinău, Republic of Moldova (the former Moldavian SSR), part of the Aleea Clasicilor sculptural ensemble. Sadoveanu's writings also made an impact on film culture, and in particular on Romanian cinema of the communist period. However, the first film based on his works was a German production of 1929: based on Venea o moară... and titled Sturmflut der Liebe ("Storm Tide of Love"), it notably starred Marcella Albani, Alexandru Giugaru and Ion Brezeanu. The series of Romanian-made films began with the 1952 Mitrea Cocor, co-directed by Marietta Sadova (who also starred in the film) and Victor Iliu. The film itself was closely supervised for conformity with ideological guidelines, and had to be partly redone because its original version did not meet them. Mircea Drăgan directed a 1965 version of Neamul Șoimăreștilor (with a screenplay co-written by Constantin Mitru) and a 1973 adaptation of Frații Jderi (with contributions by Mitru and by Profira Sadoveanu). In 1969, Romanian studios produced a film version of Baltagul, directed by Mircea Mureșan and with Sidonia Manolache as Vitoria Lipan. Ten years later, Constantin Vaeni released Vacanță tragică ("Tragic Holiday"), based on Nada Florilor, followed by a 1980 adaptation of Dumbrava minunată and Stere Gulea's 1983 Ochi de urs (tr. "The Bear Eye's Curse"). In 1989, just before the Romanian Revolution, Dan Pița produced his film The Last Ball in November, based on Locul unde nu s-a întâmplat nimic. During the early decades of communist rule, Sadoveanu, Alexandru Toma and later Tudor Arghezi were often paid homage with state celebrations, likened by literary critic Florin Mihăilescu to the personality cult reserved for Stalin and Gheorghe Gheorghiu-Dej. For a while after the writer's death, the Writers' Union club, commonly known as "The Writers' House", bore Sadoveanu's name. Casa cu turn in Iași, which Sadoveanu had donated to the state in 1950, went through a period of neglect and was finally set up as a museum in 1980. Similar sites were set up in his Fălticeni house, and in his final residence at Voividenia, while the Bradu-Strâmb chalet was controversially granted to the Securitate, and later to the Romanian Police. Each year, Iași commemorates the writer through a cultural festival known as the "Mihail Sadoveanu Days". In 2004, the 100th anniversary of his debut was marked by a series of exhibits and symposiums, organized by the MLR. Similar events are regularly held in various cities, and include the "In Sadoveanu's Footsteps" colloquy of writers, held during March 2006 in the city of Piatra Neamț. Since 2003, in tribute to Sadoveanu's love for the game, an annual chess tournament is held in Iași. The Sadoveanu High School and a bookstore in Bucharest are named after him, and streets named after him exist in, among other places, Iași, Fălticeni, Timișoara, Oradea, Brașov, Galați, Suceava, Călărași, Târgu Jiu, Miercurea Ciuc, Petroșani, and Mangalia. Pașcani hosts a cultural center, a high school and a library named after him. Sadoveanu's memory is also regularly honored in the Republic of Moldova, where, in 2005, the 125th anniversary of his birth was celebrated in an official context. A street in Chișinău and a high school in the town of Cupcini are also named after him. Selected works Fiction 1902 - Frații Potcoavă 1904 - Șoimii 1905 - Floare ofilită 1906 - Însemnările lui Neculai Manea 1907 - La noi, la Viișoara 1907 - Vremuri de bejenie 1908 - Balta liniștii 1908 - Haia Sanis 1911 - Apa morților 1915 - Neamul Șoimăreștilor 1925 - Venea o moară pe Siret... 1928 - Hanu Ancuței 1929 - Zodia Cancerului 1930 - Baltagul 1932 - Nunta Domniței Ruxandra 1932 - Uvar 1933 - Creanga de aur 1934 - Nopțile de Sânziene 1935-1942 - Frații Jderi 1949 - Mitrea Cocor 1951-1952 - Nicoară Potcoavă Non-fiction 1907 - Domnu Trandafir 1908 - Oameni și locuri 1914 - Priveliști dobrogene 1916 - 44 de zile în Bulgaria 1921 - Drumuri basarabene 1926 - Țara de dincolo de negură 1928 - Împărăția apelor 1928 - Olanda 1936 - Însemnări ieșene 1937 - Istorisiri de vânătoare 1944 - Anii de ucenicie Notes References Lucian Boia, "Germanofilii". Elita intelectuală românească în anii Primului Război Mondial, Humanitas, Bucharest, 2010. Lucian Boia (ed.), Miturile comunismului românesc, Editura Nemira, Bucharest, 1998. : Lucian Boia, "Un nou Eminescu: A. Toma", p. 71-81 Adrian Cioroianu, "Lumina vine de la Răsărit. 'Noua imagine' a Uniunii Sovietice în România postbelică, 1944-1947", p. 21-68 George Călinescu, Istoria literaturii române de la origini pînă în prezent, Editura Minerva, Bucharest, 1986 Paul Cernat, Avangarda românească și complexul periferiei: primul val, Cartea Românească, Bucharest, 2007. Ilarie Chendi, "Vieața literară în 1911 (o privire generală)", in Luceafărul, Nr. 3/1912, p. 61-65 (digitized by the Babeș-Bolyai University Transsylvanica Online Library) Adrian Cioroianu, , Editura Curtea Veche, Bucharest, 2005. Marcel Cornis-Pope, "Shifting Perspectives and Voices in the Romanian Novel"; "The Search for a Modern, Problematizing Historical Consciousness: Romanian Historical Fiction and Family Cycles", in Marcel Cornis-Pope, John Neubauer (eds.), History of the Literary Cultures of East-Central Europe, John Benjamins, Amsterdam & Philadelphia, 2004, p. 441-456, 499–505. Ovid Crohmălniceanu, Literatura română între cele două războaie mondiale, Vol. I, Editura Minerva, Bucharest, 1972. Victor Frunză, Istoria stalinismului în România, Humanitas, Bucharest, 1990. Florin Mihăilescu, De la proletcultism la postmodernism, Editura Pontica, Constanța, 2002. Z. Ornea, Anii treizeci. Extrema dreaptă românească, Editura Fundației Culturale Române, Bucharest, 1995. Junimea și junimismul, Vol. II, Editura Minerva, Bucharest, 1998. Petre Răileanu, "Construcție și semnificație în ficțiunea istorică", preface to Mihail Sadoveanu, Nicoară Potcoavă, Editura Militară, 1990, p. 5-17. Tom Sandqvist, Dada East. The Romanians of Cabaret Voltaire, MIT Press, Cambridge, Massachusetts & London, 2006. Ana Selejan, Literatura în totalitarism. Vol. II: Bătălii pe frontul literar, Cartea Românească, Bucharest, 2008. Ioan Stanomir, "Facerea lumii", in Paul Cernat, Ion Manolescu, Angelo Mitchievici, Ioan Stanomir, Explorări în comunismul românesc, Polirom, Iași, 2004, p. 13-45. George Topîrceanu, Scrieri, Vols. I-II (preface, chronological table and notes by Al. Săndulescu), Editura Minerva, Bucharest, 1983. Cristian Vasile, Literatura și artele în România comunistă. 1948-1953, Humanitas, Bucharest, 2010. Tudor Vianu, Scriitori români, Vols. I-II, Editura Minerva, Bucharest, 1970. Krikor Zambaccian, Corneliu Baba, Editura de stat pentru literatură și artă, Bucharest, 1958. External links Roumanian Stories. Translated by Lucy Byng (includes three of Sadoveanu's works), at the University of Washington's DXARTS/CARTAH Electronic Text Archive A Boyar's Sin (excerpt), A Worried Man, His Majesty's Mare, Idle Hours, Master Trandafir (excerpts), The Enchanted Grove (excerpts), The Place Where Nothing Happened (excerpt), The Vesper Bell, Vitoria Lipan (fragment from Baltagul), translations in the Romanian Cultural Institute's Plural Magazine (various issues) "Peace Partisans Meeting aka Peace Meeting" (Rome, 1949) British-Pathé newsreel showing Sadoveanu and other delegates |- 1880 births 1961 deaths Romanian biographers Male biographers Romanian children's writers Romanian crime fiction writers Romanian essayists Romanian fantasy writers Romanian historical novelists Romanian magazine editors Romanian magazine founders Romanian memoirists Romanian newspaper editors 20th-century Romanian novelists Romanian male novelists Romanian poets Romanian male poets Romanian textbook writers Romanian translators Romanian travel writers 19th-century short story writers 20th-century short story writers Romanian male short story writers Romanian short story writers Romanian theatre managers and producers Social realism Socialist realism writers Poporanists Adevărul editors Adevărul writers Titular members of the Romanian Academy People's Party (interwar Romania) politicians 20th-century Romanian politicians Presidents of the Senate of Romania Presidents of the Chamber of Deputies (Romania) Members of the Chamber of Deputies (Romania) Members of the Great National Assembly Heads of state of Romania Romanian activists Romanian Freemasons Masonic Grand Masters Romanian nationalists Romanian pacifists Romanian propagandists Romanian humanists Censorship in Romania Lenin Peace Prize recipients People from Pașcani Romanian civil servants Romanian Land Forces officers Romanian military personnel of the Second Balkan War Romanian people of World War I Romanian people of World War II Burials at Bellu Cemetery 19th-century Romanian writers 20th-century Romanian writers 20th-century essayists 20th-century memoirists 20th-century translators
false
[ "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" ]
[ "Mihail Sadoveanu", "1910s and World War I", "what happened in 1910's?", "In 1910, he was also appointed head of the National Theater Iasi, a position which he filled until 1919." ]
C_f789d8273c5b43b2a57524472ce50d02_0
what else was he appointed to?
2
In addition to the National Theater Iasi, what else was Mihail Sadoveanu appointed to?
Mihail Sadoveanu
Sadoveanu returned to his administrative job in 1907, the year of the Peasants' Revolt. Kept in office by the National Liberal cabinet of Ion I. C. Bratianu, he served under the reform-minded Education Minister Spiru Haret. Inspired by the bloody outcome of the Revolt, as well as by Haret's moves to educate the peasantry, Sadoveanu reportedly drew suspicion from the Police when he published self-help guides aimed at industrious ploughmen, a brand of social activism which even resulted in a formal inquiry. Mihail Sadoveanu became a professional writer in 1908-1909, after joining the Romanian Writers' Society, created in the previous year by poets Cincinat Pavelescu and Dimitrie Anghel, and becoming its President in September of that year. The same year, he, Iosif, and Anghel, together with author Emil Garleanu, set up Cumpana, a monthly directed against both Ovid Densusianu's eclecticism and the Junimist school (the magazine was no longer in print by 1910). At the time, he became a noted presence among the group of intellectuals meeting in Bucharest's Kubler Coffeehouse. In 1910, he was also appointed head of the National Theater Iasi, a position which he filled until 1919. That year, he translated from the French one of Hippolyte Taine's studies on the genesis of artworks. He resigned his office within the Writers' Society in November 1911, being replaced by Garleanu, but continued to partake in its administration as a member of its leadership committee and a censor. He was a leading presence at Minerva newspaper, alongside Anghel and critic Dumitru Karnabatt, and also published in the Transylvanian traditionalist journal, Luceafarul. Sadoveanu was again called under arms during the Second Balkan War of 1913, when Romania confronted Bulgaria. Having reached the rank of Lieutenant, he was stationed in Falticeni with the 15th Infantry Regiment, after which he spent a short period on the front. He returned to literary life. Becoming good friends with poet and humorist George Topirceanu, he accompanied him and other writers on cultural tours during 1914 and 1915. The series of writings he published at the time includes the 1915 Neamul Soimarestilor. In 1916-1917, as Romania entered World War I and was invaded by the Central Powers, Sadoveanu stayed in Moldavia, the only part of Romania's territory still under the state's authority (see Romanian Campaign). The writer oscillated between the Germanophilia of his Viata Romaneasca friends, the stated belief that war was misery and the welcoming of Romania's commitment to the Entente Powers. At the time, he was reelected President of the Writers' Society, a provisional mandate which ended in 1918, when Romania signed the peace with the Central Powers, and, as Army reservist, edited the Entente's regional propaganda outlet, Romania. He was joined by Topirceanu, who had just been released from a POW camp in Bulgaria, and with whom he founded the magazine Insemnari Literare. Sadoveanu subsequently settled in the Iasi neighborhood of Copou, purchasing and redecorating the villa known locally as Casa cu turn ("The House with a Tower"). In the 19th century, it had been the residence of politician Mihail Kogalniceanu, and, during the war, hosted composer George Enescu. During that period, he collaborated with leftist intellectual Vasile Mortun and, together with him and Arthur Gorovei, founded and edited the magazine Ravasul Poporului. CANNOTANSWER
He was a leading presence at Minerva newspaper, alongside Anghel and critic Dumitru Karnabatt,
Mihail Sadoveanu (; occasionally referred to as Mihai Sadoveanu; November 5, 1880 – October 19, 1961) was a Romanian novelist, short story writer, journalist and political figure, who twice served as acting head of state for the communist republic (1947–1948 and 1958). One of the most prolific Romanian-language writers, he is remembered mostly for his historical and adventure novels, as well as for his nature writing. An author whose career spanned five decades, Sadoveanu was an early associate of the traditionalist magazine Sămănătorul, before becoming known as a Realist writer and an adherent to the Poporanist current represented by Viața Românească journal. His books, critically acclaimed for their vision of age-old solitude and natural abundance, are generally set in the historical region of Moldavia, building on themes from Romania's medieval and early modern history. Among them are Neamul Șoimăreștilor ("The Șoimărești Family"), Frații Jderi ("The Jderi Brothers") and Zodia Cancerului ("Under the Sign of the Crab"). With Venea o moară pe Siret... ("A Mill Was Floating down the Siret..."), Baltagul ("The Hatchet") and some other works of fiction, Sadoveanu extends his fresco to contemporary history and adapts his style to the psychological novel, Naturalism and Social realism. A traditionalist figure whose perspective on life was a combination of nationalism and Humanism, Sadoveanu moved between right- and left-wing political forces throughout the interwar period, while serving terms in Parliament. Rallying with People's Party, the National Agrarian Party, and the National Liberal Party-Brătianu, he was editor of the leftist newspapers Adevărul and Dimineața, and was the target of a violent far right press campaign. After World War II, Sadoveanu became a political associate of the Romanian Communist Party. He wrote in favor of the Soviet Union and Stalinism, joined the Society for Friendship with the Soviet Union and adopted Socialist realism. Many of his texts and speeches, including the political novel Mitrea Cocor and the famous slogan Lumina vine de la Răsărit ("The Light Arises in the East"), are also viewed as propaganda in favor of communization. A founding member of the Romanian Writers' Society and later President of the Romanian Writers' Union, Sadoveanu was also a member of the Romanian Academy since 1921 and a recipient of the Lenin Peace Prize for 1961. He was also Grand Master of the Romanian Freemasonry during the 1930s. The father of Profira and Paul-Mihu Sadoveanu, who also pursued careers as writers, he was the brother-in-law of literary critic Izabela Sadoveanu-Evan. Biography Early years Sadoveanu was born in Pașcani, in western Moldavia. His father's family hailed from the southwestern part of the Old Kingdom, in Oltenia. Their place of origin, Sadova, provided their chosen surname (lit. "from Sadova"), which was adopted by the family only in 1891. Mihail's father was the lawyer Alexandru Sadoveanu (d. 1921), whom literary critic George Călinescu described as "a bearded and well-to-do man"; according to the writer's own notes, Alexandru was unhappy in marriage, and his progressive isolation from public life impacted on the entire family. Mihail's mother, Profira née Ursachi (or Ursaki; d. 1895), hailed from a line of Moldavian shepherds, all of whom, as the writer recalled, had been illiterate. Literary historian Tudor Vianu believes this contrast of regional and social identities played a part in shaping the author, opening him up to a "Romanian universality", but notes that, throughout his career, Sadoveanu was especially connected with his Moldavian roots. Mihail had a brother, also named Alexandru, whose wife was the Swiss-educated literary critic Izabela Morțun (later known as Sadoveanu-Evan, she was the cousin of socialist activist Vasile Morțun). Another one of his brothers, Vasile Sadoveanu, was an agricultural engineer. Beginning in 1887, Sadoveanu attended primary school in Pașcani. His favorite teacher, a Mr. Busuioc, later served as inspiration for one of his best-known short stories, Domnu Trandafir ("Master Trandafir"). While away from school, young Sadoveanu used much of his spare time exploring his native region on foot, hunting, fishing, or just contemplating nature. He was also spending his vacations in his mother's native Verșeni. During his journeys, Sadoveanu visited peasants, and his impression of the way in which they were relating to authority is credited by critics with having shaped his perspective on society. Shortly after this episode, the young Sadoveanu left to complete his secondary studies in Fălticeni and at the National High School in Iași. While in Fălticeni, he was in the same class as future authors Eugen Lovinescu and I. Dragoslav, but, having lost interest in schoolwork, he failed to get his remove, before eventually graduating top of his class. First literary attempts, marriage and family In 1896, when he was aged sixteen, Sadoveanu gave thought to writing a monograph on Moldavian Prince Stephen the Great, but his first literary attempts date from the following year. It was in 1897 that a sketch story, titled Domnișoara M din Fălticeni ("Miss M from Fălticeni") and signed Mihai din Pașcani ("Mihai from Pașcani"), was successfully submitted for publishing to the Bucharest-based satirical magazine Dracu. He started writing for Ovid Densusianu's journal Vieața Nouă in 1898. His contributions, featured alongside those of Gala Galaction, N. D. Cocea, and Tudor Arghezi, include another sketch story and a lyric poem. Sadoveanu was however dissatisfied with Densusianu's agenda, and critical of the entire Romanian Symbolist movement for which the review spoke. He ultimately began writing pieces for non-Symbolist magazines such as Opinia and Pagini Literare. In parallel, he founded and printed by hand a short-lived journal, known to researches as either Aurora or Lumea. Sadoveanu left for Bucharest in 1900, intending to study Law at the University's Faculty of Law, but withdrew soon after, deciding to dedicate himself to literature. He began frequenting the bohemian society in the capital, but, following a sudden change in outlook, abandoned poetry and focused his work entirely on Realist prose. In 1901, Sadoveanu married Ecaterina Bâlu, with whom he settled in Fălticeni, where he began work on his first novellas and decided to make his living as a professional writer. His first draft for a novel, Frații Potcoavă ("The Potcoavă Brothers"), came out in 1902, when fragments were published by Pagini Alese magazine under the pseudonym M. S. Cobuz. The following year, Sadoveanu was drafted into the Romanian Land Forces, stationed as a guard near Târgu Ocna, and inspired by the experience to write some of his first social criticism narratives. After that time, he spent much of his home in the country, where he raised a large family. Initially, the Sadoveanus lived in a house previously owned by celebrated Moldavian raconteur Ion Creangă, before they commissioned a new building, famed for its surrounding Grădina Liniștii ("Garden of Quietude"). He was the father of eleven, among whom were three daughters: Despina, Teodora and Profira Sadoveanu, the latter of whom was a poet and a novelist. Of his sons, Dimitrie Sadoveanu became a painter, while Paul-Mihu, the youngest (born 1920), was author of the novel Ca floarea câmpului... ("Like the Flower of the Field...") which was published posthumously. Sămănătorul, Viața Românească and literary debut After receiving an invitation from poet Ștefan Octavian Iosif in 1903, Sadoveanu contributed works to the traditionalist journal Sămănătorul, led at the time by historian and critic Nicolae Iorga. He was by then also a contributor to Voința Națională, a newspaper published by the National Liberal Party and managed by politician Vintilă Brătianu—beginning December of the same year, the paper serialized Șoimii ("The Hawks"), an extended variant of Frații Potcoavă, with an introduction by historian Vasile Pârvan. In 1904, he regained Bucharest, where he became a copyist for the Ministry of Education's Board of Schools, returning to Fălticeni two years later. After 1906, he rallied with the group formed around Viața Românească, which was also joined by his sister-in-law Izabela. Sămănătorul and Viața Românească, having comparable influence over the literature of Romania, stood for a traditionalist and ruralist approach to art, even though the latter adopted a more left-wing perspective, known as Poporanism. The leading Poporanist ideologue, Garabet Ibrăileanu, became a personal friend of the young writer after inviting him on an excursion down the Râșca River. With his subsequent pieces for Viața Românească, Sadoveanu became especially known as the raconteur of hunting trips, but also sparked controversy when a young woman writer, Constanța Marino-Moscu, accused him of having plagiarized her works in his Mariana Vidrașcu, a serialized novel which was discontinued and later largely forgotten. 1904 was Sadoveanu's effective debut year: he published four separate books, including Șoimii, Povestiri ("Stories"), Dureri înăbușite ("Suppressed Pains") and Crâșma lui Moș Petcu ("Old Man Petcu's Alehouse"). The beginning of a prolific literary career covering more than a half century and of his collaboration with Editura Minerva publishing house, this debut was marked by intense preparation, and drew on literary exercises spanning the previous decade. His Sămănătorul colleague Iorga deemed 1904 "Sadoveanu's Year", while the influential and aging critic Titu Maiorescu, leader of the conservative literary society Junimea, gave a positive review to Povestiri, and successfully proposed it for a Romanian Academy award in 1906. In a 1908 essay, Maiorescu was to list Sadoveanu among Romania's greatest writers. According to Vianu, Maiorescu saw in Sadoveanu and other young writers the triumph of his theory on a "popular" form of Realism, a vision which the Junimist thinker had advocated in his essays from as early as 1882. Sadoveanu later credited Iorga, Maiorescu, and especially so the cultural promoter Constantin Banu and Sămănătorul poet George Coșbuc, with having helped him capture the interest of the public and his peers. He was by then facing adversity from opponents of Sămănătorul, primarily critic Henric Sanielevici and his Curentul Nou review, which published claims that Sadoveanu's volumes, which depicted immoral acts such as adultery and rape, showed that Iorga's program of moral didacticism was hypocritical. As he latter recalled, Sadoveanu was himself upset with some of Iorga's critical judgments regarding his own work, noting that the Sămănătorist doyen had once declared him equal to Vasile Pop (one of Iorga's protegés, and viewed as overrated by Sadoveanu). The same year, Sadoveanu became one of Sămănătoruls editors, alongside Iorga and Iosif. The magazine, originally a traditionalist mouthpiece founded by Alexandru Vlahuță and George Coșbuc, proclaimed with Iorga its purpose of establishing "a national culture", emancipated from foreign influence. However, according to Călinescu, this ambitious goal was only manifested in a "great cultural influence", as the journal continued to be an eclectic venue which grouped together ruralist traditionalists of the "national tendency" and adherents to the cosmopolitan currents such as Symbolism. Călinescu and Vianu agree that Sămănătorul was, for a large part, a promoter of older guidelines set by Junimea. Vianu also argues that Sadoveanu's contribution to the literary circle was the main original artistic element in its history, and credits Iosif with having accurately predicted that, during a period of literary "crisis", Sadoveanu was the person to provide innovation. He continued to publish at an impressive rate: in 1906, he again handed down for print four separate volumes. In parallel, Sadoveanu pursued his career as a civil servant. In 1905, he was employed as a clerk by the Ministry of Education, headed by the Conservative Party's Mihail Vlădescu. His direct supervisor was poet D. Nanu, and he had for his colleagues the geographer George Vâlsan and the short story writer Nicolae N. Beldiceanu. Nanu wrote of this period: "It is a clerical packed full with men of letters, no work is being done, people smoke, drink coffee, create dreams, poems and prose [...]." Having interrupted his administrative service, Sadoveanu was again drafted into the Land Forces in 1906, being granted an officer's rank. An already overweight man, he had to march from Probota in Central Moldavia to Bukovina, which caused him intense suffering. 1910s and World War I Sadoveanu returned to his administrative job in 1907, the year of the Peasants' Revolt. Kept in office by the National Liberal cabinet of Ion I. C. Brătianu, he served under the reform-minded Education Minister Spiru Haret. Inspired by the bloody outcome of the Revolt, as well as by Haret's moves to educate the peasantry, Sadoveanu reportedly drew suspicion from the Police when he published self-help guides aimed at industrious ploughmen, a brand of social activism which even resulted in a formal inquiry. Mihail Sadoveanu became a professional writer in 1908–1909, after joining the Romanian Writers' Society, created in the previous year by poets Cincinat Pavelescu and Dimitrie Anghel, and becoming its President in September of that year. The same year, he, Iosif, and Anghel, together with author Emil Gârleanu, set up Cumpăna, a monthly directed against both Ovid Densusianu's eclecticism and the Junimist school (the magazine was no longer in print by 1910). At the time, he became a noted presence among the group of intellectuals meeting in Bucharest's Kübler Coffeehouse. In 1910, he was also appointed head of the National Theater Iași, a position which he filled until 1919. That year, he translated from the French one of Hippolyte Taine's studies on the genesis of artworks. He resigned his office within the Writers' Society in November 1911, being replaced by Gârleanu, but continued to partake in its administration as a member of its leadership committee and a censor. He was a leading presence at Minerva newspaper, alongside Anghel and critic Dumitru Karnabatt, and also published in the Transylvanian traditionalist journal, Luceafărul. Sadoveanu was again called under arms during the Second Balkan War of 1913, when Romania confronted Bulgaria. Having reached the rank of Lieutenant, he was stationed in Fălticeni with the 15th Infantry Regiment, after which he spent a short period on the front. He returned to literary life. Becoming good friends with poet and humorist George Topîrceanu, he accompanied him and other writers on cultural tours during 1914 and 1915. The series of writings he published at the time includes the 1915 Neamul Șoimăreștilor. In 1916–1917, as Romania entered World War I and was invaded by the Central Powers, Sadoveanu stayed in Moldavia, the only part of Romania's territory still under the state's authority (see Romanian Campaign). The writer oscillated between the Germanophilia of his Viața Românească friends, the stated belief that war was misery and the welcoming of Romania's commitment to the Entente Powers. At the time, he was reelected President of the Writers' Society, a provisional mandate which ended in 1918, when Romania signed the peace with the Central Powers, and, as Army reservist, edited the Entente's regional propaganda outlet, România. He was joined by Topîrceanu, who had just been released from a POW camp in Bulgaria, and with whom he founded the magazine Însemnări Literare. Sadoveanu subsequently settled in the Iași neighborhood of Copou, purchasing and redecorating the villa known locally as Casa cu turn ("The House with a Tower"). In the 19th century, it had been the residence of politician Mihail Kogălniceanu, and, during the war, hosted composer George Enescu. During that period, he collaborated with leftist intellectual Vasile Morțun and, together with him and Arthur Gorovei, founded and edited the magazine Răvașul Poporului. Creative maturity and early political career In 1921, Sadoveanu was elected a full member of the Romanian Academy; he gave his reception speech in front of the cultural forum two years later, structuring it as a praise of Romanian folklore in general and folkloric poetry in particular. At the time, he renewed his contacts with Viața Românească: with Garabet Ibrăileanu and several others, he joined its interwar nucleus, while the review often featured samples of his novels (some of which were originally published in full by its publishing venture). His house was by then host to many cultural figures, among whom were writers Topîrceanu, Gala Galaction, Otilia Cazimir, Ionel and Păstorel Teodoreanu, and Dimitrie D. Pătrășcanu, as well as conductor Sergiu Celibidache. He was also close to a minor socialist poet and short story author, Ioan N. Roman, whose work he helped promote, to the aristocrat and memoirist Gheorghe Jurgea-Negrilești, and to a satirist named Radu Cosmin. Despite his health problems, Sadoveanu frequently traveled throughout Romania, notably visiting local sights which inspired his work: the Romanian Orthodox monasteries of Agapia and Văratec, and the Neamț Fortress. After 1923, together with Topîrceanu, Demostene Botez and other Viața Românească affiliates, he also embarked on a series of hunting trips. He was charmed in particular by the sights he discovered during a 1927 visit to the Transylvanian area of Arieș. The same year, he also visited the Netherlands, which he reached by means of the Orient Express. His popularity continued to grow: in 1925, 1929 and 1930 respectively, he published his critically acclaimed novels Venea o moară pe Siret..., Zodia Cancerului and Baltagul, and his 50th anniversary was celebrated at a national level. In 1930, Sadoveanu, Topîrceanu and the schoolteacher T. C. Stan wrote and edited a series of primary school textbooks. In 1926, after a period of indecision, Sadoveanu rallied with the People's Party, where his friend, the poet Octavian Goga, was a prominent activist. He then rallied with Goga's own National Agrarian Party. During the general election of 1927, he won a seat in the Chamber for Bihor County, in Transylvania, holding a seat in the Senate for Iași County after the 1931 suffrage. Under Nicolae Iorga's National Peasants' Party cabinet of the period, Sadoveanu was President of the Senate. The choice was motivated by his status as "a cultural personality". Around that date, he was affiliated with the National Liberal Party-Brătianu, a right-wing party inside the liberal current, who stood in opposition to the main National Liberal group. In parallel, he began contributing to the left-wing daily Adevărul. Sadoveanu was by then affiliated with the Freemasonry, as first recorded by the organization in 1928, but was probably a member since 1926 or 1927. Reaching the 33rd degree within the organization and overseeing the Masonic Lodge Dimitrie Cantemir of Iași, he was elected Grand Master of the National Union of Lodges in 1932, thus replacing the vacating George Valentin Bibescu. There subsequently occurred a split between Bibescu and Sadoveanu's supporters, aggravated by their publicized conflict with a third group, that of Ioan Pangal—splits which ended after some three years, when Sadoveanu marginalized both of his opponents, without however earning legitimate recognition from the Grand Orient de France. By 1934, he was recognized as Grand Master of the United Romanian Freemasonry, which regrouped all major local Lodges. Late 1930s and World War II He was publishing new works at a regular rate, culminating in the first volume of his historical epic Frații Jderi, which saw print in 1935. In 1936, the writer accepted the honorary chairmanship of Adevărul and its morning edition, Dimineața. During that time, he was involved in a public dispute with the far right and fascist press, replying to their attacks in several columns. Affiliates of the radical right organized public burnings of his volumes. The scandal prolonged itself over the following years, with Sadoveanu being supported by his friends in the literary community. Among them was Topîrceanu, who was at the time hospitalized, and whose expression of support was made shortly before his death to liver cancer. In September 1937, as a statement of solidarity and appreciation, the University of Iași conferred Sadoveanu the title of doctor honoris causa. Mihail Sadoveanu withdrew from politics in the late 1930s and early 1940s, as Romania came to be led by successive right-wing dictatorships, he offered a measure of support to King Carol II and his National Renaissance Front, which attempted to block the more radically fascist Iron Guard from power. He was personally appointed a member of the reduced corporatist Senate by Carol. In 1940, the official establishment Editura Fundațiilor Regale published the first volume of his Opere ("Works"). Sadoveanu kept a low profile under the Iron Guard's Nazi-allied National Legionary regime. After Conducător Ion Antonescu overthrew the Guard during the Legionary Rebellion and established his own fascist regime, the still-apolitical Sadoveanu was more present in public life, and lectured on cultural subjects for the Romanian Radio. After publishing the final section of his Frații Jderi in 1942, Sadoveanu again retreated to the countryside, in his beloved Arieș area, where he had built himself a chalet and a church; this seclusion produced his Povestirile de la Bradu-Strâmb ("Bradu-Strâmb Stories"). During those years, the sixty-year-old writer met Valeria Mitru, a much younger feminist journalist, whom he married after a brief courtship. In August 1944, Romania's King Michael Coup toppled Antonescu and switched sides in the war, rallying with the Allies. As a Soviet occupation began at home, Romanian troops fought alongside the Red Army on the European theater. Paul-Mihu Sadoveanu was killed in action in Transylvania on September 22. During the same months, Sadoveanu was a candidate for the Writers' Society presidency, but, in what has been read as proof of a rivalry within the Freemasonry, was defeated by Victor Eftimiu. Later that year, the 40th anniversary of Mihail Sadoveanu's debut was celebrated with a special ceremony at the Academy and Tudor Vianu's speech, offered as a retrospective of his colleague's entire work. Communist system and political rise After the Soviet-backed advent of the Communist system in Romania, Sadoveanu supported the new authorities, and turned from his own version of Realism to officially-endorsed Socialist realism (see Socialist realism in Romania). This was also the start of his association with the Soviet-sponsored Romanian Society for Friendship with the Soviet Union (ARLUS), which was led by biologist and physician Constantin Ion Parhon. Having served as a host to official Soviet envoys Andrey Vyshinsky and Vladimir Kemenov during their late 1944 visits, he soon after became president of the ARLUS "Literary and Philosophical Section" (seconded by Mihai Ralea and Perpessicius). In February 1945, he joined Parhon, Enescu, linguist Alexandru Rosetti, composer George Enescu, biologist Traian Săvulescu and mathematician Dimitrie Pompeiu in a protest against the cultural policies of Premier Nicolae Rădescu and his cabinet, one in a series of moves to discredit the non-communist Rădescu and make him leave power. With Ion Pas, Gala Galaction, Horia Deleanu, Octav Livezeanu and N. D. Cocea, Sadoveanu edited the association's weekly literary magazine Veac Nou after June 1946. Sadoveanu's literary and political change became known to the general public in March 1945, when he lectured about Soviet leader Joseph Stalin at a conference hall in Bucharest. Part of a conference cycle, his speech was famously titled Lumina vine de la Răsărit, which soon became synonymous with the attempts to improve the image of Stalinism in Romania. ARLUS would issue the text of his conference as a printed volume later in the year. Also in 1945, Sadoveanu journeyed to the Soviet Union together with some of his fellow ARLUS members—among them biologists Parhon and Săvulescu, sociologist Dimitrie Gusti, linguist Iorgu Iordan, and mathematician Simion Stoilow. Invited by the Soviet Academy of Sciences to attend the 220th anniversary of its foundation, they also visited research institutes, kolhozy, and day care centers, notably meeting with Nikolay Tsitsin, an agronomist favored by Stalin. After his return, he wrote other controversial texts and gave lectures which offered ample praise to the Soviet system. That year, the ARLUS enterprise Editura Cartea Rusă also published his translation of Ivan Turgenev's A Sportsman's Sketches. During the rigged election of that year, Sadoveanu was a candidate for the Communist party-organized Bloc of Democratic Parties (BPD) in Bucharest, winning a seat in the newly unified Parliament of Romania. In its first-ever session (December 1946), the legislative body elected him its President. He was at the time residing in Ciorogârla, having been awarded a villa previously owned by Pamfil Șeicaru, a journalist whose support for fascist regimes had made him undesirable, and who had moved out of Romania. The decision was viewed as evidence of political corruption by the opposition National Peasants' Party, whose press deemed Sadoveanu the "Count of Ciorogârla". In 1948, after Romania's King Michael I was overthrown by the BPD-member parties and the communist regime officially established, Sadoveanu rose to the highest positions ever granted to a Romanian writer, and received significant material benefits. In 1947–1948, he was, alongside Parhon, Ștefan Voitec, Gheorghe Stere, and Ion Niculi, a member of the Presidium of the People's Republic, which was elected by the BPD-dominated legislative. He also kept his seat at the Academy, which at the time was undergoing a communist-led purge, and, with several other pro-Soviet intellectuals, was voted in the Academy Presidium. Final years, illness and death After the Writers' Society was restructured as the Romanian Writers' Union in 1949, Sadoveanu became its Honorary President. In 1950, he was named President of the Writers' Union, replacing Zaharia Stancu. According to writer Valeriu Râpeanu, this last appointment was a sign of Stancu's marginalization after he had been excluded from the Romanian Communist Party, while the Writers' Union was actually controlled by its First Secretary, the communist poet Mihai Beniuc. Sadoveanu and Beniuc were reelected at the Union's first Congress (1956). In the meanwhile, Sadoveanu published several Socialist realist volumes, among which was Mitrea Cocor, a controversial praise of collectivization policies. First published in 1949, it earned Sadoveanu the first-ever State Prize for Prose. Throughout the period, Sadoveanu was involved in major communist-endorsed cultural campaigns. Thus, in June 1952, he presided over the Academy's Scientific Council, charged with modifying the Romanian alphabet, at the end of which the letter â was discarded, and replaced everywhere with î (a spelling Sadoveanu is alleged to have already shown preference for in his early works). In March 1953, soon after Stalin's death, he led discussions within the Writers' Union, confronting his fellow writers with the new Soviet cultural directives as listed by Georgy Malenkov, and reacting against young authors who had not discarded the since-condemned doctrines of proletkult. The author was also becoming involved in the Eastern Bloc's peace movement, and led the National Committee for the Defense of Peace at a time when the Soviet Union was seeking to portray its Cold War enemies as warmongers and the sole agents of nuclear proliferation. He also represented Romania to the World Peace Council, and received its International Peace Prize for 1951. As a parliamentarian, Sadoveanu stood on the committee charged with elaborating the new republican constitution, which, in its final form, reflected both Soviet influence and the assimilation of Stalinism into Romanian political discourse. In November 1955, shortly after turning 75, he was granted the title of "Hero of Socialist Labor". After 1956, when the regime announced that it had embarked on a limited version of De-Stalinization, it continued to recommend Mihail Sadoveanu as one of its prime cultural models. Having donated Casa cu turn to the state in 1950, he moved back to Bucharest, where he owned a house near the Zambaccian Museum. From January 7 to January 11, 1958, Sadoveanu, Ion Gheorghe Maurer and Anton Moisescu were acting Chairmen of the Presidium of the Great National Assembly, which again propelled him to a position as titular head of state. His literary stature but also his political allegiance earned him the Soviet Lenin Peace Prize, which he received shortly before his death. After a long illness marked by a stroke which impaired his speech and left him almost completely blind, Sadoveanu was cared for by a staff of physicians supervised by Nicolae Gh. Lupu and reporting to the Great National Assembly. The Sadoveanus withdrew to Neamț region, where they lived in a villa assigned to them by the state and located near the Voividenia hermitage and the locality of Vânători-Neamț, being visited regularly by literary and political friends, among them Alexandru Rosetti. Mihail Sadoveanu died there at 9 AM on October 19, 1961, and was buried at Bellu cemetery, in Bucharest. His successor as President of the Writers' Union was Beniuc, elected during the Congress of January 1962. Following her husband's death, Valeria Sadoveanu settled in proximity to the Văratec Monastery, where she set up an informal literary circle and Orthodox prayer group, notably attended by literary historian Zoe Dumitrescu-Bușulenga and by poet Ștefana Velisar, and dedicated herself to protecting the community of nuns. She survived Mihail Sadoveanu by over 30 years. Literary contributions Context Often seen as the leading author of his generation, and generally viewed as one of the most representative Romanian writers, Mihail Sadoveanu was also believed to be a first-class story-teller, and received praise especially for his nature writing and his depictions of rural landscapes. An exceptionally prolific author by Romanian standards, he published over a hundred individual volumes (120 according to the American magazine Time). His contemporaries tended to place Sadoveanu alongside Liviu Rebreanu and Cezar Petrescu—for all the differences in style between the three figures, the interwar public saw them as the "great novelists" of the day. Critic Ovid Crohmălniceanu describes their activity, altogether focused on depicting the rural world but diverging in bias, as one sign that the Romanian interwar itself was exceptionally effervescent, while Romanian-born American historian of literature Marcel Cornis-Pope sees Sadoveanu and Rebreanu as their country's "two most important novelists of the first half of the twentieth century". In 1944, Tudor Vianu spoke of Sadoveanu as "the most significant writer Romanians [presently] have, the first among his equals." While underlining his originality in the context of Romanian literature and among the writers standing for "the national tendency" (as opposed to the more cosmopolitan modernists), George Călinescu also noted that, through several of his stories and novels, Sadoveanu echoed the style of his predecessors and contemporaries Ion Luca Caragiale, Ioan Alexandru Brătescu-Voinești, Emil Gârleanu, Demostene Botez, Otilia Cazimir, Calistrat Hogaș, I. A. Bassarabescu and Ionel Teodoreanu. Also included among the "national tendency" writers, Gârleanu was for long seen as Sadoveanu's counterpart, and even, Călinescu writes, "undeservedly upstaged" him. Cornis-Pope also writes that Sadoveanu's epic is a continuation of "the national narrative" explored earlier by Nicolae Filimon, Ioan Slavici and Duiliu Zamfirescu, while literary historians Vianu and Z. Ornea note that Sadoveanu also took inspiration from the themes and genres explored by Junimist author Nicolae Gane. In his youth, Sadoveanu also admired and collected the works of N. D. Popescu-Popnedea, a prolific and successful author of almanacs, historical novels and adventure novels. Later, his approach to Realism was also inspired by his reading of Gustave Flaubert and especially Nikolai Gogol. Both Sadoveanu and Gane were also indirectly influenced by Wilhelm von Kotzebue, the 19th century Imperial Russian diplomat and author of the Romanian-themed story Laskar Vioresku. In Vianu's assessment, Sadoveanu's work signified an artistic revolution within the local Realist school, comparable to the adoption of perspective by the visual artists of the Renaissance. Mihail Sadoveanu's interest in the rural world and his views on tradition were subjects of debate among the modernists. The modernist doyen Eugen Lovinescu, who envisaged an urban literature in tune with European tendencies, was one of Sadoveanu's most notorious critics. However, Sadoveanu was well received by Lovinescu's adversaries within the modernist camp: Perpessicius and Contimporanul editor Ion Vinea, the latter of whom, in search for literary authenticity, believed in bridging the gap between the avant-garde and folk culture. This opinion was shared by Swedish literary historian Tom Sandqvist, who sees Sadoveanu's main point of contact with modernism was his interest in the pagan elements and occasional absurdist streaks of local folklore. In the larger dispute about national specificity, and partly in response to Vinea's claim, modernist poet and essayist Benjamin Fondane argued that, as a sign Romanian culture was tributary to those it had come into contact with, "Sadoveanu's soul can be easily reduced to the Slavic soul". Characteristics Sadoveanu's personality and experience played a major part in shaping his literary style. After his 1901 marriage, Mihail Sadoveanu adopted what Călinescu deemed "patriarchal" lifestyle. The literary historian noted that he took a personal interest in educating his many children, and that this also implied "making use of a whip". An Epicurean, the writer was a homemaker, an avid hunter and fisherman, and a chess aficionado. Recognized, like his epigramist colleague Păstorel Teodoreanu, as a man of refined culinary tastes, Sadoveanu cherished Romanian cuisine and Romanian wine. The lifestyle choices were akin to his literary interests: alongside the secluded and rudimentary existence of his main characters (connected by Călinescu with the writer's supposed longing for "regressions to the patriarchal times"), Sadoveanu's work is noted for its imagery of primitive abundance, and in particular for its lavish depictions of ritualistic feasts, hunting parties and fishing trips. Călinescu opined that the value of such descriptions within individual narratives grew with time, and that the author, once he had discarded lyricism, used them as "a means for the senses to enjoy the fleshes and the forms that nature offers man." He added that Sadoveanu's aesthetics could be said to recall the art of the Golden Age in Holland: "One could almost say that Sadoveanu rebuilds in present day Moldavia [...] the Holland of wine jugs and kitchen tables covered in venison and fish." Vianu also argued that Sadoveanu never abandoned himself to purely aesthetic descriptions, and that, although often depicted with Impressionistic means, nature is assigned a specific if discreet role within the plot lines, or serves to render a structure. The traditionalist Garabet Ibrăileanu, referring to Sadoveanu's poetic nature writing, even declared it to have "surpassed nature." At the other end, the modernist Eugen Lovinescu specifically objected to Sadoveanu's depiction of a primordial landscape, arguing that, despite adopting Realism, his rival was indebted to Romanticism and subjectivity. Lovinescu's attitude, critic Ion Simuț notes, was partly justified by the fact that Sadoveanu never truly parted with the traditionalism of Sămănătorul. In 1962, Time also commented that his style was "curiously dated" and recalled not Sadoveanu's generation, but that of Leo Tolstoy and Ivan Turgenev, "although he has nothing like the power or skill of any of them." For Călinescu and Vianu too, Sadoveanu is a creator with seemingly Romantic tastes, which recall those of François-René de Chateaubriand. Unlike Lovinescu, Vianu saw these traits as "not at all detrimental to the balance of [Sadoveanu's] art." Seen by literary critic Ioan Stanomir as marked by "volubility", and thus contrasting with his famously taciturn and seemingly embittered nature, the form of Romanian used by Mihail Sadoveanu, particularly in his historical novels, was noted for both its use of archaisms and the inventive approach to the Romanian lexis. Often borrowing plot lines and means of expression from medieval and early modern Moldavian chroniclers such as Ion Neculce and Miron Costin, the author creatively intercalates several local dialects and registers of speech, moving away from a mere imitation of the historical language. Generally third-person narratives, his books often make little or no dialectal difference between the speech used by the story-teller and the character's voices. According to Călinescu, Sadoveanu displays "an enormous capacity of authentic speech", similar to that of Caragiale and Ion Creangă. The writer himself recorded his fascination with the "eloquence" of rudimentary orality, and in particular with the speech of Rudari Roma he encountered during his travels. Building on observations made by several critics, who generally praised the poetic qualities of Sadoveanu's prose, Crohmălniceanu spoke in detail about the Moldavian novelist's role in reshaping the literary language. This particular contribution was first described early in the 20th century, when Sadoveanu was acclaimed by Titu Maiorescu for having adapted his writing style to the social environment and the circumstances of his narratives. Vianu however notes that Sadoveanu's late writings tend to leave more room for neologisms, mostly present in those parts where the narrator's voice takes distance from the plot. Another unifying element in Sadoveanu's creation is his recourse to literary types. As early as 1904, Maiorescu praised the young raconteur for accurately depicting characters in everyday life and settings. Tudor Vianu stressed that, unlike most of his Realist predecessors, Sadoveanu introduced an overtly sympathetic view of the peasant character, as "a higher type of human, a heroic human". He added: "Simple, in the sense that they are moved by a few devices [which] coincide with the fundamental instincts of mankind, [they] are, in general, mysterious." In this line, Sadoveanu also creates images of folk sages, whose views on life are of a Humanist nature, and often depicted in contrast with the rationalist tenets of Western culture. Commenting on this aspect, Sadoveanu's friend George Topîrceanu believed that Sadoveanu's work transcended the "more intellectual [and] more artificial" notion of "types", and that "he creates [...] humans." The main topic of his subsequent work, Sandqvist argues, was "an archaic world where the farmers and the landlords were free men with equal rights" (or, according to Simuț, "a utopia of archaic heroism"). Thus, Călinescu stresses, Sadoveanu's work seems to be the monolithic creation through which "a single man" reflects "a single, universal nature, inhabited by a single type of man", and which echoes a similar vision of archaic completeness as found in the literature of poet Mihai Eminescu. The similarity in vision with Eminescu's "nostalgia, return, protest, demand, aspiration toward a [rural] world [he has] left" was also proposed by Vianu, while Topîrceanu spoke of "the paradoxical discovery that [Sadoveanu] is our greatest poet since Eminescu." Mihail Sadoveanu also shaped his traditionalist views on literature by investigating Romanian folklore, which he recommended as a source of inspiration to his fellow writers during his 1923 speech at the Romanian Academy. In Călinescu's view, Sadoveanu's outlook on life was even mirrored in his physical aspect, his "large body, voluminous head, his measured shepherd-like gestures, his affluent but prudent and monologic speech [and] feral indifference; his eyes [...] of an unknown race." His assessment of the writer as an archaic figure, bluntly stated in a 1930 article ("I believe him to be very uncultured"), was contrasted by other literary historians: Alexandru Paleologu described Sadoveanu as a prominent intellectual figure, while his own private notes show that he was well-read and acquainted with the literatures of many countries. Often seen as a spontaneous writer, Sadoveanu nevertheless took pains to elaborate his plots and research historical context, keeping most records of his investigations confined to his diaries. Debut The writer's debut novel, Povestiri, was celebrated for its accomplished style, featuring early drafts of all themes he developed upon later in life. However, Călinescu argued, some of the stories in the volume were still "awkward", and showed that Sadoveanu had problems in outlining epics. The pieces mainly feature episodes in the lives of boyars (members of Moldavia's medieval aristocracy), showing the ways in which they relate to each other, to their servants, and to their country. In one of the stories, titled Cântecul de dragoste ("The Love Song"), Sadoveanu touches on the issue of slavery, depicting the death of a Rom slave who is killed by his jealous master, while in Răzbunarea lui Nour ("Nour's Revenge"), a boyar refuses to make his peace with God until his son's death is avenged. Other fragments deal solely with the isolated existence of villagers: for example, in Într-un sat odată ("Once, in a Village"), a mysterious man dies in a Moldavian hamlet, and the locals, unable to discover his identity, sell his horse. The prose piece Năluca ("The Apparition") centers on the conjugal conflict between two old people, both of whom attempt to hide the shame of their past. George Călinescu notes that, particularly in Năluca, Sadoveanu begins to explore the staple technique of his literary contributions, which involves "suggesting the smolder of passions [through] a contemplative breath in which he evokes a static element: landscapes or set pieces from nature." Sadoveanu's subsequent collection of short stories, Dureri înăbușite, builds on the latter technique and takes his work into the realm of social realism and naturalism (believed by Călinescu to have been borrowed from either the French writer Émile Zola or from the Romanian Alexandru Vlahuță). For Călinescu, this choice of style brought "damaging effects" on Sadoveanu's writings, and made Dureri înăbușite "perhaps the poorest" of his collections of stories. In Lovinescu's view, Sadoveanu's move toward naturalism did not imply the necessary recourse to objectivity. The pieces focus on dramatic moments of individual existences. In Lupul ("The Wolf"), an animal is chased and trapped by a group of peasants; the eponymous character in Ion Ursu leaves his village to become a proletarian, and succumbs to alcoholism; the indentured laborer in Sluga ("The Servant") is unable to take revenge on his cruel employer at the right moment; in Doi feciori ("Two Sons"), a boyar comes to feel affection for his illegitimate son, whom he has nonetheless reduced to a lowly condition. In 1905, Sadoveanu also published Povestiri din război ("Stories from the War"), which compose scenes from the lives of Romanian soldiers fighting in the War of 1878. Objecting to a series of exaggerations in the book, Time nevertheless noted that Sadoveanu "sometimes had the writing skill to make compelling even quite traditional reactions to old-fashioned war". It concluded: "Sadoveanu's sketches have the virtues—and the vices—of old hunting prints and the romantically mannered battle scenes of the 19th century." Early selections of major themes Sadoveanu renounces this grim perspective on life in his volume Crâșma lui Moș Petcu, where he returns to a depiction of rural life as unchanged by outside factors. Petcu's establishment, located on the Moldova Valley, is a serene place, visited by quiet and subdued customers, whose occasional outburst of violence are, according to Călinescu, "dominated by slow, stereotypical mechanics, as is with people who can only accommodate within them a single drama." The literary critic celebrated Crâșma lui Moș Petcu for its depictions of nature, whose purpose is to evoke "the indifferent eternity" of conflicts between the protagonists, and who, at times, relies "on a vast richness of sounds and words." He did however reproach the writer "a certain monotony", arguing that Sadoveanu came to use such techniques in virtually all his later works. However, Sadoveanu's stories of the period often returned to a naturalistic perspective, particularly in a series of sketch stories and novellas which portray the modest lives of Romanian Railways employees, of young men drafted into the Romanian Land Forces, of Bovaryist women who playfully seduce adolescents, or of the provincial petite bourgeoisie. At times, they confront the morals of barely literate people with the stern authorities: a peasant obstinately believes that the 1859 union between Wallachia and Moldavia was meant to ensure the supremacy of his class; a young lower-class woman becomes the love interest of a boyar but chooses a life of freedom; and a Rom deserts from the Army after being told to bathe. In La noi, la Viișoara ("At Our Place in Viișoara"), the life of an old man degenerates into bigotry and avarice, to the point where he makes his wife starve to death. Sadoveanu's positive portrayal of hajduks as fundamentally honest outlaws standing up to feudal injustice, replicates stereotypes found in Romanian folklore, and is mostly present in some of the stories through (sometimes recurrent) heroic characters: Vasile the Great, Cozma Răcoare, Liță Florea etc. In the piece titled Bordeenii (roughly, "The Mud-hut Dwellers"), he shows eccentrics and misanthropes presided upon by the dark figure of Sandu Faliboga, brigands who flee all public authority and whom commentators have likened to settlers of the Americas. Lepădatu, an unwanted child, speaks for the entire group: "What could I do [...] wherever there are big fairs and lots of people? I'd have a better time with the cattle; it is with them that I have grown up and with them that I get along." Romanticizing the obscure events of early medieval history in Vremuri de bejenie ("Roving Times", 1907), Sadoveanu sketches the improvised self-defense of a refugee community, their last stand against nomadic Tatars. In reference to the stories in this series, Călinescu stresses that Sadoveanu's main interest is in depicting men and women cut away from civilization, who view the elements of Westernization with nothing more than "wonderment": "Sadoveanu's literature is the highest expression of the savage instinct." In later works, the critic believed, Sadoveanu moved away from depicting isolation as the escape of primitives into their manageable world, but as "the refinement of souls whom civilization has upset." These views are echoed by Ovid Crohmălniceanu, who believes that, unlike other Romanian Realists, Sadoveanu was able to show a peasant society that was not merely the prey of modern corruption or historical oppression, but rather refusing all contacts with the wider world—even to the point of Luddite-like hostility in front of new objects. Some of the early stories, Crohmălniceanu argues, do follow the moralizing Sămănătorist pattern, but part with it when they refuse to present the countryside in "idyllic" fashion, or when they adopt a specific "mythical realism". Sadoveanu began his career as a novelist with more in-depth explorations into subjects present in his stories and novellas. At the time, Crohmălniceanu stresses, he was being influenced by the naturalism of Caragiale (minus the comedic effect), and by his own experience growing up in characteristically underdeveloped Moldavian cities and târguri (somewhat similar to the aesthetic of boredom, adopted in poetry by George Bacovia, Demostene Botez or Benjamin Fondane). Among his first works of the kind is Floare ofilită ("Wizened Flower"), where a simple girl, Tincuța, marries a provincial civil servant, and finds herself deeply unhappy and unable to enrich her life on any level. Tincuța, seen by Călinescu as one of Sadoveanu's "savage" characters, only maintains urban refinement when persuading her husband to return for supper, but, according to Crohmălniceanu, is also a credible witness to the "small-mindedness" of "bourgeois" environments. A rather similar plot is built for Însemnările lui Neculai Manea ("The Recordings of Neculai Manea"), where the eponymous character, an educated peasant, experiences two unhappy romantic affairs before successfully courting a married woman who, although grossly uncultured, makes him happy. Apa morților ("The Dead Men's Water") is about a Bovaryist woman who discards lovers over imprecise feelings of dissatisfaction, finding refuge in the monotonous countryside. Călinescu noted that such novels were "usually less valuable than direct accounts", and deemed Însemnările lui Neculai Manea "without literary interest"; in Ovid Crohmălniceanu's view, the same story presents relevant detail on professional and intellectual failure. Praised by its commentators, the short novel Haia Sanis (1908) shows the eponymous character, a Jewish woman who throws herself into the arms of a local Gentile, although she knows him to be a seducer. Călinescu, who wrote with admiration about how the subject dissimulated pathos into "technical indifference", notes that the erotic rage motivating Haia has drawn "well justified" comparisons with Jean Racine's tragedy Phèdre. Crohmălniceanu believes Haia Sanis to be "perhaps [Sadoveanu's] best novella", particularly since the "wild beauty" Haia has to overcome at once antisemitism, endogamy and shame, before dying "in terrible pain" during a botched abortion. Sadoveanu's work of the time also includes Balta liniștii ("Tranquillity Pond"), where Alexandrina, pushed into an arranged marriage, has a belated and sad revelation of true love. In other sketch stories, such as O zi ca altele ("A Day like Any Other") or Câinele ("The Dog"), Sadoveanu follows Caragiale's close study of suburban banality. Hanu Ancuței, Șoimii and Neamul Șoimăreștilor The novella Hanu Ancuței ("Ancuța's Inn"), described by George Călinescu as a "masterpiece of the jovial idyllicism and barbarian subtlety", and by Z. Ornea as the first evidence of Sadoveanu's "new age", is a frame story in the line of medieval allegories such as Giovanni Boccaccio's Decameron and Geoffrey Chaucer's Canterbury Tales. It retells the stories of travelers meeting in the eponymous inn. Much of the story deals with statements of culinary tastes and shared recipes, as well as with the overall contrast between civilization and rudimentary ways: in one episode of the book, a merchant arriving from the Leipzig Trade Fair bemuses the other protagonists when he explains the more frugal ways and the technical innovations of Western Europe. Sadoveanu applied the same narrative technique in his Soarele în baltă ("The Sun in the Waterhole"), which, Călinescu argues, displays "a trickier style." In Șoimii, Sadoveanu's first historical novel, the main character is Nicoară Potcoavă, a late 16th-century Moldavian nobleman who became Hetman of the Zaporozhian Cossacks and Prince of Moldavia. The narrative, whose basic lines had been drawn by Sadoveanu in his adolescent years, focuses on early events in Nicoară's life, building on the story according to which he and his brother Alexandru were the brothers of Prince Ioan Vodă cel Cumplit, whose execution by the Ottomans they tried to avenge. The text also follows their attempt to seize and kill Ieremia Golia, a boyar whose alleged betrayal had led to Prince Ioan's capture, and whose daughter Ilinca becomes the brothers' prisoner. This story as well features several episodes where the focus is on depicting customary feasts, as well as a fragment where the Potcoavăs and their Zaporozhian Cossack allies engage in binge drinking. Glossing over several years in Nicoară's life, and culminating in his seizure of the throne, the narrative shows his victory against pretender Petru Șchiopul and Golia, and the price he has to pay for his rise. Alexandru, who falls in love with Ilinca, unsuccessfully asks for the captured Golia not to be killed. Following the murder, both brothers become embittered and renounce power. Călinescu described Șoimii novel as "still awkward", noting that Sadoveanu was only beginning to experiment with the genre. The 1915 Neamul Șoimăreștilor is a Bildungsroman centered on the coming of age of one Tudor Șoimaru. The protagonist, born a free peasant in Orhei area, fights alongside Ștefan Tomșa in the 1612 battles to capture the Moldavian throne. After participating in the capture of Iași, he returns home and helps local boyar Stroie in recovering his daughter, Magda, who had been kidnapped by Cossacks. Șoimaru, who feels for Magda, is however enraged by news that her father has forced his community into serfdom. Trying to deal with his internal conflict, he travels into Poland–Lithuania, where he discovers that Stroie is plotting against Tomșa, while Magda, who is in love with a szlachta nobleman, scorns his affection. He returns a second time to Orhei, marries into his social group, and plots revenge on Stroie by again rallying with Ștefan Tomșa. Following Tomșa's defeat, he again loses the lands of his ancestors, as Stroie returns home to celebrate his victory and have the Șoimarus put to death. Unexpectedly warned of this by Magda, Tudor manages to turn the tide: he and his family destroy Stroie's manor, killing the master but allowing Magda to escape unharmed. In Călinescu's view, the novel is "somewhat more consistent from an epic perspective", but fails to respect the conventions of the adventure novel it sets out to replicate. The critic, who deemed Magda's courtship by Tudor "sentimental", argued that the book lacks "the richness and unpredictable nature of the love intrigue"; he also objected to the depiction of Tudor as indecisive and inadequate for a heroic role. However, Ovid Crohmălniceanu argued that the suddenness of Tudor's sentimental commitments was characteristic for the "peasant soul" as observed by Sadoveanu. Zodia Cancerului and Nunta Domniței Ruxandra Zodia Cancerului, Sadoveanu's later historical novel, is set late in the 17th century, during the third rule of Moldavian Prince Gheorghe Duca, and is seen by Călinescu as "of a superior artistic level." The plot centers on a conflict between Duca and the Ruset boyars: the young Alecu Ruset, son of the deposed Prince Antonie, is spared persecution on account of his good relations with the Ottomans, but has to live under close watch. Himself a tormented, if cultured and refined, man, Alecu falls in love with Duca's daughter Catrina, whom he attempts to kidnap. The episode, set to coincide with the start of a major social crisis, ends with Alecu's defeat and killing on Duca's orders. In the background, the story depicts the visit of an Abbé de Marenne, a Roman Catholic priest and French envoy, who meets and befriends Ruset. Their encounter is another opportunity for Sadoveanu to show the amiable but incomplete exchange between the mentalities of Western and Eastern Europe. In various episodes of the novel, de Marenne shows himself perplexed by the omnipresent wilderness of underpopulated Moldavia, and in particular by the abundance of resources this provides. In one paragraph, seen by George Călinescu as a key to the book, Sadoveanu writes: "[De Marenne's] curious eye was permanently satisfied. Here was a desolation of solitudes, one that his friends in France could not even guess existed, no matter how much imagination they had been gifted with; for at the antipode of civilization one occasionally finds such things that have remained unchanged from the onset of creation, preserving their mysterious beauty." In a shorter novel of the period, Sadoveanu explored the late years of Vasile Lupu's rule over Moldavia, centering on the marriage of Cossack leader Tymofiy Khmelnytsky and Lupu's daughter, Ruxandra. Titled Nunta Domniței Ruxandra ("Princess Ruxandra's Wedding"), it shows the Cossacks' brutal celebration of the event around the court in Iași, depicting Tymofiy himself as an uncouth, violent and withdrawn figure. The narrative then focuses on the Battle of Finta and the siege of Suceava, through which a Wallachian-Transylvanian force repelled the Moldo-Cossack forces and, turning the tide, entered deep into Moldavia and placed Gheorghe Ștefan on the throne. Sadoveanu also invents a love story between Ruxandra and the boyar Bogdan, whose rivalry with Tymofiy ends in the latter's killing. While Călinescu criticized the plot as being over-detailed, and the character studies as incomplete, Crohmălniceanu found the intricate depiction of boyar customs to be a relevant part of Sadoveanu's "vast historical fresco." In both Zodia Cancerului and Nunta Domniței Ruxandra, the author took significant liberties with the historical facts. In addition to Tymofiy's death at the hands of Bogdan, the latter narrative used invented or incorrect names for some of the personages, and portrays the muscular, mustachioed, Gheorghe Ștefan as thin and bearded; likewise, in Zodia Cancerului, Sadoveanu invents the character Guido Celesti, who stands in for the actual Franciscan leader of Duca's Iași, Bariona da Monte Rotondo. Frații Jderi, Venea o moară pe Siret... and Baltagul With Frații Jderi, Sadoveanu's fresco of Moldavian history maintains its setting, but moves back in time to the 15th century rule of Prince Stephen the Great. Writing in 1941, before its final part was in print, Călinescu argued that the novel was part of Sadoveanu's "most valuable work", and noted "the maturity of its verbal means." In the first volume, titled Ucenicia lui Ionuț ("Ionuț's Apprenticeship"), the eponymous Jderi brothers, allies of Stephen and friends of his son Alexandru, fight off the enemies of their lord on several occasions. In what is the start of a Bildungsroman, the youngest Jder, Ionuț Păr-Negru, consumed by love for Lady Nasta, who was kidnapped by Tatars. He goes to her rescue, only to find out that she had preferred suicide to a life of slavery. Călinescu, who believed the volumes show Sadoveanu's move to the consecrated elements of adventure novels, called them "remarkable", but stressed that the narrative could render "the feeling of stumbling, of a languishing flow", and that the dénouement was "rather depressing". The second book in the series (Izvorul alb, "The White Water Spring") intertwines the life of the Jderi brothers with that of Stephen's family: the ruler weds the Byzantine princess Mary of Mangop, while Simion Jder falls for Marușca, who is supposedly Stephen's illegitimate daughter. The major episodes in the narrative are Marușca's kidnapping by a boyar, her captivity in Jagiellon Poland, and her rescue at the hands of the Jderi. The 1942 conclusion of the cycle, Oamenii Măriei-sale ("His Lordship's Men"), the brothers are shown defending their ancestral rights and their lord against the Ottoman invader and ambivalent boyars, and crushing the former at the Battle of Vaslui. The Jderi books, again set to the background of primitivism and natural abundance, also feature episodes of intense horror. These, Călinescu proposes, are willingly depicted "with an indolent complacency", as if to underline that the slow pace and monumental scale of history give little importance to personal tragedies. The same commentator notes a difference between the role nature plays in the first and second volumes: from serene, the landscape becomes hostile, and people are shown fearing earthquakes and droughts, although contemplative depictions of euphoria play a central part in both writings. The meeting between the wider world and the immobile local tradition surfaces in Frații Jderi as well: a messenger is shown wondering how the letter he brought could talk to the addressee; when she is supposed to encounter strange men, Marușca requests to be allowed to "shy away" in another room; a secondary character, claiming precognition, prepares his own funeral. For the 1925 Venea o moară pe Siret..., Sadoveanu received much critical acclaim. The boyar Alexandru Filotti falls in love with a miller's daughter, Anuța, whom he educates and introduces to high society. The beautiful young lady is also courted by Filotti's son Costi and by the peasant Vasile Brebu—in the end, overwhelmed by jealousy, Brebu kills the object of his affection. George Călinescu writes that the good reception was not fully deserved, claiming that the novel is "colorless", that it was merely based on the writer's early stories, and that it failed in its goal of depicting "crumbling boyardom". In Baltagul (1930), Sadoveanu merged psychological techniques and a pretext borrowed from crime fiction with several of his major themes. Written in just 30 days on the basis of previous drafts, the condensed novel shows Vitoria Lipan, the widow of a murdered shepherd, following in her husband's tracks to discover his killer and avenge his death. Accompanied by her son, and using for a guide the shepherd's dog, Vitoria discovers both the body and the murderer, but, before she can take revenge, her dog jumps on the man and bites into his neck. By means of this plot line, Sadoveanu also builds a fresco of transhumance and traces its ancestral paths, taking as a source of inspiration one of the best-known poems in local folklore, the ballad Miorița. Vitoria's sheer determination is the central aspect of the volume. Călinescu, who ranks the book among Sadoveanu's best, praises its "remarkable artistry" and "unforgettable dialogues", but nonetheless writes that Lipan's "detective-like" search and a "stubbornness" are weak points in the narrative. Crohmălniceanu declares Baltagul one of the "capital works" in world literature, proposing that, on its own, it manages to reconstruct "an entire shepherding civilization"; Cornis-Pope, who rates the book as "Sadoveanu's masterpiece", also notes that it "restated the theme of crime and punishment". Main travel writings and memoirs Before the 1940s, Sadoveanu also became known as a travel writer. His contributions notably include accounts of his hunting trips: Țara de dincolo de negură ("The Land beyond the Fog"), and one dedicated to the region of Dobruja (Priveliști dobrogene, "Dobrujan Sights"). Călinescu wrote that they both comprised "pages of great beauty". Țara de dincolo..., primarily showing recluse men in real-life symbiosis with the wilderness, also attention for its sympathetic depiction of the Hutsuls, a minority Slavic-speaking population, as an ancient tribe threatened by cultural assimilation. Sadoveanu's other travelogues include the reportage Oameni și locuri ("People and Places") and an account of his trips into Bessarabia (Drumuri basarabene, "Bessarabian Roads"). He also collected and commented upon the memoirs of other avid hunters (Istorisiri de vânătoare, "Hunting Stories"). A noted writing in this series was Împărăția apelor ("The Realm of Waters"). It forms a detailed and contemplative memoir of his journeys as a fisherman, and, according to Crohmălniceanu, one of the most eloquent proofs of Sadoveanu's "permanent and intimate correspondence with nature." Călinescu saw the text as a "fantastic vision of the entire aquatic universe", merging a form of pessimism similar to Arthur Schopenhauer's with a "calm kief" (cannabis-induced torpor), and as such illustrating "the great joy of participating in the transformations of matter, of eating and allowing oneself to be eaten." Sadoveanu also contributed an account of his travels into the Netherlands, Olanda ("Holland"). It provides insight into his preoccupation with the meeting of civilization and wilderness: upset by what he called "the [Dutch] rampancy of cleanliness", the writer confesses his perplexity at coming face to face with a contained and structured natural world, and details his own temptation to go "against the current". One of Sadoveanu's main conclusions is that Holland lacks in "true and lively wonders". Sadoveanu also sporadically wrote memoirs of his early life career, such as Însemnări ieșene ("Recordings from Iași"), which deals with the period during which he worked for Viața Românească, a book about the Second Balkan War (44 de zile în Bulgaria, "44 Days in Bulgaria"), and the account of years in primary school, Domnu Trandafir. They were followed in 1944 by Anii de ucenicie ("The Apprenticeship Years"), where Sadoveanu details some of his earliest experiences. Despite his temptation for destroying all raw personal notes, Sadoveanu wrote and kept a large number of diaries, which were never published in his lifetime. Other early writings Also during that time, he retold and prefaced the journeys of Thomas Witlam Atkinson, an English architect and stonemason who spent years in Tartary (a book he titled Cuibul invaziilor, "The Nest of Invasions"). This was evidence of his growing interest in exotic subjects, which he later adapted to a series of novels, where the setting is "Scythia", seen as an ancestral area of culture connecting Central Asia with the European region of Dacia (partly coinciding with present-day Romania). The home of mysterious Asiatic peoples, Sadoveanu's Scythia is notably the background to his novels Uvar and Nopțile de Sânziene. The former shows its eponymous character, a Yakut, exposed to the scrutiny of a Russian officer. In the latter, titled after the ancestral celebration of Sânziene during the month of June, shows a French intellectual meeting a nomadic tribe of Moldavian Rom people, who, the reader learns, are actually the descendants of Pechenegs. Călinescu notes that, in such writings, "the intrigue is a pretext", again serving to depict the vast wilderness confronted with the keen eye of foreign observers. He sees Nopțile de Sânziene as "the novel of millenarian immobility", and its theme as one of mythological proportions. The narrative pretexts, including the Sânziene celebration and the Rom people's social atavism, connect Nopțile... with another one of Sadoveanu's writings, 24 iunie ("June 24"). According to Tudor Vianu, the 1933 fantasy novel Creanga de aur ("The Golden Bow") takes partial inspiration from Byzantine literature, and is evidence of a form of Humanism found in Eastern philosophy. Marcel Cornis-Pope places it among Sadoveanu's "mythic-poetic narratives that explored the ontology and symbolics of history." The writer himself acknowledged that the esoteric nature of the book was inspired by his own affiliation to the Freemasonry, whose symbolism it partly reflected. Its protagonist, Kesarion Brebu, is included by Vianu among the images of sages and soothsayers in Mihail Sadoveanu's fiction, and, as "the last Deceneus", is a treasurer of ancient secret sciences mastered by the Dacians and the Ancient Egyptians. The novel is often interpreted as Sadoveanu's perspective on the Dacian contribution to Romanian culture. Sadoveanu's series of minor novels and stories of the interwar years also comprises a set of usually urban-themed writings, which, Călinescu argues, resemble the works of Honoré de Balzac, but develop into "regressive" texts with "a lyrical intrigue". They include Duduia Margareta ("Miss Margareta"), where a conflict occurs between a young woman and her governess, and Locul unde nu s-a întâmplat nimic ("The Place Where Nothing Happened"), where, in what is a retake on his own Apa morților, Sadoveanu depicts the cultured but bored boyar Lai Cantacuzin and his growing affection for a modest young woman, Daria Mazu. In Cazul Eugeniței Costea ("The Case of Eugenița Costea"), a civil servant kills himself to avoid prosecution, and his end is replicated by that of his daughter, brought to despair by her stepfather's character and by her mother's irrational jealousy. Demonul tinereții ("The Demon of Youth"), believed by Călinescu to be "the most charming" in this series, has for its protagonist Natanail, a university dropout who has developed a morbid fear of women since losing the love of his life, and who lives in seclusion as a monk. In the rural-themed Paștele blajinilor ("Thomas Sunday") of 1935, a defeated brigand seeks a dignified end to his wasted life. Written in 1938, the short story Ochi de urs ("Bear's Eye") introduces its hero Culi Ursake, the toughened hunter, into a bizarre scenery that seems to mock a human's understanding. During the period, Mihail Sadoveanu also wrote children's literature. His most significant pieces in this field are Dumbrava minunată ("The Enchanted Grove", 1926), Măria-sa Puiul Pădurii ("His Highness the Forest Boy", 1931), and a collection of stories adapted from Persian literature (Divanul persian, "The Persian Divan", 1940). Măria-sa Puiul Pădurii is itself an adaptation of the Geneviève de Brabant story, considered "somewhat highbrow" by George Călinescu, while the frame story Divanul persian consciously recalls the work of 19th century Wallachian writer Anton Pann. In 1909, Sadoveanu also published adapted version of two ancient writings: the Alexander Romance (as Alexandria) and Aesop's Fables (as Esopia). His 1921 book Cocostârcul albastru ("The Blue Crane") is a series of short stories with lyrical themes. Among his early writings are two biographical novels which retell historical events from the source, Viața lui Ștefan cel Mare ("The Life of Stephen the Great") and Lacrimile ieromonahului Veniamin ("The Tears of Veniamin the Hieromonk"), both of which, Călinescu objected, lacked in originality. The former, published in 1934, was more noted among critics, for both intimate tone and hagiographic character (recounting Stephen's life on the model of saints' biographies). Socialist realism years Despite the post-1944 change in approach, Sadoveanu's characteristic narrative style remained largely unmodified. In contrast, his choice of themes changed, a transition which reflected political imperatives. At the end of the process, literary historian Ana Selejan argues, Sadoveanu became the most influential prose author among Romanian Socialist realists, equaled only by the younger Petru Dumitriu. Historian Bogdan Ivașcu writes that Sadoveanu's affiliation with "proletarian culture" and "its masquerade", like that of Tudor Arghezi and George Călinescu, although it may have been intended to rally "prestige and depth" to Socialist realism, only succeeded in bring their late works to the level of "propaganda and agitation materials." In contrast to these retrospective assessments, communist literary critics and cultural promoters of the 1950s regularly described Sadoveanu as the model to follow, both before and after Georgy Malenkov's views on culture were adopted as the norm. In his Lumina vine de la Răsărit, the writer built on the opposition between light and darkness, identifying the former with Soviet policies and the latter with capitalism. Sadoveanu thus spoke of "the dragon of my own doubts" being vanquished by "the Sun of the East". Historian Adrian Cioroianu notes that this literary antithesis came to be widely used by various Romanian authors who rallied with Stalinism during the late 1940s, citing among these Cezar Petrescu and the former avant-garde writer Sașa Pană. He also notes that such imagery, accompanied by portrayals of Soviet joy and abundance, replicated an ancient "structure of myth", adapting it to a new ideology on the basis of "what could be imagined, not of what could be believed." Ioan Stanomir writes that Sadoveanu and his fellow ARLUS members use a discourse recalling the theme of a religious conversion, analogous to that of Paul the Apostle (see Road to Damascus), and critic Cornel Ungureanu stresses that Sadoveanu's texts of the period frequently quote the Bible. Following his return from the Soviet Union, Sadoveanu published travelogues and reportage piece, including the 1945 Moscova ("Moscow", co-authored with Traian Săvulescu and economist Mitiță Constantinescu) and the 1946 Caleidoscop ("Kaleidoscope"). In one of these accounts, he details his encounter with Lysenkoist agronomist Nikolay Tsistsin, and claims to have tasted bread made from a brand of wheat which yielded 4,000 kilograms of grain per hectare. In a later memoir, Sadoveanu depicted his existence and the destiny of his country as improved by the communist system, and gave accounts of his renewed journeys in the countryside, where he claimed to have witnessed a "spiritual splendor" supported by "the practice of the new times". He would follow up with hundreds of articles on various subjects, published by the communist press, including two 1953 pieces in which he lamented Stalin's death (one of them referred to the Soviet leader as "the great genius of progressive mankind"). Upon its publication, the political novel Mitrea Cocor, which depicts the hardships and eventual triumph of its eponymous peasant protagonist, was officially described as the first Socialist realist writing in local literature, and as a turning point in literary history. Often compared to Dan Deșliu's ideologized poem Lazăr de la Rusca, it is remembered as a controversial epic dictated by ideological requirements, and argued to have been written with assistance from several other authors. Seen by historiographer Lucian Boia as an "embarrassing literary fabrication", it was rated by literary critics Dan C. Mihăilescu and Luminița Marcu both as one of "the most harmful books in Romanian literature", and by historian Ioan Lăcustă as "a propaganda writing, a failure from a literary point of view". A praise of collectivization policies that some critics believe was a testimony that Sadoveanu was submitting himself and imposing his public to brainwashing, Mitrea Cocor was preceded by Păuna-Mică, a novel which also idealizes collective farming. With his final published work, the 1951-1952 novel Nicoară Potcoavă, Sadoveanu retells the narrative of his Șoimii, modifying the plot and adding new characters. Noted among the latter is Olimbiada, a female soothsayer and healer through whose words Sadoveanu again dispenses his own perspective on human existence. The focus of the narrative is also changed: from the avenger of his brother's death in Șoimii, the pretender becomes a purveyor of folk identity, aiming to reestablish the Moldavia of Stephen the Great's times. Praised early on by Dumitriu, who believed it was proof of "artistic excellence", Nicoară Potcoavă is itself seen as a source for communist-inspired political messages. According to Cornel Ungureanu, this explains why it highlights the brotherhood between Cossacks and Moldavians, supposedly replicating the official view on Soviet-Romanian relations. Cornis-Pope, who considers the novel one of Sadoveanu's "mere variations" on old subjects, suggests that it transforms its protagonist "from medieval fighter into political philosopher who announces the rise of a 'new world'." Victor Frunză also notes that, although Sadoveanu returned to old subjects, he "no longer rises to the level he had reached before the war." The final part of Sadoveanu's creation also comprises a series of pieces where the narrative approach was, according to Crohmălniceanu, "corrected" to show his favorite recluse type won over by the new society. In essence, Ungureanu argues, the new style that of "reportage and plain information, adapted to orders coming from above". Such works include the 1951 Nada Florilor ("The Flowers' Lure") and Clonț-de-fier ("Iron Bucktooth"), alongside an unfinished piece, Cântecul mioarei ("Song of the Ewe"). In Nada..., the peasant boy Culai follows his hero, tinsmith Alecuțu, into factory life. Clonț-de-fier, an ideologized retake on Demonul tinereții, is about a monk returning from seclusion into the world of workers, where the landscape is reshaped by large-scale construction works. According to Ungureanu, it also shows Sadoveanu's universe stripped of "all its deep meanings." While their author came to personify the new cultural guidelines, Sadoveanu's previous books, from Frații Jderi to Baltagul, were subject to communist censorship. Various statements contradicting the ideological guidelines were cut out of new editions: the books in general could no longer include mentions of Bessarabia (a region first incorporated into the Soviet Union by a 1940 occupation) or Romanian Orthodox beliefs. In one such instance, censors of Baltagul removed a character's claim that "the Russian" was by nature "the drunkest of them all, [...] a worthy beggar and singer at the fairs." Politics Nationalism and Humanism Sadoveanu's engagement in politics was marked by abrupt changes in convictions, seeing him move from right- to left-wing stances several times in his life. In close connection with his traditionalist views on literature, but in contrast to his career under a Conservative Party and National Liberal cabinets, Sadoveanu initially rallied with nationalist groups of various hues, associating with both Nicolae Iorga and, in 1906, with the left-wing Poporanists at Viața Românească. An early cause of his was his attempt to reconcile Iorga with the Poporanists, but his efforts were largely fruitless. In the 1910s, the anti-Iorga traditionalist Ilarie Chendi recognized in Sadoveanu one of the Poporanists who promoted "the spiritual healing of our people through culture." Around that time, he formulated a ruralist and nationalist perspective on life, rejecting what he deemed "the hybrid urban world" for "the world of our national realities". In Călinescu's analysis, this signifies that, like his predecessor, the conservative Eminescu, Sadoveanu believed the cities were victims of the "superimposed category" of foreigners, in particular those administrating leasehold estates. Following the 1907 Peasants' Revolt, Sadoveanu sent a report to his Minister of Education Spiru Haret, informing him on the state of rural education, and, beyond this, of the problems faced by villagers in Moldavia. It read: "The leaseholders and landowners, no matter what their nationality, make a mockery of the Romanians' labors. Every surtucar [that is, urbanized character] in the village, mayors, notaries, paper-pushers, shamelessly [and] mercilessly milk this milk cow. They are joined by the priest—who [...] is in disagreement with the teacher." With Neamul Șoimăreștilor, the burdens of feudal society and mercantilism, most of all the restriction of economic rights, were becoming a background theme in his fiction, which later depicted Stephen the Great as the original champion of social justice (Frații Jderi). During most of his World War I activity, Sadoveanu also followed the Poporanists' Russophobia and dislike of the Entente side, describing the Russian Empire's national policies in Bessarabia as far more barbaric than Austria-Hungary's rule over Transylvania. In 1916, he abruptly switched to the Entente camp: his enthusiasm as propaganda officer was touched by controversy once Romania experienced massive defeats; Sadoveanu himself abandoned the Entente cause by 1918, when he was decommissioned, and resumed his flirtation with Constantin Stere's Germanophile lobby. Călinescu sees Sadoveanu, alongside Stere, as one of Viața Româneascăs chief ideologues, noting that he was nonetheless "rendered notorious by his inconsistency and opportunism." He writes that Sadoveanu and Stere both showed a resentment for ethnic minorities, particularly members of the Jewish community, whom they saw as agents of exploitation, but that, as Humanists, they had a form of "humane sympathy" for Jews and foreigners taken individually. The Poporanist aspect of Sadoveanu's literature was also highlighted by Garabet Ibrăileanu in the late 1920s, when he referred to his contributions as evidence that Romanian culture was successfully returning to its specific originality. In essence, Crohmălniceanu writes, Sadoveanu was tied to Viața Românească by his advocacy of national specificity, his preference for the large-scale narrative, and his vision of pristine, "natural", human beings. According to Z. Ornea, Sadoveanu's affiliation to the Freemasonry shaped not only his political "demophilia", but also his "Weltanschauung, and, through a reflex, his [literary] work." By consequence, Ornea argues, Sadoveanu became a supporter of democracy, a stance which led him into open conflict with extreme nationalists. Alongside its Humanism, Sadoveanu's nationalism was noted for being secular, and thus in contrast with the Romanian Orthodox imagery favored by nationalists on the far right. Sadoveanu rejected the notion that ancestral Romanians were religious individuals, stating that their belief was in fact "limited to rituals and customs." He was also a vocal supporter of international cooperation, particularly among countries in Eastern and Central Europe. Writing for the magazine Familia in 1935, 17 years after Transylvania's union with Romania and 15 years after the Treaty of Trianon, Sadoveanu joined the Hungarian author Gyula Illyés in pleading for good relations between the two neighbors. As noted by Crohmălniceanu, although Sadoveanu's interwar novels may depict both clashes between polities and benign misunderstandings, they ultimately discourage ethnic stereotypes, suggesting that "the gifts and qualities of various kinships" are mutually compatible. According to Marcel Cornis-Pope, this cooperative vision is the background theme to Divanul persian, a book "demonstrating the value of intercultural dialogue at a time of sharp political polarization." The same text was described by Vianu as evidence of Sadoveanu's "understanding, gentleness and tolerance". In 1926, the year of his entry into Alexandru Averescu's People's Party, Sadoveanu motivated his choice in a letter to Octavian Goga, indicating his belief that the intelligentsia needed to partake in politics: "It would seem that what is foremost needed is the contribution of intellectuals, in an epoch when the overall intellectual level is decreasing." His sincerity was doubted by his contemporaries: both his friend Gheorghe Jurgea-Negrilești and the communist Petre Pandrea recount how, in 1926–1927, Sadoveanu and Păstorel Teodoreanu requested public funds from Interior Minister Goga, with Sadoveanu motivating that he wanted to set up a cultural magazine and later spending the money on his personal wardrobe. In contrast, Adrian Cioroianu notes that the People's Party episode, and especially the "mutual wariness" between Sadoveanu and the National Liberals, underlined the writer's sympathy for the "intellectual Left". Himself a Marxist, Ovid Crohmălniceanu suggested that, as early as the 1930s, Sadoveanu's attitudes were rather similar to the official line of communist groups. Opposition to fascism and support for King Carol During the 1930s, following his stint as head of Adevărul, a leftist newspaper owned by Jewish entrepreneurs, Sadoveanu was targeted by right-wing voices, who claimed that he had chosen to abandon his nationalist credentials. Thus, Sadoveanu became the target of a press campaign in the antisemitic and fascist press, and in particular in Nichifor Crainic's Sfarmă-Piatră and the journals connected with the Iron Guard. The former publication deplored his supposed "betrayal" of the nationalist cause. In it, Ovidiu Papadima portrayed Sadoveanu as the victim of Jewish manipulation, and equated his affiliation to the Freemasonry with devil worship, and mocked his obesity, while Crainic himself compared the writer to his own character, the treacherous Ieremia Golia. Porunca Vremii often referred to him as Jidoveanu (from jidov, a dismissive term for "Jew"), depicted him as an agent of "Judaeo-communism" motivated by "perversity", and called on the public to harass the writer and beat him with stones. It also protested when the public authorities in Fălticeni refused to withdraw Sadoveanu the title of honorary citizen, and again when the University of Iași made him a doctor honoris causa, and, through the voice of novelist N. Crevedia, even suggested that the writer should use his hunting rifle to commit suicide. In 1937, Porunca Vremii congratulated ultra-nationalists who had organized public burnings of Sadoveanu's works in Southern Dobruja and in Hunedoara, as well as non-identified people who sent the writer packages containing shredded copies of his own volumes. In April 1937, the anti-Sadoveanu campaign was met with the indignation of various public figures, who issued an "Appeal of the Intellectuals", signed by Liviu Rebreanu, Eugen Lovinescu, Petru Groza, Victor Eftimiu, George Topîrceanu, Zaharia Stancu, Demostene Botez, Alexandru Al. Philippide, Constantin Balmuș and others. Denouncing the campaign as a "moral assassination", it referred to Sadoveanu as the author of "the most Romanian [works] in our literature." Sadoveanu himself defended his fellow writer Tudor Arghezi, who stood accused by the far right press of having written "pornography". Reviewing the consequences of these scandals, Ovid Crohmălniceanu suggests that all of what Mihail Sadoveanu wrote from 1938 to 1943 is in some way connected to the cause of anti-fascism. According to Cornis-Pope, Sadoveanu's dislike for the far right can be discovered in Creanga de aur, which doubles as "a political parable opposing an archaic peasant civilization to the growing threat of fascism." However, George Călinescu claims, the writer himself had not actually revised his nationalist outlook, that he continued to believe that minorities and foreigners were a risky presence in Greater Romania, and that his Humanism was "a light tincture". In one of his columns, Sadoveanu replied to those organizing the acts of vandalism, indicating that, had they actually read the novels they were destroying, they would have found "a burning faith in this nation, for so long mistreated by cunning men". Elsewhere, stating that he was not going to take his detractors into consideration, Sadoveanu defined himself as an adversary of both Nazi Germany and any form of advocacy for a "National-Socialist regime in our country". Sadoveanu's subsequent endorsement of authoritarian King Carol II and his corporatist force, the National Renaissance Front, saw his participation in the monarch's personality cult. In 1940, he offered controversial praise to the ruler through the official journal, Revista Fundațiilor Regale, which caused Carol's political adversary, psychologist Nicolae Mărgineanu, to deem Sadoveanu and his fellow contributors "scoundrels". His renewed mandate in the Senate was a favor from Carol, also granted to George Enescu, philosopher Lucian Blaga, scientists Emil Racoviță and Iuliu Hațieganu, and several other public figures. During the Ion Antonescu dictatorship, Sadoveanu kept a low profile and was apolitical. However, Cioroianu writes, he supported the invasion of the Soviet Union and Romania's cooperation with the Axis Powers on the Eastern Front, seeing in this a chance to recover Bessarabia and the northern part of Bukovina (lost to the 1940 Soviet occupation). In spring 1944, months before the King Michael Coup toppled the regime, he was approached by the clandestine Romanian Communist Party and its sympathizers in academia to sign an open letter condemning Romania's alliance to Nazi Germany. According to the communist activist Belu Zilber, who took part in this action, Sadoveanu, like his fellow intellectuals Dimitrie Gusti, Simion Stoilow and Horia Hulubei, refused to sign the document. Also according to Zilber, Sadoveanu motivated his refusal by stating that the letter needed to be addressed not to Antonescu, but to King Michael I. However, and aside from its main topic, Păuna-Mică was noted as one of the few prose works of the 1940s to mention the wartime deportation of Romanian Jews by Antonescu's regime; Caleidoscop also speaks about the 1941 Iași pogrom as "our shame", and commends those who opposed it. Partnership with the communists Following his Lumina vine de la Răsărit lecture, Sadoveanu became noted for his positive portrayals of communization and collectivization. In particular, Sadoveanu offered praise to one of the major pillars of Stalinism, the 1936 Soviet Constitution. In 1945, claiming to have been "flashed upon" by "Stalin's argumentation", he urged the public to read the document for its "sincerity"; elsewhere, he equated reading the constitution with "a mystical revelation". Adrian Cioroianu describes this as "an office assignment" from the ARLUS, at a time when the group was circulating free translated copies of the Soviet constitution. The enthusiasm of his writings also manifested itself in his public behavior: according to his ARLUS colleague Iorgu Iordan, Sadoveanu was emotional during the 1945 Soviet trip, shedding tears of joy upon visiting a day care center in the countryside. Running in the 1946 election, Sadoveanu blamed the old political class in general for the problems faced by Romanian peasants, including the major drought of that year. By then, his political partners were making use of his literary fame, and his electoral pamphlet read: "There is no doubt that the thousands of people who have read his works will rush out on [election day] to vote for him." After 1948, when the Romanian communist regime was installed, Sadoveanu directed his praise toward the new authorities. In 1952, as Romania adopted its second republican constitution and the authorities intensified repression against anti-communists, Sadoveanu made some of his most controversial statements. Declaring the defunct kingdom to have been a "long interval of organized injustice and crooked development in all areas", he presented the new order as an era of social justice, human dignity, available culture and universal public education. Criticism of Sadoveanu's moral choices also focuses on the fact that, while he led a luxurious existence, many of his generation colleagues and fellow intellectuals were being persecuted or jailed in notoriously harsh circumstances. Having tolerated the purge within the Romanian Academy, Cioroianu notes, Sadoveanu accepted being colleagues with newly promoted "secondary characters [...] whom the new regime needed", such as poet Dumitru Theodor Neculuță and historian Mihail Roller. In his official capacity, Sadoveanu even signed several death sentences declared by communist tribunals, and, in the wake of the Tămădău Affair of summer 1947, presided over the Chamber sessions which outlawed the opposition National Peasants' Party: according to researcher Victor Frunză, he was a willing participant in this, having been upset by the exposure of his personal wealth in the National Peasantist press. Later, Sadoveanu made a reference to his former colleague, the National Peasantist activist Ion Mihalache, arguing that his old Agrarianist approach to politics had made him a "ridiculous character". Ioan Stanomir describes this fragment as one of "intellectual abjection", indicating that Mihalache, already a political prisoner of the regime, was to die in captivity. However, as leader of the Romanian Writers' Union, the aging writer is credited by some with having protected poet Nicolae Labiș, a disillusioned communist who had been excluded from the Union of Worker Youth in spring 1954, and whose work Sadoveanu treasured. He is also reported to have helped George Călinescu publish the novel Scrinul negru, mediating between him and communist leader Gheorghe Gheorghiu-Dej. Mihail Sadoveanu provided a definition of his own political transition in conversation with fellow writer Ion Biberi (1946). At the time, he claimed: "I have never engaged in politics, in the sense that one assigns to this word." He elaborated: "I am a left-wing person, following the line of a Poporanist zeal in the spirit of Viața Românească, but one adapted to the new circumstances." Cioroianu sees in such statements evidence that, trying to discard his past, Sadoveanu was including himself among the socialist intellectuals "willing to let themselves be won over by the indescribable charm and the full swing of the communist utopia", but that he may in reality have been "motivated by fear". Paraphrasing communist vocabulary, Stanomir describes the writer as one of the "bourgeois" personalities who became "fellow travelers" of the communists, and argues that Sadoveanu's claim to have always leaned towards a "people's democracy" inaugurated "a pattern of chameleonism". In the view of historian Vladimir Tismăneanu, Sadoveanu, like Parhon, George Călinescu, Traian Săvulescu and others, was one of the "non-communist intellectuals" attracted into cooperation with the Romanian Communist Party and the communist regime (Tismăneanu also argues that these figures' good relationship with Gheorghiu-Dej was a factor in the process, as was Gheorghiu-Dej's ability to make himself look "harmless"). Others have submitted that Sadoveanu's faction in the Freemasonry, which included far left advocates Mihai Ralea and Alexandru Claudian, and officially supported evolutionary socialism, was a natural partner of the communists, to the point of sanctioning its own state-organized suppression. According to Adrian Cioroianu, Sadoveanu was not necessarily an "apostle of communization", and his role in the process is subject to much debate. Describing the writer's "conversion to philosovietism" as "purely contextual", Cioroianu also points out that the very notion of "light arising in the East" is read by some as Sadoveanu's encoded message to other Freemasons, warning them of a Soviet threat to the organization. The historian notes that, for all their possible lack in sincerity, Sadoveanu's statements provided a template for other intellectuals to follow—this, he argues, was the case of Cezar Petrescu. Other statements made by Sadoveanu also displayed a possibly studied ambiguity, as is the case with a 1952 lecture he gave in front of young writers attending the Party-controlled School of Literature, where he implicitly denied that one could be created a writer unless by "God or Mother Nature". Legacy Influence Sadoveanu's prose, in particular his treatment of natural settings, was a direct influence in the works of writers such as Dimitrie D. Pătrășcanu, Nicolae N. Beldiceanu, Jean Bart, and Al. Lascarov-Moldovanu; his storytelling techniques were also sometimes borrowed by comedic novelist Damian Stănoiu, and, in later years, by historical novelist Dumitru Vacariu. According to Călinescu, Sadoveanu's early hunting stories published by Viața Românească, together with those of Junimist Nicolae Gane, helped establish the genre within the framework of Romanian literature, and paved the way for its predilect use in the works of Ioan Alexandru Brătescu-Voinești. Călinescu also notes that Scrisorile unui răzeș ("Letters of a Peasant"), an early work by novelist Cezar Petrescu, are deeply marked by Sadoveanu's influence, and that the same writer's use of the Moldavian dialect is a "pastiche" from Sadoveanu. Ion Vinea too, while expressing admiration for Sadoveanu, defined all his disciples and imitators as "mushroom-writers from Sadoveanu's woods" and "butlers who steal [their lord's lingerie] in order to wear his blazon". The issue was much later discussed by writer-critic Ioan Holban, who likewise described most historical novelists inspired by Sadoveanu as "insignificant" to Romanian letters. Under the early stages of the communist regime, before the rise of Nicolae Ceaușescu engendered a series of rehabilitations and accommodated nationalism, the Romanian curriculum was dependent on ideological guidelines. At the time, Sadoveanu was one of the writers from the interwar whose work was still made available to Romanian schoolchildren. In the 1953 Romanian language and literature manual, he represented his generation alongside the communist authors Alexandru Toma and Alexandru Sahia, and was introduced mainly through his Mitrea Cocor. At the time, studies of his work were published by prominent communist critics, among them Ovid Crohmălniceanu, Paul Georgescu, Traian Șelmaru, Mihai Novicov, Eugen Campus and Dumitru Isac, while a 1953 reissue of Baltagul was published in 30,000 copies (a number rarely met by the Romanian publishing industry in that context). In later years, Profira Sadoveanu became a noted promoter of her father's literature and public image, publishing children's versions of his biography, notably featuring illustrations by Mac Constantinescu (1955 edition). Although Sadoveanu continued to be hailed as a major writer during the Ceaușescu years, and the seventy years of his debut were marked with state ceremony, the reaction against Soviet influence affected presentations of his work: his official bibliography no longer included any mention of Păuna-Mică. Among the memoirs dealing with Sadoveanu's late years were those of Alexandru Rosetti, published in 1977. The official revival of nationalist discourse in the 1960s allowed controversial critic Edgar Papu to formulate his version of Protochronism, which postulated that phenomenons within Romanian culture preceded developments in world culture. In this context, Papu spoke of Sadoveanu as "one of the great precursory voices", comparing him to Rabindranath Tagore. After the 1989 Revolution toppled communism, Sadoveanu remained an influence on some young authors, who recovered the themes of his work in a Postmodern or parodic manner. Among them is Dan Lungu, who, according to critic Andrei Terian, alluded to the Hanu Ancuței frame story when constructing his 2004 novel Paradisul găinilor. In 2001, a poll carried among literati by Observator Cultural magazine listed six of his works as some of the best 150 Romanian novels. Mihail Sadoveanu's various works were widely circulated abroad. This phenomenon began as early as 1905, when German-language translations were first published, and continued during the 1930s, when Venea o moară pe Siret... was translated very soon after its original Romanian edition. In 1931, female author and feminist militant Sarina Cassvan included French-language versions of his texts into an anthology designed to promote modern Romanian culture internationally. Also then, some of Sadoveanu's texts were rendered in Chinese by Lu Xun. Tudor Vianu attributes the warm international reception Sadoveanu generally received to his abilities in rendering the Romanians' "own way of sensing and seeing nature and humanity", while literary historian Adrian Marino points out that, Sadoveanu and Liviu Rebreanu were exceptional in their generation for taking an active interest in how their texts were translated, edited and published abroad. Later, publicizing Sadoveanu's work to Eastern Bloc and world audiences became a priority for the communist regime. Thus, Mitrea Cocor was, together with similar works by Zaharia Stancu and Eusebiu Camilar, among the first wave of Romanian books to have been translated into Czech and published in Communist Czechoslovakia. Alongside similar works by Petru Dumitriu, Mitrea Cocor was also among the few English-language editions sanctioned by the Romanian regime, being translated and published, with a preface by Jack Lindsay, in 1953. Nine years later, the collected short stories were a tool for cultural exchange between Romania and the United States. Sadoveanu's good standing in the Soviet Union after World War II also made him one of the few Romanian writers whose works were still being published in the Moldavian SSR (which, as part of Bessarabia, had previously been a region of Greater Romania). Sadoveanu's diaries and notes were collected and edited during the early 2000s, being published in 2006 by Editura Junimea and the MLR. The main coordinators of this project were literary historian Constantin Ciopraga and Constantin Mitru, who was Sadoveanu's brother-in-law and personal secretary. The popularity of his writings remained high into the early 21st century: in 2004, when the country marked a hundred years since Sadoveanu's debut, Șoimii was published in its 15th edition. According to Simuț, the occasion itself was nevertheless marked with "the impression of general indifference", making Sadoveanu seem "a submerged continent, remembered by us only with piousness and confusion". Tributes Sadoveanu is an occasional presence in the literary works of his fellow generation members. His Țara de dincolo de negură was partly written as a tribute to George Topîrceanu's piece of the same name, with both authors sketching an affectionate portrait of one another. Topîrceanu also parodied his friend's style in a five-paragraph sketch, part of a series of such fragments, recorded their encounters in various other autobiographical writings, and dedicated him the first version of his poem Balada popii din Rudeni ("Ballad of the Priest from Rudeni"). Under the name Nicolae Pădureanu, Sadoveanu is a character in the novel and disguised autobiography În preajma revoluției ("On the Eve of the Revolution"), authored by his colleague Constantin Stere. Sadoveanu is honored in two writings by Nicolae Labiș, collectively titled Sadoveniene ("Sadovenians"). The first, titled Mihail Sadoveanu, is a prose poem which alludes to Sadoveanu's prose, and the other, a free verse piece, is titled Cozma Răcoare. In his scientific study of Sadoveanu's work, Eugen Lovinescu himself turns to pure literature, portraying Sadoveanu as a child blessed by the Moirai or ursitoare with ironic gifts, such as an obstinacy for nature writing in the absence of actual observation ("You shall write; you shall write and could never stop yourself writing [...]. The readers will grow tired, but you will remain tireless; you shall not known rest, just as you shall not know nature [...]"). George Călinescu was one to object to this portrayal, noting that it was merely a "literary device which hardly covers the emptiness of [Lovinescu's] idea." Also during the interwar, philosopher Mihai Ralea made Mihail Sadoveanu the subject of a sociological study investigating his literary contributions in the context of social evolutions. A portrait of Sadoveanu was drawn by graphic artist Ary Murnu, within a larger work which depicts the Kübler Coffeehouse society. Sadoveanu was also the subject of a 1929 painting by Ștefan Dumitrescu, part of a series on Viața Românească figures. In its original edition, Mitrea Cocor was supposed to feature a series of drawings made by Corneliu Baba, one of the best-known Romanian visual artists for his generation. Baba, who had been officially criticized for "formalism", was pressured by the authorities into accepting the commission or risk a precarious existence. The result of his work was rejected with a similar label, and the sketches were for long not made available to the public. Baba also painted Sadoveanu's portrait, which, in 1958, art critic Krikor Zambaccian as "the synthesis of Baba's art", depicting "a man of letters aware of his mission [and] the leading presence of an active consciousness". Constantin Mitru inherited the painting and passed it on to the Museum of Romanian Literature (MLR). A marble bust of Sadoveanu, the work of Ion Irimescu, was set up in Fălticeni in 1977. In Bucharest, a memorial plaque was placed on Pitar Moș Street, on a house where he lived for a period. During the 1990s, another bust of Sadoveanu, the work of several sculptors, was unveiled in Chișinău, Republic of Moldova (the former Moldavian SSR), part of the Aleea Clasicilor sculptural ensemble. Sadoveanu's writings also made an impact on film culture, and in particular on Romanian cinema of the communist period. However, the first film based on his works was a German production of 1929: based on Venea o moară... and titled Sturmflut der Liebe ("Storm Tide of Love"), it notably starred Marcella Albani, Alexandru Giugaru and Ion Brezeanu. The series of Romanian-made films began with the 1952 Mitrea Cocor, co-directed by Marietta Sadova (who also starred in the film) and Victor Iliu. The film itself was closely supervised for conformity with ideological guidelines, and had to be partly redone because its original version did not meet them. Mircea Drăgan directed a 1965 version of Neamul Șoimăreștilor (with a screenplay co-written by Constantin Mitru) and a 1973 adaptation of Frații Jderi (with contributions by Mitru and by Profira Sadoveanu). In 1969, Romanian studios produced a film version of Baltagul, directed by Mircea Mureșan and with Sidonia Manolache as Vitoria Lipan. Ten years later, Constantin Vaeni released Vacanță tragică ("Tragic Holiday"), based on Nada Florilor, followed by a 1980 adaptation of Dumbrava minunată and Stere Gulea's 1983 Ochi de urs (tr. "The Bear Eye's Curse"). In 1989, just before the Romanian Revolution, Dan Pița produced his film The Last Ball in November, based on Locul unde nu s-a întâmplat nimic. During the early decades of communist rule, Sadoveanu, Alexandru Toma and later Tudor Arghezi were often paid homage with state celebrations, likened by literary critic Florin Mihăilescu to the personality cult reserved for Stalin and Gheorghe Gheorghiu-Dej. For a while after the writer's death, the Writers' Union club, commonly known as "The Writers' House", bore Sadoveanu's name. Casa cu turn in Iași, which Sadoveanu had donated to the state in 1950, went through a period of neglect and was finally set up as a museum in 1980. Similar sites were set up in his Fălticeni house, and in his final residence at Voividenia, while the Bradu-Strâmb chalet was controversially granted to the Securitate, and later to the Romanian Police. Each year, Iași commemorates the writer through a cultural festival known as the "Mihail Sadoveanu Days". In 2004, the 100th anniversary of his debut was marked by a series of exhibits and symposiums, organized by the MLR. Similar events are regularly held in various cities, and include the "In Sadoveanu's Footsteps" colloquy of writers, held during March 2006 in the city of Piatra Neamț. Since 2003, in tribute to Sadoveanu's love for the game, an annual chess tournament is held in Iași. The Sadoveanu High School and a bookstore in Bucharest are named after him, and streets named after him exist in, among other places, Iași, Fălticeni, Timișoara, Oradea, Brașov, Galați, Suceava, Călărași, Târgu Jiu, Miercurea Ciuc, Petroșani, and Mangalia. Pașcani hosts a cultural center, a high school and a library named after him. Sadoveanu's memory is also regularly honored in the Republic of Moldova, where, in 2005, the 125th anniversary of his birth was celebrated in an official context. A street in Chișinău and a high school in the town of Cupcini are also named after him. Selected works Fiction 1902 - Frații Potcoavă 1904 - Șoimii 1905 - Floare ofilită 1906 - Însemnările lui Neculai Manea 1907 - La noi, la Viișoara 1907 - Vremuri de bejenie 1908 - Balta liniștii 1908 - Haia Sanis 1911 - Apa morților 1915 - Neamul Șoimăreștilor 1925 - Venea o moară pe Siret... 1928 - Hanu Ancuței 1929 - Zodia Cancerului 1930 - Baltagul 1932 - Nunta Domniței Ruxandra 1932 - Uvar 1933 - Creanga de aur 1934 - Nopțile de Sânziene 1935-1942 - Frații Jderi 1949 - Mitrea Cocor 1951-1952 - Nicoară Potcoavă Non-fiction 1907 - Domnu Trandafir 1908 - Oameni și locuri 1914 - Priveliști dobrogene 1916 - 44 de zile în Bulgaria 1921 - Drumuri basarabene 1926 - Țara de dincolo de negură 1928 - Împărăția apelor 1928 - Olanda 1936 - Însemnări ieșene 1937 - Istorisiri de vânătoare 1944 - Anii de ucenicie Notes References Lucian Boia, "Germanofilii". Elita intelectuală românească în anii Primului Război Mondial, Humanitas, Bucharest, 2010. Lucian Boia (ed.), Miturile comunismului românesc, Editura Nemira, Bucharest, 1998. : Lucian Boia, "Un nou Eminescu: A. Toma", p. 71-81 Adrian Cioroianu, "Lumina vine de la Răsărit. 'Noua imagine' a Uniunii Sovietice în România postbelică, 1944-1947", p. 21-68 George Călinescu, Istoria literaturii române de la origini pînă în prezent, Editura Minerva, Bucharest, 1986 Paul Cernat, Avangarda românească și complexul periferiei: primul val, Cartea Românească, Bucharest, 2007. Ilarie Chendi, "Vieața literară în 1911 (o privire generală)", in Luceafărul, Nr. 3/1912, p. 61-65 (digitized by the Babeș-Bolyai University Transsylvanica Online Library) Adrian Cioroianu, , Editura Curtea Veche, Bucharest, 2005. Marcel Cornis-Pope, "Shifting Perspectives and Voices in the Romanian Novel"; "The Search for a Modern, Problematizing Historical Consciousness: Romanian Historical Fiction and Family Cycles", in Marcel Cornis-Pope, John Neubauer (eds.), History of the Literary Cultures of East-Central Europe, John Benjamins, Amsterdam & Philadelphia, 2004, p. 441-456, 499–505. Ovid Crohmălniceanu, Literatura română între cele două războaie mondiale, Vol. I, Editura Minerva, Bucharest, 1972. Victor Frunză, Istoria stalinismului în România, Humanitas, Bucharest, 1990. Florin Mihăilescu, De la proletcultism la postmodernism, Editura Pontica, Constanța, 2002. Z. Ornea, Anii treizeci. Extrema dreaptă românească, Editura Fundației Culturale Române, Bucharest, 1995. Junimea și junimismul, Vol. II, Editura Minerva, Bucharest, 1998. Petre Răileanu, "Construcție și semnificație în ficțiunea istorică", preface to Mihail Sadoveanu, Nicoară Potcoavă, Editura Militară, 1990, p. 5-17. Tom Sandqvist, Dada East. The Romanians of Cabaret Voltaire, MIT Press, Cambridge, Massachusetts & London, 2006. Ana Selejan, Literatura în totalitarism. Vol. II: Bătălii pe frontul literar, Cartea Românească, Bucharest, 2008. Ioan Stanomir, "Facerea lumii", in Paul Cernat, Ion Manolescu, Angelo Mitchievici, Ioan Stanomir, Explorări în comunismul românesc, Polirom, Iași, 2004, p. 13-45. George Topîrceanu, Scrieri, Vols. I-II (preface, chronological table and notes by Al. Săndulescu), Editura Minerva, Bucharest, 1983. Cristian Vasile, Literatura și artele în România comunistă. 1948-1953, Humanitas, Bucharest, 2010. Tudor Vianu, Scriitori români, Vols. I-II, Editura Minerva, Bucharest, 1970. Krikor Zambaccian, Corneliu Baba, Editura de stat pentru literatură și artă, Bucharest, 1958. External links Roumanian Stories. Translated by Lucy Byng (includes three of Sadoveanu's works), at the University of Washington's DXARTS/CARTAH Electronic Text Archive A Boyar's Sin (excerpt), A Worried Man, His Majesty's Mare, Idle Hours, Master Trandafir (excerpts), The Enchanted Grove (excerpts), The Place Where Nothing Happened (excerpt), The Vesper Bell, Vitoria Lipan (fragment from Baltagul), translations in the Romanian Cultural Institute's Plural Magazine (various issues) "Peace Partisans Meeting aka Peace Meeting" (Rome, 1949) British-Pathé newsreel showing Sadoveanu and other delegates |- 1880 births 1961 deaths Romanian biographers Male biographers Romanian children's writers Romanian crime fiction writers Romanian essayists Romanian fantasy writers Romanian historical novelists Romanian magazine editors Romanian magazine founders Romanian memoirists Romanian newspaper editors 20th-century Romanian novelists Romanian male novelists Romanian poets Romanian male poets Romanian textbook writers Romanian translators Romanian travel writers 19th-century short story writers 20th-century short story writers Romanian male short story writers Romanian short story writers Romanian theatre managers and producers Social realism Socialist realism writers Poporanists Adevărul editors Adevărul writers Titular members of the Romanian Academy People's Party (interwar Romania) politicians 20th-century Romanian politicians Presidents of the Senate of Romania Presidents of the Chamber of Deputies (Romania) Members of the Chamber of Deputies (Romania) Members of the Great National Assembly Heads of state of Romania Romanian activists Romanian Freemasons Masonic Grand Masters Romanian nationalists Romanian pacifists Romanian propagandists Romanian humanists Censorship in Romania Lenin Peace Prize recipients People from Pașcani Romanian civil servants Romanian Land Forces officers Romanian military personnel of the Second Balkan War Romanian people of World War I Romanian people of World War II Burials at Bellu Cemetery 19th-century Romanian writers 20th-century Romanian writers 20th-century essayists 20th-century memoirists 20th-century translators
true
[ "Ørjar Øyen (born 19 February 1927) is a Norwegian sociologist.\n\nØyen was born in Brønnøy to schoolteacher Torvald Øyen and Helga Karijord. He was married to sociologist Else Øyen from 1957 to 1988, and to professor Bente Gullveig Alver from 1996. He was appointed professor in sociology at the University of Bergen from 1968 to 1997. He served as rector of the university from 1978 to 1983. He was decorated Commander of the Order of St. Olav in 1988.\n\nReferences\n\n1927 births\nPossibly living people\nPeople from Brønnøy\nNorwegian sociologists\nUniversity of Bergen faculty\nRectors of the University of Bergen", "Christian Syse (born 30 September 1962) is a Norwegian civil servant and diplomat.\n\nSyse is a son of Else and Jan P. Syse, and a brother of Henrik Syse. He was educated at the Norwegian School of Economics and at Yale University.\n\nHe was hired at the Office of the Prime Minister from 1998 to 2003, and then served as secretary for the Standing Committee on Foreign Affairs. From 2008 to 2011 he was appointed deputy under-secretary of state (ekspedisjonssjef) in the Ministry of Foreign affairs, and from 2011 he assumed the position of Assistant Secretary General.\n\nIn December 2016 he was appointed ambassador to the Norwegian embassy in Stockholm, effecive from 2017.\n\nHe was married to Siv Nordrum.\n\nReferences\n\n1962 births\nLiving people\nNorwegian civil servants\nAmbassadors of Norway to Sweden\nNorwegian School of Economics alumni \nYale University alumni" ]
[ "Mihail Sadoveanu", "1910s and World War I", "what happened in 1910's?", "In 1910, he was also appointed head of the National Theater Iasi, a position which he filled until 1919.", "what else was he appointed to?", "He was a leading presence at Minerva newspaper, alongside Anghel and critic Dumitru Karnabatt," ]
C_f789d8273c5b43b2a57524472ce50d02_0
what was his greatest accomplishment named in the article?
3
what was Mihail Sadoveanu's greatest accomplishment named in the article?
Mihail Sadoveanu
Sadoveanu returned to his administrative job in 1907, the year of the Peasants' Revolt. Kept in office by the National Liberal cabinet of Ion I. C. Bratianu, he served under the reform-minded Education Minister Spiru Haret. Inspired by the bloody outcome of the Revolt, as well as by Haret's moves to educate the peasantry, Sadoveanu reportedly drew suspicion from the Police when he published self-help guides aimed at industrious ploughmen, a brand of social activism which even resulted in a formal inquiry. Mihail Sadoveanu became a professional writer in 1908-1909, after joining the Romanian Writers' Society, created in the previous year by poets Cincinat Pavelescu and Dimitrie Anghel, and becoming its President in September of that year. The same year, he, Iosif, and Anghel, together with author Emil Garleanu, set up Cumpana, a monthly directed against both Ovid Densusianu's eclecticism and the Junimist school (the magazine was no longer in print by 1910). At the time, he became a noted presence among the group of intellectuals meeting in Bucharest's Kubler Coffeehouse. In 1910, he was also appointed head of the National Theater Iasi, a position which he filled until 1919. That year, he translated from the French one of Hippolyte Taine's studies on the genesis of artworks. He resigned his office within the Writers' Society in November 1911, being replaced by Garleanu, but continued to partake in its administration as a member of its leadership committee and a censor. He was a leading presence at Minerva newspaper, alongside Anghel and critic Dumitru Karnabatt, and also published in the Transylvanian traditionalist journal, Luceafarul. Sadoveanu was again called under arms during the Second Balkan War of 1913, when Romania confronted Bulgaria. Having reached the rank of Lieutenant, he was stationed in Falticeni with the 15th Infantry Regiment, after which he spent a short period on the front. He returned to literary life. Becoming good friends with poet and humorist George Topirceanu, he accompanied him and other writers on cultural tours during 1914 and 1915. The series of writings he published at the time includes the 1915 Neamul Soimarestilor. In 1916-1917, as Romania entered World War I and was invaded by the Central Powers, Sadoveanu stayed in Moldavia, the only part of Romania's territory still under the state's authority (see Romanian Campaign). The writer oscillated between the Germanophilia of his Viata Romaneasca friends, the stated belief that war was misery and the welcoming of Romania's commitment to the Entente Powers. At the time, he was reelected President of the Writers' Society, a provisional mandate which ended in 1918, when Romania signed the peace with the Central Powers, and, as Army reservist, edited the Entente's regional propaganda outlet, Romania. He was joined by Topirceanu, who had just been released from a POW camp in Bulgaria, and with whom he founded the magazine Insemnari Literare. Sadoveanu subsequently settled in the Iasi neighborhood of Copou, purchasing and redecorating the villa known locally as Casa cu turn ("The House with a Tower"). In the 19th century, it had been the residence of politician Mihail Kogalniceanu, and, during the war, hosted composer George Enescu. During that period, he collaborated with leftist intellectual Vasile Mortun and, together with him and Arthur Gorovei, founded and edited the magazine Ravasul Poporului. CANNOTANSWER
Mihail Sadoveanu became a professional writer in 1908-1909, after joining the Romanian Writers' Society,
Mihail Sadoveanu (; occasionally referred to as Mihai Sadoveanu; November 5, 1880 – October 19, 1961) was a Romanian novelist, short story writer, journalist and political figure, who twice served as acting head of state for the communist republic (1947–1948 and 1958). One of the most prolific Romanian-language writers, he is remembered mostly for his historical and adventure novels, as well as for his nature writing. An author whose career spanned five decades, Sadoveanu was an early associate of the traditionalist magazine Sămănătorul, before becoming known as a Realist writer and an adherent to the Poporanist current represented by Viața Românească journal. His books, critically acclaimed for their vision of age-old solitude and natural abundance, are generally set in the historical region of Moldavia, building on themes from Romania's medieval and early modern history. Among them are Neamul Șoimăreștilor ("The Șoimărești Family"), Frații Jderi ("The Jderi Brothers") and Zodia Cancerului ("Under the Sign of the Crab"). With Venea o moară pe Siret... ("A Mill Was Floating down the Siret..."), Baltagul ("The Hatchet") and some other works of fiction, Sadoveanu extends his fresco to contemporary history and adapts his style to the psychological novel, Naturalism and Social realism. A traditionalist figure whose perspective on life was a combination of nationalism and Humanism, Sadoveanu moved between right- and left-wing political forces throughout the interwar period, while serving terms in Parliament. Rallying with People's Party, the National Agrarian Party, and the National Liberal Party-Brătianu, he was editor of the leftist newspapers Adevărul and Dimineața, and was the target of a violent far right press campaign. After World War II, Sadoveanu became a political associate of the Romanian Communist Party. He wrote in favor of the Soviet Union and Stalinism, joined the Society for Friendship with the Soviet Union and adopted Socialist realism. Many of his texts and speeches, including the political novel Mitrea Cocor and the famous slogan Lumina vine de la Răsărit ("The Light Arises in the East"), are also viewed as propaganda in favor of communization. A founding member of the Romanian Writers' Society and later President of the Romanian Writers' Union, Sadoveanu was also a member of the Romanian Academy since 1921 and a recipient of the Lenin Peace Prize for 1961. He was also Grand Master of the Romanian Freemasonry during the 1930s. The father of Profira and Paul-Mihu Sadoveanu, who also pursued careers as writers, he was the brother-in-law of literary critic Izabela Sadoveanu-Evan. Biography Early years Sadoveanu was born in Pașcani, in western Moldavia. His father's family hailed from the southwestern part of the Old Kingdom, in Oltenia. Their place of origin, Sadova, provided their chosen surname (lit. "from Sadova"), which was adopted by the family only in 1891. Mihail's father was the lawyer Alexandru Sadoveanu (d. 1921), whom literary critic George Călinescu described as "a bearded and well-to-do man"; according to the writer's own notes, Alexandru was unhappy in marriage, and his progressive isolation from public life impacted on the entire family. Mihail's mother, Profira née Ursachi (or Ursaki; d. 1895), hailed from a line of Moldavian shepherds, all of whom, as the writer recalled, had been illiterate. Literary historian Tudor Vianu believes this contrast of regional and social identities played a part in shaping the author, opening him up to a "Romanian universality", but notes that, throughout his career, Sadoveanu was especially connected with his Moldavian roots. Mihail had a brother, also named Alexandru, whose wife was the Swiss-educated literary critic Izabela Morțun (later known as Sadoveanu-Evan, she was the cousin of socialist activist Vasile Morțun). Another one of his brothers, Vasile Sadoveanu, was an agricultural engineer. Beginning in 1887, Sadoveanu attended primary school in Pașcani. His favorite teacher, a Mr. Busuioc, later served as inspiration for one of his best-known short stories, Domnu Trandafir ("Master Trandafir"). While away from school, young Sadoveanu used much of his spare time exploring his native region on foot, hunting, fishing, or just contemplating nature. He was also spending his vacations in his mother's native Verșeni. During his journeys, Sadoveanu visited peasants, and his impression of the way in which they were relating to authority is credited by critics with having shaped his perspective on society. Shortly after this episode, the young Sadoveanu left to complete his secondary studies in Fălticeni and at the National High School in Iași. While in Fălticeni, he was in the same class as future authors Eugen Lovinescu and I. Dragoslav, but, having lost interest in schoolwork, he failed to get his remove, before eventually graduating top of his class. First literary attempts, marriage and family In 1896, when he was aged sixteen, Sadoveanu gave thought to writing a monograph on Moldavian Prince Stephen the Great, but his first literary attempts date from the following year. It was in 1897 that a sketch story, titled Domnișoara M din Fălticeni ("Miss M from Fălticeni") and signed Mihai din Pașcani ("Mihai from Pașcani"), was successfully submitted for publishing to the Bucharest-based satirical magazine Dracu. He started writing for Ovid Densusianu's journal Vieața Nouă in 1898. His contributions, featured alongside those of Gala Galaction, N. D. Cocea, and Tudor Arghezi, include another sketch story and a lyric poem. Sadoveanu was however dissatisfied with Densusianu's agenda, and critical of the entire Romanian Symbolist movement for which the review spoke. He ultimately began writing pieces for non-Symbolist magazines such as Opinia and Pagini Literare. In parallel, he founded and printed by hand a short-lived journal, known to researches as either Aurora or Lumea. Sadoveanu left for Bucharest in 1900, intending to study Law at the University's Faculty of Law, but withdrew soon after, deciding to dedicate himself to literature. He began frequenting the bohemian society in the capital, but, following a sudden change in outlook, abandoned poetry and focused his work entirely on Realist prose. In 1901, Sadoveanu married Ecaterina Bâlu, with whom he settled in Fălticeni, where he began work on his first novellas and decided to make his living as a professional writer. His first draft for a novel, Frații Potcoavă ("The Potcoavă Brothers"), came out in 1902, when fragments were published by Pagini Alese magazine under the pseudonym M. S. Cobuz. The following year, Sadoveanu was drafted into the Romanian Land Forces, stationed as a guard near Târgu Ocna, and inspired by the experience to write some of his first social criticism narratives. After that time, he spent much of his home in the country, where he raised a large family. Initially, the Sadoveanus lived in a house previously owned by celebrated Moldavian raconteur Ion Creangă, before they commissioned a new building, famed for its surrounding Grădina Liniștii ("Garden of Quietude"). He was the father of eleven, among whom were three daughters: Despina, Teodora and Profira Sadoveanu, the latter of whom was a poet and a novelist. Of his sons, Dimitrie Sadoveanu became a painter, while Paul-Mihu, the youngest (born 1920), was author of the novel Ca floarea câmpului... ("Like the Flower of the Field...") which was published posthumously. Sămănătorul, Viața Românească and literary debut After receiving an invitation from poet Ștefan Octavian Iosif in 1903, Sadoveanu contributed works to the traditionalist journal Sămănătorul, led at the time by historian and critic Nicolae Iorga. He was by then also a contributor to Voința Națională, a newspaper published by the National Liberal Party and managed by politician Vintilă Brătianu—beginning December of the same year, the paper serialized Șoimii ("The Hawks"), an extended variant of Frații Potcoavă, with an introduction by historian Vasile Pârvan. In 1904, he regained Bucharest, where he became a copyist for the Ministry of Education's Board of Schools, returning to Fălticeni two years later. After 1906, he rallied with the group formed around Viața Românească, which was also joined by his sister-in-law Izabela. Sămănătorul and Viața Românească, having comparable influence over the literature of Romania, stood for a traditionalist and ruralist approach to art, even though the latter adopted a more left-wing perspective, known as Poporanism. The leading Poporanist ideologue, Garabet Ibrăileanu, became a personal friend of the young writer after inviting him on an excursion down the Râșca River. With his subsequent pieces for Viața Românească, Sadoveanu became especially known as the raconteur of hunting trips, but also sparked controversy when a young woman writer, Constanța Marino-Moscu, accused him of having plagiarized her works in his Mariana Vidrașcu, a serialized novel which was discontinued and later largely forgotten. 1904 was Sadoveanu's effective debut year: he published four separate books, including Șoimii, Povestiri ("Stories"), Dureri înăbușite ("Suppressed Pains") and Crâșma lui Moș Petcu ("Old Man Petcu's Alehouse"). The beginning of a prolific literary career covering more than a half century and of his collaboration with Editura Minerva publishing house, this debut was marked by intense preparation, and drew on literary exercises spanning the previous decade. His Sămănătorul colleague Iorga deemed 1904 "Sadoveanu's Year", while the influential and aging critic Titu Maiorescu, leader of the conservative literary society Junimea, gave a positive review to Povestiri, and successfully proposed it for a Romanian Academy award in 1906. In a 1908 essay, Maiorescu was to list Sadoveanu among Romania's greatest writers. According to Vianu, Maiorescu saw in Sadoveanu and other young writers the triumph of his theory on a "popular" form of Realism, a vision which the Junimist thinker had advocated in his essays from as early as 1882. Sadoveanu later credited Iorga, Maiorescu, and especially so the cultural promoter Constantin Banu and Sămănătorul poet George Coșbuc, with having helped him capture the interest of the public and his peers. He was by then facing adversity from opponents of Sămănătorul, primarily critic Henric Sanielevici and his Curentul Nou review, which published claims that Sadoveanu's volumes, which depicted immoral acts such as adultery and rape, showed that Iorga's program of moral didacticism was hypocritical. As he latter recalled, Sadoveanu was himself upset with some of Iorga's critical judgments regarding his own work, noting that the Sămănătorist doyen had once declared him equal to Vasile Pop (one of Iorga's protegés, and viewed as overrated by Sadoveanu). The same year, Sadoveanu became one of Sămănătoruls editors, alongside Iorga and Iosif. The magazine, originally a traditionalist mouthpiece founded by Alexandru Vlahuță and George Coșbuc, proclaimed with Iorga its purpose of establishing "a national culture", emancipated from foreign influence. However, according to Călinescu, this ambitious goal was only manifested in a "great cultural influence", as the journal continued to be an eclectic venue which grouped together ruralist traditionalists of the "national tendency" and adherents to the cosmopolitan currents such as Symbolism. Călinescu and Vianu agree that Sămănătorul was, for a large part, a promoter of older guidelines set by Junimea. Vianu also argues that Sadoveanu's contribution to the literary circle was the main original artistic element in its history, and credits Iosif with having accurately predicted that, during a period of literary "crisis", Sadoveanu was the person to provide innovation. He continued to publish at an impressive rate: in 1906, he again handed down for print four separate volumes. In parallel, Sadoveanu pursued his career as a civil servant. In 1905, he was employed as a clerk by the Ministry of Education, headed by the Conservative Party's Mihail Vlădescu. His direct supervisor was poet D. Nanu, and he had for his colleagues the geographer George Vâlsan and the short story writer Nicolae N. Beldiceanu. Nanu wrote of this period: "It is a clerical packed full with men of letters, no work is being done, people smoke, drink coffee, create dreams, poems and prose [...]." Having interrupted his administrative service, Sadoveanu was again drafted into the Land Forces in 1906, being granted an officer's rank. An already overweight man, he had to march from Probota in Central Moldavia to Bukovina, which caused him intense suffering. 1910s and World War I Sadoveanu returned to his administrative job in 1907, the year of the Peasants' Revolt. Kept in office by the National Liberal cabinet of Ion I. C. Brătianu, he served under the reform-minded Education Minister Spiru Haret. Inspired by the bloody outcome of the Revolt, as well as by Haret's moves to educate the peasantry, Sadoveanu reportedly drew suspicion from the Police when he published self-help guides aimed at industrious ploughmen, a brand of social activism which even resulted in a formal inquiry. Mihail Sadoveanu became a professional writer in 1908–1909, after joining the Romanian Writers' Society, created in the previous year by poets Cincinat Pavelescu and Dimitrie Anghel, and becoming its President in September of that year. The same year, he, Iosif, and Anghel, together with author Emil Gârleanu, set up Cumpăna, a monthly directed against both Ovid Densusianu's eclecticism and the Junimist school (the magazine was no longer in print by 1910). At the time, he became a noted presence among the group of intellectuals meeting in Bucharest's Kübler Coffeehouse. In 1910, he was also appointed head of the National Theater Iași, a position which he filled until 1919. That year, he translated from the French one of Hippolyte Taine's studies on the genesis of artworks. He resigned his office within the Writers' Society in November 1911, being replaced by Gârleanu, but continued to partake in its administration as a member of its leadership committee and a censor. He was a leading presence at Minerva newspaper, alongside Anghel and critic Dumitru Karnabatt, and also published in the Transylvanian traditionalist journal, Luceafărul. Sadoveanu was again called under arms during the Second Balkan War of 1913, when Romania confronted Bulgaria. Having reached the rank of Lieutenant, he was stationed in Fălticeni with the 15th Infantry Regiment, after which he spent a short period on the front. He returned to literary life. Becoming good friends with poet and humorist George Topîrceanu, he accompanied him and other writers on cultural tours during 1914 and 1915. The series of writings he published at the time includes the 1915 Neamul Șoimăreștilor. In 1916–1917, as Romania entered World War I and was invaded by the Central Powers, Sadoveanu stayed in Moldavia, the only part of Romania's territory still under the state's authority (see Romanian Campaign). The writer oscillated between the Germanophilia of his Viața Românească friends, the stated belief that war was misery and the welcoming of Romania's commitment to the Entente Powers. At the time, he was reelected President of the Writers' Society, a provisional mandate which ended in 1918, when Romania signed the peace with the Central Powers, and, as Army reservist, edited the Entente's regional propaganda outlet, România. He was joined by Topîrceanu, who had just been released from a POW camp in Bulgaria, and with whom he founded the magazine Însemnări Literare. Sadoveanu subsequently settled in the Iași neighborhood of Copou, purchasing and redecorating the villa known locally as Casa cu turn ("The House with a Tower"). In the 19th century, it had been the residence of politician Mihail Kogălniceanu, and, during the war, hosted composer George Enescu. During that period, he collaborated with leftist intellectual Vasile Morțun and, together with him and Arthur Gorovei, founded and edited the magazine Răvașul Poporului. Creative maturity and early political career In 1921, Sadoveanu was elected a full member of the Romanian Academy; he gave his reception speech in front of the cultural forum two years later, structuring it as a praise of Romanian folklore in general and folkloric poetry in particular. At the time, he renewed his contacts with Viața Românească: with Garabet Ibrăileanu and several others, he joined its interwar nucleus, while the review often featured samples of his novels (some of which were originally published in full by its publishing venture). His house was by then host to many cultural figures, among whom were writers Topîrceanu, Gala Galaction, Otilia Cazimir, Ionel and Păstorel Teodoreanu, and Dimitrie D. Pătrășcanu, as well as conductor Sergiu Celibidache. He was also close to a minor socialist poet and short story author, Ioan N. Roman, whose work he helped promote, to the aristocrat and memoirist Gheorghe Jurgea-Negrilești, and to a satirist named Radu Cosmin. Despite his health problems, Sadoveanu frequently traveled throughout Romania, notably visiting local sights which inspired his work: the Romanian Orthodox monasteries of Agapia and Văratec, and the Neamț Fortress. After 1923, together with Topîrceanu, Demostene Botez and other Viața Românească affiliates, he also embarked on a series of hunting trips. He was charmed in particular by the sights he discovered during a 1927 visit to the Transylvanian area of Arieș. The same year, he also visited the Netherlands, which he reached by means of the Orient Express. His popularity continued to grow: in 1925, 1929 and 1930 respectively, he published his critically acclaimed novels Venea o moară pe Siret..., Zodia Cancerului and Baltagul, and his 50th anniversary was celebrated at a national level. In 1930, Sadoveanu, Topîrceanu and the schoolteacher T. C. Stan wrote and edited a series of primary school textbooks. In 1926, after a period of indecision, Sadoveanu rallied with the People's Party, where his friend, the poet Octavian Goga, was a prominent activist. He then rallied with Goga's own National Agrarian Party. During the general election of 1927, he won a seat in the Chamber for Bihor County, in Transylvania, holding a seat in the Senate for Iași County after the 1931 suffrage. Under Nicolae Iorga's National Peasants' Party cabinet of the period, Sadoveanu was President of the Senate. The choice was motivated by his status as "a cultural personality". Around that date, he was affiliated with the National Liberal Party-Brătianu, a right-wing party inside the liberal current, who stood in opposition to the main National Liberal group. In parallel, he began contributing to the left-wing daily Adevărul. Sadoveanu was by then affiliated with the Freemasonry, as first recorded by the organization in 1928, but was probably a member since 1926 or 1927. Reaching the 33rd degree within the organization and overseeing the Masonic Lodge Dimitrie Cantemir of Iași, he was elected Grand Master of the National Union of Lodges in 1932, thus replacing the vacating George Valentin Bibescu. There subsequently occurred a split between Bibescu and Sadoveanu's supporters, aggravated by their publicized conflict with a third group, that of Ioan Pangal—splits which ended after some three years, when Sadoveanu marginalized both of his opponents, without however earning legitimate recognition from the Grand Orient de France. By 1934, he was recognized as Grand Master of the United Romanian Freemasonry, which regrouped all major local Lodges. Late 1930s and World War II He was publishing new works at a regular rate, culminating in the first volume of his historical epic Frații Jderi, which saw print in 1935. In 1936, the writer accepted the honorary chairmanship of Adevărul and its morning edition, Dimineața. During that time, he was involved in a public dispute with the far right and fascist press, replying to their attacks in several columns. Affiliates of the radical right organized public burnings of his volumes. The scandal prolonged itself over the following years, with Sadoveanu being supported by his friends in the literary community. Among them was Topîrceanu, who was at the time hospitalized, and whose expression of support was made shortly before his death to liver cancer. In September 1937, as a statement of solidarity and appreciation, the University of Iași conferred Sadoveanu the title of doctor honoris causa. Mihail Sadoveanu withdrew from politics in the late 1930s and early 1940s, as Romania came to be led by successive right-wing dictatorships, he offered a measure of support to King Carol II and his National Renaissance Front, which attempted to block the more radically fascist Iron Guard from power. He was personally appointed a member of the reduced corporatist Senate by Carol. In 1940, the official establishment Editura Fundațiilor Regale published the first volume of his Opere ("Works"). Sadoveanu kept a low profile under the Iron Guard's Nazi-allied National Legionary regime. After Conducător Ion Antonescu overthrew the Guard during the Legionary Rebellion and established his own fascist regime, the still-apolitical Sadoveanu was more present in public life, and lectured on cultural subjects for the Romanian Radio. After publishing the final section of his Frații Jderi in 1942, Sadoveanu again retreated to the countryside, in his beloved Arieș area, where he had built himself a chalet and a church; this seclusion produced his Povestirile de la Bradu-Strâmb ("Bradu-Strâmb Stories"). During those years, the sixty-year-old writer met Valeria Mitru, a much younger feminist journalist, whom he married after a brief courtship. In August 1944, Romania's King Michael Coup toppled Antonescu and switched sides in the war, rallying with the Allies. As a Soviet occupation began at home, Romanian troops fought alongside the Red Army on the European theater. Paul-Mihu Sadoveanu was killed in action in Transylvania on September 22. During the same months, Sadoveanu was a candidate for the Writers' Society presidency, but, in what has been read as proof of a rivalry within the Freemasonry, was defeated by Victor Eftimiu. Later that year, the 40th anniversary of Mihail Sadoveanu's debut was celebrated with a special ceremony at the Academy and Tudor Vianu's speech, offered as a retrospective of his colleague's entire work. Communist system and political rise After the Soviet-backed advent of the Communist system in Romania, Sadoveanu supported the new authorities, and turned from his own version of Realism to officially-endorsed Socialist realism (see Socialist realism in Romania). This was also the start of his association with the Soviet-sponsored Romanian Society for Friendship with the Soviet Union (ARLUS), which was led by biologist and physician Constantin Ion Parhon. Having served as a host to official Soviet envoys Andrey Vyshinsky and Vladimir Kemenov during their late 1944 visits, he soon after became president of the ARLUS "Literary and Philosophical Section" (seconded by Mihai Ralea and Perpessicius). In February 1945, he joined Parhon, Enescu, linguist Alexandru Rosetti, composer George Enescu, biologist Traian Săvulescu and mathematician Dimitrie Pompeiu in a protest against the cultural policies of Premier Nicolae Rădescu and his cabinet, one in a series of moves to discredit the non-communist Rădescu and make him leave power. With Ion Pas, Gala Galaction, Horia Deleanu, Octav Livezeanu and N. D. Cocea, Sadoveanu edited the association's weekly literary magazine Veac Nou after June 1946. Sadoveanu's literary and political change became known to the general public in March 1945, when he lectured about Soviet leader Joseph Stalin at a conference hall in Bucharest. Part of a conference cycle, his speech was famously titled Lumina vine de la Răsărit, which soon became synonymous with the attempts to improve the image of Stalinism in Romania. ARLUS would issue the text of his conference as a printed volume later in the year. Also in 1945, Sadoveanu journeyed to the Soviet Union together with some of his fellow ARLUS members—among them biologists Parhon and Săvulescu, sociologist Dimitrie Gusti, linguist Iorgu Iordan, and mathematician Simion Stoilow. Invited by the Soviet Academy of Sciences to attend the 220th anniversary of its foundation, they also visited research institutes, kolhozy, and day care centers, notably meeting with Nikolay Tsitsin, an agronomist favored by Stalin. After his return, he wrote other controversial texts and gave lectures which offered ample praise to the Soviet system. That year, the ARLUS enterprise Editura Cartea Rusă also published his translation of Ivan Turgenev's A Sportsman's Sketches. During the rigged election of that year, Sadoveanu was a candidate for the Communist party-organized Bloc of Democratic Parties (BPD) in Bucharest, winning a seat in the newly unified Parliament of Romania. In its first-ever session (December 1946), the legislative body elected him its President. He was at the time residing in Ciorogârla, having been awarded a villa previously owned by Pamfil Șeicaru, a journalist whose support for fascist regimes had made him undesirable, and who had moved out of Romania. The decision was viewed as evidence of political corruption by the opposition National Peasants' Party, whose press deemed Sadoveanu the "Count of Ciorogârla". In 1948, after Romania's King Michael I was overthrown by the BPD-member parties and the communist regime officially established, Sadoveanu rose to the highest positions ever granted to a Romanian writer, and received significant material benefits. In 1947–1948, he was, alongside Parhon, Ștefan Voitec, Gheorghe Stere, and Ion Niculi, a member of the Presidium of the People's Republic, which was elected by the BPD-dominated legislative. He also kept his seat at the Academy, which at the time was undergoing a communist-led purge, and, with several other pro-Soviet intellectuals, was voted in the Academy Presidium. Final years, illness and death After the Writers' Society was restructured as the Romanian Writers' Union in 1949, Sadoveanu became its Honorary President. In 1950, he was named President of the Writers' Union, replacing Zaharia Stancu. According to writer Valeriu Râpeanu, this last appointment was a sign of Stancu's marginalization after he had been excluded from the Romanian Communist Party, while the Writers' Union was actually controlled by its First Secretary, the communist poet Mihai Beniuc. Sadoveanu and Beniuc were reelected at the Union's first Congress (1956). In the meanwhile, Sadoveanu published several Socialist realist volumes, among which was Mitrea Cocor, a controversial praise of collectivization policies. First published in 1949, it earned Sadoveanu the first-ever State Prize for Prose. Throughout the period, Sadoveanu was involved in major communist-endorsed cultural campaigns. Thus, in June 1952, he presided over the Academy's Scientific Council, charged with modifying the Romanian alphabet, at the end of which the letter â was discarded, and replaced everywhere with î (a spelling Sadoveanu is alleged to have already shown preference for in his early works). In March 1953, soon after Stalin's death, he led discussions within the Writers' Union, confronting his fellow writers with the new Soviet cultural directives as listed by Georgy Malenkov, and reacting against young authors who had not discarded the since-condemned doctrines of proletkult. The author was also becoming involved in the Eastern Bloc's peace movement, and led the National Committee for the Defense of Peace at a time when the Soviet Union was seeking to portray its Cold War enemies as warmongers and the sole agents of nuclear proliferation. He also represented Romania to the World Peace Council, and received its International Peace Prize for 1951. As a parliamentarian, Sadoveanu stood on the committee charged with elaborating the new republican constitution, which, in its final form, reflected both Soviet influence and the assimilation of Stalinism into Romanian political discourse. In November 1955, shortly after turning 75, he was granted the title of "Hero of Socialist Labor". After 1956, when the regime announced that it had embarked on a limited version of De-Stalinization, it continued to recommend Mihail Sadoveanu as one of its prime cultural models. Having donated Casa cu turn to the state in 1950, he moved back to Bucharest, where he owned a house near the Zambaccian Museum. From January 7 to January 11, 1958, Sadoveanu, Ion Gheorghe Maurer and Anton Moisescu were acting Chairmen of the Presidium of the Great National Assembly, which again propelled him to a position as titular head of state. His literary stature but also his political allegiance earned him the Soviet Lenin Peace Prize, which he received shortly before his death. After a long illness marked by a stroke which impaired his speech and left him almost completely blind, Sadoveanu was cared for by a staff of physicians supervised by Nicolae Gh. Lupu and reporting to the Great National Assembly. The Sadoveanus withdrew to Neamț region, where they lived in a villa assigned to them by the state and located near the Voividenia hermitage and the locality of Vânători-Neamț, being visited regularly by literary and political friends, among them Alexandru Rosetti. Mihail Sadoveanu died there at 9 AM on October 19, 1961, and was buried at Bellu cemetery, in Bucharest. His successor as President of the Writers' Union was Beniuc, elected during the Congress of January 1962. Following her husband's death, Valeria Sadoveanu settled in proximity to the Văratec Monastery, where she set up an informal literary circle and Orthodox prayer group, notably attended by literary historian Zoe Dumitrescu-Bușulenga and by poet Ștefana Velisar, and dedicated herself to protecting the community of nuns. She survived Mihail Sadoveanu by over 30 years. Literary contributions Context Often seen as the leading author of his generation, and generally viewed as one of the most representative Romanian writers, Mihail Sadoveanu was also believed to be a first-class story-teller, and received praise especially for his nature writing and his depictions of rural landscapes. An exceptionally prolific author by Romanian standards, he published over a hundred individual volumes (120 according to the American magazine Time). His contemporaries tended to place Sadoveanu alongside Liviu Rebreanu and Cezar Petrescu—for all the differences in style between the three figures, the interwar public saw them as the "great novelists" of the day. Critic Ovid Crohmălniceanu describes their activity, altogether focused on depicting the rural world but diverging in bias, as one sign that the Romanian interwar itself was exceptionally effervescent, while Romanian-born American historian of literature Marcel Cornis-Pope sees Sadoveanu and Rebreanu as their country's "two most important novelists of the first half of the twentieth century". In 1944, Tudor Vianu spoke of Sadoveanu as "the most significant writer Romanians [presently] have, the first among his equals." While underlining his originality in the context of Romanian literature and among the writers standing for "the national tendency" (as opposed to the more cosmopolitan modernists), George Călinescu also noted that, through several of his stories and novels, Sadoveanu echoed the style of his predecessors and contemporaries Ion Luca Caragiale, Ioan Alexandru Brătescu-Voinești, Emil Gârleanu, Demostene Botez, Otilia Cazimir, Calistrat Hogaș, I. A. Bassarabescu and Ionel Teodoreanu. Also included among the "national tendency" writers, Gârleanu was for long seen as Sadoveanu's counterpart, and even, Călinescu writes, "undeservedly upstaged" him. Cornis-Pope also writes that Sadoveanu's epic is a continuation of "the national narrative" explored earlier by Nicolae Filimon, Ioan Slavici and Duiliu Zamfirescu, while literary historians Vianu and Z. Ornea note that Sadoveanu also took inspiration from the themes and genres explored by Junimist author Nicolae Gane. In his youth, Sadoveanu also admired and collected the works of N. D. Popescu-Popnedea, a prolific and successful author of almanacs, historical novels and adventure novels. Later, his approach to Realism was also inspired by his reading of Gustave Flaubert and especially Nikolai Gogol. Both Sadoveanu and Gane were also indirectly influenced by Wilhelm von Kotzebue, the 19th century Imperial Russian diplomat and author of the Romanian-themed story Laskar Vioresku. In Vianu's assessment, Sadoveanu's work signified an artistic revolution within the local Realist school, comparable to the adoption of perspective by the visual artists of the Renaissance. Mihail Sadoveanu's interest in the rural world and his views on tradition were subjects of debate among the modernists. The modernist doyen Eugen Lovinescu, who envisaged an urban literature in tune with European tendencies, was one of Sadoveanu's most notorious critics. However, Sadoveanu was well received by Lovinescu's adversaries within the modernist camp: Perpessicius and Contimporanul editor Ion Vinea, the latter of whom, in search for literary authenticity, believed in bridging the gap between the avant-garde and folk culture. This opinion was shared by Swedish literary historian Tom Sandqvist, who sees Sadoveanu's main point of contact with modernism was his interest in the pagan elements and occasional absurdist streaks of local folklore. In the larger dispute about national specificity, and partly in response to Vinea's claim, modernist poet and essayist Benjamin Fondane argued that, as a sign Romanian culture was tributary to those it had come into contact with, "Sadoveanu's soul can be easily reduced to the Slavic soul". Characteristics Sadoveanu's personality and experience played a major part in shaping his literary style. After his 1901 marriage, Mihail Sadoveanu adopted what Călinescu deemed "patriarchal" lifestyle. The literary historian noted that he took a personal interest in educating his many children, and that this also implied "making use of a whip". An Epicurean, the writer was a homemaker, an avid hunter and fisherman, and a chess aficionado. Recognized, like his epigramist colleague Păstorel Teodoreanu, as a man of refined culinary tastes, Sadoveanu cherished Romanian cuisine and Romanian wine. The lifestyle choices were akin to his literary interests: alongside the secluded and rudimentary existence of his main characters (connected by Călinescu with the writer's supposed longing for "regressions to the patriarchal times"), Sadoveanu's work is noted for its imagery of primitive abundance, and in particular for its lavish depictions of ritualistic feasts, hunting parties and fishing trips. Călinescu opined that the value of such descriptions within individual narratives grew with time, and that the author, once he had discarded lyricism, used them as "a means for the senses to enjoy the fleshes and the forms that nature offers man." He added that Sadoveanu's aesthetics could be said to recall the art of the Golden Age in Holland: "One could almost say that Sadoveanu rebuilds in present day Moldavia [...] the Holland of wine jugs and kitchen tables covered in venison and fish." Vianu also argued that Sadoveanu never abandoned himself to purely aesthetic descriptions, and that, although often depicted with Impressionistic means, nature is assigned a specific if discreet role within the plot lines, or serves to render a structure. The traditionalist Garabet Ibrăileanu, referring to Sadoveanu's poetic nature writing, even declared it to have "surpassed nature." At the other end, the modernist Eugen Lovinescu specifically objected to Sadoveanu's depiction of a primordial landscape, arguing that, despite adopting Realism, his rival was indebted to Romanticism and subjectivity. Lovinescu's attitude, critic Ion Simuț notes, was partly justified by the fact that Sadoveanu never truly parted with the traditionalism of Sămănătorul. In 1962, Time also commented that his style was "curiously dated" and recalled not Sadoveanu's generation, but that of Leo Tolstoy and Ivan Turgenev, "although he has nothing like the power or skill of any of them." For Călinescu and Vianu too, Sadoveanu is a creator with seemingly Romantic tastes, which recall those of François-René de Chateaubriand. Unlike Lovinescu, Vianu saw these traits as "not at all detrimental to the balance of [Sadoveanu's] art." Seen by literary critic Ioan Stanomir as marked by "volubility", and thus contrasting with his famously taciturn and seemingly embittered nature, the form of Romanian used by Mihail Sadoveanu, particularly in his historical novels, was noted for both its use of archaisms and the inventive approach to the Romanian lexis. Often borrowing plot lines and means of expression from medieval and early modern Moldavian chroniclers such as Ion Neculce and Miron Costin, the author creatively intercalates several local dialects and registers of speech, moving away from a mere imitation of the historical language. Generally third-person narratives, his books often make little or no dialectal difference between the speech used by the story-teller and the character's voices. According to Călinescu, Sadoveanu displays "an enormous capacity of authentic speech", similar to that of Caragiale and Ion Creangă. The writer himself recorded his fascination with the "eloquence" of rudimentary orality, and in particular with the speech of Rudari Roma he encountered during his travels. Building on observations made by several critics, who generally praised the poetic qualities of Sadoveanu's prose, Crohmălniceanu spoke in detail about the Moldavian novelist's role in reshaping the literary language. This particular contribution was first described early in the 20th century, when Sadoveanu was acclaimed by Titu Maiorescu for having adapted his writing style to the social environment and the circumstances of his narratives. Vianu however notes that Sadoveanu's late writings tend to leave more room for neologisms, mostly present in those parts where the narrator's voice takes distance from the plot. Another unifying element in Sadoveanu's creation is his recourse to literary types. As early as 1904, Maiorescu praised the young raconteur for accurately depicting characters in everyday life and settings. Tudor Vianu stressed that, unlike most of his Realist predecessors, Sadoveanu introduced an overtly sympathetic view of the peasant character, as "a higher type of human, a heroic human". He added: "Simple, in the sense that they are moved by a few devices [which] coincide with the fundamental instincts of mankind, [they] are, in general, mysterious." In this line, Sadoveanu also creates images of folk sages, whose views on life are of a Humanist nature, and often depicted in contrast with the rationalist tenets of Western culture. Commenting on this aspect, Sadoveanu's friend George Topîrceanu believed that Sadoveanu's work transcended the "more intellectual [and] more artificial" notion of "types", and that "he creates [...] humans." The main topic of his subsequent work, Sandqvist argues, was "an archaic world where the farmers and the landlords were free men with equal rights" (or, according to Simuț, "a utopia of archaic heroism"). Thus, Călinescu stresses, Sadoveanu's work seems to be the monolithic creation through which "a single man" reflects "a single, universal nature, inhabited by a single type of man", and which echoes a similar vision of archaic completeness as found in the literature of poet Mihai Eminescu. The similarity in vision with Eminescu's "nostalgia, return, protest, demand, aspiration toward a [rural] world [he has] left" was also proposed by Vianu, while Topîrceanu spoke of "the paradoxical discovery that [Sadoveanu] is our greatest poet since Eminescu." Mihail Sadoveanu also shaped his traditionalist views on literature by investigating Romanian folklore, which he recommended as a source of inspiration to his fellow writers during his 1923 speech at the Romanian Academy. In Călinescu's view, Sadoveanu's outlook on life was even mirrored in his physical aspect, his "large body, voluminous head, his measured shepherd-like gestures, his affluent but prudent and monologic speech [and] feral indifference; his eyes [...] of an unknown race." His assessment of the writer as an archaic figure, bluntly stated in a 1930 article ("I believe him to be very uncultured"), was contrasted by other literary historians: Alexandru Paleologu described Sadoveanu as a prominent intellectual figure, while his own private notes show that he was well-read and acquainted with the literatures of many countries. Often seen as a spontaneous writer, Sadoveanu nevertheless took pains to elaborate his plots and research historical context, keeping most records of his investigations confined to his diaries. Debut The writer's debut novel, Povestiri, was celebrated for its accomplished style, featuring early drafts of all themes he developed upon later in life. However, Călinescu argued, some of the stories in the volume were still "awkward", and showed that Sadoveanu had problems in outlining epics. The pieces mainly feature episodes in the lives of boyars (members of Moldavia's medieval aristocracy), showing the ways in which they relate to each other, to their servants, and to their country. In one of the stories, titled Cântecul de dragoste ("The Love Song"), Sadoveanu touches on the issue of slavery, depicting the death of a Rom slave who is killed by his jealous master, while in Răzbunarea lui Nour ("Nour's Revenge"), a boyar refuses to make his peace with God until his son's death is avenged. Other fragments deal solely with the isolated existence of villagers: for example, in Într-un sat odată ("Once, in a Village"), a mysterious man dies in a Moldavian hamlet, and the locals, unable to discover his identity, sell his horse. The prose piece Năluca ("The Apparition") centers on the conjugal conflict between two old people, both of whom attempt to hide the shame of their past. George Călinescu notes that, particularly in Năluca, Sadoveanu begins to explore the staple technique of his literary contributions, which involves "suggesting the smolder of passions [through] a contemplative breath in which he evokes a static element: landscapes or set pieces from nature." Sadoveanu's subsequent collection of short stories, Dureri înăbușite, builds on the latter technique and takes his work into the realm of social realism and naturalism (believed by Călinescu to have been borrowed from either the French writer Émile Zola or from the Romanian Alexandru Vlahuță). For Călinescu, this choice of style brought "damaging effects" on Sadoveanu's writings, and made Dureri înăbușite "perhaps the poorest" of his collections of stories. In Lovinescu's view, Sadoveanu's move toward naturalism did not imply the necessary recourse to objectivity. The pieces focus on dramatic moments of individual existences. In Lupul ("The Wolf"), an animal is chased and trapped by a group of peasants; the eponymous character in Ion Ursu leaves his village to become a proletarian, and succumbs to alcoholism; the indentured laborer in Sluga ("The Servant") is unable to take revenge on his cruel employer at the right moment; in Doi feciori ("Two Sons"), a boyar comes to feel affection for his illegitimate son, whom he has nonetheless reduced to a lowly condition. In 1905, Sadoveanu also published Povestiri din război ("Stories from the War"), which compose scenes from the lives of Romanian soldiers fighting in the War of 1878. Objecting to a series of exaggerations in the book, Time nevertheless noted that Sadoveanu "sometimes had the writing skill to make compelling even quite traditional reactions to old-fashioned war". It concluded: "Sadoveanu's sketches have the virtues—and the vices—of old hunting prints and the romantically mannered battle scenes of the 19th century." Early selections of major themes Sadoveanu renounces this grim perspective on life in his volume Crâșma lui Moș Petcu, where he returns to a depiction of rural life as unchanged by outside factors. Petcu's establishment, located on the Moldova Valley, is a serene place, visited by quiet and subdued customers, whose occasional outburst of violence are, according to Călinescu, "dominated by slow, stereotypical mechanics, as is with people who can only accommodate within them a single drama." The literary critic celebrated Crâșma lui Moș Petcu for its depictions of nature, whose purpose is to evoke "the indifferent eternity" of conflicts between the protagonists, and who, at times, relies "on a vast richness of sounds and words." He did however reproach the writer "a certain monotony", arguing that Sadoveanu came to use such techniques in virtually all his later works. However, Sadoveanu's stories of the period often returned to a naturalistic perspective, particularly in a series of sketch stories and novellas which portray the modest lives of Romanian Railways employees, of young men drafted into the Romanian Land Forces, of Bovaryist women who playfully seduce adolescents, or of the provincial petite bourgeoisie. At times, they confront the morals of barely literate people with the stern authorities: a peasant obstinately believes that the 1859 union between Wallachia and Moldavia was meant to ensure the supremacy of his class; a young lower-class woman becomes the love interest of a boyar but chooses a life of freedom; and a Rom deserts from the Army after being told to bathe. In La noi, la Viișoara ("At Our Place in Viișoara"), the life of an old man degenerates into bigotry and avarice, to the point where he makes his wife starve to death. Sadoveanu's positive portrayal of hajduks as fundamentally honest outlaws standing up to feudal injustice, replicates stereotypes found in Romanian folklore, and is mostly present in some of the stories through (sometimes recurrent) heroic characters: Vasile the Great, Cozma Răcoare, Liță Florea etc. In the piece titled Bordeenii (roughly, "The Mud-hut Dwellers"), he shows eccentrics and misanthropes presided upon by the dark figure of Sandu Faliboga, brigands who flee all public authority and whom commentators have likened to settlers of the Americas. Lepădatu, an unwanted child, speaks for the entire group: "What could I do [...] wherever there are big fairs and lots of people? I'd have a better time with the cattle; it is with them that I have grown up and with them that I get along." Romanticizing the obscure events of early medieval history in Vremuri de bejenie ("Roving Times", 1907), Sadoveanu sketches the improvised self-defense of a refugee community, their last stand against nomadic Tatars. In reference to the stories in this series, Călinescu stresses that Sadoveanu's main interest is in depicting men and women cut away from civilization, who view the elements of Westernization with nothing more than "wonderment": "Sadoveanu's literature is the highest expression of the savage instinct." In later works, the critic believed, Sadoveanu moved away from depicting isolation as the escape of primitives into their manageable world, but as "the refinement of souls whom civilization has upset." These views are echoed by Ovid Crohmălniceanu, who believes that, unlike other Romanian Realists, Sadoveanu was able to show a peasant society that was not merely the prey of modern corruption or historical oppression, but rather refusing all contacts with the wider world—even to the point of Luddite-like hostility in front of new objects. Some of the early stories, Crohmălniceanu argues, do follow the moralizing Sămănătorist pattern, but part with it when they refuse to present the countryside in "idyllic" fashion, or when they adopt a specific "mythical realism". Sadoveanu began his career as a novelist with more in-depth explorations into subjects present in his stories and novellas. At the time, Crohmălniceanu stresses, he was being influenced by the naturalism of Caragiale (minus the comedic effect), and by his own experience growing up in characteristically underdeveloped Moldavian cities and târguri (somewhat similar to the aesthetic of boredom, adopted in poetry by George Bacovia, Demostene Botez or Benjamin Fondane). Among his first works of the kind is Floare ofilită ("Wizened Flower"), where a simple girl, Tincuța, marries a provincial civil servant, and finds herself deeply unhappy and unable to enrich her life on any level. Tincuța, seen by Călinescu as one of Sadoveanu's "savage" characters, only maintains urban refinement when persuading her husband to return for supper, but, according to Crohmălniceanu, is also a credible witness to the "small-mindedness" of "bourgeois" environments. A rather similar plot is built for Însemnările lui Neculai Manea ("The Recordings of Neculai Manea"), where the eponymous character, an educated peasant, experiences two unhappy romantic affairs before successfully courting a married woman who, although grossly uncultured, makes him happy. Apa morților ("The Dead Men's Water") is about a Bovaryist woman who discards lovers over imprecise feelings of dissatisfaction, finding refuge in the monotonous countryside. Călinescu noted that such novels were "usually less valuable than direct accounts", and deemed Însemnările lui Neculai Manea "without literary interest"; in Ovid Crohmălniceanu's view, the same story presents relevant detail on professional and intellectual failure. Praised by its commentators, the short novel Haia Sanis (1908) shows the eponymous character, a Jewish woman who throws herself into the arms of a local Gentile, although she knows him to be a seducer. Călinescu, who wrote with admiration about how the subject dissimulated pathos into "technical indifference", notes that the erotic rage motivating Haia has drawn "well justified" comparisons with Jean Racine's tragedy Phèdre. Crohmălniceanu believes Haia Sanis to be "perhaps [Sadoveanu's] best novella", particularly since the "wild beauty" Haia has to overcome at once antisemitism, endogamy and shame, before dying "in terrible pain" during a botched abortion. Sadoveanu's work of the time also includes Balta liniștii ("Tranquillity Pond"), where Alexandrina, pushed into an arranged marriage, has a belated and sad revelation of true love. In other sketch stories, such as O zi ca altele ("A Day like Any Other") or Câinele ("The Dog"), Sadoveanu follows Caragiale's close study of suburban banality. Hanu Ancuței, Șoimii and Neamul Șoimăreștilor The novella Hanu Ancuței ("Ancuța's Inn"), described by George Călinescu as a "masterpiece of the jovial idyllicism and barbarian subtlety", and by Z. Ornea as the first evidence of Sadoveanu's "new age", is a frame story in the line of medieval allegories such as Giovanni Boccaccio's Decameron and Geoffrey Chaucer's Canterbury Tales. It retells the stories of travelers meeting in the eponymous inn. Much of the story deals with statements of culinary tastes and shared recipes, as well as with the overall contrast between civilization and rudimentary ways: in one episode of the book, a merchant arriving from the Leipzig Trade Fair bemuses the other protagonists when he explains the more frugal ways and the technical innovations of Western Europe. Sadoveanu applied the same narrative technique in his Soarele în baltă ("The Sun in the Waterhole"), which, Călinescu argues, displays "a trickier style." In Șoimii, Sadoveanu's first historical novel, the main character is Nicoară Potcoavă, a late 16th-century Moldavian nobleman who became Hetman of the Zaporozhian Cossacks and Prince of Moldavia. The narrative, whose basic lines had been drawn by Sadoveanu in his adolescent years, focuses on early events in Nicoară's life, building on the story according to which he and his brother Alexandru were the brothers of Prince Ioan Vodă cel Cumplit, whose execution by the Ottomans they tried to avenge. The text also follows their attempt to seize and kill Ieremia Golia, a boyar whose alleged betrayal had led to Prince Ioan's capture, and whose daughter Ilinca becomes the brothers' prisoner. This story as well features several episodes where the focus is on depicting customary feasts, as well as a fragment where the Potcoavăs and their Zaporozhian Cossack allies engage in binge drinking. Glossing over several years in Nicoară's life, and culminating in his seizure of the throne, the narrative shows his victory against pretender Petru Șchiopul and Golia, and the price he has to pay for his rise. Alexandru, who falls in love with Ilinca, unsuccessfully asks for the captured Golia not to be killed. Following the murder, both brothers become embittered and renounce power. Călinescu described Șoimii novel as "still awkward", noting that Sadoveanu was only beginning to experiment with the genre. The 1915 Neamul Șoimăreștilor is a Bildungsroman centered on the coming of age of one Tudor Șoimaru. The protagonist, born a free peasant in Orhei area, fights alongside Ștefan Tomșa in the 1612 battles to capture the Moldavian throne. After participating in the capture of Iași, he returns home and helps local boyar Stroie in recovering his daughter, Magda, who had been kidnapped by Cossacks. Șoimaru, who feels for Magda, is however enraged by news that her father has forced his community into serfdom. Trying to deal with his internal conflict, he travels into Poland–Lithuania, where he discovers that Stroie is plotting against Tomșa, while Magda, who is in love with a szlachta nobleman, scorns his affection. He returns a second time to Orhei, marries into his social group, and plots revenge on Stroie by again rallying with Ștefan Tomșa. Following Tomșa's defeat, he again loses the lands of his ancestors, as Stroie returns home to celebrate his victory and have the Șoimarus put to death. Unexpectedly warned of this by Magda, Tudor manages to turn the tide: he and his family destroy Stroie's manor, killing the master but allowing Magda to escape unharmed. In Călinescu's view, the novel is "somewhat more consistent from an epic perspective", but fails to respect the conventions of the adventure novel it sets out to replicate. The critic, who deemed Magda's courtship by Tudor "sentimental", argued that the book lacks "the richness and unpredictable nature of the love intrigue"; he also objected to the depiction of Tudor as indecisive and inadequate for a heroic role. However, Ovid Crohmălniceanu argued that the suddenness of Tudor's sentimental commitments was characteristic for the "peasant soul" as observed by Sadoveanu. Zodia Cancerului and Nunta Domniței Ruxandra Zodia Cancerului, Sadoveanu's later historical novel, is set late in the 17th century, during the third rule of Moldavian Prince Gheorghe Duca, and is seen by Călinescu as "of a superior artistic level." The plot centers on a conflict between Duca and the Ruset boyars: the young Alecu Ruset, son of the deposed Prince Antonie, is spared persecution on account of his good relations with the Ottomans, but has to live under close watch. Himself a tormented, if cultured and refined, man, Alecu falls in love with Duca's daughter Catrina, whom he attempts to kidnap. The episode, set to coincide with the start of a major social crisis, ends with Alecu's defeat and killing on Duca's orders. In the background, the story depicts the visit of an Abbé de Marenne, a Roman Catholic priest and French envoy, who meets and befriends Ruset. Their encounter is another opportunity for Sadoveanu to show the amiable but incomplete exchange between the mentalities of Western and Eastern Europe. In various episodes of the novel, de Marenne shows himself perplexed by the omnipresent wilderness of underpopulated Moldavia, and in particular by the abundance of resources this provides. In one paragraph, seen by George Călinescu as a key to the book, Sadoveanu writes: "[De Marenne's] curious eye was permanently satisfied. Here was a desolation of solitudes, one that his friends in France could not even guess existed, no matter how much imagination they had been gifted with; for at the antipode of civilization one occasionally finds such things that have remained unchanged from the onset of creation, preserving their mysterious beauty." In a shorter novel of the period, Sadoveanu explored the late years of Vasile Lupu's rule over Moldavia, centering on the marriage of Cossack leader Tymofiy Khmelnytsky and Lupu's daughter, Ruxandra. Titled Nunta Domniței Ruxandra ("Princess Ruxandra's Wedding"), it shows the Cossacks' brutal celebration of the event around the court in Iași, depicting Tymofiy himself as an uncouth, violent and withdrawn figure. The narrative then focuses on the Battle of Finta and the siege of Suceava, through which a Wallachian-Transylvanian force repelled the Moldo-Cossack forces and, turning the tide, entered deep into Moldavia and placed Gheorghe Ștefan on the throne. Sadoveanu also invents a love story between Ruxandra and the boyar Bogdan, whose rivalry with Tymofiy ends in the latter's killing. While Călinescu criticized the plot as being over-detailed, and the character studies as incomplete, Crohmălniceanu found the intricate depiction of boyar customs to be a relevant part of Sadoveanu's "vast historical fresco." In both Zodia Cancerului and Nunta Domniței Ruxandra, the author took significant liberties with the historical facts. In addition to Tymofiy's death at the hands of Bogdan, the latter narrative used invented or incorrect names for some of the personages, and portrays the muscular, mustachioed, Gheorghe Ștefan as thin and bearded; likewise, in Zodia Cancerului, Sadoveanu invents the character Guido Celesti, who stands in for the actual Franciscan leader of Duca's Iași, Bariona da Monte Rotondo. Frații Jderi, Venea o moară pe Siret... and Baltagul With Frații Jderi, Sadoveanu's fresco of Moldavian history maintains its setting, but moves back in time to the 15th century rule of Prince Stephen the Great. Writing in 1941, before its final part was in print, Călinescu argued that the novel was part of Sadoveanu's "most valuable work", and noted "the maturity of its verbal means." In the first volume, titled Ucenicia lui Ionuț ("Ionuț's Apprenticeship"), the eponymous Jderi brothers, allies of Stephen and friends of his son Alexandru, fight off the enemies of their lord on several occasions. In what is the start of a Bildungsroman, the youngest Jder, Ionuț Păr-Negru, consumed by love for Lady Nasta, who was kidnapped by Tatars. He goes to her rescue, only to find out that she had preferred suicide to a life of slavery. Călinescu, who believed the volumes show Sadoveanu's move to the consecrated elements of adventure novels, called them "remarkable", but stressed that the narrative could render "the feeling of stumbling, of a languishing flow", and that the dénouement was "rather depressing". The second book in the series (Izvorul alb, "The White Water Spring") intertwines the life of the Jderi brothers with that of Stephen's family: the ruler weds the Byzantine princess Mary of Mangop, while Simion Jder falls for Marușca, who is supposedly Stephen's illegitimate daughter. The major episodes in the narrative are Marușca's kidnapping by a boyar, her captivity in Jagiellon Poland, and her rescue at the hands of the Jderi. The 1942 conclusion of the cycle, Oamenii Măriei-sale ("His Lordship's Men"), the brothers are shown defending their ancestral rights and their lord against the Ottoman invader and ambivalent boyars, and crushing the former at the Battle of Vaslui. The Jderi books, again set to the background of primitivism and natural abundance, also feature episodes of intense horror. These, Călinescu proposes, are willingly depicted "with an indolent complacency", as if to underline that the slow pace and monumental scale of history give little importance to personal tragedies. The same commentator notes a difference between the role nature plays in the first and second volumes: from serene, the landscape becomes hostile, and people are shown fearing earthquakes and droughts, although contemplative depictions of euphoria play a central part in both writings. The meeting between the wider world and the immobile local tradition surfaces in Frații Jderi as well: a messenger is shown wondering how the letter he brought could talk to the addressee; when she is supposed to encounter strange men, Marușca requests to be allowed to "shy away" in another room; a secondary character, claiming precognition, prepares his own funeral. For the 1925 Venea o moară pe Siret..., Sadoveanu received much critical acclaim. The boyar Alexandru Filotti falls in love with a miller's daughter, Anuța, whom he educates and introduces to high society. The beautiful young lady is also courted by Filotti's son Costi and by the peasant Vasile Brebu—in the end, overwhelmed by jealousy, Brebu kills the object of his affection. George Călinescu writes that the good reception was not fully deserved, claiming that the novel is "colorless", that it was merely based on the writer's early stories, and that it failed in its goal of depicting "crumbling boyardom". In Baltagul (1930), Sadoveanu merged psychological techniques and a pretext borrowed from crime fiction with several of his major themes. Written in just 30 days on the basis of previous drafts, the condensed novel shows Vitoria Lipan, the widow of a murdered shepherd, following in her husband's tracks to discover his killer and avenge his death. Accompanied by her son, and using for a guide the shepherd's dog, Vitoria discovers both the body and the murderer, but, before she can take revenge, her dog jumps on the man and bites into his neck. By means of this plot line, Sadoveanu also builds a fresco of transhumance and traces its ancestral paths, taking as a source of inspiration one of the best-known poems in local folklore, the ballad Miorița. Vitoria's sheer determination is the central aspect of the volume. Călinescu, who ranks the book among Sadoveanu's best, praises its "remarkable artistry" and "unforgettable dialogues", but nonetheless writes that Lipan's "detective-like" search and a "stubbornness" are weak points in the narrative. Crohmălniceanu declares Baltagul one of the "capital works" in world literature, proposing that, on its own, it manages to reconstruct "an entire shepherding civilization"; Cornis-Pope, who rates the book as "Sadoveanu's masterpiece", also notes that it "restated the theme of crime and punishment". Main travel writings and memoirs Before the 1940s, Sadoveanu also became known as a travel writer. His contributions notably include accounts of his hunting trips: Țara de dincolo de negură ("The Land beyond the Fog"), and one dedicated to the region of Dobruja (Priveliști dobrogene, "Dobrujan Sights"). Călinescu wrote that they both comprised "pages of great beauty". Țara de dincolo..., primarily showing recluse men in real-life symbiosis with the wilderness, also attention for its sympathetic depiction of the Hutsuls, a minority Slavic-speaking population, as an ancient tribe threatened by cultural assimilation. Sadoveanu's other travelogues include the reportage Oameni și locuri ("People and Places") and an account of his trips into Bessarabia (Drumuri basarabene, "Bessarabian Roads"). He also collected and commented upon the memoirs of other avid hunters (Istorisiri de vânătoare, "Hunting Stories"). A noted writing in this series was Împărăția apelor ("The Realm of Waters"). It forms a detailed and contemplative memoir of his journeys as a fisherman, and, according to Crohmălniceanu, one of the most eloquent proofs of Sadoveanu's "permanent and intimate correspondence with nature." Călinescu saw the text as a "fantastic vision of the entire aquatic universe", merging a form of pessimism similar to Arthur Schopenhauer's with a "calm kief" (cannabis-induced torpor), and as such illustrating "the great joy of participating in the transformations of matter, of eating and allowing oneself to be eaten." Sadoveanu also contributed an account of his travels into the Netherlands, Olanda ("Holland"). It provides insight into his preoccupation with the meeting of civilization and wilderness: upset by what he called "the [Dutch] rampancy of cleanliness", the writer confesses his perplexity at coming face to face with a contained and structured natural world, and details his own temptation to go "against the current". One of Sadoveanu's main conclusions is that Holland lacks in "true and lively wonders". Sadoveanu also sporadically wrote memoirs of his early life career, such as Însemnări ieșene ("Recordings from Iași"), which deals with the period during which he worked for Viața Românească, a book about the Second Balkan War (44 de zile în Bulgaria, "44 Days in Bulgaria"), and the account of years in primary school, Domnu Trandafir. They were followed in 1944 by Anii de ucenicie ("The Apprenticeship Years"), where Sadoveanu details some of his earliest experiences. Despite his temptation for destroying all raw personal notes, Sadoveanu wrote and kept a large number of diaries, which were never published in his lifetime. Other early writings Also during that time, he retold and prefaced the journeys of Thomas Witlam Atkinson, an English architect and stonemason who spent years in Tartary (a book he titled Cuibul invaziilor, "The Nest of Invasions"). This was evidence of his growing interest in exotic subjects, which he later adapted to a series of novels, where the setting is "Scythia", seen as an ancestral area of culture connecting Central Asia with the European region of Dacia (partly coinciding with present-day Romania). The home of mysterious Asiatic peoples, Sadoveanu's Scythia is notably the background to his novels Uvar and Nopțile de Sânziene. The former shows its eponymous character, a Yakut, exposed to the scrutiny of a Russian officer. In the latter, titled after the ancestral celebration of Sânziene during the month of June, shows a French intellectual meeting a nomadic tribe of Moldavian Rom people, who, the reader learns, are actually the descendants of Pechenegs. Călinescu notes that, in such writings, "the intrigue is a pretext", again serving to depict the vast wilderness confronted with the keen eye of foreign observers. He sees Nopțile de Sânziene as "the novel of millenarian immobility", and its theme as one of mythological proportions. The narrative pretexts, including the Sânziene celebration and the Rom people's social atavism, connect Nopțile... with another one of Sadoveanu's writings, 24 iunie ("June 24"). According to Tudor Vianu, the 1933 fantasy novel Creanga de aur ("The Golden Bow") takes partial inspiration from Byzantine literature, and is evidence of a form of Humanism found in Eastern philosophy. Marcel Cornis-Pope places it among Sadoveanu's "mythic-poetic narratives that explored the ontology and symbolics of history." The writer himself acknowledged that the esoteric nature of the book was inspired by his own affiliation to the Freemasonry, whose symbolism it partly reflected. Its protagonist, Kesarion Brebu, is included by Vianu among the images of sages and soothsayers in Mihail Sadoveanu's fiction, and, as "the last Deceneus", is a treasurer of ancient secret sciences mastered by the Dacians and the Ancient Egyptians. The novel is often interpreted as Sadoveanu's perspective on the Dacian contribution to Romanian culture. Sadoveanu's series of minor novels and stories of the interwar years also comprises a set of usually urban-themed writings, which, Călinescu argues, resemble the works of Honoré de Balzac, but develop into "regressive" texts with "a lyrical intrigue". They include Duduia Margareta ("Miss Margareta"), where a conflict occurs between a young woman and her governess, and Locul unde nu s-a întâmplat nimic ("The Place Where Nothing Happened"), where, in what is a retake on his own Apa morților, Sadoveanu depicts the cultured but bored boyar Lai Cantacuzin and his growing affection for a modest young woman, Daria Mazu. In Cazul Eugeniței Costea ("The Case of Eugenița Costea"), a civil servant kills himself to avoid prosecution, and his end is replicated by that of his daughter, brought to despair by her stepfather's character and by her mother's irrational jealousy. Demonul tinereții ("The Demon of Youth"), believed by Călinescu to be "the most charming" in this series, has for its protagonist Natanail, a university dropout who has developed a morbid fear of women since losing the love of his life, and who lives in seclusion as a monk. In the rural-themed Paștele blajinilor ("Thomas Sunday") of 1935, a defeated brigand seeks a dignified end to his wasted life. Written in 1938, the short story Ochi de urs ("Bear's Eye") introduces its hero Culi Ursake, the toughened hunter, into a bizarre scenery that seems to mock a human's understanding. During the period, Mihail Sadoveanu also wrote children's literature. His most significant pieces in this field are Dumbrava minunată ("The Enchanted Grove", 1926), Măria-sa Puiul Pădurii ("His Highness the Forest Boy", 1931), and a collection of stories adapted from Persian literature (Divanul persian, "The Persian Divan", 1940). Măria-sa Puiul Pădurii is itself an adaptation of the Geneviève de Brabant story, considered "somewhat highbrow" by George Călinescu, while the frame story Divanul persian consciously recalls the work of 19th century Wallachian writer Anton Pann. In 1909, Sadoveanu also published adapted version of two ancient writings: the Alexander Romance (as Alexandria) and Aesop's Fables (as Esopia). His 1921 book Cocostârcul albastru ("The Blue Crane") is a series of short stories with lyrical themes. Among his early writings are two biographical novels which retell historical events from the source, Viața lui Ștefan cel Mare ("The Life of Stephen the Great") and Lacrimile ieromonahului Veniamin ("The Tears of Veniamin the Hieromonk"), both of which, Călinescu objected, lacked in originality. The former, published in 1934, was more noted among critics, for both intimate tone and hagiographic character (recounting Stephen's life on the model of saints' biographies). Socialist realism years Despite the post-1944 change in approach, Sadoveanu's characteristic narrative style remained largely unmodified. In contrast, his choice of themes changed, a transition which reflected political imperatives. At the end of the process, literary historian Ana Selejan argues, Sadoveanu became the most influential prose author among Romanian Socialist realists, equaled only by the younger Petru Dumitriu. Historian Bogdan Ivașcu writes that Sadoveanu's affiliation with "proletarian culture" and "its masquerade", like that of Tudor Arghezi and George Călinescu, although it may have been intended to rally "prestige and depth" to Socialist realism, only succeeded in bring their late works to the level of "propaganda and agitation materials." In contrast to these retrospective assessments, communist literary critics and cultural promoters of the 1950s regularly described Sadoveanu as the model to follow, both before and after Georgy Malenkov's views on culture were adopted as the norm. In his Lumina vine de la Răsărit, the writer built on the opposition between light and darkness, identifying the former with Soviet policies and the latter with capitalism. Sadoveanu thus spoke of "the dragon of my own doubts" being vanquished by "the Sun of the East". Historian Adrian Cioroianu notes that this literary antithesis came to be widely used by various Romanian authors who rallied with Stalinism during the late 1940s, citing among these Cezar Petrescu and the former avant-garde writer Sașa Pană. He also notes that such imagery, accompanied by portrayals of Soviet joy and abundance, replicated an ancient "structure of myth", adapting it to a new ideology on the basis of "what could be imagined, not of what could be believed." Ioan Stanomir writes that Sadoveanu and his fellow ARLUS members use a discourse recalling the theme of a religious conversion, analogous to that of Paul the Apostle (see Road to Damascus), and critic Cornel Ungureanu stresses that Sadoveanu's texts of the period frequently quote the Bible. Following his return from the Soviet Union, Sadoveanu published travelogues and reportage piece, including the 1945 Moscova ("Moscow", co-authored with Traian Săvulescu and economist Mitiță Constantinescu) and the 1946 Caleidoscop ("Kaleidoscope"). In one of these accounts, he details his encounter with Lysenkoist agronomist Nikolay Tsistsin, and claims to have tasted bread made from a brand of wheat which yielded 4,000 kilograms of grain per hectare. In a later memoir, Sadoveanu depicted his existence and the destiny of his country as improved by the communist system, and gave accounts of his renewed journeys in the countryside, where he claimed to have witnessed a "spiritual splendor" supported by "the practice of the new times". He would follow up with hundreds of articles on various subjects, published by the communist press, including two 1953 pieces in which he lamented Stalin's death (one of them referred to the Soviet leader as "the great genius of progressive mankind"). Upon its publication, the political novel Mitrea Cocor, which depicts the hardships and eventual triumph of its eponymous peasant protagonist, was officially described as the first Socialist realist writing in local literature, and as a turning point in literary history. Often compared to Dan Deșliu's ideologized poem Lazăr de la Rusca, it is remembered as a controversial epic dictated by ideological requirements, and argued to have been written with assistance from several other authors. Seen by historiographer Lucian Boia as an "embarrassing literary fabrication", it was rated by literary critics Dan C. Mihăilescu and Luminița Marcu both as one of "the most harmful books in Romanian literature", and by historian Ioan Lăcustă as "a propaganda writing, a failure from a literary point of view". A praise of collectivization policies that some critics believe was a testimony that Sadoveanu was submitting himself and imposing his public to brainwashing, Mitrea Cocor was preceded by Păuna-Mică, a novel which also idealizes collective farming. With his final published work, the 1951-1952 novel Nicoară Potcoavă, Sadoveanu retells the narrative of his Șoimii, modifying the plot and adding new characters. Noted among the latter is Olimbiada, a female soothsayer and healer through whose words Sadoveanu again dispenses his own perspective on human existence. The focus of the narrative is also changed: from the avenger of his brother's death in Șoimii, the pretender becomes a purveyor of folk identity, aiming to reestablish the Moldavia of Stephen the Great's times. Praised early on by Dumitriu, who believed it was proof of "artistic excellence", Nicoară Potcoavă is itself seen as a source for communist-inspired political messages. According to Cornel Ungureanu, this explains why it highlights the brotherhood between Cossacks and Moldavians, supposedly replicating the official view on Soviet-Romanian relations. Cornis-Pope, who considers the novel one of Sadoveanu's "mere variations" on old subjects, suggests that it transforms its protagonist "from medieval fighter into political philosopher who announces the rise of a 'new world'." Victor Frunză also notes that, although Sadoveanu returned to old subjects, he "no longer rises to the level he had reached before the war." The final part of Sadoveanu's creation also comprises a series of pieces where the narrative approach was, according to Crohmălniceanu, "corrected" to show his favorite recluse type won over by the new society. In essence, Ungureanu argues, the new style that of "reportage and plain information, adapted to orders coming from above". Such works include the 1951 Nada Florilor ("The Flowers' Lure") and Clonț-de-fier ("Iron Bucktooth"), alongside an unfinished piece, Cântecul mioarei ("Song of the Ewe"). In Nada..., the peasant boy Culai follows his hero, tinsmith Alecuțu, into factory life. Clonț-de-fier, an ideologized retake on Demonul tinereții, is about a monk returning from seclusion into the world of workers, where the landscape is reshaped by large-scale construction works. According to Ungureanu, it also shows Sadoveanu's universe stripped of "all its deep meanings." While their author came to personify the new cultural guidelines, Sadoveanu's previous books, from Frații Jderi to Baltagul, were subject to communist censorship. Various statements contradicting the ideological guidelines were cut out of new editions: the books in general could no longer include mentions of Bessarabia (a region first incorporated into the Soviet Union by a 1940 occupation) or Romanian Orthodox beliefs. In one such instance, censors of Baltagul removed a character's claim that "the Russian" was by nature "the drunkest of them all, [...] a worthy beggar and singer at the fairs." Politics Nationalism and Humanism Sadoveanu's engagement in politics was marked by abrupt changes in convictions, seeing him move from right- to left-wing stances several times in his life. In close connection with his traditionalist views on literature, but in contrast to his career under a Conservative Party and National Liberal cabinets, Sadoveanu initially rallied with nationalist groups of various hues, associating with both Nicolae Iorga and, in 1906, with the left-wing Poporanists at Viața Românească. An early cause of his was his attempt to reconcile Iorga with the Poporanists, but his efforts were largely fruitless. In the 1910s, the anti-Iorga traditionalist Ilarie Chendi recognized in Sadoveanu one of the Poporanists who promoted "the spiritual healing of our people through culture." Around that time, he formulated a ruralist and nationalist perspective on life, rejecting what he deemed "the hybrid urban world" for "the world of our national realities". In Călinescu's analysis, this signifies that, like his predecessor, the conservative Eminescu, Sadoveanu believed the cities were victims of the "superimposed category" of foreigners, in particular those administrating leasehold estates. Following the 1907 Peasants' Revolt, Sadoveanu sent a report to his Minister of Education Spiru Haret, informing him on the state of rural education, and, beyond this, of the problems faced by villagers in Moldavia. It read: "The leaseholders and landowners, no matter what their nationality, make a mockery of the Romanians' labors. Every surtucar [that is, urbanized character] in the village, mayors, notaries, paper-pushers, shamelessly [and] mercilessly milk this milk cow. They are joined by the priest—who [...] is in disagreement with the teacher." With Neamul Șoimăreștilor, the burdens of feudal society and mercantilism, most of all the restriction of economic rights, were becoming a background theme in his fiction, which later depicted Stephen the Great as the original champion of social justice (Frații Jderi). During most of his World War I activity, Sadoveanu also followed the Poporanists' Russophobia and dislike of the Entente side, describing the Russian Empire's national policies in Bessarabia as far more barbaric than Austria-Hungary's rule over Transylvania. In 1916, he abruptly switched to the Entente camp: his enthusiasm as propaganda officer was touched by controversy once Romania experienced massive defeats; Sadoveanu himself abandoned the Entente cause by 1918, when he was decommissioned, and resumed his flirtation with Constantin Stere's Germanophile lobby. Călinescu sees Sadoveanu, alongside Stere, as one of Viața Româneascăs chief ideologues, noting that he was nonetheless "rendered notorious by his inconsistency and opportunism." He writes that Sadoveanu and Stere both showed a resentment for ethnic minorities, particularly members of the Jewish community, whom they saw as agents of exploitation, but that, as Humanists, they had a form of "humane sympathy" for Jews and foreigners taken individually. The Poporanist aspect of Sadoveanu's literature was also highlighted by Garabet Ibrăileanu in the late 1920s, when he referred to his contributions as evidence that Romanian culture was successfully returning to its specific originality. In essence, Crohmălniceanu writes, Sadoveanu was tied to Viața Românească by his advocacy of national specificity, his preference for the large-scale narrative, and his vision of pristine, "natural", human beings. According to Z. Ornea, Sadoveanu's affiliation to the Freemasonry shaped not only his political "demophilia", but also his "Weltanschauung, and, through a reflex, his [literary] work." By consequence, Ornea argues, Sadoveanu became a supporter of democracy, a stance which led him into open conflict with extreme nationalists. Alongside its Humanism, Sadoveanu's nationalism was noted for being secular, and thus in contrast with the Romanian Orthodox imagery favored by nationalists on the far right. Sadoveanu rejected the notion that ancestral Romanians were religious individuals, stating that their belief was in fact "limited to rituals and customs." He was also a vocal supporter of international cooperation, particularly among countries in Eastern and Central Europe. Writing for the magazine Familia in 1935, 17 years after Transylvania's union with Romania and 15 years after the Treaty of Trianon, Sadoveanu joined the Hungarian author Gyula Illyés in pleading for good relations between the two neighbors. As noted by Crohmălniceanu, although Sadoveanu's interwar novels may depict both clashes between polities and benign misunderstandings, they ultimately discourage ethnic stereotypes, suggesting that "the gifts and qualities of various kinships" are mutually compatible. According to Marcel Cornis-Pope, this cooperative vision is the background theme to Divanul persian, a book "demonstrating the value of intercultural dialogue at a time of sharp political polarization." The same text was described by Vianu as evidence of Sadoveanu's "understanding, gentleness and tolerance". In 1926, the year of his entry into Alexandru Averescu's People's Party, Sadoveanu motivated his choice in a letter to Octavian Goga, indicating his belief that the intelligentsia needed to partake in politics: "It would seem that what is foremost needed is the contribution of intellectuals, in an epoch when the overall intellectual level is decreasing." His sincerity was doubted by his contemporaries: both his friend Gheorghe Jurgea-Negrilești and the communist Petre Pandrea recount how, in 1926–1927, Sadoveanu and Păstorel Teodoreanu requested public funds from Interior Minister Goga, with Sadoveanu motivating that he wanted to set up a cultural magazine and later spending the money on his personal wardrobe. In contrast, Adrian Cioroianu notes that the People's Party episode, and especially the "mutual wariness" between Sadoveanu and the National Liberals, underlined the writer's sympathy for the "intellectual Left". Himself a Marxist, Ovid Crohmălniceanu suggested that, as early as the 1930s, Sadoveanu's attitudes were rather similar to the official line of communist groups. Opposition to fascism and support for King Carol During the 1930s, following his stint as head of Adevărul, a leftist newspaper owned by Jewish entrepreneurs, Sadoveanu was targeted by right-wing voices, who claimed that he had chosen to abandon his nationalist credentials. Thus, Sadoveanu became the target of a press campaign in the antisemitic and fascist press, and in particular in Nichifor Crainic's Sfarmă-Piatră and the journals connected with the Iron Guard. The former publication deplored his supposed "betrayal" of the nationalist cause. In it, Ovidiu Papadima portrayed Sadoveanu as the victim of Jewish manipulation, and equated his affiliation to the Freemasonry with devil worship, and mocked his obesity, while Crainic himself compared the writer to his own character, the treacherous Ieremia Golia. Porunca Vremii often referred to him as Jidoveanu (from jidov, a dismissive term for "Jew"), depicted him as an agent of "Judaeo-communism" motivated by "perversity", and called on the public to harass the writer and beat him with stones. It also protested when the public authorities in Fălticeni refused to withdraw Sadoveanu the title of honorary citizen, and again when the University of Iași made him a doctor honoris causa, and, through the voice of novelist N. Crevedia, even suggested that the writer should use his hunting rifle to commit suicide. In 1937, Porunca Vremii congratulated ultra-nationalists who had organized public burnings of Sadoveanu's works in Southern Dobruja and in Hunedoara, as well as non-identified people who sent the writer packages containing shredded copies of his own volumes. In April 1937, the anti-Sadoveanu campaign was met with the indignation of various public figures, who issued an "Appeal of the Intellectuals", signed by Liviu Rebreanu, Eugen Lovinescu, Petru Groza, Victor Eftimiu, George Topîrceanu, Zaharia Stancu, Demostene Botez, Alexandru Al. Philippide, Constantin Balmuș and others. Denouncing the campaign as a "moral assassination", it referred to Sadoveanu as the author of "the most Romanian [works] in our literature." Sadoveanu himself defended his fellow writer Tudor Arghezi, who stood accused by the far right press of having written "pornography". Reviewing the consequences of these scandals, Ovid Crohmălniceanu suggests that all of what Mihail Sadoveanu wrote from 1938 to 1943 is in some way connected to the cause of anti-fascism. According to Cornis-Pope, Sadoveanu's dislike for the far right can be discovered in Creanga de aur, which doubles as "a political parable opposing an archaic peasant civilization to the growing threat of fascism." However, George Călinescu claims, the writer himself had not actually revised his nationalist outlook, that he continued to believe that minorities and foreigners were a risky presence in Greater Romania, and that his Humanism was "a light tincture". In one of his columns, Sadoveanu replied to those organizing the acts of vandalism, indicating that, had they actually read the novels they were destroying, they would have found "a burning faith in this nation, for so long mistreated by cunning men". Elsewhere, stating that he was not going to take his detractors into consideration, Sadoveanu defined himself as an adversary of both Nazi Germany and any form of advocacy for a "National-Socialist regime in our country". Sadoveanu's subsequent endorsement of authoritarian King Carol II and his corporatist force, the National Renaissance Front, saw his participation in the monarch's personality cult. In 1940, he offered controversial praise to the ruler through the official journal, Revista Fundațiilor Regale, which caused Carol's political adversary, psychologist Nicolae Mărgineanu, to deem Sadoveanu and his fellow contributors "scoundrels". His renewed mandate in the Senate was a favor from Carol, also granted to George Enescu, philosopher Lucian Blaga, scientists Emil Racoviță and Iuliu Hațieganu, and several other public figures. During the Ion Antonescu dictatorship, Sadoveanu kept a low profile and was apolitical. However, Cioroianu writes, he supported the invasion of the Soviet Union and Romania's cooperation with the Axis Powers on the Eastern Front, seeing in this a chance to recover Bessarabia and the northern part of Bukovina (lost to the 1940 Soviet occupation). In spring 1944, months before the King Michael Coup toppled the regime, he was approached by the clandestine Romanian Communist Party and its sympathizers in academia to sign an open letter condemning Romania's alliance to Nazi Germany. According to the communist activist Belu Zilber, who took part in this action, Sadoveanu, like his fellow intellectuals Dimitrie Gusti, Simion Stoilow and Horia Hulubei, refused to sign the document. Also according to Zilber, Sadoveanu motivated his refusal by stating that the letter needed to be addressed not to Antonescu, but to King Michael I. However, and aside from its main topic, Păuna-Mică was noted as one of the few prose works of the 1940s to mention the wartime deportation of Romanian Jews by Antonescu's regime; Caleidoscop also speaks about the 1941 Iași pogrom as "our shame", and commends those who opposed it. Partnership with the communists Following his Lumina vine de la Răsărit lecture, Sadoveanu became noted for his positive portrayals of communization and collectivization. In particular, Sadoveanu offered praise to one of the major pillars of Stalinism, the 1936 Soviet Constitution. In 1945, claiming to have been "flashed upon" by "Stalin's argumentation", he urged the public to read the document for its "sincerity"; elsewhere, he equated reading the constitution with "a mystical revelation". Adrian Cioroianu describes this as "an office assignment" from the ARLUS, at a time when the group was circulating free translated copies of the Soviet constitution. The enthusiasm of his writings also manifested itself in his public behavior: according to his ARLUS colleague Iorgu Iordan, Sadoveanu was emotional during the 1945 Soviet trip, shedding tears of joy upon visiting a day care center in the countryside. Running in the 1946 election, Sadoveanu blamed the old political class in general for the problems faced by Romanian peasants, including the major drought of that year. By then, his political partners were making use of his literary fame, and his electoral pamphlet read: "There is no doubt that the thousands of people who have read his works will rush out on [election day] to vote for him." After 1948, when the Romanian communist regime was installed, Sadoveanu directed his praise toward the new authorities. In 1952, as Romania adopted its second republican constitution and the authorities intensified repression against anti-communists, Sadoveanu made some of his most controversial statements. Declaring the defunct kingdom to have been a "long interval of organized injustice and crooked development in all areas", he presented the new order as an era of social justice, human dignity, available culture and universal public education. Criticism of Sadoveanu's moral choices also focuses on the fact that, while he led a luxurious existence, many of his generation colleagues and fellow intellectuals were being persecuted or jailed in notoriously harsh circumstances. Having tolerated the purge within the Romanian Academy, Cioroianu notes, Sadoveanu accepted being colleagues with newly promoted "secondary characters [...] whom the new regime needed", such as poet Dumitru Theodor Neculuță and historian Mihail Roller. In his official capacity, Sadoveanu even signed several death sentences declared by communist tribunals, and, in the wake of the Tămădău Affair of summer 1947, presided over the Chamber sessions which outlawed the opposition National Peasants' Party: according to researcher Victor Frunză, he was a willing participant in this, having been upset by the exposure of his personal wealth in the National Peasantist press. Later, Sadoveanu made a reference to his former colleague, the National Peasantist activist Ion Mihalache, arguing that his old Agrarianist approach to politics had made him a "ridiculous character". Ioan Stanomir describes this fragment as one of "intellectual abjection", indicating that Mihalache, already a political prisoner of the regime, was to die in captivity. However, as leader of the Romanian Writers' Union, the aging writer is credited by some with having protected poet Nicolae Labiș, a disillusioned communist who had been excluded from the Union of Worker Youth in spring 1954, and whose work Sadoveanu treasured. He is also reported to have helped George Călinescu publish the novel Scrinul negru, mediating between him and communist leader Gheorghe Gheorghiu-Dej. Mihail Sadoveanu provided a definition of his own political transition in conversation with fellow writer Ion Biberi (1946). At the time, he claimed: "I have never engaged in politics, in the sense that one assigns to this word." He elaborated: "I am a left-wing person, following the line of a Poporanist zeal in the spirit of Viața Românească, but one adapted to the new circumstances." Cioroianu sees in such statements evidence that, trying to discard his past, Sadoveanu was including himself among the socialist intellectuals "willing to let themselves be won over by the indescribable charm and the full swing of the communist utopia", but that he may in reality have been "motivated by fear". Paraphrasing communist vocabulary, Stanomir describes the writer as one of the "bourgeois" personalities who became "fellow travelers" of the communists, and argues that Sadoveanu's claim to have always leaned towards a "people's democracy" inaugurated "a pattern of chameleonism". In the view of historian Vladimir Tismăneanu, Sadoveanu, like Parhon, George Călinescu, Traian Săvulescu and others, was one of the "non-communist intellectuals" attracted into cooperation with the Romanian Communist Party and the communist regime (Tismăneanu also argues that these figures' good relationship with Gheorghiu-Dej was a factor in the process, as was Gheorghiu-Dej's ability to make himself look "harmless"). Others have submitted that Sadoveanu's faction in the Freemasonry, which included far left advocates Mihai Ralea and Alexandru Claudian, and officially supported evolutionary socialism, was a natural partner of the communists, to the point of sanctioning its own state-organized suppression. According to Adrian Cioroianu, Sadoveanu was not necessarily an "apostle of communization", and his role in the process is subject to much debate. Describing the writer's "conversion to philosovietism" as "purely contextual", Cioroianu also points out that the very notion of "light arising in the East" is read by some as Sadoveanu's encoded message to other Freemasons, warning them of a Soviet threat to the organization. The historian notes that, for all their possible lack in sincerity, Sadoveanu's statements provided a template for other intellectuals to follow—this, he argues, was the case of Cezar Petrescu. Other statements made by Sadoveanu also displayed a possibly studied ambiguity, as is the case with a 1952 lecture he gave in front of young writers attending the Party-controlled School of Literature, where he implicitly denied that one could be created a writer unless by "God or Mother Nature". Legacy Influence Sadoveanu's prose, in particular his treatment of natural settings, was a direct influence in the works of writers such as Dimitrie D. Pătrășcanu, Nicolae N. Beldiceanu, Jean Bart, and Al. Lascarov-Moldovanu; his storytelling techniques were also sometimes borrowed by comedic novelist Damian Stănoiu, and, in later years, by historical novelist Dumitru Vacariu. According to Călinescu, Sadoveanu's early hunting stories published by Viața Românească, together with those of Junimist Nicolae Gane, helped establish the genre within the framework of Romanian literature, and paved the way for its predilect use in the works of Ioan Alexandru Brătescu-Voinești. Călinescu also notes that Scrisorile unui răzeș ("Letters of a Peasant"), an early work by novelist Cezar Petrescu, are deeply marked by Sadoveanu's influence, and that the same writer's use of the Moldavian dialect is a "pastiche" from Sadoveanu. Ion Vinea too, while expressing admiration for Sadoveanu, defined all his disciples and imitators as "mushroom-writers from Sadoveanu's woods" and "butlers who steal [their lord's lingerie] in order to wear his blazon". The issue was much later discussed by writer-critic Ioan Holban, who likewise described most historical novelists inspired by Sadoveanu as "insignificant" to Romanian letters. Under the early stages of the communist regime, before the rise of Nicolae Ceaușescu engendered a series of rehabilitations and accommodated nationalism, the Romanian curriculum was dependent on ideological guidelines. At the time, Sadoveanu was one of the writers from the interwar whose work was still made available to Romanian schoolchildren. In the 1953 Romanian language and literature manual, he represented his generation alongside the communist authors Alexandru Toma and Alexandru Sahia, and was introduced mainly through his Mitrea Cocor. At the time, studies of his work were published by prominent communist critics, among them Ovid Crohmălniceanu, Paul Georgescu, Traian Șelmaru, Mihai Novicov, Eugen Campus and Dumitru Isac, while a 1953 reissue of Baltagul was published in 30,000 copies (a number rarely met by the Romanian publishing industry in that context). In later years, Profira Sadoveanu became a noted promoter of her father's literature and public image, publishing children's versions of his biography, notably featuring illustrations by Mac Constantinescu (1955 edition). Although Sadoveanu continued to be hailed as a major writer during the Ceaușescu years, and the seventy years of his debut were marked with state ceremony, the reaction against Soviet influence affected presentations of his work: his official bibliography no longer included any mention of Păuna-Mică. Among the memoirs dealing with Sadoveanu's late years were those of Alexandru Rosetti, published in 1977. The official revival of nationalist discourse in the 1960s allowed controversial critic Edgar Papu to formulate his version of Protochronism, which postulated that phenomenons within Romanian culture preceded developments in world culture. In this context, Papu spoke of Sadoveanu as "one of the great precursory voices", comparing him to Rabindranath Tagore. After the 1989 Revolution toppled communism, Sadoveanu remained an influence on some young authors, who recovered the themes of his work in a Postmodern or parodic manner. Among them is Dan Lungu, who, according to critic Andrei Terian, alluded to the Hanu Ancuței frame story when constructing his 2004 novel Paradisul găinilor. In 2001, a poll carried among literati by Observator Cultural magazine listed six of his works as some of the best 150 Romanian novels. Mihail Sadoveanu's various works were widely circulated abroad. This phenomenon began as early as 1905, when German-language translations were first published, and continued during the 1930s, when Venea o moară pe Siret... was translated very soon after its original Romanian edition. In 1931, female author and feminist militant Sarina Cassvan included French-language versions of his texts into an anthology designed to promote modern Romanian culture internationally. Also then, some of Sadoveanu's texts were rendered in Chinese by Lu Xun. Tudor Vianu attributes the warm international reception Sadoveanu generally received to his abilities in rendering the Romanians' "own way of sensing and seeing nature and humanity", while literary historian Adrian Marino points out that, Sadoveanu and Liviu Rebreanu were exceptional in their generation for taking an active interest in how their texts were translated, edited and published abroad. Later, publicizing Sadoveanu's work to Eastern Bloc and world audiences became a priority for the communist regime. Thus, Mitrea Cocor was, together with similar works by Zaharia Stancu and Eusebiu Camilar, among the first wave of Romanian books to have been translated into Czech and published in Communist Czechoslovakia. Alongside similar works by Petru Dumitriu, Mitrea Cocor was also among the few English-language editions sanctioned by the Romanian regime, being translated and published, with a preface by Jack Lindsay, in 1953. Nine years later, the collected short stories were a tool for cultural exchange between Romania and the United States. Sadoveanu's good standing in the Soviet Union after World War II also made him one of the few Romanian writers whose works were still being published in the Moldavian SSR (which, as part of Bessarabia, had previously been a region of Greater Romania). Sadoveanu's diaries and notes were collected and edited during the early 2000s, being published in 2006 by Editura Junimea and the MLR. The main coordinators of this project were literary historian Constantin Ciopraga and Constantin Mitru, who was Sadoveanu's brother-in-law and personal secretary. The popularity of his writings remained high into the early 21st century: in 2004, when the country marked a hundred years since Sadoveanu's debut, Șoimii was published in its 15th edition. According to Simuț, the occasion itself was nevertheless marked with "the impression of general indifference", making Sadoveanu seem "a submerged continent, remembered by us only with piousness and confusion". Tributes Sadoveanu is an occasional presence in the literary works of his fellow generation members. His Țara de dincolo de negură was partly written as a tribute to George Topîrceanu's piece of the same name, with both authors sketching an affectionate portrait of one another. Topîrceanu also parodied his friend's style in a five-paragraph sketch, part of a series of such fragments, recorded their encounters in various other autobiographical writings, and dedicated him the first version of his poem Balada popii din Rudeni ("Ballad of the Priest from Rudeni"). Under the name Nicolae Pădureanu, Sadoveanu is a character in the novel and disguised autobiography În preajma revoluției ("On the Eve of the Revolution"), authored by his colleague Constantin Stere. Sadoveanu is honored in two writings by Nicolae Labiș, collectively titled Sadoveniene ("Sadovenians"). The first, titled Mihail Sadoveanu, is a prose poem which alludes to Sadoveanu's prose, and the other, a free verse piece, is titled Cozma Răcoare. In his scientific study of Sadoveanu's work, Eugen Lovinescu himself turns to pure literature, portraying Sadoveanu as a child blessed by the Moirai or ursitoare with ironic gifts, such as an obstinacy for nature writing in the absence of actual observation ("You shall write; you shall write and could never stop yourself writing [...]. The readers will grow tired, but you will remain tireless; you shall not known rest, just as you shall not know nature [...]"). George Călinescu was one to object to this portrayal, noting that it was merely a "literary device which hardly covers the emptiness of [Lovinescu's] idea." Also during the interwar, philosopher Mihai Ralea made Mihail Sadoveanu the subject of a sociological study investigating his literary contributions in the context of social evolutions. A portrait of Sadoveanu was drawn by graphic artist Ary Murnu, within a larger work which depicts the Kübler Coffeehouse society. Sadoveanu was also the subject of a 1929 painting by Ștefan Dumitrescu, part of a series on Viața Românească figures. In its original edition, Mitrea Cocor was supposed to feature a series of drawings made by Corneliu Baba, one of the best-known Romanian visual artists for his generation. Baba, who had been officially criticized for "formalism", was pressured by the authorities into accepting the commission or risk a precarious existence. The result of his work was rejected with a similar label, and the sketches were for long not made available to the public. Baba also painted Sadoveanu's portrait, which, in 1958, art critic Krikor Zambaccian as "the synthesis of Baba's art", depicting "a man of letters aware of his mission [and] the leading presence of an active consciousness". Constantin Mitru inherited the painting and passed it on to the Museum of Romanian Literature (MLR). A marble bust of Sadoveanu, the work of Ion Irimescu, was set up in Fălticeni in 1977. In Bucharest, a memorial plaque was placed on Pitar Moș Street, on a house where he lived for a period. During the 1990s, another bust of Sadoveanu, the work of several sculptors, was unveiled in Chișinău, Republic of Moldova (the former Moldavian SSR), part of the Aleea Clasicilor sculptural ensemble. Sadoveanu's writings also made an impact on film culture, and in particular on Romanian cinema of the communist period. However, the first film based on his works was a German production of 1929: based on Venea o moară... and titled Sturmflut der Liebe ("Storm Tide of Love"), it notably starred Marcella Albani, Alexandru Giugaru and Ion Brezeanu. The series of Romanian-made films began with the 1952 Mitrea Cocor, co-directed by Marietta Sadova (who also starred in the film) and Victor Iliu. The film itself was closely supervised for conformity with ideological guidelines, and had to be partly redone because its original version did not meet them. Mircea Drăgan directed a 1965 version of Neamul Șoimăreștilor (with a screenplay co-written by Constantin Mitru) and a 1973 adaptation of Frații Jderi (with contributions by Mitru and by Profira Sadoveanu). In 1969, Romanian studios produced a film version of Baltagul, directed by Mircea Mureșan and with Sidonia Manolache as Vitoria Lipan. Ten years later, Constantin Vaeni released Vacanță tragică ("Tragic Holiday"), based on Nada Florilor, followed by a 1980 adaptation of Dumbrava minunată and Stere Gulea's 1983 Ochi de urs (tr. "The Bear Eye's Curse"). In 1989, just before the Romanian Revolution, Dan Pița produced his film The Last Ball in November, based on Locul unde nu s-a întâmplat nimic. During the early decades of communist rule, Sadoveanu, Alexandru Toma and later Tudor Arghezi were often paid homage with state celebrations, likened by literary critic Florin Mihăilescu to the personality cult reserved for Stalin and Gheorghe Gheorghiu-Dej. For a while after the writer's death, the Writers' Union club, commonly known as "The Writers' House", bore Sadoveanu's name. Casa cu turn in Iași, which Sadoveanu had donated to the state in 1950, went through a period of neglect and was finally set up as a museum in 1980. Similar sites were set up in his Fălticeni house, and in his final residence at Voividenia, while the Bradu-Strâmb chalet was controversially granted to the Securitate, and later to the Romanian Police. Each year, Iași commemorates the writer through a cultural festival known as the "Mihail Sadoveanu Days". In 2004, the 100th anniversary of his debut was marked by a series of exhibits and symposiums, organized by the MLR. Similar events are regularly held in various cities, and include the "In Sadoveanu's Footsteps" colloquy of writers, held during March 2006 in the city of Piatra Neamț. Since 2003, in tribute to Sadoveanu's love for the game, an annual chess tournament is held in Iași. The Sadoveanu High School and a bookstore in Bucharest are named after him, and streets named after him exist in, among other places, Iași, Fălticeni, Timișoara, Oradea, Brașov, Galați, Suceava, Călărași, Târgu Jiu, Miercurea Ciuc, Petroșani, and Mangalia. Pașcani hosts a cultural center, a high school and a library named after him. Sadoveanu's memory is also regularly honored in the Republic of Moldova, where, in 2005, the 125th anniversary of his birth was celebrated in an official context. A street in Chișinău and a high school in the town of Cupcini are also named after him. Selected works Fiction 1902 - Frații Potcoavă 1904 - Șoimii 1905 - Floare ofilită 1906 - Însemnările lui Neculai Manea 1907 - La noi, la Viișoara 1907 - Vremuri de bejenie 1908 - Balta liniștii 1908 - Haia Sanis 1911 - Apa morților 1915 - Neamul Șoimăreștilor 1925 - Venea o moară pe Siret... 1928 - Hanu Ancuței 1929 - Zodia Cancerului 1930 - Baltagul 1932 - Nunta Domniței Ruxandra 1932 - Uvar 1933 - Creanga de aur 1934 - Nopțile de Sânziene 1935-1942 - Frații Jderi 1949 - Mitrea Cocor 1951-1952 - Nicoară Potcoavă Non-fiction 1907 - Domnu Trandafir 1908 - Oameni și locuri 1914 - Priveliști dobrogene 1916 - 44 de zile în Bulgaria 1921 - Drumuri basarabene 1926 - Țara de dincolo de negură 1928 - Împărăția apelor 1928 - Olanda 1936 - Însemnări ieșene 1937 - Istorisiri de vânătoare 1944 - Anii de ucenicie Notes References Lucian Boia, "Germanofilii". Elita intelectuală românească în anii Primului Război Mondial, Humanitas, Bucharest, 2010. Lucian Boia (ed.), Miturile comunismului românesc, Editura Nemira, Bucharest, 1998. : Lucian Boia, "Un nou Eminescu: A. Toma", p. 71-81 Adrian Cioroianu, "Lumina vine de la Răsărit. 'Noua imagine' a Uniunii Sovietice în România postbelică, 1944-1947", p. 21-68 George Călinescu, Istoria literaturii române de la origini pînă în prezent, Editura Minerva, Bucharest, 1986 Paul Cernat, Avangarda românească și complexul periferiei: primul val, Cartea Românească, Bucharest, 2007. Ilarie Chendi, "Vieața literară în 1911 (o privire generală)", in Luceafărul, Nr. 3/1912, p. 61-65 (digitized by the Babeș-Bolyai University Transsylvanica Online Library) Adrian Cioroianu, , Editura Curtea Veche, Bucharest, 2005. Marcel Cornis-Pope, "Shifting Perspectives and Voices in the Romanian Novel"; "The Search for a Modern, Problematizing Historical Consciousness: Romanian Historical Fiction and Family Cycles", in Marcel Cornis-Pope, John Neubauer (eds.), History of the Literary Cultures of East-Central Europe, John Benjamins, Amsterdam & Philadelphia, 2004, p. 441-456, 499–505. Ovid Crohmălniceanu, Literatura română între cele două războaie mondiale, Vol. I, Editura Minerva, Bucharest, 1972. Victor Frunză, Istoria stalinismului în România, Humanitas, Bucharest, 1990. Florin Mihăilescu, De la proletcultism la postmodernism, Editura Pontica, Constanța, 2002. Z. Ornea, Anii treizeci. Extrema dreaptă românească, Editura Fundației Culturale Române, Bucharest, 1995. Junimea și junimismul, Vol. II, Editura Minerva, Bucharest, 1998. Petre Răileanu, "Construcție și semnificație în ficțiunea istorică", preface to Mihail Sadoveanu, Nicoară Potcoavă, Editura Militară, 1990, p. 5-17. Tom Sandqvist, Dada East. The Romanians of Cabaret Voltaire, MIT Press, Cambridge, Massachusetts & London, 2006. Ana Selejan, Literatura în totalitarism. Vol. II: Bătălii pe frontul literar, Cartea Românească, Bucharest, 2008. Ioan Stanomir, "Facerea lumii", in Paul Cernat, Ion Manolescu, Angelo Mitchievici, Ioan Stanomir, Explorări în comunismul românesc, Polirom, Iași, 2004, p. 13-45. George Topîrceanu, Scrieri, Vols. I-II (preface, chronological table and notes by Al. Săndulescu), Editura Minerva, Bucharest, 1983. Cristian Vasile, Literatura și artele în România comunistă. 1948-1953, Humanitas, Bucharest, 2010. Tudor Vianu, Scriitori români, Vols. I-II, Editura Minerva, Bucharest, 1970. Krikor Zambaccian, Corneliu Baba, Editura de stat pentru literatură și artă, Bucharest, 1958. External links Roumanian Stories. Translated by Lucy Byng (includes three of Sadoveanu's works), at the University of Washington's DXARTS/CARTAH Electronic Text Archive A Boyar's Sin (excerpt), A Worried Man, His Majesty's Mare, Idle Hours, Master Trandafir (excerpts), The Enchanted Grove (excerpts), The Place Where Nothing Happened (excerpt), The Vesper Bell, Vitoria Lipan (fragment from Baltagul), translations in the Romanian Cultural Institute's Plural Magazine (various issues) "Peace Partisans Meeting aka Peace Meeting" (Rome, 1949) British-Pathé newsreel showing Sadoveanu and other delegates |- 1880 births 1961 deaths Romanian biographers Male biographers Romanian children's writers Romanian crime fiction writers Romanian essayists Romanian fantasy writers Romanian historical novelists Romanian magazine editors Romanian magazine founders Romanian memoirists Romanian newspaper editors 20th-century Romanian novelists Romanian male novelists Romanian poets Romanian male poets Romanian textbook writers Romanian translators Romanian travel writers 19th-century short story writers 20th-century short story writers Romanian male short story writers Romanian short story writers Romanian theatre managers and producers Social realism Socialist realism writers Poporanists Adevărul editors Adevărul writers Titular members of the Romanian Academy People's Party (interwar Romania) politicians 20th-century Romanian politicians Presidents of the Senate of Romania Presidents of the Chamber of Deputies (Romania) Members of the Chamber of Deputies (Romania) Members of the Great National Assembly Heads of state of Romania Romanian activists Romanian Freemasons Masonic Grand Masters Romanian nationalists Romanian pacifists Romanian propagandists Romanian humanists Censorship in Romania Lenin Peace Prize recipients People from Pașcani Romanian civil servants Romanian Land Forces officers Romanian military personnel of the Second Balkan War Romanian people of World War I Romanian people of World War II Burials at Bellu Cemetery 19th-century Romanian writers 20th-century Romanian writers 20th-century essayists 20th-century memoirists 20th-century translators
false
[ "was a professional Go player.\n\nHe is well known in the Western go world for his book Lessons in the Fundamentals of Go.\n\nBiography \nKageyama was born in Shizuoka Prefecture, Japan. In 1948, he won the biggest amateur Go tournament in Japan, the All-Amateur Honinbo. The year after that, he passed the pro exam. \n\nFor two years straight, Kageyama was runner up for the Prime Minister Cup. First, against Otake Hideo, then Hoshino Toshi. His style was a very calm one with deep calculations, similar to what Ishida Yoshio would use later on. The greatest accomplishment of his life, in his own opinion, was beating Rin Kaiho in the Prime Minister Cup semi-finals. At the time, Rin was the Meijin, the top player in Japan. Kageyama gave a commentary on this game in his book \"Lessons in the Fundamentals of Go\", where he wrote\n\nPromotion record\n\nRunners-up\n\nAwards\nTakamatsu-no-miya Prize once (1967)\n\nBibliography \nLessons in the Fundamentals of Go \nKage's Secret Chronicles of Handicap Go\n\nReferences\n\n1926 births\n1990 deaths\nJapanese Go players\nGo writers", "Hans Christian Harald Tegner, known as Hans Tegner (30 November 1853 – 2 April 1932), was a Danish artist and illustrator. He is primarily known for his illustrations of literary works by Hans Christian Andersen and Ludvig Holberg and for his work for the Bing & Grøndahl porcelain factory.\n\nEarly life and education\nSon of lithographer Isac Wilhelm Tegner, Hans studied at the Royal Danish Academy of Fine Arts from 1869 to 1878.\n\nCareer\nHis first art exhibition was in 1882, featuring watercolour illustrations of Hans Christian Andersen's story The Tinderbox. His second, and last, exhibition in 1889 was a watercolour painting celebrating the 50-year jubilee of the Constitution of Denmark, and was bought by king Christian IX of Denmark. From 1883 to 1888, Tegner painted a series of illustrations for the works of Ludvig Holberg, his greatest artistic accomplishment. The second great accomplishment of Tegner, was his exquisite illustrations produced for the so-called international selection () of Andersen's fairy tales, finished in 1901.\n\nTegner was made professor at the Royal Danish Academy of Fine Arts in 1897. He illustrated a number of other books, as well as postal stamps, and the first 5-Danish krone note in 1898. He was the leader of Kunsthåndværkerskolen (a part of what is now Danmarks Designskole) from 1901 to 1917, and chief designer at porcelain manufacturer Bing & Grøndahl from 1907 to 1932. He died on April 2, 1932, in Fredensborg.\n\npersonal life\n\nTegner married Helga Byberg (13 January 1862 - 26 February 1945), a daughter of merchant Ole Strib Hansen Byberg (1812–82) and Karen Møller (1821–89), on 24 November 1896 in Sundby.\n\nHe died on 2 April 1932 and is buried in Asminderød Cemetery\n\nReferences\n\nExternal links\n\n1853 births\n1932 deaths\nDanish artists\nRoyal Danish Academy of Fine Arts faculty\nRoyal Danish Academy of Fine Arts alumni\n19th-century illustrators of fairy tales\n20th-century illustrators of fairy tales" ]
[ "Mihail Sadoveanu", "1910s and World War I", "what happened in 1910's?", "In 1910, he was also appointed head of the National Theater Iasi, a position which he filled until 1919.", "what else was he appointed to?", "He was a leading presence at Minerva newspaper, alongside Anghel and critic Dumitru Karnabatt,", "what was his greatest accomplishment named in the article?", "Mihail Sadoveanu became a professional writer in 1908-1909, after joining the Romanian Writers' Society," ]
C_f789d8273c5b43b2a57524472ce50d02_0
who did he work with?
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who did Mihail Sadoveanu work with?
Mihail Sadoveanu
Sadoveanu returned to his administrative job in 1907, the year of the Peasants' Revolt. Kept in office by the National Liberal cabinet of Ion I. C. Bratianu, he served under the reform-minded Education Minister Spiru Haret. Inspired by the bloody outcome of the Revolt, as well as by Haret's moves to educate the peasantry, Sadoveanu reportedly drew suspicion from the Police when he published self-help guides aimed at industrious ploughmen, a brand of social activism which even resulted in a formal inquiry. Mihail Sadoveanu became a professional writer in 1908-1909, after joining the Romanian Writers' Society, created in the previous year by poets Cincinat Pavelescu and Dimitrie Anghel, and becoming its President in September of that year. The same year, he, Iosif, and Anghel, together with author Emil Garleanu, set up Cumpana, a monthly directed against both Ovid Densusianu's eclecticism and the Junimist school (the magazine was no longer in print by 1910). At the time, he became a noted presence among the group of intellectuals meeting in Bucharest's Kubler Coffeehouse. In 1910, he was also appointed head of the National Theater Iasi, a position which he filled until 1919. That year, he translated from the French one of Hippolyte Taine's studies on the genesis of artworks. He resigned his office within the Writers' Society in November 1911, being replaced by Garleanu, but continued to partake in its administration as a member of its leadership committee and a censor. He was a leading presence at Minerva newspaper, alongside Anghel and critic Dumitru Karnabatt, and also published in the Transylvanian traditionalist journal, Luceafarul. Sadoveanu was again called under arms during the Second Balkan War of 1913, when Romania confronted Bulgaria. Having reached the rank of Lieutenant, he was stationed in Falticeni with the 15th Infantry Regiment, after which he spent a short period on the front. He returned to literary life. Becoming good friends with poet and humorist George Topirceanu, he accompanied him and other writers on cultural tours during 1914 and 1915. The series of writings he published at the time includes the 1915 Neamul Soimarestilor. In 1916-1917, as Romania entered World War I and was invaded by the Central Powers, Sadoveanu stayed in Moldavia, the only part of Romania's territory still under the state's authority (see Romanian Campaign). The writer oscillated between the Germanophilia of his Viata Romaneasca friends, the stated belief that war was misery and the welcoming of Romania's commitment to the Entente Powers. At the time, he was reelected President of the Writers' Society, a provisional mandate which ended in 1918, when Romania signed the peace with the Central Powers, and, as Army reservist, edited the Entente's regional propaganda outlet, Romania. He was joined by Topirceanu, who had just been released from a POW camp in Bulgaria, and with whom he founded the magazine Insemnari Literare. Sadoveanu subsequently settled in the Iasi neighborhood of Copou, purchasing and redecorating the villa known locally as Casa cu turn ("The House with a Tower"). In the 19th century, it had been the residence of politician Mihail Kogalniceanu, and, during the war, hosted composer George Enescu. During that period, he collaborated with leftist intellectual Vasile Mortun and, together with him and Arthur Gorovei, founded and edited the magazine Ravasul Poporului. CANNOTANSWER
he, Iosif, and Anghel, together with author Emil Garleanu,
Mihail Sadoveanu (; occasionally referred to as Mihai Sadoveanu; November 5, 1880 – October 19, 1961) was a Romanian novelist, short story writer, journalist and political figure, who twice served as acting head of state for the communist republic (1947–1948 and 1958). One of the most prolific Romanian-language writers, he is remembered mostly for his historical and adventure novels, as well as for his nature writing. An author whose career spanned five decades, Sadoveanu was an early associate of the traditionalist magazine Sămănătorul, before becoming known as a Realist writer and an adherent to the Poporanist current represented by Viața Românească journal. His books, critically acclaimed for their vision of age-old solitude and natural abundance, are generally set in the historical region of Moldavia, building on themes from Romania's medieval and early modern history. Among them are Neamul Șoimăreștilor ("The Șoimărești Family"), Frații Jderi ("The Jderi Brothers") and Zodia Cancerului ("Under the Sign of the Crab"). With Venea o moară pe Siret... ("A Mill Was Floating down the Siret..."), Baltagul ("The Hatchet") and some other works of fiction, Sadoveanu extends his fresco to contemporary history and adapts his style to the psychological novel, Naturalism and Social realism. A traditionalist figure whose perspective on life was a combination of nationalism and Humanism, Sadoveanu moved between right- and left-wing political forces throughout the interwar period, while serving terms in Parliament. Rallying with People's Party, the National Agrarian Party, and the National Liberal Party-Brătianu, he was editor of the leftist newspapers Adevărul and Dimineața, and was the target of a violent far right press campaign. After World War II, Sadoveanu became a political associate of the Romanian Communist Party. He wrote in favor of the Soviet Union and Stalinism, joined the Society for Friendship with the Soviet Union and adopted Socialist realism. Many of his texts and speeches, including the political novel Mitrea Cocor and the famous slogan Lumina vine de la Răsărit ("The Light Arises in the East"), are also viewed as propaganda in favor of communization. A founding member of the Romanian Writers' Society and later President of the Romanian Writers' Union, Sadoveanu was also a member of the Romanian Academy since 1921 and a recipient of the Lenin Peace Prize for 1961. He was also Grand Master of the Romanian Freemasonry during the 1930s. The father of Profira and Paul-Mihu Sadoveanu, who also pursued careers as writers, he was the brother-in-law of literary critic Izabela Sadoveanu-Evan. Biography Early years Sadoveanu was born in Pașcani, in western Moldavia. His father's family hailed from the southwestern part of the Old Kingdom, in Oltenia. Their place of origin, Sadova, provided their chosen surname (lit. "from Sadova"), which was adopted by the family only in 1891. Mihail's father was the lawyer Alexandru Sadoveanu (d. 1921), whom literary critic George Călinescu described as "a bearded and well-to-do man"; according to the writer's own notes, Alexandru was unhappy in marriage, and his progressive isolation from public life impacted on the entire family. Mihail's mother, Profira née Ursachi (or Ursaki; d. 1895), hailed from a line of Moldavian shepherds, all of whom, as the writer recalled, had been illiterate. Literary historian Tudor Vianu believes this contrast of regional and social identities played a part in shaping the author, opening him up to a "Romanian universality", but notes that, throughout his career, Sadoveanu was especially connected with his Moldavian roots. Mihail had a brother, also named Alexandru, whose wife was the Swiss-educated literary critic Izabela Morțun (later known as Sadoveanu-Evan, she was the cousin of socialist activist Vasile Morțun). Another one of his brothers, Vasile Sadoveanu, was an agricultural engineer. Beginning in 1887, Sadoveanu attended primary school in Pașcani. His favorite teacher, a Mr. Busuioc, later served as inspiration for one of his best-known short stories, Domnu Trandafir ("Master Trandafir"). While away from school, young Sadoveanu used much of his spare time exploring his native region on foot, hunting, fishing, or just contemplating nature. He was also spending his vacations in his mother's native Verșeni. During his journeys, Sadoveanu visited peasants, and his impression of the way in which they were relating to authority is credited by critics with having shaped his perspective on society. Shortly after this episode, the young Sadoveanu left to complete his secondary studies in Fălticeni and at the National High School in Iași. While in Fălticeni, he was in the same class as future authors Eugen Lovinescu and I. Dragoslav, but, having lost interest in schoolwork, he failed to get his remove, before eventually graduating top of his class. First literary attempts, marriage and family In 1896, when he was aged sixteen, Sadoveanu gave thought to writing a monograph on Moldavian Prince Stephen the Great, but his first literary attempts date from the following year. It was in 1897 that a sketch story, titled Domnișoara M din Fălticeni ("Miss M from Fălticeni") and signed Mihai din Pașcani ("Mihai from Pașcani"), was successfully submitted for publishing to the Bucharest-based satirical magazine Dracu. He started writing for Ovid Densusianu's journal Vieața Nouă in 1898. His contributions, featured alongside those of Gala Galaction, N. D. Cocea, and Tudor Arghezi, include another sketch story and a lyric poem. Sadoveanu was however dissatisfied with Densusianu's agenda, and critical of the entire Romanian Symbolist movement for which the review spoke. He ultimately began writing pieces for non-Symbolist magazines such as Opinia and Pagini Literare. In parallel, he founded and printed by hand a short-lived journal, known to researches as either Aurora or Lumea. Sadoveanu left for Bucharest in 1900, intending to study Law at the University's Faculty of Law, but withdrew soon after, deciding to dedicate himself to literature. He began frequenting the bohemian society in the capital, but, following a sudden change in outlook, abandoned poetry and focused his work entirely on Realist prose. In 1901, Sadoveanu married Ecaterina Bâlu, with whom he settled in Fălticeni, where he began work on his first novellas and decided to make his living as a professional writer. His first draft for a novel, Frații Potcoavă ("The Potcoavă Brothers"), came out in 1902, when fragments were published by Pagini Alese magazine under the pseudonym M. S. Cobuz. The following year, Sadoveanu was drafted into the Romanian Land Forces, stationed as a guard near Târgu Ocna, and inspired by the experience to write some of his first social criticism narratives. After that time, he spent much of his home in the country, where he raised a large family. Initially, the Sadoveanus lived in a house previously owned by celebrated Moldavian raconteur Ion Creangă, before they commissioned a new building, famed for its surrounding Grădina Liniștii ("Garden of Quietude"). He was the father of eleven, among whom were three daughters: Despina, Teodora and Profira Sadoveanu, the latter of whom was a poet and a novelist. Of his sons, Dimitrie Sadoveanu became a painter, while Paul-Mihu, the youngest (born 1920), was author of the novel Ca floarea câmpului... ("Like the Flower of the Field...") which was published posthumously. Sămănătorul, Viața Românească and literary debut After receiving an invitation from poet Ștefan Octavian Iosif in 1903, Sadoveanu contributed works to the traditionalist journal Sămănătorul, led at the time by historian and critic Nicolae Iorga. He was by then also a contributor to Voința Națională, a newspaper published by the National Liberal Party and managed by politician Vintilă Brătianu—beginning December of the same year, the paper serialized Șoimii ("The Hawks"), an extended variant of Frații Potcoavă, with an introduction by historian Vasile Pârvan. In 1904, he regained Bucharest, where he became a copyist for the Ministry of Education's Board of Schools, returning to Fălticeni two years later. After 1906, he rallied with the group formed around Viața Românească, which was also joined by his sister-in-law Izabela. Sămănătorul and Viața Românească, having comparable influence over the literature of Romania, stood for a traditionalist and ruralist approach to art, even though the latter adopted a more left-wing perspective, known as Poporanism. The leading Poporanist ideologue, Garabet Ibrăileanu, became a personal friend of the young writer after inviting him on an excursion down the Râșca River. With his subsequent pieces for Viața Românească, Sadoveanu became especially known as the raconteur of hunting trips, but also sparked controversy when a young woman writer, Constanța Marino-Moscu, accused him of having plagiarized her works in his Mariana Vidrașcu, a serialized novel which was discontinued and later largely forgotten. 1904 was Sadoveanu's effective debut year: he published four separate books, including Șoimii, Povestiri ("Stories"), Dureri înăbușite ("Suppressed Pains") and Crâșma lui Moș Petcu ("Old Man Petcu's Alehouse"). The beginning of a prolific literary career covering more than a half century and of his collaboration with Editura Minerva publishing house, this debut was marked by intense preparation, and drew on literary exercises spanning the previous decade. His Sămănătorul colleague Iorga deemed 1904 "Sadoveanu's Year", while the influential and aging critic Titu Maiorescu, leader of the conservative literary society Junimea, gave a positive review to Povestiri, and successfully proposed it for a Romanian Academy award in 1906. In a 1908 essay, Maiorescu was to list Sadoveanu among Romania's greatest writers. According to Vianu, Maiorescu saw in Sadoveanu and other young writers the triumph of his theory on a "popular" form of Realism, a vision which the Junimist thinker had advocated in his essays from as early as 1882. Sadoveanu later credited Iorga, Maiorescu, and especially so the cultural promoter Constantin Banu and Sămănătorul poet George Coșbuc, with having helped him capture the interest of the public and his peers. He was by then facing adversity from opponents of Sămănătorul, primarily critic Henric Sanielevici and his Curentul Nou review, which published claims that Sadoveanu's volumes, which depicted immoral acts such as adultery and rape, showed that Iorga's program of moral didacticism was hypocritical. As he latter recalled, Sadoveanu was himself upset with some of Iorga's critical judgments regarding his own work, noting that the Sămănătorist doyen had once declared him equal to Vasile Pop (one of Iorga's protegés, and viewed as overrated by Sadoveanu). The same year, Sadoveanu became one of Sămănătoruls editors, alongside Iorga and Iosif. The magazine, originally a traditionalist mouthpiece founded by Alexandru Vlahuță and George Coșbuc, proclaimed with Iorga its purpose of establishing "a national culture", emancipated from foreign influence. However, according to Călinescu, this ambitious goal was only manifested in a "great cultural influence", as the journal continued to be an eclectic venue which grouped together ruralist traditionalists of the "national tendency" and adherents to the cosmopolitan currents such as Symbolism. Călinescu and Vianu agree that Sămănătorul was, for a large part, a promoter of older guidelines set by Junimea. Vianu also argues that Sadoveanu's contribution to the literary circle was the main original artistic element in its history, and credits Iosif with having accurately predicted that, during a period of literary "crisis", Sadoveanu was the person to provide innovation. He continued to publish at an impressive rate: in 1906, he again handed down for print four separate volumes. In parallel, Sadoveanu pursued his career as a civil servant. In 1905, he was employed as a clerk by the Ministry of Education, headed by the Conservative Party's Mihail Vlădescu. His direct supervisor was poet D. Nanu, and he had for his colleagues the geographer George Vâlsan and the short story writer Nicolae N. Beldiceanu. Nanu wrote of this period: "It is a clerical packed full with men of letters, no work is being done, people smoke, drink coffee, create dreams, poems and prose [...]." Having interrupted his administrative service, Sadoveanu was again drafted into the Land Forces in 1906, being granted an officer's rank. An already overweight man, he had to march from Probota in Central Moldavia to Bukovina, which caused him intense suffering. 1910s and World War I Sadoveanu returned to his administrative job in 1907, the year of the Peasants' Revolt. Kept in office by the National Liberal cabinet of Ion I. C. Brătianu, he served under the reform-minded Education Minister Spiru Haret. Inspired by the bloody outcome of the Revolt, as well as by Haret's moves to educate the peasantry, Sadoveanu reportedly drew suspicion from the Police when he published self-help guides aimed at industrious ploughmen, a brand of social activism which even resulted in a formal inquiry. Mihail Sadoveanu became a professional writer in 1908–1909, after joining the Romanian Writers' Society, created in the previous year by poets Cincinat Pavelescu and Dimitrie Anghel, and becoming its President in September of that year. The same year, he, Iosif, and Anghel, together with author Emil Gârleanu, set up Cumpăna, a monthly directed against both Ovid Densusianu's eclecticism and the Junimist school (the magazine was no longer in print by 1910). At the time, he became a noted presence among the group of intellectuals meeting in Bucharest's Kübler Coffeehouse. In 1910, he was also appointed head of the National Theater Iași, a position which he filled until 1919. That year, he translated from the French one of Hippolyte Taine's studies on the genesis of artworks. He resigned his office within the Writers' Society in November 1911, being replaced by Gârleanu, but continued to partake in its administration as a member of its leadership committee and a censor. He was a leading presence at Minerva newspaper, alongside Anghel and critic Dumitru Karnabatt, and also published in the Transylvanian traditionalist journal, Luceafărul. Sadoveanu was again called under arms during the Second Balkan War of 1913, when Romania confronted Bulgaria. Having reached the rank of Lieutenant, he was stationed in Fălticeni with the 15th Infantry Regiment, after which he spent a short period on the front. He returned to literary life. Becoming good friends with poet and humorist George Topîrceanu, he accompanied him and other writers on cultural tours during 1914 and 1915. The series of writings he published at the time includes the 1915 Neamul Șoimăreștilor. In 1916–1917, as Romania entered World War I and was invaded by the Central Powers, Sadoveanu stayed in Moldavia, the only part of Romania's territory still under the state's authority (see Romanian Campaign). The writer oscillated between the Germanophilia of his Viața Românească friends, the stated belief that war was misery and the welcoming of Romania's commitment to the Entente Powers. At the time, he was reelected President of the Writers' Society, a provisional mandate which ended in 1918, when Romania signed the peace with the Central Powers, and, as Army reservist, edited the Entente's regional propaganda outlet, România. He was joined by Topîrceanu, who had just been released from a POW camp in Bulgaria, and with whom he founded the magazine Însemnări Literare. Sadoveanu subsequently settled in the Iași neighborhood of Copou, purchasing and redecorating the villa known locally as Casa cu turn ("The House with a Tower"). In the 19th century, it had been the residence of politician Mihail Kogălniceanu, and, during the war, hosted composer George Enescu. During that period, he collaborated with leftist intellectual Vasile Morțun and, together with him and Arthur Gorovei, founded and edited the magazine Răvașul Poporului. Creative maturity and early political career In 1921, Sadoveanu was elected a full member of the Romanian Academy; he gave his reception speech in front of the cultural forum two years later, structuring it as a praise of Romanian folklore in general and folkloric poetry in particular. At the time, he renewed his contacts with Viața Românească: with Garabet Ibrăileanu and several others, he joined its interwar nucleus, while the review often featured samples of his novels (some of which were originally published in full by its publishing venture). His house was by then host to many cultural figures, among whom were writers Topîrceanu, Gala Galaction, Otilia Cazimir, Ionel and Păstorel Teodoreanu, and Dimitrie D. Pătrășcanu, as well as conductor Sergiu Celibidache. He was also close to a minor socialist poet and short story author, Ioan N. Roman, whose work he helped promote, to the aristocrat and memoirist Gheorghe Jurgea-Negrilești, and to a satirist named Radu Cosmin. Despite his health problems, Sadoveanu frequently traveled throughout Romania, notably visiting local sights which inspired his work: the Romanian Orthodox monasteries of Agapia and Văratec, and the Neamț Fortress. After 1923, together with Topîrceanu, Demostene Botez and other Viața Românească affiliates, he also embarked on a series of hunting trips. He was charmed in particular by the sights he discovered during a 1927 visit to the Transylvanian area of Arieș. The same year, he also visited the Netherlands, which he reached by means of the Orient Express. His popularity continued to grow: in 1925, 1929 and 1930 respectively, he published his critically acclaimed novels Venea o moară pe Siret..., Zodia Cancerului and Baltagul, and his 50th anniversary was celebrated at a national level. In 1930, Sadoveanu, Topîrceanu and the schoolteacher T. C. Stan wrote and edited a series of primary school textbooks. In 1926, after a period of indecision, Sadoveanu rallied with the People's Party, where his friend, the poet Octavian Goga, was a prominent activist. He then rallied with Goga's own National Agrarian Party. During the general election of 1927, he won a seat in the Chamber for Bihor County, in Transylvania, holding a seat in the Senate for Iași County after the 1931 suffrage. Under Nicolae Iorga's National Peasants' Party cabinet of the period, Sadoveanu was President of the Senate. The choice was motivated by his status as "a cultural personality". Around that date, he was affiliated with the National Liberal Party-Brătianu, a right-wing party inside the liberal current, who stood in opposition to the main National Liberal group. In parallel, he began contributing to the left-wing daily Adevărul. Sadoveanu was by then affiliated with the Freemasonry, as first recorded by the organization in 1928, but was probably a member since 1926 or 1927. Reaching the 33rd degree within the organization and overseeing the Masonic Lodge Dimitrie Cantemir of Iași, he was elected Grand Master of the National Union of Lodges in 1932, thus replacing the vacating George Valentin Bibescu. There subsequently occurred a split between Bibescu and Sadoveanu's supporters, aggravated by their publicized conflict with a third group, that of Ioan Pangal—splits which ended after some three years, when Sadoveanu marginalized both of his opponents, without however earning legitimate recognition from the Grand Orient de France. By 1934, he was recognized as Grand Master of the United Romanian Freemasonry, which regrouped all major local Lodges. Late 1930s and World War II He was publishing new works at a regular rate, culminating in the first volume of his historical epic Frații Jderi, which saw print in 1935. In 1936, the writer accepted the honorary chairmanship of Adevărul and its morning edition, Dimineața. During that time, he was involved in a public dispute with the far right and fascist press, replying to their attacks in several columns. Affiliates of the radical right organized public burnings of his volumes. The scandal prolonged itself over the following years, with Sadoveanu being supported by his friends in the literary community. Among them was Topîrceanu, who was at the time hospitalized, and whose expression of support was made shortly before his death to liver cancer. In September 1937, as a statement of solidarity and appreciation, the University of Iași conferred Sadoveanu the title of doctor honoris causa. Mihail Sadoveanu withdrew from politics in the late 1930s and early 1940s, as Romania came to be led by successive right-wing dictatorships, he offered a measure of support to King Carol II and his National Renaissance Front, which attempted to block the more radically fascist Iron Guard from power. He was personally appointed a member of the reduced corporatist Senate by Carol. In 1940, the official establishment Editura Fundațiilor Regale published the first volume of his Opere ("Works"). Sadoveanu kept a low profile under the Iron Guard's Nazi-allied National Legionary regime. After Conducător Ion Antonescu overthrew the Guard during the Legionary Rebellion and established his own fascist regime, the still-apolitical Sadoveanu was more present in public life, and lectured on cultural subjects for the Romanian Radio. After publishing the final section of his Frații Jderi in 1942, Sadoveanu again retreated to the countryside, in his beloved Arieș area, where he had built himself a chalet and a church; this seclusion produced his Povestirile de la Bradu-Strâmb ("Bradu-Strâmb Stories"). During those years, the sixty-year-old writer met Valeria Mitru, a much younger feminist journalist, whom he married after a brief courtship. In August 1944, Romania's King Michael Coup toppled Antonescu and switched sides in the war, rallying with the Allies. As a Soviet occupation began at home, Romanian troops fought alongside the Red Army on the European theater. Paul-Mihu Sadoveanu was killed in action in Transylvania on September 22. During the same months, Sadoveanu was a candidate for the Writers' Society presidency, but, in what has been read as proof of a rivalry within the Freemasonry, was defeated by Victor Eftimiu. Later that year, the 40th anniversary of Mihail Sadoveanu's debut was celebrated with a special ceremony at the Academy and Tudor Vianu's speech, offered as a retrospective of his colleague's entire work. Communist system and political rise After the Soviet-backed advent of the Communist system in Romania, Sadoveanu supported the new authorities, and turned from his own version of Realism to officially-endorsed Socialist realism (see Socialist realism in Romania). This was also the start of his association with the Soviet-sponsored Romanian Society for Friendship with the Soviet Union (ARLUS), which was led by biologist and physician Constantin Ion Parhon. Having served as a host to official Soviet envoys Andrey Vyshinsky and Vladimir Kemenov during their late 1944 visits, he soon after became president of the ARLUS "Literary and Philosophical Section" (seconded by Mihai Ralea and Perpessicius). In February 1945, he joined Parhon, Enescu, linguist Alexandru Rosetti, composer George Enescu, biologist Traian Săvulescu and mathematician Dimitrie Pompeiu in a protest against the cultural policies of Premier Nicolae Rădescu and his cabinet, one in a series of moves to discredit the non-communist Rădescu and make him leave power. With Ion Pas, Gala Galaction, Horia Deleanu, Octav Livezeanu and N. D. Cocea, Sadoveanu edited the association's weekly literary magazine Veac Nou after June 1946. Sadoveanu's literary and political change became known to the general public in March 1945, when he lectured about Soviet leader Joseph Stalin at a conference hall in Bucharest. Part of a conference cycle, his speech was famously titled Lumina vine de la Răsărit, which soon became synonymous with the attempts to improve the image of Stalinism in Romania. ARLUS would issue the text of his conference as a printed volume later in the year. Also in 1945, Sadoveanu journeyed to the Soviet Union together with some of his fellow ARLUS members—among them biologists Parhon and Săvulescu, sociologist Dimitrie Gusti, linguist Iorgu Iordan, and mathematician Simion Stoilow. Invited by the Soviet Academy of Sciences to attend the 220th anniversary of its foundation, they also visited research institutes, kolhozy, and day care centers, notably meeting with Nikolay Tsitsin, an agronomist favored by Stalin. After his return, he wrote other controversial texts and gave lectures which offered ample praise to the Soviet system. That year, the ARLUS enterprise Editura Cartea Rusă also published his translation of Ivan Turgenev's A Sportsman's Sketches. During the rigged election of that year, Sadoveanu was a candidate for the Communist party-organized Bloc of Democratic Parties (BPD) in Bucharest, winning a seat in the newly unified Parliament of Romania. In its first-ever session (December 1946), the legislative body elected him its President. He was at the time residing in Ciorogârla, having been awarded a villa previously owned by Pamfil Șeicaru, a journalist whose support for fascist regimes had made him undesirable, and who had moved out of Romania. The decision was viewed as evidence of political corruption by the opposition National Peasants' Party, whose press deemed Sadoveanu the "Count of Ciorogârla". In 1948, after Romania's King Michael I was overthrown by the BPD-member parties and the communist regime officially established, Sadoveanu rose to the highest positions ever granted to a Romanian writer, and received significant material benefits. In 1947–1948, he was, alongside Parhon, Ștefan Voitec, Gheorghe Stere, and Ion Niculi, a member of the Presidium of the People's Republic, which was elected by the BPD-dominated legislative. He also kept his seat at the Academy, which at the time was undergoing a communist-led purge, and, with several other pro-Soviet intellectuals, was voted in the Academy Presidium. Final years, illness and death After the Writers' Society was restructured as the Romanian Writers' Union in 1949, Sadoveanu became its Honorary President. In 1950, he was named President of the Writers' Union, replacing Zaharia Stancu. According to writer Valeriu Râpeanu, this last appointment was a sign of Stancu's marginalization after he had been excluded from the Romanian Communist Party, while the Writers' Union was actually controlled by its First Secretary, the communist poet Mihai Beniuc. Sadoveanu and Beniuc were reelected at the Union's first Congress (1956). In the meanwhile, Sadoveanu published several Socialist realist volumes, among which was Mitrea Cocor, a controversial praise of collectivization policies. First published in 1949, it earned Sadoveanu the first-ever State Prize for Prose. Throughout the period, Sadoveanu was involved in major communist-endorsed cultural campaigns. Thus, in June 1952, he presided over the Academy's Scientific Council, charged with modifying the Romanian alphabet, at the end of which the letter â was discarded, and replaced everywhere with î (a spelling Sadoveanu is alleged to have already shown preference for in his early works). In March 1953, soon after Stalin's death, he led discussions within the Writers' Union, confronting his fellow writers with the new Soviet cultural directives as listed by Georgy Malenkov, and reacting against young authors who had not discarded the since-condemned doctrines of proletkult. The author was also becoming involved in the Eastern Bloc's peace movement, and led the National Committee for the Defense of Peace at a time when the Soviet Union was seeking to portray its Cold War enemies as warmongers and the sole agents of nuclear proliferation. He also represented Romania to the World Peace Council, and received its International Peace Prize for 1951. As a parliamentarian, Sadoveanu stood on the committee charged with elaborating the new republican constitution, which, in its final form, reflected both Soviet influence and the assimilation of Stalinism into Romanian political discourse. In November 1955, shortly after turning 75, he was granted the title of "Hero of Socialist Labor". After 1956, when the regime announced that it had embarked on a limited version of De-Stalinization, it continued to recommend Mihail Sadoveanu as one of its prime cultural models. Having donated Casa cu turn to the state in 1950, he moved back to Bucharest, where he owned a house near the Zambaccian Museum. From January 7 to January 11, 1958, Sadoveanu, Ion Gheorghe Maurer and Anton Moisescu were acting Chairmen of the Presidium of the Great National Assembly, which again propelled him to a position as titular head of state. His literary stature but also his political allegiance earned him the Soviet Lenin Peace Prize, which he received shortly before his death. After a long illness marked by a stroke which impaired his speech and left him almost completely blind, Sadoveanu was cared for by a staff of physicians supervised by Nicolae Gh. Lupu and reporting to the Great National Assembly. The Sadoveanus withdrew to Neamț region, where they lived in a villa assigned to them by the state and located near the Voividenia hermitage and the locality of Vânători-Neamț, being visited regularly by literary and political friends, among them Alexandru Rosetti. Mihail Sadoveanu died there at 9 AM on October 19, 1961, and was buried at Bellu cemetery, in Bucharest. His successor as President of the Writers' Union was Beniuc, elected during the Congress of January 1962. Following her husband's death, Valeria Sadoveanu settled in proximity to the Văratec Monastery, where she set up an informal literary circle and Orthodox prayer group, notably attended by literary historian Zoe Dumitrescu-Bușulenga and by poet Ștefana Velisar, and dedicated herself to protecting the community of nuns. She survived Mihail Sadoveanu by over 30 years. Literary contributions Context Often seen as the leading author of his generation, and generally viewed as one of the most representative Romanian writers, Mihail Sadoveanu was also believed to be a first-class story-teller, and received praise especially for his nature writing and his depictions of rural landscapes. An exceptionally prolific author by Romanian standards, he published over a hundred individual volumes (120 according to the American magazine Time). His contemporaries tended to place Sadoveanu alongside Liviu Rebreanu and Cezar Petrescu—for all the differences in style between the three figures, the interwar public saw them as the "great novelists" of the day. Critic Ovid Crohmălniceanu describes their activity, altogether focused on depicting the rural world but diverging in bias, as one sign that the Romanian interwar itself was exceptionally effervescent, while Romanian-born American historian of literature Marcel Cornis-Pope sees Sadoveanu and Rebreanu as their country's "two most important novelists of the first half of the twentieth century". In 1944, Tudor Vianu spoke of Sadoveanu as "the most significant writer Romanians [presently] have, the first among his equals." While underlining his originality in the context of Romanian literature and among the writers standing for "the national tendency" (as opposed to the more cosmopolitan modernists), George Călinescu also noted that, through several of his stories and novels, Sadoveanu echoed the style of his predecessors and contemporaries Ion Luca Caragiale, Ioan Alexandru Brătescu-Voinești, Emil Gârleanu, Demostene Botez, Otilia Cazimir, Calistrat Hogaș, I. A. Bassarabescu and Ionel Teodoreanu. Also included among the "national tendency" writers, Gârleanu was for long seen as Sadoveanu's counterpart, and even, Călinescu writes, "undeservedly upstaged" him. Cornis-Pope also writes that Sadoveanu's epic is a continuation of "the national narrative" explored earlier by Nicolae Filimon, Ioan Slavici and Duiliu Zamfirescu, while literary historians Vianu and Z. Ornea note that Sadoveanu also took inspiration from the themes and genres explored by Junimist author Nicolae Gane. In his youth, Sadoveanu also admired and collected the works of N. D. Popescu-Popnedea, a prolific and successful author of almanacs, historical novels and adventure novels. Later, his approach to Realism was also inspired by his reading of Gustave Flaubert and especially Nikolai Gogol. Both Sadoveanu and Gane were also indirectly influenced by Wilhelm von Kotzebue, the 19th century Imperial Russian diplomat and author of the Romanian-themed story Laskar Vioresku. In Vianu's assessment, Sadoveanu's work signified an artistic revolution within the local Realist school, comparable to the adoption of perspective by the visual artists of the Renaissance. Mihail Sadoveanu's interest in the rural world and his views on tradition were subjects of debate among the modernists. The modernist doyen Eugen Lovinescu, who envisaged an urban literature in tune with European tendencies, was one of Sadoveanu's most notorious critics. However, Sadoveanu was well received by Lovinescu's adversaries within the modernist camp: Perpessicius and Contimporanul editor Ion Vinea, the latter of whom, in search for literary authenticity, believed in bridging the gap between the avant-garde and folk culture. This opinion was shared by Swedish literary historian Tom Sandqvist, who sees Sadoveanu's main point of contact with modernism was his interest in the pagan elements and occasional absurdist streaks of local folklore. In the larger dispute about national specificity, and partly in response to Vinea's claim, modernist poet and essayist Benjamin Fondane argued that, as a sign Romanian culture was tributary to those it had come into contact with, "Sadoveanu's soul can be easily reduced to the Slavic soul". Characteristics Sadoveanu's personality and experience played a major part in shaping his literary style. After his 1901 marriage, Mihail Sadoveanu adopted what Călinescu deemed "patriarchal" lifestyle. The literary historian noted that he took a personal interest in educating his many children, and that this also implied "making use of a whip". An Epicurean, the writer was a homemaker, an avid hunter and fisherman, and a chess aficionado. Recognized, like his epigramist colleague Păstorel Teodoreanu, as a man of refined culinary tastes, Sadoveanu cherished Romanian cuisine and Romanian wine. The lifestyle choices were akin to his literary interests: alongside the secluded and rudimentary existence of his main characters (connected by Călinescu with the writer's supposed longing for "regressions to the patriarchal times"), Sadoveanu's work is noted for its imagery of primitive abundance, and in particular for its lavish depictions of ritualistic feasts, hunting parties and fishing trips. Călinescu opined that the value of such descriptions within individual narratives grew with time, and that the author, once he had discarded lyricism, used them as "a means for the senses to enjoy the fleshes and the forms that nature offers man." He added that Sadoveanu's aesthetics could be said to recall the art of the Golden Age in Holland: "One could almost say that Sadoveanu rebuilds in present day Moldavia [...] the Holland of wine jugs and kitchen tables covered in venison and fish." Vianu also argued that Sadoveanu never abandoned himself to purely aesthetic descriptions, and that, although often depicted with Impressionistic means, nature is assigned a specific if discreet role within the plot lines, or serves to render a structure. The traditionalist Garabet Ibrăileanu, referring to Sadoveanu's poetic nature writing, even declared it to have "surpassed nature." At the other end, the modernist Eugen Lovinescu specifically objected to Sadoveanu's depiction of a primordial landscape, arguing that, despite adopting Realism, his rival was indebted to Romanticism and subjectivity. Lovinescu's attitude, critic Ion Simuț notes, was partly justified by the fact that Sadoveanu never truly parted with the traditionalism of Sămănătorul. In 1962, Time also commented that his style was "curiously dated" and recalled not Sadoveanu's generation, but that of Leo Tolstoy and Ivan Turgenev, "although he has nothing like the power or skill of any of them." For Călinescu and Vianu too, Sadoveanu is a creator with seemingly Romantic tastes, which recall those of François-René de Chateaubriand. Unlike Lovinescu, Vianu saw these traits as "not at all detrimental to the balance of [Sadoveanu's] art." Seen by literary critic Ioan Stanomir as marked by "volubility", and thus contrasting with his famously taciturn and seemingly embittered nature, the form of Romanian used by Mihail Sadoveanu, particularly in his historical novels, was noted for both its use of archaisms and the inventive approach to the Romanian lexis. Often borrowing plot lines and means of expression from medieval and early modern Moldavian chroniclers such as Ion Neculce and Miron Costin, the author creatively intercalates several local dialects and registers of speech, moving away from a mere imitation of the historical language. Generally third-person narratives, his books often make little or no dialectal difference between the speech used by the story-teller and the character's voices. According to Călinescu, Sadoveanu displays "an enormous capacity of authentic speech", similar to that of Caragiale and Ion Creangă. The writer himself recorded his fascination with the "eloquence" of rudimentary orality, and in particular with the speech of Rudari Roma he encountered during his travels. Building on observations made by several critics, who generally praised the poetic qualities of Sadoveanu's prose, Crohmălniceanu spoke in detail about the Moldavian novelist's role in reshaping the literary language. This particular contribution was first described early in the 20th century, when Sadoveanu was acclaimed by Titu Maiorescu for having adapted his writing style to the social environment and the circumstances of his narratives. Vianu however notes that Sadoveanu's late writings tend to leave more room for neologisms, mostly present in those parts where the narrator's voice takes distance from the plot. Another unifying element in Sadoveanu's creation is his recourse to literary types. As early as 1904, Maiorescu praised the young raconteur for accurately depicting characters in everyday life and settings. Tudor Vianu stressed that, unlike most of his Realist predecessors, Sadoveanu introduced an overtly sympathetic view of the peasant character, as "a higher type of human, a heroic human". He added: "Simple, in the sense that they are moved by a few devices [which] coincide with the fundamental instincts of mankind, [they] are, in general, mysterious." In this line, Sadoveanu also creates images of folk sages, whose views on life are of a Humanist nature, and often depicted in contrast with the rationalist tenets of Western culture. Commenting on this aspect, Sadoveanu's friend George Topîrceanu believed that Sadoveanu's work transcended the "more intellectual [and] more artificial" notion of "types", and that "he creates [...] humans." The main topic of his subsequent work, Sandqvist argues, was "an archaic world where the farmers and the landlords were free men with equal rights" (or, according to Simuț, "a utopia of archaic heroism"). Thus, Călinescu stresses, Sadoveanu's work seems to be the monolithic creation through which "a single man" reflects "a single, universal nature, inhabited by a single type of man", and which echoes a similar vision of archaic completeness as found in the literature of poet Mihai Eminescu. The similarity in vision with Eminescu's "nostalgia, return, protest, demand, aspiration toward a [rural] world [he has] left" was also proposed by Vianu, while Topîrceanu spoke of "the paradoxical discovery that [Sadoveanu] is our greatest poet since Eminescu." Mihail Sadoveanu also shaped his traditionalist views on literature by investigating Romanian folklore, which he recommended as a source of inspiration to his fellow writers during his 1923 speech at the Romanian Academy. In Călinescu's view, Sadoveanu's outlook on life was even mirrored in his physical aspect, his "large body, voluminous head, his measured shepherd-like gestures, his affluent but prudent and monologic speech [and] feral indifference; his eyes [...] of an unknown race." His assessment of the writer as an archaic figure, bluntly stated in a 1930 article ("I believe him to be very uncultured"), was contrasted by other literary historians: Alexandru Paleologu described Sadoveanu as a prominent intellectual figure, while his own private notes show that he was well-read and acquainted with the literatures of many countries. Often seen as a spontaneous writer, Sadoveanu nevertheless took pains to elaborate his plots and research historical context, keeping most records of his investigations confined to his diaries. Debut The writer's debut novel, Povestiri, was celebrated for its accomplished style, featuring early drafts of all themes he developed upon later in life. However, Călinescu argued, some of the stories in the volume were still "awkward", and showed that Sadoveanu had problems in outlining epics. The pieces mainly feature episodes in the lives of boyars (members of Moldavia's medieval aristocracy), showing the ways in which they relate to each other, to their servants, and to their country. In one of the stories, titled Cântecul de dragoste ("The Love Song"), Sadoveanu touches on the issue of slavery, depicting the death of a Rom slave who is killed by his jealous master, while in Răzbunarea lui Nour ("Nour's Revenge"), a boyar refuses to make his peace with God until his son's death is avenged. Other fragments deal solely with the isolated existence of villagers: for example, in Într-un sat odată ("Once, in a Village"), a mysterious man dies in a Moldavian hamlet, and the locals, unable to discover his identity, sell his horse. The prose piece Năluca ("The Apparition") centers on the conjugal conflict between two old people, both of whom attempt to hide the shame of their past. George Călinescu notes that, particularly in Năluca, Sadoveanu begins to explore the staple technique of his literary contributions, which involves "suggesting the smolder of passions [through] a contemplative breath in which he evokes a static element: landscapes or set pieces from nature." Sadoveanu's subsequent collection of short stories, Dureri înăbușite, builds on the latter technique and takes his work into the realm of social realism and naturalism (believed by Călinescu to have been borrowed from either the French writer Émile Zola or from the Romanian Alexandru Vlahuță). For Călinescu, this choice of style brought "damaging effects" on Sadoveanu's writings, and made Dureri înăbușite "perhaps the poorest" of his collections of stories. In Lovinescu's view, Sadoveanu's move toward naturalism did not imply the necessary recourse to objectivity. The pieces focus on dramatic moments of individual existences. In Lupul ("The Wolf"), an animal is chased and trapped by a group of peasants; the eponymous character in Ion Ursu leaves his village to become a proletarian, and succumbs to alcoholism; the indentured laborer in Sluga ("The Servant") is unable to take revenge on his cruel employer at the right moment; in Doi feciori ("Two Sons"), a boyar comes to feel affection for his illegitimate son, whom he has nonetheless reduced to a lowly condition. In 1905, Sadoveanu also published Povestiri din război ("Stories from the War"), which compose scenes from the lives of Romanian soldiers fighting in the War of 1878. Objecting to a series of exaggerations in the book, Time nevertheless noted that Sadoveanu "sometimes had the writing skill to make compelling even quite traditional reactions to old-fashioned war". It concluded: "Sadoveanu's sketches have the virtues—and the vices—of old hunting prints and the romantically mannered battle scenes of the 19th century." Early selections of major themes Sadoveanu renounces this grim perspective on life in his volume Crâșma lui Moș Petcu, where he returns to a depiction of rural life as unchanged by outside factors. Petcu's establishment, located on the Moldova Valley, is a serene place, visited by quiet and subdued customers, whose occasional outburst of violence are, according to Călinescu, "dominated by slow, stereotypical mechanics, as is with people who can only accommodate within them a single drama." The literary critic celebrated Crâșma lui Moș Petcu for its depictions of nature, whose purpose is to evoke "the indifferent eternity" of conflicts between the protagonists, and who, at times, relies "on a vast richness of sounds and words." He did however reproach the writer "a certain monotony", arguing that Sadoveanu came to use such techniques in virtually all his later works. However, Sadoveanu's stories of the period often returned to a naturalistic perspective, particularly in a series of sketch stories and novellas which portray the modest lives of Romanian Railways employees, of young men drafted into the Romanian Land Forces, of Bovaryist women who playfully seduce adolescents, or of the provincial petite bourgeoisie. At times, they confront the morals of barely literate people with the stern authorities: a peasant obstinately believes that the 1859 union between Wallachia and Moldavia was meant to ensure the supremacy of his class; a young lower-class woman becomes the love interest of a boyar but chooses a life of freedom; and a Rom deserts from the Army after being told to bathe. In La noi, la Viișoara ("At Our Place in Viișoara"), the life of an old man degenerates into bigotry and avarice, to the point where he makes his wife starve to death. Sadoveanu's positive portrayal of hajduks as fundamentally honest outlaws standing up to feudal injustice, replicates stereotypes found in Romanian folklore, and is mostly present in some of the stories through (sometimes recurrent) heroic characters: Vasile the Great, Cozma Răcoare, Liță Florea etc. In the piece titled Bordeenii (roughly, "The Mud-hut Dwellers"), he shows eccentrics and misanthropes presided upon by the dark figure of Sandu Faliboga, brigands who flee all public authority and whom commentators have likened to settlers of the Americas. Lepădatu, an unwanted child, speaks for the entire group: "What could I do [...] wherever there are big fairs and lots of people? I'd have a better time with the cattle; it is with them that I have grown up and with them that I get along." Romanticizing the obscure events of early medieval history in Vremuri de bejenie ("Roving Times", 1907), Sadoveanu sketches the improvised self-defense of a refugee community, their last stand against nomadic Tatars. In reference to the stories in this series, Călinescu stresses that Sadoveanu's main interest is in depicting men and women cut away from civilization, who view the elements of Westernization with nothing more than "wonderment": "Sadoveanu's literature is the highest expression of the savage instinct." In later works, the critic believed, Sadoveanu moved away from depicting isolation as the escape of primitives into their manageable world, but as "the refinement of souls whom civilization has upset." These views are echoed by Ovid Crohmălniceanu, who believes that, unlike other Romanian Realists, Sadoveanu was able to show a peasant society that was not merely the prey of modern corruption or historical oppression, but rather refusing all contacts with the wider world—even to the point of Luddite-like hostility in front of new objects. Some of the early stories, Crohmălniceanu argues, do follow the moralizing Sămănătorist pattern, but part with it when they refuse to present the countryside in "idyllic" fashion, or when they adopt a specific "mythical realism". Sadoveanu began his career as a novelist with more in-depth explorations into subjects present in his stories and novellas. At the time, Crohmălniceanu stresses, he was being influenced by the naturalism of Caragiale (minus the comedic effect), and by his own experience growing up in characteristically underdeveloped Moldavian cities and târguri (somewhat similar to the aesthetic of boredom, adopted in poetry by George Bacovia, Demostene Botez or Benjamin Fondane). Among his first works of the kind is Floare ofilită ("Wizened Flower"), where a simple girl, Tincuța, marries a provincial civil servant, and finds herself deeply unhappy and unable to enrich her life on any level. Tincuța, seen by Călinescu as one of Sadoveanu's "savage" characters, only maintains urban refinement when persuading her husband to return for supper, but, according to Crohmălniceanu, is also a credible witness to the "small-mindedness" of "bourgeois" environments. A rather similar plot is built for Însemnările lui Neculai Manea ("The Recordings of Neculai Manea"), where the eponymous character, an educated peasant, experiences two unhappy romantic affairs before successfully courting a married woman who, although grossly uncultured, makes him happy. Apa morților ("The Dead Men's Water") is about a Bovaryist woman who discards lovers over imprecise feelings of dissatisfaction, finding refuge in the monotonous countryside. Călinescu noted that such novels were "usually less valuable than direct accounts", and deemed Însemnările lui Neculai Manea "without literary interest"; in Ovid Crohmălniceanu's view, the same story presents relevant detail on professional and intellectual failure. Praised by its commentators, the short novel Haia Sanis (1908) shows the eponymous character, a Jewish woman who throws herself into the arms of a local Gentile, although she knows him to be a seducer. Călinescu, who wrote with admiration about how the subject dissimulated pathos into "technical indifference", notes that the erotic rage motivating Haia has drawn "well justified" comparisons with Jean Racine's tragedy Phèdre. Crohmălniceanu believes Haia Sanis to be "perhaps [Sadoveanu's] best novella", particularly since the "wild beauty" Haia has to overcome at once antisemitism, endogamy and shame, before dying "in terrible pain" during a botched abortion. Sadoveanu's work of the time also includes Balta liniștii ("Tranquillity Pond"), where Alexandrina, pushed into an arranged marriage, has a belated and sad revelation of true love. In other sketch stories, such as O zi ca altele ("A Day like Any Other") or Câinele ("The Dog"), Sadoveanu follows Caragiale's close study of suburban banality. Hanu Ancuței, Șoimii and Neamul Șoimăreștilor The novella Hanu Ancuței ("Ancuța's Inn"), described by George Călinescu as a "masterpiece of the jovial idyllicism and barbarian subtlety", and by Z. Ornea as the first evidence of Sadoveanu's "new age", is a frame story in the line of medieval allegories such as Giovanni Boccaccio's Decameron and Geoffrey Chaucer's Canterbury Tales. It retells the stories of travelers meeting in the eponymous inn. Much of the story deals with statements of culinary tastes and shared recipes, as well as with the overall contrast between civilization and rudimentary ways: in one episode of the book, a merchant arriving from the Leipzig Trade Fair bemuses the other protagonists when he explains the more frugal ways and the technical innovations of Western Europe. Sadoveanu applied the same narrative technique in his Soarele în baltă ("The Sun in the Waterhole"), which, Călinescu argues, displays "a trickier style." In Șoimii, Sadoveanu's first historical novel, the main character is Nicoară Potcoavă, a late 16th-century Moldavian nobleman who became Hetman of the Zaporozhian Cossacks and Prince of Moldavia. The narrative, whose basic lines had been drawn by Sadoveanu in his adolescent years, focuses on early events in Nicoară's life, building on the story according to which he and his brother Alexandru were the brothers of Prince Ioan Vodă cel Cumplit, whose execution by the Ottomans they tried to avenge. The text also follows their attempt to seize and kill Ieremia Golia, a boyar whose alleged betrayal had led to Prince Ioan's capture, and whose daughter Ilinca becomes the brothers' prisoner. This story as well features several episodes where the focus is on depicting customary feasts, as well as a fragment where the Potcoavăs and their Zaporozhian Cossack allies engage in binge drinking. Glossing over several years in Nicoară's life, and culminating in his seizure of the throne, the narrative shows his victory against pretender Petru Șchiopul and Golia, and the price he has to pay for his rise. Alexandru, who falls in love with Ilinca, unsuccessfully asks for the captured Golia not to be killed. Following the murder, both brothers become embittered and renounce power. Călinescu described Șoimii novel as "still awkward", noting that Sadoveanu was only beginning to experiment with the genre. The 1915 Neamul Șoimăreștilor is a Bildungsroman centered on the coming of age of one Tudor Șoimaru. The protagonist, born a free peasant in Orhei area, fights alongside Ștefan Tomșa in the 1612 battles to capture the Moldavian throne. After participating in the capture of Iași, he returns home and helps local boyar Stroie in recovering his daughter, Magda, who had been kidnapped by Cossacks. Șoimaru, who feels for Magda, is however enraged by news that her father has forced his community into serfdom. Trying to deal with his internal conflict, he travels into Poland–Lithuania, where he discovers that Stroie is plotting against Tomșa, while Magda, who is in love with a szlachta nobleman, scorns his affection. He returns a second time to Orhei, marries into his social group, and plots revenge on Stroie by again rallying with Ștefan Tomșa. Following Tomșa's defeat, he again loses the lands of his ancestors, as Stroie returns home to celebrate his victory and have the Șoimarus put to death. Unexpectedly warned of this by Magda, Tudor manages to turn the tide: he and his family destroy Stroie's manor, killing the master but allowing Magda to escape unharmed. In Călinescu's view, the novel is "somewhat more consistent from an epic perspective", but fails to respect the conventions of the adventure novel it sets out to replicate. The critic, who deemed Magda's courtship by Tudor "sentimental", argued that the book lacks "the richness and unpredictable nature of the love intrigue"; he also objected to the depiction of Tudor as indecisive and inadequate for a heroic role. However, Ovid Crohmălniceanu argued that the suddenness of Tudor's sentimental commitments was characteristic for the "peasant soul" as observed by Sadoveanu. Zodia Cancerului and Nunta Domniței Ruxandra Zodia Cancerului, Sadoveanu's later historical novel, is set late in the 17th century, during the third rule of Moldavian Prince Gheorghe Duca, and is seen by Călinescu as "of a superior artistic level." The plot centers on a conflict between Duca and the Ruset boyars: the young Alecu Ruset, son of the deposed Prince Antonie, is spared persecution on account of his good relations with the Ottomans, but has to live under close watch. Himself a tormented, if cultured and refined, man, Alecu falls in love with Duca's daughter Catrina, whom he attempts to kidnap. The episode, set to coincide with the start of a major social crisis, ends with Alecu's defeat and killing on Duca's orders. In the background, the story depicts the visit of an Abbé de Marenne, a Roman Catholic priest and French envoy, who meets and befriends Ruset. Their encounter is another opportunity for Sadoveanu to show the amiable but incomplete exchange between the mentalities of Western and Eastern Europe. In various episodes of the novel, de Marenne shows himself perplexed by the omnipresent wilderness of underpopulated Moldavia, and in particular by the abundance of resources this provides. In one paragraph, seen by George Călinescu as a key to the book, Sadoveanu writes: "[De Marenne's] curious eye was permanently satisfied. Here was a desolation of solitudes, one that his friends in France could not even guess existed, no matter how much imagination they had been gifted with; for at the antipode of civilization one occasionally finds such things that have remained unchanged from the onset of creation, preserving their mysterious beauty." In a shorter novel of the period, Sadoveanu explored the late years of Vasile Lupu's rule over Moldavia, centering on the marriage of Cossack leader Tymofiy Khmelnytsky and Lupu's daughter, Ruxandra. Titled Nunta Domniței Ruxandra ("Princess Ruxandra's Wedding"), it shows the Cossacks' brutal celebration of the event around the court in Iași, depicting Tymofiy himself as an uncouth, violent and withdrawn figure. The narrative then focuses on the Battle of Finta and the siege of Suceava, through which a Wallachian-Transylvanian force repelled the Moldo-Cossack forces and, turning the tide, entered deep into Moldavia and placed Gheorghe Ștefan on the throne. Sadoveanu also invents a love story between Ruxandra and the boyar Bogdan, whose rivalry with Tymofiy ends in the latter's killing. While Călinescu criticized the plot as being over-detailed, and the character studies as incomplete, Crohmălniceanu found the intricate depiction of boyar customs to be a relevant part of Sadoveanu's "vast historical fresco." In both Zodia Cancerului and Nunta Domniței Ruxandra, the author took significant liberties with the historical facts. In addition to Tymofiy's death at the hands of Bogdan, the latter narrative used invented or incorrect names for some of the personages, and portrays the muscular, mustachioed, Gheorghe Ștefan as thin and bearded; likewise, in Zodia Cancerului, Sadoveanu invents the character Guido Celesti, who stands in for the actual Franciscan leader of Duca's Iași, Bariona da Monte Rotondo. Frații Jderi, Venea o moară pe Siret... and Baltagul With Frații Jderi, Sadoveanu's fresco of Moldavian history maintains its setting, but moves back in time to the 15th century rule of Prince Stephen the Great. Writing in 1941, before its final part was in print, Călinescu argued that the novel was part of Sadoveanu's "most valuable work", and noted "the maturity of its verbal means." In the first volume, titled Ucenicia lui Ionuț ("Ionuț's Apprenticeship"), the eponymous Jderi brothers, allies of Stephen and friends of his son Alexandru, fight off the enemies of their lord on several occasions. In what is the start of a Bildungsroman, the youngest Jder, Ionuț Păr-Negru, consumed by love for Lady Nasta, who was kidnapped by Tatars. He goes to her rescue, only to find out that she had preferred suicide to a life of slavery. Călinescu, who believed the volumes show Sadoveanu's move to the consecrated elements of adventure novels, called them "remarkable", but stressed that the narrative could render "the feeling of stumbling, of a languishing flow", and that the dénouement was "rather depressing". The second book in the series (Izvorul alb, "The White Water Spring") intertwines the life of the Jderi brothers with that of Stephen's family: the ruler weds the Byzantine princess Mary of Mangop, while Simion Jder falls for Marușca, who is supposedly Stephen's illegitimate daughter. The major episodes in the narrative are Marușca's kidnapping by a boyar, her captivity in Jagiellon Poland, and her rescue at the hands of the Jderi. The 1942 conclusion of the cycle, Oamenii Măriei-sale ("His Lordship's Men"), the brothers are shown defending their ancestral rights and their lord against the Ottoman invader and ambivalent boyars, and crushing the former at the Battle of Vaslui. The Jderi books, again set to the background of primitivism and natural abundance, also feature episodes of intense horror. These, Călinescu proposes, are willingly depicted "with an indolent complacency", as if to underline that the slow pace and monumental scale of history give little importance to personal tragedies. The same commentator notes a difference between the role nature plays in the first and second volumes: from serene, the landscape becomes hostile, and people are shown fearing earthquakes and droughts, although contemplative depictions of euphoria play a central part in both writings. The meeting between the wider world and the immobile local tradition surfaces in Frații Jderi as well: a messenger is shown wondering how the letter he brought could talk to the addressee; when she is supposed to encounter strange men, Marușca requests to be allowed to "shy away" in another room; a secondary character, claiming precognition, prepares his own funeral. For the 1925 Venea o moară pe Siret..., Sadoveanu received much critical acclaim. The boyar Alexandru Filotti falls in love with a miller's daughter, Anuța, whom he educates and introduces to high society. The beautiful young lady is also courted by Filotti's son Costi and by the peasant Vasile Brebu—in the end, overwhelmed by jealousy, Brebu kills the object of his affection. George Călinescu writes that the good reception was not fully deserved, claiming that the novel is "colorless", that it was merely based on the writer's early stories, and that it failed in its goal of depicting "crumbling boyardom". In Baltagul (1930), Sadoveanu merged psychological techniques and a pretext borrowed from crime fiction with several of his major themes. Written in just 30 days on the basis of previous drafts, the condensed novel shows Vitoria Lipan, the widow of a murdered shepherd, following in her husband's tracks to discover his killer and avenge his death. Accompanied by her son, and using for a guide the shepherd's dog, Vitoria discovers both the body and the murderer, but, before she can take revenge, her dog jumps on the man and bites into his neck. By means of this plot line, Sadoveanu also builds a fresco of transhumance and traces its ancestral paths, taking as a source of inspiration one of the best-known poems in local folklore, the ballad Miorița. Vitoria's sheer determination is the central aspect of the volume. Călinescu, who ranks the book among Sadoveanu's best, praises its "remarkable artistry" and "unforgettable dialogues", but nonetheless writes that Lipan's "detective-like" search and a "stubbornness" are weak points in the narrative. Crohmălniceanu declares Baltagul one of the "capital works" in world literature, proposing that, on its own, it manages to reconstruct "an entire shepherding civilization"; Cornis-Pope, who rates the book as "Sadoveanu's masterpiece", also notes that it "restated the theme of crime and punishment". Main travel writings and memoirs Before the 1940s, Sadoveanu also became known as a travel writer. His contributions notably include accounts of his hunting trips: Țara de dincolo de negură ("The Land beyond the Fog"), and one dedicated to the region of Dobruja (Priveliști dobrogene, "Dobrujan Sights"). Călinescu wrote that they both comprised "pages of great beauty". Țara de dincolo..., primarily showing recluse men in real-life symbiosis with the wilderness, also attention for its sympathetic depiction of the Hutsuls, a minority Slavic-speaking population, as an ancient tribe threatened by cultural assimilation. Sadoveanu's other travelogues include the reportage Oameni și locuri ("People and Places") and an account of his trips into Bessarabia (Drumuri basarabene, "Bessarabian Roads"). He also collected and commented upon the memoirs of other avid hunters (Istorisiri de vânătoare, "Hunting Stories"). A noted writing in this series was Împărăția apelor ("The Realm of Waters"). It forms a detailed and contemplative memoir of his journeys as a fisherman, and, according to Crohmălniceanu, one of the most eloquent proofs of Sadoveanu's "permanent and intimate correspondence with nature." Călinescu saw the text as a "fantastic vision of the entire aquatic universe", merging a form of pessimism similar to Arthur Schopenhauer's with a "calm kief" (cannabis-induced torpor), and as such illustrating "the great joy of participating in the transformations of matter, of eating and allowing oneself to be eaten." Sadoveanu also contributed an account of his travels into the Netherlands, Olanda ("Holland"). It provides insight into his preoccupation with the meeting of civilization and wilderness: upset by what he called "the [Dutch] rampancy of cleanliness", the writer confesses his perplexity at coming face to face with a contained and structured natural world, and details his own temptation to go "against the current". One of Sadoveanu's main conclusions is that Holland lacks in "true and lively wonders". Sadoveanu also sporadically wrote memoirs of his early life career, such as Însemnări ieșene ("Recordings from Iași"), which deals with the period during which he worked for Viața Românească, a book about the Second Balkan War (44 de zile în Bulgaria, "44 Days in Bulgaria"), and the account of years in primary school, Domnu Trandafir. They were followed in 1944 by Anii de ucenicie ("The Apprenticeship Years"), where Sadoveanu details some of his earliest experiences. Despite his temptation for destroying all raw personal notes, Sadoveanu wrote and kept a large number of diaries, which were never published in his lifetime. Other early writings Also during that time, he retold and prefaced the journeys of Thomas Witlam Atkinson, an English architect and stonemason who spent years in Tartary (a book he titled Cuibul invaziilor, "The Nest of Invasions"). This was evidence of his growing interest in exotic subjects, which he later adapted to a series of novels, where the setting is "Scythia", seen as an ancestral area of culture connecting Central Asia with the European region of Dacia (partly coinciding with present-day Romania). The home of mysterious Asiatic peoples, Sadoveanu's Scythia is notably the background to his novels Uvar and Nopțile de Sânziene. The former shows its eponymous character, a Yakut, exposed to the scrutiny of a Russian officer. In the latter, titled after the ancestral celebration of Sânziene during the month of June, shows a French intellectual meeting a nomadic tribe of Moldavian Rom people, who, the reader learns, are actually the descendants of Pechenegs. Călinescu notes that, in such writings, "the intrigue is a pretext", again serving to depict the vast wilderness confronted with the keen eye of foreign observers. He sees Nopțile de Sânziene as "the novel of millenarian immobility", and its theme as one of mythological proportions. The narrative pretexts, including the Sânziene celebration and the Rom people's social atavism, connect Nopțile... with another one of Sadoveanu's writings, 24 iunie ("June 24"). According to Tudor Vianu, the 1933 fantasy novel Creanga de aur ("The Golden Bow") takes partial inspiration from Byzantine literature, and is evidence of a form of Humanism found in Eastern philosophy. Marcel Cornis-Pope places it among Sadoveanu's "mythic-poetic narratives that explored the ontology and symbolics of history." The writer himself acknowledged that the esoteric nature of the book was inspired by his own affiliation to the Freemasonry, whose symbolism it partly reflected. Its protagonist, Kesarion Brebu, is included by Vianu among the images of sages and soothsayers in Mihail Sadoveanu's fiction, and, as "the last Deceneus", is a treasurer of ancient secret sciences mastered by the Dacians and the Ancient Egyptians. The novel is often interpreted as Sadoveanu's perspective on the Dacian contribution to Romanian culture. Sadoveanu's series of minor novels and stories of the interwar years also comprises a set of usually urban-themed writings, which, Călinescu argues, resemble the works of Honoré de Balzac, but develop into "regressive" texts with "a lyrical intrigue". They include Duduia Margareta ("Miss Margareta"), where a conflict occurs between a young woman and her governess, and Locul unde nu s-a întâmplat nimic ("The Place Where Nothing Happened"), where, in what is a retake on his own Apa morților, Sadoveanu depicts the cultured but bored boyar Lai Cantacuzin and his growing affection for a modest young woman, Daria Mazu. In Cazul Eugeniței Costea ("The Case of Eugenița Costea"), a civil servant kills himself to avoid prosecution, and his end is replicated by that of his daughter, brought to despair by her stepfather's character and by her mother's irrational jealousy. Demonul tinereții ("The Demon of Youth"), believed by Călinescu to be "the most charming" in this series, has for its protagonist Natanail, a university dropout who has developed a morbid fear of women since losing the love of his life, and who lives in seclusion as a monk. In the rural-themed Paștele blajinilor ("Thomas Sunday") of 1935, a defeated brigand seeks a dignified end to his wasted life. Written in 1938, the short story Ochi de urs ("Bear's Eye") introduces its hero Culi Ursake, the toughened hunter, into a bizarre scenery that seems to mock a human's understanding. During the period, Mihail Sadoveanu also wrote children's literature. His most significant pieces in this field are Dumbrava minunată ("The Enchanted Grove", 1926), Măria-sa Puiul Pădurii ("His Highness the Forest Boy", 1931), and a collection of stories adapted from Persian literature (Divanul persian, "The Persian Divan", 1940). Măria-sa Puiul Pădurii is itself an adaptation of the Geneviève de Brabant story, considered "somewhat highbrow" by George Călinescu, while the frame story Divanul persian consciously recalls the work of 19th century Wallachian writer Anton Pann. In 1909, Sadoveanu also published adapted version of two ancient writings: the Alexander Romance (as Alexandria) and Aesop's Fables (as Esopia). His 1921 book Cocostârcul albastru ("The Blue Crane") is a series of short stories with lyrical themes. Among his early writings are two biographical novels which retell historical events from the source, Viața lui Ștefan cel Mare ("The Life of Stephen the Great") and Lacrimile ieromonahului Veniamin ("The Tears of Veniamin the Hieromonk"), both of which, Călinescu objected, lacked in originality. The former, published in 1934, was more noted among critics, for both intimate tone and hagiographic character (recounting Stephen's life on the model of saints' biographies). Socialist realism years Despite the post-1944 change in approach, Sadoveanu's characteristic narrative style remained largely unmodified. In contrast, his choice of themes changed, a transition which reflected political imperatives. At the end of the process, literary historian Ana Selejan argues, Sadoveanu became the most influential prose author among Romanian Socialist realists, equaled only by the younger Petru Dumitriu. Historian Bogdan Ivașcu writes that Sadoveanu's affiliation with "proletarian culture" and "its masquerade", like that of Tudor Arghezi and George Călinescu, although it may have been intended to rally "prestige and depth" to Socialist realism, only succeeded in bring their late works to the level of "propaganda and agitation materials." In contrast to these retrospective assessments, communist literary critics and cultural promoters of the 1950s regularly described Sadoveanu as the model to follow, both before and after Georgy Malenkov's views on culture were adopted as the norm. In his Lumina vine de la Răsărit, the writer built on the opposition between light and darkness, identifying the former with Soviet policies and the latter with capitalism. Sadoveanu thus spoke of "the dragon of my own doubts" being vanquished by "the Sun of the East". Historian Adrian Cioroianu notes that this literary antithesis came to be widely used by various Romanian authors who rallied with Stalinism during the late 1940s, citing among these Cezar Petrescu and the former avant-garde writer Sașa Pană. He also notes that such imagery, accompanied by portrayals of Soviet joy and abundance, replicated an ancient "structure of myth", adapting it to a new ideology on the basis of "what could be imagined, not of what could be believed." Ioan Stanomir writes that Sadoveanu and his fellow ARLUS members use a discourse recalling the theme of a religious conversion, analogous to that of Paul the Apostle (see Road to Damascus), and critic Cornel Ungureanu stresses that Sadoveanu's texts of the period frequently quote the Bible. Following his return from the Soviet Union, Sadoveanu published travelogues and reportage piece, including the 1945 Moscova ("Moscow", co-authored with Traian Săvulescu and economist Mitiță Constantinescu) and the 1946 Caleidoscop ("Kaleidoscope"). In one of these accounts, he details his encounter with Lysenkoist agronomist Nikolay Tsistsin, and claims to have tasted bread made from a brand of wheat which yielded 4,000 kilograms of grain per hectare. In a later memoir, Sadoveanu depicted his existence and the destiny of his country as improved by the communist system, and gave accounts of his renewed journeys in the countryside, where he claimed to have witnessed a "spiritual splendor" supported by "the practice of the new times". He would follow up with hundreds of articles on various subjects, published by the communist press, including two 1953 pieces in which he lamented Stalin's death (one of them referred to the Soviet leader as "the great genius of progressive mankind"). Upon its publication, the political novel Mitrea Cocor, which depicts the hardships and eventual triumph of its eponymous peasant protagonist, was officially described as the first Socialist realist writing in local literature, and as a turning point in literary history. Often compared to Dan Deșliu's ideologized poem Lazăr de la Rusca, it is remembered as a controversial epic dictated by ideological requirements, and argued to have been written with assistance from several other authors. Seen by historiographer Lucian Boia as an "embarrassing literary fabrication", it was rated by literary critics Dan C. Mihăilescu and Luminița Marcu both as one of "the most harmful books in Romanian literature", and by historian Ioan Lăcustă as "a propaganda writing, a failure from a literary point of view". A praise of collectivization policies that some critics believe was a testimony that Sadoveanu was submitting himself and imposing his public to brainwashing, Mitrea Cocor was preceded by Păuna-Mică, a novel which also idealizes collective farming. With his final published work, the 1951-1952 novel Nicoară Potcoavă, Sadoveanu retells the narrative of his Șoimii, modifying the plot and adding new characters. Noted among the latter is Olimbiada, a female soothsayer and healer through whose words Sadoveanu again dispenses his own perspective on human existence. The focus of the narrative is also changed: from the avenger of his brother's death in Șoimii, the pretender becomes a purveyor of folk identity, aiming to reestablish the Moldavia of Stephen the Great's times. Praised early on by Dumitriu, who believed it was proof of "artistic excellence", Nicoară Potcoavă is itself seen as a source for communist-inspired political messages. According to Cornel Ungureanu, this explains why it highlights the brotherhood between Cossacks and Moldavians, supposedly replicating the official view on Soviet-Romanian relations. Cornis-Pope, who considers the novel one of Sadoveanu's "mere variations" on old subjects, suggests that it transforms its protagonist "from medieval fighter into political philosopher who announces the rise of a 'new world'." Victor Frunză also notes that, although Sadoveanu returned to old subjects, he "no longer rises to the level he had reached before the war." The final part of Sadoveanu's creation also comprises a series of pieces where the narrative approach was, according to Crohmălniceanu, "corrected" to show his favorite recluse type won over by the new society. In essence, Ungureanu argues, the new style that of "reportage and plain information, adapted to orders coming from above". Such works include the 1951 Nada Florilor ("The Flowers' Lure") and Clonț-de-fier ("Iron Bucktooth"), alongside an unfinished piece, Cântecul mioarei ("Song of the Ewe"). In Nada..., the peasant boy Culai follows his hero, tinsmith Alecuțu, into factory life. Clonț-de-fier, an ideologized retake on Demonul tinereții, is about a monk returning from seclusion into the world of workers, where the landscape is reshaped by large-scale construction works. According to Ungureanu, it also shows Sadoveanu's universe stripped of "all its deep meanings." While their author came to personify the new cultural guidelines, Sadoveanu's previous books, from Frații Jderi to Baltagul, were subject to communist censorship. Various statements contradicting the ideological guidelines were cut out of new editions: the books in general could no longer include mentions of Bessarabia (a region first incorporated into the Soviet Union by a 1940 occupation) or Romanian Orthodox beliefs. In one such instance, censors of Baltagul removed a character's claim that "the Russian" was by nature "the drunkest of them all, [...] a worthy beggar and singer at the fairs." Politics Nationalism and Humanism Sadoveanu's engagement in politics was marked by abrupt changes in convictions, seeing him move from right- to left-wing stances several times in his life. In close connection with his traditionalist views on literature, but in contrast to his career under a Conservative Party and National Liberal cabinets, Sadoveanu initially rallied with nationalist groups of various hues, associating with both Nicolae Iorga and, in 1906, with the left-wing Poporanists at Viața Românească. An early cause of his was his attempt to reconcile Iorga with the Poporanists, but his efforts were largely fruitless. In the 1910s, the anti-Iorga traditionalist Ilarie Chendi recognized in Sadoveanu one of the Poporanists who promoted "the spiritual healing of our people through culture." Around that time, he formulated a ruralist and nationalist perspective on life, rejecting what he deemed "the hybrid urban world" for "the world of our national realities". In Călinescu's analysis, this signifies that, like his predecessor, the conservative Eminescu, Sadoveanu believed the cities were victims of the "superimposed category" of foreigners, in particular those administrating leasehold estates. Following the 1907 Peasants' Revolt, Sadoveanu sent a report to his Minister of Education Spiru Haret, informing him on the state of rural education, and, beyond this, of the problems faced by villagers in Moldavia. It read: "The leaseholders and landowners, no matter what their nationality, make a mockery of the Romanians' labors. Every surtucar [that is, urbanized character] in the village, mayors, notaries, paper-pushers, shamelessly [and] mercilessly milk this milk cow. They are joined by the priest—who [...] is in disagreement with the teacher." With Neamul Șoimăreștilor, the burdens of feudal society and mercantilism, most of all the restriction of economic rights, were becoming a background theme in his fiction, which later depicted Stephen the Great as the original champion of social justice (Frații Jderi). During most of his World War I activity, Sadoveanu also followed the Poporanists' Russophobia and dislike of the Entente side, describing the Russian Empire's national policies in Bessarabia as far more barbaric than Austria-Hungary's rule over Transylvania. In 1916, he abruptly switched to the Entente camp: his enthusiasm as propaganda officer was touched by controversy once Romania experienced massive defeats; Sadoveanu himself abandoned the Entente cause by 1918, when he was decommissioned, and resumed his flirtation with Constantin Stere's Germanophile lobby. Călinescu sees Sadoveanu, alongside Stere, as one of Viața Româneascăs chief ideologues, noting that he was nonetheless "rendered notorious by his inconsistency and opportunism." He writes that Sadoveanu and Stere both showed a resentment for ethnic minorities, particularly members of the Jewish community, whom they saw as agents of exploitation, but that, as Humanists, they had a form of "humane sympathy" for Jews and foreigners taken individually. The Poporanist aspect of Sadoveanu's literature was also highlighted by Garabet Ibrăileanu in the late 1920s, when he referred to his contributions as evidence that Romanian culture was successfully returning to its specific originality. In essence, Crohmălniceanu writes, Sadoveanu was tied to Viața Românească by his advocacy of national specificity, his preference for the large-scale narrative, and his vision of pristine, "natural", human beings. According to Z. Ornea, Sadoveanu's affiliation to the Freemasonry shaped not only his political "demophilia", but also his "Weltanschauung, and, through a reflex, his [literary] work." By consequence, Ornea argues, Sadoveanu became a supporter of democracy, a stance which led him into open conflict with extreme nationalists. Alongside its Humanism, Sadoveanu's nationalism was noted for being secular, and thus in contrast with the Romanian Orthodox imagery favored by nationalists on the far right. Sadoveanu rejected the notion that ancestral Romanians were religious individuals, stating that their belief was in fact "limited to rituals and customs." He was also a vocal supporter of international cooperation, particularly among countries in Eastern and Central Europe. Writing for the magazine Familia in 1935, 17 years after Transylvania's union with Romania and 15 years after the Treaty of Trianon, Sadoveanu joined the Hungarian author Gyula Illyés in pleading for good relations between the two neighbors. As noted by Crohmălniceanu, although Sadoveanu's interwar novels may depict both clashes between polities and benign misunderstandings, they ultimately discourage ethnic stereotypes, suggesting that "the gifts and qualities of various kinships" are mutually compatible. According to Marcel Cornis-Pope, this cooperative vision is the background theme to Divanul persian, a book "demonstrating the value of intercultural dialogue at a time of sharp political polarization." The same text was described by Vianu as evidence of Sadoveanu's "understanding, gentleness and tolerance". In 1926, the year of his entry into Alexandru Averescu's People's Party, Sadoveanu motivated his choice in a letter to Octavian Goga, indicating his belief that the intelligentsia needed to partake in politics: "It would seem that what is foremost needed is the contribution of intellectuals, in an epoch when the overall intellectual level is decreasing." His sincerity was doubted by his contemporaries: both his friend Gheorghe Jurgea-Negrilești and the communist Petre Pandrea recount how, in 1926–1927, Sadoveanu and Păstorel Teodoreanu requested public funds from Interior Minister Goga, with Sadoveanu motivating that he wanted to set up a cultural magazine and later spending the money on his personal wardrobe. In contrast, Adrian Cioroianu notes that the People's Party episode, and especially the "mutual wariness" between Sadoveanu and the National Liberals, underlined the writer's sympathy for the "intellectual Left". Himself a Marxist, Ovid Crohmălniceanu suggested that, as early as the 1930s, Sadoveanu's attitudes were rather similar to the official line of communist groups. Opposition to fascism and support for King Carol During the 1930s, following his stint as head of Adevărul, a leftist newspaper owned by Jewish entrepreneurs, Sadoveanu was targeted by right-wing voices, who claimed that he had chosen to abandon his nationalist credentials. Thus, Sadoveanu became the target of a press campaign in the antisemitic and fascist press, and in particular in Nichifor Crainic's Sfarmă-Piatră and the journals connected with the Iron Guard. The former publication deplored his supposed "betrayal" of the nationalist cause. In it, Ovidiu Papadima portrayed Sadoveanu as the victim of Jewish manipulation, and equated his affiliation to the Freemasonry with devil worship, and mocked his obesity, while Crainic himself compared the writer to his own character, the treacherous Ieremia Golia. Porunca Vremii often referred to him as Jidoveanu (from jidov, a dismissive term for "Jew"), depicted him as an agent of "Judaeo-communism" motivated by "perversity", and called on the public to harass the writer and beat him with stones. It also protested when the public authorities in Fălticeni refused to withdraw Sadoveanu the title of honorary citizen, and again when the University of Iași made him a doctor honoris causa, and, through the voice of novelist N. Crevedia, even suggested that the writer should use his hunting rifle to commit suicide. In 1937, Porunca Vremii congratulated ultra-nationalists who had organized public burnings of Sadoveanu's works in Southern Dobruja and in Hunedoara, as well as non-identified people who sent the writer packages containing shredded copies of his own volumes. In April 1937, the anti-Sadoveanu campaign was met with the indignation of various public figures, who issued an "Appeal of the Intellectuals", signed by Liviu Rebreanu, Eugen Lovinescu, Petru Groza, Victor Eftimiu, George Topîrceanu, Zaharia Stancu, Demostene Botez, Alexandru Al. Philippide, Constantin Balmuș and others. Denouncing the campaign as a "moral assassination", it referred to Sadoveanu as the author of "the most Romanian [works] in our literature." Sadoveanu himself defended his fellow writer Tudor Arghezi, who stood accused by the far right press of having written "pornography". Reviewing the consequences of these scandals, Ovid Crohmălniceanu suggests that all of what Mihail Sadoveanu wrote from 1938 to 1943 is in some way connected to the cause of anti-fascism. According to Cornis-Pope, Sadoveanu's dislike for the far right can be discovered in Creanga de aur, which doubles as "a political parable opposing an archaic peasant civilization to the growing threat of fascism." However, George Călinescu claims, the writer himself had not actually revised his nationalist outlook, that he continued to believe that minorities and foreigners were a risky presence in Greater Romania, and that his Humanism was "a light tincture". In one of his columns, Sadoveanu replied to those organizing the acts of vandalism, indicating that, had they actually read the novels they were destroying, they would have found "a burning faith in this nation, for so long mistreated by cunning men". Elsewhere, stating that he was not going to take his detractors into consideration, Sadoveanu defined himself as an adversary of both Nazi Germany and any form of advocacy for a "National-Socialist regime in our country". Sadoveanu's subsequent endorsement of authoritarian King Carol II and his corporatist force, the National Renaissance Front, saw his participation in the monarch's personality cult. In 1940, he offered controversial praise to the ruler through the official journal, Revista Fundațiilor Regale, which caused Carol's political adversary, psychologist Nicolae Mărgineanu, to deem Sadoveanu and his fellow contributors "scoundrels". His renewed mandate in the Senate was a favor from Carol, also granted to George Enescu, philosopher Lucian Blaga, scientists Emil Racoviță and Iuliu Hațieganu, and several other public figures. During the Ion Antonescu dictatorship, Sadoveanu kept a low profile and was apolitical. However, Cioroianu writes, he supported the invasion of the Soviet Union and Romania's cooperation with the Axis Powers on the Eastern Front, seeing in this a chance to recover Bessarabia and the northern part of Bukovina (lost to the 1940 Soviet occupation). In spring 1944, months before the King Michael Coup toppled the regime, he was approached by the clandestine Romanian Communist Party and its sympathizers in academia to sign an open letter condemning Romania's alliance to Nazi Germany. According to the communist activist Belu Zilber, who took part in this action, Sadoveanu, like his fellow intellectuals Dimitrie Gusti, Simion Stoilow and Horia Hulubei, refused to sign the document. Also according to Zilber, Sadoveanu motivated his refusal by stating that the letter needed to be addressed not to Antonescu, but to King Michael I. However, and aside from its main topic, Păuna-Mică was noted as one of the few prose works of the 1940s to mention the wartime deportation of Romanian Jews by Antonescu's regime; Caleidoscop also speaks about the 1941 Iași pogrom as "our shame", and commends those who opposed it. Partnership with the communists Following his Lumina vine de la Răsărit lecture, Sadoveanu became noted for his positive portrayals of communization and collectivization. In particular, Sadoveanu offered praise to one of the major pillars of Stalinism, the 1936 Soviet Constitution. In 1945, claiming to have been "flashed upon" by "Stalin's argumentation", he urged the public to read the document for its "sincerity"; elsewhere, he equated reading the constitution with "a mystical revelation". Adrian Cioroianu describes this as "an office assignment" from the ARLUS, at a time when the group was circulating free translated copies of the Soviet constitution. The enthusiasm of his writings also manifested itself in his public behavior: according to his ARLUS colleague Iorgu Iordan, Sadoveanu was emotional during the 1945 Soviet trip, shedding tears of joy upon visiting a day care center in the countryside. Running in the 1946 election, Sadoveanu blamed the old political class in general for the problems faced by Romanian peasants, including the major drought of that year. By then, his political partners were making use of his literary fame, and his electoral pamphlet read: "There is no doubt that the thousands of people who have read his works will rush out on [election day] to vote for him." After 1948, when the Romanian communist regime was installed, Sadoveanu directed his praise toward the new authorities. In 1952, as Romania adopted its second republican constitution and the authorities intensified repression against anti-communists, Sadoveanu made some of his most controversial statements. Declaring the defunct kingdom to have been a "long interval of organized injustice and crooked development in all areas", he presented the new order as an era of social justice, human dignity, available culture and universal public education. Criticism of Sadoveanu's moral choices also focuses on the fact that, while he led a luxurious existence, many of his generation colleagues and fellow intellectuals were being persecuted or jailed in notoriously harsh circumstances. Having tolerated the purge within the Romanian Academy, Cioroianu notes, Sadoveanu accepted being colleagues with newly promoted "secondary characters [...] whom the new regime needed", such as poet Dumitru Theodor Neculuță and historian Mihail Roller. In his official capacity, Sadoveanu even signed several death sentences declared by communist tribunals, and, in the wake of the Tămădău Affair of summer 1947, presided over the Chamber sessions which outlawed the opposition National Peasants' Party: according to researcher Victor Frunză, he was a willing participant in this, having been upset by the exposure of his personal wealth in the National Peasantist press. Later, Sadoveanu made a reference to his former colleague, the National Peasantist activist Ion Mihalache, arguing that his old Agrarianist approach to politics had made him a "ridiculous character". Ioan Stanomir describes this fragment as one of "intellectual abjection", indicating that Mihalache, already a political prisoner of the regime, was to die in captivity. However, as leader of the Romanian Writers' Union, the aging writer is credited by some with having protected poet Nicolae Labiș, a disillusioned communist who had been excluded from the Union of Worker Youth in spring 1954, and whose work Sadoveanu treasured. He is also reported to have helped George Călinescu publish the novel Scrinul negru, mediating between him and communist leader Gheorghe Gheorghiu-Dej. Mihail Sadoveanu provided a definition of his own political transition in conversation with fellow writer Ion Biberi (1946). At the time, he claimed: "I have never engaged in politics, in the sense that one assigns to this word." He elaborated: "I am a left-wing person, following the line of a Poporanist zeal in the spirit of Viața Românească, but one adapted to the new circumstances." Cioroianu sees in such statements evidence that, trying to discard his past, Sadoveanu was including himself among the socialist intellectuals "willing to let themselves be won over by the indescribable charm and the full swing of the communist utopia", but that he may in reality have been "motivated by fear". Paraphrasing communist vocabulary, Stanomir describes the writer as one of the "bourgeois" personalities who became "fellow travelers" of the communists, and argues that Sadoveanu's claim to have always leaned towards a "people's democracy" inaugurated "a pattern of chameleonism". In the view of historian Vladimir Tismăneanu, Sadoveanu, like Parhon, George Călinescu, Traian Săvulescu and others, was one of the "non-communist intellectuals" attracted into cooperation with the Romanian Communist Party and the communist regime (Tismăneanu also argues that these figures' good relationship with Gheorghiu-Dej was a factor in the process, as was Gheorghiu-Dej's ability to make himself look "harmless"). Others have submitted that Sadoveanu's faction in the Freemasonry, which included far left advocates Mihai Ralea and Alexandru Claudian, and officially supported evolutionary socialism, was a natural partner of the communists, to the point of sanctioning its own state-organized suppression. According to Adrian Cioroianu, Sadoveanu was not necessarily an "apostle of communization", and his role in the process is subject to much debate. Describing the writer's "conversion to philosovietism" as "purely contextual", Cioroianu also points out that the very notion of "light arising in the East" is read by some as Sadoveanu's encoded message to other Freemasons, warning them of a Soviet threat to the organization. The historian notes that, for all their possible lack in sincerity, Sadoveanu's statements provided a template for other intellectuals to follow—this, he argues, was the case of Cezar Petrescu. Other statements made by Sadoveanu also displayed a possibly studied ambiguity, as is the case with a 1952 lecture he gave in front of young writers attending the Party-controlled School of Literature, where he implicitly denied that one could be created a writer unless by "God or Mother Nature". Legacy Influence Sadoveanu's prose, in particular his treatment of natural settings, was a direct influence in the works of writers such as Dimitrie D. Pătrășcanu, Nicolae N. Beldiceanu, Jean Bart, and Al. Lascarov-Moldovanu; his storytelling techniques were also sometimes borrowed by comedic novelist Damian Stănoiu, and, in later years, by historical novelist Dumitru Vacariu. According to Călinescu, Sadoveanu's early hunting stories published by Viața Românească, together with those of Junimist Nicolae Gane, helped establish the genre within the framework of Romanian literature, and paved the way for its predilect use in the works of Ioan Alexandru Brătescu-Voinești. Călinescu also notes that Scrisorile unui răzeș ("Letters of a Peasant"), an early work by novelist Cezar Petrescu, are deeply marked by Sadoveanu's influence, and that the same writer's use of the Moldavian dialect is a "pastiche" from Sadoveanu. Ion Vinea too, while expressing admiration for Sadoveanu, defined all his disciples and imitators as "mushroom-writers from Sadoveanu's woods" and "butlers who steal [their lord's lingerie] in order to wear his blazon". The issue was much later discussed by writer-critic Ioan Holban, who likewise described most historical novelists inspired by Sadoveanu as "insignificant" to Romanian letters. Under the early stages of the communist regime, before the rise of Nicolae Ceaușescu engendered a series of rehabilitations and accommodated nationalism, the Romanian curriculum was dependent on ideological guidelines. At the time, Sadoveanu was one of the writers from the interwar whose work was still made available to Romanian schoolchildren. In the 1953 Romanian language and literature manual, he represented his generation alongside the communist authors Alexandru Toma and Alexandru Sahia, and was introduced mainly through his Mitrea Cocor. At the time, studies of his work were published by prominent communist critics, among them Ovid Crohmălniceanu, Paul Georgescu, Traian Șelmaru, Mihai Novicov, Eugen Campus and Dumitru Isac, while a 1953 reissue of Baltagul was published in 30,000 copies (a number rarely met by the Romanian publishing industry in that context). In later years, Profira Sadoveanu became a noted promoter of her father's literature and public image, publishing children's versions of his biography, notably featuring illustrations by Mac Constantinescu (1955 edition). Although Sadoveanu continued to be hailed as a major writer during the Ceaușescu years, and the seventy years of his debut were marked with state ceremony, the reaction against Soviet influence affected presentations of his work: his official bibliography no longer included any mention of Păuna-Mică. Among the memoirs dealing with Sadoveanu's late years were those of Alexandru Rosetti, published in 1977. The official revival of nationalist discourse in the 1960s allowed controversial critic Edgar Papu to formulate his version of Protochronism, which postulated that phenomenons within Romanian culture preceded developments in world culture. In this context, Papu spoke of Sadoveanu as "one of the great precursory voices", comparing him to Rabindranath Tagore. After the 1989 Revolution toppled communism, Sadoveanu remained an influence on some young authors, who recovered the themes of his work in a Postmodern or parodic manner. Among them is Dan Lungu, who, according to critic Andrei Terian, alluded to the Hanu Ancuței frame story when constructing his 2004 novel Paradisul găinilor. In 2001, a poll carried among literati by Observator Cultural magazine listed six of his works as some of the best 150 Romanian novels. Mihail Sadoveanu's various works were widely circulated abroad. This phenomenon began as early as 1905, when German-language translations were first published, and continued during the 1930s, when Venea o moară pe Siret... was translated very soon after its original Romanian edition. In 1931, female author and feminist militant Sarina Cassvan included French-language versions of his texts into an anthology designed to promote modern Romanian culture internationally. Also then, some of Sadoveanu's texts were rendered in Chinese by Lu Xun. Tudor Vianu attributes the warm international reception Sadoveanu generally received to his abilities in rendering the Romanians' "own way of sensing and seeing nature and humanity", while literary historian Adrian Marino points out that, Sadoveanu and Liviu Rebreanu were exceptional in their generation for taking an active interest in how their texts were translated, edited and published abroad. Later, publicizing Sadoveanu's work to Eastern Bloc and world audiences became a priority for the communist regime. Thus, Mitrea Cocor was, together with similar works by Zaharia Stancu and Eusebiu Camilar, among the first wave of Romanian books to have been translated into Czech and published in Communist Czechoslovakia. Alongside similar works by Petru Dumitriu, Mitrea Cocor was also among the few English-language editions sanctioned by the Romanian regime, being translated and published, with a preface by Jack Lindsay, in 1953. Nine years later, the collected short stories were a tool for cultural exchange between Romania and the United States. Sadoveanu's good standing in the Soviet Union after World War II also made him one of the few Romanian writers whose works were still being published in the Moldavian SSR (which, as part of Bessarabia, had previously been a region of Greater Romania). Sadoveanu's diaries and notes were collected and edited during the early 2000s, being published in 2006 by Editura Junimea and the MLR. The main coordinators of this project were literary historian Constantin Ciopraga and Constantin Mitru, who was Sadoveanu's brother-in-law and personal secretary. The popularity of his writings remained high into the early 21st century: in 2004, when the country marked a hundred years since Sadoveanu's debut, Șoimii was published in its 15th edition. According to Simuț, the occasion itself was nevertheless marked with "the impression of general indifference", making Sadoveanu seem "a submerged continent, remembered by us only with piousness and confusion". Tributes Sadoveanu is an occasional presence in the literary works of his fellow generation members. His Țara de dincolo de negură was partly written as a tribute to George Topîrceanu's piece of the same name, with both authors sketching an affectionate portrait of one another. Topîrceanu also parodied his friend's style in a five-paragraph sketch, part of a series of such fragments, recorded their encounters in various other autobiographical writings, and dedicated him the first version of his poem Balada popii din Rudeni ("Ballad of the Priest from Rudeni"). Under the name Nicolae Pădureanu, Sadoveanu is a character in the novel and disguised autobiography În preajma revoluției ("On the Eve of the Revolution"), authored by his colleague Constantin Stere. Sadoveanu is honored in two writings by Nicolae Labiș, collectively titled Sadoveniene ("Sadovenians"). The first, titled Mihail Sadoveanu, is a prose poem which alludes to Sadoveanu's prose, and the other, a free verse piece, is titled Cozma Răcoare. In his scientific study of Sadoveanu's work, Eugen Lovinescu himself turns to pure literature, portraying Sadoveanu as a child blessed by the Moirai or ursitoare with ironic gifts, such as an obstinacy for nature writing in the absence of actual observation ("You shall write; you shall write and could never stop yourself writing [...]. The readers will grow tired, but you will remain tireless; you shall not known rest, just as you shall not know nature [...]"). George Călinescu was one to object to this portrayal, noting that it was merely a "literary device which hardly covers the emptiness of [Lovinescu's] idea." Also during the interwar, philosopher Mihai Ralea made Mihail Sadoveanu the subject of a sociological study investigating his literary contributions in the context of social evolutions. A portrait of Sadoveanu was drawn by graphic artist Ary Murnu, within a larger work which depicts the Kübler Coffeehouse society. Sadoveanu was also the subject of a 1929 painting by Ștefan Dumitrescu, part of a series on Viața Românească figures. In its original edition, Mitrea Cocor was supposed to feature a series of drawings made by Corneliu Baba, one of the best-known Romanian visual artists for his generation. Baba, who had been officially criticized for "formalism", was pressured by the authorities into accepting the commission or risk a precarious existence. The result of his work was rejected with a similar label, and the sketches were for long not made available to the public. Baba also painted Sadoveanu's portrait, which, in 1958, art critic Krikor Zambaccian as "the synthesis of Baba's art", depicting "a man of letters aware of his mission [and] the leading presence of an active consciousness". Constantin Mitru inherited the painting and passed it on to the Museum of Romanian Literature (MLR). A marble bust of Sadoveanu, the work of Ion Irimescu, was set up in Fălticeni in 1977. In Bucharest, a memorial plaque was placed on Pitar Moș Street, on a house where he lived for a period. During the 1990s, another bust of Sadoveanu, the work of several sculptors, was unveiled in Chișinău, Republic of Moldova (the former Moldavian SSR), part of the Aleea Clasicilor sculptural ensemble. Sadoveanu's writings also made an impact on film culture, and in particular on Romanian cinema of the communist period. However, the first film based on his works was a German production of 1929: based on Venea o moară... and titled Sturmflut der Liebe ("Storm Tide of Love"), it notably starred Marcella Albani, Alexandru Giugaru and Ion Brezeanu. The series of Romanian-made films began with the 1952 Mitrea Cocor, co-directed by Marietta Sadova (who also starred in the film) and Victor Iliu. The film itself was closely supervised for conformity with ideological guidelines, and had to be partly redone because its original version did not meet them. Mircea Drăgan directed a 1965 version of Neamul Șoimăreștilor (with a screenplay co-written by Constantin Mitru) and a 1973 adaptation of Frații Jderi (with contributions by Mitru and by Profira Sadoveanu). In 1969, Romanian studios produced a film version of Baltagul, directed by Mircea Mureșan and with Sidonia Manolache as Vitoria Lipan. Ten years later, Constantin Vaeni released Vacanță tragică ("Tragic Holiday"), based on Nada Florilor, followed by a 1980 adaptation of Dumbrava minunată and Stere Gulea's 1983 Ochi de urs (tr. "The Bear Eye's Curse"). In 1989, just before the Romanian Revolution, Dan Pița produced his film The Last Ball in November, based on Locul unde nu s-a întâmplat nimic. During the early decades of communist rule, Sadoveanu, Alexandru Toma and later Tudor Arghezi were often paid homage with state celebrations, likened by literary critic Florin Mihăilescu to the personality cult reserved for Stalin and Gheorghe Gheorghiu-Dej. For a while after the writer's death, the Writers' Union club, commonly known as "The Writers' House", bore Sadoveanu's name. Casa cu turn in Iași, which Sadoveanu had donated to the state in 1950, went through a period of neglect and was finally set up as a museum in 1980. Similar sites were set up in his Fălticeni house, and in his final residence at Voividenia, while the Bradu-Strâmb chalet was controversially granted to the Securitate, and later to the Romanian Police. Each year, Iași commemorates the writer through a cultural festival known as the "Mihail Sadoveanu Days". In 2004, the 100th anniversary of his debut was marked by a series of exhibits and symposiums, organized by the MLR. Similar events are regularly held in various cities, and include the "In Sadoveanu's Footsteps" colloquy of writers, held during March 2006 in the city of Piatra Neamț. Since 2003, in tribute to Sadoveanu's love for the game, an annual chess tournament is held in Iași. The Sadoveanu High School and a bookstore in Bucharest are named after him, and streets named after him exist in, among other places, Iași, Fălticeni, Timișoara, Oradea, Brașov, Galați, Suceava, Călărași, Târgu Jiu, Miercurea Ciuc, Petroșani, and Mangalia. Pașcani hosts a cultural center, a high school and a library named after him. Sadoveanu's memory is also regularly honored in the Republic of Moldova, where, in 2005, the 125th anniversary of his birth was celebrated in an official context. A street in Chișinău and a high school in the town of Cupcini are also named after him. Selected works Fiction 1902 - Frații Potcoavă 1904 - Șoimii 1905 - Floare ofilită 1906 - Însemnările lui Neculai Manea 1907 - La noi, la Viișoara 1907 - Vremuri de bejenie 1908 - Balta liniștii 1908 - Haia Sanis 1911 - Apa morților 1915 - Neamul Șoimăreștilor 1925 - Venea o moară pe Siret... 1928 - Hanu Ancuței 1929 - Zodia Cancerului 1930 - Baltagul 1932 - Nunta Domniței Ruxandra 1932 - Uvar 1933 - Creanga de aur 1934 - Nopțile de Sânziene 1935-1942 - Frații Jderi 1949 - Mitrea Cocor 1951-1952 - Nicoară Potcoavă Non-fiction 1907 - Domnu Trandafir 1908 - Oameni și locuri 1914 - Priveliști dobrogene 1916 - 44 de zile în Bulgaria 1921 - Drumuri basarabene 1926 - Țara de dincolo de negură 1928 - Împărăția apelor 1928 - Olanda 1936 - Însemnări ieșene 1937 - Istorisiri de vânătoare 1944 - Anii de ucenicie Notes References Lucian Boia, "Germanofilii". Elita intelectuală românească în anii Primului Război Mondial, Humanitas, Bucharest, 2010. Lucian Boia (ed.), Miturile comunismului românesc, Editura Nemira, Bucharest, 1998. : Lucian Boia, "Un nou Eminescu: A. Toma", p. 71-81 Adrian Cioroianu, "Lumina vine de la Răsărit. 'Noua imagine' a Uniunii Sovietice în România postbelică, 1944-1947", p. 21-68 George Călinescu, Istoria literaturii române de la origini pînă în prezent, Editura Minerva, Bucharest, 1986 Paul Cernat, Avangarda românească și complexul periferiei: primul val, Cartea Românească, Bucharest, 2007. Ilarie Chendi, "Vieața literară în 1911 (o privire generală)", in Luceafărul, Nr. 3/1912, p. 61-65 (digitized by the Babeș-Bolyai University Transsylvanica Online Library) Adrian Cioroianu, , Editura Curtea Veche, Bucharest, 2005. Marcel Cornis-Pope, "Shifting Perspectives and Voices in the Romanian Novel"; "The Search for a Modern, Problematizing Historical Consciousness: Romanian Historical Fiction and Family Cycles", in Marcel Cornis-Pope, John Neubauer (eds.), History of the Literary Cultures of East-Central Europe, John Benjamins, Amsterdam & Philadelphia, 2004, p. 441-456, 499–505. Ovid Crohmălniceanu, Literatura română între cele două războaie mondiale, Vol. I, Editura Minerva, Bucharest, 1972. Victor Frunză, Istoria stalinismului în România, Humanitas, Bucharest, 1990. Florin Mihăilescu, De la proletcultism la postmodernism, Editura Pontica, Constanța, 2002. Z. Ornea, Anii treizeci. Extrema dreaptă românească, Editura Fundației Culturale Române, Bucharest, 1995. Junimea și junimismul, Vol. II, Editura Minerva, Bucharest, 1998. Petre Răileanu, "Construcție și semnificație în ficțiunea istorică", preface to Mihail Sadoveanu, Nicoară Potcoavă, Editura Militară, 1990, p. 5-17. Tom Sandqvist, Dada East. The Romanians of Cabaret Voltaire, MIT Press, Cambridge, Massachusetts & London, 2006. Ana Selejan, Literatura în totalitarism. Vol. II: Bătălii pe frontul literar, Cartea Românească, Bucharest, 2008. Ioan Stanomir, "Facerea lumii", in Paul Cernat, Ion Manolescu, Angelo Mitchievici, Ioan Stanomir, Explorări în comunismul românesc, Polirom, Iași, 2004, p. 13-45. George Topîrceanu, Scrieri, Vols. I-II (preface, chronological table and notes by Al. Săndulescu), Editura Minerva, Bucharest, 1983. Cristian Vasile, Literatura și artele în România comunistă. 1948-1953, Humanitas, Bucharest, 2010. Tudor Vianu, Scriitori români, Vols. I-II, Editura Minerva, Bucharest, 1970. Krikor Zambaccian, Corneliu Baba, Editura de stat pentru literatură și artă, Bucharest, 1958. External links Roumanian Stories. Translated by Lucy Byng (includes three of Sadoveanu's works), at the University of Washington's DXARTS/CARTAH Electronic Text Archive A Boyar's Sin (excerpt), A Worried Man, His Majesty's Mare, Idle Hours, Master Trandafir (excerpts), The Enchanted Grove (excerpts), The Place Where Nothing Happened (excerpt), The Vesper Bell, Vitoria Lipan (fragment from Baltagul), translations in the Romanian Cultural Institute's Plural Magazine (various issues) "Peace Partisans Meeting aka Peace Meeting" (Rome, 1949) British-Pathé newsreel showing Sadoveanu and other delegates |- 1880 births 1961 deaths Romanian biographers Male biographers Romanian children's writers Romanian crime fiction writers Romanian essayists Romanian fantasy writers Romanian historical novelists Romanian magazine editors Romanian magazine founders Romanian memoirists Romanian newspaper editors 20th-century Romanian novelists Romanian male novelists Romanian poets Romanian male poets Romanian textbook writers Romanian translators Romanian travel writers 19th-century short story writers 20th-century short story writers Romanian male short story writers Romanian short story writers Romanian theatre managers and producers Social realism Socialist realism writers Poporanists Adevărul editors Adevărul writers Titular members of the Romanian Academy People's Party (interwar Romania) politicians 20th-century Romanian politicians Presidents of the Senate of Romania Presidents of the Chamber of Deputies (Romania) Members of the Chamber of Deputies (Romania) Members of the Great National Assembly Heads of state of Romania Romanian activists Romanian Freemasons Masonic Grand Masters Romanian nationalists Romanian pacifists Romanian propagandists Romanian humanists Censorship in Romania Lenin Peace Prize recipients People from Pașcani Romanian civil servants Romanian Land Forces officers Romanian military personnel of the Second Balkan War Romanian people of World War I Romanian people of World War II Burials at Bellu Cemetery 19th-century Romanian writers 20th-century Romanian writers 20th-century essayists 20th-century memoirists 20th-century translators
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[ "Thomas McPherson Brown (1906–1989) was a rheumatologist who held unorthodox views about the basis of rheumatoid arthritis (RA), and believed it could be cured with antibiotics.\n\nBrown graduated from Swarthmore College then attended Johns Hopkins Medical School. He did his medical residency at the hospital associated with the Rockefeller Institute.At Rockefeller he did research on synovial fluid from people with RA and in 1937 found Mycoplasma in the fluid from some patients, leading him to believe that RA might be an infectious disease. His work was interrupted by service in World War II; after the war he obtained a position at George Washington University and began to experimentally treat some people with RA with antibiotics, which at the time were a new class of drugs. Some of the people he treated were members of Congress or ambassadors, and some of them responded positively. He presented his work at a conference in 1949; at the same conference, the new drug cortisone was presented, and it overshadowed his work and became the leading treatment for RA.\n\nThroughout his career, Brown fought to have his antibiotic treatments recognized by the medical establishment; they were not.\n\nFootnotes\n\n1906 births\n1989 deaths\nAmerican rheumatologists\n20th-century American physicians", "Ben Thigpen (November 16, 1908 – October 5, 1971) was an American jazz drummer. He is the father of drummer Ed Thigpen.\n\nHe was born Benjamin F. Thigpen in Laurel, Mississippi. Ben Thigpen played piano as a child, having been trained by his sister Eva. He played in South Bend, Indiana with Bobby Boswell in the 1920s, and then moved to Chicago to study under Jimmy Bertrand. While there he played with many noted Chicago bandleaders and performers, including Doc Cheatham. He played with Charlie Elgar's Creole Band during 1927-1929 but did not record with them. Following this he spent time in Cleveland with J. Frank Terry, and then became the drummer for Andy Kirk's Clouds of Joy, where he stayed from 1930 to 1947. Much of his work is available on collections highlighting the piano work of Mary Lou Williams, who also played in this ensemble.\n\nAfter his time with Kirk, Thigpen's career is poorly documented. He led his own quintet in St. Louis and recorded with Singleton Palmer in the 1960s.\n\nReferences\n[ Ben Thigpen] at Allmusic\n\nExternal links\n Ben Thigpen recordings at the Discography of American Historical Recordings.\n\nAmerican jazz drummers\n1908 births\n1971 deaths" ]
[ "Mihail Sadoveanu", "1910s and World War I", "what happened in 1910's?", "In 1910, he was also appointed head of the National Theater Iasi, a position which he filled until 1919.", "what else was he appointed to?", "He was a leading presence at Minerva newspaper, alongside Anghel and critic Dumitru Karnabatt,", "what was his greatest accomplishment named in the article?", "Mihail Sadoveanu became a professional writer in 1908-1909, after joining the Romanian Writers' Society,", "who did he work with?", "he, Iosif, and Anghel, together with author Emil Garleanu," ]
C_f789d8273c5b43b2a57524472ce50d02_0
what did they do?
5
what did Mihail Sadoveanu, Iosif, and Anghel do with Emil Garleanu?
Mihail Sadoveanu
Sadoveanu returned to his administrative job in 1907, the year of the Peasants' Revolt. Kept in office by the National Liberal cabinet of Ion I. C. Bratianu, he served under the reform-minded Education Minister Spiru Haret. Inspired by the bloody outcome of the Revolt, as well as by Haret's moves to educate the peasantry, Sadoveanu reportedly drew suspicion from the Police when he published self-help guides aimed at industrious ploughmen, a brand of social activism which even resulted in a formal inquiry. Mihail Sadoveanu became a professional writer in 1908-1909, after joining the Romanian Writers' Society, created in the previous year by poets Cincinat Pavelescu and Dimitrie Anghel, and becoming its President in September of that year. The same year, he, Iosif, and Anghel, together with author Emil Garleanu, set up Cumpana, a monthly directed against both Ovid Densusianu's eclecticism and the Junimist school (the magazine was no longer in print by 1910). At the time, he became a noted presence among the group of intellectuals meeting in Bucharest's Kubler Coffeehouse. In 1910, he was also appointed head of the National Theater Iasi, a position which he filled until 1919. That year, he translated from the French one of Hippolyte Taine's studies on the genesis of artworks. He resigned his office within the Writers' Society in November 1911, being replaced by Garleanu, but continued to partake in its administration as a member of its leadership committee and a censor. He was a leading presence at Minerva newspaper, alongside Anghel and critic Dumitru Karnabatt, and also published in the Transylvanian traditionalist journal, Luceafarul. Sadoveanu was again called under arms during the Second Balkan War of 1913, when Romania confronted Bulgaria. Having reached the rank of Lieutenant, he was stationed in Falticeni with the 15th Infantry Regiment, after which he spent a short period on the front. He returned to literary life. Becoming good friends with poet and humorist George Topirceanu, he accompanied him and other writers on cultural tours during 1914 and 1915. The series of writings he published at the time includes the 1915 Neamul Soimarestilor. In 1916-1917, as Romania entered World War I and was invaded by the Central Powers, Sadoveanu stayed in Moldavia, the only part of Romania's territory still under the state's authority (see Romanian Campaign). The writer oscillated between the Germanophilia of his Viata Romaneasca friends, the stated belief that war was misery and the welcoming of Romania's commitment to the Entente Powers. At the time, he was reelected President of the Writers' Society, a provisional mandate which ended in 1918, when Romania signed the peace with the Central Powers, and, as Army reservist, edited the Entente's regional propaganda outlet, Romania. He was joined by Topirceanu, who had just been released from a POW camp in Bulgaria, and with whom he founded the magazine Insemnari Literare. Sadoveanu subsequently settled in the Iasi neighborhood of Copou, purchasing and redecorating the villa known locally as Casa cu turn ("The House with a Tower"). In the 19th century, it had been the residence of politician Mihail Kogalniceanu, and, during the war, hosted composer George Enescu. During that period, he collaborated with leftist intellectual Vasile Mortun and, together with him and Arthur Gorovei, founded and edited the magazine Ravasul Poporului. CANNOTANSWER
set up Cumpana, a monthly directed against both Ovid Densusianu's eclecticism and the Junimist school (the magazine was no longer in print by 1910
Mihail Sadoveanu (; occasionally referred to as Mihai Sadoveanu; November 5, 1880 – October 19, 1961) was a Romanian novelist, short story writer, journalist and political figure, who twice served as acting head of state for the communist republic (1947–1948 and 1958). One of the most prolific Romanian-language writers, he is remembered mostly for his historical and adventure novels, as well as for his nature writing. An author whose career spanned five decades, Sadoveanu was an early associate of the traditionalist magazine Sămănătorul, before becoming known as a Realist writer and an adherent to the Poporanist current represented by Viața Românească journal. His books, critically acclaimed for their vision of age-old solitude and natural abundance, are generally set in the historical region of Moldavia, building on themes from Romania's medieval and early modern history. Among them are Neamul Șoimăreștilor ("The Șoimărești Family"), Frații Jderi ("The Jderi Brothers") and Zodia Cancerului ("Under the Sign of the Crab"). With Venea o moară pe Siret... ("A Mill Was Floating down the Siret..."), Baltagul ("The Hatchet") and some other works of fiction, Sadoveanu extends his fresco to contemporary history and adapts his style to the psychological novel, Naturalism and Social realism. A traditionalist figure whose perspective on life was a combination of nationalism and Humanism, Sadoveanu moved between right- and left-wing political forces throughout the interwar period, while serving terms in Parliament. Rallying with People's Party, the National Agrarian Party, and the National Liberal Party-Brătianu, he was editor of the leftist newspapers Adevărul and Dimineața, and was the target of a violent far right press campaign. After World War II, Sadoveanu became a political associate of the Romanian Communist Party. He wrote in favor of the Soviet Union and Stalinism, joined the Society for Friendship with the Soviet Union and adopted Socialist realism. Many of his texts and speeches, including the political novel Mitrea Cocor and the famous slogan Lumina vine de la Răsărit ("The Light Arises in the East"), are also viewed as propaganda in favor of communization. A founding member of the Romanian Writers' Society and later President of the Romanian Writers' Union, Sadoveanu was also a member of the Romanian Academy since 1921 and a recipient of the Lenin Peace Prize for 1961. He was also Grand Master of the Romanian Freemasonry during the 1930s. The father of Profira and Paul-Mihu Sadoveanu, who also pursued careers as writers, he was the brother-in-law of literary critic Izabela Sadoveanu-Evan. Biography Early years Sadoveanu was born in Pașcani, in western Moldavia. His father's family hailed from the southwestern part of the Old Kingdom, in Oltenia. Their place of origin, Sadova, provided their chosen surname (lit. "from Sadova"), which was adopted by the family only in 1891. Mihail's father was the lawyer Alexandru Sadoveanu (d. 1921), whom literary critic George Călinescu described as "a bearded and well-to-do man"; according to the writer's own notes, Alexandru was unhappy in marriage, and his progressive isolation from public life impacted on the entire family. Mihail's mother, Profira née Ursachi (or Ursaki; d. 1895), hailed from a line of Moldavian shepherds, all of whom, as the writer recalled, had been illiterate. Literary historian Tudor Vianu believes this contrast of regional and social identities played a part in shaping the author, opening him up to a "Romanian universality", but notes that, throughout his career, Sadoveanu was especially connected with his Moldavian roots. Mihail had a brother, also named Alexandru, whose wife was the Swiss-educated literary critic Izabela Morțun (later known as Sadoveanu-Evan, she was the cousin of socialist activist Vasile Morțun). Another one of his brothers, Vasile Sadoveanu, was an agricultural engineer. Beginning in 1887, Sadoveanu attended primary school in Pașcani. His favorite teacher, a Mr. Busuioc, later served as inspiration for one of his best-known short stories, Domnu Trandafir ("Master Trandafir"). While away from school, young Sadoveanu used much of his spare time exploring his native region on foot, hunting, fishing, or just contemplating nature. He was also spending his vacations in his mother's native Verșeni. During his journeys, Sadoveanu visited peasants, and his impression of the way in which they were relating to authority is credited by critics with having shaped his perspective on society. Shortly after this episode, the young Sadoveanu left to complete his secondary studies in Fălticeni and at the National High School in Iași. While in Fălticeni, he was in the same class as future authors Eugen Lovinescu and I. Dragoslav, but, having lost interest in schoolwork, he failed to get his remove, before eventually graduating top of his class. First literary attempts, marriage and family In 1896, when he was aged sixteen, Sadoveanu gave thought to writing a monograph on Moldavian Prince Stephen the Great, but his first literary attempts date from the following year. It was in 1897 that a sketch story, titled Domnișoara M din Fălticeni ("Miss M from Fălticeni") and signed Mihai din Pașcani ("Mihai from Pașcani"), was successfully submitted for publishing to the Bucharest-based satirical magazine Dracu. He started writing for Ovid Densusianu's journal Vieața Nouă in 1898. His contributions, featured alongside those of Gala Galaction, N. D. Cocea, and Tudor Arghezi, include another sketch story and a lyric poem. Sadoveanu was however dissatisfied with Densusianu's agenda, and critical of the entire Romanian Symbolist movement for which the review spoke. He ultimately began writing pieces for non-Symbolist magazines such as Opinia and Pagini Literare. In parallel, he founded and printed by hand a short-lived journal, known to researches as either Aurora or Lumea. Sadoveanu left for Bucharest in 1900, intending to study Law at the University's Faculty of Law, but withdrew soon after, deciding to dedicate himself to literature. He began frequenting the bohemian society in the capital, but, following a sudden change in outlook, abandoned poetry and focused his work entirely on Realist prose. In 1901, Sadoveanu married Ecaterina Bâlu, with whom he settled in Fălticeni, where he began work on his first novellas and decided to make his living as a professional writer. His first draft for a novel, Frații Potcoavă ("The Potcoavă Brothers"), came out in 1902, when fragments were published by Pagini Alese magazine under the pseudonym M. S. Cobuz. The following year, Sadoveanu was drafted into the Romanian Land Forces, stationed as a guard near Târgu Ocna, and inspired by the experience to write some of his first social criticism narratives. After that time, he spent much of his home in the country, where he raised a large family. Initially, the Sadoveanus lived in a house previously owned by celebrated Moldavian raconteur Ion Creangă, before they commissioned a new building, famed for its surrounding Grădina Liniștii ("Garden of Quietude"). He was the father of eleven, among whom were three daughters: Despina, Teodora and Profira Sadoveanu, the latter of whom was a poet and a novelist. Of his sons, Dimitrie Sadoveanu became a painter, while Paul-Mihu, the youngest (born 1920), was author of the novel Ca floarea câmpului... ("Like the Flower of the Field...") which was published posthumously. Sămănătorul, Viața Românească and literary debut After receiving an invitation from poet Ștefan Octavian Iosif in 1903, Sadoveanu contributed works to the traditionalist journal Sămănătorul, led at the time by historian and critic Nicolae Iorga. He was by then also a contributor to Voința Națională, a newspaper published by the National Liberal Party and managed by politician Vintilă Brătianu—beginning December of the same year, the paper serialized Șoimii ("The Hawks"), an extended variant of Frații Potcoavă, with an introduction by historian Vasile Pârvan. In 1904, he regained Bucharest, where he became a copyist for the Ministry of Education's Board of Schools, returning to Fălticeni two years later. After 1906, he rallied with the group formed around Viața Românească, which was also joined by his sister-in-law Izabela. Sămănătorul and Viața Românească, having comparable influence over the literature of Romania, stood for a traditionalist and ruralist approach to art, even though the latter adopted a more left-wing perspective, known as Poporanism. The leading Poporanist ideologue, Garabet Ibrăileanu, became a personal friend of the young writer after inviting him on an excursion down the Râșca River. With his subsequent pieces for Viața Românească, Sadoveanu became especially known as the raconteur of hunting trips, but also sparked controversy when a young woman writer, Constanța Marino-Moscu, accused him of having plagiarized her works in his Mariana Vidrașcu, a serialized novel which was discontinued and later largely forgotten. 1904 was Sadoveanu's effective debut year: he published four separate books, including Șoimii, Povestiri ("Stories"), Dureri înăbușite ("Suppressed Pains") and Crâșma lui Moș Petcu ("Old Man Petcu's Alehouse"). The beginning of a prolific literary career covering more than a half century and of his collaboration with Editura Minerva publishing house, this debut was marked by intense preparation, and drew on literary exercises spanning the previous decade. His Sămănătorul colleague Iorga deemed 1904 "Sadoveanu's Year", while the influential and aging critic Titu Maiorescu, leader of the conservative literary society Junimea, gave a positive review to Povestiri, and successfully proposed it for a Romanian Academy award in 1906. In a 1908 essay, Maiorescu was to list Sadoveanu among Romania's greatest writers. According to Vianu, Maiorescu saw in Sadoveanu and other young writers the triumph of his theory on a "popular" form of Realism, a vision which the Junimist thinker had advocated in his essays from as early as 1882. Sadoveanu later credited Iorga, Maiorescu, and especially so the cultural promoter Constantin Banu and Sămănătorul poet George Coșbuc, with having helped him capture the interest of the public and his peers. He was by then facing adversity from opponents of Sămănătorul, primarily critic Henric Sanielevici and his Curentul Nou review, which published claims that Sadoveanu's volumes, which depicted immoral acts such as adultery and rape, showed that Iorga's program of moral didacticism was hypocritical. As he latter recalled, Sadoveanu was himself upset with some of Iorga's critical judgments regarding his own work, noting that the Sămănătorist doyen had once declared him equal to Vasile Pop (one of Iorga's protegés, and viewed as overrated by Sadoveanu). The same year, Sadoveanu became one of Sămănătoruls editors, alongside Iorga and Iosif. The magazine, originally a traditionalist mouthpiece founded by Alexandru Vlahuță and George Coșbuc, proclaimed with Iorga its purpose of establishing "a national culture", emancipated from foreign influence. However, according to Călinescu, this ambitious goal was only manifested in a "great cultural influence", as the journal continued to be an eclectic venue which grouped together ruralist traditionalists of the "national tendency" and adherents to the cosmopolitan currents such as Symbolism. Călinescu and Vianu agree that Sămănătorul was, for a large part, a promoter of older guidelines set by Junimea. Vianu also argues that Sadoveanu's contribution to the literary circle was the main original artistic element in its history, and credits Iosif with having accurately predicted that, during a period of literary "crisis", Sadoveanu was the person to provide innovation. He continued to publish at an impressive rate: in 1906, he again handed down for print four separate volumes. In parallel, Sadoveanu pursued his career as a civil servant. In 1905, he was employed as a clerk by the Ministry of Education, headed by the Conservative Party's Mihail Vlădescu. His direct supervisor was poet D. Nanu, and he had for his colleagues the geographer George Vâlsan and the short story writer Nicolae N. Beldiceanu. Nanu wrote of this period: "It is a clerical packed full with men of letters, no work is being done, people smoke, drink coffee, create dreams, poems and prose [...]." Having interrupted his administrative service, Sadoveanu was again drafted into the Land Forces in 1906, being granted an officer's rank. An already overweight man, he had to march from Probota in Central Moldavia to Bukovina, which caused him intense suffering. 1910s and World War I Sadoveanu returned to his administrative job in 1907, the year of the Peasants' Revolt. Kept in office by the National Liberal cabinet of Ion I. C. Brătianu, he served under the reform-minded Education Minister Spiru Haret. Inspired by the bloody outcome of the Revolt, as well as by Haret's moves to educate the peasantry, Sadoveanu reportedly drew suspicion from the Police when he published self-help guides aimed at industrious ploughmen, a brand of social activism which even resulted in a formal inquiry. Mihail Sadoveanu became a professional writer in 1908–1909, after joining the Romanian Writers' Society, created in the previous year by poets Cincinat Pavelescu and Dimitrie Anghel, and becoming its President in September of that year. The same year, he, Iosif, and Anghel, together with author Emil Gârleanu, set up Cumpăna, a monthly directed against both Ovid Densusianu's eclecticism and the Junimist school (the magazine was no longer in print by 1910). At the time, he became a noted presence among the group of intellectuals meeting in Bucharest's Kübler Coffeehouse. In 1910, he was also appointed head of the National Theater Iași, a position which he filled until 1919. That year, he translated from the French one of Hippolyte Taine's studies on the genesis of artworks. He resigned his office within the Writers' Society in November 1911, being replaced by Gârleanu, but continued to partake in its administration as a member of its leadership committee and a censor. He was a leading presence at Minerva newspaper, alongside Anghel and critic Dumitru Karnabatt, and also published in the Transylvanian traditionalist journal, Luceafărul. Sadoveanu was again called under arms during the Second Balkan War of 1913, when Romania confronted Bulgaria. Having reached the rank of Lieutenant, he was stationed in Fălticeni with the 15th Infantry Regiment, after which he spent a short period on the front. He returned to literary life. Becoming good friends with poet and humorist George Topîrceanu, he accompanied him and other writers on cultural tours during 1914 and 1915. The series of writings he published at the time includes the 1915 Neamul Șoimăreștilor. In 1916–1917, as Romania entered World War I and was invaded by the Central Powers, Sadoveanu stayed in Moldavia, the only part of Romania's territory still under the state's authority (see Romanian Campaign). The writer oscillated between the Germanophilia of his Viața Românească friends, the stated belief that war was misery and the welcoming of Romania's commitment to the Entente Powers. At the time, he was reelected President of the Writers' Society, a provisional mandate which ended in 1918, when Romania signed the peace with the Central Powers, and, as Army reservist, edited the Entente's regional propaganda outlet, România. He was joined by Topîrceanu, who had just been released from a POW camp in Bulgaria, and with whom he founded the magazine Însemnări Literare. Sadoveanu subsequently settled in the Iași neighborhood of Copou, purchasing and redecorating the villa known locally as Casa cu turn ("The House with a Tower"). In the 19th century, it had been the residence of politician Mihail Kogălniceanu, and, during the war, hosted composer George Enescu. During that period, he collaborated with leftist intellectual Vasile Morțun and, together with him and Arthur Gorovei, founded and edited the magazine Răvașul Poporului. Creative maturity and early political career In 1921, Sadoveanu was elected a full member of the Romanian Academy; he gave his reception speech in front of the cultural forum two years later, structuring it as a praise of Romanian folklore in general and folkloric poetry in particular. At the time, he renewed his contacts with Viața Românească: with Garabet Ibrăileanu and several others, he joined its interwar nucleus, while the review often featured samples of his novels (some of which were originally published in full by its publishing venture). His house was by then host to many cultural figures, among whom were writers Topîrceanu, Gala Galaction, Otilia Cazimir, Ionel and Păstorel Teodoreanu, and Dimitrie D. Pătrășcanu, as well as conductor Sergiu Celibidache. He was also close to a minor socialist poet and short story author, Ioan N. Roman, whose work he helped promote, to the aristocrat and memoirist Gheorghe Jurgea-Negrilești, and to a satirist named Radu Cosmin. Despite his health problems, Sadoveanu frequently traveled throughout Romania, notably visiting local sights which inspired his work: the Romanian Orthodox monasteries of Agapia and Văratec, and the Neamț Fortress. After 1923, together with Topîrceanu, Demostene Botez and other Viața Românească affiliates, he also embarked on a series of hunting trips. He was charmed in particular by the sights he discovered during a 1927 visit to the Transylvanian area of Arieș. The same year, he also visited the Netherlands, which he reached by means of the Orient Express. His popularity continued to grow: in 1925, 1929 and 1930 respectively, he published his critically acclaimed novels Venea o moară pe Siret..., Zodia Cancerului and Baltagul, and his 50th anniversary was celebrated at a national level. In 1930, Sadoveanu, Topîrceanu and the schoolteacher T. C. Stan wrote and edited a series of primary school textbooks. In 1926, after a period of indecision, Sadoveanu rallied with the People's Party, where his friend, the poet Octavian Goga, was a prominent activist. He then rallied with Goga's own National Agrarian Party. During the general election of 1927, he won a seat in the Chamber for Bihor County, in Transylvania, holding a seat in the Senate for Iași County after the 1931 suffrage. Under Nicolae Iorga's National Peasants' Party cabinet of the period, Sadoveanu was President of the Senate. The choice was motivated by his status as "a cultural personality". Around that date, he was affiliated with the National Liberal Party-Brătianu, a right-wing party inside the liberal current, who stood in opposition to the main National Liberal group. In parallel, he began contributing to the left-wing daily Adevărul. Sadoveanu was by then affiliated with the Freemasonry, as first recorded by the organization in 1928, but was probably a member since 1926 or 1927. Reaching the 33rd degree within the organization and overseeing the Masonic Lodge Dimitrie Cantemir of Iași, he was elected Grand Master of the National Union of Lodges in 1932, thus replacing the vacating George Valentin Bibescu. There subsequently occurred a split between Bibescu and Sadoveanu's supporters, aggravated by their publicized conflict with a third group, that of Ioan Pangal—splits which ended after some three years, when Sadoveanu marginalized both of his opponents, without however earning legitimate recognition from the Grand Orient de France. By 1934, he was recognized as Grand Master of the United Romanian Freemasonry, which regrouped all major local Lodges. Late 1930s and World War II He was publishing new works at a regular rate, culminating in the first volume of his historical epic Frații Jderi, which saw print in 1935. In 1936, the writer accepted the honorary chairmanship of Adevărul and its morning edition, Dimineața. During that time, he was involved in a public dispute with the far right and fascist press, replying to their attacks in several columns. Affiliates of the radical right organized public burnings of his volumes. The scandal prolonged itself over the following years, with Sadoveanu being supported by his friends in the literary community. Among them was Topîrceanu, who was at the time hospitalized, and whose expression of support was made shortly before his death to liver cancer. In September 1937, as a statement of solidarity and appreciation, the University of Iași conferred Sadoveanu the title of doctor honoris causa. Mihail Sadoveanu withdrew from politics in the late 1930s and early 1940s, as Romania came to be led by successive right-wing dictatorships, he offered a measure of support to King Carol II and his National Renaissance Front, which attempted to block the more radically fascist Iron Guard from power. He was personally appointed a member of the reduced corporatist Senate by Carol. In 1940, the official establishment Editura Fundațiilor Regale published the first volume of his Opere ("Works"). Sadoveanu kept a low profile under the Iron Guard's Nazi-allied National Legionary regime. After Conducător Ion Antonescu overthrew the Guard during the Legionary Rebellion and established his own fascist regime, the still-apolitical Sadoveanu was more present in public life, and lectured on cultural subjects for the Romanian Radio. After publishing the final section of his Frații Jderi in 1942, Sadoveanu again retreated to the countryside, in his beloved Arieș area, where he had built himself a chalet and a church; this seclusion produced his Povestirile de la Bradu-Strâmb ("Bradu-Strâmb Stories"). During those years, the sixty-year-old writer met Valeria Mitru, a much younger feminist journalist, whom he married after a brief courtship. In August 1944, Romania's King Michael Coup toppled Antonescu and switched sides in the war, rallying with the Allies. As a Soviet occupation began at home, Romanian troops fought alongside the Red Army on the European theater. Paul-Mihu Sadoveanu was killed in action in Transylvania on September 22. During the same months, Sadoveanu was a candidate for the Writers' Society presidency, but, in what has been read as proof of a rivalry within the Freemasonry, was defeated by Victor Eftimiu. Later that year, the 40th anniversary of Mihail Sadoveanu's debut was celebrated with a special ceremony at the Academy and Tudor Vianu's speech, offered as a retrospective of his colleague's entire work. Communist system and political rise After the Soviet-backed advent of the Communist system in Romania, Sadoveanu supported the new authorities, and turned from his own version of Realism to officially-endorsed Socialist realism (see Socialist realism in Romania). This was also the start of his association with the Soviet-sponsored Romanian Society for Friendship with the Soviet Union (ARLUS), which was led by biologist and physician Constantin Ion Parhon. Having served as a host to official Soviet envoys Andrey Vyshinsky and Vladimir Kemenov during their late 1944 visits, he soon after became president of the ARLUS "Literary and Philosophical Section" (seconded by Mihai Ralea and Perpessicius). In February 1945, he joined Parhon, Enescu, linguist Alexandru Rosetti, composer George Enescu, biologist Traian Săvulescu and mathematician Dimitrie Pompeiu in a protest against the cultural policies of Premier Nicolae Rădescu and his cabinet, one in a series of moves to discredit the non-communist Rădescu and make him leave power. With Ion Pas, Gala Galaction, Horia Deleanu, Octav Livezeanu and N. D. Cocea, Sadoveanu edited the association's weekly literary magazine Veac Nou after June 1946. Sadoveanu's literary and political change became known to the general public in March 1945, when he lectured about Soviet leader Joseph Stalin at a conference hall in Bucharest. Part of a conference cycle, his speech was famously titled Lumina vine de la Răsărit, which soon became synonymous with the attempts to improve the image of Stalinism in Romania. ARLUS would issue the text of his conference as a printed volume later in the year. Also in 1945, Sadoveanu journeyed to the Soviet Union together with some of his fellow ARLUS members—among them biologists Parhon and Săvulescu, sociologist Dimitrie Gusti, linguist Iorgu Iordan, and mathematician Simion Stoilow. Invited by the Soviet Academy of Sciences to attend the 220th anniversary of its foundation, they also visited research institutes, kolhozy, and day care centers, notably meeting with Nikolay Tsitsin, an agronomist favored by Stalin. After his return, he wrote other controversial texts and gave lectures which offered ample praise to the Soviet system. That year, the ARLUS enterprise Editura Cartea Rusă also published his translation of Ivan Turgenev's A Sportsman's Sketches. During the rigged election of that year, Sadoveanu was a candidate for the Communist party-organized Bloc of Democratic Parties (BPD) in Bucharest, winning a seat in the newly unified Parliament of Romania. In its first-ever session (December 1946), the legislative body elected him its President. He was at the time residing in Ciorogârla, having been awarded a villa previously owned by Pamfil Șeicaru, a journalist whose support for fascist regimes had made him undesirable, and who had moved out of Romania. The decision was viewed as evidence of political corruption by the opposition National Peasants' Party, whose press deemed Sadoveanu the "Count of Ciorogârla". In 1948, after Romania's King Michael I was overthrown by the BPD-member parties and the communist regime officially established, Sadoveanu rose to the highest positions ever granted to a Romanian writer, and received significant material benefits. In 1947–1948, he was, alongside Parhon, Ștefan Voitec, Gheorghe Stere, and Ion Niculi, a member of the Presidium of the People's Republic, which was elected by the BPD-dominated legislative. He also kept his seat at the Academy, which at the time was undergoing a communist-led purge, and, with several other pro-Soviet intellectuals, was voted in the Academy Presidium. Final years, illness and death After the Writers' Society was restructured as the Romanian Writers' Union in 1949, Sadoveanu became its Honorary President. In 1950, he was named President of the Writers' Union, replacing Zaharia Stancu. According to writer Valeriu Râpeanu, this last appointment was a sign of Stancu's marginalization after he had been excluded from the Romanian Communist Party, while the Writers' Union was actually controlled by its First Secretary, the communist poet Mihai Beniuc. Sadoveanu and Beniuc were reelected at the Union's first Congress (1956). In the meanwhile, Sadoveanu published several Socialist realist volumes, among which was Mitrea Cocor, a controversial praise of collectivization policies. First published in 1949, it earned Sadoveanu the first-ever State Prize for Prose. Throughout the period, Sadoveanu was involved in major communist-endorsed cultural campaigns. Thus, in June 1952, he presided over the Academy's Scientific Council, charged with modifying the Romanian alphabet, at the end of which the letter â was discarded, and replaced everywhere with î (a spelling Sadoveanu is alleged to have already shown preference for in his early works). In March 1953, soon after Stalin's death, he led discussions within the Writers' Union, confronting his fellow writers with the new Soviet cultural directives as listed by Georgy Malenkov, and reacting against young authors who had not discarded the since-condemned doctrines of proletkult. The author was also becoming involved in the Eastern Bloc's peace movement, and led the National Committee for the Defense of Peace at a time when the Soviet Union was seeking to portray its Cold War enemies as warmongers and the sole agents of nuclear proliferation. He also represented Romania to the World Peace Council, and received its International Peace Prize for 1951. As a parliamentarian, Sadoveanu stood on the committee charged with elaborating the new republican constitution, which, in its final form, reflected both Soviet influence and the assimilation of Stalinism into Romanian political discourse. In November 1955, shortly after turning 75, he was granted the title of "Hero of Socialist Labor". After 1956, when the regime announced that it had embarked on a limited version of De-Stalinization, it continued to recommend Mihail Sadoveanu as one of its prime cultural models. Having donated Casa cu turn to the state in 1950, he moved back to Bucharest, where he owned a house near the Zambaccian Museum. From January 7 to January 11, 1958, Sadoveanu, Ion Gheorghe Maurer and Anton Moisescu were acting Chairmen of the Presidium of the Great National Assembly, which again propelled him to a position as titular head of state. His literary stature but also his political allegiance earned him the Soviet Lenin Peace Prize, which he received shortly before his death. After a long illness marked by a stroke which impaired his speech and left him almost completely blind, Sadoveanu was cared for by a staff of physicians supervised by Nicolae Gh. Lupu and reporting to the Great National Assembly. The Sadoveanus withdrew to Neamț region, where they lived in a villa assigned to them by the state and located near the Voividenia hermitage and the locality of Vânători-Neamț, being visited regularly by literary and political friends, among them Alexandru Rosetti. Mihail Sadoveanu died there at 9 AM on October 19, 1961, and was buried at Bellu cemetery, in Bucharest. His successor as President of the Writers' Union was Beniuc, elected during the Congress of January 1962. Following her husband's death, Valeria Sadoveanu settled in proximity to the Văratec Monastery, where she set up an informal literary circle and Orthodox prayer group, notably attended by literary historian Zoe Dumitrescu-Bușulenga and by poet Ștefana Velisar, and dedicated herself to protecting the community of nuns. She survived Mihail Sadoveanu by over 30 years. Literary contributions Context Often seen as the leading author of his generation, and generally viewed as one of the most representative Romanian writers, Mihail Sadoveanu was also believed to be a first-class story-teller, and received praise especially for his nature writing and his depictions of rural landscapes. An exceptionally prolific author by Romanian standards, he published over a hundred individual volumes (120 according to the American magazine Time). His contemporaries tended to place Sadoveanu alongside Liviu Rebreanu and Cezar Petrescu—for all the differences in style between the three figures, the interwar public saw them as the "great novelists" of the day. Critic Ovid Crohmălniceanu describes their activity, altogether focused on depicting the rural world but diverging in bias, as one sign that the Romanian interwar itself was exceptionally effervescent, while Romanian-born American historian of literature Marcel Cornis-Pope sees Sadoveanu and Rebreanu as their country's "two most important novelists of the first half of the twentieth century". In 1944, Tudor Vianu spoke of Sadoveanu as "the most significant writer Romanians [presently] have, the first among his equals." While underlining his originality in the context of Romanian literature and among the writers standing for "the national tendency" (as opposed to the more cosmopolitan modernists), George Călinescu also noted that, through several of his stories and novels, Sadoveanu echoed the style of his predecessors and contemporaries Ion Luca Caragiale, Ioan Alexandru Brătescu-Voinești, Emil Gârleanu, Demostene Botez, Otilia Cazimir, Calistrat Hogaș, I. A. Bassarabescu and Ionel Teodoreanu. Also included among the "national tendency" writers, Gârleanu was for long seen as Sadoveanu's counterpart, and even, Călinescu writes, "undeservedly upstaged" him. Cornis-Pope also writes that Sadoveanu's epic is a continuation of "the national narrative" explored earlier by Nicolae Filimon, Ioan Slavici and Duiliu Zamfirescu, while literary historians Vianu and Z. Ornea note that Sadoveanu also took inspiration from the themes and genres explored by Junimist author Nicolae Gane. In his youth, Sadoveanu also admired and collected the works of N. D. Popescu-Popnedea, a prolific and successful author of almanacs, historical novels and adventure novels. Later, his approach to Realism was also inspired by his reading of Gustave Flaubert and especially Nikolai Gogol. Both Sadoveanu and Gane were also indirectly influenced by Wilhelm von Kotzebue, the 19th century Imperial Russian diplomat and author of the Romanian-themed story Laskar Vioresku. In Vianu's assessment, Sadoveanu's work signified an artistic revolution within the local Realist school, comparable to the adoption of perspective by the visual artists of the Renaissance. Mihail Sadoveanu's interest in the rural world and his views on tradition were subjects of debate among the modernists. The modernist doyen Eugen Lovinescu, who envisaged an urban literature in tune with European tendencies, was one of Sadoveanu's most notorious critics. However, Sadoveanu was well received by Lovinescu's adversaries within the modernist camp: Perpessicius and Contimporanul editor Ion Vinea, the latter of whom, in search for literary authenticity, believed in bridging the gap between the avant-garde and folk culture. This opinion was shared by Swedish literary historian Tom Sandqvist, who sees Sadoveanu's main point of contact with modernism was his interest in the pagan elements and occasional absurdist streaks of local folklore. In the larger dispute about national specificity, and partly in response to Vinea's claim, modernist poet and essayist Benjamin Fondane argued that, as a sign Romanian culture was tributary to those it had come into contact with, "Sadoveanu's soul can be easily reduced to the Slavic soul". Characteristics Sadoveanu's personality and experience played a major part in shaping his literary style. After his 1901 marriage, Mihail Sadoveanu adopted what Călinescu deemed "patriarchal" lifestyle. The literary historian noted that he took a personal interest in educating his many children, and that this also implied "making use of a whip". An Epicurean, the writer was a homemaker, an avid hunter and fisherman, and a chess aficionado. Recognized, like his epigramist colleague Păstorel Teodoreanu, as a man of refined culinary tastes, Sadoveanu cherished Romanian cuisine and Romanian wine. The lifestyle choices were akin to his literary interests: alongside the secluded and rudimentary existence of his main characters (connected by Călinescu with the writer's supposed longing for "regressions to the patriarchal times"), Sadoveanu's work is noted for its imagery of primitive abundance, and in particular for its lavish depictions of ritualistic feasts, hunting parties and fishing trips. Călinescu opined that the value of such descriptions within individual narratives grew with time, and that the author, once he had discarded lyricism, used them as "a means for the senses to enjoy the fleshes and the forms that nature offers man." He added that Sadoveanu's aesthetics could be said to recall the art of the Golden Age in Holland: "One could almost say that Sadoveanu rebuilds in present day Moldavia [...] the Holland of wine jugs and kitchen tables covered in venison and fish." Vianu also argued that Sadoveanu never abandoned himself to purely aesthetic descriptions, and that, although often depicted with Impressionistic means, nature is assigned a specific if discreet role within the plot lines, or serves to render a structure. The traditionalist Garabet Ibrăileanu, referring to Sadoveanu's poetic nature writing, even declared it to have "surpassed nature." At the other end, the modernist Eugen Lovinescu specifically objected to Sadoveanu's depiction of a primordial landscape, arguing that, despite adopting Realism, his rival was indebted to Romanticism and subjectivity. Lovinescu's attitude, critic Ion Simuț notes, was partly justified by the fact that Sadoveanu never truly parted with the traditionalism of Sămănătorul. In 1962, Time also commented that his style was "curiously dated" and recalled not Sadoveanu's generation, but that of Leo Tolstoy and Ivan Turgenev, "although he has nothing like the power or skill of any of them." For Călinescu and Vianu too, Sadoveanu is a creator with seemingly Romantic tastes, which recall those of François-René de Chateaubriand. Unlike Lovinescu, Vianu saw these traits as "not at all detrimental to the balance of [Sadoveanu's] art." Seen by literary critic Ioan Stanomir as marked by "volubility", and thus contrasting with his famously taciturn and seemingly embittered nature, the form of Romanian used by Mihail Sadoveanu, particularly in his historical novels, was noted for both its use of archaisms and the inventive approach to the Romanian lexis. Often borrowing plot lines and means of expression from medieval and early modern Moldavian chroniclers such as Ion Neculce and Miron Costin, the author creatively intercalates several local dialects and registers of speech, moving away from a mere imitation of the historical language. Generally third-person narratives, his books often make little or no dialectal difference between the speech used by the story-teller and the character's voices. According to Călinescu, Sadoveanu displays "an enormous capacity of authentic speech", similar to that of Caragiale and Ion Creangă. The writer himself recorded his fascination with the "eloquence" of rudimentary orality, and in particular with the speech of Rudari Roma he encountered during his travels. Building on observations made by several critics, who generally praised the poetic qualities of Sadoveanu's prose, Crohmălniceanu spoke in detail about the Moldavian novelist's role in reshaping the literary language. This particular contribution was first described early in the 20th century, when Sadoveanu was acclaimed by Titu Maiorescu for having adapted his writing style to the social environment and the circumstances of his narratives. Vianu however notes that Sadoveanu's late writings tend to leave more room for neologisms, mostly present in those parts where the narrator's voice takes distance from the plot. Another unifying element in Sadoveanu's creation is his recourse to literary types. As early as 1904, Maiorescu praised the young raconteur for accurately depicting characters in everyday life and settings. Tudor Vianu stressed that, unlike most of his Realist predecessors, Sadoveanu introduced an overtly sympathetic view of the peasant character, as "a higher type of human, a heroic human". He added: "Simple, in the sense that they are moved by a few devices [which] coincide with the fundamental instincts of mankind, [they] are, in general, mysterious." In this line, Sadoveanu also creates images of folk sages, whose views on life are of a Humanist nature, and often depicted in contrast with the rationalist tenets of Western culture. Commenting on this aspect, Sadoveanu's friend George Topîrceanu believed that Sadoveanu's work transcended the "more intellectual [and] more artificial" notion of "types", and that "he creates [...] humans." The main topic of his subsequent work, Sandqvist argues, was "an archaic world where the farmers and the landlords were free men with equal rights" (or, according to Simuț, "a utopia of archaic heroism"). Thus, Călinescu stresses, Sadoveanu's work seems to be the monolithic creation through which "a single man" reflects "a single, universal nature, inhabited by a single type of man", and which echoes a similar vision of archaic completeness as found in the literature of poet Mihai Eminescu. The similarity in vision with Eminescu's "nostalgia, return, protest, demand, aspiration toward a [rural] world [he has] left" was also proposed by Vianu, while Topîrceanu spoke of "the paradoxical discovery that [Sadoveanu] is our greatest poet since Eminescu." Mihail Sadoveanu also shaped his traditionalist views on literature by investigating Romanian folklore, which he recommended as a source of inspiration to his fellow writers during his 1923 speech at the Romanian Academy. In Călinescu's view, Sadoveanu's outlook on life was even mirrored in his physical aspect, his "large body, voluminous head, his measured shepherd-like gestures, his affluent but prudent and monologic speech [and] feral indifference; his eyes [...] of an unknown race." His assessment of the writer as an archaic figure, bluntly stated in a 1930 article ("I believe him to be very uncultured"), was contrasted by other literary historians: Alexandru Paleologu described Sadoveanu as a prominent intellectual figure, while his own private notes show that he was well-read and acquainted with the literatures of many countries. Often seen as a spontaneous writer, Sadoveanu nevertheless took pains to elaborate his plots and research historical context, keeping most records of his investigations confined to his diaries. Debut The writer's debut novel, Povestiri, was celebrated for its accomplished style, featuring early drafts of all themes he developed upon later in life. However, Călinescu argued, some of the stories in the volume were still "awkward", and showed that Sadoveanu had problems in outlining epics. The pieces mainly feature episodes in the lives of boyars (members of Moldavia's medieval aristocracy), showing the ways in which they relate to each other, to their servants, and to their country. In one of the stories, titled Cântecul de dragoste ("The Love Song"), Sadoveanu touches on the issue of slavery, depicting the death of a Rom slave who is killed by his jealous master, while in Răzbunarea lui Nour ("Nour's Revenge"), a boyar refuses to make his peace with God until his son's death is avenged. Other fragments deal solely with the isolated existence of villagers: for example, in Într-un sat odată ("Once, in a Village"), a mysterious man dies in a Moldavian hamlet, and the locals, unable to discover his identity, sell his horse. The prose piece Năluca ("The Apparition") centers on the conjugal conflict between two old people, both of whom attempt to hide the shame of their past. George Călinescu notes that, particularly in Năluca, Sadoveanu begins to explore the staple technique of his literary contributions, which involves "suggesting the smolder of passions [through] a contemplative breath in which he evokes a static element: landscapes or set pieces from nature." Sadoveanu's subsequent collection of short stories, Dureri înăbușite, builds on the latter technique and takes his work into the realm of social realism and naturalism (believed by Călinescu to have been borrowed from either the French writer Émile Zola or from the Romanian Alexandru Vlahuță). For Călinescu, this choice of style brought "damaging effects" on Sadoveanu's writings, and made Dureri înăbușite "perhaps the poorest" of his collections of stories. In Lovinescu's view, Sadoveanu's move toward naturalism did not imply the necessary recourse to objectivity. The pieces focus on dramatic moments of individual existences. In Lupul ("The Wolf"), an animal is chased and trapped by a group of peasants; the eponymous character in Ion Ursu leaves his village to become a proletarian, and succumbs to alcoholism; the indentured laborer in Sluga ("The Servant") is unable to take revenge on his cruel employer at the right moment; in Doi feciori ("Two Sons"), a boyar comes to feel affection for his illegitimate son, whom he has nonetheless reduced to a lowly condition. In 1905, Sadoveanu also published Povestiri din război ("Stories from the War"), which compose scenes from the lives of Romanian soldiers fighting in the War of 1878. Objecting to a series of exaggerations in the book, Time nevertheless noted that Sadoveanu "sometimes had the writing skill to make compelling even quite traditional reactions to old-fashioned war". It concluded: "Sadoveanu's sketches have the virtues—and the vices—of old hunting prints and the romantically mannered battle scenes of the 19th century." Early selections of major themes Sadoveanu renounces this grim perspective on life in his volume Crâșma lui Moș Petcu, where he returns to a depiction of rural life as unchanged by outside factors. Petcu's establishment, located on the Moldova Valley, is a serene place, visited by quiet and subdued customers, whose occasional outburst of violence are, according to Călinescu, "dominated by slow, stereotypical mechanics, as is with people who can only accommodate within them a single drama." The literary critic celebrated Crâșma lui Moș Petcu for its depictions of nature, whose purpose is to evoke "the indifferent eternity" of conflicts between the protagonists, and who, at times, relies "on a vast richness of sounds and words." He did however reproach the writer "a certain monotony", arguing that Sadoveanu came to use such techniques in virtually all his later works. However, Sadoveanu's stories of the period often returned to a naturalistic perspective, particularly in a series of sketch stories and novellas which portray the modest lives of Romanian Railways employees, of young men drafted into the Romanian Land Forces, of Bovaryist women who playfully seduce adolescents, or of the provincial petite bourgeoisie. At times, they confront the morals of barely literate people with the stern authorities: a peasant obstinately believes that the 1859 union between Wallachia and Moldavia was meant to ensure the supremacy of his class; a young lower-class woman becomes the love interest of a boyar but chooses a life of freedom; and a Rom deserts from the Army after being told to bathe. In La noi, la Viișoara ("At Our Place in Viișoara"), the life of an old man degenerates into bigotry and avarice, to the point where he makes his wife starve to death. Sadoveanu's positive portrayal of hajduks as fundamentally honest outlaws standing up to feudal injustice, replicates stereotypes found in Romanian folklore, and is mostly present in some of the stories through (sometimes recurrent) heroic characters: Vasile the Great, Cozma Răcoare, Liță Florea etc. In the piece titled Bordeenii (roughly, "The Mud-hut Dwellers"), he shows eccentrics and misanthropes presided upon by the dark figure of Sandu Faliboga, brigands who flee all public authority and whom commentators have likened to settlers of the Americas. Lepădatu, an unwanted child, speaks for the entire group: "What could I do [...] wherever there are big fairs and lots of people? I'd have a better time with the cattle; it is with them that I have grown up and with them that I get along." Romanticizing the obscure events of early medieval history in Vremuri de bejenie ("Roving Times", 1907), Sadoveanu sketches the improvised self-defense of a refugee community, their last stand against nomadic Tatars. In reference to the stories in this series, Călinescu stresses that Sadoveanu's main interest is in depicting men and women cut away from civilization, who view the elements of Westernization with nothing more than "wonderment": "Sadoveanu's literature is the highest expression of the savage instinct." In later works, the critic believed, Sadoveanu moved away from depicting isolation as the escape of primitives into their manageable world, but as "the refinement of souls whom civilization has upset." These views are echoed by Ovid Crohmălniceanu, who believes that, unlike other Romanian Realists, Sadoveanu was able to show a peasant society that was not merely the prey of modern corruption or historical oppression, but rather refusing all contacts with the wider world—even to the point of Luddite-like hostility in front of new objects. Some of the early stories, Crohmălniceanu argues, do follow the moralizing Sămănătorist pattern, but part with it when they refuse to present the countryside in "idyllic" fashion, or when they adopt a specific "mythical realism". Sadoveanu began his career as a novelist with more in-depth explorations into subjects present in his stories and novellas. At the time, Crohmălniceanu stresses, he was being influenced by the naturalism of Caragiale (minus the comedic effect), and by his own experience growing up in characteristically underdeveloped Moldavian cities and târguri (somewhat similar to the aesthetic of boredom, adopted in poetry by George Bacovia, Demostene Botez or Benjamin Fondane). Among his first works of the kind is Floare ofilită ("Wizened Flower"), where a simple girl, Tincuța, marries a provincial civil servant, and finds herself deeply unhappy and unable to enrich her life on any level. Tincuța, seen by Călinescu as one of Sadoveanu's "savage" characters, only maintains urban refinement when persuading her husband to return for supper, but, according to Crohmălniceanu, is also a credible witness to the "small-mindedness" of "bourgeois" environments. A rather similar plot is built for Însemnările lui Neculai Manea ("The Recordings of Neculai Manea"), where the eponymous character, an educated peasant, experiences two unhappy romantic affairs before successfully courting a married woman who, although grossly uncultured, makes him happy. Apa morților ("The Dead Men's Water") is about a Bovaryist woman who discards lovers over imprecise feelings of dissatisfaction, finding refuge in the monotonous countryside. Călinescu noted that such novels were "usually less valuable than direct accounts", and deemed Însemnările lui Neculai Manea "without literary interest"; in Ovid Crohmălniceanu's view, the same story presents relevant detail on professional and intellectual failure. Praised by its commentators, the short novel Haia Sanis (1908) shows the eponymous character, a Jewish woman who throws herself into the arms of a local Gentile, although she knows him to be a seducer. Călinescu, who wrote with admiration about how the subject dissimulated pathos into "technical indifference", notes that the erotic rage motivating Haia has drawn "well justified" comparisons with Jean Racine's tragedy Phèdre. Crohmălniceanu believes Haia Sanis to be "perhaps [Sadoveanu's] best novella", particularly since the "wild beauty" Haia has to overcome at once antisemitism, endogamy and shame, before dying "in terrible pain" during a botched abortion. Sadoveanu's work of the time also includes Balta liniștii ("Tranquillity Pond"), where Alexandrina, pushed into an arranged marriage, has a belated and sad revelation of true love. In other sketch stories, such as O zi ca altele ("A Day like Any Other") or Câinele ("The Dog"), Sadoveanu follows Caragiale's close study of suburban banality. Hanu Ancuței, Șoimii and Neamul Șoimăreștilor The novella Hanu Ancuței ("Ancuța's Inn"), described by George Călinescu as a "masterpiece of the jovial idyllicism and barbarian subtlety", and by Z. Ornea as the first evidence of Sadoveanu's "new age", is a frame story in the line of medieval allegories such as Giovanni Boccaccio's Decameron and Geoffrey Chaucer's Canterbury Tales. It retells the stories of travelers meeting in the eponymous inn. Much of the story deals with statements of culinary tastes and shared recipes, as well as with the overall contrast between civilization and rudimentary ways: in one episode of the book, a merchant arriving from the Leipzig Trade Fair bemuses the other protagonists when he explains the more frugal ways and the technical innovations of Western Europe. Sadoveanu applied the same narrative technique in his Soarele în baltă ("The Sun in the Waterhole"), which, Călinescu argues, displays "a trickier style." In Șoimii, Sadoveanu's first historical novel, the main character is Nicoară Potcoavă, a late 16th-century Moldavian nobleman who became Hetman of the Zaporozhian Cossacks and Prince of Moldavia. The narrative, whose basic lines had been drawn by Sadoveanu in his adolescent years, focuses on early events in Nicoară's life, building on the story according to which he and his brother Alexandru were the brothers of Prince Ioan Vodă cel Cumplit, whose execution by the Ottomans they tried to avenge. The text also follows their attempt to seize and kill Ieremia Golia, a boyar whose alleged betrayal had led to Prince Ioan's capture, and whose daughter Ilinca becomes the brothers' prisoner. This story as well features several episodes where the focus is on depicting customary feasts, as well as a fragment where the Potcoavăs and their Zaporozhian Cossack allies engage in binge drinking. Glossing over several years in Nicoară's life, and culminating in his seizure of the throne, the narrative shows his victory against pretender Petru Șchiopul and Golia, and the price he has to pay for his rise. Alexandru, who falls in love with Ilinca, unsuccessfully asks for the captured Golia not to be killed. Following the murder, both brothers become embittered and renounce power. Călinescu described Șoimii novel as "still awkward", noting that Sadoveanu was only beginning to experiment with the genre. The 1915 Neamul Șoimăreștilor is a Bildungsroman centered on the coming of age of one Tudor Șoimaru. The protagonist, born a free peasant in Orhei area, fights alongside Ștefan Tomșa in the 1612 battles to capture the Moldavian throne. After participating in the capture of Iași, he returns home and helps local boyar Stroie in recovering his daughter, Magda, who had been kidnapped by Cossacks. Șoimaru, who feels for Magda, is however enraged by news that her father has forced his community into serfdom. Trying to deal with his internal conflict, he travels into Poland–Lithuania, where he discovers that Stroie is plotting against Tomșa, while Magda, who is in love with a szlachta nobleman, scorns his affection. He returns a second time to Orhei, marries into his social group, and plots revenge on Stroie by again rallying with Ștefan Tomșa. Following Tomșa's defeat, he again loses the lands of his ancestors, as Stroie returns home to celebrate his victory and have the Șoimarus put to death. Unexpectedly warned of this by Magda, Tudor manages to turn the tide: he and his family destroy Stroie's manor, killing the master but allowing Magda to escape unharmed. In Călinescu's view, the novel is "somewhat more consistent from an epic perspective", but fails to respect the conventions of the adventure novel it sets out to replicate. The critic, who deemed Magda's courtship by Tudor "sentimental", argued that the book lacks "the richness and unpredictable nature of the love intrigue"; he also objected to the depiction of Tudor as indecisive and inadequate for a heroic role. However, Ovid Crohmălniceanu argued that the suddenness of Tudor's sentimental commitments was characteristic for the "peasant soul" as observed by Sadoveanu. Zodia Cancerului and Nunta Domniței Ruxandra Zodia Cancerului, Sadoveanu's later historical novel, is set late in the 17th century, during the third rule of Moldavian Prince Gheorghe Duca, and is seen by Călinescu as "of a superior artistic level." The plot centers on a conflict between Duca and the Ruset boyars: the young Alecu Ruset, son of the deposed Prince Antonie, is spared persecution on account of his good relations with the Ottomans, but has to live under close watch. Himself a tormented, if cultured and refined, man, Alecu falls in love with Duca's daughter Catrina, whom he attempts to kidnap. The episode, set to coincide with the start of a major social crisis, ends with Alecu's defeat and killing on Duca's orders. In the background, the story depicts the visit of an Abbé de Marenne, a Roman Catholic priest and French envoy, who meets and befriends Ruset. Their encounter is another opportunity for Sadoveanu to show the amiable but incomplete exchange between the mentalities of Western and Eastern Europe. In various episodes of the novel, de Marenne shows himself perplexed by the omnipresent wilderness of underpopulated Moldavia, and in particular by the abundance of resources this provides. In one paragraph, seen by George Călinescu as a key to the book, Sadoveanu writes: "[De Marenne's] curious eye was permanently satisfied. Here was a desolation of solitudes, one that his friends in France could not even guess existed, no matter how much imagination they had been gifted with; for at the antipode of civilization one occasionally finds such things that have remained unchanged from the onset of creation, preserving their mysterious beauty." In a shorter novel of the period, Sadoveanu explored the late years of Vasile Lupu's rule over Moldavia, centering on the marriage of Cossack leader Tymofiy Khmelnytsky and Lupu's daughter, Ruxandra. Titled Nunta Domniței Ruxandra ("Princess Ruxandra's Wedding"), it shows the Cossacks' brutal celebration of the event around the court in Iași, depicting Tymofiy himself as an uncouth, violent and withdrawn figure. The narrative then focuses on the Battle of Finta and the siege of Suceava, through which a Wallachian-Transylvanian force repelled the Moldo-Cossack forces and, turning the tide, entered deep into Moldavia and placed Gheorghe Ștefan on the throne. Sadoveanu also invents a love story between Ruxandra and the boyar Bogdan, whose rivalry with Tymofiy ends in the latter's killing. While Călinescu criticized the plot as being over-detailed, and the character studies as incomplete, Crohmălniceanu found the intricate depiction of boyar customs to be a relevant part of Sadoveanu's "vast historical fresco." In both Zodia Cancerului and Nunta Domniței Ruxandra, the author took significant liberties with the historical facts. In addition to Tymofiy's death at the hands of Bogdan, the latter narrative used invented or incorrect names for some of the personages, and portrays the muscular, mustachioed, Gheorghe Ștefan as thin and bearded; likewise, in Zodia Cancerului, Sadoveanu invents the character Guido Celesti, who stands in for the actual Franciscan leader of Duca's Iași, Bariona da Monte Rotondo. Frații Jderi, Venea o moară pe Siret... and Baltagul With Frații Jderi, Sadoveanu's fresco of Moldavian history maintains its setting, but moves back in time to the 15th century rule of Prince Stephen the Great. Writing in 1941, before its final part was in print, Călinescu argued that the novel was part of Sadoveanu's "most valuable work", and noted "the maturity of its verbal means." In the first volume, titled Ucenicia lui Ionuț ("Ionuț's Apprenticeship"), the eponymous Jderi brothers, allies of Stephen and friends of his son Alexandru, fight off the enemies of their lord on several occasions. In what is the start of a Bildungsroman, the youngest Jder, Ionuț Păr-Negru, consumed by love for Lady Nasta, who was kidnapped by Tatars. He goes to her rescue, only to find out that she had preferred suicide to a life of slavery. Călinescu, who believed the volumes show Sadoveanu's move to the consecrated elements of adventure novels, called them "remarkable", but stressed that the narrative could render "the feeling of stumbling, of a languishing flow", and that the dénouement was "rather depressing". The second book in the series (Izvorul alb, "The White Water Spring") intertwines the life of the Jderi brothers with that of Stephen's family: the ruler weds the Byzantine princess Mary of Mangop, while Simion Jder falls for Marușca, who is supposedly Stephen's illegitimate daughter. The major episodes in the narrative are Marușca's kidnapping by a boyar, her captivity in Jagiellon Poland, and her rescue at the hands of the Jderi. The 1942 conclusion of the cycle, Oamenii Măriei-sale ("His Lordship's Men"), the brothers are shown defending their ancestral rights and their lord against the Ottoman invader and ambivalent boyars, and crushing the former at the Battle of Vaslui. The Jderi books, again set to the background of primitivism and natural abundance, also feature episodes of intense horror. These, Călinescu proposes, are willingly depicted "with an indolent complacency", as if to underline that the slow pace and monumental scale of history give little importance to personal tragedies. The same commentator notes a difference between the role nature plays in the first and second volumes: from serene, the landscape becomes hostile, and people are shown fearing earthquakes and droughts, although contemplative depictions of euphoria play a central part in both writings. The meeting between the wider world and the immobile local tradition surfaces in Frații Jderi as well: a messenger is shown wondering how the letter he brought could talk to the addressee; when she is supposed to encounter strange men, Marușca requests to be allowed to "shy away" in another room; a secondary character, claiming precognition, prepares his own funeral. For the 1925 Venea o moară pe Siret..., Sadoveanu received much critical acclaim. The boyar Alexandru Filotti falls in love with a miller's daughter, Anuța, whom he educates and introduces to high society. The beautiful young lady is also courted by Filotti's son Costi and by the peasant Vasile Brebu—in the end, overwhelmed by jealousy, Brebu kills the object of his affection. George Călinescu writes that the good reception was not fully deserved, claiming that the novel is "colorless", that it was merely based on the writer's early stories, and that it failed in its goal of depicting "crumbling boyardom". In Baltagul (1930), Sadoveanu merged psychological techniques and a pretext borrowed from crime fiction with several of his major themes. Written in just 30 days on the basis of previous drafts, the condensed novel shows Vitoria Lipan, the widow of a murdered shepherd, following in her husband's tracks to discover his killer and avenge his death. Accompanied by her son, and using for a guide the shepherd's dog, Vitoria discovers both the body and the murderer, but, before she can take revenge, her dog jumps on the man and bites into his neck. By means of this plot line, Sadoveanu also builds a fresco of transhumance and traces its ancestral paths, taking as a source of inspiration one of the best-known poems in local folklore, the ballad Miorița. Vitoria's sheer determination is the central aspect of the volume. Călinescu, who ranks the book among Sadoveanu's best, praises its "remarkable artistry" and "unforgettable dialogues", but nonetheless writes that Lipan's "detective-like" search and a "stubbornness" are weak points in the narrative. Crohmălniceanu declares Baltagul one of the "capital works" in world literature, proposing that, on its own, it manages to reconstruct "an entire shepherding civilization"; Cornis-Pope, who rates the book as "Sadoveanu's masterpiece", also notes that it "restated the theme of crime and punishment". Main travel writings and memoirs Before the 1940s, Sadoveanu also became known as a travel writer. His contributions notably include accounts of his hunting trips: Țara de dincolo de negură ("The Land beyond the Fog"), and one dedicated to the region of Dobruja (Priveliști dobrogene, "Dobrujan Sights"). Călinescu wrote that they both comprised "pages of great beauty". Țara de dincolo..., primarily showing recluse men in real-life symbiosis with the wilderness, also attention for its sympathetic depiction of the Hutsuls, a minority Slavic-speaking population, as an ancient tribe threatened by cultural assimilation. Sadoveanu's other travelogues include the reportage Oameni și locuri ("People and Places") and an account of his trips into Bessarabia (Drumuri basarabene, "Bessarabian Roads"). He also collected and commented upon the memoirs of other avid hunters (Istorisiri de vânătoare, "Hunting Stories"). A noted writing in this series was Împărăția apelor ("The Realm of Waters"). It forms a detailed and contemplative memoir of his journeys as a fisherman, and, according to Crohmălniceanu, one of the most eloquent proofs of Sadoveanu's "permanent and intimate correspondence with nature." Călinescu saw the text as a "fantastic vision of the entire aquatic universe", merging a form of pessimism similar to Arthur Schopenhauer's with a "calm kief" (cannabis-induced torpor), and as such illustrating "the great joy of participating in the transformations of matter, of eating and allowing oneself to be eaten." Sadoveanu also contributed an account of his travels into the Netherlands, Olanda ("Holland"). It provides insight into his preoccupation with the meeting of civilization and wilderness: upset by what he called "the [Dutch] rampancy of cleanliness", the writer confesses his perplexity at coming face to face with a contained and structured natural world, and details his own temptation to go "against the current". One of Sadoveanu's main conclusions is that Holland lacks in "true and lively wonders". Sadoveanu also sporadically wrote memoirs of his early life career, such as Însemnări ieșene ("Recordings from Iași"), which deals with the period during which he worked for Viața Românească, a book about the Second Balkan War (44 de zile în Bulgaria, "44 Days in Bulgaria"), and the account of years in primary school, Domnu Trandafir. They were followed in 1944 by Anii de ucenicie ("The Apprenticeship Years"), where Sadoveanu details some of his earliest experiences. Despite his temptation for destroying all raw personal notes, Sadoveanu wrote and kept a large number of diaries, which were never published in his lifetime. Other early writings Also during that time, he retold and prefaced the journeys of Thomas Witlam Atkinson, an English architect and stonemason who spent years in Tartary (a book he titled Cuibul invaziilor, "The Nest of Invasions"). This was evidence of his growing interest in exotic subjects, which he later adapted to a series of novels, where the setting is "Scythia", seen as an ancestral area of culture connecting Central Asia with the European region of Dacia (partly coinciding with present-day Romania). The home of mysterious Asiatic peoples, Sadoveanu's Scythia is notably the background to his novels Uvar and Nopțile de Sânziene. The former shows its eponymous character, a Yakut, exposed to the scrutiny of a Russian officer. In the latter, titled after the ancestral celebration of Sânziene during the month of June, shows a French intellectual meeting a nomadic tribe of Moldavian Rom people, who, the reader learns, are actually the descendants of Pechenegs. Călinescu notes that, in such writings, "the intrigue is a pretext", again serving to depict the vast wilderness confronted with the keen eye of foreign observers. He sees Nopțile de Sânziene as "the novel of millenarian immobility", and its theme as one of mythological proportions. The narrative pretexts, including the Sânziene celebration and the Rom people's social atavism, connect Nopțile... with another one of Sadoveanu's writings, 24 iunie ("June 24"). According to Tudor Vianu, the 1933 fantasy novel Creanga de aur ("The Golden Bow") takes partial inspiration from Byzantine literature, and is evidence of a form of Humanism found in Eastern philosophy. Marcel Cornis-Pope places it among Sadoveanu's "mythic-poetic narratives that explored the ontology and symbolics of history." The writer himself acknowledged that the esoteric nature of the book was inspired by his own affiliation to the Freemasonry, whose symbolism it partly reflected. Its protagonist, Kesarion Brebu, is included by Vianu among the images of sages and soothsayers in Mihail Sadoveanu's fiction, and, as "the last Deceneus", is a treasurer of ancient secret sciences mastered by the Dacians and the Ancient Egyptians. The novel is often interpreted as Sadoveanu's perspective on the Dacian contribution to Romanian culture. Sadoveanu's series of minor novels and stories of the interwar years also comprises a set of usually urban-themed writings, which, Călinescu argues, resemble the works of Honoré de Balzac, but develop into "regressive" texts with "a lyrical intrigue". They include Duduia Margareta ("Miss Margareta"), where a conflict occurs between a young woman and her governess, and Locul unde nu s-a întâmplat nimic ("The Place Where Nothing Happened"), where, in what is a retake on his own Apa morților, Sadoveanu depicts the cultured but bored boyar Lai Cantacuzin and his growing affection for a modest young woman, Daria Mazu. In Cazul Eugeniței Costea ("The Case of Eugenița Costea"), a civil servant kills himself to avoid prosecution, and his end is replicated by that of his daughter, brought to despair by her stepfather's character and by her mother's irrational jealousy. Demonul tinereții ("The Demon of Youth"), believed by Călinescu to be "the most charming" in this series, has for its protagonist Natanail, a university dropout who has developed a morbid fear of women since losing the love of his life, and who lives in seclusion as a monk. In the rural-themed Paștele blajinilor ("Thomas Sunday") of 1935, a defeated brigand seeks a dignified end to his wasted life. Written in 1938, the short story Ochi de urs ("Bear's Eye") introduces its hero Culi Ursake, the toughened hunter, into a bizarre scenery that seems to mock a human's understanding. During the period, Mihail Sadoveanu also wrote children's literature. His most significant pieces in this field are Dumbrava minunată ("The Enchanted Grove", 1926), Măria-sa Puiul Pădurii ("His Highness the Forest Boy", 1931), and a collection of stories adapted from Persian literature (Divanul persian, "The Persian Divan", 1940). Măria-sa Puiul Pădurii is itself an adaptation of the Geneviève de Brabant story, considered "somewhat highbrow" by George Călinescu, while the frame story Divanul persian consciously recalls the work of 19th century Wallachian writer Anton Pann. In 1909, Sadoveanu also published adapted version of two ancient writings: the Alexander Romance (as Alexandria) and Aesop's Fables (as Esopia). His 1921 book Cocostârcul albastru ("The Blue Crane") is a series of short stories with lyrical themes. Among his early writings are two biographical novels which retell historical events from the source, Viața lui Ștefan cel Mare ("The Life of Stephen the Great") and Lacrimile ieromonahului Veniamin ("The Tears of Veniamin the Hieromonk"), both of which, Călinescu objected, lacked in originality. The former, published in 1934, was more noted among critics, for both intimate tone and hagiographic character (recounting Stephen's life on the model of saints' biographies). Socialist realism years Despite the post-1944 change in approach, Sadoveanu's characteristic narrative style remained largely unmodified. In contrast, his choice of themes changed, a transition which reflected political imperatives. At the end of the process, literary historian Ana Selejan argues, Sadoveanu became the most influential prose author among Romanian Socialist realists, equaled only by the younger Petru Dumitriu. Historian Bogdan Ivașcu writes that Sadoveanu's affiliation with "proletarian culture" and "its masquerade", like that of Tudor Arghezi and George Călinescu, although it may have been intended to rally "prestige and depth" to Socialist realism, only succeeded in bring their late works to the level of "propaganda and agitation materials." In contrast to these retrospective assessments, communist literary critics and cultural promoters of the 1950s regularly described Sadoveanu as the model to follow, both before and after Georgy Malenkov's views on culture were adopted as the norm. In his Lumina vine de la Răsărit, the writer built on the opposition between light and darkness, identifying the former with Soviet policies and the latter with capitalism. Sadoveanu thus spoke of "the dragon of my own doubts" being vanquished by "the Sun of the East". Historian Adrian Cioroianu notes that this literary antithesis came to be widely used by various Romanian authors who rallied with Stalinism during the late 1940s, citing among these Cezar Petrescu and the former avant-garde writer Sașa Pană. He also notes that such imagery, accompanied by portrayals of Soviet joy and abundance, replicated an ancient "structure of myth", adapting it to a new ideology on the basis of "what could be imagined, not of what could be believed." Ioan Stanomir writes that Sadoveanu and his fellow ARLUS members use a discourse recalling the theme of a religious conversion, analogous to that of Paul the Apostle (see Road to Damascus), and critic Cornel Ungureanu stresses that Sadoveanu's texts of the period frequently quote the Bible. Following his return from the Soviet Union, Sadoveanu published travelogues and reportage piece, including the 1945 Moscova ("Moscow", co-authored with Traian Săvulescu and economist Mitiță Constantinescu) and the 1946 Caleidoscop ("Kaleidoscope"). In one of these accounts, he details his encounter with Lysenkoist agronomist Nikolay Tsistsin, and claims to have tasted bread made from a brand of wheat which yielded 4,000 kilograms of grain per hectare. In a later memoir, Sadoveanu depicted his existence and the destiny of his country as improved by the communist system, and gave accounts of his renewed journeys in the countryside, where he claimed to have witnessed a "spiritual splendor" supported by "the practice of the new times". He would follow up with hundreds of articles on various subjects, published by the communist press, including two 1953 pieces in which he lamented Stalin's death (one of them referred to the Soviet leader as "the great genius of progressive mankind"). Upon its publication, the political novel Mitrea Cocor, which depicts the hardships and eventual triumph of its eponymous peasant protagonist, was officially described as the first Socialist realist writing in local literature, and as a turning point in literary history. Often compared to Dan Deșliu's ideologized poem Lazăr de la Rusca, it is remembered as a controversial epic dictated by ideological requirements, and argued to have been written with assistance from several other authors. Seen by historiographer Lucian Boia as an "embarrassing literary fabrication", it was rated by literary critics Dan C. Mihăilescu and Luminița Marcu both as one of "the most harmful books in Romanian literature", and by historian Ioan Lăcustă as "a propaganda writing, a failure from a literary point of view". A praise of collectivization policies that some critics believe was a testimony that Sadoveanu was submitting himself and imposing his public to brainwashing, Mitrea Cocor was preceded by Păuna-Mică, a novel which also idealizes collective farming. With his final published work, the 1951-1952 novel Nicoară Potcoavă, Sadoveanu retells the narrative of his Șoimii, modifying the plot and adding new characters. Noted among the latter is Olimbiada, a female soothsayer and healer through whose words Sadoveanu again dispenses his own perspective on human existence. The focus of the narrative is also changed: from the avenger of his brother's death in Șoimii, the pretender becomes a purveyor of folk identity, aiming to reestablish the Moldavia of Stephen the Great's times. Praised early on by Dumitriu, who believed it was proof of "artistic excellence", Nicoară Potcoavă is itself seen as a source for communist-inspired political messages. According to Cornel Ungureanu, this explains why it highlights the brotherhood between Cossacks and Moldavians, supposedly replicating the official view on Soviet-Romanian relations. Cornis-Pope, who considers the novel one of Sadoveanu's "mere variations" on old subjects, suggests that it transforms its protagonist "from medieval fighter into political philosopher who announces the rise of a 'new world'." Victor Frunză also notes that, although Sadoveanu returned to old subjects, he "no longer rises to the level he had reached before the war." The final part of Sadoveanu's creation also comprises a series of pieces where the narrative approach was, according to Crohmălniceanu, "corrected" to show his favorite recluse type won over by the new society. In essence, Ungureanu argues, the new style that of "reportage and plain information, adapted to orders coming from above". Such works include the 1951 Nada Florilor ("The Flowers' Lure") and Clonț-de-fier ("Iron Bucktooth"), alongside an unfinished piece, Cântecul mioarei ("Song of the Ewe"). In Nada..., the peasant boy Culai follows his hero, tinsmith Alecuțu, into factory life. Clonț-de-fier, an ideologized retake on Demonul tinereții, is about a monk returning from seclusion into the world of workers, where the landscape is reshaped by large-scale construction works. According to Ungureanu, it also shows Sadoveanu's universe stripped of "all its deep meanings." While their author came to personify the new cultural guidelines, Sadoveanu's previous books, from Frații Jderi to Baltagul, were subject to communist censorship. Various statements contradicting the ideological guidelines were cut out of new editions: the books in general could no longer include mentions of Bessarabia (a region first incorporated into the Soviet Union by a 1940 occupation) or Romanian Orthodox beliefs. In one such instance, censors of Baltagul removed a character's claim that "the Russian" was by nature "the drunkest of them all, [...] a worthy beggar and singer at the fairs." Politics Nationalism and Humanism Sadoveanu's engagement in politics was marked by abrupt changes in convictions, seeing him move from right- to left-wing stances several times in his life. In close connection with his traditionalist views on literature, but in contrast to his career under a Conservative Party and National Liberal cabinets, Sadoveanu initially rallied with nationalist groups of various hues, associating with both Nicolae Iorga and, in 1906, with the left-wing Poporanists at Viața Românească. An early cause of his was his attempt to reconcile Iorga with the Poporanists, but his efforts were largely fruitless. In the 1910s, the anti-Iorga traditionalist Ilarie Chendi recognized in Sadoveanu one of the Poporanists who promoted "the spiritual healing of our people through culture." Around that time, he formulated a ruralist and nationalist perspective on life, rejecting what he deemed "the hybrid urban world" for "the world of our national realities". In Călinescu's analysis, this signifies that, like his predecessor, the conservative Eminescu, Sadoveanu believed the cities were victims of the "superimposed category" of foreigners, in particular those administrating leasehold estates. Following the 1907 Peasants' Revolt, Sadoveanu sent a report to his Minister of Education Spiru Haret, informing him on the state of rural education, and, beyond this, of the problems faced by villagers in Moldavia. It read: "The leaseholders and landowners, no matter what their nationality, make a mockery of the Romanians' labors. Every surtucar [that is, urbanized character] in the village, mayors, notaries, paper-pushers, shamelessly [and] mercilessly milk this milk cow. They are joined by the priest—who [...] is in disagreement with the teacher." With Neamul Șoimăreștilor, the burdens of feudal society and mercantilism, most of all the restriction of economic rights, were becoming a background theme in his fiction, which later depicted Stephen the Great as the original champion of social justice (Frații Jderi). During most of his World War I activity, Sadoveanu also followed the Poporanists' Russophobia and dislike of the Entente side, describing the Russian Empire's national policies in Bessarabia as far more barbaric than Austria-Hungary's rule over Transylvania. In 1916, he abruptly switched to the Entente camp: his enthusiasm as propaganda officer was touched by controversy once Romania experienced massive defeats; Sadoveanu himself abandoned the Entente cause by 1918, when he was decommissioned, and resumed his flirtation with Constantin Stere's Germanophile lobby. Călinescu sees Sadoveanu, alongside Stere, as one of Viața Româneascăs chief ideologues, noting that he was nonetheless "rendered notorious by his inconsistency and opportunism." He writes that Sadoveanu and Stere both showed a resentment for ethnic minorities, particularly members of the Jewish community, whom they saw as agents of exploitation, but that, as Humanists, they had a form of "humane sympathy" for Jews and foreigners taken individually. The Poporanist aspect of Sadoveanu's literature was also highlighted by Garabet Ibrăileanu in the late 1920s, when he referred to his contributions as evidence that Romanian culture was successfully returning to its specific originality. In essence, Crohmălniceanu writes, Sadoveanu was tied to Viața Românească by his advocacy of national specificity, his preference for the large-scale narrative, and his vision of pristine, "natural", human beings. According to Z. Ornea, Sadoveanu's affiliation to the Freemasonry shaped not only his political "demophilia", but also his "Weltanschauung, and, through a reflex, his [literary] work." By consequence, Ornea argues, Sadoveanu became a supporter of democracy, a stance which led him into open conflict with extreme nationalists. Alongside its Humanism, Sadoveanu's nationalism was noted for being secular, and thus in contrast with the Romanian Orthodox imagery favored by nationalists on the far right. Sadoveanu rejected the notion that ancestral Romanians were religious individuals, stating that their belief was in fact "limited to rituals and customs." He was also a vocal supporter of international cooperation, particularly among countries in Eastern and Central Europe. Writing for the magazine Familia in 1935, 17 years after Transylvania's union with Romania and 15 years after the Treaty of Trianon, Sadoveanu joined the Hungarian author Gyula Illyés in pleading for good relations between the two neighbors. As noted by Crohmălniceanu, although Sadoveanu's interwar novels may depict both clashes between polities and benign misunderstandings, they ultimately discourage ethnic stereotypes, suggesting that "the gifts and qualities of various kinships" are mutually compatible. According to Marcel Cornis-Pope, this cooperative vision is the background theme to Divanul persian, a book "demonstrating the value of intercultural dialogue at a time of sharp political polarization." The same text was described by Vianu as evidence of Sadoveanu's "understanding, gentleness and tolerance". In 1926, the year of his entry into Alexandru Averescu's People's Party, Sadoveanu motivated his choice in a letter to Octavian Goga, indicating his belief that the intelligentsia needed to partake in politics: "It would seem that what is foremost needed is the contribution of intellectuals, in an epoch when the overall intellectual level is decreasing." His sincerity was doubted by his contemporaries: both his friend Gheorghe Jurgea-Negrilești and the communist Petre Pandrea recount how, in 1926–1927, Sadoveanu and Păstorel Teodoreanu requested public funds from Interior Minister Goga, with Sadoveanu motivating that he wanted to set up a cultural magazine and later spending the money on his personal wardrobe. In contrast, Adrian Cioroianu notes that the People's Party episode, and especially the "mutual wariness" between Sadoveanu and the National Liberals, underlined the writer's sympathy for the "intellectual Left". Himself a Marxist, Ovid Crohmălniceanu suggested that, as early as the 1930s, Sadoveanu's attitudes were rather similar to the official line of communist groups. Opposition to fascism and support for King Carol During the 1930s, following his stint as head of Adevărul, a leftist newspaper owned by Jewish entrepreneurs, Sadoveanu was targeted by right-wing voices, who claimed that he had chosen to abandon his nationalist credentials. Thus, Sadoveanu became the target of a press campaign in the antisemitic and fascist press, and in particular in Nichifor Crainic's Sfarmă-Piatră and the journals connected with the Iron Guard. The former publication deplored his supposed "betrayal" of the nationalist cause. In it, Ovidiu Papadima portrayed Sadoveanu as the victim of Jewish manipulation, and equated his affiliation to the Freemasonry with devil worship, and mocked his obesity, while Crainic himself compared the writer to his own character, the treacherous Ieremia Golia. Porunca Vremii often referred to him as Jidoveanu (from jidov, a dismissive term for "Jew"), depicted him as an agent of "Judaeo-communism" motivated by "perversity", and called on the public to harass the writer and beat him with stones. It also protested when the public authorities in Fălticeni refused to withdraw Sadoveanu the title of honorary citizen, and again when the University of Iași made him a doctor honoris causa, and, through the voice of novelist N. Crevedia, even suggested that the writer should use his hunting rifle to commit suicide. In 1937, Porunca Vremii congratulated ultra-nationalists who had organized public burnings of Sadoveanu's works in Southern Dobruja and in Hunedoara, as well as non-identified people who sent the writer packages containing shredded copies of his own volumes. In April 1937, the anti-Sadoveanu campaign was met with the indignation of various public figures, who issued an "Appeal of the Intellectuals", signed by Liviu Rebreanu, Eugen Lovinescu, Petru Groza, Victor Eftimiu, George Topîrceanu, Zaharia Stancu, Demostene Botez, Alexandru Al. Philippide, Constantin Balmuș and others. Denouncing the campaign as a "moral assassination", it referred to Sadoveanu as the author of "the most Romanian [works] in our literature." Sadoveanu himself defended his fellow writer Tudor Arghezi, who stood accused by the far right press of having written "pornography". Reviewing the consequences of these scandals, Ovid Crohmălniceanu suggests that all of what Mihail Sadoveanu wrote from 1938 to 1943 is in some way connected to the cause of anti-fascism. According to Cornis-Pope, Sadoveanu's dislike for the far right can be discovered in Creanga de aur, which doubles as "a political parable opposing an archaic peasant civilization to the growing threat of fascism." However, George Călinescu claims, the writer himself had not actually revised his nationalist outlook, that he continued to believe that minorities and foreigners were a risky presence in Greater Romania, and that his Humanism was "a light tincture". In one of his columns, Sadoveanu replied to those organizing the acts of vandalism, indicating that, had they actually read the novels they were destroying, they would have found "a burning faith in this nation, for so long mistreated by cunning men". Elsewhere, stating that he was not going to take his detractors into consideration, Sadoveanu defined himself as an adversary of both Nazi Germany and any form of advocacy for a "National-Socialist regime in our country". Sadoveanu's subsequent endorsement of authoritarian King Carol II and his corporatist force, the National Renaissance Front, saw his participation in the monarch's personality cult. In 1940, he offered controversial praise to the ruler through the official journal, Revista Fundațiilor Regale, which caused Carol's political adversary, psychologist Nicolae Mărgineanu, to deem Sadoveanu and his fellow contributors "scoundrels". His renewed mandate in the Senate was a favor from Carol, also granted to George Enescu, philosopher Lucian Blaga, scientists Emil Racoviță and Iuliu Hațieganu, and several other public figures. During the Ion Antonescu dictatorship, Sadoveanu kept a low profile and was apolitical. However, Cioroianu writes, he supported the invasion of the Soviet Union and Romania's cooperation with the Axis Powers on the Eastern Front, seeing in this a chance to recover Bessarabia and the northern part of Bukovina (lost to the 1940 Soviet occupation). In spring 1944, months before the King Michael Coup toppled the regime, he was approached by the clandestine Romanian Communist Party and its sympathizers in academia to sign an open letter condemning Romania's alliance to Nazi Germany. According to the communist activist Belu Zilber, who took part in this action, Sadoveanu, like his fellow intellectuals Dimitrie Gusti, Simion Stoilow and Horia Hulubei, refused to sign the document. Also according to Zilber, Sadoveanu motivated his refusal by stating that the letter needed to be addressed not to Antonescu, but to King Michael I. However, and aside from its main topic, Păuna-Mică was noted as one of the few prose works of the 1940s to mention the wartime deportation of Romanian Jews by Antonescu's regime; Caleidoscop also speaks about the 1941 Iași pogrom as "our shame", and commends those who opposed it. Partnership with the communists Following his Lumina vine de la Răsărit lecture, Sadoveanu became noted for his positive portrayals of communization and collectivization. In particular, Sadoveanu offered praise to one of the major pillars of Stalinism, the 1936 Soviet Constitution. In 1945, claiming to have been "flashed upon" by "Stalin's argumentation", he urged the public to read the document for its "sincerity"; elsewhere, he equated reading the constitution with "a mystical revelation". Adrian Cioroianu describes this as "an office assignment" from the ARLUS, at a time when the group was circulating free translated copies of the Soviet constitution. The enthusiasm of his writings also manifested itself in his public behavior: according to his ARLUS colleague Iorgu Iordan, Sadoveanu was emotional during the 1945 Soviet trip, shedding tears of joy upon visiting a day care center in the countryside. Running in the 1946 election, Sadoveanu blamed the old political class in general for the problems faced by Romanian peasants, including the major drought of that year. By then, his political partners were making use of his literary fame, and his electoral pamphlet read: "There is no doubt that the thousands of people who have read his works will rush out on [election day] to vote for him." After 1948, when the Romanian communist regime was installed, Sadoveanu directed his praise toward the new authorities. In 1952, as Romania adopted its second republican constitution and the authorities intensified repression against anti-communists, Sadoveanu made some of his most controversial statements. Declaring the defunct kingdom to have been a "long interval of organized injustice and crooked development in all areas", he presented the new order as an era of social justice, human dignity, available culture and universal public education. Criticism of Sadoveanu's moral choices also focuses on the fact that, while he led a luxurious existence, many of his generation colleagues and fellow intellectuals were being persecuted or jailed in notoriously harsh circumstances. Having tolerated the purge within the Romanian Academy, Cioroianu notes, Sadoveanu accepted being colleagues with newly promoted "secondary characters [...] whom the new regime needed", such as poet Dumitru Theodor Neculuță and historian Mihail Roller. In his official capacity, Sadoveanu even signed several death sentences declared by communist tribunals, and, in the wake of the Tămădău Affair of summer 1947, presided over the Chamber sessions which outlawed the opposition National Peasants' Party: according to researcher Victor Frunză, he was a willing participant in this, having been upset by the exposure of his personal wealth in the National Peasantist press. Later, Sadoveanu made a reference to his former colleague, the National Peasantist activist Ion Mihalache, arguing that his old Agrarianist approach to politics had made him a "ridiculous character". Ioan Stanomir describes this fragment as one of "intellectual abjection", indicating that Mihalache, already a political prisoner of the regime, was to die in captivity. However, as leader of the Romanian Writers' Union, the aging writer is credited by some with having protected poet Nicolae Labiș, a disillusioned communist who had been excluded from the Union of Worker Youth in spring 1954, and whose work Sadoveanu treasured. He is also reported to have helped George Călinescu publish the novel Scrinul negru, mediating between him and communist leader Gheorghe Gheorghiu-Dej. Mihail Sadoveanu provided a definition of his own political transition in conversation with fellow writer Ion Biberi (1946). At the time, he claimed: "I have never engaged in politics, in the sense that one assigns to this word." He elaborated: "I am a left-wing person, following the line of a Poporanist zeal in the spirit of Viața Românească, but one adapted to the new circumstances." Cioroianu sees in such statements evidence that, trying to discard his past, Sadoveanu was including himself among the socialist intellectuals "willing to let themselves be won over by the indescribable charm and the full swing of the communist utopia", but that he may in reality have been "motivated by fear". Paraphrasing communist vocabulary, Stanomir describes the writer as one of the "bourgeois" personalities who became "fellow travelers" of the communists, and argues that Sadoveanu's claim to have always leaned towards a "people's democracy" inaugurated "a pattern of chameleonism". In the view of historian Vladimir Tismăneanu, Sadoveanu, like Parhon, George Călinescu, Traian Săvulescu and others, was one of the "non-communist intellectuals" attracted into cooperation with the Romanian Communist Party and the communist regime (Tismăneanu also argues that these figures' good relationship with Gheorghiu-Dej was a factor in the process, as was Gheorghiu-Dej's ability to make himself look "harmless"). Others have submitted that Sadoveanu's faction in the Freemasonry, which included far left advocates Mihai Ralea and Alexandru Claudian, and officially supported evolutionary socialism, was a natural partner of the communists, to the point of sanctioning its own state-organized suppression. According to Adrian Cioroianu, Sadoveanu was not necessarily an "apostle of communization", and his role in the process is subject to much debate. Describing the writer's "conversion to philosovietism" as "purely contextual", Cioroianu also points out that the very notion of "light arising in the East" is read by some as Sadoveanu's encoded message to other Freemasons, warning them of a Soviet threat to the organization. The historian notes that, for all their possible lack in sincerity, Sadoveanu's statements provided a template for other intellectuals to follow—this, he argues, was the case of Cezar Petrescu. Other statements made by Sadoveanu also displayed a possibly studied ambiguity, as is the case with a 1952 lecture he gave in front of young writers attending the Party-controlled School of Literature, where he implicitly denied that one could be created a writer unless by "God or Mother Nature". Legacy Influence Sadoveanu's prose, in particular his treatment of natural settings, was a direct influence in the works of writers such as Dimitrie D. Pătrășcanu, Nicolae N. Beldiceanu, Jean Bart, and Al. Lascarov-Moldovanu; his storytelling techniques were also sometimes borrowed by comedic novelist Damian Stănoiu, and, in later years, by historical novelist Dumitru Vacariu. According to Călinescu, Sadoveanu's early hunting stories published by Viața Românească, together with those of Junimist Nicolae Gane, helped establish the genre within the framework of Romanian literature, and paved the way for its predilect use in the works of Ioan Alexandru Brătescu-Voinești. Călinescu also notes that Scrisorile unui răzeș ("Letters of a Peasant"), an early work by novelist Cezar Petrescu, are deeply marked by Sadoveanu's influence, and that the same writer's use of the Moldavian dialect is a "pastiche" from Sadoveanu. Ion Vinea too, while expressing admiration for Sadoveanu, defined all his disciples and imitators as "mushroom-writers from Sadoveanu's woods" and "butlers who steal [their lord's lingerie] in order to wear his blazon". The issue was much later discussed by writer-critic Ioan Holban, who likewise described most historical novelists inspired by Sadoveanu as "insignificant" to Romanian letters. Under the early stages of the communist regime, before the rise of Nicolae Ceaușescu engendered a series of rehabilitations and accommodated nationalism, the Romanian curriculum was dependent on ideological guidelines. At the time, Sadoveanu was one of the writers from the interwar whose work was still made available to Romanian schoolchildren. In the 1953 Romanian language and literature manual, he represented his generation alongside the communist authors Alexandru Toma and Alexandru Sahia, and was introduced mainly through his Mitrea Cocor. At the time, studies of his work were published by prominent communist critics, among them Ovid Crohmălniceanu, Paul Georgescu, Traian Șelmaru, Mihai Novicov, Eugen Campus and Dumitru Isac, while a 1953 reissue of Baltagul was published in 30,000 copies (a number rarely met by the Romanian publishing industry in that context). In later years, Profira Sadoveanu became a noted promoter of her father's literature and public image, publishing children's versions of his biography, notably featuring illustrations by Mac Constantinescu (1955 edition). Although Sadoveanu continued to be hailed as a major writer during the Ceaușescu years, and the seventy years of his debut were marked with state ceremony, the reaction against Soviet influence affected presentations of his work: his official bibliography no longer included any mention of Păuna-Mică. Among the memoirs dealing with Sadoveanu's late years were those of Alexandru Rosetti, published in 1977. The official revival of nationalist discourse in the 1960s allowed controversial critic Edgar Papu to formulate his version of Protochronism, which postulated that phenomenons within Romanian culture preceded developments in world culture. In this context, Papu spoke of Sadoveanu as "one of the great precursory voices", comparing him to Rabindranath Tagore. After the 1989 Revolution toppled communism, Sadoveanu remained an influence on some young authors, who recovered the themes of his work in a Postmodern or parodic manner. Among them is Dan Lungu, who, according to critic Andrei Terian, alluded to the Hanu Ancuței frame story when constructing his 2004 novel Paradisul găinilor. In 2001, a poll carried among literati by Observator Cultural magazine listed six of his works as some of the best 150 Romanian novels. Mihail Sadoveanu's various works were widely circulated abroad. This phenomenon began as early as 1905, when German-language translations were first published, and continued during the 1930s, when Venea o moară pe Siret... was translated very soon after its original Romanian edition. In 1931, female author and feminist militant Sarina Cassvan included French-language versions of his texts into an anthology designed to promote modern Romanian culture internationally. Also then, some of Sadoveanu's texts were rendered in Chinese by Lu Xun. Tudor Vianu attributes the warm international reception Sadoveanu generally received to his abilities in rendering the Romanians' "own way of sensing and seeing nature and humanity", while literary historian Adrian Marino points out that, Sadoveanu and Liviu Rebreanu were exceptional in their generation for taking an active interest in how their texts were translated, edited and published abroad. Later, publicizing Sadoveanu's work to Eastern Bloc and world audiences became a priority for the communist regime. Thus, Mitrea Cocor was, together with similar works by Zaharia Stancu and Eusebiu Camilar, among the first wave of Romanian books to have been translated into Czech and published in Communist Czechoslovakia. Alongside similar works by Petru Dumitriu, Mitrea Cocor was also among the few English-language editions sanctioned by the Romanian regime, being translated and published, with a preface by Jack Lindsay, in 1953. Nine years later, the collected short stories were a tool for cultural exchange between Romania and the United States. Sadoveanu's good standing in the Soviet Union after World War II also made him one of the few Romanian writers whose works were still being published in the Moldavian SSR (which, as part of Bessarabia, had previously been a region of Greater Romania). Sadoveanu's diaries and notes were collected and edited during the early 2000s, being published in 2006 by Editura Junimea and the MLR. The main coordinators of this project were literary historian Constantin Ciopraga and Constantin Mitru, who was Sadoveanu's brother-in-law and personal secretary. The popularity of his writings remained high into the early 21st century: in 2004, when the country marked a hundred years since Sadoveanu's debut, Șoimii was published in its 15th edition. According to Simuț, the occasion itself was nevertheless marked with "the impression of general indifference", making Sadoveanu seem "a submerged continent, remembered by us only with piousness and confusion". Tributes Sadoveanu is an occasional presence in the literary works of his fellow generation members. His Țara de dincolo de negură was partly written as a tribute to George Topîrceanu's piece of the same name, with both authors sketching an affectionate portrait of one another. Topîrceanu also parodied his friend's style in a five-paragraph sketch, part of a series of such fragments, recorded their encounters in various other autobiographical writings, and dedicated him the first version of his poem Balada popii din Rudeni ("Ballad of the Priest from Rudeni"). Under the name Nicolae Pădureanu, Sadoveanu is a character in the novel and disguised autobiography În preajma revoluției ("On the Eve of the Revolution"), authored by his colleague Constantin Stere. Sadoveanu is honored in two writings by Nicolae Labiș, collectively titled Sadoveniene ("Sadovenians"). The first, titled Mihail Sadoveanu, is a prose poem which alludes to Sadoveanu's prose, and the other, a free verse piece, is titled Cozma Răcoare. In his scientific study of Sadoveanu's work, Eugen Lovinescu himself turns to pure literature, portraying Sadoveanu as a child blessed by the Moirai or ursitoare with ironic gifts, such as an obstinacy for nature writing in the absence of actual observation ("You shall write; you shall write and could never stop yourself writing [...]. The readers will grow tired, but you will remain tireless; you shall not known rest, just as you shall not know nature [...]"). George Călinescu was one to object to this portrayal, noting that it was merely a "literary device which hardly covers the emptiness of [Lovinescu's] idea." Also during the interwar, philosopher Mihai Ralea made Mihail Sadoveanu the subject of a sociological study investigating his literary contributions in the context of social evolutions. A portrait of Sadoveanu was drawn by graphic artist Ary Murnu, within a larger work which depicts the Kübler Coffeehouse society. Sadoveanu was also the subject of a 1929 painting by Ștefan Dumitrescu, part of a series on Viața Românească figures. In its original edition, Mitrea Cocor was supposed to feature a series of drawings made by Corneliu Baba, one of the best-known Romanian visual artists for his generation. Baba, who had been officially criticized for "formalism", was pressured by the authorities into accepting the commission or risk a precarious existence. The result of his work was rejected with a similar label, and the sketches were for long not made available to the public. Baba also painted Sadoveanu's portrait, which, in 1958, art critic Krikor Zambaccian as "the synthesis of Baba's art", depicting "a man of letters aware of his mission [and] the leading presence of an active consciousness". Constantin Mitru inherited the painting and passed it on to the Museum of Romanian Literature (MLR). A marble bust of Sadoveanu, the work of Ion Irimescu, was set up in Fălticeni in 1977. In Bucharest, a memorial plaque was placed on Pitar Moș Street, on a house where he lived for a period. During the 1990s, another bust of Sadoveanu, the work of several sculptors, was unveiled in Chișinău, Republic of Moldova (the former Moldavian SSR), part of the Aleea Clasicilor sculptural ensemble. Sadoveanu's writings also made an impact on film culture, and in particular on Romanian cinema of the communist period. However, the first film based on his works was a German production of 1929: based on Venea o moară... and titled Sturmflut der Liebe ("Storm Tide of Love"), it notably starred Marcella Albani, Alexandru Giugaru and Ion Brezeanu. The series of Romanian-made films began with the 1952 Mitrea Cocor, co-directed by Marietta Sadova (who also starred in the film) and Victor Iliu. The film itself was closely supervised for conformity with ideological guidelines, and had to be partly redone because its original version did not meet them. Mircea Drăgan directed a 1965 version of Neamul Șoimăreștilor (with a screenplay co-written by Constantin Mitru) and a 1973 adaptation of Frații Jderi (with contributions by Mitru and by Profira Sadoveanu). In 1969, Romanian studios produced a film version of Baltagul, directed by Mircea Mureșan and with Sidonia Manolache as Vitoria Lipan. Ten years later, Constantin Vaeni released Vacanță tragică ("Tragic Holiday"), based on Nada Florilor, followed by a 1980 adaptation of Dumbrava minunată and Stere Gulea's 1983 Ochi de urs (tr. "The Bear Eye's Curse"). In 1989, just before the Romanian Revolution, Dan Pița produced his film The Last Ball in November, based on Locul unde nu s-a întâmplat nimic. During the early decades of communist rule, Sadoveanu, Alexandru Toma and later Tudor Arghezi were often paid homage with state celebrations, likened by literary critic Florin Mihăilescu to the personality cult reserved for Stalin and Gheorghe Gheorghiu-Dej. For a while after the writer's death, the Writers' Union club, commonly known as "The Writers' House", bore Sadoveanu's name. Casa cu turn in Iași, which Sadoveanu had donated to the state in 1950, went through a period of neglect and was finally set up as a museum in 1980. Similar sites were set up in his Fălticeni house, and in his final residence at Voividenia, while the Bradu-Strâmb chalet was controversially granted to the Securitate, and later to the Romanian Police. Each year, Iași commemorates the writer through a cultural festival known as the "Mihail Sadoveanu Days". In 2004, the 100th anniversary of his debut was marked by a series of exhibits and symposiums, organized by the MLR. Similar events are regularly held in various cities, and include the "In Sadoveanu's Footsteps" colloquy of writers, held during March 2006 in the city of Piatra Neamț. Since 2003, in tribute to Sadoveanu's love for the game, an annual chess tournament is held in Iași. The Sadoveanu High School and a bookstore in Bucharest are named after him, and streets named after him exist in, among other places, Iași, Fălticeni, Timișoara, Oradea, Brașov, Galați, Suceava, Călărași, Târgu Jiu, Miercurea Ciuc, Petroșani, and Mangalia. Pașcani hosts a cultural center, a high school and a library named after him. Sadoveanu's memory is also regularly honored in the Republic of Moldova, where, in 2005, the 125th anniversary of his birth was celebrated in an official context. A street in Chișinău and a high school in the town of Cupcini are also named after him. Selected works Fiction 1902 - Frații Potcoavă 1904 - Șoimii 1905 - Floare ofilită 1906 - Însemnările lui Neculai Manea 1907 - La noi, la Viișoara 1907 - Vremuri de bejenie 1908 - Balta liniștii 1908 - Haia Sanis 1911 - Apa morților 1915 - Neamul Șoimăreștilor 1925 - Venea o moară pe Siret... 1928 - Hanu Ancuței 1929 - Zodia Cancerului 1930 - Baltagul 1932 - Nunta Domniței Ruxandra 1932 - Uvar 1933 - Creanga de aur 1934 - Nopțile de Sânziene 1935-1942 - Frații Jderi 1949 - Mitrea Cocor 1951-1952 - Nicoară Potcoavă Non-fiction 1907 - Domnu Trandafir 1908 - Oameni și locuri 1914 - Priveliști dobrogene 1916 - 44 de zile în Bulgaria 1921 - Drumuri basarabene 1926 - Țara de dincolo de negură 1928 - Împărăția apelor 1928 - Olanda 1936 - Însemnări ieșene 1937 - Istorisiri de vânătoare 1944 - Anii de ucenicie Notes References Lucian Boia, "Germanofilii". Elita intelectuală românească în anii Primului Război Mondial, Humanitas, Bucharest, 2010. Lucian Boia (ed.), Miturile comunismului românesc, Editura Nemira, Bucharest, 1998. : Lucian Boia, "Un nou Eminescu: A. Toma", p. 71-81 Adrian Cioroianu, "Lumina vine de la Răsărit. 'Noua imagine' a Uniunii Sovietice în România postbelică, 1944-1947", p. 21-68 George Călinescu, Istoria literaturii române de la origini pînă în prezent, Editura Minerva, Bucharest, 1986 Paul Cernat, Avangarda românească și complexul periferiei: primul val, Cartea Românească, Bucharest, 2007. Ilarie Chendi, "Vieața literară în 1911 (o privire generală)", in Luceafărul, Nr. 3/1912, p. 61-65 (digitized by the Babeș-Bolyai University Transsylvanica Online Library) Adrian Cioroianu, , Editura Curtea Veche, Bucharest, 2005. Marcel Cornis-Pope, "Shifting Perspectives and Voices in the Romanian Novel"; "The Search for a Modern, Problematizing Historical Consciousness: Romanian Historical Fiction and Family Cycles", in Marcel Cornis-Pope, John Neubauer (eds.), History of the Literary Cultures of East-Central Europe, John Benjamins, Amsterdam & Philadelphia, 2004, p. 441-456, 499–505. Ovid Crohmălniceanu, Literatura română între cele două războaie mondiale, Vol. I, Editura Minerva, Bucharest, 1972. Victor Frunză, Istoria stalinismului în România, Humanitas, Bucharest, 1990. Florin Mihăilescu, De la proletcultism la postmodernism, Editura Pontica, Constanța, 2002. Z. Ornea, Anii treizeci. Extrema dreaptă românească, Editura Fundației Culturale Române, Bucharest, 1995. Junimea și junimismul, Vol. II, Editura Minerva, Bucharest, 1998. Petre Răileanu, "Construcție și semnificație în ficțiunea istorică", preface to Mihail Sadoveanu, Nicoară Potcoavă, Editura Militară, 1990, p. 5-17. Tom Sandqvist, Dada East. The Romanians of Cabaret Voltaire, MIT Press, Cambridge, Massachusetts & London, 2006. Ana Selejan, Literatura în totalitarism. Vol. II: Bătălii pe frontul literar, Cartea Românească, Bucharest, 2008. Ioan Stanomir, "Facerea lumii", in Paul Cernat, Ion Manolescu, Angelo Mitchievici, Ioan Stanomir, Explorări în comunismul românesc, Polirom, Iași, 2004, p. 13-45. George Topîrceanu, Scrieri, Vols. I-II (preface, chronological table and notes by Al. Săndulescu), Editura Minerva, Bucharest, 1983. Cristian Vasile, Literatura și artele în România comunistă. 1948-1953, Humanitas, Bucharest, 2010. Tudor Vianu, Scriitori români, Vols. I-II, Editura Minerva, Bucharest, 1970. Krikor Zambaccian, Corneliu Baba, Editura de stat pentru literatură și artă, Bucharest, 1958. External links Roumanian Stories. Translated by Lucy Byng (includes three of Sadoveanu's works), at the University of Washington's DXARTS/CARTAH Electronic Text Archive A Boyar's Sin (excerpt), A Worried Man, His Majesty's Mare, Idle Hours, Master Trandafir (excerpts), The Enchanted Grove (excerpts), The Place Where Nothing Happened (excerpt), The Vesper Bell, Vitoria Lipan (fragment from Baltagul), translations in the Romanian Cultural Institute's Plural Magazine (various issues) "Peace Partisans Meeting aka Peace Meeting" (Rome, 1949) British-Pathé newsreel showing Sadoveanu and other delegates |- 1880 births 1961 deaths Romanian biographers Male biographers Romanian children's writers Romanian crime fiction writers Romanian essayists Romanian fantasy writers Romanian historical novelists Romanian magazine editors Romanian magazine founders Romanian memoirists Romanian newspaper editors 20th-century Romanian novelists Romanian male novelists Romanian poets Romanian male poets Romanian textbook writers Romanian translators Romanian travel writers 19th-century short story writers 20th-century short story writers Romanian male short story writers Romanian short story writers Romanian theatre managers and producers Social realism Socialist realism writers Poporanists Adevărul editors Adevărul writers Titular members of the Romanian Academy People's Party (interwar Romania) politicians 20th-century Romanian politicians Presidents of the Senate of Romania Presidents of the Chamber of Deputies (Romania) Members of the Chamber of Deputies (Romania) Members of the Great National Assembly Heads of state of Romania Romanian activists Romanian Freemasons Masonic Grand Masters Romanian nationalists Romanian pacifists Romanian propagandists Romanian humanists Censorship in Romania Lenin Peace Prize recipients People from Pașcani Romanian civil servants Romanian Land Forces officers Romanian military personnel of the Second Balkan War Romanian people of World War I Romanian people of World War II Burials at Bellu Cemetery 19th-century Romanian writers 20th-century Romanian writers 20th-century essayists 20th-century memoirists 20th-century translators
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[ "\"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" ]
[ "Mihail Sadoveanu", "1910s and World War I", "what happened in 1910's?", "In 1910, he was also appointed head of the National Theater Iasi, a position which he filled until 1919.", "what else was he appointed to?", "He was a leading presence at Minerva newspaper, alongside Anghel and critic Dumitru Karnabatt,", "what was his greatest accomplishment named in the article?", "Mihail Sadoveanu became a professional writer in 1908-1909, after joining the Romanian Writers' Society,", "who did he work with?", "he, Iosif, and Anghel, together with author Emil Garleanu,", "what did they do?", "set up Cumpana, a monthly directed against both Ovid Densusianu's eclecticism and the Junimist school (the magazine was no longer in print by 1910" ]
C_f789d8273c5b43b2a57524472ce50d02_0
what is the most important fact in this article?
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what is the most important fact in the Mihail Sadoveanu article?
Mihail Sadoveanu
Sadoveanu returned to his administrative job in 1907, the year of the Peasants' Revolt. Kept in office by the National Liberal cabinet of Ion I. C. Bratianu, he served under the reform-minded Education Minister Spiru Haret. Inspired by the bloody outcome of the Revolt, as well as by Haret's moves to educate the peasantry, Sadoveanu reportedly drew suspicion from the Police when he published self-help guides aimed at industrious ploughmen, a brand of social activism which even resulted in a formal inquiry. Mihail Sadoveanu became a professional writer in 1908-1909, after joining the Romanian Writers' Society, created in the previous year by poets Cincinat Pavelescu and Dimitrie Anghel, and becoming its President in September of that year. The same year, he, Iosif, and Anghel, together with author Emil Garleanu, set up Cumpana, a monthly directed against both Ovid Densusianu's eclecticism and the Junimist school (the magazine was no longer in print by 1910). At the time, he became a noted presence among the group of intellectuals meeting in Bucharest's Kubler Coffeehouse. In 1910, he was also appointed head of the National Theater Iasi, a position which he filled until 1919. That year, he translated from the French one of Hippolyte Taine's studies on the genesis of artworks. He resigned his office within the Writers' Society in November 1911, being replaced by Garleanu, but continued to partake in its administration as a member of its leadership committee and a censor. He was a leading presence at Minerva newspaper, alongside Anghel and critic Dumitru Karnabatt, and also published in the Transylvanian traditionalist journal, Luceafarul. Sadoveanu was again called under arms during the Second Balkan War of 1913, when Romania confronted Bulgaria. Having reached the rank of Lieutenant, he was stationed in Falticeni with the 15th Infantry Regiment, after which he spent a short period on the front. He returned to literary life. Becoming good friends with poet and humorist George Topirceanu, he accompanied him and other writers on cultural tours during 1914 and 1915. The series of writings he published at the time includes the 1915 Neamul Soimarestilor. In 1916-1917, as Romania entered World War I and was invaded by the Central Powers, Sadoveanu stayed in Moldavia, the only part of Romania's territory still under the state's authority (see Romanian Campaign). The writer oscillated between the Germanophilia of his Viata Romaneasca friends, the stated belief that war was misery and the welcoming of Romania's commitment to the Entente Powers. At the time, he was reelected President of the Writers' Society, a provisional mandate which ended in 1918, when Romania signed the peace with the Central Powers, and, as Army reservist, edited the Entente's regional propaganda outlet, Romania. He was joined by Topirceanu, who had just been released from a POW camp in Bulgaria, and with whom he founded the magazine Insemnari Literare. Sadoveanu subsequently settled in the Iasi neighborhood of Copou, purchasing and redecorating the villa known locally as Casa cu turn ("The House with a Tower"). In the 19th century, it had been the residence of politician Mihail Kogalniceanu, and, during the war, hosted composer George Enescu. During that period, he collaborated with leftist intellectual Vasile Mortun and, together with him and Arthur Gorovei, founded and edited the magazine Ravasul Poporului. CANNOTANSWER
Sadoveanu was again called under arms during the Second Balkan War of 1913,
Mihail Sadoveanu (; occasionally referred to as Mihai Sadoveanu; November 5, 1880 – October 19, 1961) was a Romanian novelist, short story writer, journalist and political figure, who twice served as acting head of state for the communist republic (1947–1948 and 1958). One of the most prolific Romanian-language writers, he is remembered mostly for his historical and adventure novels, as well as for his nature writing. An author whose career spanned five decades, Sadoveanu was an early associate of the traditionalist magazine Sămănătorul, before becoming known as a Realist writer and an adherent to the Poporanist current represented by Viața Românească journal. His books, critically acclaimed for their vision of age-old solitude and natural abundance, are generally set in the historical region of Moldavia, building on themes from Romania's medieval and early modern history. Among them are Neamul Șoimăreștilor ("The Șoimărești Family"), Frații Jderi ("The Jderi Brothers") and Zodia Cancerului ("Under the Sign of the Crab"). With Venea o moară pe Siret... ("A Mill Was Floating down the Siret..."), Baltagul ("The Hatchet") and some other works of fiction, Sadoveanu extends his fresco to contemporary history and adapts his style to the psychological novel, Naturalism and Social realism. A traditionalist figure whose perspective on life was a combination of nationalism and Humanism, Sadoveanu moved between right- and left-wing political forces throughout the interwar period, while serving terms in Parliament. Rallying with People's Party, the National Agrarian Party, and the National Liberal Party-Brătianu, he was editor of the leftist newspapers Adevărul and Dimineața, and was the target of a violent far right press campaign. After World War II, Sadoveanu became a political associate of the Romanian Communist Party. He wrote in favor of the Soviet Union and Stalinism, joined the Society for Friendship with the Soviet Union and adopted Socialist realism. Many of his texts and speeches, including the political novel Mitrea Cocor and the famous slogan Lumina vine de la Răsărit ("The Light Arises in the East"), are also viewed as propaganda in favor of communization. A founding member of the Romanian Writers' Society and later President of the Romanian Writers' Union, Sadoveanu was also a member of the Romanian Academy since 1921 and a recipient of the Lenin Peace Prize for 1961. He was also Grand Master of the Romanian Freemasonry during the 1930s. The father of Profira and Paul-Mihu Sadoveanu, who also pursued careers as writers, he was the brother-in-law of literary critic Izabela Sadoveanu-Evan. Biography Early years Sadoveanu was born in Pașcani, in western Moldavia. His father's family hailed from the southwestern part of the Old Kingdom, in Oltenia. Their place of origin, Sadova, provided their chosen surname (lit. "from Sadova"), which was adopted by the family only in 1891. Mihail's father was the lawyer Alexandru Sadoveanu (d. 1921), whom literary critic George Călinescu described as "a bearded and well-to-do man"; according to the writer's own notes, Alexandru was unhappy in marriage, and his progressive isolation from public life impacted on the entire family. Mihail's mother, Profira née Ursachi (or Ursaki; d. 1895), hailed from a line of Moldavian shepherds, all of whom, as the writer recalled, had been illiterate. Literary historian Tudor Vianu believes this contrast of regional and social identities played a part in shaping the author, opening him up to a "Romanian universality", but notes that, throughout his career, Sadoveanu was especially connected with his Moldavian roots. Mihail had a brother, also named Alexandru, whose wife was the Swiss-educated literary critic Izabela Morțun (later known as Sadoveanu-Evan, she was the cousin of socialist activist Vasile Morțun). Another one of his brothers, Vasile Sadoveanu, was an agricultural engineer. Beginning in 1887, Sadoveanu attended primary school in Pașcani. His favorite teacher, a Mr. Busuioc, later served as inspiration for one of his best-known short stories, Domnu Trandafir ("Master Trandafir"). While away from school, young Sadoveanu used much of his spare time exploring his native region on foot, hunting, fishing, or just contemplating nature. He was also spending his vacations in his mother's native Verșeni. During his journeys, Sadoveanu visited peasants, and his impression of the way in which they were relating to authority is credited by critics with having shaped his perspective on society. Shortly after this episode, the young Sadoveanu left to complete his secondary studies in Fălticeni and at the National High School in Iași. While in Fălticeni, he was in the same class as future authors Eugen Lovinescu and I. Dragoslav, but, having lost interest in schoolwork, he failed to get his remove, before eventually graduating top of his class. First literary attempts, marriage and family In 1896, when he was aged sixteen, Sadoveanu gave thought to writing a monograph on Moldavian Prince Stephen the Great, but his first literary attempts date from the following year. It was in 1897 that a sketch story, titled Domnișoara M din Fălticeni ("Miss M from Fălticeni") and signed Mihai din Pașcani ("Mihai from Pașcani"), was successfully submitted for publishing to the Bucharest-based satirical magazine Dracu. He started writing for Ovid Densusianu's journal Vieața Nouă in 1898. His contributions, featured alongside those of Gala Galaction, N. D. Cocea, and Tudor Arghezi, include another sketch story and a lyric poem. Sadoveanu was however dissatisfied with Densusianu's agenda, and critical of the entire Romanian Symbolist movement for which the review spoke. He ultimately began writing pieces for non-Symbolist magazines such as Opinia and Pagini Literare. In parallel, he founded and printed by hand a short-lived journal, known to researches as either Aurora or Lumea. Sadoveanu left for Bucharest in 1900, intending to study Law at the University's Faculty of Law, but withdrew soon after, deciding to dedicate himself to literature. He began frequenting the bohemian society in the capital, but, following a sudden change in outlook, abandoned poetry and focused his work entirely on Realist prose. In 1901, Sadoveanu married Ecaterina Bâlu, with whom he settled in Fălticeni, where he began work on his first novellas and decided to make his living as a professional writer. His first draft for a novel, Frații Potcoavă ("The Potcoavă Brothers"), came out in 1902, when fragments were published by Pagini Alese magazine under the pseudonym M. S. Cobuz. The following year, Sadoveanu was drafted into the Romanian Land Forces, stationed as a guard near Târgu Ocna, and inspired by the experience to write some of his first social criticism narratives. After that time, he spent much of his home in the country, where he raised a large family. Initially, the Sadoveanus lived in a house previously owned by celebrated Moldavian raconteur Ion Creangă, before they commissioned a new building, famed for its surrounding Grădina Liniștii ("Garden of Quietude"). He was the father of eleven, among whom were three daughters: Despina, Teodora and Profira Sadoveanu, the latter of whom was a poet and a novelist. Of his sons, Dimitrie Sadoveanu became a painter, while Paul-Mihu, the youngest (born 1920), was author of the novel Ca floarea câmpului... ("Like the Flower of the Field...") which was published posthumously. Sămănătorul, Viața Românească and literary debut After receiving an invitation from poet Ștefan Octavian Iosif in 1903, Sadoveanu contributed works to the traditionalist journal Sămănătorul, led at the time by historian and critic Nicolae Iorga. He was by then also a contributor to Voința Națională, a newspaper published by the National Liberal Party and managed by politician Vintilă Brătianu—beginning December of the same year, the paper serialized Șoimii ("The Hawks"), an extended variant of Frații Potcoavă, with an introduction by historian Vasile Pârvan. In 1904, he regained Bucharest, where he became a copyist for the Ministry of Education's Board of Schools, returning to Fălticeni two years later. After 1906, he rallied with the group formed around Viața Românească, which was also joined by his sister-in-law Izabela. Sămănătorul and Viața Românească, having comparable influence over the literature of Romania, stood for a traditionalist and ruralist approach to art, even though the latter adopted a more left-wing perspective, known as Poporanism. The leading Poporanist ideologue, Garabet Ibrăileanu, became a personal friend of the young writer after inviting him on an excursion down the Râșca River. With his subsequent pieces for Viața Românească, Sadoveanu became especially known as the raconteur of hunting trips, but also sparked controversy when a young woman writer, Constanța Marino-Moscu, accused him of having plagiarized her works in his Mariana Vidrașcu, a serialized novel which was discontinued and later largely forgotten. 1904 was Sadoveanu's effective debut year: he published four separate books, including Șoimii, Povestiri ("Stories"), Dureri înăbușite ("Suppressed Pains") and Crâșma lui Moș Petcu ("Old Man Petcu's Alehouse"). The beginning of a prolific literary career covering more than a half century and of his collaboration with Editura Minerva publishing house, this debut was marked by intense preparation, and drew on literary exercises spanning the previous decade. His Sămănătorul colleague Iorga deemed 1904 "Sadoveanu's Year", while the influential and aging critic Titu Maiorescu, leader of the conservative literary society Junimea, gave a positive review to Povestiri, and successfully proposed it for a Romanian Academy award in 1906. In a 1908 essay, Maiorescu was to list Sadoveanu among Romania's greatest writers. According to Vianu, Maiorescu saw in Sadoveanu and other young writers the triumph of his theory on a "popular" form of Realism, a vision which the Junimist thinker had advocated in his essays from as early as 1882. Sadoveanu later credited Iorga, Maiorescu, and especially so the cultural promoter Constantin Banu and Sămănătorul poet George Coșbuc, with having helped him capture the interest of the public and his peers. He was by then facing adversity from opponents of Sămănătorul, primarily critic Henric Sanielevici and his Curentul Nou review, which published claims that Sadoveanu's volumes, which depicted immoral acts such as adultery and rape, showed that Iorga's program of moral didacticism was hypocritical. As he latter recalled, Sadoveanu was himself upset with some of Iorga's critical judgments regarding his own work, noting that the Sămănătorist doyen had once declared him equal to Vasile Pop (one of Iorga's protegés, and viewed as overrated by Sadoveanu). The same year, Sadoveanu became one of Sămănătoruls editors, alongside Iorga and Iosif. The magazine, originally a traditionalist mouthpiece founded by Alexandru Vlahuță and George Coșbuc, proclaimed with Iorga its purpose of establishing "a national culture", emancipated from foreign influence. However, according to Călinescu, this ambitious goal was only manifested in a "great cultural influence", as the journal continued to be an eclectic venue which grouped together ruralist traditionalists of the "national tendency" and adherents to the cosmopolitan currents such as Symbolism. Călinescu and Vianu agree that Sămănătorul was, for a large part, a promoter of older guidelines set by Junimea. Vianu also argues that Sadoveanu's contribution to the literary circle was the main original artistic element in its history, and credits Iosif with having accurately predicted that, during a period of literary "crisis", Sadoveanu was the person to provide innovation. He continued to publish at an impressive rate: in 1906, he again handed down for print four separate volumes. In parallel, Sadoveanu pursued his career as a civil servant. In 1905, he was employed as a clerk by the Ministry of Education, headed by the Conservative Party's Mihail Vlădescu. His direct supervisor was poet D. Nanu, and he had for his colleagues the geographer George Vâlsan and the short story writer Nicolae N. Beldiceanu. Nanu wrote of this period: "It is a clerical packed full with men of letters, no work is being done, people smoke, drink coffee, create dreams, poems and prose [...]." Having interrupted his administrative service, Sadoveanu was again drafted into the Land Forces in 1906, being granted an officer's rank. An already overweight man, he had to march from Probota in Central Moldavia to Bukovina, which caused him intense suffering. 1910s and World War I Sadoveanu returned to his administrative job in 1907, the year of the Peasants' Revolt. Kept in office by the National Liberal cabinet of Ion I. C. Brătianu, he served under the reform-minded Education Minister Spiru Haret. Inspired by the bloody outcome of the Revolt, as well as by Haret's moves to educate the peasantry, Sadoveanu reportedly drew suspicion from the Police when he published self-help guides aimed at industrious ploughmen, a brand of social activism which even resulted in a formal inquiry. Mihail Sadoveanu became a professional writer in 1908–1909, after joining the Romanian Writers' Society, created in the previous year by poets Cincinat Pavelescu and Dimitrie Anghel, and becoming its President in September of that year. The same year, he, Iosif, and Anghel, together with author Emil Gârleanu, set up Cumpăna, a monthly directed against both Ovid Densusianu's eclecticism and the Junimist school (the magazine was no longer in print by 1910). At the time, he became a noted presence among the group of intellectuals meeting in Bucharest's Kübler Coffeehouse. In 1910, he was also appointed head of the National Theater Iași, a position which he filled until 1919. That year, he translated from the French one of Hippolyte Taine's studies on the genesis of artworks. He resigned his office within the Writers' Society in November 1911, being replaced by Gârleanu, but continued to partake in its administration as a member of its leadership committee and a censor. He was a leading presence at Minerva newspaper, alongside Anghel and critic Dumitru Karnabatt, and also published in the Transylvanian traditionalist journal, Luceafărul. Sadoveanu was again called under arms during the Second Balkan War of 1913, when Romania confronted Bulgaria. Having reached the rank of Lieutenant, he was stationed in Fălticeni with the 15th Infantry Regiment, after which he spent a short period on the front. He returned to literary life. Becoming good friends with poet and humorist George Topîrceanu, he accompanied him and other writers on cultural tours during 1914 and 1915. The series of writings he published at the time includes the 1915 Neamul Șoimăreștilor. In 1916–1917, as Romania entered World War I and was invaded by the Central Powers, Sadoveanu stayed in Moldavia, the only part of Romania's territory still under the state's authority (see Romanian Campaign). The writer oscillated between the Germanophilia of his Viața Românească friends, the stated belief that war was misery and the welcoming of Romania's commitment to the Entente Powers. At the time, he was reelected President of the Writers' Society, a provisional mandate which ended in 1918, when Romania signed the peace with the Central Powers, and, as Army reservist, edited the Entente's regional propaganda outlet, România. He was joined by Topîrceanu, who had just been released from a POW camp in Bulgaria, and with whom he founded the magazine Însemnări Literare. Sadoveanu subsequently settled in the Iași neighborhood of Copou, purchasing and redecorating the villa known locally as Casa cu turn ("The House with a Tower"). In the 19th century, it had been the residence of politician Mihail Kogălniceanu, and, during the war, hosted composer George Enescu. During that period, he collaborated with leftist intellectual Vasile Morțun and, together with him and Arthur Gorovei, founded and edited the magazine Răvașul Poporului. Creative maturity and early political career In 1921, Sadoveanu was elected a full member of the Romanian Academy; he gave his reception speech in front of the cultural forum two years later, structuring it as a praise of Romanian folklore in general and folkloric poetry in particular. At the time, he renewed his contacts with Viața Românească: with Garabet Ibrăileanu and several others, he joined its interwar nucleus, while the review often featured samples of his novels (some of which were originally published in full by its publishing venture). His house was by then host to many cultural figures, among whom were writers Topîrceanu, Gala Galaction, Otilia Cazimir, Ionel and Păstorel Teodoreanu, and Dimitrie D. Pătrășcanu, as well as conductor Sergiu Celibidache. He was also close to a minor socialist poet and short story author, Ioan N. Roman, whose work he helped promote, to the aristocrat and memoirist Gheorghe Jurgea-Negrilești, and to a satirist named Radu Cosmin. Despite his health problems, Sadoveanu frequently traveled throughout Romania, notably visiting local sights which inspired his work: the Romanian Orthodox monasteries of Agapia and Văratec, and the Neamț Fortress. After 1923, together with Topîrceanu, Demostene Botez and other Viața Românească affiliates, he also embarked on a series of hunting trips. He was charmed in particular by the sights he discovered during a 1927 visit to the Transylvanian area of Arieș. The same year, he also visited the Netherlands, which he reached by means of the Orient Express. His popularity continued to grow: in 1925, 1929 and 1930 respectively, he published his critically acclaimed novels Venea o moară pe Siret..., Zodia Cancerului and Baltagul, and his 50th anniversary was celebrated at a national level. In 1930, Sadoveanu, Topîrceanu and the schoolteacher T. C. Stan wrote and edited a series of primary school textbooks. In 1926, after a period of indecision, Sadoveanu rallied with the People's Party, where his friend, the poet Octavian Goga, was a prominent activist. He then rallied with Goga's own National Agrarian Party. During the general election of 1927, he won a seat in the Chamber for Bihor County, in Transylvania, holding a seat in the Senate for Iași County after the 1931 suffrage. Under Nicolae Iorga's National Peasants' Party cabinet of the period, Sadoveanu was President of the Senate. The choice was motivated by his status as "a cultural personality". Around that date, he was affiliated with the National Liberal Party-Brătianu, a right-wing party inside the liberal current, who stood in opposition to the main National Liberal group. In parallel, he began contributing to the left-wing daily Adevărul. Sadoveanu was by then affiliated with the Freemasonry, as first recorded by the organization in 1928, but was probably a member since 1926 or 1927. Reaching the 33rd degree within the organization and overseeing the Masonic Lodge Dimitrie Cantemir of Iași, he was elected Grand Master of the National Union of Lodges in 1932, thus replacing the vacating George Valentin Bibescu. There subsequently occurred a split between Bibescu and Sadoveanu's supporters, aggravated by their publicized conflict with a third group, that of Ioan Pangal—splits which ended after some three years, when Sadoveanu marginalized both of his opponents, without however earning legitimate recognition from the Grand Orient de France. By 1934, he was recognized as Grand Master of the United Romanian Freemasonry, which regrouped all major local Lodges. Late 1930s and World War II He was publishing new works at a regular rate, culminating in the first volume of his historical epic Frații Jderi, which saw print in 1935. In 1936, the writer accepted the honorary chairmanship of Adevărul and its morning edition, Dimineața. During that time, he was involved in a public dispute with the far right and fascist press, replying to their attacks in several columns. Affiliates of the radical right organized public burnings of his volumes. The scandal prolonged itself over the following years, with Sadoveanu being supported by his friends in the literary community. Among them was Topîrceanu, who was at the time hospitalized, and whose expression of support was made shortly before his death to liver cancer. In September 1937, as a statement of solidarity and appreciation, the University of Iași conferred Sadoveanu the title of doctor honoris causa. Mihail Sadoveanu withdrew from politics in the late 1930s and early 1940s, as Romania came to be led by successive right-wing dictatorships, he offered a measure of support to King Carol II and his National Renaissance Front, which attempted to block the more radically fascist Iron Guard from power. He was personally appointed a member of the reduced corporatist Senate by Carol. In 1940, the official establishment Editura Fundațiilor Regale published the first volume of his Opere ("Works"). Sadoveanu kept a low profile under the Iron Guard's Nazi-allied National Legionary regime. After Conducător Ion Antonescu overthrew the Guard during the Legionary Rebellion and established his own fascist regime, the still-apolitical Sadoveanu was more present in public life, and lectured on cultural subjects for the Romanian Radio. After publishing the final section of his Frații Jderi in 1942, Sadoveanu again retreated to the countryside, in his beloved Arieș area, where he had built himself a chalet and a church; this seclusion produced his Povestirile de la Bradu-Strâmb ("Bradu-Strâmb Stories"). During those years, the sixty-year-old writer met Valeria Mitru, a much younger feminist journalist, whom he married after a brief courtship. In August 1944, Romania's King Michael Coup toppled Antonescu and switched sides in the war, rallying with the Allies. As a Soviet occupation began at home, Romanian troops fought alongside the Red Army on the European theater. Paul-Mihu Sadoveanu was killed in action in Transylvania on September 22. During the same months, Sadoveanu was a candidate for the Writers' Society presidency, but, in what has been read as proof of a rivalry within the Freemasonry, was defeated by Victor Eftimiu. Later that year, the 40th anniversary of Mihail Sadoveanu's debut was celebrated with a special ceremony at the Academy and Tudor Vianu's speech, offered as a retrospective of his colleague's entire work. Communist system and political rise After the Soviet-backed advent of the Communist system in Romania, Sadoveanu supported the new authorities, and turned from his own version of Realism to officially-endorsed Socialist realism (see Socialist realism in Romania). This was also the start of his association with the Soviet-sponsored Romanian Society for Friendship with the Soviet Union (ARLUS), which was led by biologist and physician Constantin Ion Parhon. Having served as a host to official Soviet envoys Andrey Vyshinsky and Vladimir Kemenov during their late 1944 visits, he soon after became president of the ARLUS "Literary and Philosophical Section" (seconded by Mihai Ralea and Perpessicius). In February 1945, he joined Parhon, Enescu, linguist Alexandru Rosetti, composer George Enescu, biologist Traian Săvulescu and mathematician Dimitrie Pompeiu in a protest against the cultural policies of Premier Nicolae Rădescu and his cabinet, one in a series of moves to discredit the non-communist Rădescu and make him leave power. With Ion Pas, Gala Galaction, Horia Deleanu, Octav Livezeanu and N. D. Cocea, Sadoveanu edited the association's weekly literary magazine Veac Nou after June 1946. Sadoveanu's literary and political change became known to the general public in March 1945, when he lectured about Soviet leader Joseph Stalin at a conference hall in Bucharest. Part of a conference cycle, his speech was famously titled Lumina vine de la Răsărit, which soon became synonymous with the attempts to improve the image of Stalinism in Romania. ARLUS would issue the text of his conference as a printed volume later in the year. Also in 1945, Sadoveanu journeyed to the Soviet Union together with some of his fellow ARLUS members—among them biologists Parhon and Săvulescu, sociologist Dimitrie Gusti, linguist Iorgu Iordan, and mathematician Simion Stoilow. Invited by the Soviet Academy of Sciences to attend the 220th anniversary of its foundation, they also visited research institutes, kolhozy, and day care centers, notably meeting with Nikolay Tsitsin, an agronomist favored by Stalin. After his return, he wrote other controversial texts and gave lectures which offered ample praise to the Soviet system. That year, the ARLUS enterprise Editura Cartea Rusă also published his translation of Ivan Turgenev's A Sportsman's Sketches. During the rigged election of that year, Sadoveanu was a candidate for the Communist party-organized Bloc of Democratic Parties (BPD) in Bucharest, winning a seat in the newly unified Parliament of Romania. In its first-ever session (December 1946), the legislative body elected him its President. He was at the time residing in Ciorogârla, having been awarded a villa previously owned by Pamfil Șeicaru, a journalist whose support for fascist regimes had made him undesirable, and who had moved out of Romania. The decision was viewed as evidence of political corruption by the opposition National Peasants' Party, whose press deemed Sadoveanu the "Count of Ciorogârla". In 1948, after Romania's King Michael I was overthrown by the BPD-member parties and the communist regime officially established, Sadoveanu rose to the highest positions ever granted to a Romanian writer, and received significant material benefits. In 1947–1948, he was, alongside Parhon, Ștefan Voitec, Gheorghe Stere, and Ion Niculi, a member of the Presidium of the People's Republic, which was elected by the BPD-dominated legislative. He also kept his seat at the Academy, which at the time was undergoing a communist-led purge, and, with several other pro-Soviet intellectuals, was voted in the Academy Presidium. Final years, illness and death After the Writers' Society was restructured as the Romanian Writers' Union in 1949, Sadoveanu became its Honorary President. In 1950, he was named President of the Writers' Union, replacing Zaharia Stancu. According to writer Valeriu Râpeanu, this last appointment was a sign of Stancu's marginalization after he had been excluded from the Romanian Communist Party, while the Writers' Union was actually controlled by its First Secretary, the communist poet Mihai Beniuc. Sadoveanu and Beniuc were reelected at the Union's first Congress (1956). In the meanwhile, Sadoveanu published several Socialist realist volumes, among which was Mitrea Cocor, a controversial praise of collectivization policies. First published in 1949, it earned Sadoveanu the first-ever State Prize for Prose. Throughout the period, Sadoveanu was involved in major communist-endorsed cultural campaigns. Thus, in June 1952, he presided over the Academy's Scientific Council, charged with modifying the Romanian alphabet, at the end of which the letter â was discarded, and replaced everywhere with î (a spelling Sadoveanu is alleged to have already shown preference for in his early works). In March 1953, soon after Stalin's death, he led discussions within the Writers' Union, confronting his fellow writers with the new Soviet cultural directives as listed by Georgy Malenkov, and reacting against young authors who had not discarded the since-condemned doctrines of proletkult. The author was also becoming involved in the Eastern Bloc's peace movement, and led the National Committee for the Defense of Peace at a time when the Soviet Union was seeking to portray its Cold War enemies as warmongers and the sole agents of nuclear proliferation. He also represented Romania to the World Peace Council, and received its International Peace Prize for 1951. As a parliamentarian, Sadoveanu stood on the committee charged with elaborating the new republican constitution, which, in its final form, reflected both Soviet influence and the assimilation of Stalinism into Romanian political discourse. In November 1955, shortly after turning 75, he was granted the title of "Hero of Socialist Labor". After 1956, when the regime announced that it had embarked on a limited version of De-Stalinization, it continued to recommend Mihail Sadoveanu as one of its prime cultural models. Having donated Casa cu turn to the state in 1950, he moved back to Bucharest, where he owned a house near the Zambaccian Museum. From January 7 to January 11, 1958, Sadoveanu, Ion Gheorghe Maurer and Anton Moisescu were acting Chairmen of the Presidium of the Great National Assembly, which again propelled him to a position as titular head of state. His literary stature but also his political allegiance earned him the Soviet Lenin Peace Prize, which he received shortly before his death. After a long illness marked by a stroke which impaired his speech and left him almost completely blind, Sadoveanu was cared for by a staff of physicians supervised by Nicolae Gh. Lupu and reporting to the Great National Assembly. The Sadoveanus withdrew to Neamț region, where they lived in a villa assigned to them by the state and located near the Voividenia hermitage and the locality of Vânători-Neamț, being visited regularly by literary and political friends, among them Alexandru Rosetti. Mihail Sadoveanu died there at 9 AM on October 19, 1961, and was buried at Bellu cemetery, in Bucharest. His successor as President of the Writers' Union was Beniuc, elected during the Congress of January 1962. Following her husband's death, Valeria Sadoveanu settled in proximity to the Văratec Monastery, where she set up an informal literary circle and Orthodox prayer group, notably attended by literary historian Zoe Dumitrescu-Bușulenga and by poet Ștefana Velisar, and dedicated herself to protecting the community of nuns. She survived Mihail Sadoveanu by over 30 years. Literary contributions Context Often seen as the leading author of his generation, and generally viewed as one of the most representative Romanian writers, Mihail Sadoveanu was also believed to be a first-class story-teller, and received praise especially for his nature writing and his depictions of rural landscapes. An exceptionally prolific author by Romanian standards, he published over a hundred individual volumes (120 according to the American magazine Time). His contemporaries tended to place Sadoveanu alongside Liviu Rebreanu and Cezar Petrescu—for all the differences in style between the three figures, the interwar public saw them as the "great novelists" of the day. Critic Ovid Crohmălniceanu describes their activity, altogether focused on depicting the rural world but diverging in bias, as one sign that the Romanian interwar itself was exceptionally effervescent, while Romanian-born American historian of literature Marcel Cornis-Pope sees Sadoveanu and Rebreanu as their country's "two most important novelists of the first half of the twentieth century". In 1944, Tudor Vianu spoke of Sadoveanu as "the most significant writer Romanians [presently] have, the first among his equals." While underlining his originality in the context of Romanian literature and among the writers standing for "the national tendency" (as opposed to the more cosmopolitan modernists), George Călinescu also noted that, through several of his stories and novels, Sadoveanu echoed the style of his predecessors and contemporaries Ion Luca Caragiale, Ioan Alexandru Brătescu-Voinești, Emil Gârleanu, Demostene Botez, Otilia Cazimir, Calistrat Hogaș, I. A. Bassarabescu and Ionel Teodoreanu. Also included among the "national tendency" writers, Gârleanu was for long seen as Sadoveanu's counterpart, and even, Călinescu writes, "undeservedly upstaged" him. Cornis-Pope also writes that Sadoveanu's epic is a continuation of "the national narrative" explored earlier by Nicolae Filimon, Ioan Slavici and Duiliu Zamfirescu, while literary historians Vianu and Z. Ornea note that Sadoveanu also took inspiration from the themes and genres explored by Junimist author Nicolae Gane. In his youth, Sadoveanu also admired and collected the works of N. D. Popescu-Popnedea, a prolific and successful author of almanacs, historical novels and adventure novels. Later, his approach to Realism was also inspired by his reading of Gustave Flaubert and especially Nikolai Gogol. Both Sadoveanu and Gane were also indirectly influenced by Wilhelm von Kotzebue, the 19th century Imperial Russian diplomat and author of the Romanian-themed story Laskar Vioresku. In Vianu's assessment, Sadoveanu's work signified an artistic revolution within the local Realist school, comparable to the adoption of perspective by the visual artists of the Renaissance. Mihail Sadoveanu's interest in the rural world and his views on tradition were subjects of debate among the modernists. The modernist doyen Eugen Lovinescu, who envisaged an urban literature in tune with European tendencies, was one of Sadoveanu's most notorious critics. However, Sadoveanu was well received by Lovinescu's adversaries within the modernist camp: Perpessicius and Contimporanul editor Ion Vinea, the latter of whom, in search for literary authenticity, believed in bridging the gap between the avant-garde and folk culture. This opinion was shared by Swedish literary historian Tom Sandqvist, who sees Sadoveanu's main point of contact with modernism was his interest in the pagan elements and occasional absurdist streaks of local folklore. In the larger dispute about national specificity, and partly in response to Vinea's claim, modernist poet and essayist Benjamin Fondane argued that, as a sign Romanian culture was tributary to those it had come into contact with, "Sadoveanu's soul can be easily reduced to the Slavic soul". Characteristics Sadoveanu's personality and experience played a major part in shaping his literary style. After his 1901 marriage, Mihail Sadoveanu adopted what Călinescu deemed "patriarchal" lifestyle. The literary historian noted that he took a personal interest in educating his many children, and that this also implied "making use of a whip". An Epicurean, the writer was a homemaker, an avid hunter and fisherman, and a chess aficionado. Recognized, like his epigramist colleague Păstorel Teodoreanu, as a man of refined culinary tastes, Sadoveanu cherished Romanian cuisine and Romanian wine. The lifestyle choices were akin to his literary interests: alongside the secluded and rudimentary existence of his main characters (connected by Călinescu with the writer's supposed longing for "regressions to the patriarchal times"), Sadoveanu's work is noted for its imagery of primitive abundance, and in particular for its lavish depictions of ritualistic feasts, hunting parties and fishing trips. Călinescu opined that the value of such descriptions within individual narratives grew with time, and that the author, once he had discarded lyricism, used them as "a means for the senses to enjoy the fleshes and the forms that nature offers man." He added that Sadoveanu's aesthetics could be said to recall the art of the Golden Age in Holland: "One could almost say that Sadoveanu rebuilds in present day Moldavia [...] the Holland of wine jugs and kitchen tables covered in venison and fish." Vianu also argued that Sadoveanu never abandoned himself to purely aesthetic descriptions, and that, although often depicted with Impressionistic means, nature is assigned a specific if discreet role within the plot lines, or serves to render a structure. The traditionalist Garabet Ibrăileanu, referring to Sadoveanu's poetic nature writing, even declared it to have "surpassed nature." At the other end, the modernist Eugen Lovinescu specifically objected to Sadoveanu's depiction of a primordial landscape, arguing that, despite adopting Realism, his rival was indebted to Romanticism and subjectivity. Lovinescu's attitude, critic Ion Simuț notes, was partly justified by the fact that Sadoveanu never truly parted with the traditionalism of Sămănătorul. In 1962, Time also commented that his style was "curiously dated" and recalled not Sadoveanu's generation, but that of Leo Tolstoy and Ivan Turgenev, "although he has nothing like the power or skill of any of them." For Călinescu and Vianu too, Sadoveanu is a creator with seemingly Romantic tastes, which recall those of François-René de Chateaubriand. Unlike Lovinescu, Vianu saw these traits as "not at all detrimental to the balance of [Sadoveanu's] art." Seen by literary critic Ioan Stanomir as marked by "volubility", and thus contrasting with his famously taciturn and seemingly embittered nature, the form of Romanian used by Mihail Sadoveanu, particularly in his historical novels, was noted for both its use of archaisms and the inventive approach to the Romanian lexis. Often borrowing plot lines and means of expression from medieval and early modern Moldavian chroniclers such as Ion Neculce and Miron Costin, the author creatively intercalates several local dialects and registers of speech, moving away from a mere imitation of the historical language. Generally third-person narratives, his books often make little or no dialectal difference between the speech used by the story-teller and the character's voices. According to Călinescu, Sadoveanu displays "an enormous capacity of authentic speech", similar to that of Caragiale and Ion Creangă. The writer himself recorded his fascination with the "eloquence" of rudimentary orality, and in particular with the speech of Rudari Roma he encountered during his travels. Building on observations made by several critics, who generally praised the poetic qualities of Sadoveanu's prose, Crohmălniceanu spoke in detail about the Moldavian novelist's role in reshaping the literary language. This particular contribution was first described early in the 20th century, when Sadoveanu was acclaimed by Titu Maiorescu for having adapted his writing style to the social environment and the circumstances of his narratives. Vianu however notes that Sadoveanu's late writings tend to leave more room for neologisms, mostly present in those parts where the narrator's voice takes distance from the plot. Another unifying element in Sadoveanu's creation is his recourse to literary types. As early as 1904, Maiorescu praised the young raconteur for accurately depicting characters in everyday life and settings. Tudor Vianu stressed that, unlike most of his Realist predecessors, Sadoveanu introduced an overtly sympathetic view of the peasant character, as "a higher type of human, a heroic human". He added: "Simple, in the sense that they are moved by a few devices [which] coincide with the fundamental instincts of mankind, [they] are, in general, mysterious." In this line, Sadoveanu also creates images of folk sages, whose views on life are of a Humanist nature, and often depicted in contrast with the rationalist tenets of Western culture. Commenting on this aspect, Sadoveanu's friend George Topîrceanu believed that Sadoveanu's work transcended the "more intellectual [and] more artificial" notion of "types", and that "he creates [...] humans." The main topic of his subsequent work, Sandqvist argues, was "an archaic world where the farmers and the landlords were free men with equal rights" (or, according to Simuț, "a utopia of archaic heroism"). Thus, Călinescu stresses, Sadoveanu's work seems to be the monolithic creation through which "a single man" reflects "a single, universal nature, inhabited by a single type of man", and which echoes a similar vision of archaic completeness as found in the literature of poet Mihai Eminescu. The similarity in vision with Eminescu's "nostalgia, return, protest, demand, aspiration toward a [rural] world [he has] left" was also proposed by Vianu, while Topîrceanu spoke of "the paradoxical discovery that [Sadoveanu] is our greatest poet since Eminescu." Mihail Sadoveanu also shaped his traditionalist views on literature by investigating Romanian folklore, which he recommended as a source of inspiration to his fellow writers during his 1923 speech at the Romanian Academy. In Călinescu's view, Sadoveanu's outlook on life was even mirrored in his physical aspect, his "large body, voluminous head, his measured shepherd-like gestures, his affluent but prudent and monologic speech [and] feral indifference; his eyes [...] of an unknown race." His assessment of the writer as an archaic figure, bluntly stated in a 1930 article ("I believe him to be very uncultured"), was contrasted by other literary historians: Alexandru Paleologu described Sadoveanu as a prominent intellectual figure, while his own private notes show that he was well-read and acquainted with the literatures of many countries. Often seen as a spontaneous writer, Sadoveanu nevertheless took pains to elaborate his plots and research historical context, keeping most records of his investigations confined to his diaries. Debut The writer's debut novel, Povestiri, was celebrated for its accomplished style, featuring early drafts of all themes he developed upon later in life. However, Călinescu argued, some of the stories in the volume were still "awkward", and showed that Sadoveanu had problems in outlining epics. The pieces mainly feature episodes in the lives of boyars (members of Moldavia's medieval aristocracy), showing the ways in which they relate to each other, to their servants, and to their country. In one of the stories, titled Cântecul de dragoste ("The Love Song"), Sadoveanu touches on the issue of slavery, depicting the death of a Rom slave who is killed by his jealous master, while in Răzbunarea lui Nour ("Nour's Revenge"), a boyar refuses to make his peace with God until his son's death is avenged. Other fragments deal solely with the isolated existence of villagers: for example, in Într-un sat odată ("Once, in a Village"), a mysterious man dies in a Moldavian hamlet, and the locals, unable to discover his identity, sell his horse. The prose piece Năluca ("The Apparition") centers on the conjugal conflict between two old people, both of whom attempt to hide the shame of their past. George Călinescu notes that, particularly in Năluca, Sadoveanu begins to explore the staple technique of his literary contributions, which involves "suggesting the smolder of passions [through] a contemplative breath in which he evokes a static element: landscapes or set pieces from nature." Sadoveanu's subsequent collection of short stories, Dureri înăbușite, builds on the latter technique and takes his work into the realm of social realism and naturalism (believed by Călinescu to have been borrowed from either the French writer Émile Zola or from the Romanian Alexandru Vlahuță). For Călinescu, this choice of style brought "damaging effects" on Sadoveanu's writings, and made Dureri înăbușite "perhaps the poorest" of his collections of stories. In Lovinescu's view, Sadoveanu's move toward naturalism did not imply the necessary recourse to objectivity. The pieces focus on dramatic moments of individual existences. In Lupul ("The Wolf"), an animal is chased and trapped by a group of peasants; the eponymous character in Ion Ursu leaves his village to become a proletarian, and succumbs to alcoholism; the indentured laborer in Sluga ("The Servant") is unable to take revenge on his cruel employer at the right moment; in Doi feciori ("Two Sons"), a boyar comes to feel affection for his illegitimate son, whom he has nonetheless reduced to a lowly condition. In 1905, Sadoveanu also published Povestiri din război ("Stories from the War"), which compose scenes from the lives of Romanian soldiers fighting in the War of 1878. Objecting to a series of exaggerations in the book, Time nevertheless noted that Sadoveanu "sometimes had the writing skill to make compelling even quite traditional reactions to old-fashioned war". It concluded: "Sadoveanu's sketches have the virtues—and the vices—of old hunting prints and the romantically mannered battle scenes of the 19th century." Early selections of major themes Sadoveanu renounces this grim perspective on life in his volume Crâșma lui Moș Petcu, where he returns to a depiction of rural life as unchanged by outside factors. Petcu's establishment, located on the Moldova Valley, is a serene place, visited by quiet and subdued customers, whose occasional outburst of violence are, according to Călinescu, "dominated by slow, stereotypical mechanics, as is with people who can only accommodate within them a single drama." The literary critic celebrated Crâșma lui Moș Petcu for its depictions of nature, whose purpose is to evoke "the indifferent eternity" of conflicts between the protagonists, and who, at times, relies "on a vast richness of sounds and words." He did however reproach the writer "a certain monotony", arguing that Sadoveanu came to use such techniques in virtually all his later works. However, Sadoveanu's stories of the period often returned to a naturalistic perspective, particularly in a series of sketch stories and novellas which portray the modest lives of Romanian Railways employees, of young men drafted into the Romanian Land Forces, of Bovaryist women who playfully seduce adolescents, or of the provincial petite bourgeoisie. At times, they confront the morals of barely literate people with the stern authorities: a peasant obstinately believes that the 1859 union between Wallachia and Moldavia was meant to ensure the supremacy of his class; a young lower-class woman becomes the love interest of a boyar but chooses a life of freedom; and a Rom deserts from the Army after being told to bathe. In La noi, la Viișoara ("At Our Place in Viișoara"), the life of an old man degenerates into bigotry and avarice, to the point where he makes his wife starve to death. Sadoveanu's positive portrayal of hajduks as fundamentally honest outlaws standing up to feudal injustice, replicates stereotypes found in Romanian folklore, and is mostly present in some of the stories through (sometimes recurrent) heroic characters: Vasile the Great, Cozma Răcoare, Liță Florea etc. In the piece titled Bordeenii (roughly, "The Mud-hut Dwellers"), he shows eccentrics and misanthropes presided upon by the dark figure of Sandu Faliboga, brigands who flee all public authority and whom commentators have likened to settlers of the Americas. Lepădatu, an unwanted child, speaks for the entire group: "What could I do [...] wherever there are big fairs and lots of people? I'd have a better time with the cattle; it is with them that I have grown up and with them that I get along." Romanticizing the obscure events of early medieval history in Vremuri de bejenie ("Roving Times", 1907), Sadoveanu sketches the improvised self-defense of a refugee community, their last stand against nomadic Tatars. In reference to the stories in this series, Călinescu stresses that Sadoveanu's main interest is in depicting men and women cut away from civilization, who view the elements of Westernization with nothing more than "wonderment": "Sadoveanu's literature is the highest expression of the savage instinct." In later works, the critic believed, Sadoveanu moved away from depicting isolation as the escape of primitives into their manageable world, but as "the refinement of souls whom civilization has upset." These views are echoed by Ovid Crohmălniceanu, who believes that, unlike other Romanian Realists, Sadoveanu was able to show a peasant society that was not merely the prey of modern corruption or historical oppression, but rather refusing all contacts with the wider world—even to the point of Luddite-like hostility in front of new objects. Some of the early stories, Crohmălniceanu argues, do follow the moralizing Sămănătorist pattern, but part with it when they refuse to present the countryside in "idyllic" fashion, or when they adopt a specific "mythical realism". Sadoveanu began his career as a novelist with more in-depth explorations into subjects present in his stories and novellas. At the time, Crohmălniceanu stresses, he was being influenced by the naturalism of Caragiale (minus the comedic effect), and by his own experience growing up in characteristically underdeveloped Moldavian cities and târguri (somewhat similar to the aesthetic of boredom, adopted in poetry by George Bacovia, Demostene Botez or Benjamin Fondane). Among his first works of the kind is Floare ofilită ("Wizened Flower"), where a simple girl, Tincuța, marries a provincial civil servant, and finds herself deeply unhappy and unable to enrich her life on any level. Tincuța, seen by Călinescu as one of Sadoveanu's "savage" characters, only maintains urban refinement when persuading her husband to return for supper, but, according to Crohmălniceanu, is also a credible witness to the "small-mindedness" of "bourgeois" environments. A rather similar plot is built for Însemnările lui Neculai Manea ("The Recordings of Neculai Manea"), where the eponymous character, an educated peasant, experiences two unhappy romantic affairs before successfully courting a married woman who, although grossly uncultured, makes him happy. Apa morților ("The Dead Men's Water") is about a Bovaryist woman who discards lovers over imprecise feelings of dissatisfaction, finding refuge in the monotonous countryside. Călinescu noted that such novels were "usually less valuable than direct accounts", and deemed Însemnările lui Neculai Manea "without literary interest"; in Ovid Crohmălniceanu's view, the same story presents relevant detail on professional and intellectual failure. Praised by its commentators, the short novel Haia Sanis (1908) shows the eponymous character, a Jewish woman who throws herself into the arms of a local Gentile, although she knows him to be a seducer. Călinescu, who wrote with admiration about how the subject dissimulated pathos into "technical indifference", notes that the erotic rage motivating Haia has drawn "well justified" comparisons with Jean Racine's tragedy Phèdre. Crohmălniceanu believes Haia Sanis to be "perhaps [Sadoveanu's] best novella", particularly since the "wild beauty" Haia has to overcome at once antisemitism, endogamy and shame, before dying "in terrible pain" during a botched abortion. Sadoveanu's work of the time also includes Balta liniștii ("Tranquillity Pond"), where Alexandrina, pushed into an arranged marriage, has a belated and sad revelation of true love. In other sketch stories, such as O zi ca altele ("A Day like Any Other") or Câinele ("The Dog"), Sadoveanu follows Caragiale's close study of suburban banality. Hanu Ancuței, Șoimii and Neamul Șoimăreștilor The novella Hanu Ancuței ("Ancuța's Inn"), described by George Călinescu as a "masterpiece of the jovial idyllicism and barbarian subtlety", and by Z. Ornea as the first evidence of Sadoveanu's "new age", is a frame story in the line of medieval allegories such as Giovanni Boccaccio's Decameron and Geoffrey Chaucer's Canterbury Tales. It retells the stories of travelers meeting in the eponymous inn. Much of the story deals with statements of culinary tastes and shared recipes, as well as with the overall contrast between civilization and rudimentary ways: in one episode of the book, a merchant arriving from the Leipzig Trade Fair bemuses the other protagonists when he explains the more frugal ways and the technical innovations of Western Europe. Sadoveanu applied the same narrative technique in his Soarele în baltă ("The Sun in the Waterhole"), which, Călinescu argues, displays "a trickier style." In Șoimii, Sadoveanu's first historical novel, the main character is Nicoară Potcoavă, a late 16th-century Moldavian nobleman who became Hetman of the Zaporozhian Cossacks and Prince of Moldavia. The narrative, whose basic lines had been drawn by Sadoveanu in his adolescent years, focuses on early events in Nicoară's life, building on the story according to which he and his brother Alexandru were the brothers of Prince Ioan Vodă cel Cumplit, whose execution by the Ottomans they tried to avenge. The text also follows their attempt to seize and kill Ieremia Golia, a boyar whose alleged betrayal had led to Prince Ioan's capture, and whose daughter Ilinca becomes the brothers' prisoner. This story as well features several episodes where the focus is on depicting customary feasts, as well as a fragment where the Potcoavăs and their Zaporozhian Cossack allies engage in binge drinking. Glossing over several years in Nicoară's life, and culminating in his seizure of the throne, the narrative shows his victory against pretender Petru Șchiopul and Golia, and the price he has to pay for his rise. Alexandru, who falls in love with Ilinca, unsuccessfully asks for the captured Golia not to be killed. Following the murder, both brothers become embittered and renounce power. Călinescu described Șoimii novel as "still awkward", noting that Sadoveanu was only beginning to experiment with the genre. The 1915 Neamul Șoimăreștilor is a Bildungsroman centered on the coming of age of one Tudor Șoimaru. The protagonist, born a free peasant in Orhei area, fights alongside Ștefan Tomșa in the 1612 battles to capture the Moldavian throne. After participating in the capture of Iași, he returns home and helps local boyar Stroie in recovering his daughter, Magda, who had been kidnapped by Cossacks. Șoimaru, who feels for Magda, is however enraged by news that her father has forced his community into serfdom. Trying to deal with his internal conflict, he travels into Poland–Lithuania, where he discovers that Stroie is plotting against Tomșa, while Magda, who is in love with a szlachta nobleman, scorns his affection. He returns a second time to Orhei, marries into his social group, and plots revenge on Stroie by again rallying with Ștefan Tomșa. Following Tomșa's defeat, he again loses the lands of his ancestors, as Stroie returns home to celebrate his victory and have the Șoimarus put to death. Unexpectedly warned of this by Magda, Tudor manages to turn the tide: he and his family destroy Stroie's manor, killing the master but allowing Magda to escape unharmed. In Călinescu's view, the novel is "somewhat more consistent from an epic perspective", but fails to respect the conventions of the adventure novel it sets out to replicate. The critic, who deemed Magda's courtship by Tudor "sentimental", argued that the book lacks "the richness and unpredictable nature of the love intrigue"; he also objected to the depiction of Tudor as indecisive and inadequate for a heroic role. However, Ovid Crohmălniceanu argued that the suddenness of Tudor's sentimental commitments was characteristic for the "peasant soul" as observed by Sadoveanu. Zodia Cancerului and Nunta Domniței Ruxandra Zodia Cancerului, Sadoveanu's later historical novel, is set late in the 17th century, during the third rule of Moldavian Prince Gheorghe Duca, and is seen by Călinescu as "of a superior artistic level." The plot centers on a conflict between Duca and the Ruset boyars: the young Alecu Ruset, son of the deposed Prince Antonie, is spared persecution on account of his good relations with the Ottomans, but has to live under close watch. Himself a tormented, if cultured and refined, man, Alecu falls in love with Duca's daughter Catrina, whom he attempts to kidnap. The episode, set to coincide with the start of a major social crisis, ends with Alecu's defeat and killing on Duca's orders. In the background, the story depicts the visit of an Abbé de Marenne, a Roman Catholic priest and French envoy, who meets and befriends Ruset. Their encounter is another opportunity for Sadoveanu to show the amiable but incomplete exchange between the mentalities of Western and Eastern Europe. In various episodes of the novel, de Marenne shows himself perplexed by the omnipresent wilderness of underpopulated Moldavia, and in particular by the abundance of resources this provides. In one paragraph, seen by George Călinescu as a key to the book, Sadoveanu writes: "[De Marenne's] curious eye was permanently satisfied. Here was a desolation of solitudes, one that his friends in France could not even guess existed, no matter how much imagination they had been gifted with; for at the antipode of civilization one occasionally finds such things that have remained unchanged from the onset of creation, preserving their mysterious beauty." In a shorter novel of the period, Sadoveanu explored the late years of Vasile Lupu's rule over Moldavia, centering on the marriage of Cossack leader Tymofiy Khmelnytsky and Lupu's daughter, Ruxandra. Titled Nunta Domniței Ruxandra ("Princess Ruxandra's Wedding"), it shows the Cossacks' brutal celebration of the event around the court in Iași, depicting Tymofiy himself as an uncouth, violent and withdrawn figure. The narrative then focuses on the Battle of Finta and the siege of Suceava, through which a Wallachian-Transylvanian force repelled the Moldo-Cossack forces and, turning the tide, entered deep into Moldavia and placed Gheorghe Ștefan on the throne. Sadoveanu also invents a love story between Ruxandra and the boyar Bogdan, whose rivalry with Tymofiy ends in the latter's killing. While Călinescu criticized the plot as being over-detailed, and the character studies as incomplete, Crohmălniceanu found the intricate depiction of boyar customs to be a relevant part of Sadoveanu's "vast historical fresco." In both Zodia Cancerului and Nunta Domniței Ruxandra, the author took significant liberties with the historical facts. In addition to Tymofiy's death at the hands of Bogdan, the latter narrative used invented or incorrect names for some of the personages, and portrays the muscular, mustachioed, Gheorghe Ștefan as thin and bearded; likewise, in Zodia Cancerului, Sadoveanu invents the character Guido Celesti, who stands in for the actual Franciscan leader of Duca's Iași, Bariona da Monte Rotondo. Frații Jderi, Venea o moară pe Siret... and Baltagul With Frații Jderi, Sadoveanu's fresco of Moldavian history maintains its setting, but moves back in time to the 15th century rule of Prince Stephen the Great. Writing in 1941, before its final part was in print, Călinescu argued that the novel was part of Sadoveanu's "most valuable work", and noted "the maturity of its verbal means." In the first volume, titled Ucenicia lui Ionuț ("Ionuț's Apprenticeship"), the eponymous Jderi brothers, allies of Stephen and friends of his son Alexandru, fight off the enemies of their lord on several occasions. In what is the start of a Bildungsroman, the youngest Jder, Ionuț Păr-Negru, consumed by love for Lady Nasta, who was kidnapped by Tatars. He goes to her rescue, only to find out that she had preferred suicide to a life of slavery. Călinescu, who believed the volumes show Sadoveanu's move to the consecrated elements of adventure novels, called them "remarkable", but stressed that the narrative could render "the feeling of stumbling, of a languishing flow", and that the dénouement was "rather depressing". The second book in the series (Izvorul alb, "The White Water Spring") intertwines the life of the Jderi brothers with that of Stephen's family: the ruler weds the Byzantine princess Mary of Mangop, while Simion Jder falls for Marușca, who is supposedly Stephen's illegitimate daughter. The major episodes in the narrative are Marușca's kidnapping by a boyar, her captivity in Jagiellon Poland, and her rescue at the hands of the Jderi. The 1942 conclusion of the cycle, Oamenii Măriei-sale ("His Lordship's Men"), the brothers are shown defending their ancestral rights and their lord against the Ottoman invader and ambivalent boyars, and crushing the former at the Battle of Vaslui. The Jderi books, again set to the background of primitivism and natural abundance, also feature episodes of intense horror. These, Călinescu proposes, are willingly depicted "with an indolent complacency", as if to underline that the slow pace and monumental scale of history give little importance to personal tragedies. The same commentator notes a difference between the role nature plays in the first and second volumes: from serene, the landscape becomes hostile, and people are shown fearing earthquakes and droughts, although contemplative depictions of euphoria play a central part in both writings. The meeting between the wider world and the immobile local tradition surfaces in Frații Jderi as well: a messenger is shown wondering how the letter he brought could talk to the addressee; when she is supposed to encounter strange men, Marușca requests to be allowed to "shy away" in another room; a secondary character, claiming precognition, prepares his own funeral. For the 1925 Venea o moară pe Siret..., Sadoveanu received much critical acclaim. The boyar Alexandru Filotti falls in love with a miller's daughter, Anuța, whom he educates and introduces to high society. The beautiful young lady is also courted by Filotti's son Costi and by the peasant Vasile Brebu—in the end, overwhelmed by jealousy, Brebu kills the object of his affection. George Călinescu writes that the good reception was not fully deserved, claiming that the novel is "colorless", that it was merely based on the writer's early stories, and that it failed in its goal of depicting "crumbling boyardom". In Baltagul (1930), Sadoveanu merged psychological techniques and a pretext borrowed from crime fiction with several of his major themes. Written in just 30 days on the basis of previous drafts, the condensed novel shows Vitoria Lipan, the widow of a murdered shepherd, following in her husband's tracks to discover his killer and avenge his death. Accompanied by her son, and using for a guide the shepherd's dog, Vitoria discovers both the body and the murderer, but, before she can take revenge, her dog jumps on the man and bites into his neck. By means of this plot line, Sadoveanu also builds a fresco of transhumance and traces its ancestral paths, taking as a source of inspiration one of the best-known poems in local folklore, the ballad Miorița. Vitoria's sheer determination is the central aspect of the volume. Călinescu, who ranks the book among Sadoveanu's best, praises its "remarkable artistry" and "unforgettable dialogues", but nonetheless writes that Lipan's "detective-like" search and a "stubbornness" are weak points in the narrative. Crohmălniceanu declares Baltagul one of the "capital works" in world literature, proposing that, on its own, it manages to reconstruct "an entire shepherding civilization"; Cornis-Pope, who rates the book as "Sadoveanu's masterpiece", also notes that it "restated the theme of crime and punishment". Main travel writings and memoirs Before the 1940s, Sadoveanu also became known as a travel writer. His contributions notably include accounts of his hunting trips: Țara de dincolo de negură ("The Land beyond the Fog"), and one dedicated to the region of Dobruja (Priveliști dobrogene, "Dobrujan Sights"). Călinescu wrote that they both comprised "pages of great beauty". Țara de dincolo..., primarily showing recluse men in real-life symbiosis with the wilderness, also attention for its sympathetic depiction of the Hutsuls, a minority Slavic-speaking population, as an ancient tribe threatened by cultural assimilation. Sadoveanu's other travelogues include the reportage Oameni și locuri ("People and Places") and an account of his trips into Bessarabia (Drumuri basarabene, "Bessarabian Roads"). He also collected and commented upon the memoirs of other avid hunters (Istorisiri de vânătoare, "Hunting Stories"). A noted writing in this series was Împărăția apelor ("The Realm of Waters"). It forms a detailed and contemplative memoir of his journeys as a fisherman, and, according to Crohmălniceanu, one of the most eloquent proofs of Sadoveanu's "permanent and intimate correspondence with nature." Călinescu saw the text as a "fantastic vision of the entire aquatic universe", merging a form of pessimism similar to Arthur Schopenhauer's with a "calm kief" (cannabis-induced torpor), and as such illustrating "the great joy of participating in the transformations of matter, of eating and allowing oneself to be eaten." Sadoveanu also contributed an account of his travels into the Netherlands, Olanda ("Holland"). It provides insight into his preoccupation with the meeting of civilization and wilderness: upset by what he called "the [Dutch] rampancy of cleanliness", the writer confesses his perplexity at coming face to face with a contained and structured natural world, and details his own temptation to go "against the current". One of Sadoveanu's main conclusions is that Holland lacks in "true and lively wonders". Sadoveanu also sporadically wrote memoirs of his early life career, such as Însemnări ieșene ("Recordings from Iași"), which deals with the period during which he worked for Viața Românească, a book about the Second Balkan War (44 de zile în Bulgaria, "44 Days in Bulgaria"), and the account of years in primary school, Domnu Trandafir. They were followed in 1944 by Anii de ucenicie ("The Apprenticeship Years"), where Sadoveanu details some of his earliest experiences. Despite his temptation for destroying all raw personal notes, Sadoveanu wrote and kept a large number of diaries, which were never published in his lifetime. Other early writings Also during that time, he retold and prefaced the journeys of Thomas Witlam Atkinson, an English architect and stonemason who spent years in Tartary (a book he titled Cuibul invaziilor, "The Nest of Invasions"). This was evidence of his growing interest in exotic subjects, which he later adapted to a series of novels, where the setting is "Scythia", seen as an ancestral area of culture connecting Central Asia with the European region of Dacia (partly coinciding with present-day Romania). The home of mysterious Asiatic peoples, Sadoveanu's Scythia is notably the background to his novels Uvar and Nopțile de Sânziene. The former shows its eponymous character, a Yakut, exposed to the scrutiny of a Russian officer. In the latter, titled after the ancestral celebration of Sânziene during the month of June, shows a French intellectual meeting a nomadic tribe of Moldavian Rom people, who, the reader learns, are actually the descendants of Pechenegs. Călinescu notes that, in such writings, "the intrigue is a pretext", again serving to depict the vast wilderness confronted with the keen eye of foreign observers. He sees Nopțile de Sânziene as "the novel of millenarian immobility", and its theme as one of mythological proportions. The narrative pretexts, including the Sânziene celebration and the Rom people's social atavism, connect Nopțile... with another one of Sadoveanu's writings, 24 iunie ("June 24"). According to Tudor Vianu, the 1933 fantasy novel Creanga de aur ("The Golden Bow") takes partial inspiration from Byzantine literature, and is evidence of a form of Humanism found in Eastern philosophy. Marcel Cornis-Pope places it among Sadoveanu's "mythic-poetic narratives that explored the ontology and symbolics of history." The writer himself acknowledged that the esoteric nature of the book was inspired by his own affiliation to the Freemasonry, whose symbolism it partly reflected. Its protagonist, Kesarion Brebu, is included by Vianu among the images of sages and soothsayers in Mihail Sadoveanu's fiction, and, as "the last Deceneus", is a treasurer of ancient secret sciences mastered by the Dacians and the Ancient Egyptians. The novel is often interpreted as Sadoveanu's perspective on the Dacian contribution to Romanian culture. Sadoveanu's series of minor novels and stories of the interwar years also comprises a set of usually urban-themed writings, which, Călinescu argues, resemble the works of Honoré de Balzac, but develop into "regressive" texts with "a lyrical intrigue". They include Duduia Margareta ("Miss Margareta"), where a conflict occurs between a young woman and her governess, and Locul unde nu s-a întâmplat nimic ("The Place Where Nothing Happened"), where, in what is a retake on his own Apa morților, Sadoveanu depicts the cultured but bored boyar Lai Cantacuzin and his growing affection for a modest young woman, Daria Mazu. In Cazul Eugeniței Costea ("The Case of Eugenița Costea"), a civil servant kills himself to avoid prosecution, and his end is replicated by that of his daughter, brought to despair by her stepfather's character and by her mother's irrational jealousy. Demonul tinereții ("The Demon of Youth"), believed by Călinescu to be "the most charming" in this series, has for its protagonist Natanail, a university dropout who has developed a morbid fear of women since losing the love of his life, and who lives in seclusion as a monk. In the rural-themed Paștele blajinilor ("Thomas Sunday") of 1935, a defeated brigand seeks a dignified end to his wasted life. Written in 1938, the short story Ochi de urs ("Bear's Eye") introduces its hero Culi Ursake, the toughened hunter, into a bizarre scenery that seems to mock a human's understanding. During the period, Mihail Sadoveanu also wrote children's literature. His most significant pieces in this field are Dumbrava minunată ("The Enchanted Grove", 1926), Măria-sa Puiul Pădurii ("His Highness the Forest Boy", 1931), and a collection of stories adapted from Persian literature (Divanul persian, "The Persian Divan", 1940). Măria-sa Puiul Pădurii is itself an adaptation of the Geneviève de Brabant story, considered "somewhat highbrow" by George Călinescu, while the frame story Divanul persian consciously recalls the work of 19th century Wallachian writer Anton Pann. In 1909, Sadoveanu also published adapted version of two ancient writings: the Alexander Romance (as Alexandria) and Aesop's Fables (as Esopia). His 1921 book Cocostârcul albastru ("The Blue Crane") is a series of short stories with lyrical themes. Among his early writings are two biographical novels which retell historical events from the source, Viața lui Ștefan cel Mare ("The Life of Stephen the Great") and Lacrimile ieromonahului Veniamin ("The Tears of Veniamin the Hieromonk"), both of which, Călinescu objected, lacked in originality. The former, published in 1934, was more noted among critics, for both intimate tone and hagiographic character (recounting Stephen's life on the model of saints' biographies). Socialist realism years Despite the post-1944 change in approach, Sadoveanu's characteristic narrative style remained largely unmodified. In contrast, his choice of themes changed, a transition which reflected political imperatives. At the end of the process, literary historian Ana Selejan argues, Sadoveanu became the most influential prose author among Romanian Socialist realists, equaled only by the younger Petru Dumitriu. Historian Bogdan Ivașcu writes that Sadoveanu's affiliation with "proletarian culture" and "its masquerade", like that of Tudor Arghezi and George Călinescu, although it may have been intended to rally "prestige and depth" to Socialist realism, only succeeded in bring their late works to the level of "propaganda and agitation materials." In contrast to these retrospective assessments, communist literary critics and cultural promoters of the 1950s regularly described Sadoveanu as the model to follow, both before and after Georgy Malenkov's views on culture were adopted as the norm. In his Lumina vine de la Răsărit, the writer built on the opposition between light and darkness, identifying the former with Soviet policies and the latter with capitalism. Sadoveanu thus spoke of "the dragon of my own doubts" being vanquished by "the Sun of the East". Historian Adrian Cioroianu notes that this literary antithesis came to be widely used by various Romanian authors who rallied with Stalinism during the late 1940s, citing among these Cezar Petrescu and the former avant-garde writer Sașa Pană. He also notes that such imagery, accompanied by portrayals of Soviet joy and abundance, replicated an ancient "structure of myth", adapting it to a new ideology on the basis of "what could be imagined, not of what could be believed." Ioan Stanomir writes that Sadoveanu and his fellow ARLUS members use a discourse recalling the theme of a religious conversion, analogous to that of Paul the Apostle (see Road to Damascus), and critic Cornel Ungureanu stresses that Sadoveanu's texts of the period frequently quote the Bible. Following his return from the Soviet Union, Sadoveanu published travelogues and reportage piece, including the 1945 Moscova ("Moscow", co-authored with Traian Săvulescu and economist Mitiță Constantinescu) and the 1946 Caleidoscop ("Kaleidoscope"). In one of these accounts, he details his encounter with Lysenkoist agronomist Nikolay Tsistsin, and claims to have tasted bread made from a brand of wheat which yielded 4,000 kilograms of grain per hectare. In a later memoir, Sadoveanu depicted his existence and the destiny of his country as improved by the communist system, and gave accounts of his renewed journeys in the countryside, where he claimed to have witnessed a "spiritual splendor" supported by "the practice of the new times". He would follow up with hundreds of articles on various subjects, published by the communist press, including two 1953 pieces in which he lamented Stalin's death (one of them referred to the Soviet leader as "the great genius of progressive mankind"). Upon its publication, the political novel Mitrea Cocor, which depicts the hardships and eventual triumph of its eponymous peasant protagonist, was officially described as the first Socialist realist writing in local literature, and as a turning point in literary history. Often compared to Dan Deșliu's ideologized poem Lazăr de la Rusca, it is remembered as a controversial epic dictated by ideological requirements, and argued to have been written with assistance from several other authors. Seen by historiographer Lucian Boia as an "embarrassing literary fabrication", it was rated by literary critics Dan C. Mihăilescu and Luminița Marcu both as one of "the most harmful books in Romanian literature", and by historian Ioan Lăcustă as "a propaganda writing, a failure from a literary point of view". A praise of collectivization policies that some critics believe was a testimony that Sadoveanu was submitting himself and imposing his public to brainwashing, Mitrea Cocor was preceded by Păuna-Mică, a novel which also idealizes collective farming. With his final published work, the 1951-1952 novel Nicoară Potcoavă, Sadoveanu retells the narrative of his Șoimii, modifying the plot and adding new characters. Noted among the latter is Olimbiada, a female soothsayer and healer through whose words Sadoveanu again dispenses his own perspective on human existence. The focus of the narrative is also changed: from the avenger of his brother's death in Șoimii, the pretender becomes a purveyor of folk identity, aiming to reestablish the Moldavia of Stephen the Great's times. Praised early on by Dumitriu, who believed it was proof of "artistic excellence", Nicoară Potcoavă is itself seen as a source for communist-inspired political messages. According to Cornel Ungureanu, this explains why it highlights the brotherhood between Cossacks and Moldavians, supposedly replicating the official view on Soviet-Romanian relations. Cornis-Pope, who considers the novel one of Sadoveanu's "mere variations" on old subjects, suggests that it transforms its protagonist "from medieval fighter into political philosopher who announces the rise of a 'new world'." Victor Frunză also notes that, although Sadoveanu returned to old subjects, he "no longer rises to the level he had reached before the war." The final part of Sadoveanu's creation also comprises a series of pieces where the narrative approach was, according to Crohmălniceanu, "corrected" to show his favorite recluse type won over by the new society. In essence, Ungureanu argues, the new style that of "reportage and plain information, adapted to orders coming from above". Such works include the 1951 Nada Florilor ("The Flowers' Lure") and Clonț-de-fier ("Iron Bucktooth"), alongside an unfinished piece, Cântecul mioarei ("Song of the Ewe"). In Nada..., the peasant boy Culai follows his hero, tinsmith Alecuțu, into factory life. Clonț-de-fier, an ideologized retake on Demonul tinereții, is about a monk returning from seclusion into the world of workers, where the landscape is reshaped by large-scale construction works. According to Ungureanu, it also shows Sadoveanu's universe stripped of "all its deep meanings." While their author came to personify the new cultural guidelines, Sadoveanu's previous books, from Frații Jderi to Baltagul, were subject to communist censorship. Various statements contradicting the ideological guidelines were cut out of new editions: the books in general could no longer include mentions of Bessarabia (a region first incorporated into the Soviet Union by a 1940 occupation) or Romanian Orthodox beliefs. In one such instance, censors of Baltagul removed a character's claim that "the Russian" was by nature "the drunkest of them all, [...] a worthy beggar and singer at the fairs." Politics Nationalism and Humanism Sadoveanu's engagement in politics was marked by abrupt changes in convictions, seeing him move from right- to left-wing stances several times in his life. In close connection with his traditionalist views on literature, but in contrast to his career under a Conservative Party and National Liberal cabinets, Sadoveanu initially rallied with nationalist groups of various hues, associating with both Nicolae Iorga and, in 1906, with the left-wing Poporanists at Viața Românească. An early cause of his was his attempt to reconcile Iorga with the Poporanists, but his efforts were largely fruitless. In the 1910s, the anti-Iorga traditionalist Ilarie Chendi recognized in Sadoveanu one of the Poporanists who promoted "the spiritual healing of our people through culture." Around that time, he formulated a ruralist and nationalist perspective on life, rejecting what he deemed "the hybrid urban world" for "the world of our national realities". In Călinescu's analysis, this signifies that, like his predecessor, the conservative Eminescu, Sadoveanu believed the cities were victims of the "superimposed category" of foreigners, in particular those administrating leasehold estates. Following the 1907 Peasants' Revolt, Sadoveanu sent a report to his Minister of Education Spiru Haret, informing him on the state of rural education, and, beyond this, of the problems faced by villagers in Moldavia. It read: "The leaseholders and landowners, no matter what their nationality, make a mockery of the Romanians' labors. Every surtucar [that is, urbanized character] in the village, mayors, notaries, paper-pushers, shamelessly [and] mercilessly milk this milk cow. They are joined by the priest—who [...] is in disagreement with the teacher." With Neamul Șoimăreștilor, the burdens of feudal society and mercantilism, most of all the restriction of economic rights, were becoming a background theme in his fiction, which later depicted Stephen the Great as the original champion of social justice (Frații Jderi). During most of his World War I activity, Sadoveanu also followed the Poporanists' Russophobia and dislike of the Entente side, describing the Russian Empire's national policies in Bessarabia as far more barbaric than Austria-Hungary's rule over Transylvania. In 1916, he abruptly switched to the Entente camp: his enthusiasm as propaganda officer was touched by controversy once Romania experienced massive defeats; Sadoveanu himself abandoned the Entente cause by 1918, when he was decommissioned, and resumed his flirtation with Constantin Stere's Germanophile lobby. Călinescu sees Sadoveanu, alongside Stere, as one of Viața Româneascăs chief ideologues, noting that he was nonetheless "rendered notorious by his inconsistency and opportunism." He writes that Sadoveanu and Stere both showed a resentment for ethnic minorities, particularly members of the Jewish community, whom they saw as agents of exploitation, but that, as Humanists, they had a form of "humane sympathy" for Jews and foreigners taken individually. The Poporanist aspect of Sadoveanu's literature was also highlighted by Garabet Ibrăileanu in the late 1920s, when he referred to his contributions as evidence that Romanian culture was successfully returning to its specific originality. In essence, Crohmălniceanu writes, Sadoveanu was tied to Viața Românească by his advocacy of national specificity, his preference for the large-scale narrative, and his vision of pristine, "natural", human beings. According to Z. Ornea, Sadoveanu's affiliation to the Freemasonry shaped not only his political "demophilia", but also his "Weltanschauung, and, through a reflex, his [literary] work." By consequence, Ornea argues, Sadoveanu became a supporter of democracy, a stance which led him into open conflict with extreme nationalists. Alongside its Humanism, Sadoveanu's nationalism was noted for being secular, and thus in contrast with the Romanian Orthodox imagery favored by nationalists on the far right. Sadoveanu rejected the notion that ancestral Romanians were religious individuals, stating that their belief was in fact "limited to rituals and customs." He was also a vocal supporter of international cooperation, particularly among countries in Eastern and Central Europe. Writing for the magazine Familia in 1935, 17 years after Transylvania's union with Romania and 15 years after the Treaty of Trianon, Sadoveanu joined the Hungarian author Gyula Illyés in pleading for good relations between the two neighbors. As noted by Crohmălniceanu, although Sadoveanu's interwar novels may depict both clashes between polities and benign misunderstandings, they ultimately discourage ethnic stereotypes, suggesting that "the gifts and qualities of various kinships" are mutually compatible. According to Marcel Cornis-Pope, this cooperative vision is the background theme to Divanul persian, a book "demonstrating the value of intercultural dialogue at a time of sharp political polarization." The same text was described by Vianu as evidence of Sadoveanu's "understanding, gentleness and tolerance". In 1926, the year of his entry into Alexandru Averescu's People's Party, Sadoveanu motivated his choice in a letter to Octavian Goga, indicating his belief that the intelligentsia needed to partake in politics: "It would seem that what is foremost needed is the contribution of intellectuals, in an epoch when the overall intellectual level is decreasing." His sincerity was doubted by his contemporaries: both his friend Gheorghe Jurgea-Negrilești and the communist Petre Pandrea recount how, in 1926–1927, Sadoveanu and Păstorel Teodoreanu requested public funds from Interior Minister Goga, with Sadoveanu motivating that he wanted to set up a cultural magazine and later spending the money on his personal wardrobe. In contrast, Adrian Cioroianu notes that the People's Party episode, and especially the "mutual wariness" between Sadoveanu and the National Liberals, underlined the writer's sympathy for the "intellectual Left". Himself a Marxist, Ovid Crohmălniceanu suggested that, as early as the 1930s, Sadoveanu's attitudes were rather similar to the official line of communist groups. Opposition to fascism and support for King Carol During the 1930s, following his stint as head of Adevărul, a leftist newspaper owned by Jewish entrepreneurs, Sadoveanu was targeted by right-wing voices, who claimed that he had chosen to abandon his nationalist credentials. Thus, Sadoveanu became the target of a press campaign in the antisemitic and fascist press, and in particular in Nichifor Crainic's Sfarmă-Piatră and the journals connected with the Iron Guard. The former publication deplored his supposed "betrayal" of the nationalist cause. In it, Ovidiu Papadima portrayed Sadoveanu as the victim of Jewish manipulation, and equated his affiliation to the Freemasonry with devil worship, and mocked his obesity, while Crainic himself compared the writer to his own character, the treacherous Ieremia Golia. Porunca Vremii often referred to him as Jidoveanu (from jidov, a dismissive term for "Jew"), depicted him as an agent of "Judaeo-communism" motivated by "perversity", and called on the public to harass the writer and beat him with stones. It also protested when the public authorities in Fălticeni refused to withdraw Sadoveanu the title of honorary citizen, and again when the University of Iași made him a doctor honoris causa, and, through the voice of novelist N. Crevedia, even suggested that the writer should use his hunting rifle to commit suicide. In 1937, Porunca Vremii congratulated ultra-nationalists who had organized public burnings of Sadoveanu's works in Southern Dobruja and in Hunedoara, as well as non-identified people who sent the writer packages containing shredded copies of his own volumes. In April 1937, the anti-Sadoveanu campaign was met with the indignation of various public figures, who issued an "Appeal of the Intellectuals", signed by Liviu Rebreanu, Eugen Lovinescu, Petru Groza, Victor Eftimiu, George Topîrceanu, Zaharia Stancu, Demostene Botez, Alexandru Al. Philippide, Constantin Balmuș and others. Denouncing the campaign as a "moral assassination", it referred to Sadoveanu as the author of "the most Romanian [works] in our literature." Sadoveanu himself defended his fellow writer Tudor Arghezi, who stood accused by the far right press of having written "pornography". Reviewing the consequences of these scandals, Ovid Crohmălniceanu suggests that all of what Mihail Sadoveanu wrote from 1938 to 1943 is in some way connected to the cause of anti-fascism. According to Cornis-Pope, Sadoveanu's dislike for the far right can be discovered in Creanga de aur, which doubles as "a political parable opposing an archaic peasant civilization to the growing threat of fascism." However, George Călinescu claims, the writer himself had not actually revised his nationalist outlook, that he continued to believe that minorities and foreigners were a risky presence in Greater Romania, and that his Humanism was "a light tincture". In one of his columns, Sadoveanu replied to those organizing the acts of vandalism, indicating that, had they actually read the novels they were destroying, they would have found "a burning faith in this nation, for so long mistreated by cunning men". Elsewhere, stating that he was not going to take his detractors into consideration, Sadoveanu defined himself as an adversary of both Nazi Germany and any form of advocacy for a "National-Socialist regime in our country". Sadoveanu's subsequent endorsement of authoritarian King Carol II and his corporatist force, the National Renaissance Front, saw his participation in the monarch's personality cult. In 1940, he offered controversial praise to the ruler through the official journal, Revista Fundațiilor Regale, which caused Carol's political adversary, psychologist Nicolae Mărgineanu, to deem Sadoveanu and his fellow contributors "scoundrels". His renewed mandate in the Senate was a favor from Carol, also granted to George Enescu, philosopher Lucian Blaga, scientists Emil Racoviță and Iuliu Hațieganu, and several other public figures. During the Ion Antonescu dictatorship, Sadoveanu kept a low profile and was apolitical. However, Cioroianu writes, he supported the invasion of the Soviet Union and Romania's cooperation with the Axis Powers on the Eastern Front, seeing in this a chance to recover Bessarabia and the northern part of Bukovina (lost to the 1940 Soviet occupation). In spring 1944, months before the King Michael Coup toppled the regime, he was approached by the clandestine Romanian Communist Party and its sympathizers in academia to sign an open letter condemning Romania's alliance to Nazi Germany. According to the communist activist Belu Zilber, who took part in this action, Sadoveanu, like his fellow intellectuals Dimitrie Gusti, Simion Stoilow and Horia Hulubei, refused to sign the document. Also according to Zilber, Sadoveanu motivated his refusal by stating that the letter needed to be addressed not to Antonescu, but to King Michael I. However, and aside from its main topic, Păuna-Mică was noted as one of the few prose works of the 1940s to mention the wartime deportation of Romanian Jews by Antonescu's regime; Caleidoscop also speaks about the 1941 Iași pogrom as "our shame", and commends those who opposed it. Partnership with the communists Following his Lumina vine de la Răsărit lecture, Sadoveanu became noted for his positive portrayals of communization and collectivization. In particular, Sadoveanu offered praise to one of the major pillars of Stalinism, the 1936 Soviet Constitution. In 1945, claiming to have been "flashed upon" by "Stalin's argumentation", he urged the public to read the document for its "sincerity"; elsewhere, he equated reading the constitution with "a mystical revelation". Adrian Cioroianu describes this as "an office assignment" from the ARLUS, at a time when the group was circulating free translated copies of the Soviet constitution. The enthusiasm of his writings also manifested itself in his public behavior: according to his ARLUS colleague Iorgu Iordan, Sadoveanu was emotional during the 1945 Soviet trip, shedding tears of joy upon visiting a day care center in the countryside. Running in the 1946 election, Sadoveanu blamed the old political class in general for the problems faced by Romanian peasants, including the major drought of that year. By then, his political partners were making use of his literary fame, and his electoral pamphlet read: "There is no doubt that the thousands of people who have read his works will rush out on [election day] to vote for him." After 1948, when the Romanian communist regime was installed, Sadoveanu directed his praise toward the new authorities. In 1952, as Romania adopted its second republican constitution and the authorities intensified repression against anti-communists, Sadoveanu made some of his most controversial statements. Declaring the defunct kingdom to have been a "long interval of organized injustice and crooked development in all areas", he presented the new order as an era of social justice, human dignity, available culture and universal public education. Criticism of Sadoveanu's moral choices also focuses on the fact that, while he led a luxurious existence, many of his generation colleagues and fellow intellectuals were being persecuted or jailed in notoriously harsh circumstances. Having tolerated the purge within the Romanian Academy, Cioroianu notes, Sadoveanu accepted being colleagues with newly promoted "secondary characters [...] whom the new regime needed", such as poet Dumitru Theodor Neculuță and historian Mihail Roller. In his official capacity, Sadoveanu even signed several death sentences declared by communist tribunals, and, in the wake of the Tămădău Affair of summer 1947, presided over the Chamber sessions which outlawed the opposition National Peasants' Party: according to researcher Victor Frunză, he was a willing participant in this, having been upset by the exposure of his personal wealth in the National Peasantist press. Later, Sadoveanu made a reference to his former colleague, the National Peasantist activist Ion Mihalache, arguing that his old Agrarianist approach to politics had made him a "ridiculous character". Ioan Stanomir describes this fragment as one of "intellectual abjection", indicating that Mihalache, already a political prisoner of the regime, was to die in captivity. However, as leader of the Romanian Writers' Union, the aging writer is credited by some with having protected poet Nicolae Labiș, a disillusioned communist who had been excluded from the Union of Worker Youth in spring 1954, and whose work Sadoveanu treasured. He is also reported to have helped George Călinescu publish the novel Scrinul negru, mediating between him and communist leader Gheorghe Gheorghiu-Dej. Mihail Sadoveanu provided a definition of his own political transition in conversation with fellow writer Ion Biberi (1946). At the time, he claimed: "I have never engaged in politics, in the sense that one assigns to this word." He elaborated: "I am a left-wing person, following the line of a Poporanist zeal in the spirit of Viața Românească, but one adapted to the new circumstances." Cioroianu sees in such statements evidence that, trying to discard his past, Sadoveanu was including himself among the socialist intellectuals "willing to let themselves be won over by the indescribable charm and the full swing of the communist utopia", but that he may in reality have been "motivated by fear". Paraphrasing communist vocabulary, Stanomir describes the writer as one of the "bourgeois" personalities who became "fellow travelers" of the communists, and argues that Sadoveanu's claim to have always leaned towards a "people's democracy" inaugurated "a pattern of chameleonism". In the view of historian Vladimir Tismăneanu, Sadoveanu, like Parhon, George Călinescu, Traian Săvulescu and others, was one of the "non-communist intellectuals" attracted into cooperation with the Romanian Communist Party and the communist regime (Tismăneanu also argues that these figures' good relationship with Gheorghiu-Dej was a factor in the process, as was Gheorghiu-Dej's ability to make himself look "harmless"). Others have submitted that Sadoveanu's faction in the Freemasonry, which included far left advocates Mihai Ralea and Alexandru Claudian, and officially supported evolutionary socialism, was a natural partner of the communists, to the point of sanctioning its own state-organized suppression. According to Adrian Cioroianu, Sadoveanu was not necessarily an "apostle of communization", and his role in the process is subject to much debate. Describing the writer's "conversion to philosovietism" as "purely contextual", Cioroianu also points out that the very notion of "light arising in the East" is read by some as Sadoveanu's encoded message to other Freemasons, warning them of a Soviet threat to the organization. The historian notes that, for all their possible lack in sincerity, Sadoveanu's statements provided a template for other intellectuals to follow—this, he argues, was the case of Cezar Petrescu. Other statements made by Sadoveanu also displayed a possibly studied ambiguity, as is the case with a 1952 lecture he gave in front of young writers attending the Party-controlled School of Literature, where he implicitly denied that one could be created a writer unless by "God or Mother Nature". Legacy Influence Sadoveanu's prose, in particular his treatment of natural settings, was a direct influence in the works of writers such as Dimitrie D. Pătrășcanu, Nicolae N. Beldiceanu, Jean Bart, and Al. Lascarov-Moldovanu; his storytelling techniques were also sometimes borrowed by comedic novelist Damian Stănoiu, and, in later years, by historical novelist Dumitru Vacariu. According to Călinescu, Sadoveanu's early hunting stories published by Viața Românească, together with those of Junimist Nicolae Gane, helped establish the genre within the framework of Romanian literature, and paved the way for its predilect use in the works of Ioan Alexandru Brătescu-Voinești. Călinescu also notes that Scrisorile unui răzeș ("Letters of a Peasant"), an early work by novelist Cezar Petrescu, are deeply marked by Sadoveanu's influence, and that the same writer's use of the Moldavian dialect is a "pastiche" from Sadoveanu. Ion Vinea too, while expressing admiration for Sadoveanu, defined all his disciples and imitators as "mushroom-writers from Sadoveanu's woods" and "butlers who steal [their lord's lingerie] in order to wear his blazon". The issue was much later discussed by writer-critic Ioan Holban, who likewise described most historical novelists inspired by Sadoveanu as "insignificant" to Romanian letters. Under the early stages of the communist regime, before the rise of Nicolae Ceaușescu engendered a series of rehabilitations and accommodated nationalism, the Romanian curriculum was dependent on ideological guidelines. At the time, Sadoveanu was one of the writers from the interwar whose work was still made available to Romanian schoolchildren. In the 1953 Romanian language and literature manual, he represented his generation alongside the communist authors Alexandru Toma and Alexandru Sahia, and was introduced mainly through his Mitrea Cocor. At the time, studies of his work were published by prominent communist critics, among them Ovid Crohmălniceanu, Paul Georgescu, Traian Șelmaru, Mihai Novicov, Eugen Campus and Dumitru Isac, while a 1953 reissue of Baltagul was published in 30,000 copies (a number rarely met by the Romanian publishing industry in that context). In later years, Profira Sadoveanu became a noted promoter of her father's literature and public image, publishing children's versions of his biography, notably featuring illustrations by Mac Constantinescu (1955 edition). Although Sadoveanu continued to be hailed as a major writer during the Ceaușescu years, and the seventy years of his debut were marked with state ceremony, the reaction against Soviet influence affected presentations of his work: his official bibliography no longer included any mention of Păuna-Mică. Among the memoirs dealing with Sadoveanu's late years were those of Alexandru Rosetti, published in 1977. The official revival of nationalist discourse in the 1960s allowed controversial critic Edgar Papu to formulate his version of Protochronism, which postulated that phenomenons within Romanian culture preceded developments in world culture. In this context, Papu spoke of Sadoveanu as "one of the great precursory voices", comparing him to Rabindranath Tagore. After the 1989 Revolution toppled communism, Sadoveanu remained an influence on some young authors, who recovered the themes of his work in a Postmodern or parodic manner. Among them is Dan Lungu, who, according to critic Andrei Terian, alluded to the Hanu Ancuței frame story when constructing his 2004 novel Paradisul găinilor. In 2001, a poll carried among literati by Observator Cultural magazine listed six of his works as some of the best 150 Romanian novels. Mihail Sadoveanu's various works were widely circulated abroad. This phenomenon began as early as 1905, when German-language translations were first published, and continued during the 1930s, when Venea o moară pe Siret... was translated very soon after its original Romanian edition. In 1931, female author and feminist militant Sarina Cassvan included French-language versions of his texts into an anthology designed to promote modern Romanian culture internationally. Also then, some of Sadoveanu's texts were rendered in Chinese by Lu Xun. Tudor Vianu attributes the warm international reception Sadoveanu generally received to his abilities in rendering the Romanians' "own way of sensing and seeing nature and humanity", while literary historian Adrian Marino points out that, Sadoveanu and Liviu Rebreanu were exceptional in their generation for taking an active interest in how their texts were translated, edited and published abroad. Later, publicizing Sadoveanu's work to Eastern Bloc and world audiences became a priority for the communist regime. Thus, Mitrea Cocor was, together with similar works by Zaharia Stancu and Eusebiu Camilar, among the first wave of Romanian books to have been translated into Czech and published in Communist Czechoslovakia. Alongside similar works by Petru Dumitriu, Mitrea Cocor was also among the few English-language editions sanctioned by the Romanian regime, being translated and published, with a preface by Jack Lindsay, in 1953. Nine years later, the collected short stories were a tool for cultural exchange between Romania and the United States. Sadoveanu's good standing in the Soviet Union after World War II also made him one of the few Romanian writers whose works were still being published in the Moldavian SSR (which, as part of Bessarabia, had previously been a region of Greater Romania). Sadoveanu's diaries and notes were collected and edited during the early 2000s, being published in 2006 by Editura Junimea and the MLR. The main coordinators of this project were literary historian Constantin Ciopraga and Constantin Mitru, who was Sadoveanu's brother-in-law and personal secretary. The popularity of his writings remained high into the early 21st century: in 2004, when the country marked a hundred years since Sadoveanu's debut, Șoimii was published in its 15th edition. According to Simuț, the occasion itself was nevertheless marked with "the impression of general indifference", making Sadoveanu seem "a submerged continent, remembered by us only with piousness and confusion". Tributes Sadoveanu is an occasional presence in the literary works of his fellow generation members. His Țara de dincolo de negură was partly written as a tribute to George Topîrceanu's piece of the same name, with both authors sketching an affectionate portrait of one another. Topîrceanu also parodied his friend's style in a five-paragraph sketch, part of a series of such fragments, recorded their encounters in various other autobiographical writings, and dedicated him the first version of his poem Balada popii din Rudeni ("Ballad of the Priest from Rudeni"). Under the name Nicolae Pădureanu, Sadoveanu is a character in the novel and disguised autobiography În preajma revoluției ("On the Eve of the Revolution"), authored by his colleague Constantin Stere. Sadoveanu is honored in two writings by Nicolae Labiș, collectively titled Sadoveniene ("Sadovenians"). The first, titled Mihail Sadoveanu, is a prose poem which alludes to Sadoveanu's prose, and the other, a free verse piece, is titled Cozma Răcoare. In his scientific study of Sadoveanu's work, Eugen Lovinescu himself turns to pure literature, portraying Sadoveanu as a child blessed by the Moirai or ursitoare with ironic gifts, such as an obstinacy for nature writing in the absence of actual observation ("You shall write; you shall write and could never stop yourself writing [...]. The readers will grow tired, but you will remain tireless; you shall not known rest, just as you shall not know nature [...]"). George Călinescu was one to object to this portrayal, noting that it was merely a "literary device which hardly covers the emptiness of [Lovinescu's] idea." Also during the interwar, philosopher Mihai Ralea made Mihail Sadoveanu the subject of a sociological study investigating his literary contributions in the context of social evolutions. A portrait of Sadoveanu was drawn by graphic artist Ary Murnu, within a larger work which depicts the Kübler Coffeehouse society. Sadoveanu was also the subject of a 1929 painting by Ștefan Dumitrescu, part of a series on Viața Românească figures. In its original edition, Mitrea Cocor was supposed to feature a series of drawings made by Corneliu Baba, one of the best-known Romanian visual artists for his generation. Baba, who had been officially criticized for "formalism", was pressured by the authorities into accepting the commission or risk a precarious existence. The result of his work was rejected with a similar label, and the sketches were for long not made available to the public. Baba also painted Sadoveanu's portrait, which, in 1958, art critic Krikor Zambaccian as "the synthesis of Baba's art", depicting "a man of letters aware of his mission [and] the leading presence of an active consciousness". Constantin Mitru inherited the painting and passed it on to the Museum of Romanian Literature (MLR). A marble bust of Sadoveanu, the work of Ion Irimescu, was set up in Fălticeni in 1977. In Bucharest, a memorial plaque was placed on Pitar Moș Street, on a house where he lived for a period. During the 1990s, another bust of Sadoveanu, the work of several sculptors, was unveiled in Chișinău, Republic of Moldova (the former Moldavian SSR), part of the Aleea Clasicilor sculptural ensemble. Sadoveanu's writings also made an impact on film culture, and in particular on Romanian cinema of the communist period. However, the first film based on his works was a German production of 1929: based on Venea o moară... and titled Sturmflut der Liebe ("Storm Tide of Love"), it notably starred Marcella Albani, Alexandru Giugaru and Ion Brezeanu. The series of Romanian-made films began with the 1952 Mitrea Cocor, co-directed by Marietta Sadova (who also starred in the film) and Victor Iliu. The film itself was closely supervised for conformity with ideological guidelines, and had to be partly redone because its original version did not meet them. Mircea Drăgan directed a 1965 version of Neamul Șoimăreștilor (with a screenplay co-written by Constantin Mitru) and a 1973 adaptation of Frații Jderi (with contributions by Mitru and by Profira Sadoveanu). In 1969, Romanian studios produced a film version of Baltagul, directed by Mircea Mureșan and with Sidonia Manolache as Vitoria Lipan. Ten years later, Constantin Vaeni released Vacanță tragică ("Tragic Holiday"), based on Nada Florilor, followed by a 1980 adaptation of Dumbrava minunată and Stere Gulea's 1983 Ochi de urs (tr. "The Bear Eye's Curse"). In 1989, just before the Romanian Revolution, Dan Pița produced his film The Last Ball in November, based on Locul unde nu s-a întâmplat nimic. During the early decades of communist rule, Sadoveanu, Alexandru Toma and later Tudor Arghezi were often paid homage with state celebrations, likened by literary critic Florin Mihăilescu to the personality cult reserved for Stalin and Gheorghe Gheorghiu-Dej. For a while after the writer's death, the Writers' Union club, commonly known as "The Writers' House", bore Sadoveanu's name. Casa cu turn in Iași, which Sadoveanu had donated to the state in 1950, went through a period of neglect and was finally set up as a museum in 1980. Similar sites were set up in his Fălticeni house, and in his final residence at Voividenia, while the Bradu-Strâmb chalet was controversially granted to the Securitate, and later to the Romanian Police. Each year, Iași commemorates the writer through a cultural festival known as the "Mihail Sadoveanu Days". In 2004, the 100th anniversary of his debut was marked by a series of exhibits and symposiums, organized by the MLR. Similar events are regularly held in various cities, and include the "In Sadoveanu's Footsteps" colloquy of writers, held during March 2006 in the city of Piatra Neamț. Since 2003, in tribute to Sadoveanu's love for the game, an annual chess tournament is held in Iași. The Sadoveanu High School and a bookstore in Bucharest are named after him, and streets named after him exist in, among other places, Iași, Fălticeni, Timișoara, Oradea, Brașov, Galați, Suceava, Călărași, Târgu Jiu, Miercurea Ciuc, Petroșani, and Mangalia. Pașcani hosts a cultural center, a high school and a library named after him. Sadoveanu's memory is also regularly honored in the Republic of Moldova, where, in 2005, the 125th anniversary of his birth was celebrated in an official context. A street in Chișinău and a high school in the town of Cupcini are also named after him. Selected works Fiction 1902 - Frații Potcoavă 1904 - Șoimii 1905 - Floare ofilită 1906 - Însemnările lui Neculai Manea 1907 - La noi, la Viișoara 1907 - Vremuri de bejenie 1908 - Balta liniștii 1908 - Haia Sanis 1911 - Apa morților 1915 - Neamul Șoimăreștilor 1925 - Venea o moară pe Siret... 1928 - Hanu Ancuței 1929 - Zodia Cancerului 1930 - Baltagul 1932 - Nunta Domniței Ruxandra 1932 - Uvar 1933 - Creanga de aur 1934 - Nopțile de Sânziene 1935-1942 - Frații Jderi 1949 - Mitrea Cocor 1951-1952 - Nicoară Potcoavă Non-fiction 1907 - Domnu Trandafir 1908 - Oameni și locuri 1914 - Priveliști dobrogene 1916 - 44 de zile în Bulgaria 1921 - Drumuri basarabene 1926 - Țara de dincolo de negură 1928 - Împărăția apelor 1928 - Olanda 1936 - Însemnări ieșene 1937 - Istorisiri de vânătoare 1944 - Anii de ucenicie Notes References Lucian Boia, "Germanofilii". Elita intelectuală românească în anii Primului Război Mondial, Humanitas, Bucharest, 2010. Lucian Boia (ed.), Miturile comunismului românesc, Editura Nemira, Bucharest, 1998. : Lucian Boia, "Un nou Eminescu: A. Toma", p. 71-81 Adrian Cioroianu, "Lumina vine de la Răsărit. 'Noua imagine' a Uniunii Sovietice în România postbelică, 1944-1947", p. 21-68 George Călinescu, Istoria literaturii române de la origini pînă în prezent, Editura Minerva, Bucharest, 1986 Paul Cernat, Avangarda românească și complexul periferiei: primul val, Cartea Românească, Bucharest, 2007. Ilarie Chendi, "Vieața literară în 1911 (o privire generală)", in Luceafărul, Nr. 3/1912, p. 61-65 (digitized by the Babeș-Bolyai University Transsylvanica Online Library) Adrian Cioroianu, , Editura Curtea Veche, Bucharest, 2005. Marcel Cornis-Pope, "Shifting Perspectives and Voices in the Romanian Novel"; "The Search for a Modern, Problematizing Historical Consciousness: Romanian Historical Fiction and Family Cycles", in Marcel Cornis-Pope, John Neubauer (eds.), History of the Literary Cultures of East-Central Europe, John Benjamins, Amsterdam & Philadelphia, 2004, p. 441-456, 499–505. Ovid Crohmălniceanu, Literatura română între cele două războaie mondiale, Vol. I, Editura Minerva, Bucharest, 1972. Victor Frunză, Istoria stalinismului în România, Humanitas, Bucharest, 1990. Florin Mihăilescu, De la proletcultism la postmodernism, Editura Pontica, Constanța, 2002. Z. Ornea, Anii treizeci. Extrema dreaptă românească, Editura Fundației Culturale Române, Bucharest, 1995. Junimea și junimismul, Vol. II, Editura Minerva, Bucharest, 1998. Petre Răileanu, "Construcție și semnificație în ficțiunea istorică", preface to Mihail Sadoveanu, Nicoară Potcoavă, Editura Militară, 1990, p. 5-17. Tom Sandqvist, Dada East. The Romanians of Cabaret Voltaire, MIT Press, Cambridge, Massachusetts & London, 2006. Ana Selejan, Literatura în totalitarism. Vol. II: Bătălii pe frontul literar, Cartea Românească, Bucharest, 2008. Ioan Stanomir, "Facerea lumii", in Paul Cernat, Ion Manolescu, Angelo Mitchievici, Ioan Stanomir, Explorări în comunismul românesc, Polirom, Iași, 2004, p. 13-45. George Topîrceanu, Scrieri, Vols. I-II (preface, chronological table and notes by Al. Săndulescu), Editura Minerva, Bucharest, 1983. Cristian Vasile, Literatura și artele în România comunistă. 1948-1953, Humanitas, Bucharest, 2010. Tudor Vianu, Scriitori români, Vols. I-II, Editura Minerva, Bucharest, 1970. Krikor Zambaccian, Corneliu Baba, Editura de stat pentru literatură și artă, Bucharest, 1958. External links Roumanian Stories. Translated by Lucy Byng (includes three of Sadoveanu's works), at the University of Washington's DXARTS/CARTAH Electronic Text Archive A Boyar's Sin (excerpt), A Worried Man, His Majesty's Mare, Idle Hours, Master Trandafir (excerpts), The Enchanted Grove (excerpts), The Place Where Nothing Happened (excerpt), The Vesper Bell, Vitoria Lipan (fragment from Baltagul), translations in the Romanian Cultural Institute's Plural Magazine (various issues) "Peace Partisans Meeting aka Peace Meeting" (Rome, 1949) British-Pathé newsreel showing Sadoveanu and other delegates |- 1880 births 1961 deaths Romanian biographers Male biographers Romanian children's writers Romanian crime fiction writers Romanian essayists Romanian fantasy writers Romanian historical novelists Romanian magazine editors Romanian magazine founders Romanian memoirists Romanian newspaper editors 20th-century Romanian novelists Romanian male novelists Romanian poets Romanian male poets Romanian textbook writers Romanian translators Romanian travel writers 19th-century short story writers 20th-century short story writers Romanian male short story writers Romanian short story writers Romanian theatre managers and producers Social realism Socialist realism writers Poporanists Adevărul editors Adevărul writers Titular members of the Romanian Academy People's Party (interwar Romania) politicians 20th-century Romanian politicians Presidents of the Senate of Romania Presidents of the Chamber of Deputies (Romania) Members of the Chamber of Deputies (Romania) Members of the Great National Assembly Heads of state of Romania Romanian activists Romanian Freemasons Masonic Grand Masters Romanian nationalists Romanian pacifists Romanian propagandists Romanian humanists Censorship in Romania Lenin Peace Prize recipients People from Pașcani Romanian civil servants Romanian Land Forces officers Romanian military personnel of the Second Balkan War Romanian people of World War I Romanian people of World War II Burials at Bellu Cemetery 19th-century Romanian writers 20th-century Romanian writers 20th-century essayists 20th-century memoirists 20th-century translators
true
[ "\"Toward a Fair Use Standard\", 103 Harv. L. Rev. 1105 (1990), is a law review article on the fair use doctrine in US copyright law, written by then-District Court Judge Pierre N. Leval. The article argued that the most critical element of the fair use analysis is the transformativeness of a work, the first of the statutory factors listed in the Copyright Act of 1976, . \n\nLeval's article is cited in the Supreme Court's 1994 decision in Campbell v. Acuff-Rose Music, Inc., which marked a shift in judicial treatment of fair use toward a transformativeness analysis and away from emphasizing the \"commerciality\" analysis of the fourth factor. Prior to Leval's article, the fourth factor had often been described as the most important of the factors. \n\nIn his article, Leval noted: \nI believe the answer to the question of justification turns primarily on whether, and to what extent, the challenged use is transformative. The use must be productive and must employ the quoted matter in a different manner or for a different purpose from the original. ...[If] the secondary use adds value to the original—if the quoted matter is used as raw material, transformed in the creation of new information, new aesthetics, new insights and understandings—this is the very type of activity that the fair use doctrine intends to protect for the enrichment of society.\n\nTransformative uses may include criticizing the quoted work, exposing the character of the original author, proving a fact, or summarizing an idea argued in the original in order to defend or rebut it. They also may include parody, symbolism, aesthetic declarations, and innumerable other uses.\n\nLeval's article was published with an accompanying article by Lloyd Weinreb \"Fair's Fair: A Comment on the Fair Use Doctrine\", 103 Harvard Law Review 1137 (1990), which generally critiqued Leval's thesis.\n\nFurther reading \n \n \n\n1990 essays\n1990 in law\nFair use\nCopyright law literature\nLegal literature\nWorks originally published in the Harvard Law Review\nUnited States copyright law", "In Caspar Hare's theory of perspectival realism, there is a defining intrinsic property that the things that are in perceptual awareness have. Consider seeing object A but not object B. Of course, we can say that the visual experience of A is present to you, and no visual experience of B is present to you. But, it can be argued, this misses the fact that the visual experience of A is simply present, not relative to anything. This is what Hare's perspectival realism attempts to capture, resulting in a weak version of metaphysical solipsism.\n\nAs Hare points out, the same type of argument is often used in the philosophy of time to support theories such as presentism. Of course, we can say that A is happening on [insert today's date]. But, it can be argued, this misses the fact that A is simply happening (right now), not relative to anything.\n\nHare's theory of perspectival realism is closely related to his theory of egocentric presentism.\nSeveral other philosophers have written reviews of Hare's work on this topic.\n\nSee also\n Metaphysical subjectivism\n Centered worlds\n Benj Hellie's vertiginous question\n J.J. Valberg's personal horizon\n\nReferences\n\nExternal links\n Hare, Caspar. Self-Bias, Time-Bias, and the Metaphysics of Self and Time. Preprint of article in The Journal of Philosophy (2007).\n Hare, Caspar. On Myself, and Other, Less Important Subjects. Early draft of book published by Princeton University Press (2009).\n Hare, Caspar. Realism About Tense and Perspective. Preprint of article in Philosophy Compass (2010).\n\nEpistemological theories\nMetaphysics of mind\nPhilosophical realism\nPhilosophy of time\nTheory of mind" ]
[ "Mihail Sadoveanu", "1910s and World War I", "what happened in 1910's?", "In 1910, he was also appointed head of the National Theater Iasi, a position which he filled until 1919.", "what else was he appointed to?", "He was a leading presence at Minerva newspaper, alongside Anghel and critic Dumitru Karnabatt,", "what was his greatest accomplishment named in the article?", "Mihail Sadoveanu became a professional writer in 1908-1909, after joining the Romanian Writers' Society,", "who did he work with?", "he, Iosif, and Anghel, together with author Emil Garleanu,", "what did they do?", "set up Cumpana, a monthly directed against both Ovid Densusianu's eclecticism and the Junimist school (the magazine was no longer in print by 1910", "what is the most important fact in this article?", "Sadoveanu was again called under arms during the Second Balkan War of 1913," ]
C_f789d8273c5b43b2a57524472ce50d02_0
what did he do?
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what did Mihail Sadoveanu do in 1913?
Mihail Sadoveanu
Sadoveanu returned to his administrative job in 1907, the year of the Peasants' Revolt. Kept in office by the National Liberal cabinet of Ion I. C. Bratianu, he served under the reform-minded Education Minister Spiru Haret. Inspired by the bloody outcome of the Revolt, as well as by Haret's moves to educate the peasantry, Sadoveanu reportedly drew suspicion from the Police when he published self-help guides aimed at industrious ploughmen, a brand of social activism which even resulted in a formal inquiry. Mihail Sadoveanu became a professional writer in 1908-1909, after joining the Romanian Writers' Society, created in the previous year by poets Cincinat Pavelescu and Dimitrie Anghel, and becoming its President in September of that year. The same year, he, Iosif, and Anghel, together with author Emil Garleanu, set up Cumpana, a monthly directed against both Ovid Densusianu's eclecticism and the Junimist school (the magazine was no longer in print by 1910). At the time, he became a noted presence among the group of intellectuals meeting in Bucharest's Kubler Coffeehouse. In 1910, he was also appointed head of the National Theater Iasi, a position which he filled until 1919. That year, he translated from the French one of Hippolyte Taine's studies on the genesis of artworks. He resigned his office within the Writers' Society in November 1911, being replaced by Garleanu, but continued to partake in its administration as a member of its leadership committee and a censor. He was a leading presence at Minerva newspaper, alongside Anghel and critic Dumitru Karnabatt, and also published in the Transylvanian traditionalist journal, Luceafarul. Sadoveanu was again called under arms during the Second Balkan War of 1913, when Romania confronted Bulgaria. Having reached the rank of Lieutenant, he was stationed in Falticeni with the 15th Infantry Regiment, after which he spent a short period on the front. He returned to literary life. Becoming good friends with poet and humorist George Topirceanu, he accompanied him and other writers on cultural tours during 1914 and 1915. The series of writings he published at the time includes the 1915 Neamul Soimarestilor. In 1916-1917, as Romania entered World War I and was invaded by the Central Powers, Sadoveanu stayed in Moldavia, the only part of Romania's territory still under the state's authority (see Romanian Campaign). The writer oscillated between the Germanophilia of his Viata Romaneasca friends, the stated belief that war was misery and the welcoming of Romania's commitment to the Entente Powers. At the time, he was reelected President of the Writers' Society, a provisional mandate which ended in 1918, when Romania signed the peace with the Central Powers, and, as Army reservist, edited the Entente's regional propaganda outlet, Romania. He was joined by Topirceanu, who had just been released from a POW camp in Bulgaria, and with whom he founded the magazine Insemnari Literare. Sadoveanu subsequently settled in the Iasi neighborhood of Copou, purchasing and redecorating the villa known locally as Casa cu turn ("The House with a Tower"). In the 19th century, it had been the residence of politician Mihail Kogalniceanu, and, during the war, hosted composer George Enescu. During that period, he collaborated with leftist intellectual Vasile Mortun and, together with him and Arthur Gorovei, founded and edited the magazine Ravasul Poporului. CANNOTANSWER
Having reached the rank of Lieutenant, he was stationed in Falticeni with the 15th Infantry Regiment,
Mihail Sadoveanu (; occasionally referred to as Mihai Sadoveanu; November 5, 1880 – October 19, 1961) was a Romanian novelist, short story writer, journalist and political figure, who twice served as acting head of state for the communist republic (1947–1948 and 1958). One of the most prolific Romanian-language writers, he is remembered mostly for his historical and adventure novels, as well as for his nature writing. An author whose career spanned five decades, Sadoveanu was an early associate of the traditionalist magazine Sămănătorul, before becoming known as a Realist writer and an adherent to the Poporanist current represented by Viața Românească journal. His books, critically acclaimed for their vision of age-old solitude and natural abundance, are generally set in the historical region of Moldavia, building on themes from Romania's medieval and early modern history. Among them are Neamul Șoimăreștilor ("The Șoimărești Family"), Frații Jderi ("The Jderi Brothers") and Zodia Cancerului ("Under the Sign of the Crab"). With Venea o moară pe Siret... ("A Mill Was Floating down the Siret..."), Baltagul ("The Hatchet") and some other works of fiction, Sadoveanu extends his fresco to contemporary history and adapts his style to the psychological novel, Naturalism and Social realism. A traditionalist figure whose perspective on life was a combination of nationalism and Humanism, Sadoveanu moved between right- and left-wing political forces throughout the interwar period, while serving terms in Parliament. Rallying with People's Party, the National Agrarian Party, and the National Liberal Party-Brătianu, he was editor of the leftist newspapers Adevărul and Dimineața, and was the target of a violent far right press campaign. After World War II, Sadoveanu became a political associate of the Romanian Communist Party. He wrote in favor of the Soviet Union and Stalinism, joined the Society for Friendship with the Soviet Union and adopted Socialist realism. Many of his texts and speeches, including the political novel Mitrea Cocor and the famous slogan Lumina vine de la Răsărit ("The Light Arises in the East"), are also viewed as propaganda in favor of communization. A founding member of the Romanian Writers' Society and later President of the Romanian Writers' Union, Sadoveanu was also a member of the Romanian Academy since 1921 and a recipient of the Lenin Peace Prize for 1961. He was also Grand Master of the Romanian Freemasonry during the 1930s. The father of Profira and Paul-Mihu Sadoveanu, who also pursued careers as writers, he was the brother-in-law of literary critic Izabela Sadoveanu-Evan. Biography Early years Sadoveanu was born in Pașcani, in western Moldavia. His father's family hailed from the southwestern part of the Old Kingdom, in Oltenia. Their place of origin, Sadova, provided their chosen surname (lit. "from Sadova"), which was adopted by the family only in 1891. Mihail's father was the lawyer Alexandru Sadoveanu (d. 1921), whom literary critic George Călinescu described as "a bearded and well-to-do man"; according to the writer's own notes, Alexandru was unhappy in marriage, and his progressive isolation from public life impacted on the entire family. Mihail's mother, Profira née Ursachi (or Ursaki; d. 1895), hailed from a line of Moldavian shepherds, all of whom, as the writer recalled, had been illiterate. Literary historian Tudor Vianu believes this contrast of regional and social identities played a part in shaping the author, opening him up to a "Romanian universality", but notes that, throughout his career, Sadoveanu was especially connected with his Moldavian roots. Mihail had a brother, also named Alexandru, whose wife was the Swiss-educated literary critic Izabela Morțun (later known as Sadoveanu-Evan, she was the cousin of socialist activist Vasile Morțun). Another one of his brothers, Vasile Sadoveanu, was an agricultural engineer. Beginning in 1887, Sadoveanu attended primary school in Pașcani. His favorite teacher, a Mr. Busuioc, later served as inspiration for one of his best-known short stories, Domnu Trandafir ("Master Trandafir"). While away from school, young Sadoveanu used much of his spare time exploring his native region on foot, hunting, fishing, or just contemplating nature. He was also spending his vacations in his mother's native Verșeni. During his journeys, Sadoveanu visited peasants, and his impression of the way in which they were relating to authority is credited by critics with having shaped his perspective on society. Shortly after this episode, the young Sadoveanu left to complete his secondary studies in Fălticeni and at the National High School in Iași. While in Fălticeni, he was in the same class as future authors Eugen Lovinescu and I. Dragoslav, but, having lost interest in schoolwork, he failed to get his remove, before eventually graduating top of his class. First literary attempts, marriage and family In 1896, when he was aged sixteen, Sadoveanu gave thought to writing a monograph on Moldavian Prince Stephen the Great, but his first literary attempts date from the following year. It was in 1897 that a sketch story, titled Domnișoara M din Fălticeni ("Miss M from Fălticeni") and signed Mihai din Pașcani ("Mihai from Pașcani"), was successfully submitted for publishing to the Bucharest-based satirical magazine Dracu. He started writing for Ovid Densusianu's journal Vieața Nouă in 1898. His contributions, featured alongside those of Gala Galaction, N. D. Cocea, and Tudor Arghezi, include another sketch story and a lyric poem. Sadoveanu was however dissatisfied with Densusianu's agenda, and critical of the entire Romanian Symbolist movement for which the review spoke. He ultimately began writing pieces for non-Symbolist magazines such as Opinia and Pagini Literare. In parallel, he founded and printed by hand a short-lived journal, known to researches as either Aurora or Lumea. Sadoveanu left for Bucharest in 1900, intending to study Law at the University's Faculty of Law, but withdrew soon after, deciding to dedicate himself to literature. He began frequenting the bohemian society in the capital, but, following a sudden change in outlook, abandoned poetry and focused his work entirely on Realist prose. In 1901, Sadoveanu married Ecaterina Bâlu, with whom he settled in Fălticeni, where he began work on his first novellas and decided to make his living as a professional writer. His first draft for a novel, Frații Potcoavă ("The Potcoavă Brothers"), came out in 1902, when fragments were published by Pagini Alese magazine under the pseudonym M. S. Cobuz. The following year, Sadoveanu was drafted into the Romanian Land Forces, stationed as a guard near Târgu Ocna, and inspired by the experience to write some of his first social criticism narratives. After that time, he spent much of his home in the country, where he raised a large family. Initially, the Sadoveanus lived in a house previously owned by celebrated Moldavian raconteur Ion Creangă, before they commissioned a new building, famed for its surrounding Grădina Liniștii ("Garden of Quietude"). He was the father of eleven, among whom were three daughters: Despina, Teodora and Profira Sadoveanu, the latter of whom was a poet and a novelist. Of his sons, Dimitrie Sadoveanu became a painter, while Paul-Mihu, the youngest (born 1920), was author of the novel Ca floarea câmpului... ("Like the Flower of the Field...") which was published posthumously. Sămănătorul, Viața Românească and literary debut After receiving an invitation from poet Ștefan Octavian Iosif in 1903, Sadoveanu contributed works to the traditionalist journal Sămănătorul, led at the time by historian and critic Nicolae Iorga. He was by then also a contributor to Voința Națională, a newspaper published by the National Liberal Party and managed by politician Vintilă Brătianu—beginning December of the same year, the paper serialized Șoimii ("The Hawks"), an extended variant of Frații Potcoavă, with an introduction by historian Vasile Pârvan. In 1904, he regained Bucharest, where he became a copyist for the Ministry of Education's Board of Schools, returning to Fălticeni two years later. After 1906, he rallied with the group formed around Viața Românească, which was also joined by his sister-in-law Izabela. Sămănătorul and Viața Românească, having comparable influence over the literature of Romania, stood for a traditionalist and ruralist approach to art, even though the latter adopted a more left-wing perspective, known as Poporanism. The leading Poporanist ideologue, Garabet Ibrăileanu, became a personal friend of the young writer after inviting him on an excursion down the Râșca River. With his subsequent pieces for Viața Românească, Sadoveanu became especially known as the raconteur of hunting trips, but also sparked controversy when a young woman writer, Constanța Marino-Moscu, accused him of having plagiarized her works in his Mariana Vidrașcu, a serialized novel which was discontinued and later largely forgotten. 1904 was Sadoveanu's effective debut year: he published four separate books, including Șoimii, Povestiri ("Stories"), Dureri înăbușite ("Suppressed Pains") and Crâșma lui Moș Petcu ("Old Man Petcu's Alehouse"). The beginning of a prolific literary career covering more than a half century and of his collaboration with Editura Minerva publishing house, this debut was marked by intense preparation, and drew on literary exercises spanning the previous decade. His Sămănătorul colleague Iorga deemed 1904 "Sadoveanu's Year", while the influential and aging critic Titu Maiorescu, leader of the conservative literary society Junimea, gave a positive review to Povestiri, and successfully proposed it for a Romanian Academy award in 1906. In a 1908 essay, Maiorescu was to list Sadoveanu among Romania's greatest writers. According to Vianu, Maiorescu saw in Sadoveanu and other young writers the triumph of his theory on a "popular" form of Realism, a vision which the Junimist thinker had advocated in his essays from as early as 1882. Sadoveanu later credited Iorga, Maiorescu, and especially so the cultural promoter Constantin Banu and Sămănătorul poet George Coșbuc, with having helped him capture the interest of the public and his peers. He was by then facing adversity from opponents of Sămănătorul, primarily critic Henric Sanielevici and his Curentul Nou review, which published claims that Sadoveanu's volumes, which depicted immoral acts such as adultery and rape, showed that Iorga's program of moral didacticism was hypocritical. As he latter recalled, Sadoveanu was himself upset with some of Iorga's critical judgments regarding his own work, noting that the Sămănătorist doyen had once declared him equal to Vasile Pop (one of Iorga's protegés, and viewed as overrated by Sadoveanu). The same year, Sadoveanu became one of Sămănătoruls editors, alongside Iorga and Iosif. The magazine, originally a traditionalist mouthpiece founded by Alexandru Vlahuță and George Coșbuc, proclaimed with Iorga its purpose of establishing "a national culture", emancipated from foreign influence. However, according to Călinescu, this ambitious goal was only manifested in a "great cultural influence", as the journal continued to be an eclectic venue which grouped together ruralist traditionalists of the "national tendency" and adherents to the cosmopolitan currents such as Symbolism. Călinescu and Vianu agree that Sămănătorul was, for a large part, a promoter of older guidelines set by Junimea. Vianu also argues that Sadoveanu's contribution to the literary circle was the main original artistic element in its history, and credits Iosif with having accurately predicted that, during a period of literary "crisis", Sadoveanu was the person to provide innovation. He continued to publish at an impressive rate: in 1906, he again handed down for print four separate volumes. In parallel, Sadoveanu pursued his career as a civil servant. In 1905, he was employed as a clerk by the Ministry of Education, headed by the Conservative Party's Mihail Vlădescu. His direct supervisor was poet D. Nanu, and he had for his colleagues the geographer George Vâlsan and the short story writer Nicolae N. Beldiceanu. Nanu wrote of this period: "It is a clerical packed full with men of letters, no work is being done, people smoke, drink coffee, create dreams, poems and prose [...]." Having interrupted his administrative service, Sadoveanu was again drafted into the Land Forces in 1906, being granted an officer's rank. An already overweight man, he had to march from Probota in Central Moldavia to Bukovina, which caused him intense suffering. 1910s and World War I Sadoveanu returned to his administrative job in 1907, the year of the Peasants' Revolt. Kept in office by the National Liberal cabinet of Ion I. C. Brătianu, he served under the reform-minded Education Minister Spiru Haret. Inspired by the bloody outcome of the Revolt, as well as by Haret's moves to educate the peasantry, Sadoveanu reportedly drew suspicion from the Police when he published self-help guides aimed at industrious ploughmen, a brand of social activism which even resulted in a formal inquiry. Mihail Sadoveanu became a professional writer in 1908–1909, after joining the Romanian Writers' Society, created in the previous year by poets Cincinat Pavelescu and Dimitrie Anghel, and becoming its President in September of that year. The same year, he, Iosif, and Anghel, together with author Emil Gârleanu, set up Cumpăna, a monthly directed against both Ovid Densusianu's eclecticism and the Junimist school (the magazine was no longer in print by 1910). At the time, he became a noted presence among the group of intellectuals meeting in Bucharest's Kübler Coffeehouse. In 1910, he was also appointed head of the National Theater Iași, a position which he filled until 1919. That year, he translated from the French one of Hippolyte Taine's studies on the genesis of artworks. He resigned his office within the Writers' Society in November 1911, being replaced by Gârleanu, but continued to partake in its administration as a member of its leadership committee and a censor. He was a leading presence at Minerva newspaper, alongside Anghel and critic Dumitru Karnabatt, and also published in the Transylvanian traditionalist journal, Luceafărul. Sadoveanu was again called under arms during the Second Balkan War of 1913, when Romania confronted Bulgaria. Having reached the rank of Lieutenant, he was stationed in Fălticeni with the 15th Infantry Regiment, after which he spent a short period on the front. He returned to literary life. Becoming good friends with poet and humorist George Topîrceanu, he accompanied him and other writers on cultural tours during 1914 and 1915. The series of writings he published at the time includes the 1915 Neamul Șoimăreștilor. In 1916–1917, as Romania entered World War I and was invaded by the Central Powers, Sadoveanu stayed in Moldavia, the only part of Romania's territory still under the state's authority (see Romanian Campaign). The writer oscillated between the Germanophilia of his Viața Românească friends, the stated belief that war was misery and the welcoming of Romania's commitment to the Entente Powers. At the time, he was reelected President of the Writers' Society, a provisional mandate which ended in 1918, when Romania signed the peace with the Central Powers, and, as Army reservist, edited the Entente's regional propaganda outlet, România. He was joined by Topîrceanu, who had just been released from a POW camp in Bulgaria, and with whom he founded the magazine Însemnări Literare. Sadoveanu subsequently settled in the Iași neighborhood of Copou, purchasing and redecorating the villa known locally as Casa cu turn ("The House with a Tower"). In the 19th century, it had been the residence of politician Mihail Kogălniceanu, and, during the war, hosted composer George Enescu. During that period, he collaborated with leftist intellectual Vasile Morțun and, together with him and Arthur Gorovei, founded and edited the magazine Răvașul Poporului. Creative maturity and early political career In 1921, Sadoveanu was elected a full member of the Romanian Academy; he gave his reception speech in front of the cultural forum two years later, structuring it as a praise of Romanian folklore in general and folkloric poetry in particular. At the time, he renewed his contacts with Viața Românească: with Garabet Ibrăileanu and several others, he joined its interwar nucleus, while the review often featured samples of his novels (some of which were originally published in full by its publishing venture). His house was by then host to many cultural figures, among whom were writers Topîrceanu, Gala Galaction, Otilia Cazimir, Ionel and Păstorel Teodoreanu, and Dimitrie D. Pătrășcanu, as well as conductor Sergiu Celibidache. He was also close to a minor socialist poet and short story author, Ioan N. Roman, whose work he helped promote, to the aristocrat and memoirist Gheorghe Jurgea-Negrilești, and to a satirist named Radu Cosmin. Despite his health problems, Sadoveanu frequently traveled throughout Romania, notably visiting local sights which inspired his work: the Romanian Orthodox monasteries of Agapia and Văratec, and the Neamț Fortress. After 1923, together with Topîrceanu, Demostene Botez and other Viața Românească affiliates, he also embarked on a series of hunting trips. He was charmed in particular by the sights he discovered during a 1927 visit to the Transylvanian area of Arieș. The same year, he also visited the Netherlands, which he reached by means of the Orient Express. His popularity continued to grow: in 1925, 1929 and 1930 respectively, he published his critically acclaimed novels Venea o moară pe Siret..., Zodia Cancerului and Baltagul, and his 50th anniversary was celebrated at a national level. In 1930, Sadoveanu, Topîrceanu and the schoolteacher T. C. Stan wrote and edited a series of primary school textbooks. In 1926, after a period of indecision, Sadoveanu rallied with the People's Party, where his friend, the poet Octavian Goga, was a prominent activist. He then rallied with Goga's own National Agrarian Party. During the general election of 1927, he won a seat in the Chamber for Bihor County, in Transylvania, holding a seat in the Senate for Iași County after the 1931 suffrage. Under Nicolae Iorga's National Peasants' Party cabinet of the period, Sadoveanu was President of the Senate. The choice was motivated by his status as "a cultural personality". Around that date, he was affiliated with the National Liberal Party-Brătianu, a right-wing party inside the liberal current, who stood in opposition to the main National Liberal group. In parallel, he began contributing to the left-wing daily Adevărul. Sadoveanu was by then affiliated with the Freemasonry, as first recorded by the organization in 1928, but was probably a member since 1926 or 1927. Reaching the 33rd degree within the organization and overseeing the Masonic Lodge Dimitrie Cantemir of Iași, he was elected Grand Master of the National Union of Lodges in 1932, thus replacing the vacating George Valentin Bibescu. There subsequently occurred a split between Bibescu and Sadoveanu's supporters, aggravated by their publicized conflict with a third group, that of Ioan Pangal—splits which ended after some three years, when Sadoveanu marginalized both of his opponents, without however earning legitimate recognition from the Grand Orient de France. By 1934, he was recognized as Grand Master of the United Romanian Freemasonry, which regrouped all major local Lodges. Late 1930s and World War II He was publishing new works at a regular rate, culminating in the first volume of his historical epic Frații Jderi, which saw print in 1935. In 1936, the writer accepted the honorary chairmanship of Adevărul and its morning edition, Dimineața. During that time, he was involved in a public dispute with the far right and fascist press, replying to their attacks in several columns. Affiliates of the radical right organized public burnings of his volumes. The scandal prolonged itself over the following years, with Sadoveanu being supported by his friends in the literary community. Among them was Topîrceanu, who was at the time hospitalized, and whose expression of support was made shortly before his death to liver cancer. In September 1937, as a statement of solidarity and appreciation, the University of Iași conferred Sadoveanu the title of doctor honoris causa. Mihail Sadoveanu withdrew from politics in the late 1930s and early 1940s, as Romania came to be led by successive right-wing dictatorships, he offered a measure of support to King Carol II and his National Renaissance Front, which attempted to block the more radically fascist Iron Guard from power. He was personally appointed a member of the reduced corporatist Senate by Carol. In 1940, the official establishment Editura Fundațiilor Regale published the first volume of his Opere ("Works"). Sadoveanu kept a low profile under the Iron Guard's Nazi-allied National Legionary regime. After Conducător Ion Antonescu overthrew the Guard during the Legionary Rebellion and established his own fascist regime, the still-apolitical Sadoveanu was more present in public life, and lectured on cultural subjects for the Romanian Radio. After publishing the final section of his Frații Jderi in 1942, Sadoveanu again retreated to the countryside, in his beloved Arieș area, where he had built himself a chalet and a church; this seclusion produced his Povestirile de la Bradu-Strâmb ("Bradu-Strâmb Stories"). During those years, the sixty-year-old writer met Valeria Mitru, a much younger feminist journalist, whom he married after a brief courtship. In August 1944, Romania's King Michael Coup toppled Antonescu and switched sides in the war, rallying with the Allies. As a Soviet occupation began at home, Romanian troops fought alongside the Red Army on the European theater. Paul-Mihu Sadoveanu was killed in action in Transylvania on September 22. During the same months, Sadoveanu was a candidate for the Writers' Society presidency, but, in what has been read as proof of a rivalry within the Freemasonry, was defeated by Victor Eftimiu. Later that year, the 40th anniversary of Mihail Sadoveanu's debut was celebrated with a special ceremony at the Academy and Tudor Vianu's speech, offered as a retrospective of his colleague's entire work. Communist system and political rise After the Soviet-backed advent of the Communist system in Romania, Sadoveanu supported the new authorities, and turned from his own version of Realism to officially-endorsed Socialist realism (see Socialist realism in Romania). This was also the start of his association with the Soviet-sponsored Romanian Society for Friendship with the Soviet Union (ARLUS), which was led by biologist and physician Constantin Ion Parhon. Having served as a host to official Soviet envoys Andrey Vyshinsky and Vladimir Kemenov during their late 1944 visits, he soon after became president of the ARLUS "Literary and Philosophical Section" (seconded by Mihai Ralea and Perpessicius). In February 1945, he joined Parhon, Enescu, linguist Alexandru Rosetti, composer George Enescu, biologist Traian Săvulescu and mathematician Dimitrie Pompeiu in a protest against the cultural policies of Premier Nicolae Rădescu and his cabinet, one in a series of moves to discredit the non-communist Rădescu and make him leave power. With Ion Pas, Gala Galaction, Horia Deleanu, Octav Livezeanu and N. D. Cocea, Sadoveanu edited the association's weekly literary magazine Veac Nou after June 1946. Sadoveanu's literary and political change became known to the general public in March 1945, when he lectured about Soviet leader Joseph Stalin at a conference hall in Bucharest. Part of a conference cycle, his speech was famously titled Lumina vine de la Răsărit, which soon became synonymous with the attempts to improve the image of Stalinism in Romania. ARLUS would issue the text of his conference as a printed volume later in the year. Also in 1945, Sadoveanu journeyed to the Soviet Union together with some of his fellow ARLUS members—among them biologists Parhon and Săvulescu, sociologist Dimitrie Gusti, linguist Iorgu Iordan, and mathematician Simion Stoilow. Invited by the Soviet Academy of Sciences to attend the 220th anniversary of its foundation, they also visited research institutes, kolhozy, and day care centers, notably meeting with Nikolay Tsitsin, an agronomist favored by Stalin. After his return, he wrote other controversial texts and gave lectures which offered ample praise to the Soviet system. That year, the ARLUS enterprise Editura Cartea Rusă also published his translation of Ivan Turgenev's A Sportsman's Sketches. During the rigged election of that year, Sadoveanu was a candidate for the Communist party-organized Bloc of Democratic Parties (BPD) in Bucharest, winning a seat in the newly unified Parliament of Romania. In its first-ever session (December 1946), the legislative body elected him its President. He was at the time residing in Ciorogârla, having been awarded a villa previously owned by Pamfil Șeicaru, a journalist whose support for fascist regimes had made him undesirable, and who had moved out of Romania. The decision was viewed as evidence of political corruption by the opposition National Peasants' Party, whose press deemed Sadoveanu the "Count of Ciorogârla". In 1948, after Romania's King Michael I was overthrown by the BPD-member parties and the communist regime officially established, Sadoveanu rose to the highest positions ever granted to a Romanian writer, and received significant material benefits. In 1947–1948, he was, alongside Parhon, Ștefan Voitec, Gheorghe Stere, and Ion Niculi, a member of the Presidium of the People's Republic, which was elected by the BPD-dominated legislative. He also kept his seat at the Academy, which at the time was undergoing a communist-led purge, and, with several other pro-Soviet intellectuals, was voted in the Academy Presidium. Final years, illness and death After the Writers' Society was restructured as the Romanian Writers' Union in 1949, Sadoveanu became its Honorary President. In 1950, he was named President of the Writers' Union, replacing Zaharia Stancu. According to writer Valeriu Râpeanu, this last appointment was a sign of Stancu's marginalization after he had been excluded from the Romanian Communist Party, while the Writers' Union was actually controlled by its First Secretary, the communist poet Mihai Beniuc. Sadoveanu and Beniuc were reelected at the Union's first Congress (1956). In the meanwhile, Sadoveanu published several Socialist realist volumes, among which was Mitrea Cocor, a controversial praise of collectivization policies. First published in 1949, it earned Sadoveanu the first-ever State Prize for Prose. Throughout the period, Sadoveanu was involved in major communist-endorsed cultural campaigns. Thus, in June 1952, he presided over the Academy's Scientific Council, charged with modifying the Romanian alphabet, at the end of which the letter â was discarded, and replaced everywhere with î (a spelling Sadoveanu is alleged to have already shown preference for in his early works). In March 1953, soon after Stalin's death, he led discussions within the Writers' Union, confronting his fellow writers with the new Soviet cultural directives as listed by Georgy Malenkov, and reacting against young authors who had not discarded the since-condemned doctrines of proletkult. The author was also becoming involved in the Eastern Bloc's peace movement, and led the National Committee for the Defense of Peace at a time when the Soviet Union was seeking to portray its Cold War enemies as warmongers and the sole agents of nuclear proliferation. He also represented Romania to the World Peace Council, and received its International Peace Prize for 1951. As a parliamentarian, Sadoveanu stood on the committee charged with elaborating the new republican constitution, which, in its final form, reflected both Soviet influence and the assimilation of Stalinism into Romanian political discourse. In November 1955, shortly after turning 75, he was granted the title of "Hero of Socialist Labor". After 1956, when the regime announced that it had embarked on a limited version of De-Stalinization, it continued to recommend Mihail Sadoveanu as one of its prime cultural models. Having donated Casa cu turn to the state in 1950, he moved back to Bucharest, where he owned a house near the Zambaccian Museum. From January 7 to January 11, 1958, Sadoveanu, Ion Gheorghe Maurer and Anton Moisescu were acting Chairmen of the Presidium of the Great National Assembly, which again propelled him to a position as titular head of state. His literary stature but also his political allegiance earned him the Soviet Lenin Peace Prize, which he received shortly before his death. After a long illness marked by a stroke which impaired his speech and left him almost completely blind, Sadoveanu was cared for by a staff of physicians supervised by Nicolae Gh. Lupu and reporting to the Great National Assembly. The Sadoveanus withdrew to Neamț region, where they lived in a villa assigned to them by the state and located near the Voividenia hermitage and the locality of Vânători-Neamț, being visited regularly by literary and political friends, among them Alexandru Rosetti. Mihail Sadoveanu died there at 9 AM on October 19, 1961, and was buried at Bellu cemetery, in Bucharest. His successor as President of the Writers' Union was Beniuc, elected during the Congress of January 1962. Following her husband's death, Valeria Sadoveanu settled in proximity to the Văratec Monastery, where she set up an informal literary circle and Orthodox prayer group, notably attended by literary historian Zoe Dumitrescu-Bușulenga and by poet Ștefana Velisar, and dedicated herself to protecting the community of nuns. She survived Mihail Sadoveanu by over 30 years. Literary contributions Context Often seen as the leading author of his generation, and generally viewed as one of the most representative Romanian writers, Mihail Sadoveanu was also believed to be a first-class story-teller, and received praise especially for his nature writing and his depictions of rural landscapes. An exceptionally prolific author by Romanian standards, he published over a hundred individual volumes (120 according to the American magazine Time). His contemporaries tended to place Sadoveanu alongside Liviu Rebreanu and Cezar Petrescu—for all the differences in style between the three figures, the interwar public saw them as the "great novelists" of the day. Critic Ovid Crohmălniceanu describes their activity, altogether focused on depicting the rural world but diverging in bias, as one sign that the Romanian interwar itself was exceptionally effervescent, while Romanian-born American historian of literature Marcel Cornis-Pope sees Sadoveanu and Rebreanu as their country's "two most important novelists of the first half of the twentieth century". In 1944, Tudor Vianu spoke of Sadoveanu as "the most significant writer Romanians [presently] have, the first among his equals." While underlining his originality in the context of Romanian literature and among the writers standing for "the national tendency" (as opposed to the more cosmopolitan modernists), George Călinescu also noted that, through several of his stories and novels, Sadoveanu echoed the style of his predecessors and contemporaries Ion Luca Caragiale, Ioan Alexandru Brătescu-Voinești, Emil Gârleanu, Demostene Botez, Otilia Cazimir, Calistrat Hogaș, I. A. Bassarabescu and Ionel Teodoreanu. Also included among the "national tendency" writers, Gârleanu was for long seen as Sadoveanu's counterpart, and even, Călinescu writes, "undeservedly upstaged" him. Cornis-Pope also writes that Sadoveanu's epic is a continuation of "the national narrative" explored earlier by Nicolae Filimon, Ioan Slavici and Duiliu Zamfirescu, while literary historians Vianu and Z. Ornea note that Sadoveanu also took inspiration from the themes and genres explored by Junimist author Nicolae Gane. In his youth, Sadoveanu also admired and collected the works of N. D. Popescu-Popnedea, a prolific and successful author of almanacs, historical novels and adventure novels. Later, his approach to Realism was also inspired by his reading of Gustave Flaubert and especially Nikolai Gogol. Both Sadoveanu and Gane were also indirectly influenced by Wilhelm von Kotzebue, the 19th century Imperial Russian diplomat and author of the Romanian-themed story Laskar Vioresku. In Vianu's assessment, Sadoveanu's work signified an artistic revolution within the local Realist school, comparable to the adoption of perspective by the visual artists of the Renaissance. Mihail Sadoveanu's interest in the rural world and his views on tradition were subjects of debate among the modernists. The modernist doyen Eugen Lovinescu, who envisaged an urban literature in tune with European tendencies, was one of Sadoveanu's most notorious critics. However, Sadoveanu was well received by Lovinescu's adversaries within the modernist camp: Perpessicius and Contimporanul editor Ion Vinea, the latter of whom, in search for literary authenticity, believed in bridging the gap between the avant-garde and folk culture. This opinion was shared by Swedish literary historian Tom Sandqvist, who sees Sadoveanu's main point of contact with modernism was his interest in the pagan elements and occasional absurdist streaks of local folklore. In the larger dispute about national specificity, and partly in response to Vinea's claim, modernist poet and essayist Benjamin Fondane argued that, as a sign Romanian culture was tributary to those it had come into contact with, "Sadoveanu's soul can be easily reduced to the Slavic soul". Characteristics Sadoveanu's personality and experience played a major part in shaping his literary style. After his 1901 marriage, Mihail Sadoveanu adopted what Călinescu deemed "patriarchal" lifestyle. The literary historian noted that he took a personal interest in educating his many children, and that this also implied "making use of a whip". An Epicurean, the writer was a homemaker, an avid hunter and fisherman, and a chess aficionado. Recognized, like his epigramist colleague Păstorel Teodoreanu, as a man of refined culinary tastes, Sadoveanu cherished Romanian cuisine and Romanian wine. The lifestyle choices were akin to his literary interests: alongside the secluded and rudimentary existence of his main characters (connected by Călinescu with the writer's supposed longing for "regressions to the patriarchal times"), Sadoveanu's work is noted for its imagery of primitive abundance, and in particular for its lavish depictions of ritualistic feasts, hunting parties and fishing trips. Călinescu opined that the value of such descriptions within individual narratives grew with time, and that the author, once he had discarded lyricism, used them as "a means for the senses to enjoy the fleshes and the forms that nature offers man." He added that Sadoveanu's aesthetics could be said to recall the art of the Golden Age in Holland: "One could almost say that Sadoveanu rebuilds in present day Moldavia [...] the Holland of wine jugs and kitchen tables covered in venison and fish." Vianu also argued that Sadoveanu never abandoned himself to purely aesthetic descriptions, and that, although often depicted with Impressionistic means, nature is assigned a specific if discreet role within the plot lines, or serves to render a structure. The traditionalist Garabet Ibrăileanu, referring to Sadoveanu's poetic nature writing, even declared it to have "surpassed nature." At the other end, the modernist Eugen Lovinescu specifically objected to Sadoveanu's depiction of a primordial landscape, arguing that, despite adopting Realism, his rival was indebted to Romanticism and subjectivity. Lovinescu's attitude, critic Ion Simuț notes, was partly justified by the fact that Sadoveanu never truly parted with the traditionalism of Sămănătorul. In 1962, Time also commented that his style was "curiously dated" and recalled not Sadoveanu's generation, but that of Leo Tolstoy and Ivan Turgenev, "although he has nothing like the power or skill of any of them." For Călinescu and Vianu too, Sadoveanu is a creator with seemingly Romantic tastes, which recall those of François-René de Chateaubriand. Unlike Lovinescu, Vianu saw these traits as "not at all detrimental to the balance of [Sadoveanu's] art." Seen by literary critic Ioan Stanomir as marked by "volubility", and thus contrasting with his famously taciturn and seemingly embittered nature, the form of Romanian used by Mihail Sadoveanu, particularly in his historical novels, was noted for both its use of archaisms and the inventive approach to the Romanian lexis. Often borrowing plot lines and means of expression from medieval and early modern Moldavian chroniclers such as Ion Neculce and Miron Costin, the author creatively intercalates several local dialects and registers of speech, moving away from a mere imitation of the historical language. Generally third-person narratives, his books often make little or no dialectal difference between the speech used by the story-teller and the character's voices. According to Călinescu, Sadoveanu displays "an enormous capacity of authentic speech", similar to that of Caragiale and Ion Creangă. The writer himself recorded his fascination with the "eloquence" of rudimentary orality, and in particular with the speech of Rudari Roma he encountered during his travels. Building on observations made by several critics, who generally praised the poetic qualities of Sadoveanu's prose, Crohmălniceanu spoke in detail about the Moldavian novelist's role in reshaping the literary language. This particular contribution was first described early in the 20th century, when Sadoveanu was acclaimed by Titu Maiorescu for having adapted his writing style to the social environment and the circumstances of his narratives. Vianu however notes that Sadoveanu's late writings tend to leave more room for neologisms, mostly present in those parts where the narrator's voice takes distance from the plot. Another unifying element in Sadoveanu's creation is his recourse to literary types. As early as 1904, Maiorescu praised the young raconteur for accurately depicting characters in everyday life and settings. Tudor Vianu stressed that, unlike most of his Realist predecessors, Sadoveanu introduced an overtly sympathetic view of the peasant character, as "a higher type of human, a heroic human". He added: "Simple, in the sense that they are moved by a few devices [which] coincide with the fundamental instincts of mankind, [they] are, in general, mysterious." In this line, Sadoveanu also creates images of folk sages, whose views on life are of a Humanist nature, and often depicted in contrast with the rationalist tenets of Western culture. Commenting on this aspect, Sadoveanu's friend George Topîrceanu believed that Sadoveanu's work transcended the "more intellectual [and] more artificial" notion of "types", and that "he creates [...] humans." The main topic of his subsequent work, Sandqvist argues, was "an archaic world where the farmers and the landlords were free men with equal rights" (or, according to Simuț, "a utopia of archaic heroism"). Thus, Călinescu stresses, Sadoveanu's work seems to be the monolithic creation through which "a single man" reflects "a single, universal nature, inhabited by a single type of man", and which echoes a similar vision of archaic completeness as found in the literature of poet Mihai Eminescu. The similarity in vision with Eminescu's "nostalgia, return, protest, demand, aspiration toward a [rural] world [he has] left" was also proposed by Vianu, while Topîrceanu spoke of "the paradoxical discovery that [Sadoveanu] is our greatest poet since Eminescu." Mihail Sadoveanu also shaped his traditionalist views on literature by investigating Romanian folklore, which he recommended as a source of inspiration to his fellow writers during his 1923 speech at the Romanian Academy. In Călinescu's view, Sadoveanu's outlook on life was even mirrored in his physical aspect, his "large body, voluminous head, his measured shepherd-like gestures, his affluent but prudent and monologic speech [and] feral indifference; his eyes [...] of an unknown race." His assessment of the writer as an archaic figure, bluntly stated in a 1930 article ("I believe him to be very uncultured"), was contrasted by other literary historians: Alexandru Paleologu described Sadoveanu as a prominent intellectual figure, while his own private notes show that he was well-read and acquainted with the literatures of many countries. Often seen as a spontaneous writer, Sadoveanu nevertheless took pains to elaborate his plots and research historical context, keeping most records of his investigations confined to his diaries. Debut The writer's debut novel, Povestiri, was celebrated for its accomplished style, featuring early drafts of all themes he developed upon later in life. However, Călinescu argued, some of the stories in the volume were still "awkward", and showed that Sadoveanu had problems in outlining epics. The pieces mainly feature episodes in the lives of boyars (members of Moldavia's medieval aristocracy), showing the ways in which they relate to each other, to their servants, and to their country. In one of the stories, titled Cântecul de dragoste ("The Love Song"), Sadoveanu touches on the issue of slavery, depicting the death of a Rom slave who is killed by his jealous master, while in Răzbunarea lui Nour ("Nour's Revenge"), a boyar refuses to make his peace with God until his son's death is avenged. Other fragments deal solely with the isolated existence of villagers: for example, in Într-un sat odată ("Once, in a Village"), a mysterious man dies in a Moldavian hamlet, and the locals, unable to discover his identity, sell his horse. The prose piece Năluca ("The Apparition") centers on the conjugal conflict between two old people, both of whom attempt to hide the shame of their past. George Călinescu notes that, particularly in Năluca, Sadoveanu begins to explore the staple technique of his literary contributions, which involves "suggesting the smolder of passions [through] a contemplative breath in which he evokes a static element: landscapes or set pieces from nature." Sadoveanu's subsequent collection of short stories, Dureri înăbușite, builds on the latter technique and takes his work into the realm of social realism and naturalism (believed by Călinescu to have been borrowed from either the French writer Émile Zola or from the Romanian Alexandru Vlahuță). For Călinescu, this choice of style brought "damaging effects" on Sadoveanu's writings, and made Dureri înăbușite "perhaps the poorest" of his collections of stories. In Lovinescu's view, Sadoveanu's move toward naturalism did not imply the necessary recourse to objectivity. The pieces focus on dramatic moments of individual existences. In Lupul ("The Wolf"), an animal is chased and trapped by a group of peasants; the eponymous character in Ion Ursu leaves his village to become a proletarian, and succumbs to alcoholism; the indentured laborer in Sluga ("The Servant") is unable to take revenge on his cruel employer at the right moment; in Doi feciori ("Two Sons"), a boyar comes to feel affection for his illegitimate son, whom he has nonetheless reduced to a lowly condition. In 1905, Sadoveanu also published Povestiri din război ("Stories from the War"), which compose scenes from the lives of Romanian soldiers fighting in the War of 1878. Objecting to a series of exaggerations in the book, Time nevertheless noted that Sadoveanu "sometimes had the writing skill to make compelling even quite traditional reactions to old-fashioned war". It concluded: "Sadoveanu's sketches have the virtues—and the vices—of old hunting prints and the romantically mannered battle scenes of the 19th century." Early selections of major themes Sadoveanu renounces this grim perspective on life in his volume Crâșma lui Moș Petcu, where he returns to a depiction of rural life as unchanged by outside factors. Petcu's establishment, located on the Moldova Valley, is a serene place, visited by quiet and subdued customers, whose occasional outburst of violence are, according to Călinescu, "dominated by slow, stereotypical mechanics, as is with people who can only accommodate within them a single drama." The literary critic celebrated Crâșma lui Moș Petcu for its depictions of nature, whose purpose is to evoke "the indifferent eternity" of conflicts between the protagonists, and who, at times, relies "on a vast richness of sounds and words." He did however reproach the writer "a certain monotony", arguing that Sadoveanu came to use such techniques in virtually all his later works. However, Sadoveanu's stories of the period often returned to a naturalistic perspective, particularly in a series of sketch stories and novellas which portray the modest lives of Romanian Railways employees, of young men drafted into the Romanian Land Forces, of Bovaryist women who playfully seduce adolescents, or of the provincial petite bourgeoisie. At times, they confront the morals of barely literate people with the stern authorities: a peasant obstinately believes that the 1859 union between Wallachia and Moldavia was meant to ensure the supremacy of his class; a young lower-class woman becomes the love interest of a boyar but chooses a life of freedom; and a Rom deserts from the Army after being told to bathe. In La noi, la Viișoara ("At Our Place in Viișoara"), the life of an old man degenerates into bigotry and avarice, to the point where he makes his wife starve to death. Sadoveanu's positive portrayal of hajduks as fundamentally honest outlaws standing up to feudal injustice, replicates stereotypes found in Romanian folklore, and is mostly present in some of the stories through (sometimes recurrent) heroic characters: Vasile the Great, Cozma Răcoare, Liță Florea etc. In the piece titled Bordeenii (roughly, "The Mud-hut Dwellers"), he shows eccentrics and misanthropes presided upon by the dark figure of Sandu Faliboga, brigands who flee all public authority and whom commentators have likened to settlers of the Americas. Lepădatu, an unwanted child, speaks for the entire group: "What could I do [...] wherever there are big fairs and lots of people? I'd have a better time with the cattle; it is with them that I have grown up and with them that I get along." Romanticizing the obscure events of early medieval history in Vremuri de bejenie ("Roving Times", 1907), Sadoveanu sketches the improvised self-defense of a refugee community, their last stand against nomadic Tatars. In reference to the stories in this series, Călinescu stresses that Sadoveanu's main interest is in depicting men and women cut away from civilization, who view the elements of Westernization with nothing more than "wonderment": "Sadoveanu's literature is the highest expression of the savage instinct." In later works, the critic believed, Sadoveanu moved away from depicting isolation as the escape of primitives into their manageable world, but as "the refinement of souls whom civilization has upset." These views are echoed by Ovid Crohmălniceanu, who believes that, unlike other Romanian Realists, Sadoveanu was able to show a peasant society that was not merely the prey of modern corruption or historical oppression, but rather refusing all contacts with the wider world—even to the point of Luddite-like hostility in front of new objects. Some of the early stories, Crohmălniceanu argues, do follow the moralizing Sămănătorist pattern, but part with it when they refuse to present the countryside in "idyllic" fashion, or when they adopt a specific "mythical realism". Sadoveanu began his career as a novelist with more in-depth explorations into subjects present in his stories and novellas. At the time, Crohmălniceanu stresses, he was being influenced by the naturalism of Caragiale (minus the comedic effect), and by his own experience growing up in characteristically underdeveloped Moldavian cities and târguri (somewhat similar to the aesthetic of boredom, adopted in poetry by George Bacovia, Demostene Botez or Benjamin Fondane). Among his first works of the kind is Floare ofilită ("Wizened Flower"), where a simple girl, Tincuța, marries a provincial civil servant, and finds herself deeply unhappy and unable to enrich her life on any level. Tincuța, seen by Călinescu as one of Sadoveanu's "savage" characters, only maintains urban refinement when persuading her husband to return for supper, but, according to Crohmălniceanu, is also a credible witness to the "small-mindedness" of "bourgeois" environments. A rather similar plot is built for Însemnările lui Neculai Manea ("The Recordings of Neculai Manea"), where the eponymous character, an educated peasant, experiences two unhappy romantic affairs before successfully courting a married woman who, although grossly uncultured, makes him happy. Apa morților ("The Dead Men's Water") is about a Bovaryist woman who discards lovers over imprecise feelings of dissatisfaction, finding refuge in the monotonous countryside. Călinescu noted that such novels were "usually less valuable than direct accounts", and deemed Însemnările lui Neculai Manea "without literary interest"; in Ovid Crohmălniceanu's view, the same story presents relevant detail on professional and intellectual failure. Praised by its commentators, the short novel Haia Sanis (1908) shows the eponymous character, a Jewish woman who throws herself into the arms of a local Gentile, although she knows him to be a seducer. Călinescu, who wrote with admiration about how the subject dissimulated pathos into "technical indifference", notes that the erotic rage motivating Haia has drawn "well justified" comparisons with Jean Racine's tragedy Phèdre. Crohmălniceanu believes Haia Sanis to be "perhaps [Sadoveanu's] best novella", particularly since the "wild beauty" Haia has to overcome at once antisemitism, endogamy and shame, before dying "in terrible pain" during a botched abortion. Sadoveanu's work of the time also includes Balta liniștii ("Tranquillity Pond"), where Alexandrina, pushed into an arranged marriage, has a belated and sad revelation of true love. In other sketch stories, such as O zi ca altele ("A Day like Any Other") or Câinele ("The Dog"), Sadoveanu follows Caragiale's close study of suburban banality. Hanu Ancuței, Șoimii and Neamul Șoimăreștilor The novella Hanu Ancuței ("Ancuța's Inn"), described by George Călinescu as a "masterpiece of the jovial idyllicism and barbarian subtlety", and by Z. Ornea as the first evidence of Sadoveanu's "new age", is a frame story in the line of medieval allegories such as Giovanni Boccaccio's Decameron and Geoffrey Chaucer's Canterbury Tales. It retells the stories of travelers meeting in the eponymous inn. Much of the story deals with statements of culinary tastes and shared recipes, as well as with the overall contrast between civilization and rudimentary ways: in one episode of the book, a merchant arriving from the Leipzig Trade Fair bemuses the other protagonists when he explains the more frugal ways and the technical innovations of Western Europe. Sadoveanu applied the same narrative technique in his Soarele în baltă ("The Sun in the Waterhole"), which, Călinescu argues, displays "a trickier style." In Șoimii, Sadoveanu's first historical novel, the main character is Nicoară Potcoavă, a late 16th-century Moldavian nobleman who became Hetman of the Zaporozhian Cossacks and Prince of Moldavia. The narrative, whose basic lines had been drawn by Sadoveanu in his adolescent years, focuses on early events in Nicoară's life, building on the story according to which he and his brother Alexandru were the brothers of Prince Ioan Vodă cel Cumplit, whose execution by the Ottomans they tried to avenge. The text also follows their attempt to seize and kill Ieremia Golia, a boyar whose alleged betrayal had led to Prince Ioan's capture, and whose daughter Ilinca becomes the brothers' prisoner. This story as well features several episodes where the focus is on depicting customary feasts, as well as a fragment where the Potcoavăs and their Zaporozhian Cossack allies engage in binge drinking. Glossing over several years in Nicoară's life, and culminating in his seizure of the throne, the narrative shows his victory against pretender Petru Șchiopul and Golia, and the price he has to pay for his rise. Alexandru, who falls in love with Ilinca, unsuccessfully asks for the captured Golia not to be killed. Following the murder, both brothers become embittered and renounce power. Călinescu described Șoimii novel as "still awkward", noting that Sadoveanu was only beginning to experiment with the genre. The 1915 Neamul Șoimăreștilor is a Bildungsroman centered on the coming of age of one Tudor Șoimaru. The protagonist, born a free peasant in Orhei area, fights alongside Ștefan Tomșa in the 1612 battles to capture the Moldavian throne. After participating in the capture of Iași, he returns home and helps local boyar Stroie in recovering his daughter, Magda, who had been kidnapped by Cossacks. Șoimaru, who feels for Magda, is however enraged by news that her father has forced his community into serfdom. Trying to deal with his internal conflict, he travels into Poland–Lithuania, where he discovers that Stroie is plotting against Tomșa, while Magda, who is in love with a szlachta nobleman, scorns his affection. He returns a second time to Orhei, marries into his social group, and plots revenge on Stroie by again rallying with Ștefan Tomșa. Following Tomșa's defeat, he again loses the lands of his ancestors, as Stroie returns home to celebrate his victory and have the Șoimarus put to death. Unexpectedly warned of this by Magda, Tudor manages to turn the tide: he and his family destroy Stroie's manor, killing the master but allowing Magda to escape unharmed. In Călinescu's view, the novel is "somewhat more consistent from an epic perspective", but fails to respect the conventions of the adventure novel it sets out to replicate. The critic, who deemed Magda's courtship by Tudor "sentimental", argued that the book lacks "the richness and unpredictable nature of the love intrigue"; he also objected to the depiction of Tudor as indecisive and inadequate for a heroic role. However, Ovid Crohmălniceanu argued that the suddenness of Tudor's sentimental commitments was characteristic for the "peasant soul" as observed by Sadoveanu. Zodia Cancerului and Nunta Domniței Ruxandra Zodia Cancerului, Sadoveanu's later historical novel, is set late in the 17th century, during the third rule of Moldavian Prince Gheorghe Duca, and is seen by Călinescu as "of a superior artistic level." The plot centers on a conflict between Duca and the Ruset boyars: the young Alecu Ruset, son of the deposed Prince Antonie, is spared persecution on account of his good relations with the Ottomans, but has to live under close watch. Himself a tormented, if cultured and refined, man, Alecu falls in love with Duca's daughter Catrina, whom he attempts to kidnap. The episode, set to coincide with the start of a major social crisis, ends with Alecu's defeat and killing on Duca's orders. In the background, the story depicts the visit of an Abbé de Marenne, a Roman Catholic priest and French envoy, who meets and befriends Ruset. Their encounter is another opportunity for Sadoveanu to show the amiable but incomplete exchange between the mentalities of Western and Eastern Europe. In various episodes of the novel, de Marenne shows himself perplexed by the omnipresent wilderness of underpopulated Moldavia, and in particular by the abundance of resources this provides. In one paragraph, seen by George Călinescu as a key to the book, Sadoveanu writes: "[De Marenne's] curious eye was permanently satisfied. Here was a desolation of solitudes, one that his friends in France could not even guess existed, no matter how much imagination they had been gifted with; for at the antipode of civilization one occasionally finds such things that have remained unchanged from the onset of creation, preserving their mysterious beauty." In a shorter novel of the period, Sadoveanu explored the late years of Vasile Lupu's rule over Moldavia, centering on the marriage of Cossack leader Tymofiy Khmelnytsky and Lupu's daughter, Ruxandra. Titled Nunta Domniței Ruxandra ("Princess Ruxandra's Wedding"), it shows the Cossacks' brutal celebration of the event around the court in Iași, depicting Tymofiy himself as an uncouth, violent and withdrawn figure. The narrative then focuses on the Battle of Finta and the siege of Suceava, through which a Wallachian-Transylvanian force repelled the Moldo-Cossack forces and, turning the tide, entered deep into Moldavia and placed Gheorghe Ștefan on the throne. Sadoveanu also invents a love story between Ruxandra and the boyar Bogdan, whose rivalry with Tymofiy ends in the latter's killing. While Călinescu criticized the plot as being over-detailed, and the character studies as incomplete, Crohmălniceanu found the intricate depiction of boyar customs to be a relevant part of Sadoveanu's "vast historical fresco." In both Zodia Cancerului and Nunta Domniței Ruxandra, the author took significant liberties with the historical facts. In addition to Tymofiy's death at the hands of Bogdan, the latter narrative used invented or incorrect names for some of the personages, and portrays the muscular, mustachioed, Gheorghe Ștefan as thin and bearded; likewise, in Zodia Cancerului, Sadoveanu invents the character Guido Celesti, who stands in for the actual Franciscan leader of Duca's Iași, Bariona da Monte Rotondo. Frații Jderi, Venea o moară pe Siret... and Baltagul With Frații Jderi, Sadoveanu's fresco of Moldavian history maintains its setting, but moves back in time to the 15th century rule of Prince Stephen the Great. Writing in 1941, before its final part was in print, Călinescu argued that the novel was part of Sadoveanu's "most valuable work", and noted "the maturity of its verbal means." In the first volume, titled Ucenicia lui Ionuț ("Ionuț's Apprenticeship"), the eponymous Jderi brothers, allies of Stephen and friends of his son Alexandru, fight off the enemies of their lord on several occasions. In what is the start of a Bildungsroman, the youngest Jder, Ionuț Păr-Negru, consumed by love for Lady Nasta, who was kidnapped by Tatars. He goes to her rescue, only to find out that she had preferred suicide to a life of slavery. Călinescu, who believed the volumes show Sadoveanu's move to the consecrated elements of adventure novels, called them "remarkable", but stressed that the narrative could render "the feeling of stumbling, of a languishing flow", and that the dénouement was "rather depressing". The second book in the series (Izvorul alb, "The White Water Spring") intertwines the life of the Jderi brothers with that of Stephen's family: the ruler weds the Byzantine princess Mary of Mangop, while Simion Jder falls for Marușca, who is supposedly Stephen's illegitimate daughter. The major episodes in the narrative are Marușca's kidnapping by a boyar, her captivity in Jagiellon Poland, and her rescue at the hands of the Jderi. The 1942 conclusion of the cycle, Oamenii Măriei-sale ("His Lordship's Men"), the brothers are shown defending their ancestral rights and their lord against the Ottoman invader and ambivalent boyars, and crushing the former at the Battle of Vaslui. The Jderi books, again set to the background of primitivism and natural abundance, also feature episodes of intense horror. These, Călinescu proposes, are willingly depicted "with an indolent complacency", as if to underline that the slow pace and monumental scale of history give little importance to personal tragedies. The same commentator notes a difference between the role nature plays in the first and second volumes: from serene, the landscape becomes hostile, and people are shown fearing earthquakes and droughts, although contemplative depictions of euphoria play a central part in both writings. The meeting between the wider world and the immobile local tradition surfaces in Frații Jderi as well: a messenger is shown wondering how the letter he brought could talk to the addressee; when she is supposed to encounter strange men, Marușca requests to be allowed to "shy away" in another room; a secondary character, claiming precognition, prepares his own funeral. For the 1925 Venea o moară pe Siret..., Sadoveanu received much critical acclaim. The boyar Alexandru Filotti falls in love with a miller's daughter, Anuța, whom he educates and introduces to high society. The beautiful young lady is also courted by Filotti's son Costi and by the peasant Vasile Brebu—in the end, overwhelmed by jealousy, Brebu kills the object of his affection. George Călinescu writes that the good reception was not fully deserved, claiming that the novel is "colorless", that it was merely based on the writer's early stories, and that it failed in its goal of depicting "crumbling boyardom". In Baltagul (1930), Sadoveanu merged psychological techniques and a pretext borrowed from crime fiction with several of his major themes. Written in just 30 days on the basis of previous drafts, the condensed novel shows Vitoria Lipan, the widow of a murdered shepherd, following in her husband's tracks to discover his killer and avenge his death. Accompanied by her son, and using for a guide the shepherd's dog, Vitoria discovers both the body and the murderer, but, before she can take revenge, her dog jumps on the man and bites into his neck. By means of this plot line, Sadoveanu also builds a fresco of transhumance and traces its ancestral paths, taking as a source of inspiration one of the best-known poems in local folklore, the ballad Miorița. Vitoria's sheer determination is the central aspect of the volume. Călinescu, who ranks the book among Sadoveanu's best, praises its "remarkable artistry" and "unforgettable dialogues", but nonetheless writes that Lipan's "detective-like" search and a "stubbornness" are weak points in the narrative. Crohmălniceanu declares Baltagul one of the "capital works" in world literature, proposing that, on its own, it manages to reconstruct "an entire shepherding civilization"; Cornis-Pope, who rates the book as "Sadoveanu's masterpiece", also notes that it "restated the theme of crime and punishment". Main travel writings and memoirs Before the 1940s, Sadoveanu also became known as a travel writer. His contributions notably include accounts of his hunting trips: Țara de dincolo de negură ("The Land beyond the Fog"), and one dedicated to the region of Dobruja (Priveliști dobrogene, "Dobrujan Sights"). Călinescu wrote that they both comprised "pages of great beauty". Țara de dincolo..., primarily showing recluse men in real-life symbiosis with the wilderness, also attention for its sympathetic depiction of the Hutsuls, a minority Slavic-speaking population, as an ancient tribe threatened by cultural assimilation. Sadoveanu's other travelogues include the reportage Oameni și locuri ("People and Places") and an account of his trips into Bessarabia (Drumuri basarabene, "Bessarabian Roads"). He also collected and commented upon the memoirs of other avid hunters (Istorisiri de vânătoare, "Hunting Stories"). A noted writing in this series was Împărăția apelor ("The Realm of Waters"). It forms a detailed and contemplative memoir of his journeys as a fisherman, and, according to Crohmălniceanu, one of the most eloquent proofs of Sadoveanu's "permanent and intimate correspondence with nature." Călinescu saw the text as a "fantastic vision of the entire aquatic universe", merging a form of pessimism similar to Arthur Schopenhauer's with a "calm kief" (cannabis-induced torpor), and as such illustrating "the great joy of participating in the transformations of matter, of eating and allowing oneself to be eaten." Sadoveanu also contributed an account of his travels into the Netherlands, Olanda ("Holland"). It provides insight into his preoccupation with the meeting of civilization and wilderness: upset by what he called "the [Dutch] rampancy of cleanliness", the writer confesses his perplexity at coming face to face with a contained and structured natural world, and details his own temptation to go "against the current". One of Sadoveanu's main conclusions is that Holland lacks in "true and lively wonders". Sadoveanu also sporadically wrote memoirs of his early life career, such as Însemnări ieșene ("Recordings from Iași"), which deals with the period during which he worked for Viața Românească, a book about the Second Balkan War (44 de zile în Bulgaria, "44 Days in Bulgaria"), and the account of years in primary school, Domnu Trandafir. They were followed in 1944 by Anii de ucenicie ("The Apprenticeship Years"), where Sadoveanu details some of his earliest experiences. Despite his temptation for destroying all raw personal notes, Sadoveanu wrote and kept a large number of diaries, which were never published in his lifetime. Other early writings Also during that time, he retold and prefaced the journeys of Thomas Witlam Atkinson, an English architect and stonemason who spent years in Tartary (a book he titled Cuibul invaziilor, "The Nest of Invasions"). This was evidence of his growing interest in exotic subjects, which he later adapted to a series of novels, where the setting is "Scythia", seen as an ancestral area of culture connecting Central Asia with the European region of Dacia (partly coinciding with present-day Romania). The home of mysterious Asiatic peoples, Sadoveanu's Scythia is notably the background to his novels Uvar and Nopțile de Sânziene. The former shows its eponymous character, a Yakut, exposed to the scrutiny of a Russian officer. In the latter, titled after the ancestral celebration of Sânziene during the month of June, shows a French intellectual meeting a nomadic tribe of Moldavian Rom people, who, the reader learns, are actually the descendants of Pechenegs. Călinescu notes that, in such writings, "the intrigue is a pretext", again serving to depict the vast wilderness confronted with the keen eye of foreign observers. He sees Nopțile de Sânziene as "the novel of millenarian immobility", and its theme as one of mythological proportions. The narrative pretexts, including the Sânziene celebration and the Rom people's social atavism, connect Nopțile... with another one of Sadoveanu's writings, 24 iunie ("June 24"). According to Tudor Vianu, the 1933 fantasy novel Creanga de aur ("The Golden Bow") takes partial inspiration from Byzantine literature, and is evidence of a form of Humanism found in Eastern philosophy. Marcel Cornis-Pope places it among Sadoveanu's "mythic-poetic narratives that explored the ontology and symbolics of history." The writer himself acknowledged that the esoteric nature of the book was inspired by his own affiliation to the Freemasonry, whose symbolism it partly reflected. Its protagonist, Kesarion Brebu, is included by Vianu among the images of sages and soothsayers in Mihail Sadoveanu's fiction, and, as "the last Deceneus", is a treasurer of ancient secret sciences mastered by the Dacians and the Ancient Egyptians. The novel is often interpreted as Sadoveanu's perspective on the Dacian contribution to Romanian culture. Sadoveanu's series of minor novels and stories of the interwar years also comprises a set of usually urban-themed writings, which, Călinescu argues, resemble the works of Honoré de Balzac, but develop into "regressive" texts with "a lyrical intrigue". They include Duduia Margareta ("Miss Margareta"), where a conflict occurs between a young woman and her governess, and Locul unde nu s-a întâmplat nimic ("The Place Where Nothing Happened"), where, in what is a retake on his own Apa morților, Sadoveanu depicts the cultured but bored boyar Lai Cantacuzin and his growing affection for a modest young woman, Daria Mazu. In Cazul Eugeniței Costea ("The Case of Eugenița Costea"), a civil servant kills himself to avoid prosecution, and his end is replicated by that of his daughter, brought to despair by her stepfather's character and by her mother's irrational jealousy. Demonul tinereții ("The Demon of Youth"), believed by Călinescu to be "the most charming" in this series, has for its protagonist Natanail, a university dropout who has developed a morbid fear of women since losing the love of his life, and who lives in seclusion as a monk. In the rural-themed Paștele blajinilor ("Thomas Sunday") of 1935, a defeated brigand seeks a dignified end to his wasted life. Written in 1938, the short story Ochi de urs ("Bear's Eye") introduces its hero Culi Ursake, the toughened hunter, into a bizarre scenery that seems to mock a human's understanding. During the period, Mihail Sadoveanu also wrote children's literature. His most significant pieces in this field are Dumbrava minunată ("The Enchanted Grove", 1926), Măria-sa Puiul Pădurii ("His Highness the Forest Boy", 1931), and a collection of stories adapted from Persian literature (Divanul persian, "The Persian Divan", 1940). Măria-sa Puiul Pădurii is itself an adaptation of the Geneviève de Brabant story, considered "somewhat highbrow" by George Călinescu, while the frame story Divanul persian consciously recalls the work of 19th century Wallachian writer Anton Pann. In 1909, Sadoveanu also published adapted version of two ancient writings: the Alexander Romance (as Alexandria) and Aesop's Fables (as Esopia). His 1921 book Cocostârcul albastru ("The Blue Crane") is a series of short stories with lyrical themes. Among his early writings are two biographical novels which retell historical events from the source, Viața lui Ștefan cel Mare ("The Life of Stephen the Great") and Lacrimile ieromonahului Veniamin ("The Tears of Veniamin the Hieromonk"), both of which, Călinescu objected, lacked in originality. The former, published in 1934, was more noted among critics, for both intimate tone and hagiographic character (recounting Stephen's life on the model of saints' biographies). Socialist realism years Despite the post-1944 change in approach, Sadoveanu's characteristic narrative style remained largely unmodified. In contrast, his choice of themes changed, a transition which reflected political imperatives. At the end of the process, literary historian Ana Selejan argues, Sadoveanu became the most influential prose author among Romanian Socialist realists, equaled only by the younger Petru Dumitriu. Historian Bogdan Ivașcu writes that Sadoveanu's affiliation with "proletarian culture" and "its masquerade", like that of Tudor Arghezi and George Călinescu, although it may have been intended to rally "prestige and depth" to Socialist realism, only succeeded in bring their late works to the level of "propaganda and agitation materials." In contrast to these retrospective assessments, communist literary critics and cultural promoters of the 1950s regularly described Sadoveanu as the model to follow, both before and after Georgy Malenkov's views on culture were adopted as the norm. In his Lumina vine de la Răsărit, the writer built on the opposition between light and darkness, identifying the former with Soviet policies and the latter with capitalism. Sadoveanu thus spoke of "the dragon of my own doubts" being vanquished by "the Sun of the East". Historian Adrian Cioroianu notes that this literary antithesis came to be widely used by various Romanian authors who rallied with Stalinism during the late 1940s, citing among these Cezar Petrescu and the former avant-garde writer Sașa Pană. He also notes that such imagery, accompanied by portrayals of Soviet joy and abundance, replicated an ancient "structure of myth", adapting it to a new ideology on the basis of "what could be imagined, not of what could be believed." Ioan Stanomir writes that Sadoveanu and his fellow ARLUS members use a discourse recalling the theme of a religious conversion, analogous to that of Paul the Apostle (see Road to Damascus), and critic Cornel Ungureanu stresses that Sadoveanu's texts of the period frequently quote the Bible. Following his return from the Soviet Union, Sadoveanu published travelogues and reportage piece, including the 1945 Moscova ("Moscow", co-authored with Traian Săvulescu and economist Mitiță Constantinescu) and the 1946 Caleidoscop ("Kaleidoscope"). In one of these accounts, he details his encounter with Lysenkoist agronomist Nikolay Tsistsin, and claims to have tasted bread made from a brand of wheat which yielded 4,000 kilograms of grain per hectare. In a later memoir, Sadoveanu depicted his existence and the destiny of his country as improved by the communist system, and gave accounts of his renewed journeys in the countryside, where he claimed to have witnessed a "spiritual splendor" supported by "the practice of the new times". He would follow up with hundreds of articles on various subjects, published by the communist press, including two 1953 pieces in which he lamented Stalin's death (one of them referred to the Soviet leader as "the great genius of progressive mankind"). Upon its publication, the political novel Mitrea Cocor, which depicts the hardships and eventual triumph of its eponymous peasant protagonist, was officially described as the first Socialist realist writing in local literature, and as a turning point in literary history. Often compared to Dan Deșliu's ideologized poem Lazăr de la Rusca, it is remembered as a controversial epic dictated by ideological requirements, and argued to have been written with assistance from several other authors. Seen by historiographer Lucian Boia as an "embarrassing literary fabrication", it was rated by literary critics Dan C. Mihăilescu and Luminița Marcu both as one of "the most harmful books in Romanian literature", and by historian Ioan Lăcustă as "a propaganda writing, a failure from a literary point of view". A praise of collectivization policies that some critics believe was a testimony that Sadoveanu was submitting himself and imposing his public to brainwashing, Mitrea Cocor was preceded by Păuna-Mică, a novel which also idealizes collective farming. With his final published work, the 1951-1952 novel Nicoară Potcoavă, Sadoveanu retells the narrative of his Șoimii, modifying the plot and adding new characters. Noted among the latter is Olimbiada, a female soothsayer and healer through whose words Sadoveanu again dispenses his own perspective on human existence. The focus of the narrative is also changed: from the avenger of his brother's death in Șoimii, the pretender becomes a purveyor of folk identity, aiming to reestablish the Moldavia of Stephen the Great's times. Praised early on by Dumitriu, who believed it was proof of "artistic excellence", Nicoară Potcoavă is itself seen as a source for communist-inspired political messages. According to Cornel Ungureanu, this explains why it highlights the brotherhood between Cossacks and Moldavians, supposedly replicating the official view on Soviet-Romanian relations. Cornis-Pope, who considers the novel one of Sadoveanu's "mere variations" on old subjects, suggests that it transforms its protagonist "from medieval fighter into political philosopher who announces the rise of a 'new world'." Victor Frunză also notes that, although Sadoveanu returned to old subjects, he "no longer rises to the level he had reached before the war." The final part of Sadoveanu's creation also comprises a series of pieces where the narrative approach was, according to Crohmălniceanu, "corrected" to show his favorite recluse type won over by the new society. In essence, Ungureanu argues, the new style that of "reportage and plain information, adapted to orders coming from above". Such works include the 1951 Nada Florilor ("The Flowers' Lure") and Clonț-de-fier ("Iron Bucktooth"), alongside an unfinished piece, Cântecul mioarei ("Song of the Ewe"). In Nada..., the peasant boy Culai follows his hero, tinsmith Alecuțu, into factory life. Clonț-de-fier, an ideologized retake on Demonul tinereții, is about a monk returning from seclusion into the world of workers, where the landscape is reshaped by large-scale construction works. According to Ungureanu, it also shows Sadoveanu's universe stripped of "all its deep meanings." While their author came to personify the new cultural guidelines, Sadoveanu's previous books, from Frații Jderi to Baltagul, were subject to communist censorship. Various statements contradicting the ideological guidelines were cut out of new editions: the books in general could no longer include mentions of Bessarabia (a region first incorporated into the Soviet Union by a 1940 occupation) or Romanian Orthodox beliefs. In one such instance, censors of Baltagul removed a character's claim that "the Russian" was by nature "the drunkest of them all, [...] a worthy beggar and singer at the fairs." Politics Nationalism and Humanism Sadoveanu's engagement in politics was marked by abrupt changes in convictions, seeing him move from right- to left-wing stances several times in his life. In close connection with his traditionalist views on literature, but in contrast to his career under a Conservative Party and National Liberal cabinets, Sadoveanu initially rallied with nationalist groups of various hues, associating with both Nicolae Iorga and, in 1906, with the left-wing Poporanists at Viața Românească. An early cause of his was his attempt to reconcile Iorga with the Poporanists, but his efforts were largely fruitless. In the 1910s, the anti-Iorga traditionalist Ilarie Chendi recognized in Sadoveanu one of the Poporanists who promoted "the spiritual healing of our people through culture." Around that time, he formulated a ruralist and nationalist perspective on life, rejecting what he deemed "the hybrid urban world" for "the world of our national realities". In Călinescu's analysis, this signifies that, like his predecessor, the conservative Eminescu, Sadoveanu believed the cities were victims of the "superimposed category" of foreigners, in particular those administrating leasehold estates. Following the 1907 Peasants' Revolt, Sadoveanu sent a report to his Minister of Education Spiru Haret, informing him on the state of rural education, and, beyond this, of the problems faced by villagers in Moldavia. It read: "The leaseholders and landowners, no matter what their nationality, make a mockery of the Romanians' labors. Every surtucar [that is, urbanized character] in the village, mayors, notaries, paper-pushers, shamelessly [and] mercilessly milk this milk cow. They are joined by the priest—who [...] is in disagreement with the teacher." With Neamul Șoimăreștilor, the burdens of feudal society and mercantilism, most of all the restriction of economic rights, were becoming a background theme in his fiction, which later depicted Stephen the Great as the original champion of social justice (Frații Jderi). During most of his World War I activity, Sadoveanu also followed the Poporanists' Russophobia and dislike of the Entente side, describing the Russian Empire's national policies in Bessarabia as far more barbaric than Austria-Hungary's rule over Transylvania. In 1916, he abruptly switched to the Entente camp: his enthusiasm as propaganda officer was touched by controversy once Romania experienced massive defeats; Sadoveanu himself abandoned the Entente cause by 1918, when he was decommissioned, and resumed his flirtation with Constantin Stere's Germanophile lobby. Călinescu sees Sadoveanu, alongside Stere, as one of Viața Româneascăs chief ideologues, noting that he was nonetheless "rendered notorious by his inconsistency and opportunism." He writes that Sadoveanu and Stere both showed a resentment for ethnic minorities, particularly members of the Jewish community, whom they saw as agents of exploitation, but that, as Humanists, they had a form of "humane sympathy" for Jews and foreigners taken individually. The Poporanist aspect of Sadoveanu's literature was also highlighted by Garabet Ibrăileanu in the late 1920s, when he referred to his contributions as evidence that Romanian culture was successfully returning to its specific originality. In essence, Crohmălniceanu writes, Sadoveanu was tied to Viața Românească by his advocacy of national specificity, his preference for the large-scale narrative, and his vision of pristine, "natural", human beings. According to Z. Ornea, Sadoveanu's affiliation to the Freemasonry shaped not only his political "demophilia", but also his "Weltanschauung, and, through a reflex, his [literary] work." By consequence, Ornea argues, Sadoveanu became a supporter of democracy, a stance which led him into open conflict with extreme nationalists. Alongside its Humanism, Sadoveanu's nationalism was noted for being secular, and thus in contrast with the Romanian Orthodox imagery favored by nationalists on the far right. Sadoveanu rejected the notion that ancestral Romanians were religious individuals, stating that their belief was in fact "limited to rituals and customs." He was also a vocal supporter of international cooperation, particularly among countries in Eastern and Central Europe. Writing for the magazine Familia in 1935, 17 years after Transylvania's union with Romania and 15 years after the Treaty of Trianon, Sadoveanu joined the Hungarian author Gyula Illyés in pleading for good relations between the two neighbors. As noted by Crohmălniceanu, although Sadoveanu's interwar novels may depict both clashes between polities and benign misunderstandings, they ultimately discourage ethnic stereotypes, suggesting that "the gifts and qualities of various kinships" are mutually compatible. According to Marcel Cornis-Pope, this cooperative vision is the background theme to Divanul persian, a book "demonstrating the value of intercultural dialogue at a time of sharp political polarization." The same text was described by Vianu as evidence of Sadoveanu's "understanding, gentleness and tolerance". In 1926, the year of his entry into Alexandru Averescu's People's Party, Sadoveanu motivated his choice in a letter to Octavian Goga, indicating his belief that the intelligentsia needed to partake in politics: "It would seem that what is foremost needed is the contribution of intellectuals, in an epoch when the overall intellectual level is decreasing." His sincerity was doubted by his contemporaries: both his friend Gheorghe Jurgea-Negrilești and the communist Petre Pandrea recount how, in 1926–1927, Sadoveanu and Păstorel Teodoreanu requested public funds from Interior Minister Goga, with Sadoveanu motivating that he wanted to set up a cultural magazine and later spending the money on his personal wardrobe. In contrast, Adrian Cioroianu notes that the People's Party episode, and especially the "mutual wariness" between Sadoveanu and the National Liberals, underlined the writer's sympathy for the "intellectual Left". Himself a Marxist, Ovid Crohmălniceanu suggested that, as early as the 1930s, Sadoveanu's attitudes were rather similar to the official line of communist groups. Opposition to fascism and support for King Carol During the 1930s, following his stint as head of Adevărul, a leftist newspaper owned by Jewish entrepreneurs, Sadoveanu was targeted by right-wing voices, who claimed that he had chosen to abandon his nationalist credentials. Thus, Sadoveanu became the target of a press campaign in the antisemitic and fascist press, and in particular in Nichifor Crainic's Sfarmă-Piatră and the journals connected with the Iron Guard. The former publication deplored his supposed "betrayal" of the nationalist cause. In it, Ovidiu Papadima portrayed Sadoveanu as the victim of Jewish manipulation, and equated his affiliation to the Freemasonry with devil worship, and mocked his obesity, while Crainic himself compared the writer to his own character, the treacherous Ieremia Golia. Porunca Vremii often referred to him as Jidoveanu (from jidov, a dismissive term for "Jew"), depicted him as an agent of "Judaeo-communism" motivated by "perversity", and called on the public to harass the writer and beat him with stones. It also protested when the public authorities in Fălticeni refused to withdraw Sadoveanu the title of honorary citizen, and again when the University of Iași made him a doctor honoris causa, and, through the voice of novelist N. Crevedia, even suggested that the writer should use his hunting rifle to commit suicide. In 1937, Porunca Vremii congratulated ultra-nationalists who had organized public burnings of Sadoveanu's works in Southern Dobruja and in Hunedoara, as well as non-identified people who sent the writer packages containing shredded copies of his own volumes. In April 1937, the anti-Sadoveanu campaign was met with the indignation of various public figures, who issued an "Appeal of the Intellectuals", signed by Liviu Rebreanu, Eugen Lovinescu, Petru Groza, Victor Eftimiu, George Topîrceanu, Zaharia Stancu, Demostene Botez, Alexandru Al. Philippide, Constantin Balmuș and others. Denouncing the campaign as a "moral assassination", it referred to Sadoveanu as the author of "the most Romanian [works] in our literature." Sadoveanu himself defended his fellow writer Tudor Arghezi, who stood accused by the far right press of having written "pornography". Reviewing the consequences of these scandals, Ovid Crohmălniceanu suggests that all of what Mihail Sadoveanu wrote from 1938 to 1943 is in some way connected to the cause of anti-fascism. According to Cornis-Pope, Sadoveanu's dislike for the far right can be discovered in Creanga de aur, which doubles as "a political parable opposing an archaic peasant civilization to the growing threat of fascism." However, George Călinescu claims, the writer himself had not actually revised his nationalist outlook, that he continued to believe that minorities and foreigners were a risky presence in Greater Romania, and that his Humanism was "a light tincture". In one of his columns, Sadoveanu replied to those organizing the acts of vandalism, indicating that, had they actually read the novels they were destroying, they would have found "a burning faith in this nation, for so long mistreated by cunning men". Elsewhere, stating that he was not going to take his detractors into consideration, Sadoveanu defined himself as an adversary of both Nazi Germany and any form of advocacy for a "National-Socialist regime in our country". Sadoveanu's subsequent endorsement of authoritarian King Carol II and his corporatist force, the National Renaissance Front, saw his participation in the monarch's personality cult. In 1940, he offered controversial praise to the ruler through the official journal, Revista Fundațiilor Regale, which caused Carol's political adversary, psychologist Nicolae Mărgineanu, to deem Sadoveanu and his fellow contributors "scoundrels". His renewed mandate in the Senate was a favor from Carol, also granted to George Enescu, philosopher Lucian Blaga, scientists Emil Racoviță and Iuliu Hațieganu, and several other public figures. During the Ion Antonescu dictatorship, Sadoveanu kept a low profile and was apolitical. However, Cioroianu writes, he supported the invasion of the Soviet Union and Romania's cooperation with the Axis Powers on the Eastern Front, seeing in this a chance to recover Bessarabia and the northern part of Bukovina (lost to the 1940 Soviet occupation). In spring 1944, months before the King Michael Coup toppled the regime, he was approached by the clandestine Romanian Communist Party and its sympathizers in academia to sign an open letter condemning Romania's alliance to Nazi Germany. According to the communist activist Belu Zilber, who took part in this action, Sadoveanu, like his fellow intellectuals Dimitrie Gusti, Simion Stoilow and Horia Hulubei, refused to sign the document. Also according to Zilber, Sadoveanu motivated his refusal by stating that the letter needed to be addressed not to Antonescu, but to King Michael I. However, and aside from its main topic, Păuna-Mică was noted as one of the few prose works of the 1940s to mention the wartime deportation of Romanian Jews by Antonescu's regime; Caleidoscop also speaks about the 1941 Iași pogrom as "our shame", and commends those who opposed it. Partnership with the communists Following his Lumina vine de la Răsărit lecture, Sadoveanu became noted for his positive portrayals of communization and collectivization. In particular, Sadoveanu offered praise to one of the major pillars of Stalinism, the 1936 Soviet Constitution. In 1945, claiming to have been "flashed upon" by "Stalin's argumentation", he urged the public to read the document for its "sincerity"; elsewhere, he equated reading the constitution with "a mystical revelation". Adrian Cioroianu describes this as "an office assignment" from the ARLUS, at a time when the group was circulating free translated copies of the Soviet constitution. The enthusiasm of his writings also manifested itself in his public behavior: according to his ARLUS colleague Iorgu Iordan, Sadoveanu was emotional during the 1945 Soviet trip, shedding tears of joy upon visiting a day care center in the countryside. Running in the 1946 election, Sadoveanu blamed the old political class in general for the problems faced by Romanian peasants, including the major drought of that year. By then, his political partners were making use of his literary fame, and his electoral pamphlet read: "There is no doubt that the thousands of people who have read his works will rush out on [election day] to vote for him." After 1948, when the Romanian communist regime was installed, Sadoveanu directed his praise toward the new authorities. In 1952, as Romania adopted its second republican constitution and the authorities intensified repression against anti-communists, Sadoveanu made some of his most controversial statements. Declaring the defunct kingdom to have been a "long interval of organized injustice and crooked development in all areas", he presented the new order as an era of social justice, human dignity, available culture and universal public education. Criticism of Sadoveanu's moral choices also focuses on the fact that, while he led a luxurious existence, many of his generation colleagues and fellow intellectuals were being persecuted or jailed in notoriously harsh circumstances. Having tolerated the purge within the Romanian Academy, Cioroianu notes, Sadoveanu accepted being colleagues with newly promoted "secondary characters [...] whom the new regime needed", such as poet Dumitru Theodor Neculuță and historian Mihail Roller. In his official capacity, Sadoveanu even signed several death sentences declared by communist tribunals, and, in the wake of the Tămădău Affair of summer 1947, presided over the Chamber sessions which outlawed the opposition National Peasants' Party: according to researcher Victor Frunză, he was a willing participant in this, having been upset by the exposure of his personal wealth in the National Peasantist press. Later, Sadoveanu made a reference to his former colleague, the National Peasantist activist Ion Mihalache, arguing that his old Agrarianist approach to politics had made him a "ridiculous character". Ioan Stanomir describes this fragment as one of "intellectual abjection", indicating that Mihalache, already a political prisoner of the regime, was to die in captivity. However, as leader of the Romanian Writers' Union, the aging writer is credited by some with having protected poet Nicolae Labiș, a disillusioned communist who had been excluded from the Union of Worker Youth in spring 1954, and whose work Sadoveanu treasured. He is also reported to have helped George Călinescu publish the novel Scrinul negru, mediating between him and communist leader Gheorghe Gheorghiu-Dej. Mihail Sadoveanu provided a definition of his own political transition in conversation with fellow writer Ion Biberi (1946). At the time, he claimed: "I have never engaged in politics, in the sense that one assigns to this word." He elaborated: "I am a left-wing person, following the line of a Poporanist zeal in the spirit of Viața Românească, but one adapted to the new circumstances." Cioroianu sees in such statements evidence that, trying to discard his past, Sadoveanu was including himself among the socialist intellectuals "willing to let themselves be won over by the indescribable charm and the full swing of the communist utopia", but that he may in reality have been "motivated by fear". Paraphrasing communist vocabulary, Stanomir describes the writer as one of the "bourgeois" personalities who became "fellow travelers" of the communists, and argues that Sadoveanu's claim to have always leaned towards a "people's democracy" inaugurated "a pattern of chameleonism". In the view of historian Vladimir Tismăneanu, Sadoveanu, like Parhon, George Călinescu, Traian Săvulescu and others, was one of the "non-communist intellectuals" attracted into cooperation with the Romanian Communist Party and the communist regime (Tismăneanu also argues that these figures' good relationship with Gheorghiu-Dej was a factor in the process, as was Gheorghiu-Dej's ability to make himself look "harmless"). Others have submitted that Sadoveanu's faction in the Freemasonry, which included far left advocates Mihai Ralea and Alexandru Claudian, and officially supported evolutionary socialism, was a natural partner of the communists, to the point of sanctioning its own state-organized suppression. According to Adrian Cioroianu, Sadoveanu was not necessarily an "apostle of communization", and his role in the process is subject to much debate. Describing the writer's "conversion to philosovietism" as "purely contextual", Cioroianu also points out that the very notion of "light arising in the East" is read by some as Sadoveanu's encoded message to other Freemasons, warning them of a Soviet threat to the organization. The historian notes that, for all their possible lack in sincerity, Sadoveanu's statements provided a template for other intellectuals to follow—this, he argues, was the case of Cezar Petrescu. Other statements made by Sadoveanu also displayed a possibly studied ambiguity, as is the case with a 1952 lecture he gave in front of young writers attending the Party-controlled School of Literature, where he implicitly denied that one could be created a writer unless by "God or Mother Nature". Legacy Influence Sadoveanu's prose, in particular his treatment of natural settings, was a direct influence in the works of writers such as Dimitrie D. Pătrășcanu, Nicolae N. Beldiceanu, Jean Bart, and Al. Lascarov-Moldovanu; his storytelling techniques were also sometimes borrowed by comedic novelist Damian Stănoiu, and, in later years, by historical novelist Dumitru Vacariu. According to Călinescu, Sadoveanu's early hunting stories published by Viața Românească, together with those of Junimist Nicolae Gane, helped establish the genre within the framework of Romanian literature, and paved the way for its predilect use in the works of Ioan Alexandru Brătescu-Voinești. Călinescu also notes that Scrisorile unui răzeș ("Letters of a Peasant"), an early work by novelist Cezar Petrescu, are deeply marked by Sadoveanu's influence, and that the same writer's use of the Moldavian dialect is a "pastiche" from Sadoveanu. Ion Vinea too, while expressing admiration for Sadoveanu, defined all his disciples and imitators as "mushroom-writers from Sadoveanu's woods" and "butlers who steal [their lord's lingerie] in order to wear his blazon". The issue was much later discussed by writer-critic Ioan Holban, who likewise described most historical novelists inspired by Sadoveanu as "insignificant" to Romanian letters. Under the early stages of the communist regime, before the rise of Nicolae Ceaușescu engendered a series of rehabilitations and accommodated nationalism, the Romanian curriculum was dependent on ideological guidelines. At the time, Sadoveanu was one of the writers from the interwar whose work was still made available to Romanian schoolchildren. In the 1953 Romanian language and literature manual, he represented his generation alongside the communist authors Alexandru Toma and Alexandru Sahia, and was introduced mainly through his Mitrea Cocor. At the time, studies of his work were published by prominent communist critics, among them Ovid Crohmălniceanu, Paul Georgescu, Traian Șelmaru, Mihai Novicov, Eugen Campus and Dumitru Isac, while a 1953 reissue of Baltagul was published in 30,000 copies (a number rarely met by the Romanian publishing industry in that context). In later years, Profira Sadoveanu became a noted promoter of her father's literature and public image, publishing children's versions of his biography, notably featuring illustrations by Mac Constantinescu (1955 edition). Although Sadoveanu continued to be hailed as a major writer during the Ceaușescu years, and the seventy years of his debut were marked with state ceremony, the reaction against Soviet influence affected presentations of his work: his official bibliography no longer included any mention of Păuna-Mică. Among the memoirs dealing with Sadoveanu's late years were those of Alexandru Rosetti, published in 1977. The official revival of nationalist discourse in the 1960s allowed controversial critic Edgar Papu to formulate his version of Protochronism, which postulated that phenomenons within Romanian culture preceded developments in world culture. In this context, Papu spoke of Sadoveanu as "one of the great precursory voices", comparing him to Rabindranath Tagore. After the 1989 Revolution toppled communism, Sadoveanu remained an influence on some young authors, who recovered the themes of his work in a Postmodern or parodic manner. Among them is Dan Lungu, who, according to critic Andrei Terian, alluded to the Hanu Ancuței frame story when constructing his 2004 novel Paradisul găinilor. In 2001, a poll carried among literati by Observator Cultural magazine listed six of his works as some of the best 150 Romanian novels. Mihail Sadoveanu's various works were widely circulated abroad. This phenomenon began as early as 1905, when German-language translations were first published, and continued during the 1930s, when Venea o moară pe Siret... was translated very soon after its original Romanian edition. In 1931, female author and feminist militant Sarina Cassvan included French-language versions of his texts into an anthology designed to promote modern Romanian culture internationally. Also then, some of Sadoveanu's texts were rendered in Chinese by Lu Xun. Tudor Vianu attributes the warm international reception Sadoveanu generally received to his abilities in rendering the Romanians' "own way of sensing and seeing nature and humanity", while literary historian Adrian Marino points out that, Sadoveanu and Liviu Rebreanu were exceptional in their generation for taking an active interest in how their texts were translated, edited and published abroad. Later, publicizing Sadoveanu's work to Eastern Bloc and world audiences became a priority for the communist regime. Thus, Mitrea Cocor was, together with similar works by Zaharia Stancu and Eusebiu Camilar, among the first wave of Romanian books to have been translated into Czech and published in Communist Czechoslovakia. Alongside similar works by Petru Dumitriu, Mitrea Cocor was also among the few English-language editions sanctioned by the Romanian regime, being translated and published, with a preface by Jack Lindsay, in 1953. Nine years later, the collected short stories were a tool for cultural exchange between Romania and the United States. Sadoveanu's good standing in the Soviet Union after World War II also made him one of the few Romanian writers whose works were still being published in the Moldavian SSR (which, as part of Bessarabia, had previously been a region of Greater Romania). Sadoveanu's diaries and notes were collected and edited during the early 2000s, being published in 2006 by Editura Junimea and the MLR. The main coordinators of this project were literary historian Constantin Ciopraga and Constantin Mitru, who was Sadoveanu's brother-in-law and personal secretary. The popularity of his writings remained high into the early 21st century: in 2004, when the country marked a hundred years since Sadoveanu's debut, Șoimii was published in its 15th edition. According to Simuț, the occasion itself was nevertheless marked with "the impression of general indifference", making Sadoveanu seem "a submerged continent, remembered by us only with piousness and confusion". Tributes Sadoveanu is an occasional presence in the literary works of his fellow generation members. His Țara de dincolo de negură was partly written as a tribute to George Topîrceanu's piece of the same name, with both authors sketching an affectionate portrait of one another. Topîrceanu also parodied his friend's style in a five-paragraph sketch, part of a series of such fragments, recorded their encounters in various other autobiographical writings, and dedicated him the first version of his poem Balada popii din Rudeni ("Ballad of the Priest from Rudeni"). Under the name Nicolae Pădureanu, Sadoveanu is a character in the novel and disguised autobiography În preajma revoluției ("On the Eve of the Revolution"), authored by his colleague Constantin Stere. Sadoveanu is honored in two writings by Nicolae Labiș, collectively titled Sadoveniene ("Sadovenians"). The first, titled Mihail Sadoveanu, is a prose poem which alludes to Sadoveanu's prose, and the other, a free verse piece, is titled Cozma Răcoare. In his scientific study of Sadoveanu's work, Eugen Lovinescu himself turns to pure literature, portraying Sadoveanu as a child blessed by the Moirai or ursitoare with ironic gifts, such as an obstinacy for nature writing in the absence of actual observation ("You shall write; you shall write and could never stop yourself writing [...]. The readers will grow tired, but you will remain tireless; you shall not known rest, just as you shall not know nature [...]"). George Călinescu was one to object to this portrayal, noting that it was merely a "literary device which hardly covers the emptiness of [Lovinescu's] idea." Also during the interwar, philosopher Mihai Ralea made Mihail Sadoveanu the subject of a sociological study investigating his literary contributions in the context of social evolutions. A portrait of Sadoveanu was drawn by graphic artist Ary Murnu, within a larger work which depicts the Kübler Coffeehouse society. Sadoveanu was also the subject of a 1929 painting by Ștefan Dumitrescu, part of a series on Viața Românească figures. In its original edition, Mitrea Cocor was supposed to feature a series of drawings made by Corneliu Baba, one of the best-known Romanian visual artists for his generation. Baba, who had been officially criticized for "formalism", was pressured by the authorities into accepting the commission or risk a precarious existence. The result of his work was rejected with a similar label, and the sketches were for long not made available to the public. Baba also painted Sadoveanu's portrait, which, in 1958, art critic Krikor Zambaccian as "the synthesis of Baba's art", depicting "a man of letters aware of his mission [and] the leading presence of an active consciousness". Constantin Mitru inherited the painting and passed it on to the Museum of Romanian Literature (MLR). A marble bust of Sadoveanu, the work of Ion Irimescu, was set up in Fălticeni in 1977. In Bucharest, a memorial plaque was placed on Pitar Moș Street, on a house where he lived for a period. During the 1990s, another bust of Sadoveanu, the work of several sculptors, was unveiled in Chișinău, Republic of Moldova (the former Moldavian SSR), part of the Aleea Clasicilor sculptural ensemble. Sadoveanu's writings also made an impact on film culture, and in particular on Romanian cinema of the communist period. However, the first film based on his works was a German production of 1929: based on Venea o moară... and titled Sturmflut der Liebe ("Storm Tide of Love"), it notably starred Marcella Albani, Alexandru Giugaru and Ion Brezeanu. The series of Romanian-made films began with the 1952 Mitrea Cocor, co-directed by Marietta Sadova (who also starred in the film) and Victor Iliu. The film itself was closely supervised for conformity with ideological guidelines, and had to be partly redone because its original version did not meet them. Mircea Drăgan directed a 1965 version of Neamul Șoimăreștilor (with a screenplay co-written by Constantin Mitru) and a 1973 adaptation of Frații Jderi (with contributions by Mitru and by Profira Sadoveanu). In 1969, Romanian studios produced a film version of Baltagul, directed by Mircea Mureșan and with Sidonia Manolache as Vitoria Lipan. Ten years later, Constantin Vaeni released Vacanță tragică ("Tragic Holiday"), based on Nada Florilor, followed by a 1980 adaptation of Dumbrava minunată and Stere Gulea's 1983 Ochi de urs (tr. "The Bear Eye's Curse"). In 1989, just before the Romanian Revolution, Dan Pița produced his film The Last Ball in November, based on Locul unde nu s-a întâmplat nimic. During the early decades of communist rule, Sadoveanu, Alexandru Toma and later Tudor Arghezi were often paid homage with state celebrations, likened by literary critic Florin Mihăilescu to the personality cult reserved for Stalin and Gheorghe Gheorghiu-Dej. For a while after the writer's death, the Writers' Union club, commonly known as "The Writers' House", bore Sadoveanu's name. Casa cu turn in Iași, which Sadoveanu had donated to the state in 1950, went through a period of neglect and was finally set up as a museum in 1980. Similar sites were set up in his Fălticeni house, and in his final residence at Voividenia, while the Bradu-Strâmb chalet was controversially granted to the Securitate, and later to the Romanian Police. Each year, Iași commemorates the writer through a cultural festival known as the "Mihail Sadoveanu Days". In 2004, the 100th anniversary of his debut was marked by a series of exhibits and symposiums, organized by the MLR. Similar events are regularly held in various cities, and include the "In Sadoveanu's Footsteps" colloquy of writers, held during March 2006 in the city of Piatra Neamț. Since 2003, in tribute to Sadoveanu's love for the game, an annual chess tournament is held in Iași. The Sadoveanu High School and a bookstore in Bucharest are named after him, and streets named after him exist in, among other places, Iași, Fălticeni, Timișoara, Oradea, Brașov, Galați, Suceava, Călărași, Târgu Jiu, Miercurea Ciuc, Petroșani, and Mangalia. Pașcani hosts a cultural center, a high school and a library named after him. Sadoveanu's memory is also regularly honored in the Republic of Moldova, where, in 2005, the 125th anniversary of his birth was celebrated in an official context. A street in Chișinău and a high school in the town of Cupcini are also named after him. Selected works Fiction 1902 - Frații Potcoavă 1904 - Șoimii 1905 - Floare ofilită 1906 - Însemnările lui Neculai Manea 1907 - La noi, la Viișoara 1907 - Vremuri de bejenie 1908 - Balta liniștii 1908 - Haia Sanis 1911 - Apa morților 1915 - Neamul Șoimăreștilor 1925 - Venea o moară pe Siret... 1928 - Hanu Ancuței 1929 - Zodia Cancerului 1930 - Baltagul 1932 - Nunta Domniței Ruxandra 1932 - Uvar 1933 - Creanga de aur 1934 - Nopțile de Sânziene 1935-1942 - Frații Jderi 1949 - Mitrea Cocor 1951-1952 - Nicoară Potcoavă Non-fiction 1907 - Domnu Trandafir 1908 - Oameni și locuri 1914 - Priveliști dobrogene 1916 - 44 de zile în Bulgaria 1921 - Drumuri basarabene 1926 - Țara de dincolo de negură 1928 - Împărăția apelor 1928 - Olanda 1936 - Însemnări ieșene 1937 - Istorisiri de vânătoare 1944 - Anii de ucenicie Notes References Lucian Boia, "Germanofilii". Elita intelectuală românească în anii Primului Război Mondial, Humanitas, Bucharest, 2010. Lucian Boia (ed.), Miturile comunismului românesc, Editura Nemira, Bucharest, 1998. : Lucian Boia, "Un nou Eminescu: A. Toma", p. 71-81 Adrian Cioroianu, "Lumina vine de la Răsărit. 'Noua imagine' a Uniunii Sovietice în România postbelică, 1944-1947", p. 21-68 George Călinescu, Istoria literaturii române de la origini pînă în prezent, Editura Minerva, Bucharest, 1986 Paul Cernat, Avangarda românească și complexul periferiei: primul val, Cartea Românească, Bucharest, 2007. Ilarie Chendi, "Vieața literară în 1911 (o privire generală)", in Luceafărul, Nr. 3/1912, p. 61-65 (digitized by the Babeș-Bolyai University Transsylvanica Online Library) Adrian Cioroianu, , Editura Curtea Veche, Bucharest, 2005. Marcel Cornis-Pope, "Shifting Perspectives and Voices in the Romanian Novel"; "The Search for a Modern, Problematizing Historical Consciousness: Romanian Historical Fiction and Family Cycles", in Marcel Cornis-Pope, John Neubauer (eds.), History of the Literary Cultures of East-Central Europe, John Benjamins, Amsterdam & Philadelphia, 2004, p. 441-456, 499–505. Ovid Crohmălniceanu, Literatura română între cele două războaie mondiale, Vol. I, Editura Minerva, Bucharest, 1972. Victor Frunză, Istoria stalinismului în România, Humanitas, Bucharest, 1990. Florin Mihăilescu, De la proletcultism la postmodernism, Editura Pontica, Constanța, 2002. Z. Ornea, Anii treizeci. Extrema dreaptă românească, Editura Fundației Culturale Române, Bucharest, 1995. Junimea și junimismul, Vol. II, Editura Minerva, Bucharest, 1998. Petre Răileanu, "Construcție și semnificație în ficțiunea istorică", preface to Mihail Sadoveanu, Nicoară Potcoavă, Editura Militară, 1990, p. 5-17. Tom Sandqvist, Dada East. The Romanians of Cabaret Voltaire, MIT Press, Cambridge, Massachusetts & London, 2006. Ana Selejan, Literatura în totalitarism. Vol. II: Bătălii pe frontul literar, Cartea Românească, Bucharest, 2008. Ioan Stanomir, "Facerea lumii", in Paul Cernat, Ion Manolescu, Angelo Mitchievici, Ioan Stanomir, Explorări în comunismul românesc, Polirom, Iași, 2004, p. 13-45. George Topîrceanu, Scrieri, Vols. I-II (preface, chronological table and notes by Al. Săndulescu), Editura Minerva, Bucharest, 1983. Cristian Vasile, Literatura și artele în România comunistă. 1948-1953, Humanitas, Bucharest, 2010. Tudor Vianu, Scriitori români, Vols. I-II, Editura Minerva, Bucharest, 1970. Krikor Zambaccian, Corneliu Baba, Editura de stat pentru literatură și artă, Bucharest, 1958. External links Roumanian Stories. Translated by Lucy Byng (includes three of Sadoveanu's works), at the University of Washington's DXARTS/CARTAH Electronic Text Archive A Boyar's Sin (excerpt), A Worried Man, His Majesty's Mare, Idle Hours, Master Trandafir (excerpts), The Enchanted Grove (excerpts), The Place Where Nothing Happened (excerpt), The Vesper Bell, Vitoria Lipan (fragment from Baltagul), translations in the Romanian Cultural Institute's Plural Magazine (various issues) "Peace Partisans Meeting aka Peace Meeting" (Rome, 1949) British-Pathé newsreel showing Sadoveanu and other delegates |- 1880 births 1961 deaths Romanian biographers Male biographers Romanian children's writers Romanian crime fiction writers Romanian essayists Romanian fantasy writers Romanian historical novelists Romanian magazine editors Romanian magazine founders Romanian memoirists Romanian newspaper editors 20th-century Romanian novelists Romanian male novelists Romanian poets Romanian male poets Romanian textbook writers Romanian translators Romanian travel writers 19th-century short story writers 20th-century short story writers Romanian male short story writers Romanian short story writers Romanian theatre managers and producers Social realism Socialist realism writers Poporanists Adevărul editors Adevărul writers Titular members of the Romanian Academy People's Party (interwar Romania) politicians 20th-century Romanian politicians Presidents of the Senate of Romania Presidents of the Chamber of Deputies (Romania) Members of the Chamber of Deputies (Romania) Members of the Great National Assembly Heads of state of Romania Romanian activists Romanian Freemasons Masonic Grand Masters Romanian nationalists Romanian pacifists Romanian propagandists Romanian humanists Censorship in Romania Lenin Peace Prize recipients People from Pașcani Romanian civil servants Romanian Land Forces officers Romanian military personnel of the Second Balkan War Romanian people of World War I Romanian people of World War II Burials at Bellu Cemetery 19th-century Romanian writers 20th-century Romanian writers 20th-century essayists 20th-century memoirists 20th-century translators
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" ]
[ "Mihail Sadoveanu", "1910s and World War I", "what happened in 1910's?", "In 1910, he was also appointed head of the National Theater Iasi, a position which he filled until 1919.", "what else was he appointed to?", "He was a leading presence at Minerva newspaper, alongside Anghel and critic Dumitru Karnabatt,", "what was his greatest accomplishment named in the article?", "Mihail Sadoveanu became a professional writer in 1908-1909, after joining the Romanian Writers' Society,", "who did he work with?", "he, Iosif, and Anghel, together with author Emil Garleanu,", "what did they do?", "set up Cumpana, a monthly directed against both Ovid Densusianu's eclecticism and the Junimist school (the magazine was no longer in print by 1910", "what is the most important fact in this article?", "Sadoveanu was again called under arms during the Second Balkan War of 1913,", "what did he do?", "Having reached the rank of Lieutenant, he was stationed in Falticeni with the 15th Infantry Regiment," ]
C_f789d8273c5b43b2a57524472ce50d02_0
was he there the entire time?
8
was Mihail Sadoveanu there the entire time, during the War of 1913?
Mihail Sadoveanu
Sadoveanu returned to his administrative job in 1907, the year of the Peasants' Revolt. Kept in office by the National Liberal cabinet of Ion I. C. Bratianu, he served under the reform-minded Education Minister Spiru Haret. Inspired by the bloody outcome of the Revolt, as well as by Haret's moves to educate the peasantry, Sadoveanu reportedly drew suspicion from the Police when he published self-help guides aimed at industrious ploughmen, a brand of social activism which even resulted in a formal inquiry. Mihail Sadoveanu became a professional writer in 1908-1909, after joining the Romanian Writers' Society, created in the previous year by poets Cincinat Pavelescu and Dimitrie Anghel, and becoming its President in September of that year. The same year, he, Iosif, and Anghel, together with author Emil Garleanu, set up Cumpana, a monthly directed against both Ovid Densusianu's eclecticism and the Junimist school (the magazine was no longer in print by 1910). At the time, he became a noted presence among the group of intellectuals meeting in Bucharest's Kubler Coffeehouse. In 1910, he was also appointed head of the National Theater Iasi, a position which he filled until 1919. That year, he translated from the French one of Hippolyte Taine's studies on the genesis of artworks. He resigned his office within the Writers' Society in November 1911, being replaced by Garleanu, but continued to partake in its administration as a member of its leadership committee and a censor. He was a leading presence at Minerva newspaper, alongside Anghel and critic Dumitru Karnabatt, and also published in the Transylvanian traditionalist journal, Luceafarul. Sadoveanu was again called under arms during the Second Balkan War of 1913, when Romania confronted Bulgaria. Having reached the rank of Lieutenant, he was stationed in Falticeni with the 15th Infantry Regiment, after which he spent a short period on the front. He returned to literary life. Becoming good friends with poet and humorist George Topirceanu, he accompanied him and other writers on cultural tours during 1914 and 1915. The series of writings he published at the time includes the 1915 Neamul Soimarestilor. In 1916-1917, as Romania entered World War I and was invaded by the Central Powers, Sadoveanu stayed in Moldavia, the only part of Romania's territory still under the state's authority (see Romanian Campaign). The writer oscillated between the Germanophilia of his Viata Romaneasca friends, the stated belief that war was misery and the welcoming of Romania's commitment to the Entente Powers. At the time, he was reelected President of the Writers' Society, a provisional mandate which ended in 1918, when Romania signed the peace with the Central Powers, and, as Army reservist, edited the Entente's regional propaganda outlet, Romania. He was joined by Topirceanu, who had just been released from a POW camp in Bulgaria, and with whom he founded the magazine Insemnari Literare. Sadoveanu subsequently settled in the Iasi neighborhood of Copou, purchasing and redecorating the villa known locally as Casa cu turn ("The House with a Tower"). In the 19th century, it had been the residence of politician Mihail Kogalniceanu, and, during the war, hosted composer George Enescu. During that period, he collaborated with leftist intellectual Vasile Mortun and, together with him and Arthur Gorovei, founded and edited the magazine Ravasul Poporului. CANNOTANSWER
He returned to literary life.
Mihail Sadoveanu (; occasionally referred to as Mihai Sadoveanu; November 5, 1880 – October 19, 1961) was a Romanian novelist, short story writer, journalist and political figure, who twice served as acting head of state for the communist republic (1947–1948 and 1958). One of the most prolific Romanian-language writers, he is remembered mostly for his historical and adventure novels, as well as for his nature writing. An author whose career spanned five decades, Sadoveanu was an early associate of the traditionalist magazine Sămănătorul, before becoming known as a Realist writer and an adherent to the Poporanist current represented by Viața Românească journal. His books, critically acclaimed for their vision of age-old solitude and natural abundance, are generally set in the historical region of Moldavia, building on themes from Romania's medieval and early modern history. Among them are Neamul Șoimăreștilor ("The Șoimărești Family"), Frații Jderi ("The Jderi Brothers") and Zodia Cancerului ("Under the Sign of the Crab"). With Venea o moară pe Siret... ("A Mill Was Floating down the Siret..."), Baltagul ("The Hatchet") and some other works of fiction, Sadoveanu extends his fresco to contemporary history and adapts his style to the psychological novel, Naturalism and Social realism. A traditionalist figure whose perspective on life was a combination of nationalism and Humanism, Sadoveanu moved between right- and left-wing political forces throughout the interwar period, while serving terms in Parliament. Rallying with People's Party, the National Agrarian Party, and the National Liberal Party-Brătianu, he was editor of the leftist newspapers Adevărul and Dimineața, and was the target of a violent far right press campaign. After World War II, Sadoveanu became a political associate of the Romanian Communist Party. He wrote in favor of the Soviet Union and Stalinism, joined the Society for Friendship with the Soviet Union and adopted Socialist realism. Many of his texts and speeches, including the political novel Mitrea Cocor and the famous slogan Lumina vine de la Răsărit ("The Light Arises in the East"), are also viewed as propaganda in favor of communization. A founding member of the Romanian Writers' Society and later President of the Romanian Writers' Union, Sadoveanu was also a member of the Romanian Academy since 1921 and a recipient of the Lenin Peace Prize for 1961. He was also Grand Master of the Romanian Freemasonry during the 1930s. The father of Profira and Paul-Mihu Sadoveanu, who also pursued careers as writers, he was the brother-in-law of literary critic Izabela Sadoveanu-Evan. Biography Early years Sadoveanu was born in Pașcani, in western Moldavia. His father's family hailed from the southwestern part of the Old Kingdom, in Oltenia. Their place of origin, Sadova, provided their chosen surname (lit. "from Sadova"), which was adopted by the family only in 1891. Mihail's father was the lawyer Alexandru Sadoveanu (d. 1921), whom literary critic George Călinescu described as "a bearded and well-to-do man"; according to the writer's own notes, Alexandru was unhappy in marriage, and his progressive isolation from public life impacted on the entire family. Mihail's mother, Profira née Ursachi (or Ursaki; d. 1895), hailed from a line of Moldavian shepherds, all of whom, as the writer recalled, had been illiterate. Literary historian Tudor Vianu believes this contrast of regional and social identities played a part in shaping the author, opening him up to a "Romanian universality", but notes that, throughout his career, Sadoveanu was especially connected with his Moldavian roots. Mihail had a brother, also named Alexandru, whose wife was the Swiss-educated literary critic Izabela Morțun (later known as Sadoveanu-Evan, she was the cousin of socialist activist Vasile Morțun). Another one of his brothers, Vasile Sadoveanu, was an agricultural engineer. Beginning in 1887, Sadoveanu attended primary school in Pașcani. His favorite teacher, a Mr. Busuioc, later served as inspiration for one of his best-known short stories, Domnu Trandafir ("Master Trandafir"). While away from school, young Sadoveanu used much of his spare time exploring his native region on foot, hunting, fishing, or just contemplating nature. He was also spending his vacations in his mother's native Verșeni. During his journeys, Sadoveanu visited peasants, and his impression of the way in which they were relating to authority is credited by critics with having shaped his perspective on society. Shortly after this episode, the young Sadoveanu left to complete his secondary studies in Fălticeni and at the National High School in Iași. While in Fălticeni, he was in the same class as future authors Eugen Lovinescu and I. Dragoslav, but, having lost interest in schoolwork, he failed to get his remove, before eventually graduating top of his class. First literary attempts, marriage and family In 1896, when he was aged sixteen, Sadoveanu gave thought to writing a monograph on Moldavian Prince Stephen the Great, but his first literary attempts date from the following year. It was in 1897 that a sketch story, titled Domnișoara M din Fălticeni ("Miss M from Fălticeni") and signed Mihai din Pașcani ("Mihai from Pașcani"), was successfully submitted for publishing to the Bucharest-based satirical magazine Dracu. He started writing for Ovid Densusianu's journal Vieața Nouă in 1898. His contributions, featured alongside those of Gala Galaction, N. D. Cocea, and Tudor Arghezi, include another sketch story and a lyric poem. Sadoveanu was however dissatisfied with Densusianu's agenda, and critical of the entire Romanian Symbolist movement for which the review spoke. He ultimately began writing pieces for non-Symbolist magazines such as Opinia and Pagini Literare. In parallel, he founded and printed by hand a short-lived journal, known to researches as either Aurora or Lumea. Sadoveanu left for Bucharest in 1900, intending to study Law at the University's Faculty of Law, but withdrew soon after, deciding to dedicate himself to literature. He began frequenting the bohemian society in the capital, but, following a sudden change in outlook, abandoned poetry and focused his work entirely on Realist prose. In 1901, Sadoveanu married Ecaterina Bâlu, with whom he settled in Fălticeni, where he began work on his first novellas and decided to make his living as a professional writer. His first draft for a novel, Frații Potcoavă ("The Potcoavă Brothers"), came out in 1902, when fragments were published by Pagini Alese magazine under the pseudonym M. S. Cobuz. The following year, Sadoveanu was drafted into the Romanian Land Forces, stationed as a guard near Târgu Ocna, and inspired by the experience to write some of his first social criticism narratives. After that time, he spent much of his home in the country, where he raised a large family. Initially, the Sadoveanus lived in a house previously owned by celebrated Moldavian raconteur Ion Creangă, before they commissioned a new building, famed for its surrounding Grădina Liniștii ("Garden of Quietude"). He was the father of eleven, among whom were three daughters: Despina, Teodora and Profira Sadoveanu, the latter of whom was a poet and a novelist. Of his sons, Dimitrie Sadoveanu became a painter, while Paul-Mihu, the youngest (born 1920), was author of the novel Ca floarea câmpului... ("Like the Flower of the Field...") which was published posthumously. Sămănătorul, Viața Românească and literary debut After receiving an invitation from poet Ștefan Octavian Iosif in 1903, Sadoveanu contributed works to the traditionalist journal Sămănătorul, led at the time by historian and critic Nicolae Iorga. He was by then also a contributor to Voința Națională, a newspaper published by the National Liberal Party and managed by politician Vintilă Brătianu—beginning December of the same year, the paper serialized Șoimii ("The Hawks"), an extended variant of Frații Potcoavă, with an introduction by historian Vasile Pârvan. In 1904, he regained Bucharest, where he became a copyist for the Ministry of Education's Board of Schools, returning to Fălticeni two years later. After 1906, he rallied with the group formed around Viața Românească, which was also joined by his sister-in-law Izabela. Sămănătorul and Viața Românească, having comparable influence over the literature of Romania, stood for a traditionalist and ruralist approach to art, even though the latter adopted a more left-wing perspective, known as Poporanism. The leading Poporanist ideologue, Garabet Ibrăileanu, became a personal friend of the young writer after inviting him on an excursion down the Râșca River. With his subsequent pieces for Viața Românească, Sadoveanu became especially known as the raconteur of hunting trips, but also sparked controversy when a young woman writer, Constanța Marino-Moscu, accused him of having plagiarized her works in his Mariana Vidrașcu, a serialized novel which was discontinued and later largely forgotten. 1904 was Sadoveanu's effective debut year: he published four separate books, including Șoimii, Povestiri ("Stories"), Dureri înăbușite ("Suppressed Pains") and Crâșma lui Moș Petcu ("Old Man Petcu's Alehouse"). The beginning of a prolific literary career covering more than a half century and of his collaboration with Editura Minerva publishing house, this debut was marked by intense preparation, and drew on literary exercises spanning the previous decade. His Sămănătorul colleague Iorga deemed 1904 "Sadoveanu's Year", while the influential and aging critic Titu Maiorescu, leader of the conservative literary society Junimea, gave a positive review to Povestiri, and successfully proposed it for a Romanian Academy award in 1906. In a 1908 essay, Maiorescu was to list Sadoveanu among Romania's greatest writers. According to Vianu, Maiorescu saw in Sadoveanu and other young writers the triumph of his theory on a "popular" form of Realism, a vision which the Junimist thinker had advocated in his essays from as early as 1882. Sadoveanu later credited Iorga, Maiorescu, and especially so the cultural promoter Constantin Banu and Sămănătorul poet George Coșbuc, with having helped him capture the interest of the public and his peers. He was by then facing adversity from opponents of Sămănătorul, primarily critic Henric Sanielevici and his Curentul Nou review, which published claims that Sadoveanu's volumes, which depicted immoral acts such as adultery and rape, showed that Iorga's program of moral didacticism was hypocritical. As he latter recalled, Sadoveanu was himself upset with some of Iorga's critical judgments regarding his own work, noting that the Sămănătorist doyen had once declared him equal to Vasile Pop (one of Iorga's protegés, and viewed as overrated by Sadoveanu). The same year, Sadoveanu became one of Sămănătoruls editors, alongside Iorga and Iosif. The magazine, originally a traditionalist mouthpiece founded by Alexandru Vlahuță and George Coșbuc, proclaimed with Iorga its purpose of establishing "a national culture", emancipated from foreign influence. However, according to Călinescu, this ambitious goal was only manifested in a "great cultural influence", as the journal continued to be an eclectic venue which grouped together ruralist traditionalists of the "national tendency" and adherents to the cosmopolitan currents such as Symbolism. Călinescu and Vianu agree that Sămănătorul was, for a large part, a promoter of older guidelines set by Junimea. Vianu also argues that Sadoveanu's contribution to the literary circle was the main original artistic element in its history, and credits Iosif with having accurately predicted that, during a period of literary "crisis", Sadoveanu was the person to provide innovation. He continued to publish at an impressive rate: in 1906, he again handed down for print four separate volumes. In parallel, Sadoveanu pursued his career as a civil servant. In 1905, he was employed as a clerk by the Ministry of Education, headed by the Conservative Party's Mihail Vlădescu. His direct supervisor was poet D. Nanu, and he had for his colleagues the geographer George Vâlsan and the short story writer Nicolae N. Beldiceanu. Nanu wrote of this period: "It is a clerical packed full with men of letters, no work is being done, people smoke, drink coffee, create dreams, poems and prose [...]." Having interrupted his administrative service, Sadoveanu was again drafted into the Land Forces in 1906, being granted an officer's rank. An already overweight man, he had to march from Probota in Central Moldavia to Bukovina, which caused him intense suffering. 1910s and World War I Sadoveanu returned to his administrative job in 1907, the year of the Peasants' Revolt. Kept in office by the National Liberal cabinet of Ion I. C. Brătianu, he served under the reform-minded Education Minister Spiru Haret. Inspired by the bloody outcome of the Revolt, as well as by Haret's moves to educate the peasantry, Sadoveanu reportedly drew suspicion from the Police when he published self-help guides aimed at industrious ploughmen, a brand of social activism which even resulted in a formal inquiry. Mihail Sadoveanu became a professional writer in 1908–1909, after joining the Romanian Writers' Society, created in the previous year by poets Cincinat Pavelescu and Dimitrie Anghel, and becoming its President in September of that year. The same year, he, Iosif, and Anghel, together with author Emil Gârleanu, set up Cumpăna, a monthly directed against both Ovid Densusianu's eclecticism and the Junimist school (the magazine was no longer in print by 1910). At the time, he became a noted presence among the group of intellectuals meeting in Bucharest's Kübler Coffeehouse. In 1910, he was also appointed head of the National Theater Iași, a position which he filled until 1919. That year, he translated from the French one of Hippolyte Taine's studies on the genesis of artworks. He resigned his office within the Writers' Society in November 1911, being replaced by Gârleanu, but continued to partake in its administration as a member of its leadership committee and a censor. He was a leading presence at Minerva newspaper, alongside Anghel and critic Dumitru Karnabatt, and also published in the Transylvanian traditionalist journal, Luceafărul. Sadoveanu was again called under arms during the Second Balkan War of 1913, when Romania confronted Bulgaria. Having reached the rank of Lieutenant, he was stationed in Fălticeni with the 15th Infantry Regiment, after which he spent a short period on the front. He returned to literary life. Becoming good friends with poet and humorist George Topîrceanu, he accompanied him and other writers on cultural tours during 1914 and 1915. The series of writings he published at the time includes the 1915 Neamul Șoimăreștilor. In 1916–1917, as Romania entered World War I and was invaded by the Central Powers, Sadoveanu stayed in Moldavia, the only part of Romania's territory still under the state's authority (see Romanian Campaign). The writer oscillated between the Germanophilia of his Viața Românească friends, the stated belief that war was misery and the welcoming of Romania's commitment to the Entente Powers. At the time, he was reelected President of the Writers' Society, a provisional mandate which ended in 1918, when Romania signed the peace with the Central Powers, and, as Army reservist, edited the Entente's regional propaganda outlet, România. He was joined by Topîrceanu, who had just been released from a POW camp in Bulgaria, and with whom he founded the magazine Însemnări Literare. Sadoveanu subsequently settled in the Iași neighborhood of Copou, purchasing and redecorating the villa known locally as Casa cu turn ("The House with a Tower"). In the 19th century, it had been the residence of politician Mihail Kogălniceanu, and, during the war, hosted composer George Enescu. During that period, he collaborated with leftist intellectual Vasile Morțun and, together with him and Arthur Gorovei, founded and edited the magazine Răvașul Poporului. Creative maturity and early political career In 1921, Sadoveanu was elected a full member of the Romanian Academy; he gave his reception speech in front of the cultural forum two years later, structuring it as a praise of Romanian folklore in general and folkloric poetry in particular. At the time, he renewed his contacts with Viața Românească: with Garabet Ibrăileanu and several others, he joined its interwar nucleus, while the review often featured samples of his novels (some of which were originally published in full by its publishing venture). His house was by then host to many cultural figures, among whom were writers Topîrceanu, Gala Galaction, Otilia Cazimir, Ionel and Păstorel Teodoreanu, and Dimitrie D. Pătrășcanu, as well as conductor Sergiu Celibidache. He was also close to a minor socialist poet and short story author, Ioan N. Roman, whose work he helped promote, to the aristocrat and memoirist Gheorghe Jurgea-Negrilești, and to a satirist named Radu Cosmin. Despite his health problems, Sadoveanu frequently traveled throughout Romania, notably visiting local sights which inspired his work: the Romanian Orthodox monasteries of Agapia and Văratec, and the Neamț Fortress. After 1923, together with Topîrceanu, Demostene Botez and other Viața Românească affiliates, he also embarked on a series of hunting trips. He was charmed in particular by the sights he discovered during a 1927 visit to the Transylvanian area of Arieș. The same year, he also visited the Netherlands, which he reached by means of the Orient Express. His popularity continued to grow: in 1925, 1929 and 1930 respectively, he published his critically acclaimed novels Venea o moară pe Siret..., Zodia Cancerului and Baltagul, and his 50th anniversary was celebrated at a national level. In 1930, Sadoveanu, Topîrceanu and the schoolteacher T. C. Stan wrote and edited a series of primary school textbooks. In 1926, after a period of indecision, Sadoveanu rallied with the People's Party, where his friend, the poet Octavian Goga, was a prominent activist. He then rallied with Goga's own National Agrarian Party. During the general election of 1927, he won a seat in the Chamber for Bihor County, in Transylvania, holding a seat in the Senate for Iași County after the 1931 suffrage. Under Nicolae Iorga's National Peasants' Party cabinet of the period, Sadoveanu was President of the Senate. The choice was motivated by his status as "a cultural personality". Around that date, he was affiliated with the National Liberal Party-Brătianu, a right-wing party inside the liberal current, who stood in opposition to the main National Liberal group. In parallel, he began contributing to the left-wing daily Adevărul. Sadoveanu was by then affiliated with the Freemasonry, as first recorded by the organization in 1928, but was probably a member since 1926 or 1927. Reaching the 33rd degree within the organization and overseeing the Masonic Lodge Dimitrie Cantemir of Iași, he was elected Grand Master of the National Union of Lodges in 1932, thus replacing the vacating George Valentin Bibescu. There subsequently occurred a split between Bibescu and Sadoveanu's supporters, aggravated by their publicized conflict with a third group, that of Ioan Pangal—splits which ended after some three years, when Sadoveanu marginalized both of his opponents, without however earning legitimate recognition from the Grand Orient de France. By 1934, he was recognized as Grand Master of the United Romanian Freemasonry, which regrouped all major local Lodges. Late 1930s and World War II He was publishing new works at a regular rate, culminating in the first volume of his historical epic Frații Jderi, which saw print in 1935. In 1936, the writer accepted the honorary chairmanship of Adevărul and its morning edition, Dimineața. During that time, he was involved in a public dispute with the far right and fascist press, replying to their attacks in several columns. Affiliates of the radical right organized public burnings of his volumes. The scandal prolonged itself over the following years, with Sadoveanu being supported by his friends in the literary community. Among them was Topîrceanu, who was at the time hospitalized, and whose expression of support was made shortly before his death to liver cancer. In September 1937, as a statement of solidarity and appreciation, the University of Iași conferred Sadoveanu the title of doctor honoris causa. Mihail Sadoveanu withdrew from politics in the late 1930s and early 1940s, as Romania came to be led by successive right-wing dictatorships, he offered a measure of support to King Carol II and his National Renaissance Front, which attempted to block the more radically fascist Iron Guard from power. He was personally appointed a member of the reduced corporatist Senate by Carol. In 1940, the official establishment Editura Fundațiilor Regale published the first volume of his Opere ("Works"). Sadoveanu kept a low profile under the Iron Guard's Nazi-allied National Legionary regime. After Conducător Ion Antonescu overthrew the Guard during the Legionary Rebellion and established his own fascist regime, the still-apolitical Sadoveanu was more present in public life, and lectured on cultural subjects for the Romanian Radio. After publishing the final section of his Frații Jderi in 1942, Sadoveanu again retreated to the countryside, in his beloved Arieș area, where he had built himself a chalet and a church; this seclusion produced his Povestirile de la Bradu-Strâmb ("Bradu-Strâmb Stories"). During those years, the sixty-year-old writer met Valeria Mitru, a much younger feminist journalist, whom he married after a brief courtship. In August 1944, Romania's King Michael Coup toppled Antonescu and switched sides in the war, rallying with the Allies. As a Soviet occupation began at home, Romanian troops fought alongside the Red Army on the European theater. Paul-Mihu Sadoveanu was killed in action in Transylvania on September 22. During the same months, Sadoveanu was a candidate for the Writers' Society presidency, but, in what has been read as proof of a rivalry within the Freemasonry, was defeated by Victor Eftimiu. Later that year, the 40th anniversary of Mihail Sadoveanu's debut was celebrated with a special ceremony at the Academy and Tudor Vianu's speech, offered as a retrospective of his colleague's entire work. Communist system and political rise After the Soviet-backed advent of the Communist system in Romania, Sadoveanu supported the new authorities, and turned from his own version of Realism to officially-endorsed Socialist realism (see Socialist realism in Romania). This was also the start of his association with the Soviet-sponsored Romanian Society for Friendship with the Soviet Union (ARLUS), which was led by biologist and physician Constantin Ion Parhon. Having served as a host to official Soviet envoys Andrey Vyshinsky and Vladimir Kemenov during their late 1944 visits, he soon after became president of the ARLUS "Literary and Philosophical Section" (seconded by Mihai Ralea and Perpessicius). In February 1945, he joined Parhon, Enescu, linguist Alexandru Rosetti, composer George Enescu, biologist Traian Săvulescu and mathematician Dimitrie Pompeiu in a protest against the cultural policies of Premier Nicolae Rădescu and his cabinet, one in a series of moves to discredit the non-communist Rădescu and make him leave power. With Ion Pas, Gala Galaction, Horia Deleanu, Octav Livezeanu and N. D. Cocea, Sadoveanu edited the association's weekly literary magazine Veac Nou after June 1946. Sadoveanu's literary and political change became known to the general public in March 1945, when he lectured about Soviet leader Joseph Stalin at a conference hall in Bucharest. Part of a conference cycle, his speech was famously titled Lumina vine de la Răsărit, which soon became synonymous with the attempts to improve the image of Stalinism in Romania. ARLUS would issue the text of his conference as a printed volume later in the year. Also in 1945, Sadoveanu journeyed to the Soviet Union together with some of his fellow ARLUS members—among them biologists Parhon and Săvulescu, sociologist Dimitrie Gusti, linguist Iorgu Iordan, and mathematician Simion Stoilow. Invited by the Soviet Academy of Sciences to attend the 220th anniversary of its foundation, they also visited research institutes, kolhozy, and day care centers, notably meeting with Nikolay Tsitsin, an agronomist favored by Stalin. After his return, he wrote other controversial texts and gave lectures which offered ample praise to the Soviet system. That year, the ARLUS enterprise Editura Cartea Rusă also published his translation of Ivan Turgenev's A Sportsman's Sketches. During the rigged election of that year, Sadoveanu was a candidate for the Communist party-organized Bloc of Democratic Parties (BPD) in Bucharest, winning a seat in the newly unified Parliament of Romania. In its first-ever session (December 1946), the legislative body elected him its President. He was at the time residing in Ciorogârla, having been awarded a villa previously owned by Pamfil Șeicaru, a journalist whose support for fascist regimes had made him undesirable, and who had moved out of Romania. The decision was viewed as evidence of political corruption by the opposition National Peasants' Party, whose press deemed Sadoveanu the "Count of Ciorogârla". In 1948, after Romania's King Michael I was overthrown by the BPD-member parties and the communist regime officially established, Sadoveanu rose to the highest positions ever granted to a Romanian writer, and received significant material benefits. In 1947–1948, he was, alongside Parhon, Ștefan Voitec, Gheorghe Stere, and Ion Niculi, a member of the Presidium of the People's Republic, which was elected by the BPD-dominated legislative. He also kept his seat at the Academy, which at the time was undergoing a communist-led purge, and, with several other pro-Soviet intellectuals, was voted in the Academy Presidium. Final years, illness and death After the Writers' Society was restructured as the Romanian Writers' Union in 1949, Sadoveanu became its Honorary President. In 1950, he was named President of the Writers' Union, replacing Zaharia Stancu. According to writer Valeriu Râpeanu, this last appointment was a sign of Stancu's marginalization after he had been excluded from the Romanian Communist Party, while the Writers' Union was actually controlled by its First Secretary, the communist poet Mihai Beniuc. Sadoveanu and Beniuc were reelected at the Union's first Congress (1956). In the meanwhile, Sadoveanu published several Socialist realist volumes, among which was Mitrea Cocor, a controversial praise of collectivization policies. First published in 1949, it earned Sadoveanu the first-ever State Prize for Prose. Throughout the period, Sadoveanu was involved in major communist-endorsed cultural campaigns. Thus, in June 1952, he presided over the Academy's Scientific Council, charged with modifying the Romanian alphabet, at the end of which the letter â was discarded, and replaced everywhere with î (a spelling Sadoveanu is alleged to have already shown preference for in his early works). In March 1953, soon after Stalin's death, he led discussions within the Writers' Union, confronting his fellow writers with the new Soviet cultural directives as listed by Georgy Malenkov, and reacting against young authors who had not discarded the since-condemned doctrines of proletkult. The author was also becoming involved in the Eastern Bloc's peace movement, and led the National Committee for the Defense of Peace at a time when the Soviet Union was seeking to portray its Cold War enemies as warmongers and the sole agents of nuclear proliferation. He also represented Romania to the World Peace Council, and received its International Peace Prize for 1951. As a parliamentarian, Sadoveanu stood on the committee charged with elaborating the new republican constitution, which, in its final form, reflected both Soviet influence and the assimilation of Stalinism into Romanian political discourse. In November 1955, shortly after turning 75, he was granted the title of "Hero of Socialist Labor". After 1956, when the regime announced that it had embarked on a limited version of De-Stalinization, it continued to recommend Mihail Sadoveanu as one of its prime cultural models. Having donated Casa cu turn to the state in 1950, he moved back to Bucharest, where he owned a house near the Zambaccian Museum. From January 7 to January 11, 1958, Sadoveanu, Ion Gheorghe Maurer and Anton Moisescu were acting Chairmen of the Presidium of the Great National Assembly, which again propelled him to a position as titular head of state. His literary stature but also his political allegiance earned him the Soviet Lenin Peace Prize, which he received shortly before his death. After a long illness marked by a stroke which impaired his speech and left him almost completely blind, Sadoveanu was cared for by a staff of physicians supervised by Nicolae Gh. Lupu and reporting to the Great National Assembly. The Sadoveanus withdrew to Neamț region, where they lived in a villa assigned to them by the state and located near the Voividenia hermitage and the locality of Vânători-Neamț, being visited regularly by literary and political friends, among them Alexandru Rosetti. Mihail Sadoveanu died there at 9 AM on October 19, 1961, and was buried at Bellu cemetery, in Bucharest. His successor as President of the Writers' Union was Beniuc, elected during the Congress of January 1962. Following her husband's death, Valeria Sadoveanu settled in proximity to the Văratec Monastery, where she set up an informal literary circle and Orthodox prayer group, notably attended by literary historian Zoe Dumitrescu-Bușulenga and by poet Ștefana Velisar, and dedicated herself to protecting the community of nuns. She survived Mihail Sadoveanu by over 30 years. Literary contributions Context Often seen as the leading author of his generation, and generally viewed as one of the most representative Romanian writers, Mihail Sadoveanu was also believed to be a first-class story-teller, and received praise especially for his nature writing and his depictions of rural landscapes. An exceptionally prolific author by Romanian standards, he published over a hundred individual volumes (120 according to the American magazine Time). His contemporaries tended to place Sadoveanu alongside Liviu Rebreanu and Cezar Petrescu—for all the differences in style between the three figures, the interwar public saw them as the "great novelists" of the day. Critic Ovid Crohmălniceanu describes their activity, altogether focused on depicting the rural world but diverging in bias, as one sign that the Romanian interwar itself was exceptionally effervescent, while Romanian-born American historian of literature Marcel Cornis-Pope sees Sadoveanu and Rebreanu as their country's "two most important novelists of the first half of the twentieth century". In 1944, Tudor Vianu spoke of Sadoveanu as "the most significant writer Romanians [presently] have, the first among his equals." While underlining his originality in the context of Romanian literature and among the writers standing for "the national tendency" (as opposed to the more cosmopolitan modernists), George Călinescu also noted that, through several of his stories and novels, Sadoveanu echoed the style of his predecessors and contemporaries Ion Luca Caragiale, Ioan Alexandru Brătescu-Voinești, Emil Gârleanu, Demostene Botez, Otilia Cazimir, Calistrat Hogaș, I. A. Bassarabescu and Ionel Teodoreanu. Also included among the "national tendency" writers, Gârleanu was for long seen as Sadoveanu's counterpart, and even, Călinescu writes, "undeservedly upstaged" him. Cornis-Pope also writes that Sadoveanu's epic is a continuation of "the national narrative" explored earlier by Nicolae Filimon, Ioan Slavici and Duiliu Zamfirescu, while literary historians Vianu and Z. Ornea note that Sadoveanu also took inspiration from the themes and genres explored by Junimist author Nicolae Gane. In his youth, Sadoveanu also admired and collected the works of N. D. Popescu-Popnedea, a prolific and successful author of almanacs, historical novels and adventure novels. Later, his approach to Realism was also inspired by his reading of Gustave Flaubert and especially Nikolai Gogol. Both Sadoveanu and Gane were also indirectly influenced by Wilhelm von Kotzebue, the 19th century Imperial Russian diplomat and author of the Romanian-themed story Laskar Vioresku. In Vianu's assessment, Sadoveanu's work signified an artistic revolution within the local Realist school, comparable to the adoption of perspective by the visual artists of the Renaissance. Mihail Sadoveanu's interest in the rural world and his views on tradition were subjects of debate among the modernists. The modernist doyen Eugen Lovinescu, who envisaged an urban literature in tune with European tendencies, was one of Sadoveanu's most notorious critics. However, Sadoveanu was well received by Lovinescu's adversaries within the modernist camp: Perpessicius and Contimporanul editor Ion Vinea, the latter of whom, in search for literary authenticity, believed in bridging the gap between the avant-garde and folk culture. This opinion was shared by Swedish literary historian Tom Sandqvist, who sees Sadoveanu's main point of contact with modernism was his interest in the pagan elements and occasional absurdist streaks of local folklore. In the larger dispute about national specificity, and partly in response to Vinea's claim, modernist poet and essayist Benjamin Fondane argued that, as a sign Romanian culture was tributary to those it had come into contact with, "Sadoveanu's soul can be easily reduced to the Slavic soul". Characteristics Sadoveanu's personality and experience played a major part in shaping his literary style. After his 1901 marriage, Mihail Sadoveanu adopted what Călinescu deemed "patriarchal" lifestyle. The literary historian noted that he took a personal interest in educating his many children, and that this also implied "making use of a whip". An Epicurean, the writer was a homemaker, an avid hunter and fisherman, and a chess aficionado. Recognized, like his epigramist colleague Păstorel Teodoreanu, as a man of refined culinary tastes, Sadoveanu cherished Romanian cuisine and Romanian wine. The lifestyle choices were akin to his literary interests: alongside the secluded and rudimentary existence of his main characters (connected by Călinescu with the writer's supposed longing for "regressions to the patriarchal times"), Sadoveanu's work is noted for its imagery of primitive abundance, and in particular for its lavish depictions of ritualistic feasts, hunting parties and fishing trips. Călinescu opined that the value of such descriptions within individual narratives grew with time, and that the author, once he had discarded lyricism, used them as "a means for the senses to enjoy the fleshes and the forms that nature offers man." He added that Sadoveanu's aesthetics could be said to recall the art of the Golden Age in Holland: "One could almost say that Sadoveanu rebuilds in present day Moldavia [...] the Holland of wine jugs and kitchen tables covered in venison and fish." Vianu also argued that Sadoveanu never abandoned himself to purely aesthetic descriptions, and that, although often depicted with Impressionistic means, nature is assigned a specific if discreet role within the plot lines, or serves to render a structure. The traditionalist Garabet Ibrăileanu, referring to Sadoveanu's poetic nature writing, even declared it to have "surpassed nature." At the other end, the modernist Eugen Lovinescu specifically objected to Sadoveanu's depiction of a primordial landscape, arguing that, despite adopting Realism, his rival was indebted to Romanticism and subjectivity. Lovinescu's attitude, critic Ion Simuț notes, was partly justified by the fact that Sadoveanu never truly parted with the traditionalism of Sămănătorul. In 1962, Time also commented that his style was "curiously dated" and recalled not Sadoveanu's generation, but that of Leo Tolstoy and Ivan Turgenev, "although he has nothing like the power or skill of any of them." For Călinescu and Vianu too, Sadoveanu is a creator with seemingly Romantic tastes, which recall those of François-René de Chateaubriand. Unlike Lovinescu, Vianu saw these traits as "not at all detrimental to the balance of [Sadoveanu's] art." Seen by literary critic Ioan Stanomir as marked by "volubility", and thus contrasting with his famously taciturn and seemingly embittered nature, the form of Romanian used by Mihail Sadoveanu, particularly in his historical novels, was noted for both its use of archaisms and the inventive approach to the Romanian lexis. Often borrowing plot lines and means of expression from medieval and early modern Moldavian chroniclers such as Ion Neculce and Miron Costin, the author creatively intercalates several local dialects and registers of speech, moving away from a mere imitation of the historical language. Generally third-person narratives, his books often make little or no dialectal difference between the speech used by the story-teller and the character's voices. According to Călinescu, Sadoveanu displays "an enormous capacity of authentic speech", similar to that of Caragiale and Ion Creangă. The writer himself recorded his fascination with the "eloquence" of rudimentary orality, and in particular with the speech of Rudari Roma he encountered during his travels. Building on observations made by several critics, who generally praised the poetic qualities of Sadoveanu's prose, Crohmălniceanu spoke in detail about the Moldavian novelist's role in reshaping the literary language. This particular contribution was first described early in the 20th century, when Sadoveanu was acclaimed by Titu Maiorescu for having adapted his writing style to the social environment and the circumstances of his narratives. Vianu however notes that Sadoveanu's late writings tend to leave more room for neologisms, mostly present in those parts where the narrator's voice takes distance from the plot. Another unifying element in Sadoveanu's creation is his recourse to literary types. As early as 1904, Maiorescu praised the young raconteur for accurately depicting characters in everyday life and settings. Tudor Vianu stressed that, unlike most of his Realist predecessors, Sadoveanu introduced an overtly sympathetic view of the peasant character, as "a higher type of human, a heroic human". He added: "Simple, in the sense that they are moved by a few devices [which] coincide with the fundamental instincts of mankind, [they] are, in general, mysterious." In this line, Sadoveanu also creates images of folk sages, whose views on life are of a Humanist nature, and often depicted in contrast with the rationalist tenets of Western culture. Commenting on this aspect, Sadoveanu's friend George Topîrceanu believed that Sadoveanu's work transcended the "more intellectual [and] more artificial" notion of "types", and that "he creates [...] humans." The main topic of his subsequent work, Sandqvist argues, was "an archaic world where the farmers and the landlords were free men with equal rights" (or, according to Simuț, "a utopia of archaic heroism"). Thus, Călinescu stresses, Sadoveanu's work seems to be the monolithic creation through which "a single man" reflects "a single, universal nature, inhabited by a single type of man", and which echoes a similar vision of archaic completeness as found in the literature of poet Mihai Eminescu. The similarity in vision with Eminescu's "nostalgia, return, protest, demand, aspiration toward a [rural] world [he has] left" was also proposed by Vianu, while Topîrceanu spoke of "the paradoxical discovery that [Sadoveanu] is our greatest poet since Eminescu." Mihail Sadoveanu also shaped his traditionalist views on literature by investigating Romanian folklore, which he recommended as a source of inspiration to his fellow writers during his 1923 speech at the Romanian Academy. In Călinescu's view, Sadoveanu's outlook on life was even mirrored in his physical aspect, his "large body, voluminous head, his measured shepherd-like gestures, his affluent but prudent and monologic speech [and] feral indifference; his eyes [...] of an unknown race." His assessment of the writer as an archaic figure, bluntly stated in a 1930 article ("I believe him to be very uncultured"), was contrasted by other literary historians: Alexandru Paleologu described Sadoveanu as a prominent intellectual figure, while his own private notes show that he was well-read and acquainted with the literatures of many countries. Often seen as a spontaneous writer, Sadoveanu nevertheless took pains to elaborate his plots and research historical context, keeping most records of his investigations confined to his diaries. Debut The writer's debut novel, Povestiri, was celebrated for its accomplished style, featuring early drafts of all themes he developed upon later in life. However, Călinescu argued, some of the stories in the volume were still "awkward", and showed that Sadoveanu had problems in outlining epics. The pieces mainly feature episodes in the lives of boyars (members of Moldavia's medieval aristocracy), showing the ways in which they relate to each other, to their servants, and to their country. In one of the stories, titled Cântecul de dragoste ("The Love Song"), Sadoveanu touches on the issue of slavery, depicting the death of a Rom slave who is killed by his jealous master, while in Răzbunarea lui Nour ("Nour's Revenge"), a boyar refuses to make his peace with God until his son's death is avenged. Other fragments deal solely with the isolated existence of villagers: for example, in Într-un sat odată ("Once, in a Village"), a mysterious man dies in a Moldavian hamlet, and the locals, unable to discover his identity, sell his horse. The prose piece Năluca ("The Apparition") centers on the conjugal conflict between two old people, both of whom attempt to hide the shame of their past. George Călinescu notes that, particularly in Năluca, Sadoveanu begins to explore the staple technique of his literary contributions, which involves "suggesting the smolder of passions [through] a contemplative breath in which he evokes a static element: landscapes or set pieces from nature." Sadoveanu's subsequent collection of short stories, Dureri înăbușite, builds on the latter technique and takes his work into the realm of social realism and naturalism (believed by Călinescu to have been borrowed from either the French writer Émile Zola or from the Romanian Alexandru Vlahuță). For Călinescu, this choice of style brought "damaging effects" on Sadoveanu's writings, and made Dureri înăbușite "perhaps the poorest" of his collections of stories. In Lovinescu's view, Sadoveanu's move toward naturalism did not imply the necessary recourse to objectivity. The pieces focus on dramatic moments of individual existences. In Lupul ("The Wolf"), an animal is chased and trapped by a group of peasants; the eponymous character in Ion Ursu leaves his village to become a proletarian, and succumbs to alcoholism; the indentured laborer in Sluga ("The Servant") is unable to take revenge on his cruel employer at the right moment; in Doi feciori ("Two Sons"), a boyar comes to feel affection for his illegitimate son, whom he has nonetheless reduced to a lowly condition. In 1905, Sadoveanu also published Povestiri din război ("Stories from the War"), which compose scenes from the lives of Romanian soldiers fighting in the War of 1878. Objecting to a series of exaggerations in the book, Time nevertheless noted that Sadoveanu "sometimes had the writing skill to make compelling even quite traditional reactions to old-fashioned war". It concluded: "Sadoveanu's sketches have the virtues—and the vices—of old hunting prints and the romantically mannered battle scenes of the 19th century." Early selections of major themes Sadoveanu renounces this grim perspective on life in his volume Crâșma lui Moș Petcu, where he returns to a depiction of rural life as unchanged by outside factors. Petcu's establishment, located on the Moldova Valley, is a serene place, visited by quiet and subdued customers, whose occasional outburst of violence are, according to Călinescu, "dominated by slow, stereotypical mechanics, as is with people who can only accommodate within them a single drama." The literary critic celebrated Crâșma lui Moș Petcu for its depictions of nature, whose purpose is to evoke "the indifferent eternity" of conflicts between the protagonists, and who, at times, relies "on a vast richness of sounds and words." He did however reproach the writer "a certain monotony", arguing that Sadoveanu came to use such techniques in virtually all his later works. However, Sadoveanu's stories of the period often returned to a naturalistic perspective, particularly in a series of sketch stories and novellas which portray the modest lives of Romanian Railways employees, of young men drafted into the Romanian Land Forces, of Bovaryist women who playfully seduce adolescents, or of the provincial petite bourgeoisie. At times, they confront the morals of barely literate people with the stern authorities: a peasant obstinately believes that the 1859 union between Wallachia and Moldavia was meant to ensure the supremacy of his class; a young lower-class woman becomes the love interest of a boyar but chooses a life of freedom; and a Rom deserts from the Army after being told to bathe. In La noi, la Viișoara ("At Our Place in Viișoara"), the life of an old man degenerates into bigotry and avarice, to the point where he makes his wife starve to death. Sadoveanu's positive portrayal of hajduks as fundamentally honest outlaws standing up to feudal injustice, replicates stereotypes found in Romanian folklore, and is mostly present in some of the stories through (sometimes recurrent) heroic characters: Vasile the Great, Cozma Răcoare, Liță Florea etc. In the piece titled Bordeenii (roughly, "The Mud-hut Dwellers"), he shows eccentrics and misanthropes presided upon by the dark figure of Sandu Faliboga, brigands who flee all public authority and whom commentators have likened to settlers of the Americas. Lepădatu, an unwanted child, speaks for the entire group: "What could I do [...] wherever there are big fairs and lots of people? I'd have a better time with the cattle; it is with them that I have grown up and with them that I get along." Romanticizing the obscure events of early medieval history in Vremuri de bejenie ("Roving Times", 1907), Sadoveanu sketches the improvised self-defense of a refugee community, their last stand against nomadic Tatars. In reference to the stories in this series, Călinescu stresses that Sadoveanu's main interest is in depicting men and women cut away from civilization, who view the elements of Westernization with nothing more than "wonderment": "Sadoveanu's literature is the highest expression of the savage instinct." In later works, the critic believed, Sadoveanu moved away from depicting isolation as the escape of primitives into their manageable world, but as "the refinement of souls whom civilization has upset." These views are echoed by Ovid Crohmălniceanu, who believes that, unlike other Romanian Realists, Sadoveanu was able to show a peasant society that was not merely the prey of modern corruption or historical oppression, but rather refusing all contacts with the wider world—even to the point of Luddite-like hostility in front of new objects. Some of the early stories, Crohmălniceanu argues, do follow the moralizing Sămănătorist pattern, but part with it when they refuse to present the countryside in "idyllic" fashion, or when they adopt a specific "mythical realism". Sadoveanu began his career as a novelist with more in-depth explorations into subjects present in his stories and novellas. At the time, Crohmălniceanu stresses, he was being influenced by the naturalism of Caragiale (minus the comedic effect), and by his own experience growing up in characteristically underdeveloped Moldavian cities and târguri (somewhat similar to the aesthetic of boredom, adopted in poetry by George Bacovia, Demostene Botez or Benjamin Fondane). Among his first works of the kind is Floare ofilită ("Wizened Flower"), where a simple girl, Tincuța, marries a provincial civil servant, and finds herself deeply unhappy and unable to enrich her life on any level. Tincuța, seen by Călinescu as one of Sadoveanu's "savage" characters, only maintains urban refinement when persuading her husband to return for supper, but, according to Crohmălniceanu, is also a credible witness to the "small-mindedness" of "bourgeois" environments. A rather similar plot is built for Însemnările lui Neculai Manea ("The Recordings of Neculai Manea"), where the eponymous character, an educated peasant, experiences two unhappy romantic affairs before successfully courting a married woman who, although grossly uncultured, makes him happy. Apa morților ("The Dead Men's Water") is about a Bovaryist woman who discards lovers over imprecise feelings of dissatisfaction, finding refuge in the monotonous countryside. Călinescu noted that such novels were "usually less valuable than direct accounts", and deemed Însemnările lui Neculai Manea "without literary interest"; in Ovid Crohmălniceanu's view, the same story presents relevant detail on professional and intellectual failure. Praised by its commentators, the short novel Haia Sanis (1908) shows the eponymous character, a Jewish woman who throws herself into the arms of a local Gentile, although she knows him to be a seducer. Călinescu, who wrote with admiration about how the subject dissimulated pathos into "technical indifference", notes that the erotic rage motivating Haia has drawn "well justified" comparisons with Jean Racine's tragedy Phèdre. Crohmălniceanu believes Haia Sanis to be "perhaps [Sadoveanu's] best novella", particularly since the "wild beauty" Haia has to overcome at once antisemitism, endogamy and shame, before dying "in terrible pain" during a botched abortion. Sadoveanu's work of the time also includes Balta liniștii ("Tranquillity Pond"), where Alexandrina, pushed into an arranged marriage, has a belated and sad revelation of true love. In other sketch stories, such as O zi ca altele ("A Day like Any Other") or Câinele ("The Dog"), Sadoveanu follows Caragiale's close study of suburban banality. Hanu Ancuței, Șoimii and Neamul Șoimăreștilor The novella Hanu Ancuței ("Ancuța's Inn"), described by George Călinescu as a "masterpiece of the jovial idyllicism and barbarian subtlety", and by Z. Ornea as the first evidence of Sadoveanu's "new age", is a frame story in the line of medieval allegories such as Giovanni Boccaccio's Decameron and Geoffrey Chaucer's Canterbury Tales. It retells the stories of travelers meeting in the eponymous inn. Much of the story deals with statements of culinary tastes and shared recipes, as well as with the overall contrast between civilization and rudimentary ways: in one episode of the book, a merchant arriving from the Leipzig Trade Fair bemuses the other protagonists when he explains the more frugal ways and the technical innovations of Western Europe. Sadoveanu applied the same narrative technique in his Soarele în baltă ("The Sun in the Waterhole"), which, Călinescu argues, displays "a trickier style." In Șoimii, Sadoveanu's first historical novel, the main character is Nicoară Potcoavă, a late 16th-century Moldavian nobleman who became Hetman of the Zaporozhian Cossacks and Prince of Moldavia. The narrative, whose basic lines had been drawn by Sadoveanu in his adolescent years, focuses on early events in Nicoară's life, building on the story according to which he and his brother Alexandru were the brothers of Prince Ioan Vodă cel Cumplit, whose execution by the Ottomans they tried to avenge. The text also follows their attempt to seize and kill Ieremia Golia, a boyar whose alleged betrayal had led to Prince Ioan's capture, and whose daughter Ilinca becomes the brothers' prisoner. This story as well features several episodes where the focus is on depicting customary feasts, as well as a fragment where the Potcoavăs and their Zaporozhian Cossack allies engage in binge drinking. Glossing over several years in Nicoară's life, and culminating in his seizure of the throne, the narrative shows his victory against pretender Petru Șchiopul and Golia, and the price he has to pay for his rise. Alexandru, who falls in love with Ilinca, unsuccessfully asks for the captured Golia not to be killed. Following the murder, both brothers become embittered and renounce power. Călinescu described Șoimii novel as "still awkward", noting that Sadoveanu was only beginning to experiment with the genre. The 1915 Neamul Șoimăreștilor is a Bildungsroman centered on the coming of age of one Tudor Șoimaru. The protagonist, born a free peasant in Orhei area, fights alongside Ștefan Tomșa in the 1612 battles to capture the Moldavian throne. After participating in the capture of Iași, he returns home and helps local boyar Stroie in recovering his daughter, Magda, who had been kidnapped by Cossacks. Șoimaru, who feels for Magda, is however enraged by news that her father has forced his community into serfdom. Trying to deal with his internal conflict, he travels into Poland–Lithuania, where he discovers that Stroie is plotting against Tomșa, while Magda, who is in love with a szlachta nobleman, scorns his affection. He returns a second time to Orhei, marries into his social group, and plots revenge on Stroie by again rallying with Ștefan Tomșa. Following Tomșa's defeat, he again loses the lands of his ancestors, as Stroie returns home to celebrate his victory and have the Șoimarus put to death. Unexpectedly warned of this by Magda, Tudor manages to turn the tide: he and his family destroy Stroie's manor, killing the master but allowing Magda to escape unharmed. In Călinescu's view, the novel is "somewhat more consistent from an epic perspective", but fails to respect the conventions of the adventure novel it sets out to replicate. The critic, who deemed Magda's courtship by Tudor "sentimental", argued that the book lacks "the richness and unpredictable nature of the love intrigue"; he also objected to the depiction of Tudor as indecisive and inadequate for a heroic role. However, Ovid Crohmălniceanu argued that the suddenness of Tudor's sentimental commitments was characteristic for the "peasant soul" as observed by Sadoveanu. Zodia Cancerului and Nunta Domniței Ruxandra Zodia Cancerului, Sadoveanu's later historical novel, is set late in the 17th century, during the third rule of Moldavian Prince Gheorghe Duca, and is seen by Călinescu as "of a superior artistic level." The plot centers on a conflict between Duca and the Ruset boyars: the young Alecu Ruset, son of the deposed Prince Antonie, is spared persecution on account of his good relations with the Ottomans, but has to live under close watch. Himself a tormented, if cultured and refined, man, Alecu falls in love with Duca's daughter Catrina, whom he attempts to kidnap. The episode, set to coincide with the start of a major social crisis, ends with Alecu's defeat and killing on Duca's orders. In the background, the story depicts the visit of an Abbé de Marenne, a Roman Catholic priest and French envoy, who meets and befriends Ruset. Their encounter is another opportunity for Sadoveanu to show the amiable but incomplete exchange between the mentalities of Western and Eastern Europe. In various episodes of the novel, de Marenne shows himself perplexed by the omnipresent wilderness of underpopulated Moldavia, and in particular by the abundance of resources this provides. In one paragraph, seen by George Călinescu as a key to the book, Sadoveanu writes: "[De Marenne's] curious eye was permanently satisfied. Here was a desolation of solitudes, one that his friends in France could not even guess existed, no matter how much imagination they had been gifted with; for at the antipode of civilization one occasionally finds such things that have remained unchanged from the onset of creation, preserving their mysterious beauty." In a shorter novel of the period, Sadoveanu explored the late years of Vasile Lupu's rule over Moldavia, centering on the marriage of Cossack leader Tymofiy Khmelnytsky and Lupu's daughter, Ruxandra. Titled Nunta Domniței Ruxandra ("Princess Ruxandra's Wedding"), it shows the Cossacks' brutal celebration of the event around the court in Iași, depicting Tymofiy himself as an uncouth, violent and withdrawn figure. The narrative then focuses on the Battle of Finta and the siege of Suceava, through which a Wallachian-Transylvanian force repelled the Moldo-Cossack forces and, turning the tide, entered deep into Moldavia and placed Gheorghe Ștefan on the throne. Sadoveanu also invents a love story between Ruxandra and the boyar Bogdan, whose rivalry with Tymofiy ends in the latter's killing. While Călinescu criticized the plot as being over-detailed, and the character studies as incomplete, Crohmălniceanu found the intricate depiction of boyar customs to be a relevant part of Sadoveanu's "vast historical fresco." In both Zodia Cancerului and Nunta Domniței Ruxandra, the author took significant liberties with the historical facts. In addition to Tymofiy's death at the hands of Bogdan, the latter narrative used invented or incorrect names for some of the personages, and portrays the muscular, mustachioed, Gheorghe Ștefan as thin and bearded; likewise, in Zodia Cancerului, Sadoveanu invents the character Guido Celesti, who stands in for the actual Franciscan leader of Duca's Iași, Bariona da Monte Rotondo. Frații Jderi, Venea o moară pe Siret... and Baltagul With Frații Jderi, Sadoveanu's fresco of Moldavian history maintains its setting, but moves back in time to the 15th century rule of Prince Stephen the Great. Writing in 1941, before its final part was in print, Călinescu argued that the novel was part of Sadoveanu's "most valuable work", and noted "the maturity of its verbal means." In the first volume, titled Ucenicia lui Ionuț ("Ionuț's Apprenticeship"), the eponymous Jderi brothers, allies of Stephen and friends of his son Alexandru, fight off the enemies of their lord on several occasions. In what is the start of a Bildungsroman, the youngest Jder, Ionuț Păr-Negru, consumed by love for Lady Nasta, who was kidnapped by Tatars. He goes to her rescue, only to find out that she had preferred suicide to a life of slavery. Călinescu, who believed the volumes show Sadoveanu's move to the consecrated elements of adventure novels, called them "remarkable", but stressed that the narrative could render "the feeling of stumbling, of a languishing flow", and that the dénouement was "rather depressing". The second book in the series (Izvorul alb, "The White Water Spring") intertwines the life of the Jderi brothers with that of Stephen's family: the ruler weds the Byzantine princess Mary of Mangop, while Simion Jder falls for Marușca, who is supposedly Stephen's illegitimate daughter. The major episodes in the narrative are Marușca's kidnapping by a boyar, her captivity in Jagiellon Poland, and her rescue at the hands of the Jderi. The 1942 conclusion of the cycle, Oamenii Măriei-sale ("His Lordship's Men"), the brothers are shown defending their ancestral rights and their lord against the Ottoman invader and ambivalent boyars, and crushing the former at the Battle of Vaslui. The Jderi books, again set to the background of primitivism and natural abundance, also feature episodes of intense horror. These, Călinescu proposes, are willingly depicted "with an indolent complacency", as if to underline that the slow pace and monumental scale of history give little importance to personal tragedies. The same commentator notes a difference between the role nature plays in the first and second volumes: from serene, the landscape becomes hostile, and people are shown fearing earthquakes and droughts, although contemplative depictions of euphoria play a central part in both writings. The meeting between the wider world and the immobile local tradition surfaces in Frații Jderi as well: a messenger is shown wondering how the letter he brought could talk to the addressee; when she is supposed to encounter strange men, Marușca requests to be allowed to "shy away" in another room; a secondary character, claiming precognition, prepares his own funeral. For the 1925 Venea o moară pe Siret..., Sadoveanu received much critical acclaim. The boyar Alexandru Filotti falls in love with a miller's daughter, Anuța, whom he educates and introduces to high society. The beautiful young lady is also courted by Filotti's son Costi and by the peasant Vasile Brebu—in the end, overwhelmed by jealousy, Brebu kills the object of his affection. George Călinescu writes that the good reception was not fully deserved, claiming that the novel is "colorless", that it was merely based on the writer's early stories, and that it failed in its goal of depicting "crumbling boyardom". In Baltagul (1930), Sadoveanu merged psychological techniques and a pretext borrowed from crime fiction with several of his major themes. Written in just 30 days on the basis of previous drafts, the condensed novel shows Vitoria Lipan, the widow of a murdered shepherd, following in her husband's tracks to discover his killer and avenge his death. Accompanied by her son, and using for a guide the shepherd's dog, Vitoria discovers both the body and the murderer, but, before she can take revenge, her dog jumps on the man and bites into his neck. By means of this plot line, Sadoveanu also builds a fresco of transhumance and traces its ancestral paths, taking as a source of inspiration one of the best-known poems in local folklore, the ballad Miorița. Vitoria's sheer determination is the central aspect of the volume. Călinescu, who ranks the book among Sadoveanu's best, praises its "remarkable artistry" and "unforgettable dialogues", but nonetheless writes that Lipan's "detective-like" search and a "stubbornness" are weak points in the narrative. Crohmălniceanu declares Baltagul one of the "capital works" in world literature, proposing that, on its own, it manages to reconstruct "an entire shepherding civilization"; Cornis-Pope, who rates the book as "Sadoveanu's masterpiece", also notes that it "restated the theme of crime and punishment". Main travel writings and memoirs Before the 1940s, Sadoveanu also became known as a travel writer. His contributions notably include accounts of his hunting trips: Țara de dincolo de negură ("The Land beyond the Fog"), and one dedicated to the region of Dobruja (Priveliști dobrogene, "Dobrujan Sights"). Călinescu wrote that they both comprised "pages of great beauty". Țara de dincolo..., primarily showing recluse men in real-life symbiosis with the wilderness, also attention for its sympathetic depiction of the Hutsuls, a minority Slavic-speaking population, as an ancient tribe threatened by cultural assimilation. Sadoveanu's other travelogues include the reportage Oameni și locuri ("People and Places") and an account of his trips into Bessarabia (Drumuri basarabene, "Bessarabian Roads"). He also collected and commented upon the memoirs of other avid hunters (Istorisiri de vânătoare, "Hunting Stories"). A noted writing in this series was Împărăția apelor ("The Realm of Waters"). It forms a detailed and contemplative memoir of his journeys as a fisherman, and, according to Crohmălniceanu, one of the most eloquent proofs of Sadoveanu's "permanent and intimate correspondence with nature." Călinescu saw the text as a "fantastic vision of the entire aquatic universe", merging a form of pessimism similar to Arthur Schopenhauer's with a "calm kief" (cannabis-induced torpor), and as such illustrating "the great joy of participating in the transformations of matter, of eating and allowing oneself to be eaten." Sadoveanu also contributed an account of his travels into the Netherlands, Olanda ("Holland"). It provides insight into his preoccupation with the meeting of civilization and wilderness: upset by what he called "the [Dutch] rampancy of cleanliness", the writer confesses his perplexity at coming face to face with a contained and structured natural world, and details his own temptation to go "against the current". One of Sadoveanu's main conclusions is that Holland lacks in "true and lively wonders". Sadoveanu also sporadically wrote memoirs of his early life career, such as Însemnări ieșene ("Recordings from Iași"), which deals with the period during which he worked for Viața Românească, a book about the Second Balkan War (44 de zile în Bulgaria, "44 Days in Bulgaria"), and the account of years in primary school, Domnu Trandafir. They were followed in 1944 by Anii de ucenicie ("The Apprenticeship Years"), where Sadoveanu details some of his earliest experiences. Despite his temptation for destroying all raw personal notes, Sadoveanu wrote and kept a large number of diaries, which were never published in his lifetime. Other early writings Also during that time, he retold and prefaced the journeys of Thomas Witlam Atkinson, an English architect and stonemason who spent years in Tartary (a book he titled Cuibul invaziilor, "The Nest of Invasions"). This was evidence of his growing interest in exotic subjects, which he later adapted to a series of novels, where the setting is "Scythia", seen as an ancestral area of culture connecting Central Asia with the European region of Dacia (partly coinciding with present-day Romania). The home of mysterious Asiatic peoples, Sadoveanu's Scythia is notably the background to his novels Uvar and Nopțile de Sânziene. The former shows its eponymous character, a Yakut, exposed to the scrutiny of a Russian officer. In the latter, titled after the ancestral celebration of Sânziene during the month of June, shows a French intellectual meeting a nomadic tribe of Moldavian Rom people, who, the reader learns, are actually the descendants of Pechenegs. Călinescu notes that, in such writings, "the intrigue is a pretext", again serving to depict the vast wilderness confronted with the keen eye of foreign observers. He sees Nopțile de Sânziene as "the novel of millenarian immobility", and its theme as one of mythological proportions. The narrative pretexts, including the Sânziene celebration and the Rom people's social atavism, connect Nopțile... with another one of Sadoveanu's writings, 24 iunie ("June 24"). According to Tudor Vianu, the 1933 fantasy novel Creanga de aur ("The Golden Bow") takes partial inspiration from Byzantine literature, and is evidence of a form of Humanism found in Eastern philosophy. Marcel Cornis-Pope places it among Sadoveanu's "mythic-poetic narratives that explored the ontology and symbolics of history." The writer himself acknowledged that the esoteric nature of the book was inspired by his own affiliation to the Freemasonry, whose symbolism it partly reflected. Its protagonist, Kesarion Brebu, is included by Vianu among the images of sages and soothsayers in Mihail Sadoveanu's fiction, and, as "the last Deceneus", is a treasurer of ancient secret sciences mastered by the Dacians and the Ancient Egyptians. The novel is often interpreted as Sadoveanu's perspective on the Dacian contribution to Romanian culture. Sadoveanu's series of minor novels and stories of the interwar years also comprises a set of usually urban-themed writings, which, Călinescu argues, resemble the works of Honoré de Balzac, but develop into "regressive" texts with "a lyrical intrigue". They include Duduia Margareta ("Miss Margareta"), where a conflict occurs between a young woman and her governess, and Locul unde nu s-a întâmplat nimic ("The Place Where Nothing Happened"), where, in what is a retake on his own Apa morților, Sadoveanu depicts the cultured but bored boyar Lai Cantacuzin and his growing affection for a modest young woman, Daria Mazu. In Cazul Eugeniței Costea ("The Case of Eugenița Costea"), a civil servant kills himself to avoid prosecution, and his end is replicated by that of his daughter, brought to despair by her stepfather's character and by her mother's irrational jealousy. Demonul tinereții ("The Demon of Youth"), believed by Călinescu to be "the most charming" in this series, has for its protagonist Natanail, a university dropout who has developed a morbid fear of women since losing the love of his life, and who lives in seclusion as a monk. In the rural-themed Paștele blajinilor ("Thomas Sunday") of 1935, a defeated brigand seeks a dignified end to his wasted life. Written in 1938, the short story Ochi de urs ("Bear's Eye") introduces its hero Culi Ursake, the toughened hunter, into a bizarre scenery that seems to mock a human's understanding. During the period, Mihail Sadoveanu also wrote children's literature. His most significant pieces in this field are Dumbrava minunată ("The Enchanted Grove", 1926), Măria-sa Puiul Pădurii ("His Highness the Forest Boy", 1931), and a collection of stories adapted from Persian literature (Divanul persian, "The Persian Divan", 1940). Măria-sa Puiul Pădurii is itself an adaptation of the Geneviève de Brabant story, considered "somewhat highbrow" by George Călinescu, while the frame story Divanul persian consciously recalls the work of 19th century Wallachian writer Anton Pann. In 1909, Sadoveanu also published adapted version of two ancient writings: the Alexander Romance (as Alexandria) and Aesop's Fables (as Esopia). His 1921 book Cocostârcul albastru ("The Blue Crane") is a series of short stories with lyrical themes. Among his early writings are two biographical novels which retell historical events from the source, Viața lui Ștefan cel Mare ("The Life of Stephen the Great") and Lacrimile ieromonahului Veniamin ("The Tears of Veniamin the Hieromonk"), both of which, Călinescu objected, lacked in originality. The former, published in 1934, was more noted among critics, for both intimate tone and hagiographic character (recounting Stephen's life on the model of saints' biographies). Socialist realism years Despite the post-1944 change in approach, Sadoveanu's characteristic narrative style remained largely unmodified. In contrast, his choice of themes changed, a transition which reflected political imperatives. At the end of the process, literary historian Ana Selejan argues, Sadoveanu became the most influential prose author among Romanian Socialist realists, equaled only by the younger Petru Dumitriu. Historian Bogdan Ivașcu writes that Sadoveanu's affiliation with "proletarian culture" and "its masquerade", like that of Tudor Arghezi and George Călinescu, although it may have been intended to rally "prestige and depth" to Socialist realism, only succeeded in bring their late works to the level of "propaganda and agitation materials." In contrast to these retrospective assessments, communist literary critics and cultural promoters of the 1950s regularly described Sadoveanu as the model to follow, both before and after Georgy Malenkov's views on culture were adopted as the norm. In his Lumina vine de la Răsărit, the writer built on the opposition between light and darkness, identifying the former with Soviet policies and the latter with capitalism. Sadoveanu thus spoke of "the dragon of my own doubts" being vanquished by "the Sun of the East". Historian Adrian Cioroianu notes that this literary antithesis came to be widely used by various Romanian authors who rallied with Stalinism during the late 1940s, citing among these Cezar Petrescu and the former avant-garde writer Sașa Pană. He also notes that such imagery, accompanied by portrayals of Soviet joy and abundance, replicated an ancient "structure of myth", adapting it to a new ideology on the basis of "what could be imagined, not of what could be believed." Ioan Stanomir writes that Sadoveanu and his fellow ARLUS members use a discourse recalling the theme of a religious conversion, analogous to that of Paul the Apostle (see Road to Damascus), and critic Cornel Ungureanu stresses that Sadoveanu's texts of the period frequently quote the Bible. Following his return from the Soviet Union, Sadoveanu published travelogues and reportage piece, including the 1945 Moscova ("Moscow", co-authored with Traian Săvulescu and economist Mitiță Constantinescu) and the 1946 Caleidoscop ("Kaleidoscope"). In one of these accounts, he details his encounter with Lysenkoist agronomist Nikolay Tsistsin, and claims to have tasted bread made from a brand of wheat which yielded 4,000 kilograms of grain per hectare. In a later memoir, Sadoveanu depicted his existence and the destiny of his country as improved by the communist system, and gave accounts of his renewed journeys in the countryside, where he claimed to have witnessed a "spiritual splendor" supported by "the practice of the new times". He would follow up with hundreds of articles on various subjects, published by the communist press, including two 1953 pieces in which he lamented Stalin's death (one of them referred to the Soviet leader as "the great genius of progressive mankind"). Upon its publication, the political novel Mitrea Cocor, which depicts the hardships and eventual triumph of its eponymous peasant protagonist, was officially described as the first Socialist realist writing in local literature, and as a turning point in literary history. Often compared to Dan Deșliu's ideologized poem Lazăr de la Rusca, it is remembered as a controversial epic dictated by ideological requirements, and argued to have been written with assistance from several other authors. Seen by historiographer Lucian Boia as an "embarrassing literary fabrication", it was rated by literary critics Dan C. Mihăilescu and Luminița Marcu both as one of "the most harmful books in Romanian literature", and by historian Ioan Lăcustă as "a propaganda writing, a failure from a literary point of view". A praise of collectivization policies that some critics believe was a testimony that Sadoveanu was submitting himself and imposing his public to brainwashing, Mitrea Cocor was preceded by Păuna-Mică, a novel which also idealizes collective farming. With his final published work, the 1951-1952 novel Nicoară Potcoavă, Sadoveanu retells the narrative of his Șoimii, modifying the plot and adding new characters. Noted among the latter is Olimbiada, a female soothsayer and healer through whose words Sadoveanu again dispenses his own perspective on human existence. The focus of the narrative is also changed: from the avenger of his brother's death in Șoimii, the pretender becomes a purveyor of folk identity, aiming to reestablish the Moldavia of Stephen the Great's times. Praised early on by Dumitriu, who believed it was proof of "artistic excellence", Nicoară Potcoavă is itself seen as a source for communist-inspired political messages. According to Cornel Ungureanu, this explains why it highlights the brotherhood between Cossacks and Moldavians, supposedly replicating the official view on Soviet-Romanian relations. Cornis-Pope, who considers the novel one of Sadoveanu's "mere variations" on old subjects, suggests that it transforms its protagonist "from medieval fighter into political philosopher who announces the rise of a 'new world'." Victor Frunză also notes that, although Sadoveanu returned to old subjects, he "no longer rises to the level he had reached before the war." The final part of Sadoveanu's creation also comprises a series of pieces where the narrative approach was, according to Crohmălniceanu, "corrected" to show his favorite recluse type won over by the new society. In essence, Ungureanu argues, the new style that of "reportage and plain information, adapted to orders coming from above". Such works include the 1951 Nada Florilor ("The Flowers' Lure") and Clonț-de-fier ("Iron Bucktooth"), alongside an unfinished piece, Cântecul mioarei ("Song of the Ewe"). In Nada..., the peasant boy Culai follows his hero, tinsmith Alecuțu, into factory life. Clonț-de-fier, an ideologized retake on Demonul tinereții, is about a monk returning from seclusion into the world of workers, where the landscape is reshaped by large-scale construction works. According to Ungureanu, it also shows Sadoveanu's universe stripped of "all its deep meanings." While their author came to personify the new cultural guidelines, Sadoveanu's previous books, from Frații Jderi to Baltagul, were subject to communist censorship. Various statements contradicting the ideological guidelines were cut out of new editions: the books in general could no longer include mentions of Bessarabia (a region first incorporated into the Soviet Union by a 1940 occupation) or Romanian Orthodox beliefs. In one such instance, censors of Baltagul removed a character's claim that "the Russian" was by nature "the drunkest of them all, [...] a worthy beggar and singer at the fairs." Politics Nationalism and Humanism Sadoveanu's engagement in politics was marked by abrupt changes in convictions, seeing him move from right- to left-wing stances several times in his life. In close connection with his traditionalist views on literature, but in contrast to his career under a Conservative Party and National Liberal cabinets, Sadoveanu initially rallied with nationalist groups of various hues, associating with both Nicolae Iorga and, in 1906, with the left-wing Poporanists at Viața Românească. An early cause of his was his attempt to reconcile Iorga with the Poporanists, but his efforts were largely fruitless. In the 1910s, the anti-Iorga traditionalist Ilarie Chendi recognized in Sadoveanu one of the Poporanists who promoted "the spiritual healing of our people through culture." Around that time, he formulated a ruralist and nationalist perspective on life, rejecting what he deemed "the hybrid urban world" for "the world of our national realities". In Călinescu's analysis, this signifies that, like his predecessor, the conservative Eminescu, Sadoveanu believed the cities were victims of the "superimposed category" of foreigners, in particular those administrating leasehold estates. Following the 1907 Peasants' Revolt, Sadoveanu sent a report to his Minister of Education Spiru Haret, informing him on the state of rural education, and, beyond this, of the problems faced by villagers in Moldavia. It read: "The leaseholders and landowners, no matter what their nationality, make a mockery of the Romanians' labors. Every surtucar [that is, urbanized character] in the village, mayors, notaries, paper-pushers, shamelessly [and] mercilessly milk this milk cow. They are joined by the priest—who [...] is in disagreement with the teacher." With Neamul Șoimăreștilor, the burdens of feudal society and mercantilism, most of all the restriction of economic rights, were becoming a background theme in his fiction, which later depicted Stephen the Great as the original champion of social justice (Frații Jderi). During most of his World War I activity, Sadoveanu also followed the Poporanists' Russophobia and dislike of the Entente side, describing the Russian Empire's national policies in Bessarabia as far more barbaric than Austria-Hungary's rule over Transylvania. In 1916, he abruptly switched to the Entente camp: his enthusiasm as propaganda officer was touched by controversy once Romania experienced massive defeats; Sadoveanu himself abandoned the Entente cause by 1918, when he was decommissioned, and resumed his flirtation with Constantin Stere's Germanophile lobby. Călinescu sees Sadoveanu, alongside Stere, as one of Viața Româneascăs chief ideologues, noting that he was nonetheless "rendered notorious by his inconsistency and opportunism." He writes that Sadoveanu and Stere both showed a resentment for ethnic minorities, particularly members of the Jewish community, whom they saw as agents of exploitation, but that, as Humanists, they had a form of "humane sympathy" for Jews and foreigners taken individually. The Poporanist aspect of Sadoveanu's literature was also highlighted by Garabet Ibrăileanu in the late 1920s, when he referred to his contributions as evidence that Romanian culture was successfully returning to its specific originality. In essence, Crohmălniceanu writes, Sadoveanu was tied to Viața Românească by his advocacy of national specificity, his preference for the large-scale narrative, and his vision of pristine, "natural", human beings. According to Z. Ornea, Sadoveanu's affiliation to the Freemasonry shaped not only his political "demophilia", but also his "Weltanschauung, and, through a reflex, his [literary] work." By consequence, Ornea argues, Sadoveanu became a supporter of democracy, a stance which led him into open conflict with extreme nationalists. Alongside its Humanism, Sadoveanu's nationalism was noted for being secular, and thus in contrast with the Romanian Orthodox imagery favored by nationalists on the far right. Sadoveanu rejected the notion that ancestral Romanians were religious individuals, stating that their belief was in fact "limited to rituals and customs." He was also a vocal supporter of international cooperation, particularly among countries in Eastern and Central Europe. Writing for the magazine Familia in 1935, 17 years after Transylvania's union with Romania and 15 years after the Treaty of Trianon, Sadoveanu joined the Hungarian author Gyula Illyés in pleading for good relations between the two neighbors. As noted by Crohmălniceanu, although Sadoveanu's interwar novels may depict both clashes between polities and benign misunderstandings, they ultimately discourage ethnic stereotypes, suggesting that "the gifts and qualities of various kinships" are mutually compatible. According to Marcel Cornis-Pope, this cooperative vision is the background theme to Divanul persian, a book "demonstrating the value of intercultural dialogue at a time of sharp political polarization." The same text was described by Vianu as evidence of Sadoveanu's "understanding, gentleness and tolerance". In 1926, the year of his entry into Alexandru Averescu's People's Party, Sadoveanu motivated his choice in a letter to Octavian Goga, indicating his belief that the intelligentsia needed to partake in politics: "It would seem that what is foremost needed is the contribution of intellectuals, in an epoch when the overall intellectual level is decreasing." His sincerity was doubted by his contemporaries: both his friend Gheorghe Jurgea-Negrilești and the communist Petre Pandrea recount how, in 1926–1927, Sadoveanu and Păstorel Teodoreanu requested public funds from Interior Minister Goga, with Sadoveanu motivating that he wanted to set up a cultural magazine and later spending the money on his personal wardrobe. In contrast, Adrian Cioroianu notes that the People's Party episode, and especially the "mutual wariness" between Sadoveanu and the National Liberals, underlined the writer's sympathy for the "intellectual Left". Himself a Marxist, Ovid Crohmălniceanu suggested that, as early as the 1930s, Sadoveanu's attitudes were rather similar to the official line of communist groups. Opposition to fascism and support for King Carol During the 1930s, following his stint as head of Adevărul, a leftist newspaper owned by Jewish entrepreneurs, Sadoveanu was targeted by right-wing voices, who claimed that he had chosen to abandon his nationalist credentials. Thus, Sadoveanu became the target of a press campaign in the antisemitic and fascist press, and in particular in Nichifor Crainic's Sfarmă-Piatră and the journals connected with the Iron Guard. The former publication deplored his supposed "betrayal" of the nationalist cause. In it, Ovidiu Papadima portrayed Sadoveanu as the victim of Jewish manipulation, and equated his affiliation to the Freemasonry with devil worship, and mocked his obesity, while Crainic himself compared the writer to his own character, the treacherous Ieremia Golia. Porunca Vremii often referred to him as Jidoveanu (from jidov, a dismissive term for "Jew"), depicted him as an agent of "Judaeo-communism" motivated by "perversity", and called on the public to harass the writer and beat him with stones. It also protested when the public authorities in Fălticeni refused to withdraw Sadoveanu the title of honorary citizen, and again when the University of Iași made him a doctor honoris causa, and, through the voice of novelist N. Crevedia, even suggested that the writer should use his hunting rifle to commit suicide. In 1937, Porunca Vremii congratulated ultra-nationalists who had organized public burnings of Sadoveanu's works in Southern Dobruja and in Hunedoara, as well as non-identified people who sent the writer packages containing shredded copies of his own volumes. In April 1937, the anti-Sadoveanu campaign was met with the indignation of various public figures, who issued an "Appeal of the Intellectuals", signed by Liviu Rebreanu, Eugen Lovinescu, Petru Groza, Victor Eftimiu, George Topîrceanu, Zaharia Stancu, Demostene Botez, Alexandru Al. Philippide, Constantin Balmuș and others. Denouncing the campaign as a "moral assassination", it referred to Sadoveanu as the author of "the most Romanian [works] in our literature." Sadoveanu himself defended his fellow writer Tudor Arghezi, who stood accused by the far right press of having written "pornography". Reviewing the consequences of these scandals, Ovid Crohmălniceanu suggests that all of what Mihail Sadoveanu wrote from 1938 to 1943 is in some way connected to the cause of anti-fascism. According to Cornis-Pope, Sadoveanu's dislike for the far right can be discovered in Creanga de aur, which doubles as "a political parable opposing an archaic peasant civilization to the growing threat of fascism." However, George Călinescu claims, the writer himself had not actually revised his nationalist outlook, that he continued to believe that minorities and foreigners were a risky presence in Greater Romania, and that his Humanism was "a light tincture". In one of his columns, Sadoveanu replied to those organizing the acts of vandalism, indicating that, had they actually read the novels they were destroying, they would have found "a burning faith in this nation, for so long mistreated by cunning men". Elsewhere, stating that he was not going to take his detractors into consideration, Sadoveanu defined himself as an adversary of both Nazi Germany and any form of advocacy for a "National-Socialist regime in our country". Sadoveanu's subsequent endorsement of authoritarian King Carol II and his corporatist force, the National Renaissance Front, saw his participation in the monarch's personality cult. In 1940, he offered controversial praise to the ruler through the official journal, Revista Fundațiilor Regale, which caused Carol's political adversary, psychologist Nicolae Mărgineanu, to deem Sadoveanu and his fellow contributors "scoundrels". His renewed mandate in the Senate was a favor from Carol, also granted to George Enescu, philosopher Lucian Blaga, scientists Emil Racoviță and Iuliu Hațieganu, and several other public figures. During the Ion Antonescu dictatorship, Sadoveanu kept a low profile and was apolitical. However, Cioroianu writes, he supported the invasion of the Soviet Union and Romania's cooperation with the Axis Powers on the Eastern Front, seeing in this a chance to recover Bessarabia and the northern part of Bukovina (lost to the 1940 Soviet occupation). In spring 1944, months before the King Michael Coup toppled the regime, he was approached by the clandestine Romanian Communist Party and its sympathizers in academia to sign an open letter condemning Romania's alliance to Nazi Germany. According to the communist activist Belu Zilber, who took part in this action, Sadoveanu, like his fellow intellectuals Dimitrie Gusti, Simion Stoilow and Horia Hulubei, refused to sign the document. Also according to Zilber, Sadoveanu motivated his refusal by stating that the letter needed to be addressed not to Antonescu, but to King Michael I. However, and aside from its main topic, Păuna-Mică was noted as one of the few prose works of the 1940s to mention the wartime deportation of Romanian Jews by Antonescu's regime; Caleidoscop also speaks about the 1941 Iași pogrom as "our shame", and commends those who opposed it. Partnership with the communists Following his Lumina vine de la Răsărit lecture, Sadoveanu became noted for his positive portrayals of communization and collectivization. In particular, Sadoveanu offered praise to one of the major pillars of Stalinism, the 1936 Soviet Constitution. In 1945, claiming to have been "flashed upon" by "Stalin's argumentation", he urged the public to read the document for its "sincerity"; elsewhere, he equated reading the constitution with "a mystical revelation". Adrian Cioroianu describes this as "an office assignment" from the ARLUS, at a time when the group was circulating free translated copies of the Soviet constitution. The enthusiasm of his writings also manifested itself in his public behavior: according to his ARLUS colleague Iorgu Iordan, Sadoveanu was emotional during the 1945 Soviet trip, shedding tears of joy upon visiting a day care center in the countryside. Running in the 1946 election, Sadoveanu blamed the old political class in general for the problems faced by Romanian peasants, including the major drought of that year. By then, his political partners were making use of his literary fame, and his electoral pamphlet read: "There is no doubt that the thousands of people who have read his works will rush out on [election day] to vote for him." After 1948, when the Romanian communist regime was installed, Sadoveanu directed his praise toward the new authorities. In 1952, as Romania adopted its second republican constitution and the authorities intensified repression against anti-communists, Sadoveanu made some of his most controversial statements. Declaring the defunct kingdom to have been a "long interval of organized injustice and crooked development in all areas", he presented the new order as an era of social justice, human dignity, available culture and universal public education. Criticism of Sadoveanu's moral choices also focuses on the fact that, while he led a luxurious existence, many of his generation colleagues and fellow intellectuals were being persecuted or jailed in notoriously harsh circumstances. Having tolerated the purge within the Romanian Academy, Cioroianu notes, Sadoveanu accepted being colleagues with newly promoted "secondary characters [...] whom the new regime needed", such as poet Dumitru Theodor Neculuță and historian Mihail Roller. In his official capacity, Sadoveanu even signed several death sentences declared by communist tribunals, and, in the wake of the Tămădău Affair of summer 1947, presided over the Chamber sessions which outlawed the opposition National Peasants' Party: according to researcher Victor Frunză, he was a willing participant in this, having been upset by the exposure of his personal wealth in the National Peasantist press. Later, Sadoveanu made a reference to his former colleague, the National Peasantist activist Ion Mihalache, arguing that his old Agrarianist approach to politics had made him a "ridiculous character". Ioan Stanomir describes this fragment as one of "intellectual abjection", indicating that Mihalache, already a political prisoner of the regime, was to die in captivity. However, as leader of the Romanian Writers' Union, the aging writer is credited by some with having protected poet Nicolae Labiș, a disillusioned communist who had been excluded from the Union of Worker Youth in spring 1954, and whose work Sadoveanu treasured. He is also reported to have helped George Călinescu publish the novel Scrinul negru, mediating between him and communist leader Gheorghe Gheorghiu-Dej. Mihail Sadoveanu provided a definition of his own political transition in conversation with fellow writer Ion Biberi (1946). At the time, he claimed: "I have never engaged in politics, in the sense that one assigns to this word." He elaborated: "I am a left-wing person, following the line of a Poporanist zeal in the spirit of Viața Românească, but one adapted to the new circumstances." Cioroianu sees in such statements evidence that, trying to discard his past, Sadoveanu was including himself among the socialist intellectuals "willing to let themselves be won over by the indescribable charm and the full swing of the communist utopia", but that he may in reality have been "motivated by fear". Paraphrasing communist vocabulary, Stanomir describes the writer as one of the "bourgeois" personalities who became "fellow travelers" of the communists, and argues that Sadoveanu's claim to have always leaned towards a "people's democracy" inaugurated "a pattern of chameleonism". In the view of historian Vladimir Tismăneanu, Sadoveanu, like Parhon, George Călinescu, Traian Săvulescu and others, was one of the "non-communist intellectuals" attracted into cooperation with the Romanian Communist Party and the communist regime (Tismăneanu also argues that these figures' good relationship with Gheorghiu-Dej was a factor in the process, as was Gheorghiu-Dej's ability to make himself look "harmless"). Others have submitted that Sadoveanu's faction in the Freemasonry, which included far left advocates Mihai Ralea and Alexandru Claudian, and officially supported evolutionary socialism, was a natural partner of the communists, to the point of sanctioning its own state-organized suppression. According to Adrian Cioroianu, Sadoveanu was not necessarily an "apostle of communization", and his role in the process is subject to much debate. Describing the writer's "conversion to philosovietism" as "purely contextual", Cioroianu also points out that the very notion of "light arising in the East" is read by some as Sadoveanu's encoded message to other Freemasons, warning them of a Soviet threat to the organization. The historian notes that, for all their possible lack in sincerity, Sadoveanu's statements provided a template for other intellectuals to follow—this, he argues, was the case of Cezar Petrescu. Other statements made by Sadoveanu also displayed a possibly studied ambiguity, as is the case with a 1952 lecture he gave in front of young writers attending the Party-controlled School of Literature, where he implicitly denied that one could be created a writer unless by "God or Mother Nature". Legacy Influence Sadoveanu's prose, in particular his treatment of natural settings, was a direct influence in the works of writers such as Dimitrie D. Pătrășcanu, Nicolae N. Beldiceanu, Jean Bart, and Al. Lascarov-Moldovanu; his storytelling techniques were also sometimes borrowed by comedic novelist Damian Stănoiu, and, in later years, by historical novelist Dumitru Vacariu. According to Călinescu, Sadoveanu's early hunting stories published by Viața Românească, together with those of Junimist Nicolae Gane, helped establish the genre within the framework of Romanian literature, and paved the way for its predilect use in the works of Ioan Alexandru Brătescu-Voinești. Călinescu also notes that Scrisorile unui răzeș ("Letters of a Peasant"), an early work by novelist Cezar Petrescu, are deeply marked by Sadoveanu's influence, and that the same writer's use of the Moldavian dialect is a "pastiche" from Sadoveanu. Ion Vinea too, while expressing admiration for Sadoveanu, defined all his disciples and imitators as "mushroom-writers from Sadoveanu's woods" and "butlers who steal [their lord's lingerie] in order to wear his blazon". The issue was much later discussed by writer-critic Ioan Holban, who likewise described most historical novelists inspired by Sadoveanu as "insignificant" to Romanian letters. Under the early stages of the communist regime, before the rise of Nicolae Ceaușescu engendered a series of rehabilitations and accommodated nationalism, the Romanian curriculum was dependent on ideological guidelines. At the time, Sadoveanu was one of the writers from the interwar whose work was still made available to Romanian schoolchildren. In the 1953 Romanian language and literature manual, he represented his generation alongside the communist authors Alexandru Toma and Alexandru Sahia, and was introduced mainly through his Mitrea Cocor. At the time, studies of his work were published by prominent communist critics, among them Ovid Crohmălniceanu, Paul Georgescu, Traian Șelmaru, Mihai Novicov, Eugen Campus and Dumitru Isac, while a 1953 reissue of Baltagul was published in 30,000 copies (a number rarely met by the Romanian publishing industry in that context). In later years, Profira Sadoveanu became a noted promoter of her father's literature and public image, publishing children's versions of his biography, notably featuring illustrations by Mac Constantinescu (1955 edition). Although Sadoveanu continued to be hailed as a major writer during the Ceaușescu years, and the seventy years of his debut were marked with state ceremony, the reaction against Soviet influence affected presentations of his work: his official bibliography no longer included any mention of Păuna-Mică. Among the memoirs dealing with Sadoveanu's late years were those of Alexandru Rosetti, published in 1977. The official revival of nationalist discourse in the 1960s allowed controversial critic Edgar Papu to formulate his version of Protochronism, which postulated that phenomenons within Romanian culture preceded developments in world culture. In this context, Papu spoke of Sadoveanu as "one of the great precursory voices", comparing him to Rabindranath Tagore. After the 1989 Revolution toppled communism, Sadoveanu remained an influence on some young authors, who recovered the themes of his work in a Postmodern or parodic manner. Among them is Dan Lungu, who, according to critic Andrei Terian, alluded to the Hanu Ancuței frame story when constructing his 2004 novel Paradisul găinilor. In 2001, a poll carried among literati by Observator Cultural magazine listed six of his works as some of the best 150 Romanian novels. Mihail Sadoveanu's various works were widely circulated abroad. This phenomenon began as early as 1905, when German-language translations were first published, and continued during the 1930s, when Venea o moară pe Siret... was translated very soon after its original Romanian edition. In 1931, female author and feminist militant Sarina Cassvan included French-language versions of his texts into an anthology designed to promote modern Romanian culture internationally. Also then, some of Sadoveanu's texts were rendered in Chinese by Lu Xun. Tudor Vianu attributes the warm international reception Sadoveanu generally received to his abilities in rendering the Romanians' "own way of sensing and seeing nature and humanity", while literary historian Adrian Marino points out that, Sadoveanu and Liviu Rebreanu were exceptional in their generation for taking an active interest in how their texts were translated, edited and published abroad. Later, publicizing Sadoveanu's work to Eastern Bloc and world audiences became a priority for the communist regime. Thus, Mitrea Cocor was, together with similar works by Zaharia Stancu and Eusebiu Camilar, among the first wave of Romanian books to have been translated into Czech and published in Communist Czechoslovakia. Alongside similar works by Petru Dumitriu, Mitrea Cocor was also among the few English-language editions sanctioned by the Romanian regime, being translated and published, with a preface by Jack Lindsay, in 1953. Nine years later, the collected short stories were a tool for cultural exchange between Romania and the United States. Sadoveanu's good standing in the Soviet Union after World War II also made him one of the few Romanian writers whose works were still being published in the Moldavian SSR (which, as part of Bessarabia, had previously been a region of Greater Romania). Sadoveanu's diaries and notes were collected and edited during the early 2000s, being published in 2006 by Editura Junimea and the MLR. The main coordinators of this project were literary historian Constantin Ciopraga and Constantin Mitru, who was Sadoveanu's brother-in-law and personal secretary. The popularity of his writings remained high into the early 21st century: in 2004, when the country marked a hundred years since Sadoveanu's debut, Șoimii was published in its 15th edition. According to Simuț, the occasion itself was nevertheless marked with "the impression of general indifference", making Sadoveanu seem "a submerged continent, remembered by us only with piousness and confusion". Tributes Sadoveanu is an occasional presence in the literary works of his fellow generation members. His Țara de dincolo de negură was partly written as a tribute to George Topîrceanu's piece of the same name, with both authors sketching an affectionate portrait of one another. Topîrceanu also parodied his friend's style in a five-paragraph sketch, part of a series of such fragments, recorded their encounters in various other autobiographical writings, and dedicated him the first version of his poem Balada popii din Rudeni ("Ballad of the Priest from Rudeni"). Under the name Nicolae Pădureanu, Sadoveanu is a character in the novel and disguised autobiography În preajma revoluției ("On the Eve of the Revolution"), authored by his colleague Constantin Stere. Sadoveanu is honored in two writings by Nicolae Labiș, collectively titled Sadoveniene ("Sadovenians"). The first, titled Mihail Sadoveanu, is a prose poem which alludes to Sadoveanu's prose, and the other, a free verse piece, is titled Cozma Răcoare. In his scientific study of Sadoveanu's work, Eugen Lovinescu himself turns to pure literature, portraying Sadoveanu as a child blessed by the Moirai or ursitoare with ironic gifts, such as an obstinacy for nature writing in the absence of actual observation ("You shall write; you shall write and could never stop yourself writing [...]. The readers will grow tired, but you will remain tireless; you shall not known rest, just as you shall not know nature [...]"). George Călinescu was one to object to this portrayal, noting that it was merely a "literary device which hardly covers the emptiness of [Lovinescu's] idea." Also during the interwar, philosopher Mihai Ralea made Mihail Sadoveanu the subject of a sociological study investigating his literary contributions in the context of social evolutions. A portrait of Sadoveanu was drawn by graphic artist Ary Murnu, within a larger work which depicts the Kübler Coffeehouse society. Sadoveanu was also the subject of a 1929 painting by Ștefan Dumitrescu, part of a series on Viața Românească figures. In its original edition, Mitrea Cocor was supposed to feature a series of drawings made by Corneliu Baba, one of the best-known Romanian visual artists for his generation. Baba, who had been officially criticized for "formalism", was pressured by the authorities into accepting the commission or risk a precarious existence. The result of his work was rejected with a similar label, and the sketches were for long not made available to the public. Baba also painted Sadoveanu's portrait, which, in 1958, art critic Krikor Zambaccian as "the synthesis of Baba's art", depicting "a man of letters aware of his mission [and] the leading presence of an active consciousness". Constantin Mitru inherited the painting and passed it on to the Museum of Romanian Literature (MLR). A marble bust of Sadoveanu, the work of Ion Irimescu, was set up in Fălticeni in 1977. In Bucharest, a memorial plaque was placed on Pitar Moș Street, on a house where he lived for a period. During the 1990s, another bust of Sadoveanu, the work of several sculptors, was unveiled in Chișinău, Republic of Moldova (the former Moldavian SSR), part of the Aleea Clasicilor sculptural ensemble. Sadoveanu's writings also made an impact on film culture, and in particular on Romanian cinema of the communist period. However, the first film based on his works was a German production of 1929: based on Venea o moară... and titled Sturmflut der Liebe ("Storm Tide of Love"), it notably starred Marcella Albani, Alexandru Giugaru and Ion Brezeanu. The series of Romanian-made films began with the 1952 Mitrea Cocor, co-directed by Marietta Sadova (who also starred in the film) and Victor Iliu. The film itself was closely supervised for conformity with ideological guidelines, and had to be partly redone because its original version did not meet them. Mircea Drăgan directed a 1965 version of Neamul Șoimăreștilor (with a screenplay co-written by Constantin Mitru) and a 1973 adaptation of Frații Jderi (with contributions by Mitru and by Profira Sadoveanu). In 1969, Romanian studios produced a film version of Baltagul, directed by Mircea Mureșan and with Sidonia Manolache as Vitoria Lipan. Ten years later, Constantin Vaeni released Vacanță tragică ("Tragic Holiday"), based on Nada Florilor, followed by a 1980 adaptation of Dumbrava minunată and Stere Gulea's 1983 Ochi de urs (tr. "The Bear Eye's Curse"). In 1989, just before the Romanian Revolution, Dan Pița produced his film The Last Ball in November, based on Locul unde nu s-a întâmplat nimic. During the early decades of communist rule, Sadoveanu, Alexandru Toma and later Tudor Arghezi were often paid homage with state celebrations, likened by literary critic Florin Mihăilescu to the personality cult reserved for Stalin and Gheorghe Gheorghiu-Dej. For a while after the writer's death, the Writers' Union club, commonly known as "The Writers' House", bore Sadoveanu's name. Casa cu turn in Iași, which Sadoveanu had donated to the state in 1950, went through a period of neglect and was finally set up as a museum in 1980. Similar sites were set up in his Fălticeni house, and in his final residence at Voividenia, while the Bradu-Strâmb chalet was controversially granted to the Securitate, and later to the Romanian Police. Each year, Iași commemorates the writer through a cultural festival known as the "Mihail Sadoveanu Days". In 2004, the 100th anniversary of his debut was marked by a series of exhibits and symposiums, organized by the MLR. Similar events are regularly held in various cities, and include the "In Sadoveanu's Footsteps" colloquy of writers, held during March 2006 in the city of Piatra Neamț. Since 2003, in tribute to Sadoveanu's love for the game, an annual chess tournament is held in Iași. The Sadoveanu High School and a bookstore in Bucharest are named after him, and streets named after him exist in, among other places, Iași, Fălticeni, Timișoara, Oradea, Brașov, Galați, Suceava, Călărași, Târgu Jiu, Miercurea Ciuc, Petroșani, and Mangalia. Pașcani hosts a cultural center, a high school and a library named after him. Sadoveanu's memory is also regularly honored in the Republic of Moldova, where, in 2005, the 125th anniversary of his birth was celebrated in an official context. A street in Chișinău and a high school in the town of Cupcini are also named after him. Selected works Fiction 1902 - Frații Potcoavă 1904 - Șoimii 1905 - Floare ofilită 1906 - Însemnările lui Neculai Manea 1907 - La noi, la Viișoara 1907 - Vremuri de bejenie 1908 - Balta liniștii 1908 - Haia Sanis 1911 - Apa morților 1915 - Neamul Șoimăreștilor 1925 - Venea o moară pe Siret... 1928 - Hanu Ancuței 1929 - Zodia Cancerului 1930 - Baltagul 1932 - Nunta Domniței Ruxandra 1932 - Uvar 1933 - Creanga de aur 1934 - Nopțile de Sânziene 1935-1942 - Frații Jderi 1949 - Mitrea Cocor 1951-1952 - Nicoară Potcoavă Non-fiction 1907 - Domnu Trandafir 1908 - Oameni și locuri 1914 - Priveliști dobrogene 1916 - 44 de zile în Bulgaria 1921 - Drumuri basarabene 1926 - Țara de dincolo de negură 1928 - Împărăția apelor 1928 - Olanda 1936 - Însemnări ieșene 1937 - Istorisiri de vânătoare 1944 - Anii de ucenicie Notes References Lucian Boia, "Germanofilii". Elita intelectuală românească în anii Primului Război Mondial, Humanitas, Bucharest, 2010. Lucian Boia (ed.), Miturile comunismului românesc, Editura Nemira, Bucharest, 1998. : Lucian Boia, "Un nou Eminescu: A. Toma", p. 71-81 Adrian Cioroianu, "Lumina vine de la Răsărit. 'Noua imagine' a Uniunii Sovietice în România postbelică, 1944-1947", p. 21-68 George Călinescu, Istoria literaturii române de la origini pînă în prezent, Editura Minerva, Bucharest, 1986 Paul Cernat, Avangarda românească și complexul periferiei: primul val, Cartea Românească, Bucharest, 2007. Ilarie Chendi, "Vieața literară în 1911 (o privire generală)", in Luceafărul, Nr. 3/1912, p. 61-65 (digitized by the Babeș-Bolyai University Transsylvanica Online Library) Adrian Cioroianu, , Editura Curtea Veche, Bucharest, 2005. Marcel Cornis-Pope, "Shifting Perspectives and Voices in the Romanian Novel"; "The Search for a Modern, Problematizing Historical Consciousness: Romanian Historical Fiction and Family Cycles", in Marcel Cornis-Pope, John Neubauer (eds.), History of the Literary Cultures of East-Central Europe, John Benjamins, Amsterdam & Philadelphia, 2004, p. 441-456, 499–505. Ovid Crohmălniceanu, Literatura română între cele două războaie mondiale, Vol. I, Editura Minerva, Bucharest, 1972. Victor Frunză, Istoria stalinismului în România, Humanitas, Bucharest, 1990. Florin Mihăilescu, De la proletcultism la postmodernism, Editura Pontica, Constanța, 2002. Z. Ornea, Anii treizeci. Extrema dreaptă românească, Editura Fundației Culturale Române, Bucharest, 1995. Junimea și junimismul, Vol. II, Editura Minerva, Bucharest, 1998. Petre Răileanu, "Construcție și semnificație în ficțiunea istorică", preface to Mihail Sadoveanu, Nicoară Potcoavă, Editura Militară, 1990, p. 5-17. Tom Sandqvist, Dada East. The Romanians of Cabaret Voltaire, MIT Press, Cambridge, Massachusetts & London, 2006. Ana Selejan, Literatura în totalitarism. Vol. II: Bătălii pe frontul literar, Cartea Românească, Bucharest, 2008. Ioan Stanomir, "Facerea lumii", in Paul Cernat, Ion Manolescu, Angelo Mitchievici, Ioan Stanomir, Explorări în comunismul românesc, Polirom, Iași, 2004, p. 13-45. George Topîrceanu, Scrieri, Vols. I-II (preface, chronological table and notes by Al. Săndulescu), Editura Minerva, Bucharest, 1983. Cristian Vasile, Literatura și artele în România comunistă. 1948-1953, Humanitas, Bucharest, 2010. Tudor Vianu, Scriitori români, Vols. I-II, Editura Minerva, Bucharest, 1970. Krikor Zambaccian, Corneliu Baba, Editura de stat pentru literatură și artă, Bucharest, 1958. External links Roumanian Stories. Translated by Lucy Byng (includes three of Sadoveanu's works), at the University of Washington's DXARTS/CARTAH Electronic Text Archive A Boyar's Sin (excerpt), A Worried Man, His Majesty's Mare, Idle Hours, Master Trandafir (excerpts), The Enchanted Grove (excerpts), The Place Where Nothing Happened (excerpt), The Vesper Bell, Vitoria Lipan (fragment from Baltagul), translations in the Romanian Cultural Institute's Plural Magazine (various issues) "Peace Partisans Meeting aka Peace Meeting" (Rome, 1949) British-Pathé newsreel showing Sadoveanu and other delegates |- 1880 births 1961 deaths Romanian biographers Male biographers Romanian children's writers Romanian crime fiction writers Romanian essayists Romanian fantasy writers Romanian historical novelists Romanian magazine editors Romanian magazine founders Romanian memoirists Romanian newspaper editors 20th-century Romanian novelists Romanian male novelists Romanian poets Romanian male poets Romanian textbook writers Romanian translators Romanian travel writers 19th-century short story writers 20th-century short story writers Romanian male short story writers Romanian short story writers Romanian theatre managers and producers Social realism Socialist realism writers Poporanists Adevărul editors Adevărul writers Titular members of the Romanian Academy People's Party (interwar Romania) politicians 20th-century Romanian politicians Presidents of the Senate of Romania Presidents of the Chamber of Deputies (Romania) Members of the Chamber of Deputies (Romania) Members of the Great National Assembly Heads of state of Romania Romanian activists Romanian Freemasons Masonic Grand Masters Romanian nationalists Romanian pacifists Romanian propagandists Romanian humanists Censorship in Romania Lenin Peace Prize recipients People from Pașcani Romanian civil servants Romanian Land Forces officers Romanian military personnel of the Second Balkan War Romanian people of World War I Romanian people of World War II Burials at Bellu Cemetery 19th-century Romanian writers 20th-century Romanian writers 20th-century essayists 20th-century memoirists 20th-century translators
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[ "John Edgar (ca. 1750–1832) was an Illinois pioneer and politician. He was born in Ireland. In 1776, he was the commander of a British ship in the Great Lakes. He resigned from the British Navy rather than fight against the Americans.\n\nEdgar settled at Fort Kaskaskia in 1784. He became a merchant, and built a flour mill. He shipped large quantities of flour from Illinois to New Orleans.\n\nEdgar was an Illinois delegate to the Legislature of the Northwest Territory. He also served as Justice of the Peace and Judge in Kaskaskia.\n\nIn his time, Edgar was believed to have been the wealthiest man in Illinois. He held many large land claims around the State. Edgar County, Illinois was named in his honor. Although he probably never went there, there is an old story that he once bought and then sold the entire County.\n\nNotes\n\nSources\n History of McKendree College, Walton, 1928\n\n1750 births\n1832 deaths\nPeople from Kaskaskia, Illinois\nNorthwest Territory House of Representatives", "Edward Campbell (1890–1949) was a Jersey politician, victor in 1940 Jersey local elections for Saint Ouen, Jersey parish.\n\nElections were held in Jersey on 30 August 1940. The island was occupied by the Germans from 1 July 1940 until the surrender of the German forces on 9 May 1945. During this time, there was one election, held soon after the occupation began. The result installed Campbell as a puppet of the German administration, which was centered around the department of Manche, a French department in Normandy. Also standing was Thomas Jenkins. He won 70% of the vote against Thomas Jenkins.\n\nThe election was unique in that only two candidates stood to represent the entire island. The post voted for was short-lived, and the Nazis removed it in 1942 to little reaction from the islanders. Campbell returned to his suffering business. He later went broke and died before the end of the war.\n\nReferences\n\n1890 births\n1949 deaths\nJersey politicians" ]
[ "Mihail Sadoveanu", "1910s and World War I", "what happened in 1910's?", "In 1910, he was also appointed head of the National Theater Iasi, a position which he filled until 1919.", "what else was he appointed to?", "He was a leading presence at Minerva newspaper, alongside Anghel and critic Dumitru Karnabatt,", "what was his greatest accomplishment named in the article?", "Mihail Sadoveanu became a professional writer in 1908-1909, after joining the Romanian Writers' Society,", "who did he work with?", "he, Iosif, and Anghel, together with author Emil Garleanu,", "what did they do?", "set up Cumpana, a monthly directed against both Ovid Densusianu's eclecticism and the Junimist school (the magazine was no longer in print by 1910", "what is the most important fact in this article?", "Sadoveanu was again called under arms during the Second Balkan War of 1913,", "what did he do?", "Having reached the rank of Lieutenant, he was stationed in Falticeni with the 15th Infantry Regiment,", "was he there the entire time?", "He returned to literary life." ]
C_f789d8273c5b43b2a57524472ce50d02_0
when did he return?
9
when did Mihail Sadoveanu return from the War of 1913?
Mihail Sadoveanu
Sadoveanu returned to his administrative job in 1907, the year of the Peasants' Revolt. Kept in office by the National Liberal cabinet of Ion I. C. Bratianu, he served under the reform-minded Education Minister Spiru Haret. Inspired by the bloody outcome of the Revolt, as well as by Haret's moves to educate the peasantry, Sadoveanu reportedly drew suspicion from the Police when he published self-help guides aimed at industrious ploughmen, a brand of social activism which even resulted in a formal inquiry. Mihail Sadoveanu became a professional writer in 1908-1909, after joining the Romanian Writers' Society, created in the previous year by poets Cincinat Pavelescu and Dimitrie Anghel, and becoming its President in September of that year. The same year, he, Iosif, and Anghel, together with author Emil Garleanu, set up Cumpana, a monthly directed against both Ovid Densusianu's eclecticism and the Junimist school (the magazine was no longer in print by 1910). At the time, he became a noted presence among the group of intellectuals meeting in Bucharest's Kubler Coffeehouse. In 1910, he was also appointed head of the National Theater Iasi, a position which he filled until 1919. That year, he translated from the French one of Hippolyte Taine's studies on the genesis of artworks. He resigned his office within the Writers' Society in November 1911, being replaced by Garleanu, but continued to partake in its administration as a member of its leadership committee and a censor. He was a leading presence at Minerva newspaper, alongside Anghel and critic Dumitru Karnabatt, and also published in the Transylvanian traditionalist journal, Luceafarul. Sadoveanu was again called under arms during the Second Balkan War of 1913, when Romania confronted Bulgaria. Having reached the rank of Lieutenant, he was stationed in Falticeni with the 15th Infantry Regiment, after which he spent a short period on the front. He returned to literary life. Becoming good friends with poet and humorist George Topirceanu, he accompanied him and other writers on cultural tours during 1914 and 1915. The series of writings he published at the time includes the 1915 Neamul Soimarestilor. In 1916-1917, as Romania entered World War I and was invaded by the Central Powers, Sadoveanu stayed in Moldavia, the only part of Romania's territory still under the state's authority (see Romanian Campaign). The writer oscillated between the Germanophilia of his Viata Romaneasca friends, the stated belief that war was misery and the welcoming of Romania's commitment to the Entente Powers. At the time, he was reelected President of the Writers' Society, a provisional mandate which ended in 1918, when Romania signed the peace with the Central Powers, and, as Army reservist, edited the Entente's regional propaganda outlet, Romania. He was joined by Topirceanu, who had just been released from a POW camp in Bulgaria, and with whom he founded the magazine Insemnari Literare. Sadoveanu subsequently settled in the Iasi neighborhood of Copou, purchasing and redecorating the villa known locally as Casa cu turn ("The House with a Tower"). In the 19th century, it had been the residence of politician Mihail Kogalniceanu, and, during the war, hosted composer George Enescu. During that period, he collaborated with leftist intellectual Vasile Mortun and, together with him and Arthur Gorovei, founded and edited the magazine Ravasul Poporului. CANNOTANSWER
Becoming good friends with poet and humorist George Topirceanu, he accompanied him and other writers on cultural tours during 1914 and 1915.
Mihail Sadoveanu (; occasionally referred to as Mihai Sadoveanu; November 5, 1880 – October 19, 1961) was a Romanian novelist, short story writer, journalist and political figure, who twice served as acting head of state for the communist republic (1947–1948 and 1958). One of the most prolific Romanian-language writers, he is remembered mostly for his historical and adventure novels, as well as for his nature writing. An author whose career spanned five decades, Sadoveanu was an early associate of the traditionalist magazine Sămănătorul, before becoming known as a Realist writer and an adherent to the Poporanist current represented by Viața Românească journal. His books, critically acclaimed for their vision of age-old solitude and natural abundance, are generally set in the historical region of Moldavia, building on themes from Romania's medieval and early modern history. Among them are Neamul Șoimăreștilor ("The Șoimărești Family"), Frații Jderi ("The Jderi Brothers") and Zodia Cancerului ("Under the Sign of the Crab"). With Venea o moară pe Siret... ("A Mill Was Floating down the Siret..."), Baltagul ("The Hatchet") and some other works of fiction, Sadoveanu extends his fresco to contemporary history and adapts his style to the psychological novel, Naturalism and Social realism. A traditionalist figure whose perspective on life was a combination of nationalism and Humanism, Sadoveanu moved between right- and left-wing political forces throughout the interwar period, while serving terms in Parliament. Rallying with People's Party, the National Agrarian Party, and the National Liberal Party-Brătianu, he was editor of the leftist newspapers Adevărul and Dimineața, and was the target of a violent far right press campaign. After World War II, Sadoveanu became a political associate of the Romanian Communist Party. He wrote in favor of the Soviet Union and Stalinism, joined the Society for Friendship with the Soviet Union and adopted Socialist realism. Many of his texts and speeches, including the political novel Mitrea Cocor and the famous slogan Lumina vine de la Răsărit ("The Light Arises in the East"), are also viewed as propaganda in favor of communization. A founding member of the Romanian Writers' Society and later President of the Romanian Writers' Union, Sadoveanu was also a member of the Romanian Academy since 1921 and a recipient of the Lenin Peace Prize for 1961. He was also Grand Master of the Romanian Freemasonry during the 1930s. The father of Profira and Paul-Mihu Sadoveanu, who also pursued careers as writers, he was the brother-in-law of literary critic Izabela Sadoveanu-Evan. Biography Early years Sadoveanu was born in Pașcani, in western Moldavia. His father's family hailed from the southwestern part of the Old Kingdom, in Oltenia. Their place of origin, Sadova, provided their chosen surname (lit. "from Sadova"), which was adopted by the family only in 1891. Mihail's father was the lawyer Alexandru Sadoveanu (d. 1921), whom literary critic George Călinescu described as "a bearded and well-to-do man"; according to the writer's own notes, Alexandru was unhappy in marriage, and his progressive isolation from public life impacted on the entire family. Mihail's mother, Profira née Ursachi (or Ursaki; d. 1895), hailed from a line of Moldavian shepherds, all of whom, as the writer recalled, had been illiterate. Literary historian Tudor Vianu believes this contrast of regional and social identities played a part in shaping the author, opening him up to a "Romanian universality", but notes that, throughout his career, Sadoveanu was especially connected with his Moldavian roots. Mihail had a brother, also named Alexandru, whose wife was the Swiss-educated literary critic Izabela Morțun (later known as Sadoveanu-Evan, she was the cousin of socialist activist Vasile Morțun). Another one of his brothers, Vasile Sadoveanu, was an agricultural engineer. Beginning in 1887, Sadoveanu attended primary school in Pașcani. His favorite teacher, a Mr. Busuioc, later served as inspiration for one of his best-known short stories, Domnu Trandafir ("Master Trandafir"). While away from school, young Sadoveanu used much of his spare time exploring his native region on foot, hunting, fishing, or just contemplating nature. He was also spending his vacations in his mother's native Verșeni. During his journeys, Sadoveanu visited peasants, and his impression of the way in which they were relating to authority is credited by critics with having shaped his perspective on society. Shortly after this episode, the young Sadoveanu left to complete his secondary studies in Fălticeni and at the National High School in Iași. While in Fălticeni, he was in the same class as future authors Eugen Lovinescu and I. Dragoslav, but, having lost interest in schoolwork, he failed to get his remove, before eventually graduating top of his class. First literary attempts, marriage and family In 1896, when he was aged sixteen, Sadoveanu gave thought to writing a monograph on Moldavian Prince Stephen the Great, but his first literary attempts date from the following year. It was in 1897 that a sketch story, titled Domnișoara M din Fălticeni ("Miss M from Fălticeni") and signed Mihai din Pașcani ("Mihai from Pașcani"), was successfully submitted for publishing to the Bucharest-based satirical magazine Dracu. He started writing for Ovid Densusianu's journal Vieața Nouă in 1898. His contributions, featured alongside those of Gala Galaction, N. D. Cocea, and Tudor Arghezi, include another sketch story and a lyric poem. Sadoveanu was however dissatisfied with Densusianu's agenda, and critical of the entire Romanian Symbolist movement for which the review spoke. He ultimately began writing pieces for non-Symbolist magazines such as Opinia and Pagini Literare. In parallel, he founded and printed by hand a short-lived journal, known to researches as either Aurora or Lumea. Sadoveanu left for Bucharest in 1900, intending to study Law at the University's Faculty of Law, but withdrew soon after, deciding to dedicate himself to literature. He began frequenting the bohemian society in the capital, but, following a sudden change in outlook, abandoned poetry and focused his work entirely on Realist prose. In 1901, Sadoveanu married Ecaterina Bâlu, with whom he settled in Fălticeni, where he began work on his first novellas and decided to make his living as a professional writer. His first draft for a novel, Frații Potcoavă ("The Potcoavă Brothers"), came out in 1902, when fragments were published by Pagini Alese magazine under the pseudonym M. S. Cobuz. The following year, Sadoveanu was drafted into the Romanian Land Forces, stationed as a guard near Târgu Ocna, and inspired by the experience to write some of his first social criticism narratives. After that time, he spent much of his home in the country, where he raised a large family. Initially, the Sadoveanus lived in a house previously owned by celebrated Moldavian raconteur Ion Creangă, before they commissioned a new building, famed for its surrounding Grădina Liniștii ("Garden of Quietude"). He was the father of eleven, among whom were three daughters: Despina, Teodora and Profira Sadoveanu, the latter of whom was a poet and a novelist. Of his sons, Dimitrie Sadoveanu became a painter, while Paul-Mihu, the youngest (born 1920), was author of the novel Ca floarea câmpului... ("Like the Flower of the Field...") which was published posthumously. Sămănătorul, Viața Românească and literary debut After receiving an invitation from poet Ștefan Octavian Iosif in 1903, Sadoveanu contributed works to the traditionalist journal Sămănătorul, led at the time by historian and critic Nicolae Iorga. He was by then also a contributor to Voința Națională, a newspaper published by the National Liberal Party and managed by politician Vintilă Brătianu—beginning December of the same year, the paper serialized Șoimii ("The Hawks"), an extended variant of Frații Potcoavă, with an introduction by historian Vasile Pârvan. In 1904, he regained Bucharest, where he became a copyist for the Ministry of Education's Board of Schools, returning to Fălticeni two years later. After 1906, he rallied with the group formed around Viața Românească, which was also joined by his sister-in-law Izabela. Sămănătorul and Viața Românească, having comparable influence over the literature of Romania, stood for a traditionalist and ruralist approach to art, even though the latter adopted a more left-wing perspective, known as Poporanism. The leading Poporanist ideologue, Garabet Ibrăileanu, became a personal friend of the young writer after inviting him on an excursion down the Râșca River. With his subsequent pieces for Viața Românească, Sadoveanu became especially known as the raconteur of hunting trips, but also sparked controversy when a young woman writer, Constanța Marino-Moscu, accused him of having plagiarized her works in his Mariana Vidrașcu, a serialized novel which was discontinued and later largely forgotten. 1904 was Sadoveanu's effective debut year: he published four separate books, including Șoimii, Povestiri ("Stories"), Dureri înăbușite ("Suppressed Pains") and Crâșma lui Moș Petcu ("Old Man Petcu's Alehouse"). The beginning of a prolific literary career covering more than a half century and of his collaboration with Editura Minerva publishing house, this debut was marked by intense preparation, and drew on literary exercises spanning the previous decade. His Sămănătorul colleague Iorga deemed 1904 "Sadoveanu's Year", while the influential and aging critic Titu Maiorescu, leader of the conservative literary society Junimea, gave a positive review to Povestiri, and successfully proposed it for a Romanian Academy award in 1906. In a 1908 essay, Maiorescu was to list Sadoveanu among Romania's greatest writers. According to Vianu, Maiorescu saw in Sadoveanu and other young writers the triumph of his theory on a "popular" form of Realism, a vision which the Junimist thinker had advocated in his essays from as early as 1882. Sadoveanu later credited Iorga, Maiorescu, and especially so the cultural promoter Constantin Banu and Sămănătorul poet George Coșbuc, with having helped him capture the interest of the public and his peers. He was by then facing adversity from opponents of Sămănătorul, primarily critic Henric Sanielevici and his Curentul Nou review, which published claims that Sadoveanu's volumes, which depicted immoral acts such as adultery and rape, showed that Iorga's program of moral didacticism was hypocritical. As he latter recalled, Sadoveanu was himself upset with some of Iorga's critical judgments regarding his own work, noting that the Sămănătorist doyen had once declared him equal to Vasile Pop (one of Iorga's protegés, and viewed as overrated by Sadoveanu). The same year, Sadoveanu became one of Sămănătoruls editors, alongside Iorga and Iosif. The magazine, originally a traditionalist mouthpiece founded by Alexandru Vlahuță and George Coșbuc, proclaimed with Iorga its purpose of establishing "a national culture", emancipated from foreign influence. However, according to Călinescu, this ambitious goal was only manifested in a "great cultural influence", as the journal continued to be an eclectic venue which grouped together ruralist traditionalists of the "national tendency" and adherents to the cosmopolitan currents such as Symbolism. Călinescu and Vianu agree that Sămănătorul was, for a large part, a promoter of older guidelines set by Junimea. Vianu also argues that Sadoveanu's contribution to the literary circle was the main original artistic element in its history, and credits Iosif with having accurately predicted that, during a period of literary "crisis", Sadoveanu was the person to provide innovation. He continued to publish at an impressive rate: in 1906, he again handed down for print four separate volumes. In parallel, Sadoveanu pursued his career as a civil servant. In 1905, he was employed as a clerk by the Ministry of Education, headed by the Conservative Party's Mihail Vlădescu. His direct supervisor was poet D. Nanu, and he had for his colleagues the geographer George Vâlsan and the short story writer Nicolae N. Beldiceanu. Nanu wrote of this period: "It is a clerical packed full with men of letters, no work is being done, people smoke, drink coffee, create dreams, poems and prose [...]." Having interrupted his administrative service, Sadoveanu was again drafted into the Land Forces in 1906, being granted an officer's rank. An already overweight man, he had to march from Probota in Central Moldavia to Bukovina, which caused him intense suffering. 1910s and World War I Sadoveanu returned to his administrative job in 1907, the year of the Peasants' Revolt. Kept in office by the National Liberal cabinet of Ion I. C. Brătianu, he served under the reform-minded Education Minister Spiru Haret. Inspired by the bloody outcome of the Revolt, as well as by Haret's moves to educate the peasantry, Sadoveanu reportedly drew suspicion from the Police when he published self-help guides aimed at industrious ploughmen, a brand of social activism which even resulted in a formal inquiry. Mihail Sadoveanu became a professional writer in 1908–1909, after joining the Romanian Writers' Society, created in the previous year by poets Cincinat Pavelescu and Dimitrie Anghel, and becoming its President in September of that year. The same year, he, Iosif, and Anghel, together with author Emil Gârleanu, set up Cumpăna, a monthly directed against both Ovid Densusianu's eclecticism and the Junimist school (the magazine was no longer in print by 1910). At the time, he became a noted presence among the group of intellectuals meeting in Bucharest's Kübler Coffeehouse. In 1910, he was also appointed head of the National Theater Iași, a position which he filled until 1919. That year, he translated from the French one of Hippolyte Taine's studies on the genesis of artworks. He resigned his office within the Writers' Society in November 1911, being replaced by Gârleanu, but continued to partake in its administration as a member of its leadership committee and a censor. He was a leading presence at Minerva newspaper, alongside Anghel and critic Dumitru Karnabatt, and also published in the Transylvanian traditionalist journal, Luceafărul. Sadoveanu was again called under arms during the Second Balkan War of 1913, when Romania confronted Bulgaria. Having reached the rank of Lieutenant, he was stationed in Fălticeni with the 15th Infantry Regiment, after which he spent a short period on the front. He returned to literary life. Becoming good friends with poet and humorist George Topîrceanu, he accompanied him and other writers on cultural tours during 1914 and 1915. The series of writings he published at the time includes the 1915 Neamul Șoimăreștilor. In 1916–1917, as Romania entered World War I and was invaded by the Central Powers, Sadoveanu stayed in Moldavia, the only part of Romania's territory still under the state's authority (see Romanian Campaign). The writer oscillated between the Germanophilia of his Viața Românească friends, the stated belief that war was misery and the welcoming of Romania's commitment to the Entente Powers. At the time, he was reelected President of the Writers' Society, a provisional mandate which ended in 1918, when Romania signed the peace with the Central Powers, and, as Army reservist, edited the Entente's regional propaganda outlet, România. He was joined by Topîrceanu, who had just been released from a POW camp in Bulgaria, and with whom he founded the magazine Însemnări Literare. Sadoveanu subsequently settled in the Iași neighborhood of Copou, purchasing and redecorating the villa known locally as Casa cu turn ("The House with a Tower"). In the 19th century, it had been the residence of politician Mihail Kogălniceanu, and, during the war, hosted composer George Enescu. During that period, he collaborated with leftist intellectual Vasile Morțun and, together with him and Arthur Gorovei, founded and edited the magazine Răvașul Poporului. Creative maturity and early political career In 1921, Sadoveanu was elected a full member of the Romanian Academy; he gave his reception speech in front of the cultural forum two years later, structuring it as a praise of Romanian folklore in general and folkloric poetry in particular. At the time, he renewed his contacts with Viața Românească: with Garabet Ibrăileanu and several others, he joined its interwar nucleus, while the review often featured samples of his novels (some of which were originally published in full by its publishing venture). His house was by then host to many cultural figures, among whom were writers Topîrceanu, Gala Galaction, Otilia Cazimir, Ionel and Păstorel Teodoreanu, and Dimitrie D. Pătrășcanu, as well as conductor Sergiu Celibidache. He was also close to a minor socialist poet and short story author, Ioan N. Roman, whose work he helped promote, to the aristocrat and memoirist Gheorghe Jurgea-Negrilești, and to a satirist named Radu Cosmin. Despite his health problems, Sadoveanu frequently traveled throughout Romania, notably visiting local sights which inspired his work: the Romanian Orthodox monasteries of Agapia and Văratec, and the Neamț Fortress. After 1923, together with Topîrceanu, Demostene Botez and other Viața Românească affiliates, he also embarked on a series of hunting trips. He was charmed in particular by the sights he discovered during a 1927 visit to the Transylvanian area of Arieș. The same year, he also visited the Netherlands, which he reached by means of the Orient Express. His popularity continued to grow: in 1925, 1929 and 1930 respectively, he published his critically acclaimed novels Venea o moară pe Siret..., Zodia Cancerului and Baltagul, and his 50th anniversary was celebrated at a national level. In 1930, Sadoveanu, Topîrceanu and the schoolteacher T. C. Stan wrote and edited a series of primary school textbooks. In 1926, after a period of indecision, Sadoveanu rallied with the People's Party, where his friend, the poet Octavian Goga, was a prominent activist. He then rallied with Goga's own National Agrarian Party. During the general election of 1927, he won a seat in the Chamber for Bihor County, in Transylvania, holding a seat in the Senate for Iași County after the 1931 suffrage. Under Nicolae Iorga's National Peasants' Party cabinet of the period, Sadoveanu was President of the Senate. The choice was motivated by his status as "a cultural personality". Around that date, he was affiliated with the National Liberal Party-Brătianu, a right-wing party inside the liberal current, who stood in opposition to the main National Liberal group. In parallel, he began contributing to the left-wing daily Adevărul. Sadoveanu was by then affiliated with the Freemasonry, as first recorded by the organization in 1928, but was probably a member since 1926 or 1927. Reaching the 33rd degree within the organization and overseeing the Masonic Lodge Dimitrie Cantemir of Iași, he was elected Grand Master of the National Union of Lodges in 1932, thus replacing the vacating George Valentin Bibescu. There subsequently occurred a split between Bibescu and Sadoveanu's supporters, aggravated by their publicized conflict with a third group, that of Ioan Pangal—splits which ended after some three years, when Sadoveanu marginalized both of his opponents, without however earning legitimate recognition from the Grand Orient de France. By 1934, he was recognized as Grand Master of the United Romanian Freemasonry, which regrouped all major local Lodges. Late 1930s and World War II He was publishing new works at a regular rate, culminating in the first volume of his historical epic Frații Jderi, which saw print in 1935. In 1936, the writer accepted the honorary chairmanship of Adevărul and its morning edition, Dimineața. During that time, he was involved in a public dispute with the far right and fascist press, replying to their attacks in several columns. Affiliates of the radical right organized public burnings of his volumes. The scandal prolonged itself over the following years, with Sadoveanu being supported by his friends in the literary community. Among them was Topîrceanu, who was at the time hospitalized, and whose expression of support was made shortly before his death to liver cancer. In September 1937, as a statement of solidarity and appreciation, the University of Iași conferred Sadoveanu the title of doctor honoris causa. Mihail Sadoveanu withdrew from politics in the late 1930s and early 1940s, as Romania came to be led by successive right-wing dictatorships, he offered a measure of support to King Carol II and his National Renaissance Front, which attempted to block the more radically fascist Iron Guard from power. He was personally appointed a member of the reduced corporatist Senate by Carol. In 1940, the official establishment Editura Fundațiilor Regale published the first volume of his Opere ("Works"). Sadoveanu kept a low profile under the Iron Guard's Nazi-allied National Legionary regime. After Conducător Ion Antonescu overthrew the Guard during the Legionary Rebellion and established his own fascist regime, the still-apolitical Sadoveanu was more present in public life, and lectured on cultural subjects for the Romanian Radio. After publishing the final section of his Frații Jderi in 1942, Sadoveanu again retreated to the countryside, in his beloved Arieș area, where he had built himself a chalet and a church; this seclusion produced his Povestirile de la Bradu-Strâmb ("Bradu-Strâmb Stories"). During those years, the sixty-year-old writer met Valeria Mitru, a much younger feminist journalist, whom he married after a brief courtship. In August 1944, Romania's King Michael Coup toppled Antonescu and switched sides in the war, rallying with the Allies. As a Soviet occupation began at home, Romanian troops fought alongside the Red Army on the European theater. Paul-Mihu Sadoveanu was killed in action in Transylvania on September 22. During the same months, Sadoveanu was a candidate for the Writers' Society presidency, but, in what has been read as proof of a rivalry within the Freemasonry, was defeated by Victor Eftimiu. Later that year, the 40th anniversary of Mihail Sadoveanu's debut was celebrated with a special ceremony at the Academy and Tudor Vianu's speech, offered as a retrospective of his colleague's entire work. Communist system and political rise After the Soviet-backed advent of the Communist system in Romania, Sadoveanu supported the new authorities, and turned from his own version of Realism to officially-endorsed Socialist realism (see Socialist realism in Romania). This was also the start of his association with the Soviet-sponsored Romanian Society for Friendship with the Soviet Union (ARLUS), which was led by biologist and physician Constantin Ion Parhon. Having served as a host to official Soviet envoys Andrey Vyshinsky and Vladimir Kemenov during their late 1944 visits, he soon after became president of the ARLUS "Literary and Philosophical Section" (seconded by Mihai Ralea and Perpessicius). In February 1945, he joined Parhon, Enescu, linguist Alexandru Rosetti, composer George Enescu, biologist Traian Săvulescu and mathematician Dimitrie Pompeiu in a protest against the cultural policies of Premier Nicolae Rădescu and his cabinet, one in a series of moves to discredit the non-communist Rădescu and make him leave power. With Ion Pas, Gala Galaction, Horia Deleanu, Octav Livezeanu and N. D. Cocea, Sadoveanu edited the association's weekly literary magazine Veac Nou after June 1946. Sadoveanu's literary and political change became known to the general public in March 1945, when he lectured about Soviet leader Joseph Stalin at a conference hall in Bucharest. Part of a conference cycle, his speech was famously titled Lumina vine de la Răsărit, which soon became synonymous with the attempts to improve the image of Stalinism in Romania. ARLUS would issue the text of his conference as a printed volume later in the year. Also in 1945, Sadoveanu journeyed to the Soviet Union together with some of his fellow ARLUS members—among them biologists Parhon and Săvulescu, sociologist Dimitrie Gusti, linguist Iorgu Iordan, and mathematician Simion Stoilow. Invited by the Soviet Academy of Sciences to attend the 220th anniversary of its foundation, they also visited research institutes, kolhozy, and day care centers, notably meeting with Nikolay Tsitsin, an agronomist favored by Stalin. After his return, he wrote other controversial texts and gave lectures which offered ample praise to the Soviet system. That year, the ARLUS enterprise Editura Cartea Rusă also published his translation of Ivan Turgenev's A Sportsman's Sketches. During the rigged election of that year, Sadoveanu was a candidate for the Communist party-organized Bloc of Democratic Parties (BPD) in Bucharest, winning a seat in the newly unified Parliament of Romania. In its first-ever session (December 1946), the legislative body elected him its President. He was at the time residing in Ciorogârla, having been awarded a villa previously owned by Pamfil Șeicaru, a journalist whose support for fascist regimes had made him undesirable, and who had moved out of Romania. The decision was viewed as evidence of political corruption by the opposition National Peasants' Party, whose press deemed Sadoveanu the "Count of Ciorogârla". In 1948, after Romania's King Michael I was overthrown by the BPD-member parties and the communist regime officially established, Sadoveanu rose to the highest positions ever granted to a Romanian writer, and received significant material benefits. In 1947–1948, he was, alongside Parhon, Ștefan Voitec, Gheorghe Stere, and Ion Niculi, a member of the Presidium of the People's Republic, which was elected by the BPD-dominated legislative. He also kept his seat at the Academy, which at the time was undergoing a communist-led purge, and, with several other pro-Soviet intellectuals, was voted in the Academy Presidium. Final years, illness and death After the Writers' Society was restructured as the Romanian Writers' Union in 1949, Sadoveanu became its Honorary President. In 1950, he was named President of the Writers' Union, replacing Zaharia Stancu. According to writer Valeriu Râpeanu, this last appointment was a sign of Stancu's marginalization after he had been excluded from the Romanian Communist Party, while the Writers' Union was actually controlled by its First Secretary, the communist poet Mihai Beniuc. Sadoveanu and Beniuc were reelected at the Union's first Congress (1956). In the meanwhile, Sadoveanu published several Socialist realist volumes, among which was Mitrea Cocor, a controversial praise of collectivization policies. First published in 1949, it earned Sadoveanu the first-ever State Prize for Prose. Throughout the period, Sadoveanu was involved in major communist-endorsed cultural campaigns. Thus, in June 1952, he presided over the Academy's Scientific Council, charged with modifying the Romanian alphabet, at the end of which the letter â was discarded, and replaced everywhere with î (a spelling Sadoveanu is alleged to have already shown preference for in his early works). In March 1953, soon after Stalin's death, he led discussions within the Writers' Union, confronting his fellow writers with the new Soviet cultural directives as listed by Georgy Malenkov, and reacting against young authors who had not discarded the since-condemned doctrines of proletkult. The author was also becoming involved in the Eastern Bloc's peace movement, and led the National Committee for the Defense of Peace at a time when the Soviet Union was seeking to portray its Cold War enemies as warmongers and the sole agents of nuclear proliferation. He also represented Romania to the World Peace Council, and received its International Peace Prize for 1951. As a parliamentarian, Sadoveanu stood on the committee charged with elaborating the new republican constitution, which, in its final form, reflected both Soviet influence and the assimilation of Stalinism into Romanian political discourse. In November 1955, shortly after turning 75, he was granted the title of "Hero of Socialist Labor". After 1956, when the regime announced that it had embarked on a limited version of De-Stalinization, it continued to recommend Mihail Sadoveanu as one of its prime cultural models. Having donated Casa cu turn to the state in 1950, he moved back to Bucharest, where he owned a house near the Zambaccian Museum. From January 7 to January 11, 1958, Sadoveanu, Ion Gheorghe Maurer and Anton Moisescu were acting Chairmen of the Presidium of the Great National Assembly, which again propelled him to a position as titular head of state. His literary stature but also his political allegiance earned him the Soviet Lenin Peace Prize, which he received shortly before his death. After a long illness marked by a stroke which impaired his speech and left him almost completely blind, Sadoveanu was cared for by a staff of physicians supervised by Nicolae Gh. Lupu and reporting to the Great National Assembly. The Sadoveanus withdrew to Neamț region, where they lived in a villa assigned to them by the state and located near the Voividenia hermitage and the locality of Vânători-Neamț, being visited regularly by literary and political friends, among them Alexandru Rosetti. Mihail Sadoveanu died there at 9 AM on October 19, 1961, and was buried at Bellu cemetery, in Bucharest. His successor as President of the Writers' Union was Beniuc, elected during the Congress of January 1962. Following her husband's death, Valeria Sadoveanu settled in proximity to the Văratec Monastery, where she set up an informal literary circle and Orthodox prayer group, notably attended by literary historian Zoe Dumitrescu-Bușulenga and by poet Ștefana Velisar, and dedicated herself to protecting the community of nuns. She survived Mihail Sadoveanu by over 30 years. Literary contributions Context Often seen as the leading author of his generation, and generally viewed as one of the most representative Romanian writers, Mihail Sadoveanu was also believed to be a first-class story-teller, and received praise especially for his nature writing and his depictions of rural landscapes. An exceptionally prolific author by Romanian standards, he published over a hundred individual volumes (120 according to the American magazine Time). His contemporaries tended to place Sadoveanu alongside Liviu Rebreanu and Cezar Petrescu—for all the differences in style between the three figures, the interwar public saw them as the "great novelists" of the day. Critic Ovid Crohmălniceanu describes their activity, altogether focused on depicting the rural world but diverging in bias, as one sign that the Romanian interwar itself was exceptionally effervescent, while Romanian-born American historian of literature Marcel Cornis-Pope sees Sadoveanu and Rebreanu as their country's "two most important novelists of the first half of the twentieth century". In 1944, Tudor Vianu spoke of Sadoveanu as "the most significant writer Romanians [presently] have, the first among his equals." While underlining his originality in the context of Romanian literature and among the writers standing for "the national tendency" (as opposed to the more cosmopolitan modernists), George Călinescu also noted that, through several of his stories and novels, Sadoveanu echoed the style of his predecessors and contemporaries Ion Luca Caragiale, Ioan Alexandru Brătescu-Voinești, Emil Gârleanu, Demostene Botez, Otilia Cazimir, Calistrat Hogaș, I. A. Bassarabescu and Ionel Teodoreanu. Also included among the "national tendency" writers, Gârleanu was for long seen as Sadoveanu's counterpart, and even, Călinescu writes, "undeservedly upstaged" him. Cornis-Pope also writes that Sadoveanu's epic is a continuation of "the national narrative" explored earlier by Nicolae Filimon, Ioan Slavici and Duiliu Zamfirescu, while literary historians Vianu and Z. Ornea note that Sadoveanu also took inspiration from the themes and genres explored by Junimist author Nicolae Gane. In his youth, Sadoveanu also admired and collected the works of N. D. Popescu-Popnedea, a prolific and successful author of almanacs, historical novels and adventure novels. Later, his approach to Realism was also inspired by his reading of Gustave Flaubert and especially Nikolai Gogol. Both Sadoveanu and Gane were also indirectly influenced by Wilhelm von Kotzebue, the 19th century Imperial Russian diplomat and author of the Romanian-themed story Laskar Vioresku. In Vianu's assessment, Sadoveanu's work signified an artistic revolution within the local Realist school, comparable to the adoption of perspective by the visual artists of the Renaissance. Mihail Sadoveanu's interest in the rural world and his views on tradition were subjects of debate among the modernists. The modernist doyen Eugen Lovinescu, who envisaged an urban literature in tune with European tendencies, was one of Sadoveanu's most notorious critics. However, Sadoveanu was well received by Lovinescu's adversaries within the modernist camp: Perpessicius and Contimporanul editor Ion Vinea, the latter of whom, in search for literary authenticity, believed in bridging the gap between the avant-garde and folk culture. This opinion was shared by Swedish literary historian Tom Sandqvist, who sees Sadoveanu's main point of contact with modernism was his interest in the pagan elements and occasional absurdist streaks of local folklore. In the larger dispute about national specificity, and partly in response to Vinea's claim, modernist poet and essayist Benjamin Fondane argued that, as a sign Romanian culture was tributary to those it had come into contact with, "Sadoveanu's soul can be easily reduced to the Slavic soul". Characteristics Sadoveanu's personality and experience played a major part in shaping his literary style. After his 1901 marriage, Mihail Sadoveanu adopted what Călinescu deemed "patriarchal" lifestyle. The literary historian noted that he took a personal interest in educating his many children, and that this also implied "making use of a whip". An Epicurean, the writer was a homemaker, an avid hunter and fisherman, and a chess aficionado. Recognized, like his epigramist colleague Păstorel Teodoreanu, as a man of refined culinary tastes, Sadoveanu cherished Romanian cuisine and Romanian wine. The lifestyle choices were akin to his literary interests: alongside the secluded and rudimentary existence of his main characters (connected by Călinescu with the writer's supposed longing for "regressions to the patriarchal times"), Sadoveanu's work is noted for its imagery of primitive abundance, and in particular for its lavish depictions of ritualistic feasts, hunting parties and fishing trips. Călinescu opined that the value of such descriptions within individual narratives grew with time, and that the author, once he had discarded lyricism, used them as "a means for the senses to enjoy the fleshes and the forms that nature offers man." He added that Sadoveanu's aesthetics could be said to recall the art of the Golden Age in Holland: "One could almost say that Sadoveanu rebuilds in present day Moldavia [...] the Holland of wine jugs and kitchen tables covered in venison and fish." Vianu also argued that Sadoveanu never abandoned himself to purely aesthetic descriptions, and that, although often depicted with Impressionistic means, nature is assigned a specific if discreet role within the plot lines, or serves to render a structure. The traditionalist Garabet Ibrăileanu, referring to Sadoveanu's poetic nature writing, even declared it to have "surpassed nature." At the other end, the modernist Eugen Lovinescu specifically objected to Sadoveanu's depiction of a primordial landscape, arguing that, despite adopting Realism, his rival was indebted to Romanticism and subjectivity. Lovinescu's attitude, critic Ion Simuț notes, was partly justified by the fact that Sadoveanu never truly parted with the traditionalism of Sămănătorul. In 1962, Time also commented that his style was "curiously dated" and recalled not Sadoveanu's generation, but that of Leo Tolstoy and Ivan Turgenev, "although he has nothing like the power or skill of any of them." For Călinescu and Vianu too, Sadoveanu is a creator with seemingly Romantic tastes, which recall those of François-René de Chateaubriand. Unlike Lovinescu, Vianu saw these traits as "not at all detrimental to the balance of [Sadoveanu's] art." Seen by literary critic Ioan Stanomir as marked by "volubility", and thus contrasting with his famously taciturn and seemingly embittered nature, the form of Romanian used by Mihail Sadoveanu, particularly in his historical novels, was noted for both its use of archaisms and the inventive approach to the Romanian lexis. Often borrowing plot lines and means of expression from medieval and early modern Moldavian chroniclers such as Ion Neculce and Miron Costin, the author creatively intercalates several local dialects and registers of speech, moving away from a mere imitation of the historical language. Generally third-person narratives, his books often make little or no dialectal difference between the speech used by the story-teller and the character's voices. According to Călinescu, Sadoveanu displays "an enormous capacity of authentic speech", similar to that of Caragiale and Ion Creangă. The writer himself recorded his fascination with the "eloquence" of rudimentary orality, and in particular with the speech of Rudari Roma he encountered during his travels. Building on observations made by several critics, who generally praised the poetic qualities of Sadoveanu's prose, Crohmălniceanu spoke in detail about the Moldavian novelist's role in reshaping the literary language. This particular contribution was first described early in the 20th century, when Sadoveanu was acclaimed by Titu Maiorescu for having adapted his writing style to the social environment and the circumstances of his narratives. Vianu however notes that Sadoveanu's late writings tend to leave more room for neologisms, mostly present in those parts where the narrator's voice takes distance from the plot. Another unifying element in Sadoveanu's creation is his recourse to literary types. As early as 1904, Maiorescu praised the young raconteur for accurately depicting characters in everyday life and settings. Tudor Vianu stressed that, unlike most of his Realist predecessors, Sadoveanu introduced an overtly sympathetic view of the peasant character, as "a higher type of human, a heroic human". He added: "Simple, in the sense that they are moved by a few devices [which] coincide with the fundamental instincts of mankind, [they] are, in general, mysterious." In this line, Sadoveanu also creates images of folk sages, whose views on life are of a Humanist nature, and often depicted in contrast with the rationalist tenets of Western culture. Commenting on this aspect, Sadoveanu's friend George Topîrceanu believed that Sadoveanu's work transcended the "more intellectual [and] more artificial" notion of "types", and that "he creates [...] humans." The main topic of his subsequent work, Sandqvist argues, was "an archaic world where the farmers and the landlords were free men with equal rights" (or, according to Simuț, "a utopia of archaic heroism"). Thus, Călinescu stresses, Sadoveanu's work seems to be the monolithic creation through which "a single man" reflects "a single, universal nature, inhabited by a single type of man", and which echoes a similar vision of archaic completeness as found in the literature of poet Mihai Eminescu. The similarity in vision with Eminescu's "nostalgia, return, protest, demand, aspiration toward a [rural] world [he has] left" was also proposed by Vianu, while Topîrceanu spoke of "the paradoxical discovery that [Sadoveanu] is our greatest poet since Eminescu." Mihail Sadoveanu also shaped his traditionalist views on literature by investigating Romanian folklore, which he recommended as a source of inspiration to his fellow writers during his 1923 speech at the Romanian Academy. In Călinescu's view, Sadoveanu's outlook on life was even mirrored in his physical aspect, his "large body, voluminous head, his measured shepherd-like gestures, his affluent but prudent and monologic speech [and] feral indifference; his eyes [...] of an unknown race." His assessment of the writer as an archaic figure, bluntly stated in a 1930 article ("I believe him to be very uncultured"), was contrasted by other literary historians: Alexandru Paleologu described Sadoveanu as a prominent intellectual figure, while his own private notes show that he was well-read and acquainted with the literatures of many countries. Often seen as a spontaneous writer, Sadoveanu nevertheless took pains to elaborate his plots and research historical context, keeping most records of his investigations confined to his diaries. Debut The writer's debut novel, Povestiri, was celebrated for its accomplished style, featuring early drafts of all themes he developed upon later in life. However, Călinescu argued, some of the stories in the volume were still "awkward", and showed that Sadoveanu had problems in outlining epics. The pieces mainly feature episodes in the lives of boyars (members of Moldavia's medieval aristocracy), showing the ways in which they relate to each other, to their servants, and to their country. In one of the stories, titled Cântecul de dragoste ("The Love Song"), Sadoveanu touches on the issue of slavery, depicting the death of a Rom slave who is killed by his jealous master, while in Răzbunarea lui Nour ("Nour's Revenge"), a boyar refuses to make his peace with God until his son's death is avenged. Other fragments deal solely with the isolated existence of villagers: for example, in Într-un sat odată ("Once, in a Village"), a mysterious man dies in a Moldavian hamlet, and the locals, unable to discover his identity, sell his horse. The prose piece Năluca ("The Apparition") centers on the conjugal conflict between two old people, both of whom attempt to hide the shame of their past. George Călinescu notes that, particularly in Năluca, Sadoveanu begins to explore the staple technique of his literary contributions, which involves "suggesting the smolder of passions [through] a contemplative breath in which he evokes a static element: landscapes or set pieces from nature." Sadoveanu's subsequent collection of short stories, Dureri înăbușite, builds on the latter technique and takes his work into the realm of social realism and naturalism (believed by Călinescu to have been borrowed from either the French writer Émile Zola or from the Romanian Alexandru Vlahuță). For Călinescu, this choice of style brought "damaging effects" on Sadoveanu's writings, and made Dureri înăbușite "perhaps the poorest" of his collections of stories. In Lovinescu's view, Sadoveanu's move toward naturalism did not imply the necessary recourse to objectivity. The pieces focus on dramatic moments of individual existences. In Lupul ("The Wolf"), an animal is chased and trapped by a group of peasants; the eponymous character in Ion Ursu leaves his village to become a proletarian, and succumbs to alcoholism; the indentured laborer in Sluga ("The Servant") is unable to take revenge on his cruel employer at the right moment; in Doi feciori ("Two Sons"), a boyar comes to feel affection for his illegitimate son, whom he has nonetheless reduced to a lowly condition. In 1905, Sadoveanu also published Povestiri din război ("Stories from the War"), which compose scenes from the lives of Romanian soldiers fighting in the War of 1878. Objecting to a series of exaggerations in the book, Time nevertheless noted that Sadoveanu "sometimes had the writing skill to make compelling even quite traditional reactions to old-fashioned war". It concluded: "Sadoveanu's sketches have the virtues—and the vices—of old hunting prints and the romantically mannered battle scenes of the 19th century." Early selections of major themes Sadoveanu renounces this grim perspective on life in his volume Crâșma lui Moș Petcu, where he returns to a depiction of rural life as unchanged by outside factors. Petcu's establishment, located on the Moldova Valley, is a serene place, visited by quiet and subdued customers, whose occasional outburst of violence are, according to Călinescu, "dominated by slow, stereotypical mechanics, as is with people who can only accommodate within them a single drama." The literary critic celebrated Crâșma lui Moș Petcu for its depictions of nature, whose purpose is to evoke "the indifferent eternity" of conflicts between the protagonists, and who, at times, relies "on a vast richness of sounds and words." He did however reproach the writer "a certain monotony", arguing that Sadoveanu came to use such techniques in virtually all his later works. However, Sadoveanu's stories of the period often returned to a naturalistic perspective, particularly in a series of sketch stories and novellas which portray the modest lives of Romanian Railways employees, of young men drafted into the Romanian Land Forces, of Bovaryist women who playfully seduce adolescents, or of the provincial petite bourgeoisie. At times, they confront the morals of barely literate people with the stern authorities: a peasant obstinately believes that the 1859 union between Wallachia and Moldavia was meant to ensure the supremacy of his class; a young lower-class woman becomes the love interest of a boyar but chooses a life of freedom; and a Rom deserts from the Army after being told to bathe. In La noi, la Viișoara ("At Our Place in Viișoara"), the life of an old man degenerates into bigotry and avarice, to the point where he makes his wife starve to death. Sadoveanu's positive portrayal of hajduks as fundamentally honest outlaws standing up to feudal injustice, replicates stereotypes found in Romanian folklore, and is mostly present in some of the stories through (sometimes recurrent) heroic characters: Vasile the Great, Cozma Răcoare, Liță Florea etc. In the piece titled Bordeenii (roughly, "The Mud-hut Dwellers"), he shows eccentrics and misanthropes presided upon by the dark figure of Sandu Faliboga, brigands who flee all public authority and whom commentators have likened to settlers of the Americas. Lepădatu, an unwanted child, speaks for the entire group: "What could I do [...] wherever there are big fairs and lots of people? I'd have a better time with the cattle; it is with them that I have grown up and with them that I get along." Romanticizing the obscure events of early medieval history in Vremuri de bejenie ("Roving Times", 1907), Sadoveanu sketches the improvised self-defense of a refugee community, their last stand against nomadic Tatars. In reference to the stories in this series, Călinescu stresses that Sadoveanu's main interest is in depicting men and women cut away from civilization, who view the elements of Westernization with nothing more than "wonderment": "Sadoveanu's literature is the highest expression of the savage instinct." In later works, the critic believed, Sadoveanu moved away from depicting isolation as the escape of primitives into their manageable world, but as "the refinement of souls whom civilization has upset." These views are echoed by Ovid Crohmălniceanu, who believes that, unlike other Romanian Realists, Sadoveanu was able to show a peasant society that was not merely the prey of modern corruption or historical oppression, but rather refusing all contacts with the wider world—even to the point of Luddite-like hostility in front of new objects. Some of the early stories, Crohmălniceanu argues, do follow the moralizing Sămănătorist pattern, but part with it when they refuse to present the countryside in "idyllic" fashion, or when they adopt a specific "mythical realism". Sadoveanu began his career as a novelist with more in-depth explorations into subjects present in his stories and novellas. At the time, Crohmălniceanu stresses, he was being influenced by the naturalism of Caragiale (minus the comedic effect), and by his own experience growing up in characteristically underdeveloped Moldavian cities and târguri (somewhat similar to the aesthetic of boredom, adopted in poetry by George Bacovia, Demostene Botez or Benjamin Fondane). Among his first works of the kind is Floare ofilită ("Wizened Flower"), where a simple girl, Tincuța, marries a provincial civil servant, and finds herself deeply unhappy and unable to enrich her life on any level. Tincuța, seen by Călinescu as one of Sadoveanu's "savage" characters, only maintains urban refinement when persuading her husband to return for supper, but, according to Crohmălniceanu, is also a credible witness to the "small-mindedness" of "bourgeois" environments. A rather similar plot is built for Însemnările lui Neculai Manea ("The Recordings of Neculai Manea"), where the eponymous character, an educated peasant, experiences two unhappy romantic affairs before successfully courting a married woman who, although grossly uncultured, makes him happy. Apa morților ("The Dead Men's Water") is about a Bovaryist woman who discards lovers over imprecise feelings of dissatisfaction, finding refuge in the monotonous countryside. Călinescu noted that such novels were "usually less valuable than direct accounts", and deemed Însemnările lui Neculai Manea "without literary interest"; in Ovid Crohmălniceanu's view, the same story presents relevant detail on professional and intellectual failure. Praised by its commentators, the short novel Haia Sanis (1908) shows the eponymous character, a Jewish woman who throws herself into the arms of a local Gentile, although she knows him to be a seducer. Călinescu, who wrote with admiration about how the subject dissimulated pathos into "technical indifference", notes that the erotic rage motivating Haia has drawn "well justified" comparisons with Jean Racine's tragedy Phèdre. Crohmălniceanu believes Haia Sanis to be "perhaps [Sadoveanu's] best novella", particularly since the "wild beauty" Haia has to overcome at once antisemitism, endogamy and shame, before dying "in terrible pain" during a botched abortion. Sadoveanu's work of the time also includes Balta liniștii ("Tranquillity Pond"), where Alexandrina, pushed into an arranged marriage, has a belated and sad revelation of true love. In other sketch stories, such as O zi ca altele ("A Day like Any Other") or Câinele ("The Dog"), Sadoveanu follows Caragiale's close study of suburban banality. Hanu Ancuței, Șoimii and Neamul Șoimăreștilor The novella Hanu Ancuței ("Ancuța's Inn"), described by George Călinescu as a "masterpiece of the jovial idyllicism and barbarian subtlety", and by Z. Ornea as the first evidence of Sadoveanu's "new age", is a frame story in the line of medieval allegories such as Giovanni Boccaccio's Decameron and Geoffrey Chaucer's Canterbury Tales. It retells the stories of travelers meeting in the eponymous inn. Much of the story deals with statements of culinary tastes and shared recipes, as well as with the overall contrast between civilization and rudimentary ways: in one episode of the book, a merchant arriving from the Leipzig Trade Fair bemuses the other protagonists when he explains the more frugal ways and the technical innovations of Western Europe. Sadoveanu applied the same narrative technique in his Soarele în baltă ("The Sun in the Waterhole"), which, Călinescu argues, displays "a trickier style." In Șoimii, Sadoveanu's first historical novel, the main character is Nicoară Potcoavă, a late 16th-century Moldavian nobleman who became Hetman of the Zaporozhian Cossacks and Prince of Moldavia. The narrative, whose basic lines had been drawn by Sadoveanu in his adolescent years, focuses on early events in Nicoară's life, building on the story according to which he and his brother Alexandru were the brothers of Prince Ioan Vodă cel Cumplit, whose execution by the Ottomans they tried to avenge. The text also follows their attempt to seize and kill Ieremia Golia, a boyar whose alleged betrayal had led to Prince Ioan's capture, and whose daughter Ilinca becomes the brothers' prisoner. This story as well features several episodes where the focus is on depicting customary feasts, as well as a fragment where the Potcoavăs and their Zaporozhian Cossack allies engage in binge drinking. Glossing over several years in Nicoară's life, and culminating in his seizure of the throne, the narrative shows his victory against pretender Petru Șchiopul and Golia, and the price he has to pay for his rise. Alexandru, who falls in love with Ilinca, unsuccessfully asks for the captured Golia not to be killed. Following the murder, both brothers become embittered and renounce power. Călinescu described Șoimii novel as "still awkward", noting that Sadoveanu was only beginning to experiment with the genre. The 1915 Neamul Șoimăreștilor is a Bildungsroman centered on the coming of age of one Tudor Șoimaru. The protagonist, born a free peasant in Orhei area, fights alongside Ștefan Tomșa in the 1612 battles to capture the Moldavian throne. After participating in the capture of Iași, he returns home and helps local boyar Stroie in recovering his daughter, Magda, who had been kidnapped by Cossacks. Șoimaru, who feels for Magda, is however enraged by news that her father has forced his community into serfdom. Trying to deal with his internal conflict, he travels into Poland–Lithuania, where he discovers that Stroie is plotting against Tomșa, while Magda, who is in love with a szlachta nobleman, scorns his affection. He returns a second time to Orhei, marries into his social group, and plots revenge on Stroie by again rallying with Ștefan Tomșa. Following Tomșa's defeat, he again loses the lands of his ancestors, as Stroie returns home to celebrate his victory and have the Șoimarus put to death. Unexpectedly warned of this by Magda, Tudor manages to turn the tide: he and his family destroy Stroie's manor, killing the master but allowing Magda to escape unharmed. In Călinescu's view, the novel is "somewhat more consistent from an epic perspective", but fails to respect the conventions of the adventure novel it sets out to replicate. The critic, who deemed Magda's courtship by Tudor "sentimental", argued that the book lacks "the richness and unpredictable nature of the love intrigue"; he also objected to the depiction of Tudor as indecisive and inadequate for a heroic role. However, Ovid Crohmălniceanu argued that the suddenness of Tudor's sentimental commitments was characteristic for the "peasant soul" as observed by Sadoveanu. Zodia Cancerului and Nunta Domniței Ruxandra Zodia Cancerului, Sadoveanu's later historical novel, is set late in the 17th century, during the third rule of Moldavian Prince Gheorghe Duca, and is seen by Călinescu as "of a superior artistic level." The plot centers on a conflict between Duca and the Ruset boyars: the young Alecu Ruset, son of the deposed Prince Antonie, is spared persecution on account of his good relations with the Ottomans, but has to live under close watch. Himself a tormented, if cultured and refined, man, Alecu falls in love with Duca's daughter Catrina, whom he attempts to kidnap. The episode, set to coincide with the start of a major social crisis, ends with Alecu's defeat and killing on Duca's orders. In the background, the story depicts the visit of an Abbé de Marenne, a Roman Catholic priest and French envoy, who meets and befriends Ruset. Their encounter is another opportunity for Sadoveanu to show the amiable but incomplete exchange between the mentalities of Western and Eastern Europe. In various episodes of the novel, de Marenne shows himself perplexed by the omnipresent wilderness of underpopulated Moldavia, and in particular by the abundance of resources this provides. In one paragraph, seen by George Călinescu as a key to the book, Sadoveanu writes: "[De Marenne's] curious eye was permanently satisfied. Here was a desolation of solitudes, one that his friends in France could not even guess existed, no matter how much imagination they had been gifted with; for at the antipode of civilization one occasionally finds such things that have remained unchanged from the onset of creation, preserving their mysterious beauty." In a shorter novel of the period, Sadoveanu explored the late years of Vasile Lupu's rule over Moldavia, centering on the marriage of Cossack leader Tymofiy Khmelnytsky and Lupu's daughter, Ruxandra. Titled Nunta Domniței Ruxandra ("Princess Ruxandra's Wedding"), it shows the Cossacks' brutal celebration of the event around the court in Iași, depicting Tymofiy himself as an uncouth, violent and withdrawn figure. The narrative then focuses on the Battle of Finta and the siege of Suceava, through which a Wallachian-Transylvanian force repelled the Moldo-Cossack forces and, turning the tide, entered deep into Moldavia and placed Gheorghe Ștefan on the throne. Sadoveanu also invents a love story between Ruxandra and the boyar Bogdan, whose rivalry with Tymofiy ends in the latter's killing. While Călinescu criticized the plot as being over-detailed, and the character studies as incomplete, Crohmălniceanu found the intricate depiction of boyar customs to be a relevant part of Sadoveanu's "vast historical fresco." In both Zodia Cancerului and Nunta Domniței Ruxandra, the author took significant liberties with the historical facts. In addition to Tymofiy's death at the hands of Bogdan, the latter narrative used invented or incorrect names for some of the personages, and portrays the muscular, mustachioed, Gheorghe Ștefan as thin and bearded; likewise, in Zodia Cancerului, Sadoveanu invents the character Guido Celesti, who stands in for the actual Franciscan leader of Duca's Iași, Bariona da Monte Rotondo. Frații Jderi, Venea o moară pe Siret... and Baltagul With Frații Jderi, Sadoveanu's fresco of Moldavian history maintains its setting, but moves back in time to the 15th century rule of Prince Stephen the Great. Writing in 1941, before its final part was in print, Călinescu argued that the novel was part of Sadoveanu's "most valuable work", and noted "the maturity of its verbal means." In the first volume, titled Ucenicia lui Ionuț ("Ionuț's Apprenticeship"), the eponymous Jderi brothers, allies of Stephen and friends of his son Alexandru, fight off the enemies of their lord on several occasions. In what is the start of a Bildungsroman, the youngest Jder, Ionuț Păr-Negru, consumed by love for Lady Nasta, who was kidnapped by Tatars. He goes to her rescue, only to find out that she had preferred suicide to a life of slavery. Călinescu, who believed the volumes show Sadoveanu's move to the consecrated elements of adventure novels, called them "remarkable", but stressed that the narrative could render "the feeling of stumbling, of a languishing flow", and that the dénouement was "rather depressing". The second book in the series (Izvorul alb, "The White Water Spring") intertwines the life of the Jderi brothers with that of Stephen's family: the ruler weds the Byzantine princess Mary of Mangop, while Simion Jder falls for Marușca, who is supposedly Stephen's illegitimate daughter. The major episodes in the narrative are Marușca's kidnapping by a boyar, her captivity in Jagiellon Poland, and her rescue at the hands of the Jderi. The 1942 conclusion of the cycle, Oamenii Măriei-sale ("His Lordship's Men"), the brothers are shown defending their ancestral rights and their lord against the Ottoman invader and ambivalent boyars, and crushing the former at the Battle of Vaslui. The Jderi books, again set to the background of primitivism and natural abundance, also feature episodes of intense horror. These, Călinescu proposes, are willingly depicted "with an indolent complacency", as if to underline that the slow pace and monumental scale of history give little importance to personal tragedies. The same commentator notes a difference between the role nature plays in the first and second volumes: from serene, the landscape becomes hostile, and people are shown fearing earthquakes and droughts, although contemplative depictions of euphoria play a central part in both writings. The meeting between the wider world and the immobile local tradition surfaces in Frații Jderi as well: a messenger is shown wondering how the letter he brought could talk to the addressee; when she is supposed to encounter strange men, Marușca requests to be allowed to "shy away" in another room; a secondary character, claiming precognition, prepares his own funeral. For the 1925 Venea o moară pe Siret..., Sadoveanu received much critical acclaim. The boyar Alexandru Filotti falls in love with a miller's daughter, Anuța, whom he educates and introduces to high society. The beautiful young lady is also courted by Filotti's son Costi and by the peasant Vasile Brebu—in the end, overwhelmed by jealousy, Brebu kills the object of his affection. George Călinescu writes that the good reception was not fully deserved, claiming that the novel is "colorless", that it was merely based on the writer's early stories, and that it failed in its goal of depicting "crumbling boyardom". In Baltagul (1930), Sadoveanu merged psychological techniques and a pretext borrowed from crime fiction with several of his major themes. Written in just 30 days on the basis of previous drafts, the condensed novel shows Vitoria Lipan, the widow of a murdered shepherd, following in her husband's tracks to discover his killer and avenge his death. Accompanied by her son, and using for a guide the shepherd's dog, Vitoria discovers both the body and the murderer, but, before she can take revenge, her dog jumps on the man and bites into his neck. By means of this plot line, Sadoveanu also builds a fresco of transhumance and traces its ancestral paths, taking as a source of inspiration one of the best-known poems in local folklore, the ballad Miorița. Vitoria's sheer determination is the central aspect of the volume. Călinescu, who ranks the book among Sadoveanu's best, praises its "remarkable artistry" and "unforgettable dialogues", but nonetheless writes that Lipan's "detective-like" search and a "stubbornness" are weak points in the narrative. Crohmălniceanu declares Baltagul one of the "capital works" in world literature, proposing that, on its own, it manages to reconstruct "an entire shepherding civilization"; Cornis-Pope, who rates the book as "Sadoveanu's masterpiece", also notes that it "restated the theme of crime and punishment". Main travel writings and memoirs Before the 1940s, Sadoveanu also became known as a travel writer. His contributions notably include accounts of his hunting trips: Țara de dincolo de negură ("The Land beyond the Fog"), and one dedicated to the region of Dobruja (Priveliști dobrogene, "Dobrujan Sights"). Călinescu wrote that they both comprised "pages of great beauty". Țara de dincolo..., primarily showing recluse men in real-life symbiosis with the wilderness, also attention for its sympathetic depiction of the Hutsuls, a minority Slavic-speaking population, as an ancient tribe threatened by cultural assimilation. Sadoveanu's other travelogues include the reportage Oameni și locuri ("People and Places") and an account of his trips into Bessarabia (Drumuri basarabene, "Bessarabian Roads"). He also collected and commented upon the memoirs of other avid hunters (Istorisiri de vânătoare, "Hunting Stories"). A noted writing in this series was Împărăția apelor ("The Realm of Waters"). It forms a detailed and contemplative memoir of his journeys as a fisherman, and, according to Crohmălniceanu, one of the most eloquent proofs of Sadoveanu's "permanent and intimate correspondence with nature." Călinescu saw the text as a "fantastic vision of the entire aquatic universe", merging a form of pessimism similar to Arthur Schopenhauer's with a "calm kief" (cannabis-induced torpor), and as such illustrating "the great joy of participating in the transformations of matter, of eating and allowing oneself to be eaten." Sadoveanu also contributed an account of his travels into the Netherlands, Olanda ("Holland"). It provides insight into his preoccupation with the meeting of civilization and wilderness: upset by what he called "the [Dutch] rampancy of cleanliness", the writer confesses his perplexity at coming face to face with a contained and structured natural world, and details his own temptation to go "against the current". One of Sadoveanu's main conclusions is that Holland lacks in "true and lively wonders". Sadoveanu also sporadically wrote memoirs of his early life career, such as Însemnări ieșene ("Recordings from Iași"), which deals with the period during which he worked for Viața Românească, a book about the Second Balkan War (44 de zile în Bulgaria, "44 Days in Bulgaria"), and the account of years in primary school, Domnu Trandafir. They were followed in 1944 by Anii de ucenicie ("The Apprenticeship Years"), where Sadoveanu details some of his earliest experiences. Despite his temptation for destroying all raw personal notes, Sadoveanu wrote and kept a large number of diaries, which were never published in his lifetime. Other early writings Also during that time, he retold and prefaced the journeys of Thomas Witlam Atkinson, an English architect and stonemason who spent years in Tartary (a book he titled Cuibul invaziilor, "The Nest of Invasions"). This was evidence of his growing interest in exotic subjects, which he later adapted to a series of novels, where the setting is "Scythia", seen as an ancestral area of culture connecting Central Asia with the European region of Dacia (partly coinciding with present-day Romania). The home of mysterious Asiatic peoples, Sadoveanu's Scythia is notably the background to his novels Uvar and Nopțile de Sânziene. The former shows its eponymous character, a Yakut, exposed to the scrutiny of a Russian officer. In the latter, titled after the ancestral celebration of Sânziene during the month of June, shows a French intellectual meeting a nomadic tribe of Moldavian Rom people, who, the reader learns, are actually the descendants of Pechenegs. Călinescu notes that, in such writings, "the intrigue is a pretext", again serving to depict the vast wilderness confronted with the keen eye of foreign observers. He sees Nopțile de Sânziene as "the novel of millenarian immobility", and its theme as one of mythological proportions. The narrative pretexts, including the Sânziene celebration and the Rom people's social atavism, connect Nopțile... with another one of Sadoveanu's writings, 24 iunie ("June 24"). According to Tudor Vianu, the 1933 fantasy novel Creanga de aur ("The Golden Bow") takes partial inspiration from Byzantine literature, and is evidence of a form of Humanism found in Eastern philosophy. Marcel Cornis-Pope places it among Sadoveanu's "mythic-poetic narratives that explored the ontology and symbolics of history." The writer himself acknowledged that the esoteric nature of the book was inspired by his own affiliation to the Freemasonry, whose symbolism it partly reflected. Its protagonist, Kesarion Brebu, is included by Vianu among the images of sages and soothsayers in Mihail Sadoveanu's fiction, and, as "the last Deceneus", is a treasurer of ancient secret sciences mastered by the Dacians and the Ancient Egyptians. The novel is often interpreted as Sadoveanu's perspective on the Dacian contribution to Romanian culture. Sadoveanu's series of minor novels and stories of the interwar years also comprises a set of usually urban-themed writings, which, Călinescu argues, resemble the works of Honoré de Balzac, but develop into "regressive" texts with "a lyrical intrigue". They include Duduia Margareta ("Miss Margareta"), where a conflict occurs between a young woman and her governess, and Locul unde nu s-a întâmplat nimic ("The Place Where Nothing Happened"), where, in what is a retake on his own Apa morților, Sadoveanu depicts the cultured but bored boyar Lai Cantacuzin and his growing affection for a modest young woman, Daria Mazu. In Cazul Eugeniței Costea ("The Case of Eugenița Costea"), a civil servant kills himself to avoid prosecution, and his end is replicated by that of his daughter, brought to despair by her stepfather's character and by her mother's irrational jealousy. Demonul tinereții ("The Demon of Youth"), believed by Călinescu to be "the most charming" in this series, has for its protagonist Natanail, a university dropout who has developed a morbid fear of women since losing the love of his life, and who lives in seclusion as a monk. In the rural-themed Paștele blajinilor ("Thomas Sunday") of 1935, a defeated brigand seeks a dignified end to his wasted life. Written in 1938, the short story Ochi de urs ("Bear's Eye") introduces its hero Culi Ursake, the toughened hunter, into a bizarre scenery that seems to mock a human's understanding. During the period, Mihail Sadoveanu also wrote children's literature. His most significant pieces in this field are Dumbrava minunată ("The Enchanted Grove", 1926), Măria-sa Puiul Pădurii ("His Highness the Forest Boy", 1931), and a collection of stories adapted from Persian literature (Divanul persian, "The Persian Divan", 1940). Măria-sa Puiul Pădurii is itself an adaptation of the Geneviève de Brabant story, considered "somewhat highbrow" by George Călinescu, while the frame story Divanul persian consciously recalls the work of 19th century Wallachian writer Anton Pann. In 1909, Sadoveanu also published adapted version of two ancient writings: the Alexander Romance (as Alexandria) and Aesop's Fables (as Esopia). His 1921 book Cocostârcul albastru ("The Blue Crane") is a series of short stories with lyrical themes. Among his early writings are two biographical novels which retell historical events from the source, Viața lui Ștefan cel Mare ("The Life of Stephen the Great") and Lacrimile ieromonahului Veniamin ("The Tears of Veniamin the Hieromonk"), both of which, Călinescu objected, lacked in originality. The former, published in 1934, was more noted among critics, for both intimate tone and hagiographic character (recounting Stephen's life on the model of saints' biographies). Socialist realism years Despite the post-1944 change in approach, Sadoveanu's characteristic narrative style remained largely unmodified. In contrast, his choice of themes changed, a transition which reflected political imperatives. At the end of the process, literary historian Ana Selejan argues, Sadoveanu became the most influential prose author among Romanian Socialist realists, equaled only by the younger Petru Dumitriu. Historian Bogdan Ivașcu writes that Sadoveanu's affiliation with "proletarian culture" and "its masquerade", like that of Tudor Arghezi and George Călinescu, although it may have been intended to rally "prestige and depth" to Socialist realism, only succeeded in bring their late works to the level of "propaganda and agitation materials." In contrast to these retrospective assessments, communist literary critics and cultural promoters of the 1950s regularly described Sadoveanu as the model to follow, both before and after Georgy Malenkov's views on culture were adopted as the norm. In his Lumina vine de la Răsărit, the writer built on the opposition between light and darkness, identifying the former with Soviet policies and the latter with capitalism. Sadoveanu thus spoke of "the dragon of my own doubts" being vanquished by "the Sun of the East". Historian Adrian Cioroianu notes that this literary antithesis came to be widely used by various Romanian authors who rallied with Stalinism during the late 1940s, citing among these Cezar Petrescu and the former avant-garde writer Sașa Pană. He also notes that such imagery, accompanied by portrayals of Soviet joy and abundance, replicated an ancient "structure of myth", adapting it to a new ideology on the basis of "what could be imagined, not of what could be believed." Ioan Stanomir writes that Sadoveanu and his fellow ARLUS members use a discourse recalling the theme of a religious conversion, analogous to that of Paul the Apostle (see Road to Damascus), and critic Cornel Ungureanu stresses that Sadoveanu's texts of the period frequently quote the Bible. Following his return from the Soviet Union, Sadoveanu published travelogues and reportage piece, including the 1945 Moscova ("Moscow", co-authored with Traian Săvulescu and economist Mitiță Constantinescu) and the 1946 Caleidoscop ("Kaleidoscope"). In one of these accounts, he details his encounter with Lysenkoist agronomist Nikolay Tsistsin, and claims to have tasted bread made from a brand of wheat which yielded 4,000 kilograms of grain per hectare. In a later memoir, Sadoveanu depicted his existence and the destiny of his country as improved by the communist system, and gave accounts of his renewed journeys in the countryside, where he claimed to have witnessed a "spiritual splendor" supported by "the practice of the new times". He would follow up with hundreds of articles on various subjects, published by the communist press, including two 1953 pieces in which he lamented Stalin's death (one of them referred to the Soviet leader as "the great genius of progressive mankind"). Upon its publication, the political novel Mitrea Cocor, which depicts the hardships and eventual triumph of its eponymous peasant protagonist, was officially described as the first Socialist realist writing in local literature, and as a turning point in literary history. Often compared to Dan Deșliu's ideologized poem Lazăr de la Rusca, it is remembered as a controversial epic dictated by ideological requirements, and argued to have been written with assistance from several other authors. Seen by historiographer Lucian Boia as an "embarrassing literary fabrication", it was rated by literary critics Dan C. Mihăilescu and Luminița Marcu both as one of "the most harmful books in Romanian literature", and by historian Ioan Lăcustă as "a propaganda writing, a failure from a literary point of view". A praise of collectivization policies that some critics believe was a testimony that Sadoveanu was submitting himself and imposing his public to brainwashing, Mitrea Cocor was preceded by Păuna-Mică, a novel which also idealizes collective farming. With his final published work, the 1951-1952 novel Nicoară Potcoavă, Sadoveanu retells the narrative of his Șoimii, modifying the plot and adding new characters. Noted among the latter is Olimbiada, a female soothsayer and healer through whose words Sadoveanu again dispenses his own perspective on human existence. The focus of the narrative is also changed: from the avenger of his brother's death in Șoimii, the pretender becomes a purveyor of folk identity, aiming to reestablish the Moldavia of Stephen the Great's times. Praised early on by Dumitriu, who believed it was proof of "artistic excellence", Nicoară Potcoavă is itself seen as a source for communist-inspired political messages. According to Cornel Ungureanu, this explains why it highlights the brotherhood between Cossacks and Moldavians, supposedly replicating the official view on Soviet-Romanian relations. Cornis-Pope, who considers the novel one of Sadoveanu's "mere variations" on old subjects, suggests that it transforms its protagonist "from medieval fighter into political philosopher who announces the rise of a 'new world'." Victor Frunză also notes that, although Sadoveanu returned to old subjects, he "no longer rises to the level he had reached before the war." The final part of Sadoveanu's creation also comprises a series of pieces where the narrative approach was, according to Crohmălniceanu, "corrected" to show his favorite recluse type won over by the new society. In essence, Ungureanu argues, the new style that of "reportage and plain information, adapted to orders coming from above". Such works include the 1951 Nada Florilor ("The Flowers' Lure") and Clonț-de-fier ("Iron Bucktooth"), alongside an unfinished piece, Cântecul mioarei ("Song of the Ewe"). In Nada..., the peasant boy Culai follows his hero, tinsmith Alecuțu, into factory life. Clonț-de-fier, an ideologized retake on Demonul tinereții, is about a monk returning from seclusion into the world of workers, where the landscape is reshaped by large-scale construction works. According to Ungureanu, it also shows Sadoveanu's universe stripped of "all its deep meanings." While their author came to personify the new cultural guidelines, Sadoveanu's previous books, from Frații Jderi to Baltagul, were subject to communist censorship. Various statements contradicting the ideological guidelines were cut out of new editions: the books in general could no longer include mentions of Bessarabia (a region first incorporated into the Soviet Union by a 1940 occupation) or Romanian Orthodox beliefs. In one such instance, censors of Baltagul removed a character's claim that "the Russian" was by nature "the drunkest of them all, [...] a worthy beggar and singer at the fairs." Politics Nationalism and Humanism Sadoveanu's engagement in politics was marked by abrupt changes in convictions, seeing him move from right- to left-wing stances several times in his life. In close connection with his traditionalist views on literature, but in contrast to his career under a Conservative Party and National Liberal cabinets, Sadoveanu initially rallied with nationalist groups of various hues, associating with both Nicolae Iorga and, in 1906, with the left-wing Poporanists at Viața Românească. An early cause of his was his attempt to reconcile Iorga with the Poporanists, but his efforts were largely fruitless. In the 1910s, the anti-Iorga traditionalist Ilarie Chendi recognized in Sadoveanu one of the Poporanists who promoted "the spiritual healing of our people through culture." Around that time, he formulated a ruralist and nationalist perspective on life, rejecting what he deemed "the hybrid urban world" for "the world of our national realities". In Călinescu's analysis, this signifies that, like his predecessor, the conservative Eminescu, Sadoveanu believed the cities were victims of the "superimposed category" of foreigners, in particular those administrating leasehold estates. Following the 1907 Peasants' Revolt, Sadoveanu sent a report to his Minister of Education Spiru Haret, informing him on the state of rural education, and, beyond this, of the problems faced by villagers in Moldavia. It read: "The leaseholders and landowners, no matter what their nationality, make a mockery of the Romanians' labors. Every surtucar [that is, urbanized character] in the village, mayors, notaries, paper-pushers, shamelessly [and] mercilessly milk this milk cow. They are joined by the priest—who [...] is in disagreement with the teacher." With Neamul Șoimăreștilor, the burdens of feudal society and mercantilism, most of all the restriction of economic rights, were becoming a background theme in his fiction, which later depicted Stephen the Great as the original champion of social justice (Frații Jderi). During most of his World War I activity, Sadoveanu also followed the Poporanists' Russophobia and dislike of the Entente side, describing the Russian Empire's national policies in Bessarabia as far more barbaric than Austria-Hungary's rule over Transylvania. In 1916, he abruptly switched to the Entente camp: his enthusiasm as propaganda officer was touched by controversy once Romania experienced massive defeats; Sadoveanu himself abandoned the Entente cause by 1918, when he was decommissioned, and resumed his flirtation with Constantin Stere's Germanophile lobby. Călinescu sees Sadoveanu, alongside Stere, as one of Viața Româneascăs chief ideologues, noting that he was nonetheless "rendered notorious by his inconsistency and opportunism." He writes that Sadoveanu and Stere both showed a resentment for ethnic minorities, particularly members of the Jewish community, whom they saw as agents of exploitation, but that, as Humanists, they had a form of "humane sympathy" for Jews and foreigners taken individually. The Poporanist aspect of Sadoveanu's literature was also highlighted by Garabet Ibrăileanu in the late 1920s, when he referred to his contributions as evidence that Romanian culture was successfully returning to its specific originality. In essence, Crohmălniceanu writes, Sadoveanu was tied to Viața Românească by his advocacy of national specificity, his preference for the large-scale narrative, and his vision of pristine, "natural", human beings. According to Z. Ornea, Sadoveanu's affiliation to the Freemasonry shaped not only his political "demophilia", but also his "Weltanschauung, and, through a reflex, his [literary] work." By consequence, Ornea argues, Sadoveanu became a supporter of democracy, a stance which led him into open conflict with extreme nationalists. Alongside its Humanism, Sadoveanu's nationalism was noted for being secular, and thus in contrast with the Romanian Orthodox imagery favored by nationalists on the far right. Sadoveanu rejected the notion that ancestral Romanians were religious individuals, stating that their belief was in fact "limited to rituals and customs." He was also a vocal supporter of international cooperation, particularly among countries in Eastern and Central Europe. Writing for the magazine Familia in 1935, 17 years after Transylvania's union with Romania and 15 years after the Treaty of Trianon, Sadoveanu joined the Hungarian author Gyula Illyés in pleading for good relations between the two neighbors. As noted by Crohmălniceanu, although Sadoveanu's interwar novels may depict both clashes between polities and benign misunderstandings, they ultimately discourage ethnic stereotypes, suggesting that "the gifts and qualities of various kinships" are mutually compatible. According to Marcel Cornis-Pope, this cooperative vision is the background theme to Divanul persian, a book "demonstrating the value of intercultural dialogue at a time of sharp political polarization." The same text was described by Vianu as evidence of Sadoveanu's "understanding, gentleness and tolerance". In 1926, the year of his entry into Alexandru Averescu's People's Party, Sadoveanu motivated his choice in a letter to Octavian Goga, indicating his belief that the intelligentsia needed to partake in politics: "It would seem that what is foremost needed is the contribution of intellectuals, in an epoch when the overall intellectual level is decreasing." His sincerity was doubted by his contemporaries: both his friend Gheorghe Jurgea-Negrilești and the communist Petre Pandrea recount how, in 1926–1927, Sadoveanu and Păstorel Teodoreanu requested public funds from Interior Minister Goga, with Sadoveanu motivating that he wanted to set up a cultural magazine and later spending the money on his personal wardrobe. In contrast, Adrian Cioroianu notes that the People's Party episode, and especially the "mutual wariness" between Sadoveanu and the National Liberals, underlined the writer's sympathy for the "intellectual Left". Himself a Marxist, Ovid Crohmălniceanu suggested that, as early as the 1930s, Sadoveanu's attitudes were rather similar to the official line of communist groups. Opposition to fascism and support for King Carol During the 1930s, following his stint as head of Adevărul, a leftist newspaper owned by Jewish entrepreneurs, Sadoveanu was targeted by right-wing voices, who claimed that he had chosen to abandon his nationalist credentials. Thus, Sadoveanu became the target of a press campaign in the antisemitic and fascist press, and in particular in Nichifor Crainic's Sfarmă-Piatră and the journals connected with the Iron Guard. The former publication deplored his supposed "betrayal" of the nationalist cause. In it, Ovidiu Papadima portrayed Sadoveanu as the victim of Jewish manipulation, and equated his affiliation to the Freemasonry with devil worship, and mocked his obesity, while Crainic himself compared the writer to his own character, the treacherous Ieremia Golia. Porunca Vremii often referred to him as Jidoveanu (from jidov, a dismissive term for "Jew"), depicted him as an agent of "Judaeo-communism" motivated by "perversity", and called on the public to harass the writer and beat him with stones. It also protested when the public authorities in Fălticeni refused to withdraw Sadoveanu the title of honorary citizen, and again when the University of Iași made him a doctor honoris causa, and, through the voice of novelist N. Crevedia, even suggested that the writer should use his hunting rifle to commit suicide. In 1937, Porunca Vremii congratulated ultra-nationalists who had organized public burnings of Sadoveanu's works in Southern Dobruja and in Hunedoara, as well as non-identified people who sent the writer packages containing shredded copies of his own volumes. In April 1937, the anti-Sadoveanu campaign was met with the indignation of various public figures, who issued an "Appeal of the Intellectuals", signed by Liviu Rebreanu, Eugen Lovinescu, Petru Groza, Victor Eftimiu, George Topîrceanu, Zaharia Stancu, Demostene Botez, Alexandru Al. Philippide, Constantin Balmuș and others. Denouncing the campaign as a "moral assassination", it referred to Sadoveanu as the author of "the most Romanian [works] in our literature." Sadoveanu himself defended his fellow writer Tudor Arghezi, who stood accused by the far right press of having written "pornography". Reviewing the consequences of these scandals, Ovid Crohmălniceanu suggests that all of what Mihail Sadoveanu wrote from 1938 to 1943 is in some way connected to the cause of anti-fascism. According to Cornis-Pope, Sadoveanu's dislike for the far right can be discovered in Creanga de aur, which doubles as "a political parable opposing an archaic peasant civilization to the growing threat of fascism." However, George Călinescu claims, the writer himself had not actually revised his nationalist outlook, that he continued to believe that minorities and foreigners were a risky presence in Greater Romania, and that his Humanism was "a light tincture". In one of his columns, Sadoveanu replied to those organizing the acts of vandalism, indicating that, had they actually read the novels they were destroying, they would have found "a burning faith in this nation, for so long mistreated by cunning men". Elsewhere, stating that he was not going to take his detractors into consideration, Sadoveanu defined himself as an adversary of both Nazi Germany and any form of advocacy for a "National-Socialist regime in our country". Sadoveanu's subsequent endorsement of authoritarian King Carol II and his corporatist force, the National Renaissance Front, saw his participation in the monarch's personality cult. In 1940, he offered controversial praise to the ruler through the official journal, Revista Fundațiilor Regale, which caused Carol's political adversary, psychologist Nicolae Mărgineanu, to deem Sadoveanu and his fellow contributors "scoundrels". His renewed mandate in the Senate was a favor from Carol, also granted to George Enescu, philosopher Lucian Blaga, scientists Emil Racoviță and Iuliu Hațieganu, and several other public figures. During the Ion Antonescu dictatorship, Sadoveanu kept a low profile and was apolitical. However, Cioroianu writes, he supported the invasion of the Soviet Union and Romania's cooperation with the Axis Powers on the Eastern Front, seeing in this a chance to recover Bessarabia and the northern part of Bukovina (lost to the 1940 Soviet occupation). In spring 1944, months before the King Michael Coup toppled the regime, he was approached by the clandestine Romanian Communist Party and its sympathizers in academia to sign an open letter condemning Romania's alliance to Nazi Germany. According to the communist activist Belu Zilber, who took part in this action, Sadoveanu, like his fellow intellectuals Dimitrie Gusti, Simion Stoilow and Horia Hulubei, refused to sign the document. Also according to Zilber, Sadoveanu motivated his refusal by stating that the letter needed to be addressed not to Antonescu, but to King Michael I. However, and aside from its main topic, Păuna-Mică was noted as one of the few prose works of the 1940s to mention the wartime deportation of Romanian Jews by Antonescu's regime; Caleidoscop also speaks about the 1941 Iași pogrom as "our shame", and commends those who opposed it. Partnership with the communists Following his Lumina vine de la Răsărit lecture, Sadoveanu became noted for his positive portrayals of communization and collectivization. In particular, Sadoveanu offered praise to one of the major pillars of Stalinism, the 1936 Soviet Constitution. In 1945, claiming to have been "flashed upon" by "Stalin's argumentation", he urged the public to read the document for its "sincerity"; elsewhere, he equated reading the constitution with "a mystical revelation". Adrian Cioroianu describes this as "an office assignment" from the ARLUS, at a time when the group was circulating free translated copies of the Soviet constitution. The enthusiasm of his writings also manifested itself in his public behavior: according to his ARLUS colleague Iorgu Iordan, Sadoveanu was emotional during the 1945 Soviet trip, shedding tears of joy upon visiting a day care center in the countryside. Running in the 1946 election, Sadoveanu blamed the old political class in general for the problems faced by Romanian peasants, including the major drought of that year. By then, his political partners were making use of his literary fame, and his electoral pamphlet read: "There is no doubt that the thousands of people who have read his works will rush out on [election day] to vote for him." After 1948, when the Romanian communist regime was installed, Sadoveanu directed his praise toward the new authorities. In 1952, as Romania adopted its second republican constitution and the authorities intensified repression against anti-communists, Sadoveanu made some of his most controversial statements. Declaring the defunct kingdom to have been a "long interval of organized injustice and crooked development in all areas", he presented the new order as an era of social justice, human dignity, available culture and universal public education. Criticism of Sadoveanu's moral choices also focuses on the fact that, while he led a luxurious existence, many of his generation colleagues and fellow intellectuals were being persecuted or jailed in notoriously harsh circumstances. Having tolerated the purge within the Romanian Academy, Cioroianu notes, Sadoveanu accepted being colleagues with newly promoted "secondary characters [...] whom the new regime needed", such as poet Dumitru Theodor Neculuță and historian Mihail Roller. In his official capacity, Sadoveanu even signed several death sentences declared by communist tribunals, and, in the wake of the Tămădău Affair of summer 1947, presided over the Chamber sessions which outlawed the opposition National Peasants' Party: according to researcher Victor Frunză, he was a willing participant in this, having been upset by the exposure of his personal wealth in the National Peasantist press. Later, Sadoveanu made a reference to his former colleague, the National Peasantist activist Ion Mihalache, arguing that his old Agrarianist approach to politics had made him a "ridiculous character". Ioan Stanomir describes this fragment as one of "intellectual abjection", indicating that Mihalache, already a political prisoner of the regime, was to die in captivity. However, as leader of the Romanian Writers' Union, the aging writer is credited by some with having protected poet Nicolae Labiș, a disillusioned communist who had been excluded from the Union of Worker Youth in spring 1954, and whose work Sadoveanu treasured. He is also reported to have helped George Călinescu publish the novel Scrinul negru, mediating between him and communist leader Gheorghe Gheorghiu-Dej. Mihail Sadoveanu provided a definition of his own political transition in conversation with fellow writer Ion Biberi (1946). At the time, he claimed: "I have never engaged in politics, in the sense that one assigns to this word." He elaborated: "I am a left-wing person, following the line of a Poporanist zeal in the spirit of Viața Românească, but one adapted to the new circumstances." Cioroianu sees in such statements evidence that, trying to discard his past, Sadoveanu was including himself among the socialist intellectuals "willing to let themselves be won over by the indescribable charm and the full swing of the communist utopia", but that he may in reality have been "motivated by fear". Paraphrasing communist vocabulary, Stanomir describes the writer as one of the "bourgeois" personalities who became "fellow travelers" of the communists, and argues that Sadoveanu's claim to have always leaned towards a "people's democracy" inaugurated "a pattern of chameleonism". In the view of historian Vladimir Tismăneanu, Sadoveanu, like Parhon, George Călinescu, Traian Săvulescu and others, was one of the "non-communist intellectuals" attracted into cooperation with the Romanian Communist Party and the communist regime (Tismăneanu also argues that these figures' good relationship with Gheorghiu-Dej was a factor in the process, as was Gheorghiu-Dej's ability to make himself look "harmless"). Others have submitted that Sadoveanu's faction in the Freemasonry, which included far left advocates Mihai Ralea and Alexandru Claudian, and officially supported evolutionary socialism, was a natural partner of the communists, to the point of sanctioning its own state-organized suppression. According to Adrian Cioroianu, Sadoveanu was not necessarily an "apostle of communization", and his role in the process is subject to much debate. Describing the writer's "conversion to philosovietism" as "purely contextual", Cioroianu also points out that the very notion of "light arising in the East" is read by some as Sadoveanu's encoded message to other Freemasons, warning them of a Soviet threat to the organization. The historian notes that, for all their possible lack in sincerity, Sadoveanu's statements provided a template for other intellectuals to follow—this, he argues, was the case of Cezar Petrescu. Other statements made by Sadoveanu also displayed a possibly studied ambiguity, as is the case with a 1952 lecture he gave in front of young writers attending the Party-controlled School of Literature, where he implicitly denied that one could be created a writer unless by "God or Mother Nature". Legacy Influence Sadoveanu's prose, in particular his treatment of natural settings, was a direct influence in the works of writers such as Dimitrie D. Pătrășcanu, Nicolae N. Beldiceanu, Jean Bart, and Al. Lascarov-Moldovanu; his storytelling techniques were also sometimes borrowed by comedic novelist Damian Stănoiu, and, in later years, by historical novelist Dumitru Vacariu. According to Călinescu, Sadoveanu's early hunting stories published by Viața Românească, together with those of Junimist Nicolae Gane, helped establish the genre within the framework of Romanian literature, and paved the way for its predilect use in the works of Ioan Alexandru Brătescu-Voinești. Călinescu also notes that Scrisorile unui răzeș ("Letters of a Peasant"), an early work by novelist Cezar Petrescu, are deeply marked by Sadoveanu's influence, and that the same writer's use of the Moldavian dialect is a "pastiche" from Sadoveanu. Ion Vinea too, while expressing admiration for Sadoveanu, defined all his disciples and imitators as "mushroom-writers from Sadoveanu's woods" and "butlers who steal [their lord's lingerie] in order to wear his blazon". The issue was much later discussed by writer-critic Ioan Holban, who likewise described most historical novelists inspired by Sadoveanu as "insignificant" to Romanian letters. Under the early stages of the communist regime, before the rise of Nicolae Ceaușescu engendered a series of rehabilitations and accommodated nationalism, the Romanian curriculum was dependent on ideological guidelines. At the time, Sadoveanu was one of the writers from the interwar whose work was still made available to Romanian schoolchildren. In the 1953 Romanian language and literature manual, he represented his generation alongside the communist authors Alexandru Toma and Alexandru Sahia, and was introduced mainly through his Mitrea Cocor. At the time, studies of his work were published by prominent communist critics, among them Ovid Crohmălniceanu, Paul Georgescu, Traian Șelmaru, Mihai Novicov, Eugen Campus and Dumitru Isac, while a 1953 reissue of Baltagul was published in 30,000 copies (a number rarely met by the Romanian publishing industry in that context). In later years, Profira Sadoveanu became a noted promoter of her father's literature and public image, publishing children's versions of his biography, notably featuring illustrations by Mac Constantinescu (1955 edition). Although Sadoveanu continued to be hailed as a major writer during the Ceaușescu years, and the seventy years of his debut were marked with state ceremony, the reaction against Soviet influence affected presentations of his work: his official bibliography no longer included any mention of Păuna-Mică. Among the memoirs dealing with Sadoveanu's late years were those of Alexandru Rosetti, published in 1977. The official revival of nationalist discourse in the 1960s allowed controversial critic Edgar Papu to formulate his version of Protochronism, which postulated that phenomenons within Romanian culture preceded developments in world culture. In this context, Papu spoke of Sadoveanu as "one of the great precursory voices", comparing him to Rabindranath Tagore. After the 1989 Revolution toppled communism, Sadoveanu remained an influence on some young authors, who recovered the themes of his work in a Postmodern or parodic manner. Among them is Dan Lungu, who, according to critic Andrei Terian, alluded to the Hanu Ancuței frame story when constructing his 2004 novel Paradisul găinilor. In 2001, a poll carried among literati by Observator Cultural magazine listed six of his works as some of the best 150 Romanian novels. Mihail Sadoveanu's various works were widely circulated abroad. This phenomenon began as early as 1905, when German-language translations were first published, and continued during the 1930s, when Venea o moară pe Siret... was translated very soon after its original Romanian edition. In 1931, female author and feminist militant Sarina Cassvan included French-language versions of his texts into an anthology designed to promote modern Romanian culture internationally. Also then, some of Sadoveanu's texts were rendered in Chinese by Lu Xun. Tudor Vianu attributes the warm international reception Sadoveanu generally received to his abilities in rendering the Romanians' "own way of sensing and seeing nature and humanity", while literary historian Adrian Marino points out that, Sadoveanu and Liviu Rebreanu were exceptional in their generation for taking an active interest in how their texts were translated, edited and published abroad. Later, publicizing Sadoveanu's work to Eastern Bloc and world audiences became a priority for the communist regime. Thus, Mitrea Cocor was, together with similar works by Zaharia Stancu and Eusebiu Camilar, among the first wave of Romanian books to have been translated into Czech and published in Communist Czechoslovakia. Alongside similar works by Petru Dumitriu, Mitrea Cocor was also among the few English-language editions sanctioned by the Romanian regime, being translated and published, with a preface by Jack Lindsay, in 1953. Nine years later, the collected short stories were a tool for cultural exchange between Romania and the United States. Sadoveanu's good standing in the Soviet Union after World War II also made him one of the few Romanian writers whose works were still being published in the Moldavian SSR (which, as part of Bessarabia, had previously been a region of Greater Romania). Sadoveanu's diaries and notes were collected and edited during the early 2000s, being published in 2006 by Editura Junimea and the MLR. The main coordinators of this project were literary historian Constantin Ciopraga and Constantin Mitru, who was Sadoveanu's brother-in-law and personal secretary. The popularity of his writings remained high into the early 21st century: in 2004, when the country marked a hundred years since Sadoveanu's debut, Șoimii was published in its 15th edition. According to Simuț, the occasion itself was nevertheless marked with "the impression of general indifference", making Sadoveanu seem "a submerged continent, remembered by us only with piousness and confusion". Tributes Sadoveanu is an occasional presence in the literary works of his fellow generation members. His Țara de dincolo de negură was partly written as a tribute to George Topîrceanu's piece of the same name, with both authors sketching an affectionate portrait of one another. Topîrceanu also parodied his friend's style in a five-paragraph sketch, part of a series of such fragments, recorded their encounters in various other autobiographical writings, and dedicated him the first version of his poem Balada popii din Rudeni ("Ballad of the Priest from Rudeni"). Under the name Nicolae Pădureanu, Sadoveanu is a character in the novel and disguised autobiography În preajma revoluției ("On the Eve of the Revolution"), authored by his colleague Constantin Stere. Sadoveanu is honored in two writings by Nicolae Labiș, collectively titled Sadoveniene ("Sadovenians"). The first, titled Mihail Sadoveanu, is a prose poem which alludes to Sadoveanu's prose, and the other, a free verse piece, is titled Cozma Răcoare. In his scientific study of Sadoveanu's work, Eugen Lovinescu himself turns to pure literature, portraying Sadoveanu as a child blessed by the Moirai or ursitoare with ironic gifts, such as an obstinacy for nature writing in the absence of actual observation ("You shall write; you shall write and could never stop yourself writing [...]. The readers will grow tired, but you will remain tireless; you shall not known rest, just as you shall not know nature [...]"). George Călinescu was one to object to this portrayal, noting that it was merely a "literary device which hardly covers the emptiness of [Lovinescu's] idea." Also during the interwar, philosopher Mihai Ralea made Mihail Sadoveanu the subject of a sociological study investigating his literary contributions in the context of social evolutions. A portrait of Sadoveanu was drawn by graphic artist Ary Murnu, within a larger work which depicts the Kübler Coffeehouse society. Sadoveanu was also the subject of a 1929 painting by Ștefan Dumitrescu, part of a series on Viața Românească figures. In its original edition, Mitrea Cocor was supposed to feature a series of drawings made by Corneliu Baba, one of the best-known Romanian visual artists for his generation. Baba, who had been officially criticized for "formalism", was pressured by the authorities into accepting the commission or risk a precarious existence. The result of his work was rejected with a similar label, and the sketches were for long not made available to the public. Baba also painted Sadoveanu's portrait, which, in 1958, art critic Krikor Zambaccian as "the synthesis of Baba's art", depicting "a man of letters aware of his mission [and] the leading presence of an active consciousness". Constantin Mitru inherited the painting and passed it on to the Museum of Romanian Literature (MLR). A marble bust of Sadoveanu, the work of Ion Irimescu, was set up in Fălticeni in 1977. In Bucharest, a memorial plaque was placed on Pitar Moș Street, on a house where he lived for a period. During the 1990s, another bust of Sadoveanu, the work of several sculptors, was unveiled in Chișinău, Republic of Moldova (the former Moldavian SSR), part of the Aleea Clasicilor sculptural ensemble. Sadoveanu's writings also made an impact on film culture, and in particular on Romanian cinema of the communist period. However, the first film based on his works was a German production of 1929: based on Venea o moară... and titled Sturmflut der Liebe ("Storm Tide of Love"), it notably starred Marcella Albani, Alexandru Giugaru and Ion Brezeanu. The series of Romanian-made films began with the 1952 Mitrea Cocor, co-directed by Marietta Sadova (who also starred in the film) and Victor Iliu. The film itself was closely supervised for conformity with ideological guidelines, and had to be partly redone because its original version did not meet them. Mircea Drăgan directed a 1965 version of Neamul Șoimăreștilor (with a screenplay co-written by Constantin Mitru) and a 1973 adaptation of Frații Jderi (with contributions by Mitru and by Profira Sadoveanu). In 1969, Romanian studios produced a film version of Baltagul, directed by Mircea Mureșan and with Sidonia Manolache as Vitoria Lipan. Ten years later, Constantin Vaeni released Vacanță tragică ("Tragic Holiday"), based on Nada Florilor, followed by a 1980 adaptation of Dumbrava minunată and Stere Gulea's 1983 Ochi de urs (tr. "The Bear Eye's Curse"). In 1989, just before the Romanian Revolution, Dan Pița produced his film The Last Ball in November, based on Locul unde nu s-a întâmplat nimic. During the early decades of communist rule, Sadoveanu, Alexandru Toma and later Tudor Arghezi were often paid homage with state celebrations, likened by literary critic Florin Mihăilescu to the personality cult reserved for Stalin and Gheorghe Gheorghiu-Dej. For a while after the writer's death, the Writers' Union club, commonly known as "The Writers' House", bore Sadoveanu's name. Casa cu turn in Iași, which Sadoveanu had donated to the state in 1950, went through a period of neglect and was finally set up as a museum in 1980. Similar sites were set up in his Fălticeni house, and in his final residence at Voividenia, while the Bradu-Strâmb chalet was controversially granted to the Securitate, and later to the Romanian Police. Each year, Iași commemorates the writer through a cultural festival known as the "Mihail Sadoveanu Days". In 2004, the 100th anniversary of his debut was marked by a series of exhibits and symposiums, organized by the MLR. Similar events are regularly held in various cities, and include the "In Sadoveanu's Footsteps" colloquy of writers, held during March 2006 in the city of Piatra Neamț. Since 2003, in tribute to Sadoveanu's love for the game, an annual chess tournament is held in Iași. The Sadoveanu High School and a bookstore in Bucharest are named after him, and streets named after him exist in, among other places, Iași, Fălticeni, Timișoara, Oradea, Brașov, Galați, Suceava, Călărași, Târgu Jiu, Miercurea Ciuc, Petroșani, and Mangalia. Pașcani hosts a cultural center, a high school and a library named after him. Sadoveanu's memory is also regularly honored in the Republic of Moldova, where, in 2005, the 125th anniversary of his birth was celebrated in an official context. A street in Chișinău and a high school in the town of Cupcini are also named after him. Selected works Fiction 1902 - Frații Potcoavă 1904 - Șoimii 1905 - Floare ofilită 1906 - Însemnările lui Neculai Manea 1907 - La noi, la Viișoara 1907 - Vremuri de bejenie 1908 - Balta liniștii 1908 - Haia Sanis 1911 - Apa morților 1915 - Neamul Șoimăreștilor 1925 - Venea o moară pe Siret... 1928 - Hanu Ancuței 1929 - Zodia Cancerului 1930 - Baltagul 1932 - Nunta Domniței Ruxandra 1932 - Uvar 1933 - Creanga de aur 1934 - Nopțile de Sânziene 1935-1942 - Frații Jderi 1949 - Mitrea Cocor 1951-1952 - Nicoară Potcoavă Non-fiction 1907 - Domnu Trandafir 1908 - Oameni și locuri 1914 - Priveliști dobrogene 1916 - 44 de zile în Bulgaria 1921 - Drumuri basarabene 1926 - Țara de dincolo de negură 1928 - Împărăția apelor 1928 - Olanda 1936 - Însemnări ieșene 1937 - Istorisiri de vânătoare 1944 - Anii de ucenicie Notes References Lucian Boia, "Germanofilii". Elita intelectuală românească în anii Primului Război Mondial, Humanitas, Bucharest, 2010. Lucian Boia (ed.), Miturile comunismului românesc, Editura Nemira, Bucharest, 1998. : Lucian Boia, "Un nou Eminescu: A. Toma", p. 71-81 Adrian Cioroianu, "Lumina vine de la Răsărit. 'Noua imagine' a Uniunii Sovietice în România postbelică, 1944-1947", p. 21-68 George Călinescu, Istoria literaturii române de la origini pînă în prezent, Editura Minerva, Bucharest, 1986 Paul Cernat, Avangarda românească și complexul periferiei: primul val, Cartea Românească, Bucharest, 2007. Ilarie Chendi, "Vieața literară în 1911 (o privire generală)", in Luceafărul, Nr. 3/1912, p. 61-65 (digitized by the Babeș-Bolyai University Transsylvanica Online Library) Adrian Cioroianu, , Editura Curtea Veche, Bucharest, 2005. Marcel Cornis-Pope, "Shifting Perspectives and Voices in the Romanian Novel"; "The Search for a Modern, Problematizing Historical Consciousness: Romanian Historical Fiction and Family Cycles", in Marcel Cornis-Pope, John Neubauer (eds.), History of the Literary Cultures of East-Central Europe, John Benjamins, Amsterdam & Philadelphia, 2004, p. 441-456, 499–505. Ovid Crohmălniceanu, Literatura română între cele două războaie mondiale, Vol. I, Editura Minerva, Bucharest, 1972. Victor Frunză, Istoria stalinismului în România, Humanitas, Bucharest, 1990. Florin Mihăilescu, De la proletcultism la postmodernism, Editura Pontica, Constanța, 2002. Z. Ornea, Anii treizeci. Extrema dreaptă românească, Editura Fundației Culturale Române, Bucharest, 1995. Junimea și junimismul, Vol. II, Editura Minerva, Bucharest, 1998. Petre Răileanu, "Construcție și semnificație în ficțiunea istorică", preface to Mihail Sadoveanu, Nicoară Potcoavă, Editura Militară, 1990, p. 5-17. Tom Sandqvist, Dada East. The Romanians of Cabaret Voltaire, MIT Press, Cambridge, Massachusetts & London, 2006. Ana Selejan, Literatura în totalitarism. Vol. II: Bătălii pe frontul literar, Cartea Românească, Bucharest, 2008. Ioan Stanomir, "Facerea lumii", in Paul Cernat, Ion Manolescu, Angelo Mitchievici, Ioan Stanomir, Explorări în comunismul românesc, Polirom, Iași, 2004, p. 13-45. George Topîrceanu, Scrieri, Vols. I-II (preface, chronological table and notes by Al. Săndulescu), Editura Minerva, Bucharest, 1983. Cristian Vasile, Literatura și artele în România comunistă. 1948-1953, Humanitas, Bucharest, 2010. Tudor Vianu, Scriitori români, Vols. I-II, Editura Minerva, Bucharest, 1970. Krikor Zambaccian, Corneliu Baba, Editura de stat pentru literatură și artă, Bucharest, 1958. External links Roumanian Stories. Translated by Lucy Byng (includes three of Sadoveanu's works), at the University of Washington's DXARTS/CARTAH Electronic Text Archive A Boyar's Sin (excerpt), A Worried Man, His Majesty's Mare, Idle Hours, Master Trandafir (excerpts), The Enchanted Grove (excerpts), The Place Where Nothing Happened (excerpt), The Vesper Bell, Vitoria Lipan (fragment from Baltagul), translations in the Romanian Cultural Institute's Plural Magazine (various issues) "Peace Partisans Meeting aka Peace Meeting" (Rome, 1949) British-Pathé newsreel showing Sadoveanu and other delegates |- 1880 births 1961 deaths Romanian biographers Male biographers Romanian children's writers Romanian crime fiction writers Romanian essayists Romanian fantasy writers Romanian historical novelists Romanian magazine editors Romanian magazine founders Romanian memoirists Romanian newspaper editors 20th-century Romanian novelists Romanian male novelists Romanian poets Romanian male poets Romanian textbook writers Romanian translators Romanian travel writers 19th-century short story writers 20th-century short story writers Romanian male short story writers Romanian short story writers Romanian theatre managers and producers Social realism Socialist realism writers Poporanists Adevărul editors Adevărul writers Titular members of the Romanian Academy People's Party (interwar Romania) politicians 20th-century Romanian politicians Presidents of the Senate of Romania Presidents of the Chamber of Deputies (Romania) Members of the Chamber of Deputies (Romania) Members of the Great National Assembly Heads of state of Romania Romanian activists Romanian Freemasons Masonic Grand Masters Romanian nationalists Romanian pacifists Romanian propagandists Romanian humanists Censorship in Romania Lenin Peace Prize recipients People from Pașcani Romanian civil servants Romanian Land Forces officers Romanian military personnel of the Second Balkan War Romanian people of World War I Romanian people of World War II Burials at Bellu Cemetery 19th-century Romanian writers 20th-century Romanian writers 20th-century essayists 20th-century memoirists 20th-century translators
false
[ "In law, a comminatory is a clause inserted into a law, edict, patent, etc., describing a punishment that is to be imposed on delinquents, which, however, is not in practice executed with the rigor that is conveyed in the description, or not even executed at all.\n\nThus, in some countries, when an exile is enjoined not to return on pain of death, it is deemed a comminatory penalty, since, if he did return, it is not strictly executed, but instead the same threat is laid on him again, which is more than comminatory.\n\nSee also\nColloquy (law)\n\nReferences\n\nPunishments", "Woodlawn-Rockdale-Milford Mills was a Census-designated place in Baltimore County during the 1960 United States Census, which consists of the communities of Milford Mill, Rockdale and Woodlawn. The population in 1960 was 19,254.\n\nThe census area's name was reorganized as \"Woodlawn-Woodmoor\" during the 1970 Census, when the population recorded was 28,811. Milford Mill did not return separately by census enumerators until 1980. Woodlawn did not return separately by census enumerators until 1980 under the name \"Security\". Rockdale became part of Milford Mill's census area.\n\nGeography\nThe census area of Woodlawn-Rockdale-Milford Mills was located west of Baltimore and southeast of Randallstown.\n\nReferences\n\nGeography of Baltimore County, Maryland\nFormer census-designated places in Maryland" ]
[ "Mihail Sadoveanu", "1910s and World War I", "what happened in 1910's?", "In 1910, he was also appointed head of the National Theater Iasi, a position which he filled until 1919.", "what else was he appointed to?", "He was a leading presence at Minerva newspaper, alongside Anghel and critic Dumitru Karnabatt,", "what was his greatest accomplishment named in the article?", "Mihail Sadoveanu became a professional writer in 1908-1909, after joining the Romanian Writers' Society,", "who did he work with?", "he, Iosif, and Anghel, together with author Emil Garleanu,", "what did they do?", "set up Cumpana, a monthly directed against both Ovid Densusianu's eclecticism and the Junimist school (the magazine was no longer in print by 1910", "what is the most important fact in this article?", "Sadoveanu was again called under arms during the Second Balkan War of 1913,", "what did he do?", "Having reached the rank of Lieutenant, he was stationed in Falticeni with the 15th Infantry Regiment,", "was he there the entire time?", "He returned to literary life.", "when did he return?", "Becoming good friends with poet and humorist George Topirceanu, he accompanied him and other writers on cultural tours during 1914 and 1915." ]
C_f789d8273c5b43b2a57524472ce50d02_0
where did they tour?
10
where did Mihail Sadoveanu, George Topirceanu, and their group tour?
Mihail Sadoveanu
Sadoveanu returned to his administrative job in 1907, the year of the Peasants' Revolt. Kept in office by the National Liberal cabinet of Ion I. C. Bratianu, he served under the reform-minded Education Minister Spiru Haret. Inspired by the bloody outcome of the Revolt, as well as by Haret's moves to educate the peasantry, Sadoveanu reportedly drew suspicion from the Police when he published self-help guides aimed at industrious ploughmen, a brand of social activism which even resulted in a formal inquiry. Mihail Sadoveanu became a professional writer in 1908-1909, after joining the Romanian Writers' Society, created in the previous year by poets Cincinat Pavelescu and Dimitrie Anghel, and becoming its President in September of that year. The same year, he, Iosif, and Anghel, together with author Emil Garleanu, set up Cumpana, a monthly directed against both Ovid Densusianu's eclecticism and the Junimist school (the magazine was no longer in print by 1910). At the time, he became a noted presence among the group of intellectuals meeting in Bucharest's Kubler Coffeehouse. In 1910, he was also appointed head of the National Theater Iasi, a position which he filled until 1919. That year, he translated from the French one of Hippolyte Taine's studies on the genesis of artworks. He resigned his office within the Writers' Society in November 1911, being replaced by Garleanu, but continued to partake in its administration as a member of its leadership committee and a censor. He was a leading presence at Minerva newspaper, alongside Anghel and critic Dumitru Karnabatt, and also published in the Transylvanian traditionalist journal, Luceafarul. Sadoveanu was again called under arms during the Second Balkan War of 1913, when Romania confronted Bulgaria. Having reached the rank of Lieutenant, he was stationed in Falticeni with the 15th Infantry Regiment, after which he spent a short period on the front. He returned to literary life. Becoming good friends with poet and humorist George Topirceanu, he accompanied him and other writers on cultural tours during 1914 and 1915. The series of writings he published at the time includes the 1915 Neamul Soimarestilor. In 1916-1917, as Romania entered World War I and was invaded by the Central Powers, Sadoveanu stayed in Moldavia, the only part of Romania's territory still under the state's authority (see Romanian Campaign). The writer oscillated between the Germanophilia of his Viata Romaneasca friends, the stated belief that war was misery and the welcoming of Romania's commitment to the Entente Powers. At the time, he was reelected President of the Writers' Society, a provisional mandate which ended in 1918, when Romania signed the peace with the Central Powers, and, as Army reservist, edited the Entente's regional propaganda outlet, Romania. He was joined by Topirceanu, who had just been released from a POW camp in Bulgaria, and with whom he founded the magazine Insemnari Literare. Sadoveanu subsequently settled in the Iasi neighborhood of Copou, purchasing and redecorating the villa known locally as Casa cu turn ("The House with a Tower"). In the 19th century, it had been the residence of politician Mihail Kogalniceanu, and, during the war, hosted composer George Enescu. During that period, he collaborated with leftist intellectual Vasile Mortun and, together with him and Arthur Gorovei, founded and edited the magazine Ravasul Poporului. CANNOTANSWER
during 1914 and 1915.
Mihail Sadoveanu (; occasionally referred to as Mihai Sadoveanu; November 5, 1880 – October 19, 1961) was a Romanian novelist, short story writer, journalist and political figure, who twice served as acting head of state for the communist republic (1947–1948 and 1958). One of the most prolific Romanian-language writers, he is remembered mostly for his historical and adventure novels, as well as for his nature writing. An author whose career spanned five decades, Sadoveanu was an early associate of the traditionalist magazine Sămănătorul, before becoming known as a Realist writer and an adherent to the Poporanist current represented by Viața Românească journal. His books, critically acclaimed for their vision of age-old solitude and natural abundance, are generally set in the historical region of Moldavia, building on themes from Romania's medieval and early modern history. Among them are Neamul Șoimăreștilor ("The Șoimărești Family"), Frații Jderi ("The Jderi Brothers") and Zodia Cancerului ("Under the Sign of the Crab"). With Venea o moară pe Siret... ("A Mill Was Floating down the Siret..."), Baltagul ("The Hatchet") and some other works of fiction, Sadoveanu extends his fresco to contemporary history and adapts his style to the psychological novel, Naturalism and Social realism. A traditionalist figure whose perspective on life was a combination of nationalism and Humanism, Sadoveanu moved between right- and left-wing political forces throughout the interwar period, while serving terms in Parliament. Rallying with People's Party, the National Agrarian Party, and the National Liberal Party-Brătianu, he was editor of the leftist newspapers Adevărul and Dimineața, and was the target of a violent far right press campaign. After World War II, Sadoveanu became a political associate of the Romanian Communist Party. He wrote in favor of the Soviet Union and Stalinism, joined the Society for Friendship with the Soviet Union and adopted Socialist realism. Many of his texts and speeches, including the political novel Mitrea Cocor and the famous slogan Lumina vine de la Răsărit ("The Light Arises in the East"), are also viewed as propaganda in favor of communization. A founding member of the Romanian Writers' Society and later President of the Romanian Writers' Union, Sadoveanu was also a member of the Romanian Academy since 1921 and a recipient of the Lenin Peace Prize for 1961. He was also Grand Master of the Romanian Freemasonry during the 1930s. The father of Profira and Paul-Mihu Sadoveanu, who also pursued careers as writers, he was the brother-in-law of literary critic Izabela Sadoveanu-Evan. Biography Early years Sadoveanu was born in Pașcani, in western Moldavia. His father's family hailed from the southwestern part of the Old Kingdom, in Oltenia. Their place of origin, Sadova, provided their chosen surname (lit. "from Sadova"), which was adopted by the family only in 1891. Mihail's father was the lawyer Alexandru Sadoveanu (d. 1921), whom literary critic George Călinescu described as "a bearded and well-to-do man"; according to the writer's own notes, Alexandru was unhappy in marriage, and his progressive isolation from public life impacted on the entire family. Mihail's mother, Profira née Ursachi (or Ursaki; d. 1895), hailed from a line of Moldavian shepherds, all of whom, as the writer recalled, had been illiterate. Literary historian Tudor Vianu believes this contrast of regional and social identities played a part in shaping the author, opening him up to a "Romanian universality", but notes that, throughout his career, Sadoveanu was especially connected with his Moldavian roots. Mihail had a brother, also named Alexandru, whose wife was the Swiss-educated literary critic Izabela Morțun (later known as Sadoveanu-Evan, she was the cousin of socialist activist Vasile Morțun). Another one of his brothers, Vasile Sadoveanu, was an agricultural engineer. Beginning in 1887, Sadoveanu attended primary school in Pașcani. His favorite teacher, a Mr. Busuioc, later served as inspiration for one of his best-known short stories, Domnu Trandafir ("Master Trandafir"). While away from school, young Sadoveanu used much of his spare time exploring his native region on foot, hunting, fishing, or just contemplating nature. He was also spending his vacations in his mother's native Verșeni. During his journeys, Sadoveanu visited peasants, and his impression of the way in which they were relating to authority is credited by critics with having shaped his perspective on society. Shortly after this episode, the young Sadoveanu left to complete his secondary studies in Fălticeni and at the National High School in Iași. While in Fălticeni, he was in the same class as future authors Eugen Lovinescu and I. Dragoslav, but, having lost interest in schoolwork, he failed to get his remove, before eventually graduating top of his class. First literary attempts, marriage and family In 1896, when he was aged sixteen, Sadoveanu gave thought to writing a monograph on Moldavian Prince Stephen the Great, but his first literary attempts date from the following year. It was in 1897 that a sketch story, titled Domnișoara M din Fălticeni ("Miss M from Fălticeni") and signed Mihai din Pașcani ("Mihai from Pașcani"), was successfully submitted for publishing to the Bucharest-based satirical magazine Dracu. He started writing for Ovid Densusianu's journal Vieața Nouă in 1898. His contributions, featured alongside those of Gala Galaction, N. D. Cocea, and Tudor Arghezi, include another sketch story and a lyric poem. Sadoveanu was however dissatisfied with Densusianu's agenda, and critical of the entire Romanian Symbolist movement for which the review spoke. He ultimately began writing pieces for non-Symbolist magazines such as Opinia and Pagini Literare. In parallel, he founded and printed by hand a short-lived journal, known to researches as either Aurora or Lumea. Sadoveanu left for Bucharest in 1900, intending to study Law at the University's Faculty of Law, but withdrew soon after, deciding to dedicate himself to literature. He began frequenting the bohemian society in the capital, but, following a sudden change in outlook, abandoned poetry and focused his work entirely on Realist prose. In 1901, Sadoveanu married Ecaterina Bâlu, with whom he settled in Fălticeni, where he began work on his first novellas and decided to make his living as a professional writer. His first draft for a novel, Frații Potcoavă ("The Potcoavă Brothers"), came out in 1902, when fragments were published by Pagini Alese magazine under the pseudonym M. S. Cobuz. The following year, Sadoveanu was drafted into the Romanian Land Forces, stationed as a guard near Târgu Ocna, and inspired by the experience to write some of his first social criticism narratives. After that time, he spent much of his home in the country, where he raised a large family. Initially, the Sadoveanus lived in a house previously owned by celebrated Moldavian raconteur Ion Creangă, before they commissioned a new building, famed for its surrounding Grădina Liniștii ("Garden of Quietude"). He was the father of eleven, among whom were three daughters: Despina, Teodora and Profira Sadoveanu, the latter of whom was a poet and a novelist. Of his sons, Dimitrie Sadoveanu became a painter, while Paul-Mihu, the youngest (born 1920), was author of the novel Ca floarea câmpului... ("Like the Flower of the Field...") which was published posthumously. Sămănătorul, Viața Românească and literary debut After receiving an invitation from poet Ștefan Octavian Iosif in 1903, Sadoveanu contributed works to the traditionalist journal Sămănătorul, led at the time by historian and critic Nicolae Iorga. He was by then also a contributor to Voința Națională, a newspaper published by the National Liberal Party and managed by politician Vintilă Brătianu—beginning December of the same year, the paper serialized Șoimii ("The Hawks"), an extended variant of Frații Potcoavă, with an introduction by historian Vasile Pârvan. In 1904, he regained Bucharest, where he became a copyist for the Ministry of Education's Board of Schools, returning to Fălticeni two years later. After 1906, he rallied with the group formed around Viața Românească, which was also joined by his sister-in-law Izabela. Sămănătorul and Viața Românească, having comparable influence over the literature of Romania, stood for a traditionalist and ruralist approach to art, even though the latter adopted a more left-wing perspective, known as Poporanism. The leading Poporanist ideologue, Garabet Ibrăileanu, became a personal friend of the young writer after inviting him on an excursion down the Râșca River. With his subsequent pieces for Viața Românească, Sadoveanu became especially known as the raconteur of hunting trips, but also sparked controversy when a young woman writer, Constanța Marino-Moscu, accused him of having plagiarized her works in his Mariana Vidrașcu, a serialized novel which was discontinued and later largely forgotten. 1904 was Sadoveanu's effective debut year: he published four separate books, including Șoimii, Povestiri ("Stories"), Dureri înăbușite ("Suppressed Pains") and Crâșma lui Moș Petcu ("Old Man Petcu's Alehouse"). The beginning of a prolific literary career covering more than a half century and of his collaboration with Editura Minerva publishing house, this debut was marked by intense preparation, and drew on literary exercises spanning the previous decade. His Sămănătorul colleague Iorga deemed 1904 "Sadoveanu's Year", while the influential and aging critic Titu Maiorescu, leader of the conservative literary society Junimea, gave a positive review to Povestiri, and successfully proposed it for a Romanian Academy award in 1906. In a 1908 essay, Maiorescu was to list Sadoveanu among Romania's greatest writers. According to Vianu, Maiorescu saw in Sadoveanu and other young writers the triumph of his theory on a "popular" form of Realism, a vision which the Junimist thinker had advocated in his essays from as early as 1882. Sadoveanu later credited Iorga, Maiorescu, and especially so the cultural promoter Constantin Banu and Sămănătorul poet George Coșbuc, with having helped him capture the interest of the public and his peers. He was by then facing adversity from opponents of Sămănătorul, primarily critic Henric Sanielevici and his Curentul Nou review, which published claims that Sadoveanu's volumes, which depicted immoral acts such as adultery and rape, showed that Iorga's program of moral didacticism was hypocritical. As he latter recalled, Sadoveanu was himself upset with some of Iorga's critical judgments regarding his own work, noting that the Sămănătorist doyen had once declared him equal to Vasile Pop (one of Iorga's protegés, and viewed as overrated by Sadoveanu). The same year, Sadoveanu became one of Sămănătoruls editors, alongside Iorga and Iosif. The magazine, originally a traditionalist mouthpiece founded by Alexandru Vlahuță and George Coșbuc, proclaimed with Iorga its purpose of establishing "a national culture", emancipated from foreign influence. However, according to Călinescu, this ambitious goal was only manifested in a "great cultural influence", as the journal continued to be an eclectic venue which grouped together ruralist traditionalists of the "national tendency" and adherents to the cosmopolitan currents such as Symbolism. Călinescu and Vianu agree that Sămănătorul was, for a large part, a promoter of older guidelines set by Junimea. Vianu also argues that Sadoveanu's contribution to the literary circle was the main original artistic element in its history, and credits Iosif with having accurately predicted that, during a period of literary "crisis", Sadoveanu was the person to provide innovation. He continued to publish at an impressive rate: in 1906, he again handed down for print four separate volumes. In parallel, Sadoveanu pursued his career as a civil servant. In 1905, he was employed as a clerk by the Ministry of Education, headed by the Conservative Party's Mihail Vlădescu. His direct supervisor was poet D. Nanu, and he had for his colleagues the geographer George Vâlsan and the short story writer Nicolae N. Beldiceanu. Nanu wrote of this period: "It is a clerical packed full with men of letters, no work is being done, people smoke, drink coffee, create dreams, poems and prose [...]." Having interrupted his administrative service, Sadoveanu was again drafted into the Land Forces in 1906, being granted an officer's rank. An already overweight man, he had to march from Probota in Central Moldavia to Bukovina, which caused him intense suffering. 1910s and World War I Sadoveanu returned to his administrative job in 1907, the year of the Peasants' Revolt. Kept in office by the National Liberal cabinet of Ion I. C. Brătianu, he served under the reform-minded Education Minister Spiru Haret. Inspired by the bloody outcome of the Revolt, as well as by Haret's moves to educate the peasantry, Sadoveanu reportedly drew suspicion from the Police when he published self-help guides aimed at industrious ploughmen, a brand of social activism which even resulted in a formal inquiry. Mihail Sadoveanu became a professional writer in 1908–1909, after joining the Romanian Writers' Society, created in the previous year by poets Cincinat Pavelescu and Dimitrie Anghel, and becoming its President in September of that year. The same year, he, Iosif, and Anghel, together with author Emil Gârleanu, set up Cumpăna, a monthly directed against both Ovid Densusianu's eclecticism and the Junimist school (the magazine was no longer in print by 1910). At the time, he became a noted presence among the group of intellectuals meeting in Bucharest's Kübler Coffeehouse. In 1910, he was also appointed head of the National Theater Iași, a position which he filled until 1919. That year, he translated from the French one of Hippolyte Taine's studies on the genesis of artworks. He resigned his office within the Writers' Society in November 1911, being replaced by Gârleanu, but continued to partake in its administration as a member of its leadership committee and a censor. He was a leading presence at Minerva newspaper, alongside Anghel and critic Dumitru Karnabatt, and also published in the Transylvanian traditionalist journal, Luceafărul. Sadoveanu was again called under arms during the Second Balkan War of 1913, when Romania confronted Bulgaria. Having reached the rank of Lieutenant, he was stationed in Fălticeni with the 15th Infantry Regiment, after which he spent a short period on the front. He returned to literary life. Becoming good friends with poet and humorist George Topîrceanu, he accompanied him and other writers on cultural tours during 1914 and 1915. The series of writings he published at the time includes the 1915 Neamul Șoimăreștilor. In 1916–1917, as Romania entered World War I and was invaded by the Central Powers, Sadoveanu stayed in Moldavia, the only part of Romania's territory still under the state's authority (see Romanian Campaign). The writer oscillated between the Germanophilia of his Viața Românească friends, the stated belief that war was misery and the welcoming of Romania's commitment to the Entente Powers. At the time, he was reelected President of the Writers' Society, a provisional mandate which ended in 1918, when Romania signed the peace with the Central Powers, and, as Army reservist, edited the Entente's regional propaganda outlet, România. He was joined by Topîrceanu, who had just been released from a POW camp in Bulgaria, and with whom he founded the magazine Însemnări Literare. Sadoveanu subsequently settled in the Iași neighborhood of Copou, purchasing and redecorating the villa known locally as Casa cu turn ("The House with a Tower"). In the 19th century, it had been the residence of politician Mihail Kogălniceanu, and, during the war, hosted composer George Enescu. During that period, he collaborated with leftist intellectual Vasile Morțun and, together with him and Arthur Gorovei, founded and edited the magazine Răvașul Poporului. Creative maturity and early political career In 1921, Sadoveanu was elected a full member of the Romanian Academy; he gave his reception speech in front of the cultural forum two years later, structuring it as a praise of Romanian folklore in general and folkloric poetry in particular. At the time, he renewed his contacts with Viața Românească: with Garabet Ibrăileanu and several others, he joined its interwar nucleus, while the review often featured samples of his novels (some of which were originally published in full by its publishing venture). His house was by then host to many cultural figures, among whom were writers Topîrceanu, Gala Galaction, Otilia Cazimir, Ionel and Păstorel Teodoreanu, and Dimitrie D. Pătrășcanu, as well as conductor Sergiu Celibidache. He was also close to a minor socialist poet and short story author, Ioan N. Roman, whose work he helped promote, to the aristocrat and memoirist Gheorghe Jurgea-Negrilești, and to a satirist named Radu Cosmin. Despite his health problems, Sadoveanu frequently traveled throughout Romania, notably visiting local sights which inspired his work: the Romanian Orthodox monasteries of Agapia and Văratec, and the Neamț Fortress. After 1923, together with Topîrceanu, Demostene Botez and other Viața Românească affiliates, he also embarked on a series of hunting trips. He was charmed in particular by the sights he discovered during a 1927 visit to the Transylvanian area of Arieș. The same year, he also visited the Netherlands, which he reached by means of the Orient Express. His popularity continued to grow: in 1925, 1929 and 1930 respectively, he published his critically acclaimed novels Venea o moară pe Siret..., Zodia Cancerului and Baltagul, and his 50th anniversary was celebrated at a national level. In 1930, Sadoveanu, Topîrceanu and the schoolteacher T. C. Stan wrote and edited a series of primary school textbooks. In 1926, after a period of indecision, Sadoveanu rallied with the People's Party, where his friend, the poet Octavian Goga, was a prominent activist. He then rallied with Goga's own National Agrarian Party. During the general election of 1927, he won a seat in the Chamber for Bihor County, in Transylvania, holding a seat in the Senate for Iași County after the 1931 suffrage. Under Nicolae Iorga's National Peasants' Party cabinet of the period, Sadoveanu was President of the Senate. The choice was motivated by his status as "a cultural personality". Around that date, he was affiliated with the National Liberal Party-Brătianu, a right-wing party inside the liberal current, who stood in opposition to the main National Liberal group. In parallel, he began contributing to the left-wing daily Adevărul. Sadoveanu was by then affiliated with the Freemasonry, as first recorded by the organization in 1928, but was probably a member since 1926 or 1927. Reaching the 33rd degree within the organization and overseeing the Masonic Lodge Dimitrie Cantemir of Iași, he was elected Grand Master of the National Union of Lodges in 1932, thus replacing the vacating George Valentin Bibescu. There subsequently occurred a split between Bibescu and Sadoveanu's supporters, aggravated by their publicized conflict with a third group, that of Ioan Pangal—splits which ended after some three years, when Sadoveanu marginalized both of his opponents, without however earning legitimate recognition from the Grand Orient de France. By 1934, he was recognized as Grand Master of the United Romanian Freemasonry, which regrouped all major local Lodges. Late 1930s and World War II He was publishing new works at a regular rate, culminating in the first volume of his historical epic Frații Jderi, which saw print in 1935. In 1936, the writer accepted the honorary chairmanship of Adevărul and its morning edition, Dimineața. During that time, he was involved in a public dispute with the far right and fascist press, replying to their attacks in several columns. Affiliates of the radical right organized public burnings of his volumes. The scandal prolonged itself over the following years, with Sadoveanu being supported by his friends in the literary community. Among them was Topîrceanu, who was at the time hospitalized, and whose expression of support was made shortly before his death to liver cancer. In September 1937, as a statement of solidarity and appreciation, the University of Iași conferred Sadoveanu the title of doctor honoris causa. Mihail Sadoveanu withdrew from politics in the late 1930s and early 1940s, as Romania came to be led by successive right-wing dictatorships, he offered a measure of support to King Carol II and his National Renaissance Front, which attempted to block the more radically fascist Iron Guard from power. He was personally appointed a member of the reduced corporatist Senate by Carol. In 1940, the official establishment Editura Fundațiilor Regale published the first volume of his Opere ("Works"). Sadoveanu kept a low profile under the Iron Guard's Nazi-allied National Legionary regime. After Conducător Ion Antonescu overthrew the Guard during the Legionary Rebellion and established his own fascist regime, the still-apolitical Sadoveanu was more present in public life, and lectured on cultural subjects for the Romanian Radio. After publishing the final section of his Frații Jderi in 1942, Sadoveanu again retreated to the countryside, in his beloved Arieș area, where he had built himself a chalet and a church; this seclusion produced his Povestirile de la Bradu-Strâmb ("Bradu-Strâmb Stories"). During those years, the sixty-year-old writer met Valeria Mitru, a much younger feminist journalist, whom he married after a brief courtship. In August 1944, Romania's King Michael Coup toppled Antonescu and switched sides in the war, rallying with the Allies. As a Soviet occupation began at home, Romanian troops fought alongside the Red Army on the European theater. Paul-Mihu Sadoveanu was killed in action in Transylvania on September 22. During the same months, Sadoveanu was a candidate for the Writers' Society presidency, but, in what has been read as proof of a rivalry within the Freemasonry, was defeated by Victor Eftimiu. Later that year, the 40th anniversary of Mihail Sadoveanu's debut was celebrated with a special ceremony at the Academy and Tudor Vianu's speech, offered as a retrospective of his colleague's entire work. Communist system and political rise After the Soviet-backed advent of the Communist system in Romania, Sadoveanu supported the new authorities, and turned from his own version of Realism to officially-endorsed Socialist realism (see Socialist realism in Romania). This was also the start of his association with the Soviet-sponsored Romanian Society for Friendship with the Soviet Union (ARLUS), which was led by biologist and physician Constantin Ion Parhon. Having served as a host to official Soviet envoys Andrey Vyshinsky and Vladimir Kemenov during their late 1944 visits, he soon after became president of the ARLUS "Literary and Philosophical Section" (seconded by Mihai Ralea and Perpessicius). In February 1945, he joined Parhon, Enescu, linguist Alexandru Rosetti, composer George Enescu, biologist Traian Săvulescu and mathematician Dimitrie Pompeiu in a protest against the cultural policies of Premier Nicolae Rădescu and his cabinet, one in a series of moves to discredit the non-communist Rădescu and make him leave power. With Ion Pas, Gala Galaction, Horia Deleanu, Octav Livezeanu and N. D. Cocea, Sadoveanu edited the association's weekly literary magazine Veac Nou after June 1946. Sadoveanu's literary and political change became known to the general public in March 1945, when he lectured about Soviet leader Joseph Stalin at a conference hall in Bucharest. Part of a conference cycle, his speech was famously titled Lumina vine de la Răsărit, which soon became synonymous with the attempts to improve the image of Stalinism in Romania. ARLUS would issue the text of his conference as a printed volume later in the year. Also in 1945, Sadoveanu journeyed to the Soviet Union together with some of his fellow ARLUS members—among them biologists Parhon and Săvulescu, sociologist Dimitrie Gusti, linguist Iorgu Iordan, and mathematician Simion Stoilow. Invited by the Soviet Academy of Sciences to attend the 220th anniversary of its foundation, they also visited research institutes, kolhozy, and day care centers, notably meeting with Nikolay Tsitsin, an agronomist favored by Stalin. After his return, he wrote other controversial texts and gave lectures which offered ample praise to the Soviet system. That year, the ARLUS enterprise Editura Cartea Rusă also published his translation of Ivan Turgenev's A Sportsman's Sketches. During the rigged election of that year, Sadoveanu was a candidate for the Communist party-organized Bloc of Democratic Parties (BPD) in Bucharest, winning a seat in the newly unified Parliament of Romania. In its first-ever session (December 1946), the legislative body elected him its President. He was at the time residing in Ciorogârla, having been awarded a villa previously owned by Pamfil Șeicaru, a journalist whose support for fascist regimes had made him undesirable, and who had moved out of Romania. The decision was viewed as evidence of political corruption by the opposition National Peasants' Party, whose press deemed Sadoveanu the "Count of Ciorogârla". In 1948, after Romania's King Michael I was overthrown by the BPD-member parties and the communist regime officially established, Sadoveanu rose to the highest positions ever granted to a Romanian writer, and received significant material benefits. In 1947–1948, he was, alongside Parhon, Ștefan Voitec, Gheorghe Stere, and Ion Niculi, a member of the Presidium of the People's Republic, which was elected by the BPD-dominated legislative. He also kept his seat at the Academy, which at the time was undergoing a communist-led purge, and, with several other pro-Soviet intellectuals, was voted in the Academy Presidium. Final years, illness and death After the Writers' Society was restructured as the Romanian Writers' Union in 1949, Sadoveanu became its Honorary President. In 1950, he was named President of the Writers' Union, replacing Zaharia Stancu. According to writer Valeriu Râpeanu, this last appointment was a sign of Stancu's marginalization after he had been excluded from the Romanian Communist Party, while the Writers' Union was actually controlled by its First Secretary, the communist poet Mihai Beniuc. Sadoveanu and Beniuc were reelected at the Union's first Congress (1956). In the meanwhile, Sadoveanu published several Socialist realist volumes, among which was Mitrea Cocor, a controversial praise of collectivization policies. First published in 1949, it earned Sadoveanu the first-ever State Prize for Prose. Throughout the period, Sadoveanu was involved in major communist-endorsed cultural campaigns. Thus, in June 1952, he presided over the Academy's Scientific Council, charged with modifying the Romanian alphabet, at the end of which the letter â was discarded, and replaced everywhere with î (a spelling Sadoveanu is alleged to have already shown preference for in his early works). In March 1953, soon after Stalin's death, he led discussions within the Writers' Union, confronting his fellow writers with the new Soviet cultural directives as listed by Georgy Malenkov, and reacting against young authors who had not discarded the since-condemned doctrines of proletkult. The author was also becoming involved in the Eastern Bloc's peace movement, and led the National Committee for the Defense of Peace at a time when the Soviet Union was seeking to portray its Cold War enemies as warmongers and the sole agents of nuclear proliferation. He also represented Romania to the World Peace Council, and received its International Peace Prize for 1951. As a parliamentarian, Sadoveanu stood on the committee charged with elaborating the new republican constitution, which, in its final form, reflected both Soviet influence and the assimilation of Stalinism into Romanian political discourse. In November 1955, shortly after turning 75, he was granted the title of "Hero of Socialist Labor". After 1956, when the regime announced that it had embarked on a limited version of De-Stalinization, it continued to recommend Mihail Sadoveanu as one of its prime cultural models. Having donated Casa cu turn to the state in 1950, he moved back to Bucharest, where he owned a house near the Zambaccian Museum. From January 7 to January 11, 1958, Sadoveanu, Ion Gheorghe Maurer and Anton Moisescu were acting Chairmen of the Presidium of the Great National Assembly, which again propelled him to a position as titular head of state. His literary stature but also his political allegiance earned him the Soviet Lenin Peace Prize, which he received shortly before his death. After a long illness marked by a stroke which impaired his speech and left him almost completely blind, Sadoveanu was cared for by a staff of physicians supervised by Nicolae Gh. Lupu and reporting to the Great National Assembly. The Sadoveanus withdrew to Neamț region, where they lived in a villa assigned to them by the state and located near the Voividenia hermitage and the locality of Vânători-Neamț, being visited regularly by literary and political friends, among them Alexandru Rosetti. Mihail Sadoveanu died there at 9 AM on October 19, 1961, and was buried at Bellu cemetery, in Bucharest. His successor as President of the Writers' Union was Beniuc, elected during the Congress of January 1962. Following her husband's death, Valeria Sadoveanu settled in proximity to the Văratec Monastery, where she set up an informal literary circle and Orthodox prayer group, notably attended by literary historian Zoe Dumitrescu-Bușulenga and by poet Ștefana Velisar, and dedicated herself to protecting the community of nuns. She survived Mihail Sadoveanu by over 30 years. Literary contributions Context Often seen as the leading author of his generation, and generally viewed as one of the most representative Romanian writers, Mihail Sadoveanu was also believed to be a first-class story-teller, and received praise especially for his nature writing and his depictions of rural landscapes. An exceptionally prolific author by Romanian standards, he published over a hundred individual volumes (120 according to the American magazine Time). His contemporaries tended to place Sadoveanu alongside Liviu Rebreanu and Cezar Petrescu—for all the differences in style between the three figures, the interwar public saw them as the "great novelists" of the day. Critic Ovid Crohmălniceanu describes their activity, altogether focused on depicting the rural world but diverging in bias, as one sign that the Romanian interwar itself was exceptionally effervescent, while Romanian-born American historian of literature Marcel Cornis-Pope sees Sadoveanu and Rebreanu as their country's "two most important novelists of the first half of the twentieth century". In 1944, Tudor Vianu spoke of Sadoveanu as "the most significant writer Romanians [presently] have, the first among his equals." While underlining his originality in the context of Romanian literature and among the writers standing for "the national tendency" (as opposed to the more cosmopolitan modernists), George Călinescu also noted that, through several of his stories and novels, Sadoveanu echoed the style of his predecessors and contemporaries Ion Luca Caragiale, Ioan Alexandru Brătescu-Voinești, Emil Gârleanu, Demostene Botez, Otilia Cazimir, Calistrat Hogaș, I. A. Bassarabescu and Ionel Teodoreanu. Also included among the "national tendency" writers, Gârleanu was for long seen as Sadoveanu's counterpart, and even, Călinescu writes, "undeservedly upstaged" him. Cornis-Pope also writes that Sadoveanu's epic is a continuation of "the national narrative" explored earlier by Nicolae Filimon, Ioan Slavici and Duiliu Zamfirescu, while literary historians Vianu and Z. Ornea note that Sadoveanu also took inspiration from the themes and genres explored by Junimist author Nicolae Gane. In his youth, Sadoveanu also admired and collected the works of N. D. Popescu-Popnedea, a prolific and successful author of almanacs, historical novels and adventure novels. Later, his approach to Realism was also inspired by his reading of Gustave Flaubert and especially Nikolai Gogol. Both Sadoveanu and Gane were also indirectly influenced by Wilhelm von Kotzebue, the 19th century Imperial Russian diplomat and author of the Romanian-themed story Laskar Vioresku. In Vianu's assessment, Sadoveanu's work signified an artistic revolution within the local Realist school, comparable to the adoption of perspective by the visual artists of the Renaissance. Mihail Sadoveanu's interest in the rural world and his views on tradition were subjects of debate among the modernists. The modernist doyen Eugen Lovinescu, who envisaged an urban literature in tune with European tendencies, was one of Sadoveanu's most notorious critics. However, Sadoveanu was well received by Lovinescu's adversaries within the modernist camp: Perpessicius and Contimporanul editor Ion Vinea, the latter of whom, in search for literary authenticity, believed in bridging the gap between the avant-garde and folk culture. This opinion was shared by Swedish literary historian Tom Sandqvist, who sees Sadoveanu's main point of contact with modernism was his interest in the pagan elements and occasional absurdist streaks of local folklore. In the larger dispute about national specificity, and partly in response to Vinea's claim, modernist poet and essayist Benjamin Fondane argued that, as a sign Romanian culture was tributary to those it had come into contact with, "Sadoveanu's soul can be easily reduced to the Slavic soul". Characteristics Sadoveanu's personality and experience played a major part in shaping his literary style. After his 1901 marriage, Mihail Sadoveanu adopted what Călinescu deemed "patriarchal" lifestyle. The literary historian noted that he took a personal interest in educating his many children, and that this also implied "making use of a whip". An Epicurean, the writer was a homemaker, an avid hunter and fisherman, and a chess aficionado. Recognized, like his epigramist colleague Păstorel Teodoreanu, as a man of refined culinary tastes, Sadoveanu cherished Romanian cuisine and Romanian wine. The lifestyle choices were akin to his literary interests: alongside the secluded and rudimentary existence of his main characters (connected by Călinescu with the writer's supposed longing for "regressions to the patriarchal times"), Sadoveanu's work is noted for its imagery of primitive abundance, and in particular for its lavish depictions of ritualistic feasts, hunting parties and fishing trips. Călinescu opined that the value of such descriptions within individual narratives grew with time, and that the author, once he had discarded lyricism, used them as "a means for the senses to enjoy the fleshes and the forms that nature offers man." He added that Sadoveanu's aesthetics could be said to recall the art of the Golden Age in Holland: "One could almost say that Sadoveanu rebuilds in present day Moldavia [...] the Holland of wine jugs and kitchen tables covered in venison and fish." Vianu also argued that Sadoveanu never abandoned himself to purely aesthetic descriptions, and that, although often depicted with Impressionistic means, nature is assigned a specific if discreet role within the plot lines, or serves to render a structure. The traditionalist Garabet Ibrăileanu, referring to Sadoveanu's poetic nature writing, even declared it to have "surpassed nature." At the other end, the modernist Eugen Lovinescu specifically objected to Sadoveanu's depiction of a primordial landscape, arguing that, despite adopting Realism, his rival was indebted to Romanticism and subjectivity. Lovinescu's attitude, critic Ion Simuț notes, was partly justified by the fact that Sadoveanu never truly parted with the traditionalism of Sămănătorul. In 1962, Time also commented that his style was "curiously dated" and recalled not Sadoveanu's generation, but that of Leo Tolstoy and Ivan Turgenev, "although he has nothing like the power or skill of any of them." For Călinescu and Vianu too, Sadoveanu is a creator with seemingly Romantic tastes, which recall those of François-René de Chateaubriand. Unlike Lovinescu, Vianu saw these traits as "not at all detrimental to the balance of [Sadoveanu's] art." Seen by literary critic Ioan Stanomir as marked by "volubility", and thus contrasting with his famously taciturn and seemingly embittered nature, the form of Romanian used by Mihail Sadoveanu, particularly in his historical novels, was noted for both its use of archaisms and the inventive approach to the Romanian lexis. Often borrowing plot lines and means of expression from medieval and early modern Moldavian chroniclers such as Ion Neculce and Miron Costin, the author creatively intercalates several local dialects and registers of speech, moving away from a mere imitation of the historical language. Generally third-person narratives, his books often make little or no dialectal difference between the speech used by the story-teller and the character's voices. According to Călinescu, Sadoveanu displays "an enormous capacity of authentic speech", similar to that of Caragiale and Ion Creangă. The writer himself recorded his fascination with the "eloquence" of rudimentary orality, and in particular with the speech of Rudari Roma he encountered during his travels. Building on observations made by several critics, who generally praised the poetic qualities of Sadoveanu's prose, Crohmălniceanu spoke in detail about the Moldavian novelist's role in reshaping the literary language. This particular contribution was first described early in the 20th century, when Sadoveanu was acclaimed by Titu Maiorescu for having adapted his writing style to the social environment and the circumstances of his narratives. Vianu however notes that Sadoveanu's late writings tend to leave more room for neologisms, mostly present in those parts where the narrator's voice takes distance from the plot. Another unifying element in Sadoveanu's creation is his recourse to literary types. As early as 1904, Maiorescu praised the young raconteur for accurately depicting characters in everyday life and settings. Tudor Vianu stressed that, unlike most of his Realist predecessors, Sadoveanu introduced an overtly sympathetic view of the peasant character, as "a higher type of human, a heroic human". He added: "Simple, in the sense that they are moved by a few devices [which] coincide with the fundamental instincts of mankind, [they] are, in general, mysterious." In this line, Sadoveanu also creates images of folk sages, whose views on life are of a Humanist nature, and often depicted in contrast with the rationalist tenets of Western culture. Commenting on this aspect, Sadoveanu's friend George Topîrceanu believed that Sadoveanu's work transcended the "more intellectual [and] more artificial" notion of "types", and that "he creates [...] humans." The main topic of his subsequent work, Sandqvist argues, was "an archaic world where the farmers and the landlords were free men with equal rights" (or, according to Simuț, "a utopia of archaic heroism"). Thus, Călinescu stresses, Sadoveanu's work seems to be the monolithic creation through which "a single man" reflects "a single, universal nature, inhabited by a single type of man", and which echoes a similar vision of archaic completeness as found in the literature of poet Mihai Eminescu. The similarity in vision with Eminescu's "nostalgia, return, protest, demand, aspiration toward a [rural] world [he has] left" was also proposed by Vianu, while Topîrceanu spoke of "the paradoxical discovery that [Sadoveanu] is our greatest poet since Eminescu." Mihail Sadoveanu also shaped his traditionalist views on literature by investigating Romanian folklore, which he recommended as a source of inspiration to his fellow writers during his 1923 speech at the Romanian Academy. In Călinescu's view, Sadoveanu's outlook on life was even mirrored in his physical aspect, his "large body, voluminous head, his measured shepherd-like gestures, his affluent but prudent and monologic speech [and] feral indifference; his eyes [...] of an unknown race." His assessment of the writer as an archaic figure, bluntly stated in a 1930 article ("I believe him to be very uncultured"), was contrasted by other literary historians: Alexandru Paleologu described Sadoveanu as a prominent intellectual figure, while his own private notes show that he was well-read and acquainted with the literatures of many countries. Often seen as a spontaneous writer, Sadoveanu nevertheless took pains to elaborate his plots and research historical context, keeping most records of his investigations confined to his diaries. Debut The writer's debut novel, Povestiri, was celebrated for its accomplished style, featuring early drafts of all themes he developed upon later in life. However, Călinescu argued, some of the stories in the volume were still "awkward", and showed that Sadoveanu had problems in outlining epics. The pieces mainly feature episodes in the lives of boyars (members of Moldavia's medieval aristocracy), showing the ways in which they relate to each other, to their servants, and to their country. In one of the stories, titled Cântecul de dragoste ("The Love Song"), Sadoveanu touches on the issue of slavery, depicting the death of a Rom slave who is killed by his jealous master, while in Răzbunarea lui Nour ("Nour's Revenge"), a boyar refuses to make his peace with God until his son's death is avenged. Other fragments deal solely with the isolated existence of villagers: for example, in Într-un sat odată ("Once, in a Village"), a mysterious man dies in a Moldavian hamlet, and the locals, unable to discover his identity, sell his horse. The prose piece Năluca ("The Apparition") centers on the conjugal conflict between two old people, both of whom attempt to hide the shame of their past. George Călinescu notes that, particularly in Năluca, Sadoveanu begins to explore the staple technique of his literary contributions, which involves "suggesting the smolder of passions [through] a contemplative breath in which he evokes a static element: landscapes or set pieces from nature." Sadoveanu's subsequent collection of short stories, Dureri înăbușite, builds on the latter technique and takes his work into the realm of social realism and naturalism (believed by Călinescu to have been borrowed from either the French writer Émile Zola or from the Romanian Alexandru Vlahuță). For Călinescu, this choice of style brought "damaging effects" on Sadoveanu's writings, and made Dureri înăbușite "perhaps the poorest" of his collections of stories. In Lovinescu's view, Sadoveanu's move toward naturalism did not imply the necessary recourse to objectivity. The pieces focus on dramatic moments of individual existences. In Lupul ("The Wolf"), an animal is chased and trapped by a group of peasants; the eponymous character in Ion Ursu leaves his village to become a proletarian, and succumbs to alcoholism; the indentured laborer in Sluga ("The Servant") is unable to take revenge on his cruel employer at the right moment; in Doi feciori ("Two Sons"), a boyar comes to feel affection for his illegitimate son, whom he has nonetheless reduced to a lowly condition. In 1905, Sadoveanu also published Povestiri din război ("Stories from the War"), which compose scenes from the lives of Romanian soldiers fighting in the War of 1878. Objecting to a series of exaggerations in the book, Time nevertheless noted that Sadoveanu "sometimes had the writing skill to make compelling even quite traditional reactions to old-fashioned war". It concluded: "Sadoveanu's sketches have the virtues—and the vices—of old hunting prints and the romantically mannered battle scenes of the 19th century." Early selections of major themes Sadoveanu renounces this grim perspective on life in his volume Crâșma lui Moș Petcu, where he returns to a depiction of rural life as unchanged by outside factors. Petcu's establishment, located on the Moldova Valley, is a serene place, visited by quiet and subdued customers, whose occasional outburst of violence are, according to Călinescu, "dominated by slow, stereotypical mechanics, as is with people who can only accommodate within them a single drama." The literary critic celebrated Crâșma lui Moș Petcu for its depictions of nature, whose purpose is to evoke "the indifferent eternity" of conflicts between the protagonists, and who, at times, relies "on a vast richness of sounds and words." He did however reproach the writer "a certain monotony", arguing that Sadoveanu came to use such techniques in virtually all his later works. However, Sadoveanu's stories of the period often returned to a naturalistic perspective, particularly in a series of sketch stories and novellas which portray the modest lives of Romanian Railways employees, of young men drafted into the Romanian Land Forces, of Bovaryist women who playfully seduce adolescents, or of the provincial petite bourgeoisie. At times, they confront the morals of barely literate people with the stern authorities: a peasant obstinately believes that the 1859 union between Wallachia and Moldavia was meant to ensure the supremacy of his class; a young lower-class woman becomes the love interest of a boyar but chooses a life of freedom; and a Rom deserts from the Army after being told to bathe. In La noi, la Viișoara ("At Our Place in Viișoara"), the life of an old man degenerates into bigotry and avarice, to the point where he makes his wife starve to death. Sadoveanu's positive portrayal of hajduks as fundamentally honest outlaws standing up to feudal injustice, replicates stereotypes found in Romanian folklore, and is mostly present in some of the stories through (sometimes recurrent) heroic characters: Vasile the Great, Cozma Răcoare, Liță Florea etc. In the piece titled Bordeenii (roughly, "The Mud-hut Dwellers"), he shows eccentrics and misanthropes presided upon by the dark figure of Sandu Faliboga, brigands who flee all public authority and whom commentators have likened to settlers of the Americas. Lepădatu, an unwanted child, speaks for the entire group: "What could I do [...] wherever there are big fairs and lots of people? I'd have a better time with the cattle; it is with them that I have grown up and with them that I get along." Romanticizing the obscure events of early medieval history in Vremuri de bejenie ("Roving Times", 1907), Sadoveanu sketches the improvised self-defense of a refugee community, their last stand against nomadic Tatars. In reference to the stories in this series, Călinescu stresses that Sadoveanu's main interest is in depicting men and women cut away from civilization, who view the elements of Westernization with nothing more than "wonderment": "Sadoveanu's literature is the highest expression of the savage instinct." In later works, the critic believed, Sadoveanu moved away from depicting isolation as the escape of primitives into their manageable world, but as "the refinement of souls whom civilization has upset." These views are echoed by Ovid Crohmălniceanu, who believes that, unlike other Romanian Realists, Sadoveanu was able to show a peasant society that was not merely the prey of modern corruption or historical oppression, but rather refusing all contacts with the wider world—even to the point of Luddite-like hostility in front of new objects. Some of the early stories, Crohmălniceanu argues, do follow the moralizing Sămănătorist pattern, but part with it when they refuse to present the countryside in "idyllic" fashion, or when they adopt a specific "mythical realism". Sadoveanu began his career as a novelist with more in-depth explorations into subjects present in his stories and novellas. At the time, Crohmălniceanu stresses, he was being influenced by the naturalism of Caragiale (minus the comedic effect), and by his own experience growing up in characteristically underdeveloped Moldavian cities and târguri (somewhat similar to the aesthetic of boredom, adopted in poetry by George Bacovia, Demostene Botez or Benjamin Fondane). Among his first works of the kind is Floare ofilită ("Wizened Flower"), where a simple girl, Tincuța, marries a provincial civil servant, and finds herself deeply unhappy and unable to enrich her life on any level. Tincuța, seen by Călinescu as one of Sadoveanu's "savage" characters, only maintains urban refinement when persuading her husband to return for supper, but, according to Crohmălniceanu, is also a credible witness to the "small-mindedness" of "bourgeois" environments. A rather similar plot is built for Însemnările lui Neculai Manea ("The Recordings of Neculai Manea"), where the eponymous character, an educated peasant, experiences two unhappy romantic affairs before successfully courting a married woman who, although grossly uncultured, makes him happy. Apa morților ("The Dead Men's Water") is about a Bovaryist woman who discards lovers over imprecise feelings of dissatisfaction, finding refuge in the monotonous countryside. Călinescu noted that such novels were "usually less valuable than direct accounts", and deemed Însemnările lui Neculai Manea "without literary interest"; in Ovid Crohmălniceanu's view, the same story presents relevant detail on professional and intellectual failure. Praised by its commentators, the short novel Haia Sanis (1908) shows the eponymous character, a Jewish woman who throws herself into the arms of a local Gentile, although she knows him to be a seducer. Călinescu, who wrote with admiration about how the subject dissimulated pathos into "technical indifference", notes that the erotic rage motivating Haia has drawn "well justified" comparisons with Jean Racine's tragedy Phèdre. Crohmălniceanu believes Haia Sanis to be "perhaps [Sadoveanu's] best novella", particularly since the "wild beauty" Haia has to overcome at once antisemitism, endogamy and shame, before dying "in terrible pain" during a botched abortion. Sadoveanu's work of the time also includes Balta liniștii ("Tranquillity Pond"), where Alexandrina, pushed into an arranged marriage, has a belated and sad revelation of true love. In other sketch stories, such as O zi ca altele ("A Day like Any Other") or Câinele ("The Dog"), Sadoveanu follows Caragiale's close study of suburban banality. Hanu Ancuței, Șoimii and Neamul Șoimăreștilor The novella Hanu Ancuței ("Ancuța's Inn"), described by George Călinescu as a "masterpiece of the jovial idyllicism and barbarian subtlety", and by Z. Ornea as the first evidence of Sadoveanu's "new age", is a frame story in the line of medieval allegories such as Giovanni Boccaccio's Decameron and Geoffrey Chaucer's Canterbury Tales. It retells the stories of travelers meeting in the eponymous inn. Much of the story deals with statements of culinary tastes and shared recipes, as well as with the overall contrast between civilization and rudimentary ways: in one episode of the book, a merchant arriving from the Leipzig Trade Fair bemuses the other protagonists when he explains the more frugal ways and the technical innovations of Western Europe. Sadoveanu applied the same narrative technique in his Soarele în baltă ("The Sun in the Waterhole"), which, Călinescu argues, displays "a trickier style." In Șoimii, Sadoveanu's first historical novel, the main character is Nicoară Potcoavă, a late 16th-century Moldavian nobleman who became Hetman of the Zaporozhian Cossacks and Prince of Moldavia. The narrative, whose basic lines had been drawn by Sadoveanu in his adolescent years, focuses on early events in Nicoară's life, building on the story according to which he and his brother Alexandru were the brothers of Prince Ioan Vodă cel Cumplit, whose execution by the Ottomans they tried to avenge. The text also follows their attempt to seize and kill Ieremia Golia, a boyar whose alleged betrayal had led to Prince Ioan's capture, and whose daughter Ilinca becomes the brothers' prisoner. This story as well features several episodes where the focus is on depicting customary feasts, as well as a fragment where the Potcoavăs and their Zaporozhian Cossack allies engage in binge drinking. Glossing over several years in Nicoară's life, and culminating in his seizure of the throne, the narrative shows his victory against pretender Petru Șchiopul and Golia, and the price he has to pay for his rise. Alexandru, who falls in love with Ilinca, unsuccessfully asks for the captured Golia not to be killed. Following the murder, both brothers become embittered and renounce power. Călinescu described Șoimii novel as "still awkward", noting that Sadoveanu was only beginning to experiment with the genre. The 1915 Neamul Șoimăreștilor is a Bildungsroman centered on the coming of age of one Tudor Șoimaru. The protagonist, born a free peasant in Orhei area, fights alongside Ștefan Tomșa in the 1612 battles to capture the Moldavian throne. After participating in the capture of Iași, he returns home and helps local boyar Stroie in recovering his daughter, Magda, who had been kidnapped by Cossacks. Șoimaru, who feels for Magda, is however enraged by news that her father has forced his community into serfdom. Trying to deal with his internal conflict, he travels into Poland–Lithuania, where he discovers that Stroie is plotting against Tomșa, while Magda, who is in love with a szlachta nobleman, scorns his affection. He returns a second time to Orhei, marries into his social group, and plots revenge on Stroie by again rallying with Ștefan Tomșa. Following Tomșa's defeat, he again loses the lands of his ancestors, as Stroie returns home to celebrate his victory and have the Șoimarus put to death. Unexpectedly warned of this by Magda, Tudor manages to turn the tide: he and his family destroy Stroie's manor, killing the master but allowing Magda to escape unharmed. In Călinescu's view, the novel is "somewhat more consistent from an epic perspective", but fails to respect the conventions of the adventure novel it sets out to replicate. The critic, who deemed Magda's courtship by Tudor "sentimental", argued that the book lacks "the richness and unpredictable nature of the love intrigue"; he also objected to the depiction of Tudor as indecisive and inadequate for a heroic role. However, Ovid Crohmălniceanu argued that the suddenness of Tudor's sentimental commitments was characteristic for the "peasant soul" as observed by Sadoveanu. Zodia Cancerului and Nunta Domniței Ruxandra Zodia Cancerului, Sadoveanu's later historical novel, is set late in the 17th century, during the third rule of Moldavian Prince Gheorghe Duca, and is seen by Călinescu as "of a superior artistic level." The plot centers on a conflict between Duca and the Ruset boyars: the young Alecu Ruset, son of the deposed Prince Antonie, is spared persecution on account of his good relations with the Ottomans, but has to live under close watch. Himself a tormented, if cultured and refined, man, Alecu falls in love with Duca's daughter Catrina, whom he attempts to kidnap. The episode, set to coincide with the start of a major social crisis, ends with Alecu's defeat and killing on Duca's orders. In the background, the story depicts the visit of an Abbé de Marenne, a Roman Catholic priest and French envoy, who meets and befriends Ruset. Their encounter is another opportunity for Sadoveanu to show the amiable but incomplete exchange between the mentalities of Western and Eastern Europe. In various episodes of the novel, de Marenne shows himself perplexed by the omnipresent wilderness of underpopulated Moldavia, and in particular by the abundance of resources this provides. In one paragraph, seen by George Călinescu as a key to the book, Sadoveanu writes: "[De Marenne's] curious eye was permanently satisfied. Here was a desolation of solitudes, one that his friends in France could not even guess existed, no matter how much imagination they had been gifted with; for at the antipode of civilization one occasionally finds such things that have remained unchanged from the onset of creation, preserving their mysterious beauty." In a shorter novel of the period, Sadoveanu explored the late years of Vasile Lupu's rule over Moldavia, centering on the marriage of Cossack leader Tymofiy Khmelnytsky and Lupu's daughter, Ruxandra. Titled Nunta Domniței Ruxandra ("Princess Ruxandra's Wedding"), it shows the Cossacks' brutal celebration of the event around the court in Iași, depicting Tymofiy himself as an uncouth, violent and withdrawn figure. The narrative then focuses on the Battle of Finta and the siege of Suceava, through which a Wallachian-Transylvanian force repelled the Moldo-Cossack forces and, turning the tide, entered deep into Moldavia and placed Gheorghe Ștefan on the throne. Sadoveanu also invents a love story between Ruxandra and the boyar Bogdan, whose rivalry with Tymofiy ends in the latter's killing. While Călinescu criticized the plot as being over-detailed, and the character studies as incomplete, Crohmălniceanu found the intricate depiction of boyar customs to be a relevant part of Sadoveanu's "vast historical fresco." In both Zodia Cancerului and Nunta Domniței Ruxandra, the author took significant liberties with the historical facts. In addition to Tymofiy's death at the hands of Bogdan, the latter narrative used invented or incorrect names for some of the personages, and portrays the muscular, mustachioed, Gheorghe Ștefan as thin and bearded; likewise, in Zodia Cancerului, Sadoveanu invents the character Guido Celesti, who stands in for the actual Franciscan leader of Duca's Iași, Bariona da Monte Rotondo. Frații Jderi, Venea o moară pe Siret... and Baltagul With Frații Jderi, Sadoveanu's fresco of Moldavian history maintains its setting, but moves back in time to the 15th century rule of Prince Stephen the Great. Writing in 1941, before its final part was in print, Călinescu argued that the novel was part of Sadoveanu's "most valuable work", and noted "the maturity of its verbal means." In the first volume, titled Ucenicia lui Ionuț ("Ionuț's Apprenticeship"), the eponymous Jderi brothers, allies of Stephen and friends of his son Alexandru, fight off the enemies of their lord on several occasions. In what is the start of a Bildungsroman, the youngest Jder, Ionuț Păr-Negru, consumed by love for Lady Nasta, who was kidnapped by Tatars. He goes to her rescue, only to find out that she had preferred suicide to a life of slavery. Călinescu, who believed the volumes show Sadoveanu's move to the consecrated elements of adventure novels, called them "remarkable", but stressed that the narrative could render "the feeling of stumbling, of a languishing flow", and that the dénouement was "rather depressing". The second book in the series (Izvorul alb, "The White Water Spring") intertwines the life of the Jderi brothers with that of Stephen's family: the ruler weds the Byzantine princess Mary of Mangop, while Simion Jder falls for Marușca, who is supposedly Stephen's illegitimate daughter. The major episodes in the narrative are Marușca's kidnapping by a boyar, her captivity in Jagiellon Poland, and her rescue at the hands of the Jderi. The 1942 conclusion of the cycle, Oamenii Măriei-sale ("His Lordship's Men"), the brothers are shown defending their ancestral rights and their lord against the Ottoman invader and ambivalent boyars, and crushing the former at the Battle of Vaslui. The Jderi books, again set to the background of primitivism and natural abundance, also feature episodes of intense horror. These, Călinescu proposes, are willingly depicted "with an indolent complacency", as if to underline that the slow pace and monumental scale of history give little importance to personal tragedies. The same commentator notes a difference between the role nature plays in the first and second volumes: from serene, the landscape becomes hostile, and people are shown fearing earthquakes and droughts, although contemplative depictions of euphoria play a central part in both writings. The meeting between the wider world and the immobile local tradition surfaces in Frații Jderi as well: a messenger is shown wondering how the letter he brought could talk to the addressee; when she is supposed to encounter strange men, Marușca requests to be allowed to "shy away" in another room; a secondary character, claiming precognition, prepares his own funeral. For the 1925 Venea o moară pe Siret..., Sadoveanu received much critical acclaim. The boyar Alexandru Filotti falls in love with a miller's daughter, Anuța, whom he educates and introduces to high society. The beautiful young lady is also courted by Filotti's son Costi and by the peasant Vasile Brebu—in the end, overwhelmed by jealousy, Brebu kills the object of his affection. George Călinescu writes that the good reception was not fully deserved, claiming that the novel is "colorless", that it was merely based on the writer's early stories, and that it failed in its goal of depicting "crumbling boyardom". In Baltagul (1930), Sadoveanu merged psychological techniques and a pretext borrowed from crime fiction with several of his major themes. Written in just 30 days on the basis of previous drafts, the condensed novel shows Vitoria Lipan, the widow of a murdered shepherd, following in her husband's tracks to discover his killer and avenge his death. Accompanied by her son, and using for a guide the shepherd's dog, Vitoria discovers both the body and the murderer, but, before she can take revenge, her dog jumps on the man and bites into his neck. By means of this plot line, Sadoveanu also builds a fresco of transhumance and traces its ancestral paths, taking as a source of inspiration one of the best-known poems in local folklore, the ballad Miorița. Vitoria's sheer determination is the central aspect of the volume. Călinescu, who ranks the book among Sadoveanu's best, praises its "remarkable artistry" and "unforgettable dialogues", but nonetheless writes that Lipan's "detective-like" search and a "stubbornness" are weak points in the narrative. Crohmălniceanu declares Baltagul one of the "capital works" in world literature, proposing that, on its own, it manages to reconstruct "an entire shepherding civilization"; Cornis-Pope, who rates the book as "Sadoveanu's masterpiece", also notes that it "restated the theme of crime and punishment". Main travel writings and memoirs Before the 1940s, Sadoveanu also became known as a travel writer. His contributions notably include accounts of his hunting trips: Țara de dincolo de negură ("The Land beyond the Fog"), and one dedicated to the region of Dobruja (Priveliști dobrogene, "Dobrujan Sights"). Călinescu wrote that they both comprised "pages of great beauty". Țara de dincolo..., primarily showing recluse men in real-life symbiosis with the wilderness, also attention for its sympathetic depiction of the Hutsuls, a minority Slavic-speaking population, as an ancient tribe threatened by cultural assimilation. Sadoveanu's other travelogues include the reportage Oameni și locuri ("People and Places") and an account of his trips into Bessarabia (Drumuri basarabene, "Bessarabian Roads"). He also collected and commented upon the memoirs of other avid hunters (Istorisiri de vânătoare, "Hunting Stories"). A noted writing in this series was Împărăția apelor ("The Realm of Waters"). It forms a detailed and contemplative memoir of his journeys as a fisherman, and, according to Crohmălniceanu, one of the most eloquent proofs of Sadoveanu's "permanent and intimate correspondence with nature." Călinescu saw the text as a "fantastic vision of the entire aquatic universe", merging a form of pessimism similar to Arthur Schopenhauer's with a "calm kief" (cannabis-induced torpor), and as such illustrating "the great joy of participating in the transformations of matter, of eating and allowing oneself to be eaten." Sadoveanu also contributed an account of his travels into the Netherlands, Olanda ("Holland"). It provides insight into his preoccupation with the meeting of civilization and wilderness: upset by what he called "the [Dutch] rampancy of cleanliness", the writer confesses his perplexity at coming face to face with a contained and structured natural world, and details his own temptation to go "against the current". One of Sadoveanu's main conclusions is that Holland lacks in "true and lively wonders". Sadoveanu also sporadically wrote memoirs of his early life career, such as Însemnări ieșene ("Recordings from Iași"), which deals with the period during which he worked for Viața Românească, a book about the Second Balkan War (44 de zile în Bulgaria, "44 Days in Bulgaria"), and the account of years in primary school, Domnu Trandafir. They were followed in 1944 by Anii de ucenicie ("The Apprenticeship Years"), where Sadoveanu details some of his earliest experiences. Despite his temptation for destroying all raw personal notes, Sadoveanu wrote and kept a large number of diaries, which were never published in his lifetime. Other early writings Also during that time, he retold and prefaced the journeys of Thomas Witlam Atkinson, an English architect and stonemason who spent years in Tartary (a book he titled Cuibul invaziilor, "The Nest of Invasions"). This was evidence of his growing interest in exotic subjects, which he later adapted to a series of novels, where the setting is "Scythia", seen as an ancestral area of culture connecting Central Asia with the European region of Dacia (partly coinciding with present-day Romania). The home of mysterious Asiatic peoples, Sadoveanu's Scythia is notably the background to his novels Uvar and Nopțile de Sânziene. The former shows its eponymous character, a Yakut, exposed to the scrutiny of a Russian officer. In the latter, titled after the ancestral celebration of Sânziene during the month of June, shows a French intellectual meeting a nomadic tribe of Moldavian Rom people, who, the reader learns, are actually the descendants of Pechenegs. Călinescu notes that, in such writings, "the intrigue is a pretext", again serving to depict the vast wilderness confronted with the keen eye of foreign observers. He sees Nopțile de Sânziene as "the novel of millenarian immobility", and its theme as one of mythological proportions. The narrative pretexts, including the Sânziene celebration and the Rom people's social atavism, connect Nopțile... with another one of Sadoveanu's writings, 24 iunie ("June 24"). According to Tudor Vianu, the 1933 fantasy novel Creanga de aur ("The Golden Bow") takes partial inspiration from Byzantine literature, and is evidence of a form of Humanism found in Eastern philosophy. Marcel Cornis-Pope places it among Sadoveanu's "mythic-poetic narratives that explored the ontology and symbolics of history." The writer himself acknowledged that the esoteric nature of the book was inspired by his own affiliation to the Freemasonry, whose symbolism it partly reflected. Its protagonist, Kesarion Brebu, is included by Vianu among the images of sages and soothsayers in Mihail Sadoveanu's fiction, and, as "the last Deceneus", is a treasurer of ancient secret sciences mastered by the Dacians and the Ancient Egyptians. The novel is often interpreted as Sadoveanu's perspective on the Dacian contribution to Romanian culture. Sadoveanu's series of minor novels and stories of the interwar years also comprises a set of usually urban-themed writings, which, Călinescu argues, resemble the works of Honoré de Balzac, but develop into "regressive" texts with "a lyrical intrigue". They include Duduia Margareta ("Miss Margareta"), where a conflict occurs between a young woman and her governess, and Locul unde nu s-a întâmplat nimic ("The Place Where Nothing Happened"), where, in what is a retake on his own Apa morților, Sadoveanu depicts the cultured but bored boyar Lai Cantacuzin and his growing affection for a modest young woman, Daria Mazu. In Cazul Eugeniței Costea ("The Case of Eugenița Costea"), a civil servant kills himself to avoid prosecution, and his end is replicated by that of his daughter, brought to despair by her stepfather's character and by her mother's irrational jealousy. Demonul tinereții ("The Demon of Youth"), believed by Călinescu to be "the most charming" in this series, has for its protagonist Natanail, a university dropout who has developed a morbid fear of women since losing the love of his life, and who lives in seclusion as a monk. In the rural-themed Paștele blajinilor ("Thomas Sunday") of 1935, a defeated brigand seeks a dignified end to his wasted life. Written in 1938, the short story Ochi de urs ("Bear's Eye") introduces its hero Culi Ursake, the toughened hunter, into a bizarre scenery that seems to mock a human's understanding. During the period, Mihail Sadoveanu also wrote children's literature. His most significant pieces in this field are Dumbrava minunată ("The Enchanted Grove", 1926), Măria-sa Puiul Pădurii ("His Highness the Forest Boy", 1931), and a collection of stories adapted from Persian literature (Divanul persian, "The Persian Divan", 1940). Măria-sa Puiul Pădurii is itself an adaptation of the Geneviève de Brabant story, considered "somewhat highbrow" by George Călinescu, while the frame story Divanul persian consciously recalls the work of 19th century Wallachian writer Anton Pann. In 1909, Sadoveanu also published adapted version of two ancient writings: the Alexander Romance (as Alexandria) and Aesop's Fables (as Esopia). His 1921 book Cocostârcul albastru ("The Blue Crane") is a series of short stories with lyrical themes. Among his early writings are two biographical novels which retell historical events from the source, Viața lui Ștefan cel Mare ("The Life of Stephen the Great") and Lacrimile ieromonahului Veniamin ("The Tears of Veniamin the Hieromonk"), both of which, Călinescu objected, lacked in originality. The former, published in 1934, was more noted among critics, for both intimate tone and hagiographic character (recounting Stephen's life on the model of saints' biographies). Socialist realism years Despite the post-1944 change in approach, Sadoveanu's characteristic narrative style remained largely unmodified. In contrast, his choice of themes changed, a transition which reflected political imperatives. At the end of the process, literary historian Ana Selejan argues, Sadoveanu became the most influential prose author among Romanian Socialist realists, equaled only by the younger Petru Dumitriu. Historian Bogdan Ivașcu writes that Sadoveanu's affiliation with "proletarian culture" and "its masquerade", like that of Tudor Arghezi and George Călinescu, although it may have been intended to rally "prestige and depth" to Socialist realism, only succeeded in bring their late works to the level of "propaganda and agitation materials." In contrast to these retrospective assessments, communist literary critics and cultural promoters of the 1950s regularly described Sadoveanu as the model to follow, both before and after Georgy Malenkov's views on culture were adopted as the norm. In his Lumina vine de la Răsărit, the writer built on the opposition between light and darkness, identifying the former with Soviet policies and the latter with capitalism. Sadoveanu thus spoke of "the dragon of my own doubts" being vanquished by "the Sun of the East". Historian Adrian Cioroianu notes that this literary antithesis came to be widely used by various Romanian authors who rallied with Stalinism during the late 1940s, citing among these Cezar Petrescu and the former avant-garde writer Sașa Pană. He also notes that such imagery, accompanied by portrayals of Soviet joy and abundance, replicated an ancient "structure of myth", adapting it to a new ideology on the basis of "what could be imagined, not of what could be believed." Ioan Stanomir writes that Sadoveanu and his fellow ARLUS members use a discourse recalling the theme of a religious conversion, analogous to that of Paul the Apostle (see Road to Damascus), and critic Cornel Ungureanu stresses that Sadoveanu's texts of the period frequently quote the Bible. Following his return from the Soviet Union, Sadoveanu published travelogues and reportage piece, including the 1945 Moscova ("Moscow", co-authored with Traian Săvulescu and economist Mitiță Constantinescu) and the 1946 Caleidoscop ("Kaleidoscope"). In one of these accounts, he details his encounter with Lysenkoist agronomist Nikolay Tsistsin, and claims to have tasted bread made from a brand of wheat which yielded 4,000 kilograms of grain per hectare. In a later memoir, Sadoveanu depicted his existence and the destiny of his country as improved by the communist system, and gave accounts of his renewed journeys in the countryside, where he claimed to have witnessed a "spiritual splendor" supported by "the practice of the new times". He would follow up with hundreds of articles on various subjects, published by the communist press, including two 1953 pieces in which he lamented Stalin's death (one of them referred to the Soviet leader as "the great genius of progressive mankind"). Upon its publication, the political novel Mitrea Cocor, which depicts the hardships and eventual triumph of its eponymous peasant protagonist, was officially described as the first Socialist realist writing in local literature, and as a turning point in literary history. Often compared to Dan Deșliu's ideologized poem Lazăr de la Rusca, it is remembered as a controversial epic dictated by ideological requirements, and argued to have been written with assistance from several other authors. Seen by historiographer Lucian Boia as an "embarrassing literary fabrication", it was rated by literary critics Dan C. Mihăilescu and Luminița Marcu both as one of "the most harmful books in Romanian literature", and by historian Ioan Lăcustă as "a propaganda writing, a failure from a literary point of view". A praise of collectivization policies that some critics believe was a testimony that Sadoveanu was submitting himself and imposing his public to brainwashing, Mitrea Cocor was preceded by Păuna-Mică, a novel which also idealizes collective farming. With his final published work, the 1951-1952 novel Nicoară Potcoavă, Sadoveanu retells the narrative of his Șoimii, modifying the plot and adding new characters. Noted among the latter is Olimbiada, a female soothsayer and healer through whose words Sadoveanu again dispenses his own perspective on human existence. The focus of the narrative is also changed: from the avenger of his brother's death in Șoimii, the pretender becomes a purveyor of folk identity, aiming to reestablish the Moldavia of Stephen the Great's times. Praised early on by Dumitriu, who believed it was proof of "artistic excellence", Nicoară Potcoavă is itself seen as a source for communist-inspired political messages. According to Cornel Ungureanu, this explains why it highlights the brotherhood between Cossacks and Moldavians, supposedly replicating the official view on Soviet-Romanian relations. Cornis-Pope, who considers the novel one of Sadoveanu's "mere variations" on old subjects, suggests that it transforms its protagonist "from medieval fighter into political philosopher who announces the rise of a 'new world'." Victor Frunză also notes that, although Sadoveanu returned to old subjects, he "no longer rises to the level he had reached before the war." The final part of Sadoveanu's creation also comprises a series of pieces where the narrative approach was, according to Crohmălniceanu, "corrected" to show his favorite recluse type won over by the new society. In essence, Ungureanu argues, the new style that of "reportage and plain information, adapted to orders coming from above". Such works include the 1951 Nada Florilor ("The Flowers' Lure") and Clonț-de-fier ("Iron Bucktooth"), alongside an unfinished piece, Cântecul mioarei ("Song of the Ewe"). In Nada..., the peasant boy Culai follows his hero, tinsmith Alecuțu, into factory life. Clonț-de-fier, an ideologized retake on Demonul tinereții, is about a monk returning from seclusion into the world of workers, where the landscape is reshaped by large-scale construction works. According to Ungureanu, it also shows Sadoveanu's universe stripped of "all its deep meanings." While their author came to personify the new cultural guidelines, Sadoveanu's previous books, from Frații Jderi to Baltagul, were subject to communist censorship. Various statements contradicting the ideological guidelines were cut out of new editions: the books in general could no longer include mentions of Bessarabia (a region first incorporated into the Soviet Union by a 1940 occupation) or Romanian Orthodox beliefs. In one such instance, censors of Baltagul removed a character's claim that "the Russian" was by nature "the drunkest of them all, [...] a worthy beggar and singer at the fairs." Politics Nationalism and Humanism Sadoveanu's engagement in politics was marked by abrupt changes in convictions, seeing him move from right- to left-wing stances several times in his life. In close connection with his traditionalist views on literature, but in contrast to his career under a Conservative Party and National Liberal cabinets, Sadoveanu initially rallied with nationalist groups of various hues, associating with both Nicolae Iorga and, in 1906, with the left-wing Poporanists at Viața Românească. An early cause of his was his attempt to reconcile Iorga with the Poporanists, but his efforts were largely fruitless. In the 1910s, the anti-Iorga traditionalist Ilarie Chendi recognized in Sadoveanu one of the Poporanists who promoted "the spiritual healing of our people through culture." Around that time, he formulated a ruralist and nationalist perspective on life, rejecting what he deemed "the hybrid urban world" for "the world of our national realities". In Călinescu's analysis, this signifies that, like his predecessor, the conservative Eminescu, Sadoveanu believed the cities were victims of the "superimposed category" of foreigners, in particular those administrating leasehold estates. Following the 1907 Peasants' Revolt, Sadoveanu sent a report to his Minister of Education Spiru Haret, informing him on the state of rural education, and, beyond this, of the problems faced by villagers in Moldavia. It read: "The leaseholders and landowners, no matter what their nationality, make a mockery of the Romanians' labors. Every surtucar [that is, urbanized character] in the village, mayors, notaries, paper-pushers, shamelessly [and] mercilessly milk this milk cow. They are joined by the priest—who [...] is in disagreement with the teacher." With Neamul Șoimăreștilor, the burdens of feudal society and mercantilism, most of all the restriction of economic rights, were becoming a background theme in his fiction, which later depicted Stephen the Great as the original champion of social justice (Frații Jderi). During most of his World War I activity, Sadoveanu also followed the Poporanists' Russophobia and dislike of the Entente side, describing the Russian Empire's national policies in Bessarabia as far more barbaric than Austria-Hungary's rule over Transylvania. In 1916, he abruptly switched to the Entente camp: his enthusiasm as propaganda officer was touched by controversy once Romania experienced massive defeats; Sadoveanu himself abandoned the Entente cause by 1918, when he was decommissioned, and resumed his flirtation with Constantin Stere's Germanophile lobby. Călinescu sees Sadoveanu, alongside Stere, as one of Viața Româneascăs chief ideologues, noting that he was nonetheless "rendered notorious by his inconsistency and opportunism." He writes that Sadoveanu and Stere both showed a resentment for ethnic minorities, particularly members of the Jewish community, whom they saw as agents of exploitation, but that, as Humanists, they had a form of "humane sympathy" for Jews and foreigners taken individually. The Poporanist aspect of Sadoveanu's literature was also highlighted by Garabet Ibrăileanu in the late 1920s, when he referred to his contributions as evidence that Romanian culture was successfully returning to its specific originality. In essence, Crohmălniceanu writes, Sadoveanu was tied to Viața Românească by his advocacy of national specificity, his preference for the large-scale narrative, and his vision of pristine, "natural", human beings. According to Z. Ornea, Sadoveanu's affiliation to the Freemasonry shaped not only his political "demophilia", but also his "Weltanschauung, and, through a reflex, his [literary] work." By consequence, Ornea argues, Sadoveanu became a supporter of democracy, a stance which led him into open conflict with extreme nationalists. Alongside its Humanism, Sadoveanu's nationalism was noted for being secular, and thus in contrast with the Romanian Orthodox imagery favored by nationalists on the far right. Sadoveanu rejected the notion that ancestral Romanians were religious individuals, stating that their belief was in fact "limited to rituals and customs." He was also a vocal supporter of international cooperation, particularly among countries in Eastern and Central Europe. Writing for the magazine Familia in 1935, 17 years after Transylvania's union with Romania and 15 years after the Treaty of Trianon, Sadoveanu joined the Hungarian author Gyula Illyés in pleading for good relations between the two neighbors. As noted by Crohmălniceanu, although Sadoveanu's interwar novels may depict both clashes between polities and benign misunderstandings, they ultimately discourage ethnic stereotypes, suggesting that "the gifts and qualities of various kinships" are mutually compatible. According to Marcel Cornis-Pope, this cooperative vision is the background theme to Divanul persian, a book "demonstrating the value of intercultural dialogue at a time of sharp political polarization." The same text was described by Vianu as evidence of Sadoveanu's "understanding, gentleness and tolerance". In 1926, the year of his entry into Alexandru Averescu's People's Party, Sadoveanu motivated his choice in a letter to Octavian Goga, indicating his belief that the intelligentsia needed to partake in politics: "It would seem that what is foremost needed is the contribution of intellectuals, in an epoch when the overall intellectual level is decreasing." His sincerity was doubted by his contemporaries: both his friend Gheorghe Jurgea-Negrilești and the communist Petre Pandrea recount how, in 1926–1927, Sadoveanu and Păstorel Teodoreanu requested public funds from Interior Minister Goga, with Sadoveanu motivating that he wanted to set up a cultural magazine and later spending the money on his personal wardrobe. In contrast, Adrian Cioroianu notes that the People's Party episode, and especially the "mutual wariness" between Sadoveanu and the National Liberals, underlined the writer's sympathy for the "intellectual Left". Himself a Marxist, Ovid Crohmălniceanu suggested that, as early as the 1930s, Sadoveanu's attitudes were rather similar to the official line of communist groups. Opposition to fascism and support for King Carol During the 1930s, following his stint as head of Adevărul, a leftist newspaper owned by Jewish entrepreneurs, Sadoveanu was targeted by right-wing voices, who claimed that he had chosen to abandon his nationalist credentials. Thus, Sadoveanu became the target of a press campaign in the antisemitic and fascist press, and in particular in Nichifor Crainic's Sfarmă-Piatră and the journals connected with the Iron Guard. The former publication deplored his supposed "betrayal" of the nationalist cause. In it, Ovidiu Papadima portrayed Sadoveanu as the victim of Jewish manipulation, and equated his affiliation to the Freemasonry with devil worship, and mocked his obesity, while Crainic himself compared the writer to his own character, the treacherous Ieremia Golia. Porunca Vremii often referred to him as Jidoveanu (from jidov, a dismissive term for "Jew"), depicted him as an agent of "Judaeo-communism" motivated by "perversity", and called on the public to harass the writer and beat him with stones. It also protested when the public authorities in Fălticeni refused to withdraw Sadoveanu the title of honorary citizen, and again when the University of Iași made him a doctor honoris causa, and, through the voice of novelist N. Crevedia, even suggested that the writer should use his hunting rifle to commit suicide. In 1937, Porunca Vremii congratulated ultra-nationalists who had organized public burnings of Sadoveanu's works in Southern Dobruja and in Hunedoara, as well as non-identified people who sent the writer packages containing shredded copies of his own volumes. In April 1937, the anti-Sadoveanu campaign was met with the indignation of various public figures, who issued an "Appeal of the Intellectuals", signed by Liviu Rebreanu, Eugen Lovinescu, Petru Groza, Victor Eftimiu, George Topîrceanu, Zaharia Stancu, Demostene Botez, Alexandru Al. Philippide, Constantin Balmuș and others. Denouncing the campaign as a "moral assassination", it referred to Sadoveanu as the author of "the most Romanian [works] in our literature." Sadoveanu himself defended his fellow writer Tudor Arghezi, who stood accused by the far right press of having written "pornography". Reviewing the consequences of these scandals, Ovid Crohmălniceanu suggests that all of what Mihail Sadoveanu wrote from 1938 to 1943 is in some way connected to the cause of anti-fascism. According to Cornis-Pope, Sadoveanu's dislike for the far right can be discovered in Creanga de aur, which doubles as "a political parable opposing an archaic peasant civilization to the growing threat of fascism." However, George Călinescu claims, the writer himself had not actually revised his nationalist outlook, that he continued to believe that minorities and foreigners were a risky presence in Greater Romania, and that his Humanism was "a light tincture". In one of his columns, Sadoveanu replied to those organizing the acts of vandalism, indicating that, had they actually read the novels they were destroying, they would have found "a burning faith in this nation, for so long mistreated by cunning men". Elsewhere, stating that he was not going to take his detractors into consideration, Sadoveanu defined himself as an adversary of both Nazi Germany and any form of advocacy for a "National-Socialist regime in our country". Sadoveanu's subsequent endorsement of authoritarian King Carol II and his corporatist force, the National Renaissance Front, saw his participation in the monarch's personality cult. In 1940, he offered controversial praise to the ruler through the official journal, Revista Fundațiilor Regale, which caused Carol's political adversary, psychologist Nicolae Mărgineanu, to deem Sadoveanu and his fellow contributors "scoundrels". His renewed mandate in the Senate was a favor from Carol, also granted to George Enescu, philosopher Lucian Blaga, scientists Emil Racoviță and Iuliu Hațieganu, and several other public figures. During the Ion Antonescu dictatorship, Sadoveanu kept a low profile and was apolitical. However, Cioroianu writes, he supported the invasion of the Soviet Union and Romania's cooperation with the Axis Powers on the Eastern Front, seeing in this a chance to recover Bessarabia and the northern part of Bukovina (lost to the 1940 Soviet occupation). In spring 1944, months before the King Michael Coup toppled the regime, he was approached by the clandestine Romanian Communist Party and its sympathizers in academia to sign an open letter condemning Romania's alliance to Nazi Germany. According to the communist activist Belu Zilber, who took part in this action, Sadoveanu, like his fellow intellectuals Dimitrie Gusti, Simion Stoilow and Horia Hulubei, refused to sign the document. Also according to Zilber, Sadoveanu motivated his refusal by stating that the letter needed to be addressed not to Antonescu, but to King Michael I. However, and aside from its main topic, Păuna-Mică was noted as one of the few prose works of the 1940s to mention the wartime deportation of Romanian Jews by Antonescu's regime; Caleidoscop also speaks about the 1941 Iași pogrom as "our shame", and commends those who opposed it. Partnership with the communists Following his Lumina vine de la Răsărit lecture, Sadoveanu became noted for his positive portrayals of communization and collectivization. In particular, Sadoveanu offered praise to one of the major pillars of Stalinism, the 1936 Soviet Constitution. In 1945, claiming to have been "flashed upon" by "Stalin's argumentation", he urged the public to read the document for its "sincerity"; elsewhere, he equated reading the constitution with "a mystical revelation". Adrian Cioroianu describes this as "an office assignment" from the ARLUS, at a time when the group was circulating free translated copies of the Soviet constitution. The enthusiasm of his writings also manifested itself in his public behavior: according to his ARLUS colleague Iorgu Iordan, Sadoveanu was emotional during the 1945 Soviet trip, shedding tears of joy upon visiting a day care center in the countryside. Running in the 1946 election, Sadoveanu blamed the old political class in general for the problems faced by Romanian peasants, including the major drought of that year. By then, his political partners were making use of his literary fame, and his electoral pamphlet read: "There is no doubt that the thousands of people who have read his works will rush out on [election day] to vote for him." After 1948, when the Romanian communist regime was installed, Sadoveanu directed his praise toward the new authorities. In 1952, as Romania adopted its second republican constitution and the authorities intensified repression against anti-communists, Sadoveanu made some of his most controversial statements. Declaring the defunct kingdom to have been a "long interval of organized injustice and crooked development in all areas", he presented the new order as an era of social justice, human dignity, available culture and universal public education. Criticism of Sadoveanu's moral choices also focuses on the fact that, while he led a luxurious existence, many of his generation colleagues and fellow intellectuals were being persecuted or jailed in notoriously harsh circumstances. Having tolerated the purge within the Romanian Academy, Cioroianu notes, Sadoveanu accepted being colleagues with newly promoted "secondary characters [...] whom the new regime needed", such as poet Dumitru Theodor Neculuță and historian Mihail Roller. In his official capacity, Sadoveanu even signed several death sentences declared by communist tribunals, and, in the wake of the Tămădău Affair of summer 1947, presided over the Chamber sessions which outlawed the opposition National Peasants' Party: according to researcher Victor Frunză, he was a willing participant in this, having been upset by the exposure of his personal wealth in the National Peasantist press. Later, Sadoveanu made a reference to his former colleague, the National Peasantist activist Ion Mihalache, arguing that his old Agrarianist approach to politics had made him a "ridiculous character". Ioan Stanomir describes this fragment as one of "intellectual abjection", indicating that Mihalache, already a political prisoner of the regime, was to die in captivity. However, as leader of the Romanian Writers' Union, the aging writer is credited by some with having protected poet Nicolae Labiș, a disillusioned communist who had been excluded from the Union of Worker Youth in spring 1954, and whose work Sadoveanu treasured. He is also reported to have helped George Călinescu publish the novel Scrinul negru, mediating between him and communist leader Gheorghe Gheorghiu-Dej. Mihail Sadoveanu provided a definition of his own political transition in conversation with fellow writer Ion Biberi (1946). At the time, he claimed: "I have never engaged in politics, in the sense that one assigns to this word." He elaborated: "I am a left-wing person, following the line of a Poporanist zeal in the spirit of Viața Românească, but one adapted to the new circumstances." Cioroianu sees in such statements evidence that, trying to discard his past, Sadoveanu was including himself among the socialist intellectuals "willing to let themselves be won over by the indescribable charm and the full swing of the communist utopia", but that he may in reality have been "motivated by fear". Paraphrasing communist vocabulary, Stanomir describes the writer as one of the "bourgeois" personalities who became "fellow travelers" of the communists, and argues that Sadoveanu's claim to have always leaned towards a "people's democracy" inaugurated "a pattern of chameleonism". In the view of historian Vladimir Tismăneanu, Sadoveanu, like Parhon, George Călinescu, Traian Săvulescu and others, was one of the "non-communist intellectuals" attracted into cooperation with the Romanian Communist Party and the communist regime (Tismăneanu also argues that these figures' good relationship with Gheorghiu-Dej was a factor in the process, as was Gheorghiu-Dej's ability to make himself look "harmless"). Others have submitted that Sadoveanu's faction in the Freemasonry, which included far left advocates Mihai Ralea and Alexandru Claudian, and officially supported evolutionary socialism, was a natural partner of the communists, to the point of sanctioning its own state-organized suppression. According to Adrian Cioroianu, Sadoveanu was not necessarily an "apostle of communization", and his role in the process is subject to much debate. Describing the writer's "conversion to philosovietism" as "purely contextual", Cioroianu also points out that the very notion of "light arising in the East" is read by some as Sadoveanu's encoded message to other Freemasons, warning them of a Soviet threat to the organization. The historian notes that, for all their possible lack in sincerity, Sadoveanu's statements provided a template for other intellectuals to follow—this, he argues, was the case of Cezar Petrescu. Other statements made by Sadoveanu also displayed a possibly studied ambiguity, as is the case with a 1952 lecture he gave in front of young writers attending the Party-controlled School of Literature, where he implicitly denied that one could be created a writer unless by "God or Mother Nature". Legacy Influence Sadoveanu's prose, in particular his treatment of natural settings, was a direct influence in the works of writers such as Dimitrie D. Pătrășcanu, Nicolae N. Beldiceanu, Jean Bart, and Al. Lascarov-Moldovanu; his storytelling techniques were also sometimes borrowed by comedic novelist Damian Stănoiu, and, in later years, by historical novelist Dumitru Vacariu. According to Călinescu, Sadoveanu's early hunting stories published by Viața Românească, together with those of Junimist Nicolae Gane, helped establish the genre within the framework of Romanian literature, and paved the way for its predilect use in the works of Ioan Alexandru Brătescu-Voinești. Călinescu also notes that Scrisorile unui răzeș ("Letters of a Peasant"), an early work by novelist Cezar Petrescu, are deeply marked by Sadoveanu's influence, and that the same writer's use of the Moldavian dialect is a "pastiche" from Sadoveanu. Ion Vinea too, while expressing admiration for Sadoveanu, defined all his disciples and imitators as "mushroom-writers from Sadoveanu's woods" and "butlers who steal [their lord's lingerie] in order to wear his blazon". The issue was much later discussed by writer-critic Ioan Holban, who likewise described most historical novelists inspired by Sadoveanu as "insignificant" to Romanian letters. Under the early stages of the communist regime, before the rise of Nicolae Ceaușescu engendered a series of rehabilitations and accommodated nationalism, the Romanian curriculum was dependent on ideological guidelines. At the time, Sadoveanu was one of the writers from the interwar whose work was still made available to Romanian schoolchildren. In the 1953 Romanian language and literature manual, he represented his generation alongside the communist authors Alexandru Toma and Alexandru Sahia, and was introduced mainly through his Mitrea Cocor. At the time, studies of his work were published by prominent communist critics, among them Ovid Crohmălniceanu, Paul Georgescu, Traian Șelmaru, Mihai Novicov, Eugen Campus and Dumitru Isac, while a 1953 reissue of Baltagul was published in 30,000 copies (a number rarely met by the Romanian publishing industry in that context). In later years, Profira Sadoveanu became a noted promoter of her father's literature and public image, publishing children's versions of his biography, notably featuring illustrations by Mac Constantinescu (1955 edition). Although Sadoveanu continued to be hailed as a major writer during the Ceaușescu years, and the seventy years of his debut were marked with state ceremony, the reaction against Soviet influence affected presentations of his work: his official bibliography no longer included any mention of Păuna-Mică. Among the memoirs dealing with Sadoveanu's late years were those of Alexandru Rosetti, published in 1977. The official revival of nationalist discourse in the 1960s allowed controversial critic Edgar Papu to formulate his version of Protochronism, which postulated that phenomenons within Romanian culture preceded developments in world culture. In this context, Papu spoke of Sadoveanu as "one of the great precursory voices", comparing him to Rabindranath Tagore. After the 1989 Revolution toppled communism, Sadoveanu remained an influence on some young authors, who recovered the themes of his work in a Postmodern or parodic manner. Among them is Dan Lungu, who, according to critic Andrei Terian, alluded to the Hanu Ancuței frame story when constructing his 2004 novel Paradisul găinilor. In 2001, a poll carried among literati by Observator Cultural magazine listed six of his works as some of the best 150 Romanian novels. Mihail Sadoveanu's various works were widely circulated abroad. This phenomenon began as early as 1905, when German-language translations were first published, and continued during the 1930s, when Venea o moară pe Siret... was translated very soon after its original Romanian edition. In 1931, female author and feminist militant Sarina Cassvan included French-language versions of his texts into an anthology designed to promote modern Romanian culture internationally. Also then, some of Sadoveanu's texts were rendered in Chinese by Lu Xun. Tudor Vianu attributes the warm international reception Sadoveanu generally received to his abilities in rendering the Romanians' "own way of sensing and seeing nature and humanity", while literary historian Adrian Marino points out that, Sadoveanu and Liviu Rebreanu were exceptional in their generation for taking an active interest in how their texts were translated, edited and published abroad. Later, publicizing Sadoveanu's work to Eastern Bloc and world audiences became a priority for the communist regime. Thus, Mitrea Cocor was, together with similar works by Zaharia Stancu and Eusebiu Camilar, among the first wave of Romanian books to have been translated into Czech and published in Communist Czechoslovakia. Alongside similar works by Petru Dumitriu, Mitrea Cocor was also among the few English-language editions sanctioned by the Romanian regime, being translated and published, with a preface by Jack Lindsay, in 1953. Nine years later, the collected short stories were a tool for cultural exchange between Romania and the United States. Sadoveanu's good standing in the Soviet Union after World War II also made him one of the few Romanian writers whose works were still being published in the Moldavian SSR (which, as part of Bessarabia, had previously been a region of Greater Romania). Sadoveanu's diaries and notes were collected and edited during the early 2000s, being published in 2006 by Editura Junimea and the MLR. The main coordinators of this project were literary historian Constantin Ciopraga and Constantin Mitru, who was Sadoveanu's brother-in-law and personal secretary. The popularity of his writings remained high into the early 21st century: in 2004, when the country marked a hundred years since Sadoveanu's debut, Șoimii was published in its 15th edition. According to Simuț, the occasion itself was nevertheless marked with "the impression of general indifference", making Sadoveanu seem "a submerged continent, remembered by us only with piousness and confusion". Tributes Sadoveanu is an occasional presence in the literary works of his fellow generation members. His Țara de dincolo de negură was partly written as a tribute to George Topîrceanu's piece of the same name, with both authors sketching an affectionate portrait of one another. Topîrceanu also parodied his friend's style in a five-paragraph sketch, part of a series of such fragments, recorded their encounters in various other autobiographical writings, and dedicated him the first version of his poem Balada popii din Rudeni ("Ballad of the Priest from Rudeni"). Under the name Nicolae Pădureanu, Sadoveanu is a character in the novel and disguised autobiography În preajma revoluției ("On the Eve of the Revolution"), authored by his colleague Constantin Stere. Sadoveanu is honored in two writings by Nicolae Labiș, collectively titled Sadoveniene ("Sadovenians"). The first, titled Mihail Sadoveanu, is a prose poem which alludes to Sadoveanu's prose, and the other, a free verse piece, is titled Cozma Răcoare. In his scientific study of Sadoveanu's work, Eugen Lovinescu himself turns to pure literature, portraying Sadoveanu as a child blessed by the Moirai or ursitoare with ironic gifts, such as an obstinacy for nature writing in the absence of actual observation ("You shall write; you shall write and could never stop yourself writing [...]. The readers will grow tired, but you will remain tireless; you shall not known rest, just as you shall not know nature [...]"). George Călinescu was one to object to this portrayal, noting that it was merely a "literary device which hardly covers the emptiness of [Lovinescu's] idea." Also during the interwar, philosopher Mihai Ralea made Mihail Sadoveanu the subject of a sociological study investigating his literary contributions in the context of social evolutions. A portrait of Sadoveanu was drawn by graphic artist Ary Murnu, within a larger work which depicts the Kübler Coffeehouse society. Sadoveanu was also the subject of a 1929 painting by Ștefan Dumitrescu, part of a series on Viața Românească figures. In its original edition, Mitrea Cocor was supposed to feature a series of drawings made by Corneliu Baba, one of the best-known Romanian visual artists for his generation. Baba, who had been officially criticized for "formalism", was pressured by the authorities into accepting the commission or risk a precarious existence. The result of his work was rejected with a similar label, and the sketches were for long not made available to the public. Baba also painted Sadoveanu's portrait, which, in 1958, art critic Krikor Zambaccian as "the synthesis of Baba's art", depicting "a man of letters aware of his mission [and] the leading presence of an active consciousness". Constantin Mitru inherited the painting and passed it on to the Museum of Romanian Literature (MLR). A marble bust of Sadoveanu, the work of Ion Irimescu, was set up in Fălticeni in 1977. In Bucharest, a memorial plaque was placed on Pitar Moș Street, on a house where he lived for a period. During the 1990s, another bust of Sadoveanu, the work of several sculptors, was unveiled in Chișinău, Republic of Moldova (the former Moldavian SSR), part of the Aleea Clasicilor sculptural ensemble. Sadoveanu's writings also made an impact on film culture, and in particular on Romanian cinema of the communist period. However, the first film based on his works was a German production of 1929: based on Venea o moară... and titled Sturmflut der Liebe ("Storm Tide of Love"), it notably starred Marcella Albani, Alexandru Giugaru and Ion Brezeanu. The series of Romanian-made films began with the 1952 Mitrea Cocor, co-directed by Marietta Sadova (who also starred in the film) and Victor Iliu. The film itself was closely supervised for conformity with ideological guidelines, and had to be partly redone because its original version did not meet them. Mircea Drăgan directed a 1965 version of Neamul Șoimăreștilor (with a screenplay co-written by Constantin Mitru) and a 1973 adaptation of Frații Jderi (with contributions by Mitru and by Profira Sadoveanu). In 1969, Romanian studios produced a film version of Baltagul, directed by Mircea Mureșan and with Sidonia Manolache as Vitoria Lipan. Ten years later, Constantin Vaeni released Vacanță tragică ("Tragic Holiday"), based on Nada Florilor, followed by a 1980 adaptation of Dumbrava minunată and Stere Gulea's 1983 Ochi de urs (tr. "The Bear Eye's Curse"). In 1989, just before the Romanian Revolution, Dan Pița produced his film The Last Ball in November, based on Locul unde nu s-a întâmplat nimic. During the early decades of communist rule, Sadoveanu, Alexandru Toma and later Tudor Arghezi were often paid homage with state celebrations, likened by literary critic Florin Mihăilescu to the personality cult reserved for Stalin and Gheorghe Gheorghiu-Dej. For a while after the writer's death, the Writers' Union club, commonly known as "The Writers' House", bore Sadoveanu's name. Casa cu turn in Iași, which Sadoveanu had donated to the state in 1950, went through a period of neglect and was finally set up as a museum in 1980. Similar sites were set up in his Fălticeni house, and in his final residence at Voividenia, while the Bradu-Strâmb chalet was controversially granted to the Securitate, and later to the Romanian Police. Each year, Iași commemorates the writer through a cultural festival known as the "Mihail Sadoveanu Days". In 2004, the 100th anniversary of his debut was marked by a series of exhibits and symposiums, organized by the MLR. Similar events are regularly held in various cities, and include the "In Sadoveanu's Footsteps" colloquy of writers, held during March 2006 in the city of Piatra Neamț. Since 2003, in tribute to Sadoveanu's love for the game, an annual chess tournament is held in Iași. The Sadoveanu High School and a bookstore in Bucharest are named after him, and streets named after him exist in, among other places, Iași, Fălticeni, Timișoara, Oradea, Brașov, Galați, Suceava, Călărași, Târgu Jiu, Miercurea Ciuc, Petroșani, and Mangalia. Pașcani hosts a cultural center, a high school and a library named after him. Sadoveanu's memory is also regularly honored in the Republic of Moldova, where, in 2005, the 125th anniversary of his birth was celebrated in an official context. A street in Chișinău and a high school in the town of Cupcini are also named after him. Selected works Fiction 1902 - Frații Potcoavă 1904 - Șoimii 1905 - Floare ofilită 1906 - Însemnările lui Neculai Manea 1907 - La noi, la Viișoara 1907 - Vremuri de bejenie 1908 - Balta liniștii 1908 - Haia Sanis 1911 - Apa morților 1915 - Neamul Șoimăreștilor 1925 - Venea o moară pe Siret... 1928 - Hanu Ancuței 1929 - Zodia Cancerului 1930 - Baltagul 1932 - Nunta Domniței Ruxandra 1932 - Uvar 1933 - Creanga de aur 1934 - Nopțile de Sânziene 1935-1942 - Frații Jderi 1949 - Mitrea Cocor 1951-1952 - Nicoară Potcoavă Non-fiction 1907 - Domnu Trandafir 1908 - Oameni și locuri 1914 - Priveliști dobrogene 1916 - 44 de zile în Bulgaria 1921 - Drumuri basarabene 1926 - Țara de dincolo de negură 1928 - Împărăția apelor 1928 - Olanda 1936 - Însemnări ieșene 1937 - Istorisiri de vânătoare 1944 - Anii de ucenicie Notes References Lucian Boia, "Germanofilii". Elita intelectuală românească în anii Primului Război Mondial, Humanitas, Bucharest, 2010. Lucian Boia (ed.), Miturile comunismului românesc, Editura Nemira, Bucharest, 1998. : Lucian Boia, "Un nou Eminescu: A. Toma", p. 71-81 Adrian Cioroianu, "Lumina vine de la Răsărit. 'Noua imagine' a Uniunii Sovietice în România postbelică, 1944-1947", p. 21-68 George Călinescu, Istoria literaturii române de la origini pînă în prezent, Editura Minerva, Bucharest, 1986 Paul Cernat, Avangarda românească și complexul periferiei: primul val, Cartea Românească, Bucharest, 2007. Ilarie Chendi, "Vieața literară în 1911 (o privire generală)", in Luceafărul, Nr. 3/1912, p. 61-65 (digitized by the Babeș-Bolyai University Transsylvanica Online Library) Adrian Cioroianu, , Editura Curtea Veche, Bucharest, 2005. Marcel Cornis-Pope, "Shifting Perspectives and Voices in the Romanian Novel"; "The Search for a Modern, Problematizing Historical Consciousness: Romanian Historical Fiction and Family Cycles", in Marcel Cornis-Pope, John Neubauer (eds.), History of the Literary Cultures of East-Central Europe, John Benjamins, Amsterdam & Philadelphia, 2004, p. 441-456, 499–505. Ovid Crohmălniceanu, Literatura română între cele două războaie mondiale, Vol. I, Editura Minerva, Bucharest, 1972. Victor Frunză, Istoria stalinismului în România, Humanitas, Bucharest, 1990. Florin Mihăilescu, De la proletcultism la postmodernism, Editura Pontica, Constanța, 2002. Z. Ornea, Anii treizeci. Extrema dreaptă românească, Editura Fundației Culturale Române, Bucharest, 1995. Junimea și junimismul, Vol. II, Editura Minerva, Bucharest, 1998. Petre Răileanu, "Construcție și semnificație în ficțiunea istorică", preface to Mihail Sadoveanu, Nicoară Potcoavă, Editura Militară, 1990, p. 5-17. Tom Sandqvist, Dada East. The Romanians of Cabaret Voltaire, MIT Press, Cambridge, Massachusetts & London, 2006. Ana Selejan, Literatura în totalitarism. Vol. II: Bătălii pe frontul literar, Cartea Românească, Bucharest, 2008. Ioan Stanomir, "Facerea lumii", in Paul Cernat, Ion Manolescu, Angelo Mitchievici, Ioan Stanomir, Explorări în comunismul românesc, Polirom, Iași, 2004, p. 13-45. George Topîrceanu, Scrieri, Vols. I-II (preface, chronological table and notes by Al. Săndulescu), Editura Minerva, Bucharest, 1983. Cristian Vasile, Literatura și artele în România comunistă. 1948-1953, Humanitas, Bucharest, 2010. Tudor Vianu, Scriitori români, Vols. I-II, Editura Minerva, Bucharest, 1970. Krikor Zambaccian, Corneliu Baba, Editura de stat pentru literatură și artă, Bucharest, 1958. External links Roumanian Stories. Translated by Lucy Byng (includes three of Sadoveanu's works), at the University of Washington's DXARTS/CARTAH Electronic Text Archive A Boyar's Sin (excerpt), A Worried Man, His Majesty's Mare, Idle Hours, Master Trandafir (excerpts), The Enchanted Grove (excerpts), The Place Where Nothing Happened (excerpt), The Vesper Bell, Vitoria Lipan (fragment from Baltagul), translations in the Romanian Cultural Institute's Plural Magazine (various issues) "Peace Partisans Meeting aka Peace Meeting" (Rome, 1949) British-Pathé newsreel showing Sadoveanu and other delegates |- 1880 births 1961 deaths Romanian biographers Male biographers Romanian children's writers Romanian crime fiction writers Romanian essayists Romanian fantasy writers Romanian historical novelists Romanian magazine editors Romanian magazine founders Romanian memoirists Romanian newspaper editors 20th-century Romanian novelists Romanian male novelists Romanian poets Romanian male poets Romanian textbook writers Romanian translators Romanian travel writers 19th-century short story writers 20th-century short story writers Romanian male short story writers Romanian short story writers Romanian theatre managers and producers Social realism Socialist realism writers Poporanists Adevărul editors Adevărul writers Titular members of the Romanian Academy People's Party (interwar Romania) politicians 20th-century Romanian politicians Presidents of the Senate of Romania Presidents of the Chamber of Deputies (Romania) Members of the Chamber of Deputies (Romania) Members of the Great National Assembly Heads of state of Romania Romanian activists Romanian Freemasons Masonic Grand Masters Romanian nationalists Romanian pacifists Romanian propagandists Romanian humanists Censorship in Romania Lenin Peace Prize recipients People from Pașcani Romanian civil servants Romanian Land Forces officers Romanian military personnel of the Second Balkan War Romanian people of World War I Romanian people of World War II Burials at Bellu Cemetery 19th-century Romanian writers 20th-century Romanian writers 20th-century essayists 20th-century memoirists 20th-century translators
true
[ "\nThis is a list of the 29 players who earned their 2011 PGA Tour card through Q School in 2010. Note: Michael Putnam and Justin Hicks had already qualified for the PGA Tour by placing in the Top 25 during the 2010 Nationwide Tour season; they did not count among the Top 25 Q school graduates, but Putnam did improve his status.\n\nPlayers in yellow are 2011 PGA Tour rookies.\n\n2011 Results\n\n*PGA Tour rookie in 2011\nT = Tied \nGreen background indicates the player retained his PGA Tour card for 2012 (finished inside the top 125). \nYellow background indicates the player did not retain his PGA Tour card for 2012, but retained conditional status (finished between 126-150). \nRed background indicates the player did not retain his PGA Tour card for 2012 (finished outside the top 150).\n\nWinners on the PGA Tour in 2011\n\nRunners-up on the PGA Tour in 2011\n\nSee also\n2010 Nationwide Tour graduates\n\nReferences\nShort bios from pgatour.com\n\nPGA Tour Qualifying School\nPGA Tour Qualifying School Graduates\nPGA Tour Qualifying School Graduates", "\nThis is a list of the 29 players who earned their 2012 PGA Tour card through Q School in 2011. Note: Roberto Castro and Mark Anderson had already qualified for the PGA Tour by placing in the Top 25 during the 2011 Nationwide Tour season; they did not count among the Top 25 Q school graduates.\n\nPlayers in yellow were 2012 PGA Tour rookies.\n\n2012 Results\n\n*PGA Tour rookie in 2012\nT = Tied \nGreen background indicates the player retained his PGA Tour card for 2013 (won or finished inside the top 125). \nYellow background indicates the player did not retain his PGA Tour card for 2013, but retained conditional status (finished between 126-150). \nRed background indicates the player did not retain his PGA Tour card for 2013 (finished outside the top 150).\n\nWinners on the PGA Tour in 2012\n\nRunners-up on the PGA Tour in 2012\n\nSee also\n2011 Nationwide Tour graduates\n\nReferences\nResults from pgatour.com\n\nPGA Tour Qualifying School\nPGA Tour Qualifying School Graduates\nPGA Tour Qualifying School Graduates" ]
[ "Roger Clemens", "Return to the Yankees (2007)" ]
C_0d846a1614904fcf97343b0d8d340347_1
When did Clemens return to the yankees
1
When did Roger Clemens return to the Yankees?
Roger Clemens
Clemens unexpectedly appeared in the owner's box at Yankee Stadium on May 6, 2007, during the seventh-inning stretch of a game against the Seattle Mariners, and made a brief statement: "Thank y'all. Well they came and got me out of Texas, and uhh, I can tell you it's a privilege to be back. I'll be talkin' to y'all soon." It was simultaneously announced that Clemens had rejoined the Yankees roster, agreeing to a pro-rated one-year deal worth $28,000,022, or about $4.7 million per month. Over the contract life, he would make $18.7 million. This equated to just over $1 million per start that season. Clemens made his 2007 return on June 9, defeating the Pittsburgh Pirates by pitching six innings with seven strikeouts and 3 runs allowed. On June 21, with a single in the 5th inning against the Colorado Rockies, Clemens became the oldest New York Yankee to record a hit (44 years, 321 days). On June 24, Clemens pitched an inning in relief against the San Francisco Giants. It had been 22 years and 341 days since his previous regular-season relief appearance, the longest such gap in major league history. On July 2, Clemens collected his 350th win against the Minnesota Twins at Yankee Stadium, giving up just two hits and one run over eight innings. Clemens is one of only three pitchers to pitch his entire career in the live-ball era and reach 350 wins. The other two are Warren Spahn (whose catcher for his 350th win was Joe Torre, Clemens's manager for his 350th), and Greg Maddux, who earned his 350th win in 2008. His final regular season appearance was a start against the Red Sox at Fenway Park, in which he allowed 2 hits and 1 unearned run in 6 innings, and received a no-decision. Clemens finished the 2007 regular season with a record of 6-6 and a 4.18 ERA. Clemens was forced to leave Game 3 of the 2007 ALDS in the third inning after aggravating a hamstring injury. He struck out Victor Martinez of the Cleveland Indians with his final pitch, and was replaced by right-hander Phil Hughes. Yankees manager Joe Torre removed Clemens from the roster due to his injury, and replaced him with left-hander Ron Villone. CANNOTANSWER
Clemens made his 2007 return on June 9,
William Roger Clemens (born August 4, 1962), nicknamed "Rocket", is an American former professional baseball pitcher who played 24 seasons in Major League Baseball (MLB), primarily with the Boston Red Sox and New York Yankees. Clemens was one of the most dominant pitchers in major league history, tallying 354 wins, a 3.12 earned run average (ERA), and 4,672 strikeouts, the third-most all time. An 11-time All-Star and two-time World Series champion, he won seven Cy Young Awards during his career, more than any other pitcher in history. Clemens was known for his fierce competitive nature and hard-throwing pitching style, which he used to intimidate batters. Clemens debuted in MLB in 1984 with the Red Sox, whose pitching staff he anchored for 12 years. In 1986, he won the American League (AL) Cy Young Award, the AL Most Valuable Player (MVP) Award, and the All-Star Game MVP Award, and he struck out an MLB-record 20 batters in a single game. After the 1996 season, in which he achieved his second 20-strikeout performance, Clemens left Boston via free agency and joined the Toronto Blue Jays. In each of his two seasons with Toronto, Clemens won a Cy Young Award, as well as the pitching triple crown by leading the league in wins, ERA, and strikeouts. Prior to the 1999 season, Clemens was traded to the Yankees where he won his two World Series titles. In 2001, Clemens became the first pitcher in major league history to start a season with a win-loss record of 20–1. In 2003, he reached his 300th win and 4,000th strikeout in the same game. Clemens left for the Houston Astros in 2004, where he spent three seasons and won his seventh Cy Young Award. He rejoined the Yankees in 2007 for one last season before retiring. He is the only pitcher in Major League history to record over 350 wins and strike out over 4,500 batters. Clemens was alleged by the Mitchell Report to have used anabolic steroids during his late career, mainly based on testimony given by his former trainer, Brian McNamee. Clemens firmly denied these allegations under oath before the United States Congress, leading congressional leaders to refer his case to the Justice Department on suspicions of perjury. On August 19, 2010, a federal grand jury at the U.S. District Court in Washington, D.C., indicted Clemens on six felony counts involving perjury, false statements and Contempt of Congress. Clemens pleaded not guilty, but proceedings were complicated by prosecutorial misconduct, leading to a mistrial. The verdict from his second trial came in June 2012, when Clemens was found not guilty on all six counts of lying to Congress. These controversies hurt his chances for election to the Baseball Hall of Fame. He never received the 75% of the votes required in his ten years of eligibility, ending with 65.2% in 2022. Early life Clemens was born in Dayton, Ohio, the fifth child of Bill and Bess (Lee) Clemens. He is of German descent, his great-grandfather Joseph Clemens having immigrated in the 1880s. Clemens's parents separated when he was an infant. His mother soon married Woody Booher, whom Clemens considers his father. Booher died when Clemens was nine years old, and Clemens has said that the only time he ever felt envious of other players was when he saw them in the clubhouse with their fathers. Clemens lived in Vandalia, Ohio, until 1977, and then spent most of his high school years in Houston, Texas. At Spring Woods High School, Clemens played baseball for longtime head coach Charles Maiorana and also played football and basketball. He was scouted by the Philadelphia Phillies and Minnesota Twins during his senior year, but opted to go to college. Collegiate career He began his college career pitching for San Jacinto College North in 1981, where he was 9–2. The New York Mets selected Clemens in the 12th round of the 1981 Major League Baseball draft, but he did not sign. He then attended the University of Texas at Austin, compiling a 25–7 record in two All-American seasons, and was on the mound when the Longhorns won the 1983 College World Series. He became the first player to have his baseball uniform number retired at the University of Texas. In 2004, the Rotary Smith Award, given to America's best college baseball player, was changed to the Roger Clemens Award, honoring the best pitcher. At Texas, Clemens pitched 35 consecutive scoreless innings, an NCAA record that stood until Justin Pope broke it in 2001. Professional career Boston Red Sox (1984–1996) Clemens was selected in the first round (19th overall) of the 1983 MLB draft by the Boston Red Sox and quickly rose through the minor league system, making his MLB debut on May 15, 1984. An undiagnosed torn labrum threatened to end his career early; he underwent successful arthroscopic surgery by Dr. James Andrews. In 1986, Clemens won the American League MVP award, finishing with a 24–4 record, 2.48 ERA, and 238 strikeouts. Clemens started the 1986 All-Star Game in the Astrodome and was named the Most Valuable Player of the contest by throwing three perfect innings and striking out two. He also won the first of his seven Cy Young Awards. When Hank Aaron said that pitchers should not be eligible for the MVP, Clemens responded: "I wish he were still playing. I'd probably crack his head open to show him how valuable I was." Clemens was the only starting pitcher since Vida Blue in 1971 to win a league MVP award until Justin Verlander won the award in 2011. On April 29, 1986, Clemens became the first pitcher in MLB history to strike out 20 batters in a nine-inning game, against the Seattle Mariners at Boston's Fenway Park. Following his performance, Clemens made the cover of Sports Illustrated which carried the headline "Lord of the K's [strikeouts]." Other than Clemens, only Kerry Wood and Max Scherzer have matched the total. (Randy Johnson fanned 20 batters in nine innings on May 8, 2001. However, as the game went into extra innings, it is not categorized as occurring in a nine-inning game. Tom Cheney holds the record for any game: 21 strikeouts in 16 innings.) Clemens attributes his switch from what he calls a "thrower" to a "pitcher" to the partial season Hall of Fame pitcher Tom Seaver spent with the Red Sox in 1986. Facing the California Angels in the 1986 ALCS, Clemens pitched poorly in the opening game, watched the Boston bullpen blow his 3–1 lead in the bottom of the ninth inning of Game 4, and then pitched a strong Game 7 to wrap up the series for Boston. The League Championship Series clincher was Clemens's first postseason career victory. He did not win his second until 13 years later. After a victory in game five, Boston led 3 games to 2 over the New York Mets in the 1986 World Series with Clemens set to start game six at Shea Stadium. Clemens who was pitching on five days rest started strong by striking out eight while throwing a no-hitter through four innings. In the top of eighth and with Boston ahead 3–2, manager John McNamara sent rookie Mike Greenwell to pinch hit for Roger Clemens. It was initially said that Clemens was removed from the game due to a blister forming on one of his fingers, but both he and McNamara dispute this. Clemens said to Bob Costas on an MLB Network program concerning the 1986 postseason that McNamara decided to pull him despite Clemens wanting to pitch. McNamara said to Costas that Clemens "begged out" of the game. The Mets rallied and took both game six and seven to win the World Series. The Red Sox had a miserable 1987 season, finishing at 78–84, though Clemens won his second consecutive Cy Young Award with a 20–9 record, 2.97 ERA, 256 strikeouts, and seven shutouts. He was the first AL pitcher with back-to-back 20-win seasons since Tommy John won 20 with the Yankees in 1979 and '80. Boston rebounded with success in 1988 and 1990, clinching the AL East Division each year, but were swept by the Oakland Athletics in each ALCS matchup. His greatest postseason failure came in the second inning of the final game of the 1990 ALCS, when he was ejected for arguing balls and strikes with umpire Terry Cooney, accentuating the A's four-game sweep of the Red Sox. He was suspended for the first five games of the 1991 season and fined $10,000. Clemens led the American League in 1988 with 291 strikeouts and a career-high 8 shutouts. On September 10, 1988, Clemens threw a one-hitter against the Cleveland Indians at Fenway Park. Dave Clark's one-out single in the eighth inning was the only hit Clemens allowed in the game. In a 9–1 victory over Cleveland on April 13, 1989, Clemens recorded his 1,000 career strikeout by fanning Brook Jacoby with the bases loaded in the second inning. Clemens finished second to Oakland's Bob Welch for the 1990 AL Cy Young Award, despite the fact that Clemens crushed Welch in ERA (1.93 to 2.95), strikeouts (209 to 127), walks (54 to 77), home runs allowed (7 to 26), and WAR (10.4 to 2.9). Clemens did, however, capture his third Cy Young Award in 1991 with an 18–10 record, 2.62 ERA, and 241 strikeouts. On June 21, 1989, Clemens surrendered the first of 609 home runs in the career of Sammy Sosa. Clemens accomplished the 20-strikeout feat twice, the only player ever to do so. The second performance came more than 10 years later, on September 18, 1996, against the Detroit Tigers at Tiger Stadium. This second 20-K day occurred in his third-to-last game as a member of the Boston Red Sox. Later, the Tigers presented him with a baseball containing the autographs of each batter who had struck out (those with multiple strikeouts signed the appropriate number of times). The Red Sox did not re-sign Clemens following the 1996 season, despite leading the A.L. with 257 strikeouts and offering him "by far the most money ever offered to a player in the history of the Red Sox franchise." General Manager Dan Duquette remarked that he "hoped to keep him in Boston during the twilight of his career", but Clemens left and signed with the Toronto Blue Jays. The emphasis on the misquoted 1996 "twilight" comment took on a life of its own following Clemens's post-Boston successes, and Duquette was vilified for letting the star pitcher go. Ultimately, Clemens would go on to have a record of 162–73 for the rest of his career after leaving the Red Sox. Clemens recorded 192 wins and 38 shutouts for the Red Sox, both tied with Cy Young for the franchise record and is their all-time strikeout leader with 2,590. Clemens's overall postseason record with Boston was 1–2 with a 3.88 ERA, and 45 strikeouts, and 19 walks in 56 innings. No Red Sox player has worn his uniform #21 since Clemens left the team in the 1996–97 offseason. Toronto Blue Jays (1997–1998) Clemens signed a four-year, $40 million deal with the Toronto Blue Jays after the 1996 season. In his first start in Fenway Park as a member of the Blue Jays, he pitched eight innings allowing only 4 hits and 1 earned run. 16 of his 24 outs were strikeouts, and every batter who faced him struck out at least once. As he left the field following his last inning of work, he stared up angrily towards the owner's box. Clemens was dominant in his two seasons with the Blue Jays, winning the pitching Triple Crown and the Cy Young Award in both seasons (1997: 21–7 record, 2.05 ERA, and 292 strikeouts; 1998: 20–6 record, 2.65 ERA, and 271 strikeouts). After the 1998 season, Clemens asked to be traded, indicating that he did not believe the Blue Jays would be competitive enough the following year and that he was dedicated to winning a championship. New York Yankees (1999–2003) Clemens was traded to the New York Yankees before the 1999 season for David Wells, Homer Bush, and Graeme Lloyd. Since his longtime uniform number #21 was in use by teammate Paul O'Neill, Clemens initially wore #12, before switching mid-season to #22. Clemens made an immediate impact on the Yankees' staff, anchoring the top of the rotation as the team went on to win a pair of World Series titles in 1999 and 2000. During the 1999 regular season, Clemens posted a 14–10 record with a 4.60 ERA. He logged a pair of wins in the postseason, though he lost Game 3 of the 1999 ALCS in a matchup against Red Sox ace Pedro Martínez, which was the Yankees' only loss in the 1999 playoffs. Clemens pitched 7.2 innings of 1-run baseball during the Yankees' game 4 clincher over the Atlanta Braves. Clemens followed up with a strong 2000 season, in which he finished with a 13–8 record with a 3.70 ERA for the regular season. During the 2000 postseason, he helped the Yankees win their third consecutive championship. Clemens set the ALCS record for strikeouts in a game when he fanned 15 batters in a one-hit shutout of the Seattle Mariners in Game 4 of the ALCS. A seventh-inning lead-off double by Seattle's Al Martin was all that prevented Clemens from throwing what was, at the time, only the second no-hitter in postseason history. In Game 2 of the 2000 World Series, Clemens pitched eight scoreless innings against the New York Mets. In 2001, Clemens became the first pitcher in MLB history to start a season 20–1 (finishing 20–3) and winning his sixth Cy Young Award. As of the 2020 season, he is the last Yankee pitcher to win the Cy Young Award. Clemens started for the Yankees in Game 7 of the 2001 World Series against the Arizona Diamondbacks, where he dueled Curt Schilling to a standstill after 6 innings, yielding only one run. The Diamondbacks went on to win the game in the 9th. Early in 2003, Clemens announced his retirement, effective at the end of that season. On June 13, 2003, pitching against the St. Louis Cardinals in Yankee Stadium, Clemens recorded his 300th career win and 4,000th career strikeout, the only player in history to record both milestones in the same game. The 300th win came on his fourth try; the Yankee bullpen had blown his chance of a win in his previous two attempts. He became the 21st pitcher ever to record 300 wins and the third ever to record 4,000 strikeouts. His career record upon reaching the milestones was 300–155. Clemens finished the season with a 17–9 record and a 3.91 ERA. The end of Clemens's 2003 season became a series of public farewells met with appreciative cheering. His last games in each AL park were given extra attention, particularly his final regular-season appearance in Fenway Park, when despite wearing the uniform of the hated arch-rival, he was afforded a standing ovation by Red Sox fans as he left the field. (This spectacle was repeated when the Yankees ended up playing the Red Sox in the 2003 ALCS and Clemens got a second "final start" in his original stadium.) As part of a tradition of manager Joe Torre, Clemens was chosen to manage the Yankees' last game of the regular season. Clemens made one start in the World Series against the Florida Marlins; when he left trailing 3–1 after seven innings, the Marlins left their dugout to give him a standing ovation. Houston Astros (2004–2006) Clemens came out of retirement, signing a one-year deal with his adopted hometown Houston Astros on January 12, 2004, joining close friend and former Yankees teammate Andy Pettitte. On May 5, 2004, Clemens recorded his 4,137th career strikeout to place him second on the all-time list behind Nolan Ryan. He was named the starter for the National League All-Star team but ultimately was the losing pitcher in that game after allowing six runs on five hits, including a three-run home run to Alfonso Soriano. Clemens finished the season with an 18–4 record, and was awarded his seventh Cy Young Award, becoming the oldest player ever to win the Cy Young at age 42. This made him one of six pitchers to win the award in both leagues, joining Gaylord Perry, Pedro Martínez, and Randy Johnson and later joined by Roy Halladay and Max Scherzer. Clemens was the losing pitcher for the Astros in Game Seven of the 2004 NLCS against the St. Louis Cardinals, allowing four runs in six innings. Although he pitched well, he tired in the sixth inning, surrendering all four runs. Clemens again decided to put off retirement before the 2005 season after the Houston Astros offered salary arbitration. The Astros submitted an offer of $13.5 million, and Clemens countered with a record $22 million demand. On January 21, 2005, both sides agreed on a one-year, $18,000,022 contract, thus avoiding arbitration. The deal gave Clemens the highest yearly salary earned by a pitcher in MLB history. Clemens's 2005 season ended as one of the finest he had ever posted. His 1.87 ERA was the lowest in the major leagues, the lowest of his 22-season career, and the lowest by any National Leaguer since Greg Maddux in 1995. He finished with a 13–8 record, with his lower win total primarily due to the fact that he ranked near the bottom of the major leagues in run support. The Astros scored an average of only 3.5 runs per game in games in which he was the pitcher of record. The Astros were shut out nine times in Clemens's 32 starts, and failed to score in a 10th until after Clemens was out of the game. The Astros lost five of Clemens's starts by scores of 1–0. In April, Clemens did not allow a run in three consecutive starts. However, the Astros lost all three of those starts by a 1–0 score in extra innings. Clemens won an emotional start on September 15, following his mother's death that morning. In his final start of the 2005 season, Clemens got his 4,500th strikeout. On October 9, 2005, Clemens made his first relief appearance since 1984, entering as a pinch hitter in the 15th, then pitching three innings to get the win as the Astros defeated the Atlanta Braves in Game 4 of the NLDS. It is the longest postseason game in MLB history at 18 innings. Clemens lasted only two innings in Game 1 of the 2005 World Series, and the Astros went on to be swept by the Chicago White Sox. It was the Astros' first World Series appearance. Clemens had aggravated a hamstring pull that had limited his performance since at least September. Clemens said that he would retire again after the World Series but he wanted to represent the United States in the inaugural World Baseball Classic, which would be played in March 2006. He went 1–1 in the tournament, with a 2.08 ERA, striking out 10 batters in innings. After pitching in a second-round loss to Mexico that eliminated the United States, Clemens began considering a return to the major leagues. On May 31, 2006, following another extended period of speculation, it was announced that Clemens was coming out of retirement for the third time to pitch for the Astros for the remainder of the 2006 season. Clemens signed a contract worth $22,000,022 (his uniform number #22). Since Clemens did not play a full season, he received a prorated percentage of that: approximately $12.25 million. Clemens made his return on June 22, 2006, against the Minnesota Twins, losing to their rookie phenom, Francisco Liriano, 4–2. For the second year in a row, his win total did not match his performance, as he finished the season with a 7–6 record, a 2.30 ERA, and a 1.04 WHIP. However, Clemens averaged just under 6 innings in his starts and never pitched into the eighth. Return to the Yankees (2007) Clemens unexpectedly appeared in the owner's box at Yankee Stadium on May 6, 2007, during the seventh-inning stretch of a game against the Seattle Mariners, and made a brief statement: "Thank y'all. Well they came and got me out of Texas, and uhh, I can tell you it's a privilege to be back. I'll be talkin' to y'all soon." It was simultaneously announced that Clemens had rejoined the Yankees roster, agreeing to a pro-rated one-year deal worth $28,000,022, or about $4.7 million per month. Over the contract life, he would make $18.7 million. This equated to just over $1 million per start that season. Clemens made his 2007 return on June 9, defeating the Pittsburgh Pirates by pitching six innings with seven strikeouts and three runs allowed. On June 21, with a single in the 5th inning against the Colorado Rockies, Clemens became the oldest New York Yankee to record a hit (44 years, 321 days). On June 24, Clemens pitched an inning in relief against the San Francisco Giants. It had been 22 years and 341 days since his previous regular-season relief appearance, the longest such gap in major league history. On July 2, Clemens collected his 350th win against the Minnesota Twins at Yankee Stadium, giving up just two hits and one run over eight innings. Clemens is one of only three pitchers to pitch his entire career in the live-ball era and reach 350 wins. The other two are Warren Spahn (whose catcher for his 350th win was Joe Torre, Clemens's manager for his 350th), and Greg Maddux, who earned his 350th win in 2008. His final regular-season appearance was a start against the Red Sox at Fenway Park, in which he allowed two hits and one unearned run in six innings, and received a no-decision. Clemens finished the 2007 regular season with a record of 6–6 and a 4.18 ERA. Clemens was forced to leave Game 3 of the 2007 ALDS in the third inning after aggravating a hamstring injury. He struck out Victor Martinez of the Cleveland Indians with his final pitch, and was replaced by right-hander Phil Hughes. Yankees manager Joe Torre removed Clemens from the roster due to his injury, and replaced him with left-hander Ron Villone. Clemens's overall postseason record with the Yankees was 7–4 with a 2.97 ERA, 98 strikeouts and 35 walks in 102 innings. Pitching appearances after retirement On August 20, 2012, Clemens signed with the Sugar Land Skeeters of the Atlantic League of Professional Baseball. He made his debut for the Skeeters against the Bridgeport Bluefish on August 25, 2012, in front of a crowd of 7,724. It was the first time the 50-year-old had taken the mound in almost five years. Clemens pitched scoreless innings and struck out two: former major leaguers Joey Gathright and Prentice Redman. He also retired Luis Figueroa, who played briefly with the Pirates, Blue Jays and the Giants. Clemens allowed only one hit and no walks on 37 pitches in the Skeeters' 1–0 victory. Clemens made his second start for the Skeeters on September 7 against the Long Island Ducks. He pitched scoreless innings, with his son, Koby, as his catcher. He retired former New York Met outfielder Timo Perez for the final out in the fourth inning, and was named the winning pitcher by the official scorer. Clemens's fastball was clocked as high as 88 mph, and the Astros sent scouts to both of his outings with the Skeeters in consideration of a possible return to the team that season. Roger Clemens joined the Kansas Stars, a group of 24 retired major leaguers and his son Koby, to compete in the 2016 National Baseball Congress World Series. The team was put together by Kansas natives Adam LaRoche and Nate Robertson, and featured eleven former All-Stars, including Tim Hudson, Roy Oswalt, and J. D. Drew as well as Clemens. Pitching just six days after his 54th birthday, Clemens started for the Kansas Stars in a game against the NJCAA National Team on August 10, 2016. He pitched innings, allowing 3 runs with one strikeout in an 11–10 loss. On August 22, 2019, Clemens wore his Red Sox uniform and pitched in the Abbot Financial Management Oldtime Baseball Game, an annual charity event held at St. Peter's Field in Cambridge, Massachusetts. The 2019 game benefitted Compassionate Care ALS, in memory of longtime Fenway Park supervisor John Welch, who died from Lou Gehrig's Disease in December 2018. Facing mostly young college players, Clemens pitched two shutout innings in the game, then moved to first base. Pitching style Clemens was a prototypical power pitcher with an aggressive edge for his entire career. This was especially the case when he was a young man. Clemens was said to throw "two pitches: a 98-mph fastball and a hard breaking ball. At 23, Clemens simply reared back and threw the ball past batters." Later in his career, Clemens developed a devastating split-finger fastball to use as an off-speed pitch in concert with his fastball. Clemens has jocularly referred to this pitch as "Mr. Splitty". By the time Clemens retired from Major League Baseball in 2007, his four-seam fastball had settled in the 91–94 mph range. He also threw a two-seam fastball, a slider in the mid 80s, his hard splitter, and an occasional curveball. Clemens was a highly durable pitcher, leading the American League in complete games three times and innings pitched twice. His 18 complete games in 1987 is more than any pitcher has thrown since. Clemens was also known as a strikeout pitcher, leading the AL in K's five times and strikeouts per nine innings three times. Controversies Clemens has been the focal point of several controversies. His reputation has always been that of a pitcher unafraid to throw close to batters. Clemens led his league in hit batsmen only once, in 1995, but he was among the leaders in several other seasons. This tendency was more pronounced during his earlier career and subsequently tapered off. After the 2000 ALCS game against the Mariners where he knocked down future teammate Alex Rodriguez and then argued with him, Seattle Mariners manager Lou Piniella called Clemens a "headhunter." His beaning earlier that year of Mike Piazza, followed by throwing a broken-bat in Piazza's direction in the 2000 World Series, cemented Clemens's surly, unapologetic image in the minds of many. In 2009, former manager Cito Gaston publicly denounced Clemens as a "double-talker" and "a complete asshole". Clemens was ranked 14th all-time in hit batsmen after the 2020 season. 14th all time may be misleading, as his rate of hit batsmen per batter faced is not out of line with other pitchers of his era at 1 hit batsmen per 125 batters faced. Numbers reflect similar rate of hit batsmen to pitchers such as Nolan Ryan, Justin Verlander, Greg Maddux. Clemens has attracted controversy over the years for his outspoken comments, such as his complaints about having to carry his own luggage through an airport and his criticism of Fenway Park for being a subpar facility. On April 4, 2006, Clemens made an insulting remark when asked about the devotion of Japanese and South Korean fans during the World Baseball Classic: "None of the dry cleaners were open, they were all at the game, Japan and Korea". Toward the end of his career, his annual on-and-off "retirements" revived a reputation for diva-like behavior. Clemens has received criticism for getting special treatment from the teams that sign him. While playing for Houston, Clemens was not obliged to travel with the team on road trips if he was not pitching. His 2007 contract with the New York Yankees had a "family plan" clause that stipulated that he not be required to go on road trips in which he was not scheduled to pitch and allowed him to leave the team between starts to be with his family. These perks were publicly criticized by Yankee reliever Kyle Farnsworth. Most of Clemens's teammates, however, did not complain of such perks because of Clemens's success on the mound and valuable presence in the clubhouse. Yankee teammate Jason Giambi spoke for such players when he said, "I'd carry his bags for him, just as long as he is on the mound." Steroid use accusations In José Canseco's book, Juiced: Wild Times, Rampant 'Roids, Smash Hits & How Baseball Got Big, Canseco suggested that Clemens had expert knowledge about steroids and suggested that he used them, based on the improvement in his performance after leaving the Red Sox. While not addressing the allegations directly, Clemens stated: "I could care less about the rules" and "I've talked to some friends of his and I've teased them that when you're under house arrest and have ankle bracelets on, you have a lot of time to write a book." Jason Grimsley named Clemens, as well as Andy Pettitte, as a user of performance-enhancing drugs. According to a 20-page search warrant affidavit signed by IRS Special Agent Jeff Novitzky, Grimsley told investigators he obtained amphetamines, anabolic steroids and human growth hormone from someone recommended to him by former Yankees trainer Brian McNamee. McNamee was a personal strength coach for Clemens and Pettitte, hired by Clemens in 1998. At the time of the Grimsley revelations, McNamee denied knowledge of steroid use by Clemens and Pettitte. Despite initial media reports, the affidavit made no mention of Clemens or Pettitte. However, Clemens's name was mentioned 82 times in the Mitchell Report on steroid use in baseball. In the report, McNamee stated that during the 1998, 2000, and 2001 baseball seasons, he injected Clemens with Winstrol. Clemens's attorney Rusty Hardin denied the claims, calling McNamee "a troubled and unreliable witness" who has changed his story five times in an attempt to avoid criminal prosecution. He noted that Clemens has never tested positive in a steroid test. Former U.S. Senator George Mitchell, who prepared the report, stated that he relayed the allegations to each athlete implicated in the report and gave them a chance to respond before his findings were published. On January 6, 2008, Clemens went on 60 Minutes to address the allegations. He told Mike Wallace that his longevity in baseball was due to "hard work" rather than illegal substances and denied all of McNamee's assertions that he injected Clemens with steroids, saying it "never happened". On January 7, Clemens filed a defamation lawsuit against McNamee, claiming that the former trainer lied after being threatened with prosecution. McNamee's attorneys argued that he was compelled to cooperate by federal officials and so his statements were protected. A federal judge agreed, throwing out all claims related to McNamee's statements to investigators on February 13, 2009, but allowing the case to proceed on statements McNamee made about Clemens to Pettitte. On February 13, 2008, Clemens appeared before a Congressional committee, along with Brian McNamee and swore under oath that he did not take steroids, that he did not discuss HGH with McNamee, that he did not attend a party at José Canseco's where steroids were the topic of conversation, that he was only injected with B-12 and lidocaine and that he never told Pettitte he had taken HGH. This last point was in contradiction to testimony Pettitte had given under oath on February 4, 2008, wherein Pettitte said he repeated to McNamee a conversation Pettitte had with Clemens. During this conversation, Pettitte said Clemens had told him that McNamee had injected Clemens with human growth hormone. Pettitte said McNamee reacted angrily, saying that Clemens "shouldn't have done that."<ref name=tj>Quinn, T.J. "In court of public opinion, a Clemens verdict: Game over." ESPN.com, December 12, 2008. Retrieved November 6, 2017.</ref> The bipartisan House committee in front of which Clemens appeared, citing seven apparent inconsistencies in Clemens's testimony, recommended that the Justice Department investigate whether Clemens lied under oath about using performance-enhancing drugs. In a letter sent February 27 to Attorney General Michael Mukasey, House Oversight and Government Reform Committee chairman Henry Waxman and ranking Republican Tom Davis said Clemens's testimony that he "never used anabolic steroids or human growth hormone warrants further investigation". As a result of the Mitchell Report, Clemens was asked to end his involvement with the Giff Nielsen Day of Golf for Kids charity tournament in Houston that he has hosted for four years. As well, his name has been removed from the Houston-based Roger Clemens Institute for Sports Medicine and will be renamed the Memorial Hermann Sports Medicine Institute. After Washington prosecutors showed "a renewed interest in the case in the final months of 2008", a federal grand jury was convened in January 2009 to hear evidence of Clemens's possible perjury before Congress. The grand jury indicted Clemens on August 19, 2010, on charges of making false statements to Congress about his use of performance-enhancing drugs. The indictment charges Clemens with one count of obstruction of Congress, three counts of making false statements and two counts of perjury in connection with his February 2008 testimony. His first trial began on July 13, 2011, but on the second day of testimony the judge in the case declared a mistrial over prosecutorial misconduct after prosecutors showed the jury prejudicial evidence they were not allowed to. Clemens was subsequently retried. The verdict from his second trial came in on June 18, 2012. Clemens was found not guilty on all six counts of lying to Congress in 2008, when he testified that he never took performance-enhancing drugs. In January 2016, after Clemens once again fell short of the votes required for election into the Hall of Fame, former major-league star Roy Halladay tweeted "No Clemens no Bonds" as part of a message indicating no performance-enhancing substance users should be voted into the Hall. Clemens countered by accusing Halladay of using amphetamines during his playing career. Adultery accusations In April 2008, the New York Daily News reported on a possible long-term relationship between Clemens and country music singer Mindy McCready that began when she was 15 years old. Clemens's attorney Rusty Hardin denied the affair and also stated that Clemens would be bringing a defamation suit regarding this allegation. Clemens's attorney admitted that a relationship existed but described McCready as a "close family friend". He also stated that McCready had traveled on Clemens's personal jet and that Clemens's wife was aware of the relationship. However, when contacted by the Daily News, McCready said, "I cannot refute anything in the story." On November 17, 2008, McCready spoke in more detail to Inside Edition about her affair with Clemens, saying their relationship lasted for more than a decade and that it ended when Clemens refused to leave his wife to marry her. However, she denied that she was 15 years old when it began, saying that they met when she was 16 and the affair only became sexual "several years later". In another soon-to-be-released sex tape by Vivid Entertainment she claimed that the first time she had sex with him was when she was 21. She also said that he often had erectile dysfunction. A few days after the Daily News broke the story about the McCready relationship, they reported on another Clemens extramarital relationship, this time with Paulette Dean Daly, the now ex-wife of pro golfer John Daly. Daly declined to elaborate on the nature of her relationship with the pitcher but did not deny that it was romantic and included financial support. There have been reports of Clemens having at least three other affairs with women. On April 29, 2008, the New York Post reported that Clemens had relationships with two or more women. One, a former bartender in Manhattan, refused comment on the story, while another, a woman from Tampa, could not be located. On May 2 of the same year, the Daily News reported a stripper in Detroit called a local radio station and said she had an affair with Clemens. He also gave tickets to baseball games, jewelry, and trips to women he was wooing. Other media Clemens has appeared as himself in several movies and television episodes and has also occasionally acted in films. Perhaps best known was his appearance in the season three episode of The Simpsons ("Homer at the Bat"), in which he is recruited to the Springfield nuclear plant's softball team but is accidentally hypnotized into thinking he is a chicken; in addition to his lines, Clemens voiced his own clucking. Clemens has also made guest appearances as himself on the TV shows Hope & Faith, Spin City, Arli$$, and Saturday Night Live as well as the movie Anger Management, and makes a brief appearance in the movie Kingpin as the character Skidmark. He also is shown playing an actual game with the Houston Astros in the film Boyhood. He appeared in the 1994 movie Cobb as an unidentified pitcher for the Philadelphia A's. In 2003, he was part of an advertising campaign for Armour hot dogs with MLB players Ken Griffey Jr., Derek Jeter, and Sammy Sosa. Since 2005, Clemens has also appeared in many commercials for Texas-based supermarket chain H-E-B. In 2007, he appeared on a baseball-themed episode of MythBusters ("Baseball Myths"). He has also starred in a commercial for Cingular parodying his return from retirement. He was calling his wife, Debra Godfrey, and a dropped call resulted in his return to the Yankees. He released an early autobiography, Rocket Man: The Roger Clemens Story written with Peter Gammons, in 1987. Clemens is also the spokesperson for Champion car dealerships in South Texas. In April 2009, Clemens was the subject of an unauthorized biography by Jeff Pearlman, titled The Rocket that Fell to Earth-Roger Clemens and the Rage for Baseball Immortality, that focused on his childhood and early career and accused Mike Piazza of using steroids. On May 12, Clemens broke a long silence to denounce a heavily researched expose by four investigative reporters from the New York Daily News, called American Icon: The Fall of Roger Clemens and the Rise of Steroids in America's Pastime. Clemens went on ESPN's Mike and Mike show to call the book "garbage", but a review by Michiko Kakutani of The New York Times called the book "gripping" and compared it to the work of Bob Woodward. Awards and recognition In 1999, while many of his performances and milestones were yet to come he ranked number 53 on The Sporting News list of the 100 Greatest Baseball Players, and was elected by the fans to the Major League Baseball All-Century Team. In 2005, the updated Sporting News list moved Clemens up to #15. By the end of the 2005 season, Clemens had won seven Cy Young Awards (he won the AL award in 1986, 1987, 1991, 1997, 1998, and 2001, and the National League award in 2004), an MVP and two pitching triple crowns. With his 2004 win, he joined Gaylord Perry, Randy Johnson, and Pedro Martínez as the only pitchers to win it in both leagues and became the oldest pitcher to ever win the Cy Young. He has also won the Sporting News Pitcher of the Year Award five times, was named an All-Star 11 times, and won the All-Star MVP in 1986. In October 2006, Clemens was named to Sports Illustrateds "all-time" team. On August 18, 2007, Clemens got his 1,000th strikeout as a Yankee. He is only the ninth player in major league history to record 1,000 or more strikeouts with two different teams. Clemens has recorded a total of 2,590 strikeouts as a member of the Red Sox and 1,014 strikeouts as a Yankee. He also had 563 strikeouts for Toronto, and 505 strikeouts for Houston. Clemens was inducted into the Boston Red Sox Hall of Fame in 2014, and was inducted into the Pawtucket Red Sox Hall of Fame on June 21, 2019. National Baseball Hall of Fame consideration In 2013 Baseball Hall of Fame balloting, his first year of eligibility, Clemens received 37.6% of the votes cast by the Baseball Writers' Association of America (BBWAA), falling well short of the 75% required for induction into the Hall of Fame. He has garnered more votes in subsequent elections without reaching the 75% threshold: he received 59.5% in 2019, 61.0% in 2020, and 61.6% in 2021. With the inductions of Greg Maddux and Tom Glavine in 2014 and Randy Johnson in 2015, Clemens is currently the only eligible member of the 300 win club not to be inducted into the Hall. He received 65.2% of the votes in his final year of eligibility, 2022. Despite falling off the ballot, Clemens is still eligible for induction through the Hall of Fame’s Today’s Game Committee. The committee is a 16-member electorate “comprised of members of the National Baseball Hall of Fame, executives, and veteran media members" (hence the nickname of “veteran’s committee”) who consider retired players who lost ballot eligibility while still having made notable contributions to baseball from 1986-2016. Voting will be held in December 2022, and 12 votes are required for induction. Personal life Clemens married Debra Lynn Godfrey (born May 27, 1963) on November 24, 1984. The couple has four sons: Koby Aaron, Kory Allen, Kacy Austin, and Kody Alec—all given "K" names to honor Clemens's strikeouts ("K's"). Koby was at one time a minor league prospect for some MLB clubs. Kacy played college baseball for the Texas Longhorns and was drafted by the Blue Jays in the eighth round of the 2017 Major League Baseball draft. Kacy is an infielder who is currently a free agent. Kody also played college baseball for the Texas Longhorns and was drafted 79th overall by the Detroit Tigers in the third round of the 2018 Major League Baseball draft. Debra once left a Red Sox game, when Clemens pitched for another team, in tears from the heckling she received. This is documented in an updated later edition to Dan Shaughnessy's best-selling book, Curse of the Bambino. Debra also was quoted in the book as stating that it was the poor attitude of Red Sox fans that prevented the team from ever winning the World Series (this was quoted prior to the Red Sox' 2004 World Series victory). Clemens is a member of the Republican Party and donated money to Texas congressman Ted Poe during his 2006 campaign. Debra posed in a bikini with her husband for a Sports Illustrated pictorial regarding athletes and their wives. This appeared in the annual Sports Illustrated Swimsuit Edition'' for 2003. Roger wore his Yankees uniform, with the jersey open. On February 27, 2006, to train for the World Baseball Classic, Roger pitched in an exhibition game between the Astros and his son's minor league team. In his first at-bat, Koby hit a home run off his father. In his next at-bat, Roger threw an inside pitch that almost hit Koby. Koby laughed in an interview after the game about the incident. See also Houston Astros award winners and league leaders List of Boston Red Sox award winners List of Boston Red Sox team records List of Major League Baseball annual shutout leaders List of Major League Baseball career hit batsmen leaders List of Major League Baseball career wins leaders List of Major League Baseball players named in the Mitchell Report List of Major League Baseball single-game strikeout leaders List of people from Dayton, Ohio List of Toronto Blue Jays team records List of University of Texas at Austin alumni Major League Baseball titles leaders Toronto Blue Jays award winners and league leaders References External links Roger Clemens Foundation 1962 births Living people American expatriate baseball players in Canada American League All-Stars American League ERA champions American League Most Valuable Player Award winners American League Pitching Triple Crown winners American League strikeout champions American League wins champions American people of German descent Baseball players from Dayton, Ohio Boston Red Sox players Bridgeport Bluefish guest managers Corpus Christi Hooks players Cy Young Award winners Houston Astros players Lexington Legends players Major League Baseball All-Star Game MVPs Major League Baseball controversies Major League Baseball pitchers National League All-Stars National League ERA champions New Britain Red Sox players New York Yankees players Norwich Navigators players Pawtucket Red Sox players People from Vandalia, Ohio Round Rock Express players San Jacinto Central Ravens baseball players Sarasota Red Sox players Scranton/Wilkes-Barre Yankees players Sugar Land Skeeters players Tampa Yankees players Texas Longhorns baseball players Texas Republicans Trenton Thunder players Toronto Blue Jays players Winter Haven Red Sox players World Baseball Classic players of the United States 2006 World Baseball Classic players
true
[ "The New York Yankees' 2000 season was the 98th season for the Yankees in New York, and their 100th overall going back to their origins in Baltimore. New York was managed by Joe Torre. The team finished 1st in the AL East with a record of 87–74, 2.5 games ahead of the Boston Red Sox, after losing 15 of their final 18 games, including their last 7. Despite having the lowest winning percentage of any postseason qualifier in 2000, the Yankees won the World Series over the New York Mets in 5 games to win their 26th World Series title. They are, as of , the last team to win World Series titles in consecutive years.\n\nOffseason\nNovember 29, 1999: Mike Stanton was signed as a Free Agent with the New York Yankees.\nDecember 1, 1999: Chili Davis was released by the New York Yankees.\nDecember 13, 1999: Chad Curtis was traded by the New York Yankees to the Texas Rangers for Brandon Knight and Sam Marsonek.\nDecember 15, 1999: Ryan Thompson signed as a Free Agent with the New York Yankees.\n January 26, 2000: Roberto Kelly signed as a Free Agent with the New York Yankees.\nFebruary 1, 2000: Tim Raines signed as a Free Agent with the New York Yankees.\nMarch 17, 2000: Ted Lilly was Sent by the Montreal Expos to the New York Yankees to complete an earlier deal made on December 22, 1999. The Montreal Expos sent players to be named later and Jake Westbrook to the New York Yankees for Hideki Irabu. The Montreal Expos sent Ted Lilly (March 17, 2000) and Christian Parker (March 22, 2000) to the New York Yankees to complete the trade.\nMarch 23, 2000: Tim Raines was released by the New York Yankees.\n\nNotable transactions\n April 2, 2000: Lance Johnson signed as a Free Agent with the New York Yankees.\nApril 2, 2000: Félix José was signed as a Free Agent with the New York Yankees.\nApril 2, 2000: Ryan Thompson was released by the New York Yankees.\nMay 1, 2000: Ryan Thompson signed as a Free Agent with the New York Yankees.\n May 14, 2000: Randall Simon was signed as a Free Agent with the New York Yankees.\n June 11, 2000: Dwight Gooden signed as a Free Agent with the New York Yankees.\nJune 20, 2000: Jim Leyritz was traded by the New York Yankees to the Los Angeles Dodgers for José Vizcaíno and cash.\n June 29, 2000: David Justice was traded by the Cleveland Indians to the New York Yankees for Ricky Ledée, Jake Westbrook, and Zach Day.\nJuly 12, 2000: Denny Neagle was traded by the Cincinnati Reds with Mike Frank to the New York Yankees for Ed Yarnall, Drew Henson, Brian Reith, and Jackson Melián.\nJuly 21, 2000: Glenallen Hill was traded by the Chicago Cubs to the New York Yankees for Ben Ford and Oswaldo Mairena.\nAugust 3, 2000: Luis Polonia was signed as a Free Agent with the New York Yankees.\n August 7, 2000: José Canseco was selected off waivers by the New York Yankees from the Tampa Bay Devil Rays.\nAugust 7, 2000: Luis Sojo was traded by the Pittsburgh Pirates to the New York Yankees for Chris Spurling.\n\nSeason standings\n\nSeason summary\n\nApril\n\nMay\n\nJune\n\nJuly\n\nAugust\n\nSeptember\nOn September 28, 2000, the Yankees played the Devil Rays at Tampa Bay. In the top of the 2nd inning, Jose Canseco was walked. Tino Martinez then hit a double to center field. The ball was fielded by Gerald Williams and relayed to Mike DiFelice. He tagged Jose Canseco at the plate and proceeded to tag out Tino Martinez who was running right behind Canseco. Mike DiFelice tagged both runners out at the plate.\n\nThe Yankees only played 161 games because they had a game rained out against the Florida Marlins that was not made up due to scheduling constraints and lack of playoff implications.\n\nOctober\n\nRecord vs. opponents\n\nDetailed records\n\nOpening Day starters\n2B Chuck Knoblauch\nSS Derek Jeter\nLF Shane spencer\nCFRicky Ledee\n1B Tino Martinez\nRF Paul O'Neill\nC Jorge Posada\n3B Scott Brosius\nDH Bernie Williams\n\nRoster\n\nGame log\n\n|- align=\"center\" bgcolor=\"bbffbb\"\n| 1 || April 3 || @ Angels || 3–2 || Hernández (1–0) || Hill (0–1) || Rivera (1) || Edison International Field of Anaheim || 42,704 || 1–0\n|- align=\"center\" bgcolor=\"bbffbb\"\n| 2 || April 4 || @ Angels || 5–3 || Mendoza (1–0) || Percival (0–1) || Rivera (2) || Edison International Field of Anaheim || 25,818 || 2–0\n|- align=\"center\" bgcolor=\"ffbbbb\"\n| 3 || April 5 || @ Angels || 6–12 || Schoeneweis (1–0) || Cone (0–1) || || Edison International Field of Anaheim || 24,560 || 2–1\n|- align=\"center\" bgcolor=\"ffbbbb\"\n| 4 || April 7 || @ Mariners || 5–7 || Halama (1–0) || Pettitte (0–1) || Sasaki (2) || Safeco Field || 40,827 || 2–2\n|- align=\"center\" bgcolor=\"bbffbb\"\n| 5 || April 8 || @ Mariners || 3–2 || Nelson (1–0) || Mesa (1–1) || Rivera (3) || Safeco Field || 45,261 || 3–2\n|- align=\"center\" bgcolor=\"ffbbbb\"\n| 6 || April 9 || @ Mariners || 3–9 || Moyer (1–1) || Clemens (0–1) || || Safeco Field || 45,488 || 3–3\n|- align=\"center\" bgcolor=\"bbffbb\"\n| || April 12 || Rangers || 8–6 || || || || Yankee Stadium || 48,487 || 4–3\n|- align=\"center\" bgcolor=\"bbffbb\"\n| || April 13 || Rangers || 5–1 || || || || Yankee Stadium || 23,805 || 5–3\n|- align=\"center\" bgcolor=\"bbffbb\"\n| || April 14 || Royals || 7–5 || || || || Yankee Stadium || 33,094 || 6–3\n|- align=\"center\" bgcolor=\"bbffbb\"\n| || April 15 || Royals || 7–1 || || || || Yankee Stadium || 34,056 || 7–3\n|- align=\"center\" bgcolor=\"bbffbb\"\n| || April 16 || Royals || 8–4 || || || || Yankee Stadium || 36,724 || 8–3\n|-\n\n|- style=\"text-align:center;background-color:#bbbbbb\"\n| – || June 11 || Mets || colspan=8|Postponed (rain) Rescheduled for July 8\n|-\n\n|- style=\"text-align:center;\"\n|colspan=\"11\" style=\"background-color:#bbcaff\" | All-Star Break: AL defeats NL 6–3 at Turner Field\n|-\n\n|- align=\"center\" bgcolor=\"ffbbbb\"\n| 111 || August 11 || @ Angels || 3–8 || Schoeneweis (6–6) || Hernández (8–9) || || Edison International Field of Anaheim || 43,169 || 62–49\n|- align=\"center\" bgcolor=\"ffbbbb\"\n| 112 || August 12 || @ Angels || 6–9 || Pote (1–0) || Neagle (2–3) || Hasegawa (5) || Edison International Field of Anaheim || 43,394 || 62–50\n|- align=\"center\" bgcolor=\"bbffbb\"\n| 113 || August 13 || @ Angels || 4–1 || Clemens (10–6) || Ortiz (4–3) || Rivera (26) || Edison International Field of Anaheim || 43,411 || 63–50\n|- align=\"center\" bgcolor=\"bbffbb\"\n| 117 || August 17 || Angels || 6–1 || Neagle (3–3) || Mercker (0–2) || || Yankee Stadium || 35,180 || 66–51\n|- align=\"center\" bgcolor=\"ffbbbb\"\n| 118 || August 18 || Angels || 8–9 (11) || Hasegawa (8–2) || Stanton (2–2) || || Yankee Stadium || 37,503 || 66–52\n|- align=\"center\" bgcolor=\"bbffbb\"\n| 119 || August 19 || Angels || 9–1 || Pettitte (15–6) || Cooper (4–8) || || Yankee Stadium || 49,491 || 67–52\n|- align=\"center\" bgcolor=\"ffbbbb\"\n| 120 || August 20 || Angels || 4–5 || Wise (2–1) || Nelson (7–3) || Hasegawa (6) || Yankee Stadium || 50,048 || 67–53\n|- align=\"center\" bgcolor=\"bbffbb\"\n| 128 || August 28 || @ Mariners || 9-1 || Clemens (11-6) || Abbott (8-5) || || Safeco Field || 45,077 || 73-55 \n|- align=\"center\" bgcolor=\"ffbbbb\"\n| 129 || August 29 || @ Mariners || 3-5 || Tomko (7-4) || Pettitte (16-7) || Sasaki (30) || Safeco Field || 44,105 || 73-56\n|- align=\"center\" bgcolor=\"bbffbb\"\n| 130 || August 30 || @ Mariners || 5-4 || Cone (4-11) || Sele (13-10) || Rivera (30) || Safeco Field || 44,962 || 74-56\n|-\n\n|- align=\"center\" bgcolor=\"ffbbbb\"\n| 161 || October 1 || @ Orioles || 3-7 || Mercedes (14-7) || Hernández (12-13) || || Oriole Park at Camden Yards || 47,831 || 87-74\n|-\n\nPostseason Game log\n\n|- align=\"center\" bgcolor=\"ffbbbb\"\n| 1 || October 3 || @ Athletics || 3-5 || Heredia (1-0) || Clemens (0-1) || Isringhausen (1) || Network Associates Coliseum || 47,360 || 0-1\n|- align=\"center\" bgcolor=\"bbffbb\"\n| 2 || October 4 || @ Athletics || 4-0 || Pettitte (1-0) || Appier (0-1) || Rivera (1) || Network Associates Coliseum || 47,860 || 1-1\n|- align=\"center\" bgcolor=\"bbffbb\"\n| 3 || October 6 || Athletics || 4-2 || Hernández (1-0) || Hudson (0-1) || Rivera (2) || Yankee Stadium || 56,606 || 2-1 \n|- align=\"center\" bgcolor=\"ffbbbb\"\n| 4 || October 7 || Athletics || 1-11 || Zito (1-0) || Clemens (0-2) || || Yankee Stadium || 56,915 || 2-2\n|- align=\"center\" bgcolor=\"bbffbb\"\n| 5 || October 8 || @ Athletics || 7-5 || Stanton (1-0) || Heredia (1-1) || Rivera (3) || Network Associates Coliseum || 41,170 || 3-2 \n|-\n\n|- align=\"center\" bgcolor=\"ffbbbb\"\n| 1 || October 10 || Mariners || 0-2 || Garcia (1-0) || Neagle (0-1) || Sasaki (1) || Yankee Stadium || 54,481 || 0-1\n|- align=\"center\" bgcolor=\"bbffbb\"\n| 2 || October 11 || Mariners || 7-1 || Hernández (2-0) || Rhodes (0-1) || || Yankee Stadium || 55,317 || 1-1\n|- align=\"center\" bgcolor=\"bbffbb\"\n| 3 || October 13 || @ Mariners || 8-2 || Pettitte (2-0) || Sele (0-1) || Rivera (4) || Safeco Field || 47,827 || 2-1\n|- align=\"center\" bgcolor=\"bbffbb\"\n| 4 || October 14 || @ Mariners || 5-0 || Clemens (1-2) || Abbott (1-1) || || Safeco Field || 47,803 || 3-1\n|- align=\"center\" bgcolor=\"ffbbbb\"\n| 5 || October 15 || @ Mariners || 2-6 || Garcia (2-0) || Neagle (0-2) || || Safeco Field || 47,802 || 3-2\n|- align=\"center\" bgcolor=\"bbffbb\"\n| 6 || October 17 || Mariners || 9-7 || Hernández (3-0) || Paniagua (1-1) || || Yankee Stadium || 56,598 || 4-2\n|-\n\n|- align=\"center\" bgcolor=\"bbffbb\"\n| 1 || October 21 || Mets || 4-3 (12) || Stanton (2-0) || Wendell (1-1) || || Yankee Stadium || 55,913 || 1-0\n|- align=\"center\" bgcolor=\"bbffbb\"\n| 2 || October 22 || Mets || 6-5 || Clemens (2-2) || Hampton (2-2) || || Yankee Stadium || 56,059 || 2-0\n|- align=\"center\" bgcolor=\"ffbbbb\"\n| 3 || October 24 || @ Mets || 2-4 || Franco (1-0) || Hernández (3-1) || Benítez (2) || Shea Stadium || 55,299 || 2-1\n|- align=\"center\" bgcolor=\"bbffbb\"\n| 4 || October 25 || @ Mets || 3-2 || Nelson (1-0) || Jones (1-1) || Rivera (5) || Shea Stadium || 55,290 || 3-1\n|- align=\"center\" bgcolor=\"bbffbb\"\n| 5 || October 26 || @ Mets || 4-2 || Stanton (3-0) || Leiter (0-1) || Rivera (6) || Shea Stadium || 55,292 || 4-1\n|-\n\nPlayer stats\n\nBatting\n\nStarters by position\nNote: Pos = position; G = Games played; AB = At bats; R = Runs; H = Hits; HR = Home runs; RBI = Runs batted in; Avg. = Batting average; SB = Stolen bases\n\nOther batters\n\nPitching\n\nStarting pitchers\n\nOther pitchers\n\nRelief pitchers\n\nPostseason\n\nALDS\n\nNew York wins the series, 3-2\n\nALCS\n Seattle Mariners vs. New York Yankees\n\nYankees win the Series, 4-2\n\nWorld series\n\nAwards and honors\n Derek Jeter, SS, World Series Most Valuable Player, All-Star Game MVP\n David Justice, Outfielder, American League Championship Series MVP\n\nFarm system\n\nReferences\n\nExternal links\n2000 New York Yankees\n2000 World Series\n2000 New York Yankees at Baseball Almanac\n\nNew York Yankees seasons\nNew York Yankees\nNew York Yankees\n20th century in the Bronx\nAmerican League East champion seasons\nAmerican League champion seasons\nWorld Series champion seasons\nYankee Stadium (1923)", "The New York Yankees' 2001 season was the 99th season for the Yankees. The team finished with a record of 95-65 finishing 13.5 games ahead of the Boston Red Sox. New York was managed by Joe Torre. The Yankees played at Yankee Stadium. Roger Clemens had sixteen straight wins, tying an American League mark shared by Walter Johnson, Lefty Grove, Schoolboy Rowe, and Smoky Joe Wood. Clemens would finish the season with the AL Cy Young Award and become the first pitcher to win six Cy Young Awards.\n\nAnother chapter was written in the story of the Yankee-Red Sox rivalry. On September 2, 2001, Mike Mussina came within one strike of a perfect game before surrendering a bloop single to Carl Everett. This was Mussina's third time he has taken a perfect game to or beyond the 8th inning. Coincidentally, it would have been the 3rd perfect game in for the Yankees in a span of 4 seasons and could have been the 4th perfect game in franchise history.\n\nIn the emotional times of September 2001 in New York City, following the September 11 attack on New York's World Trade Center, the Yankees defeated the Oakland A's three games to two in the ALDS, and then the Seattle Mariners, who had won 116 games, four games to one in the ALCS. By winning the pennant for a fourth straight year, the 1998–2001 Yankees joined the 1921–1924 New York Giants, and the Yankee teams of 1936–1939, 1949–1953, 1955–1958 and 1960–1964 as the only dynasties to reach at least four straight pennants. The Yankees had now won eleven consecutive postseason series over a four-year period. However, the Yankees lost the World Series in a dramatic 7 game series to the Arizona Diamondbacks, when Yankees star closer Mariano Rivera uncharacteristically lost the lead – and the Series – in the bottom of the ninth inning of the final game. With the loss, this marked the second time in five years that a team lost the World Series after taking a lead into the bottom of the ninth inning of Game 7 (following the Cleveland Indians in ) and the first time since that the home team won the seventh game of a World Series.\n\nDespite the loss in the series, Derek Jeter provided one bright spot. Despite a very poor series overall, batting under .200, he got the nickname, \"Mr. November\", for his walk-off home run in Game 4, though it began October 31, as the game ended in the first minutes of November 1. In calling the home run, Yankees broadcaster Michael Kay said \"See ya! See ya! See ya! A home run for Derek Jeter! He is Mr. November! Oh what a home run by Derek Jeter!\" He said this after noticing a fan's sign that said \"Mr. November\".\n\nAlso, during the emotional times following the attacks, Yankee Stadium played host to a memorial service, just before the Yankees played their first home game following the attacks. The service was titled \"Prayer for America\".\n\nOffseason\nNovember 21, 2000: Joe Oliver was signed as a Free Agent with the New York Yankees.\nNovember 30, 2000: Mike Mussina was signed as a Free Agent with the New York Yankees.\nDecember 7, 2000: Dwight Gooden signed as a Free Agent with the New York Yankees.\nDecember 7, 2000: Luis Sojo was signed as a Free Agent with the New York Yankees.\nDecember 11, 2000: Brandon Knight was drafted by the Minnesota Twins from the New York Yankees in the 2000 rule 5 draft.\nFebruary 15, 2001: Henry Rodriguez was signed as a Free Agent with the New York Yankees.\nMarch 21, 2001: Drew Henson was traded by the Cincinnati Reds with Michael Coleman to the New York Yankees for Wily Mo Pena.\nMarch 28, 2001: Glenallen Hill was traded by the New York Yankees to the Anaheim Angels for Darren Blakely (minors).\nMarch 28, 2001: Brandon Knight was returned (earlier draft pick) by the Minnesota Twins to the New York Yankees.\nMarch 30, 2001: Brandon Knight was released by the New York Yankees.\n\nNotable transactions\nApril 1, 2001: Brandon Knight was signed as a Free Agent with the New York Yankees.\nJune 5, 2001: John Ford Griffin was drafted by the New York Yankees in the 1st round (23rd pick) of the 2001 amateur draft. Player signed June 14, 2001.\nJune 5, 2001: Bronson Sardinha was drafted by the New York Yankees in the 1st round (34th pick) of the 2001 amateur draft. Player signed June 13, 2001.\nJune 19, 2001: Henry Rodríguez was released by the New York Yankees.\nJune 20, 2001: Joe Oliver was released by the New York Yankees.\n July 4, 2001: Bobby Estalella was traded by the San Francisco Giants with Joe Smith (minors) to the New York Yankees for Brian Boehringer.\nJuly 30, 2001: Sterling Hitchcock was traded by the San Diego Padres to the New York Yankees for Brett Jodie and Darren Blakely (minors).\nAugust 31, 2001: Randy Velarde was traded by the Texas Rangers to the New York Yankees for players to be named later. The New York Yankees sent Randy Flores (October 12, 2001) and Rosman Garcia (October 11, 2001) to the Texas Rangers to complete the trade.\n\nSeason standings\n\nSeason summary\n\nRecord vs. opponents\n\nDetailed records\n\nRoster\n\nGame log\n\n|- align=\"center\" bgcolor=\"bbffbb\"\n| 109 || August 3 || Angels || 4–2 || Pettitte (12–6) || Washburn (9–5) || Rivera (36) || Yankee Stadium || 40,490 || 66–43\n|- align=\"center\" bgcolor=\"bbffbb\"\n| 110 || August 4 || Angels || 5–4 || Rivera (4–5) || Levine (5–6) || || Yankee Stadium || 46,416 || 67–43\n|- align=\"center\" bgcolor=\"ffbbbb\"\n| 111 || August 5 || Angels || 3–4 || Ortiz (10–7) || Mendoza (7–3) || Percival (29) || Yankee Stadium || 48,978 || 67–44\n|- align=\"center\" bgcolor=\"ffbbbb\"\n| 112 || August 6 || Angels || 1–3 || Pote (2–0) || Hitchock (1–1) || Percival (30) || Yankee Stadium || 40,232 || 67–45\n|- align=\"center\" bgcolor=\"ffbbbb\"\n| 129 || August 24 || @ Angels || 2–6 || Hasegawa (4–4) || Pettitte (14–8) || || Edison International Field of Anaheim || 43,489 || 75–54\n|- align=\"center\" bgcolor=\"bbffbb\"\n| 130 || August 25 || @ Angels || 7–5 || Clemens (17–1) || Valdez (8–8) || Rivera (40) || Edison International Field of Anaheim || 43,398 || 76–54\n|- align=\"center\" bgcolor=\"ffbbbb\"\n| 131 || August 26 || @ Angels || 6–7 (10) || Percival (4–2) || Stanton (8–4) || || Edison International Field of Anaheim || 41,660 || 76–55\n|-\n\n|- align=\"center\" bgcolor=\"bbbbbb\"\n| || September 11 || White Sox || colspan=4 |Postponed (September 11 attacks) || Yankee Stadium || || 86-57\n|-\n\nPostseason Game log\n\n|- align=\"center\" bgcolor=\"ffbbbb\"\n| 1 || October 10 || Athletics || 3–5 || || || || Yankee Stadium || 56,697 || 0–1\n|- align=\"center\" bgcolor=\"ffbbbb\"\n| 2 || October 11 || Athletics || 0–2 || || || || Yankee Stadium || 56,684 || 0–2\n|- align=\"center\" bgcolor=\"bbffbb\"\n| 3 || October 13 || @ Athletics || 1–0 || || || || Network Associates Coliseum || 55,861 || 1–2\n|- align=\"center\" bgcolor=\"bbffbb\"\n| 4 || October 14 || @ Athletics || 9–2 || || || || Network Associates Coliseum || 43,681 || 2–2\n|- align=\"center\" bgcolor=\"bbffbb\"\n| 5 || October 15 || Athletics || 5–3 || || || || Yankee Stadium || 56,642 || 3–2\n|-\n\n|- align=\"center\" bgcolor=\"bbffbb\"\n| 1 || October 17 || @ Mariners || 4–2 || || || || Safeco Field || 47,644 || 1–0\n|- align=\"center\" bgcolor=\"bbffbb\"\n| 2 || October 18 || @ Mariners || 3–2 || || || || Safeco Field || 47,791 || 2–0\n|- align=\"center\" bgcolor=\"ffbbbb\"\n| 3 || October 20 || Mariners || 3–14 || || || || Yankee Stadium || 56,517 || 2–1\n|- align=\"center\" bgcolor=\"bbffbb\"\n| 4 || October 21 || Mariners || 3–1 || || || || Yankee Stadium || 56,375 || 3–1\n|- align=\"center\" bgcolor=\"bbffbb\"\n| 5 || October 22 || Mariners || 12–3 || || || || Yankee Stadium || 56,370 || 4–1\n|-\n\n|- align=\"center\" bgcolor=\"ffbbbb\"\n| 1 || October 27 || @ Diamondbacks || 1–9 || Schilling (1–0) || Mussina (0–1) || || Bank One Ballpark || 49,646 || 0–1\n|- align=\"center\" bgcolor=\"ffbbbb\"\n| 2 || October 28 || @ Diamondbacks || 0–4 || Johnson (2–0) || Pettitte (0–1) || || Bank One Ballpark || 49,646 || 0–2\n|- align=\"center\" bgcolor=\"bbffbb\"\n| 3 || October 30 || Diamondbacks || 2–1 || Clemens (1–0) || Anderson (0–1) || Rivera (1) || Yankee Stadium || 55,820 || 1–2\n|- align=\"center\" bgcolor=\"bbffbb\"\n| 4 || October 31 || Diamondbacks || 4–3 (10) || Rivera (1–0) || Kim (0–1) || || Yankee Stadium || 55,863 || 2–2\n|- align=\"center\" bgcolor=\"bbffbb\"\n| 5 || November 1 || Diamondbacks || 3–2 (12) || Hitchcock (1–0) || Lopez (0–1) || || Yankee Stadium || 56,018 || 3–2\n|- align=\"center\" bgcolor=\"ffbbbb\"\n| 6 || November 3 || @ Diamondbacks || 2–15 || Johnson (2–0) || Pettitte (0–2) || || Bank One Ballpark || 49,707 || 3–3\n|- align=\"center\" bgcolor=\"ffbbbb\"\n| 7 || November 4 || @ Diamondbacks || 2–3 || Johnson (3–0) || Rivera (1–1) || || Bank One Ballpark || 49,589 || 3–4\n|-\n\nPlayer stats\n\nBatting\nNote: G = Games played; AB = At bats; R = Runs; H = Hits; HR = Home runs; RBI = Runs batted in; Avg. = Batting average; SB = Stolen bases\n\nOther batters\n\nStarting pitchers\n\nOther pitchers\n\nRelief pitchers\n\nALDS\n\nSeries Summary:\nGame 1 @ Yankee Stadium: Athletics 5, Yankees 3\nGame 2 @ Yankee Stadium: Athletics 2, Yankees 0\nGame 3 @ Network Associates Coliseum: Yankees 1, Athletics 0\nGame 4 @ Network Associates Coliseum: Yankees 9, Athletics 2\nGame 5 @ Yankee Stadium: Yankees 5, Athletics 3\nYankees win series 3-2, becoming the first team in MLB history to win the ALDS after dropping the first two games at home.\n\nALCS\n\nWorld series\n\nGame 1\nOctober 27, 2001 at Bank One Ballpark in Phoenix, Arizona\n\nGame 2\nOctober 28, 2001 at Bank One Ballpark in Phoenix, Arizona\n\nGame 3\nOctober 30, 2001 at Yankee Stadium in New York City\n\nGame 4\nOctober 31, 2001 at Yankee Stadium in New York City\n\nGame 5\nNovember 1, 2001 at Yankee Stadium in New York City\n\nGame 6\nNovember 3, 2001 at Bank One Ballpark in Phoenix, Arizona\n\nGame 7\nNovember 4, 2001 at Bank One Ballpark in Phoenix, Arizona\n\nAwards and records\nRoger Clemens became the first pitcher to reach his 20th win with only 1 loss.\nRoger Clemens, AL Cy Young Award\n\nFarm system\n\nLEAGUE CHAMPIONS: GCL Yankees; LEAGUE CO-CHAMPIONS: Tampa\n\nReferences\n\n2001 New York Yankees\n2001 World Series\n2001 New York Yankees at Baseball Almanac\n\nNew York Yankees seasons\nNew York Yankees\nNew York Yankees\n21st century in the Bronx\nAmerican League East champion seasons\nAmerican League champion seasons\nYankee Stadium (1923)" ]
[ "Roger Clemens", "Return to the Yankees (2007)", "When did Clemens return to the yankees", "Clemens made his 2007 return on June 9," ]
C_0d846a1614904fcf97343b0d8d340347_1
How did he perform with the yankees
2
How did Roger Clemens perform with the Yankees?
Roger Clemens
Clemens unexpectedly appeared in the owner's box at Yankee Stadium on May 6, 2007, during the seventh-inning stretch of a game against the Seattle Mariners, and made a brief statement: "Thank y'all. Well they came and got me out of Texas, and uhh, I can tell you it's a privilege to be back. I'll be talkin' to y'all soon." It was simultaneously announced that Clemens had rejoined the Yankees roster, agreeing to a pro-rated one-year deal worth $28,000,022, or about $4.7 million per month. Over the contract life, he would make $18.7 million. This equated to just over $1 million per start that season. Clemens made his 2007 return on June 9, defeating the Pittsburgh Pirates by pitching six innings with seven strikeouts and 3 runs allowed. On June 21, with a single in the 5th inning against the Colorado Rockies, Clemens became the oldest New York Yankee to record a hit (44 years, 321 days). On June 24, Clemens pitched an inning in relief against the San Francisco Giants. It had been 22 years and 341 days since his previous regular-season relief appearance, the longest such gap in major league history. On July 2, Clemens collected his 350th win against the Minnesota Twins at Yankee Stadium, giving up just two hits and one run over eight innings. Clemens is one of only three pitchers to pitch his entire career in the live-ball era and reach 350 wins. The other two are Warren Spahn (whose catcher for his 350th win was Joe Torre, Clemens's manager for his 350th), and Greg Maddux, who earned his 350th win in 2008. His final regular season appearance was a start against the Red Sox at Fenway Park, in which he allowed 2 hits and 1 unearned run in 6 innings, and received a no-decision. Clemens finished the 2007 regular season with a record of 6-6 and a 4.18 ERA. Clemens was forced to leave Game 3 of the 2007 ALDS in the third inning after aggravating a hamstring injury. He struck out Victor Martinez of the Cleveland Indians with his final pitch, and was replaced by right-hander Phil Hughes. Yankees manager Joe Torre removed Clemens from the roster due to his injury, and replaced him with left-hander Ron Villone. CANNOTANSWER
On July 2, Clemens collected his 350th win against the Minnesota Twins at Yankee Stadium,
William Roger Clemens (born August 4, 1962), nicknamed "Rocket", is an American former professional baseball pitcher who played 24 seasons in Major League Baseball (MLB), primarily with the Boston Red Sox and New York Yankees. Clemens was one of the most dominant pitchers in major league history, tallying 354 wins, a 3.12 earned run average (ERA), and 4,672 strikeouts, the third-most all time. An 11-time All-Star and two-time World Series champion, he won seven Cy Young Awards during his career, more than any other pitcher in history. Clemens was known for his fierce competitive nature and hard-throwing pitching style, which he used to intimidate batters. Clemens debuted in MLB in 1984 with the Red Sox, whose pitching staff he anchored for 12 years. In 1986, he won the American League (AL) Cy Young Award, the AL Most Valuable Player (MVP) Award, and the All-Star Game MVP Award, and he struck out an MLB-record 20 batters in a single game. After the 1996 season, in which he achieved his second 20-strikeout performance, Clemens left Boston via free agency and joined the Toronto Blue Jays. In each of his two seasons with Toronto, Clemens won a Cy Young Award, as well as the pitching triple crown by leading the league in wins, ERA, and strikeouts. Prior to the 1999 season, Clemens was traded to the Yankees where he won his two World Series titles. In 2001, Clemens became the first pitcher in major league history to start a season with a win-loss record of 20–1. In 2003, he reached his 300th win and 4,000th strikeout in the same game. Clemens left for the Houston Astros in 2004, where he spent three seasons and won his seventh Cy Young Award. He rejoined the Yankees in 2007 for one last season before retiring. He is the only pitcher in Major League history to record over 350 wins and strike out over 4,500 batters. Clemens was alleged by the Mitchell Report to have used anabolic steroids during his late career, mainly based on testimony given by his former trainer, Brian McNamee. Clemens firmly denied these allegations under oath before the United States Congress, leading congressional leaders to refer his case to the Justice Department on suspicions of perjury. On August 19, 2010, a federal grand jury at the U.S. District Court in Washington, D.C., indicted Clemens on six felony counts involving perjury, false statements and Contempt of Congress. Clemens pleaded not guilty, but proceedings were complicated by prosecutorial misconduct, leading to a mistrial. The verdict from his second trial came in June 2012, when Clemens was found not guilty on all six counts of lying to Congress. These controversies hurt his chances for election to the Baseball Hall of Fame. He never received the 75% of the votes required in his ten years of eligibility, ending with 65.2% in 2022. Early life Clemens was born in Dayton, Ohio, the fifth child of Bill and Bess (Lee) Clemens. He is of German descent, his great-grandfather Joseph Clemens having immigrated in the 1880s. Clemens's parents separated when he was an infant. His mother soon married Woody Booher, whom Clemens considers his father. Booher died when Clemens was nine years old, and Clemens has said that the only time he ever felt envious of other players was when he saw them in the clubhouse with their fathers. Clemens lived in Vandalia, Ohio, until 1977, and then spent most of his high school years in Houston, Texas. At Spring Woods High School, Clemens played baseball for longtime head coach Charles Maiorana and also played football and basketball. He was scouted by the Philadelphia Phillies and Minnesota Twins during his senior year, but opted to go to college. Collegiate career He began his college career pitching for San Jacinto College North in 1981, where he was 9–2. The New York Mets selected Clemens in the 12th round of the 1981 Major League Baseball draft, but he did not sign. He then attended the University of Texas at Austin, compiling a 25–7 record in two All-American seasons, and was on the mound when the Longhorns won the 1983 College World Series. He became the first player to have his baseball uniform number retired at the University of Texas. In 2004, the Rotary Smith Award, given to America's best college baseball player, was changed to the Roger Clemens Award, honoring the best pitcher. At Texas, Clemens pitched 35 consecutive scoreless innings, an NCAA record that stood until Justin Pope broke it in 2001. Professional career Boston Red Sox (1984–1996) Clemens was selected in the first round (19th overall) of the 1983 MLB draft by the Boston Red Sox and quickly rose through the minor league system, making his MLB debut on May 15, 1984. An undiagnosed torn labrum threatened to end his career early; he underwent successful arthroscopic surgery by Dr. James Andrews. In 1986, Clemens won the American League MVP award, finishing with a 24–4 record, 2.48 ERA, and 238 strikeouts. Clemens started the 1986 All-Star Game in the Astrodome and was named the Most Valuable Player of the contest by throwing three perfect innings and striking out two. He also won the first of his seven Cy Young Awards. When Hank Aaron said that pitchers should not be eligible for the MVP, Clemens responded: "I wish he were still playing. I'd probably crack his head open to show him how valuable I was." Clemens was the only starting pitcher since Vida Blue in 1971 to win a league MVP award until Justin Verlander won the award in 2011. On April 29, 1986, Clemens became the first pitcher in MLB history to strike out 20 batters in a nine-inning game, against the Seattle Mariners at Boston's Fenway Park. Following his performance, Clemens made the cover of Sports Illustrated which carried the headline "Lord of the K's [strikeouts]." Other than Clemens, only Kerry Wood and Max Scherzer have matched the total. (Randy Johnson fanned 20 batters in nine innings on May 8, 2001. However, as the game went into extra innings, it is not categorized as occurring in a nine-inning game. Tom Cheney holds the record for any game: 21 strikeouts in 16 innings.) Clemens attributes his switch from what he calls a "thrower" to a "pitcher" to the partial season Hall of Fame pitcher Tom Seaver spent with the Red Sox in 1986. Facing the California Angels in the 1986 ALCS, Clemens pitched poorly in the opening game, watched the Boston bullpen blow his 3–1 lead in the bottom of the ninth inning of Game 4, and then pitched a strong Game 7 to wrap up the series for Boston. The League Championship Series clincher was Clemens's first postseason career victory. He did not win his second until 13 years later. After a victory in game five, Boston led 3 games to 2 over the New York Mets in the 1986 World Series with Clemens set to start game six at Shea Stadium. Clemens who was pitching on five days rest started strong by striking out eight while throwing a no-hitter through four innings. In the top of eighth and with Boston ahead 3–2, manager John McNamara sent rookie Mike Greenwell to pinch hit for Roger Clemens. It was initially said that Clemens was removed from the game due to a blister forming on one of his fingers, but both he and McNamara dispute this. Clemens said to Bob Costas on an MLB Network program concerning the 1986 postseason that McNamara decided to pull him despite Clemens wanting to pitch. McNamara said to Costas that Clemens "begged out" of the game. The Mets rallied and took both game six and seven to win the World Series. The Red Sox had a miserable 1987 season, finishing at 78–84, though Clemens won his second consecutive Cy Young Award with a 20–9 record, 2.97 ERA, 256 strikeouts, and seven shutouts. He was the first AL pitcher with back-to-back 20-win seasons since Tommy John won 20 with the Yankees in 1979 and '80. Boston rebounded with success in 1988 and 1990, clinching the AL East Division each year, but were swept by the Oakland Athletics in each ALCS matchup. His greatest postseason failure came in the second inning of the final game of the 1990 ALCS, when he was ejected for arguing balls and strikes with umpire Terry Cooney, accentuating the A's four-game sweep of the Red Sox. He was suspended for the first five games of the 1991 season and fined $10,000. Clemens led the American League in 1988 with 291 strikeouts and a career-high 8 shutouts. On September 10, 1988, Clemens threw a one-hitter against the Cleveland Indians at Fenway Park. Dave Clark's one-out single in the eighth inning was the only hit Clemens allowed in the game. In a 9–1 victory over Cleveland on April 13, 1989, Clemens recorded his 1,000 career strikeout by fanning Brook Jacoby with the bases loaded in the second inning. Clemens finished second to Oakland's Bob Welch for the 1990 AL Cy Young Award, despite the fact that Clemens crushed Welch in ERA (1.93 to 2.95), strikeouts (209 to 127), walks (54 to 77), home runs allowed (7 to 26), and WAR (10.4 to 2.9). Clemens did, however, capture his third Cy Young Award in 1991 with an 18–10 record, 2.62 ERA, and 241 strikeouts. On June 21, 1989, Clemens surrendered the first of 609 home runs in the career of Sammy Sosa. Clemens accomplished the 20-strikeout feat twice, the only player ever to do so. The second performance came more than 10 years later, on September 18, 1996, against the Detroit Tigers at Tiger Stadium. This second 20-K day occurred in his third-to-last game as a member of the Boston Red Sox. Later, the Tigers presented him with a baseball containing the autographs of each batter who had struck out (those with multiple strikeouts signed the appropriate number of times). The Red Sox did not re-sign Clemens following the 1996 season, despite leading the A.L. with 257 strikeouts and offering him "by far the most money ever offered to a player in the history of the Red Sox franchise." General Manager Dan Duquette remarked that he "hoped to keep him in Boston during the twilight of his career", but Clemens left and signed with the Toronto Blue Jays. The emphasis on the misquoted 1996 "twilight" comment took on a life of its own following Clemens's post-Boston successes, and Duquette was vilified for letting the star pitcher go. Ultimately, Clemens would go on to have a record of 162–73 for the rest of his career after leaving the Red Sox. Clemens recorded 192 wins and 38 shutouts for the Red Sox, both tied with Cy Young for the franchise record and is their all-time strikeout leader with 2,590. Clemens's overall postseason record with Boston was 1–2 with a 3.88 ERA, and 45 strikeouts, and 19 walks in 56 innings. No Red Sox player has worn his uniform #21 since Clemens left the team in the 1996–97 offseason. Toronto Blue Jays (1997–1998) Clemens signed a four-year, $40 million deal with the Toronto Blue Jays after the 1996 season. In his first start in Fenway Park as a member of the Blue Jays, he pitched eight innings allowing only 4 hits and 1 earned run. 16 of his 24 outs were strikeouts, and every batter who faced him struck out at least once. As he left the field following his last inning of work, he stared up angrily towards the owner's box. Clemens was dominant in his two seasons with the Blue Jays, winning the pitching Triple Crown and the Cy Young Award in both seasons (1997: 21–7 record, 2.05 ERA, and 292 strikeouts; 1998: 20–6 record, 2.65 ERA, and 271 strikeouts). After the 1998 season, Clemens asked to be traded, indicating that he did not believe the Blue Jays would be competitive enough the following year and that he was dedicated to winning a championship. New York Yankees (1999–2003) Clemens was traded to the New York Yankees before the 1999 season for David Wells, Homer Bush, and Graeme Lloyd. Since his longtime uniform number #21 was in use by teammate Paul O'Neill, Clemens initially wore #12, before switching mid-season to #22. Clemens made an immediate impact on the Yankees' staff, anchoring the top of the rotation as the team went on to win a pair of World Series titles in 1999 and 2000. During the 1999 regular season, Clemens posted a 14–10 record with a 4.60 ERA. He logged a pair of wins in the postseason, though he lost Game 3 of the 1999 ALCS in a matchup against Red Sox ace Pedro Martínez, which was the Yankees' only loss in the 1999 playoffs. Clemens pitched 7.2 innings of 1-run baseball during the Yankees' game 4 clincher over the Atlanta Braves. Clemens followed up with a strong 2000 season, in which he finished with a 13–8 record with a 3.70 ERA for the regular season. During the 2000 postseason, he helped the Yankees win their third consecutive championship. Clemens set the ALCS record for strikeouts in a game when he fanned 15 batters in a one-hit shutout of the Seattle Mariners in Game 4 of the ALCS. A seventh-inning lead-off double by Seattle's Al Martin was all that prevented Clemens from throwing what was, at the time, only the second no-hitter in postseason history. In Game 2 of the 2000 World Series, Clemens pitched eight scoreless innings against the New York Mets. In 2001, Clemens became the first pitcher in MLB history to start a season 20–1 (finishing 20–3) and winning his sixth Cy Young Award. As of the 2020 season, he is the last Yankee pitcher to win the Cy Young Award. Clemens started for the Yankees in Game 7 of the 2001 World Series against the Arizona Diamondbacks, where he dueled Curt Schilling to a standstill after 6 innings, yielding only one run. The Diamondbacks went on to win the game in the 9th. Early in 2003, Clemens announced his retirement, effective at the end of that season. On June 13, 2003, pitching against the St. Louis Cardinals in Yankee Stadium, Clemens recorded his 300th career win and 4,000th career strikeout, the only player in history to record both milestones in the same game. The 300th win came on his fourth try; the Yankee bullpen had blown his chance of a win in his previous two attempts. He became the 21st pitcher ever to record 300 wins and the third ever to record 4,000 strikeouts. His career record upon reaching the milestones was 300–155. Clemens finished the season with a 17–9 record and a 3.91 ERA. The end of Clemens's 2003 season became a series of public farewells met with appreciative cheering. His last games in each AL park were given extra attention, particularly his final regular-season appearance in Fenway Park, when despite wearing the uniform of the hated arch-rival, he was afforded a standing ovation by Red Sox fans as he left the field. (This spectacle was repeated when the Yankees ended up playing the Red Sox in the 2003 ALCS and Clemens got a second "final start" in his original stadium.) As part of a tradition of manager Joe Torre, Clemens was chosen to manage the Yankees' last game of the regular season. Clemens made one start in the World Series against the Florida Marlins; when he left trailing 3–1 after seven innings, the Marlins left their dugout to give him a standing ovation. Houston Astros (2004–2006) Clemens came out of retirement, signing a one-year deal with his adopted hometown Houston Astros on January 12, 2004, joining close friend and former Yankees teammate Andy Pettitte. On May 5, 2004, Clemens recorded his 4,137th career strikeout to place him second on the all-time list behind Nolan Ryan. He was named the starter for the National League All-Star team but ultimately was the losing pitcher in that game after allowing six runs on five hits, including a three-run home run to Alfonso Soriano. Clemens finished the season with an 18–4 record, and was awarded his seventh Cy Young Award, becoming the oldest player ever to win the Cy Young at age 42. This made him one of six pitchers to win the award in both leagues, joining Gaylord Perry, Pedro Martínez, and Randy Johnson and later joined by Roy Halladay and Max Scherzer. Clemens was the losing pitcher for the Astros in Game Seven of the 2004 NLCS against the St. Louis Cardinals, allowing four runs in six innings. Although he pitched well, he tired in the sixth inning, surrendering all four runs. Clemens again decided to put off retirement before the 2005 season after the Houston Astros offered salary arbitration. The Astros submitted an offer of $13.5 million, and Clemens countered with a record $22 million demand. On January 21, 2005, both sides agreed on a one-year, $18,000,022 contract, thus avoiding arbitration. The deal gave Clemens the highest yearly salary earned by a pitcher in MLB history. Clemens's 2005 season ended as one of the finest he had ever posted. His 1.87 ERA was the lowest in the major leagues, the lowest of his 22-season career, and the lowest by any National Leaguer since Greg Maddux in 1995. He finished with a 13–8 record, with his lower win total primarily due to the fact that he ranked near the bottom of the major leagues in run support. The Astros scored an average of only 3.5 runs per game in games in which he was the pitcher of record. The Astros were shut out nine times in Clemens's 32 starts, and failed to score in a 10th until after Clemens was out of the game. The Astros lost five of Clemens's starts by scores of 1–0. In April, Clemens did not allow a run in three consecutive starts. However, the Astros lost all three of those starts by a 1–0 score in extra innings. Clemens won an emotional start on September 15, following his mother's death that morning. In his final start of the 2005 season, Clemens got his 4,500th strikeout. On October 9, 2005, Clemens made his first relief appearance since 1984, entering as a pinch hitter in the 15th, then pitching three innings to get the win as the Astros defeated the Atlanta Braves in Game 4 of the NLDS. It is the longest postseason game in MLB history at 18 innings. Clemens lasted only two innings in Game 1 of the 2005 World Series, and the Astros went on to be swept by the Chicago White Sox. It was the Astros' first World Series appearance. Clemens had aggravated a hamstring pull that had limited his performance since at least September. Clemens said that he would retire again after the World Series but he wanted to represent the United States in the inaugural World Baseball Classic, which would be played in March 2006. He went 1–1 in the tournament, with a 2.08 ERA, striking out 10 batters in innings. After pitching in a second-round loss to Mexico that eliminated the United States, Clemens began considering a return to the major leagues. On May 31, 2006, following another extended period of speculation, it was announced that Clemens was coming out of retirement for the third time to pitch for the Astros for the remainder of the 2006 season. Clemens signed a contract worth $22,000,022 (his uniform number #22). Since Clemens did not play a full season, he received a prorated percentage of that: approximately $12.25 million. Clemens made his return on June 22, 2006, against the Minnesota Twins, losing to their rookie phenom, Francisco Liriano, 4–2. For the second year in a row, his win total did not match his performance, as he finished the season with a 7–6 record, a 2.30 ERA, and a 1.04 WHIP. However, Clemens averaged just under 6 innings in his starts and never pitched into the eighth. Return to the Yankees (2007) Clemens unexpectedly appeared in the owner's box at Yankee Stadium on May 6, 2007, during the seventh-inning stretch of a game against the Seattle Mariners, and made a brief statement: "Thank y'all. Well they came and got me out of Texas, and uhh, I can tell you it's a privilege to be back. I'll be talkin' to y'all soon." It was simultaneously announced that Clemens had rejoined the Yankees roster, agreeing to a pro-rated one-year deal worth $28,000,022, or about $4.7 million per month. Over the contract life, he would make $18.7 million. This equated to just over $1 million per start that season. Clemens made his 2007 return on June 9, defeating the Pittsburgh Pirates by pitching six innings with seven strikeouts and three runs allowed. On June 21, with a single in the 5th inning against the Colorado Rockies, Clemens became the oldest New York Yankee to record a hit (44 years, 321 days). On June 24, Clemens pitched an inning in relief against the San Francisco Giants. It had been 22 years and 341 days since his previous regular-season relief appearance, the longest such gap in major league history. On July 2, Clemens collected his 350th win against the Minnesota Twins at Yankee Stadium, giving up just two hits and one run over eight innings. Clemens is one of only three pitchers to pitch his entire career in the live-ball era and reach 350 wins. The other two are Warren Spahn (whose catcher for his 350th win was Joe Torre, Clemens's manager for his 350th), and Greg Maddux, who earned his 350th win in 2008. His final regular-season appearance was a start against the Red Sox at Fenway Park, in which he allowed two hits and one unearned run in six innings, and received a no-decision. Clemens finished the 2007 regular season with a record of 6–6 and a 4.18 ERA. Clemens was forced to leave Game 3 of the 2007 ALDS in the third inning after aggravating a hamstring injury. He struck out Victor Martinez of the Cleveland Indians with his final pitch, and was replaced by right-hander Phil Hughes. Yankees manager Joe Torre removed Clemens from the roster due to his injury, and replaced him with left-hander Ron Villone. Clemens's overall postseason record with the Yankees was 7–4 with a 2.97 ERA, 98 strikeouts and 35 walks in 102 innings. Pitching appearances after retirement On August 20, 2012, Clemens signed with the Sugar Land Skeeters of the Atlantic League of Professional Baseball. He made his debut for the Skeeters against the Bridgeport Bluefish on August 25, 2012, in front of a crowd of 7,724. It was the first time the 50-year-old had taken the mound in almost five years. Clemens pitched scoreless innings and struck out two: former major leaguers Joey Gathright and Prentice Redman. He also retired Luis Figueroa, who played briefly with the Pirates, Blue Jays and the Giants. Clemens allowed only one hit and no walks on 37 pitches in the Skeeters' 1–0 victory. Clemens made his second start for the Skeeters on September 7 against the Long Island Ducks. He pitched scoreless innings, with his son, Koby, as his catcher. He retired former New York Met outfielder Timo Perez for the final out in the fourth inning, and was named the winning pitcher by the official scorer. Clemens's fastball was clocked as high as 88 mph, and the Astros sent scouts to both of his outings with the Skeeters in consideration of a possible return to the team that season. Roger Clemens joined the Kansas Stars, a group of 24 retired major leaguers and his son Koby, to compete in the 2016 National Baseball Congress World Series. The team was put together by Kansas natives Adam LaRoche and Nate Robertson, and featured eleven former All-Stars, including Tim Hudson, Roy Oswalt, and J. D. Drew as well as Clemens. Pitching just six days after his 54th birthday, Clemens started for the Kansas Stars in a game against the NJCAA National Team on August 10, 2016. He pitched innings, allowing 3 runs with one strikeout in an 11–10 loss. On August 22, 2019, Clemens wore his Red Sox uniform and pitched in the Abbot Financial Management Oldtime Baseball Game, an annual charity event held at St. Peter's Field in Cambridge, Massachusetts. The 2019 game benefitted Compassionate Care ALS, in memory of longtime Fenway Park supervisor John Welch, who died from Lou Gehrig's Disease in December 2018. Facing mostly young college players, Clemens pitched two shutout innings in the game, then moved to first base. Pitching style Clemens was a prototypical power pitcher with an aggressive edge for his entire career. This was especially the case when he was a young man. Clemens was said to throw "two pitches: a 98-mph fastball and a hard breaking ball. At 23, Clemens simply reared back and threw the ball past batters." Later in his career, Clemens developed a devastating split-finger fastball to use as an off-speed pitch in concert with his fastball. Clemens has jocularly referred to this pitch as "Mr. Splitty". By the time Clemens retired from Major League Baseball in 2007, his four-seam fastball had settled in the 91–94 mph range. He also threw a two-seam fastball, a slider in the mid 80s, his hard splitter, and an occasional curveball. Clemens was a highly durable pitcher, leading the American League in complete games three times and innings pitched twice. His 18 complete games in 1987 is more than any pitcher has thrown since. Clemens was also known as a strikeout pitcher, leading the AL in K's five times and strikeouts per nine innings three times. Controversies Clemens has been the focal point of several controversies. His reputation has always been that of a pitcher unafraid to throw close to batters. Clemens led his league in hit batsmen only once, in 1995, but he was among the leaders in several other seasons. This tendency was more pronounced during his earlier career and subsequently tapered off. After the 2000 ALCS game against the Mariners where he knocked down future teammate Alex Rodriguez and then argued with him, Seattle Mariners manager Lou Piniella called Clemens a "headhunter." His beaning earlier that year of Mike Piazza, followed by throwing a broken-bat in Piazza's direction in the 2000 World Series, cemented Clemens's surly, unapologetic image in the minds of many. In 2009, former manager Cito Gaston publicly denounced Clemens as a "double-talker" and "a complete asshole". Clemens was ranked 14th all-time in hit batsmen after the 2020 season. 14th all time may be misleading, as his rate of hit batsmen per batter faced is not out of line with other pitchers of his era at 1 hit batsmen per 125 batters faced. Numbers reflect similar rate of hit batsmen to pitchers such as Nolan Ryan, Justin Verlander, Greg Maddux. Clemens has attracted controversy over the years for his outspoken comments, such as his complaints about having to carry his own luggage through an airport and his criticism of Fenway Park for being a subpar facility. On April 4, 2006, Clemens made an insulting remark when asked about the devotion of Japanese and South Korean fans during the World Baseball Classic: "None of the dry cleaners were open, they were all at the game, Japan and Korea". Toward the end of his career, his annual on-and-off "retirements" revived a reputation for diva-like behavior. Clemens has received criticism for getting special treatment from the teams that sign him. While playing for Houston, Clemens was not obliged to travel with the team on road trips if he was not pitching. His 2007 contract with the New York Yankees had a "family plan" clause that stipulated that he not be required to go on road trips in which he was not scheduled to pitch and allowed him to leave the team between starts to be with his family. These perks were publicly criticized by Yankee reliever Kyle Farnsworth. Most of Clemens's teammates, however, did not complain of such perks because of Clemens's success on the mound and valuable presence in the clubhouse. Yankee teammate Jason Giambi spoke for such players when he said, "I'd carry his bags for him, just as long as he is on the mound." Steroid use accusations In José Canseco's book, Juiced: Wild Times, Rampant 'Roids, Smash Hits & How Baseball Got Big, Canseco suggested that Clemens had expert knowledge about steroids and suggested that he used them, based on the improvement in his performance after leaving the Red Sox. While not addressing the allegations directly, Clemens stated: "I could care less about the rules" and "I've talked to some friends of his and I've teased them that when you're under house arrest and have ankle bracelets on, you have a lot of time to write a book." Jason Grimsley named Clemens, as well as Andy Pettitte, as a user of performance-enhancing drugs. According to a 20-page search warrant affidavit signed by IRS Special Agent Jeff Novitzky, Grimsley told investigators he obtained amphetamines, anabolic steroids and human growth hormone from someone recommended to him by former Yankees trainer Brian McNamee. McNamee was a personal strength coach for Clemens and Pettitte, hired by Clemens in 1998. At the time of the Grimsley revelations, McNamee denied knowledge of steroid use by Clemens and Pettitte. Despite initial media reports, the affidavit made no mention of Clemens or Pettitte. However, Clemens's name was mentioned 82 times in the Mitchell Report on steroid use in baseball. In the report, McNamee stated that during the 1998, 2000, and 2001 baseball seasons, he injected Clemens with Winstrol. Clemens's attorney Rusty Hardin denied the claims, calling McNamee "a troubled and unreliable witness" who has changed his story five times in an attempt to avoid criminal prosecution. He noted that Clemens has never tested positive in a steroid test. Former U.S. Senator George Mitchell, who prepared the report, stated that he relayed the allegations to each athlete implicated in the report and gave them a chance to respond before his findings were published. On January 6, 2008, Clemens went on 60 Minutes to address the allegations. He told Mike Wallace that his longevity in baseball was due to "hard work" rather than illegal substances and denied all of McNamee's assertions that he injected Clemens with steroids, saying it "never happened". On January 7, Clemens filed a defamation lawsuit against McNamee, claiming that the former trainer lied after being threatened with prosecution. McNamee's attorneys argued that he was compelled to cooperate by federal officials and so his statements were protected. A federal judge agreed, throwing out all claims related to McNamee's statements to investigators on February 13, 2009, but allowing the case to proceed on statements McNamee made about Clemens to Pettitte. On February 13, 2008, Clemens appeared before a Congressional committee, along with Brian McNamee and swore under oath that he did not take steroids, that he did not discuss HGH with McNamee, that he did not attend a party at José Canseco's where steroids were the topic of conversation, that he was only injected with B-12 and lidocaine and that he never told Pettitte he had taken HGH. This last point was in contradiction to testimony Pettitte had given under oath on February 4, 2008, wherein Pettitte said he repeated to McNamee a conversation Pettitte had with Clemens. During this conversation, Pettitte said Clemens had told him that McNamee had injected Clemens with human growth hormone. Pettitte said McNamee reacted angrily, saying that Clemens "shouldn't have done that."<ref name=tj>Quinn, T.J. "In court of public opinion, a Clemens verdict: Game over." ESPN.com, December 12, 2008. Retrieved November 6, 2017.</ref> The bipartisan House committee in front of which Clemens appeared, citing seven apparent inconsistencies in Clemens's testimony, recommended that the Justice Department investigate whether Clemens lied under oath about using performance-enhancing drugs. In a letter sent February 27 to Attorney General Michael Mukasey, House Oversight and Government Reform Committee chairman Henry Waxman and ranking Republican Tom Davis said Clemens's testimony that he "never used anabolic steroids or human growth hormone warrants further investigation". As a result of the Mitchell Report, Clemens was asked to end his involvement with the Giff Nielsen Day of Golf for Kids charity tournament in Houston that he has hosted for four years. As well, his name has been removed from the Houston-based Roger Clemens Institute for Sports Medicine and will be renamed the Memorial Hermann Sports Medicine Institute. After Washington prosecutors showed "a renewed interest in the case in the final months of 2008", a federal grand jury was convened in January 2009 to hear evidence of Clemens's possible perjury before Congress. The grand jury indicted Clemens on August 19, 2010, on charges of making false statements to Congress about his use of performance-enhancing drugs. The indictment charges Clemens with one count of obstruction of Congress, three counts of making false statements and two counts of perjury in connection with his February 2008 testimony. His first trial began on July 13, 2011, but on the second day of testimony the judge in the case declared a mistrial over prosecutorial misconduct after prosecutors showed the jury prejudicial evidence they were not allowed to. Clemens was subsequently retried. The verdict from his second trial came in on June 18, 2012. Clemens was found not guilty on all six counts of lying to Congress in 2008, when he testified that he never took performance-enhancing drugs. In January 2016, after Clemens once again fell short of the votes required for election into the Hall of Fame, former major-league star Roy Halladay tweeted "No Clemens no Bonds" as part of a message indicating no performance-enhancing substance users should be voted into the Hall. Clemens countered by accusing Halladay of using amphetamines during his playing career. Adultery accusations In April 2008, the New York Daily News reported on a possible long-term relationship between Clemens and country music singer Mindy McCready that began when she was 15 years old. Clemens's attorney Rusty Hardin denied the affair and also stated that Clemens would be bringing a defamation suit regarding this allegation. Clemens's attorney admitted that a relationship existed but described McCready as a "close family friend". He also stated that McCready had traveled on Clemens's personal jet and that Clemens's wife was aware of the relationship. However, when contacted by the Daily News, McCready said, "I cannot refute anything in the story." On November 17, 2008, McCready spoke in more detail to Inside Edition about her affair with Clemens, saying their relationship lasted for more than a decade and that it ended when Clemens refused to leave his wife to marry her. However, she denied that she was 15 years old when it began, saying that they met when she was 16 and the affair only became sexual "several years later". In another soon-to-be-released sex tape by Vivid Entertainment she claimed that the first time she had sex with him was when she was 21. She also said that he often had erectile dysfunction. A few days after the Daily News broke the story about the McCready relationship, they reported on another Clemens extramarital relationship, this time with Paulette Dean Daly, the now ex-wife of pro golfer John Daly. Daly declined to elaborate on the nature of her relationship with the pitcher but did not deny that it was romantic and included financial support. There have been reports of Clemens having at least three other affairs with women. On April 29, 2008, the New York Post reported that Clemens had relationships with two or more women. One, a former bartender in Manhattan, refused comment on the story, while another, a woman from Tampa, could not be located. On May 2 of the same year, the Daily News reported a stripper in Detroit called a local radio station and said she had an affair with Clemens. He also gave tickets to baseball games, jewelry, and trips to women he was wooing. Other media Clemens has appeared as himself in several movies and television episodes and has also occasionally acted in films. Perhaps best known was his appearance in the season three episode of The Simpsons ("Homer at the Bat"), in which he is recruited to the Springfield nuclear plant's softball team but is accidentally hypnotized into thinking he is a chicken; in addition to his lines, Clemens voiced his own clucking. Clemens has also made guest appearances as himself on the TV shows Hope & Faith, Spin City, Arli$$, and Saturday Night Live as well as the movie Anger Management, and makes a brief appearance in the movie Kingpin as the character Skidmark. He also is shown playing an actual game with the Houston Astros in the film Boyhood. He appeared in the 1994 movie Cobb as an unidentified pitcher for the Philadelphia A's. In 2003, he was part of an advertising campaign for Armour hot dogs with MLB players Ken Griffey Jr., Derek Jeter, and Sammy Sosa. Since 2005, Clemens has also appeared in many commercials for Texas-based supermarket chain H-E-B. In 2007, he appeared on a baseball-themed episode of MythBusters ("Baseball Myths"). He has also starred in a commercial for Cingular parodying his return from retirement. He was calling his wife, Debra Godfrey, and a dropped call resulted in his return to the Yankees. He released an early autobiography, Rocket Man: The Roger Clemens Story written with Peter Gammons, in 1987. Clemens is also the spokesperson for Champion car dealerships in South Texas. In April 2009, Clemens was the subject of an unauthorized biography by Jeff Pearlman, titled The Rocket that Fell to Earth-Roger Clemens and the Rage for Baseball Immortality, that focused on his childhood and early career and accused Mike Piazza of using steroids. On May 12, Clemens broke a long silence to denounce a heavily researched expose by four investigative reporters from the New York Daily News, called American Icon: The Fall of Roger Clemens and the Rise of Steroids in America's Pastime. Clemens went on ESPN's Mike and Mike show to call the book "garbage", but a review by Michiko Kakutani of The New York Times called the book "gripping" and compared it to the work of Bob Woodward. Awards and recognition In 1999, while many of his performances and milestones were yet to come he ranked number 53 on The Sporting News list of the 100 Greatest Baseball Players, and was elected by the fans to the Major League Baseball All-Century Team. In 2005, the updated Sporting News list moved Clemens up to #15. By the end of the 2005 season, Clemens had won seven Cy Young Awards (he won the AL award in 1986, 1987, 1991, 1997, 1998, and 2001, and the National League award in 2004), an MVP and two pitching triple crowns. With his 2004 win, he joined Gaylord Perry, Randy Johnson, and Pedro Martínez as the only pitchers to win it in both leagues and became the oldest pitcher to ever win the Cy Young. He has also won the Sporting News Pitcher of the Year Award five times, was named an All-Star 11 times, and won the All-Star MVP in 1986. In October 2006, Clemens was named to Sports Illustrateds "all-time" team. On August 18, 2007, Clemens got his 1,000th strikeout as a Yankee. He is only the ninth player in major league history to record 1,000 or more strikeouts with two different teams. Clemens has recorded a total of 2,590 strikeouts as a member of the Red Sox and 1,014 strikeouts as a Yankee. He also had 563 strikeouts for Toronto, and 505 strikeouts for Houston. Clemens was inducted into the Boston Red Sox Hall of Fame in 2014, and was inducted into the Pawtucket Red Sox Hall of Fame on June 21, 2019. National Baseball Hall of Fame consideration In 2013 Baseball Hall of Fame balloting, his first year of eligibility, Clemens received 37.6% of the votes cast by the Baseball Writers' Association of America (BBWAA), falling well short of the 75% required for induction into the Hall of Fame. He has garnered more votes in subsequent elections without reaching the 75% threshold: he received 59.5% in 2019, 61.0% in 2020, and 61.6% in 2021. With the inductions of Greg Maddux and Tom Glavine in 2014 and Randy Johnson in 2015, Clemens is currently the only eligible member of the 300 win club not to be inducted into the Hall. He received 65.2% of the votes in his final year of eligibility, 2022. Despite falling off the ballot, Clemens is still eligible for induction through the Hall of Fame’s Today’s Game Committee. The committee is a 16-member electorate “comprised of members of the National Baseball Hall of Fame, executives, and veteran media members" (hence the nickname of “veteran’s committee”) who consider retired players who lost ballot eligibility while still having made notable contributions to baseball from 1986-2016. Voting will be held in December 2022, and 12 votes are required for induction. Personal life Clemens married Debra Lynn Godfrey (born May 27, 1963) on November 24, 1984. The couple has four sons: Koby Aaron, Kory Allen, Kacy Austin, and Kody Alec—all given "K" names to honor Clemens's strikeouts ("K's"). Koby was at one time a minor league prospect for some MLB clubs. Kacy played college baseball for the Texas Longhorns and was drafted by the Blue Jays in the eighth round of the 2017 Major League Baseball draft. Kacy is an infielder who is currently a free agent. Kody also played college baseball for the Texas Longhorns and was drafted 79th overall by the Detroit Tigers in the third round of the 2018 Major League Baseball draft. Debra once left a Red Sox game, when Clemens pitched for another team, in tears from the heckling she received. This is documented in an updated later edition to Dan Shaughnessy's best-selling book, Curse of the Bambino. Debra also was quoted in the book as stating that it was the poor attitude of Red Sox fans that prevented the team from ever winning the World Series (this was quoted prior to the Red Sox' 2004 World Series victory). Clemens is a member of the Republican Party and donated money to Texas congressman Ted Poe during his 2006 campaign. Debra posed in a bikini with her husband for a Sports Illustrated pictorial regarding athletes and their wives. This appeared in the annual Sports Illustrated Swimsuit Edition'' for 2003. Roger wore his Yankees uniform, with the jersey open. On February 27, 2006, to train for the World Baseball Classic, Roger pitched in an exhibition game between the Astros and his son's minor league team. In his first at-bat, Koby hit a home run off his father. In his next at-bat, Roger threw an inside pitch that almost hit Koby. Koby laughed in an interview after the game about the incident. See also Houston Astros award winners and league leaders List of Boston Red Sox award winners List of Boston Red Sox team records List of Major League Baseball annual shutout leaders List of Major League Baseball career hit batsmen leaders List of Major League Baseball career wins leaders List of Major League Baseball players named in the Mitchell Report List of Major League Baseball single-game strikeout leaders List of people from Dayton, Ohio List of Toronto Blue Jays team records List of University of Texas at Austin alumni Major League Baseball titles leaders Toronto Blue Jays award winners and league leaders References External links Roger Clemens Foundation 1962 births Living people American expatriate baseball players in Canada American League All-Stars American League ERA champions American League Most Valuable Player Award winners American League Pitching Triple Crown winners American League strikeout champions American League wins champions American people of German descent Baseball players from Dayton, Ohio Boston Red Sox players Bridgeport Bluefish guest managers Corpus Christi Hooks players Cy Young Award winners Houston Astros players Lexington Legends players Major League Baseball All-Star Game MVPs Major League Baseball controversies Major League Baseball pitchers National League All-Stars National League ERA champions New Britain Red Sox players New York Yankees players Norwich Navigators players Pawtucket Red Sox players People from Vandalia, Ohio Round Rock Express players San Jacinto Central Ravens baseball players Sarasota Red Sox players Scranton/Wilkes-Barre Yankees players Sugar Land Skeeters players Tampa Yankees players Texas Longhorns baseball players Texas Republicans Trenton Thunder players Toronto Blue Jays players Winter Haven Red Sox players World Baseball Classic players of the United States 2006 World Baseball Classic players
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[ "Below is a partial list of Minor League Baseball players in the New York Yankees system.\n\nPlayers\n\nJosh Breaux\n\nJoshua Breaux (born October 7, 1997) is an American professional baseball catcher in the New York Yankees organization.\n\nBreaux attended Tomball High School in Tomball, Texas and played college baseball at McLennan Community College. In 2017, he played collegiate summer baseball with the Falmouth Commodores of the Cape Cod Baseball League. Breaux was drafted by the Houston Astros in the 36th round of the 2017 Major League Baseball draft but did not sign and returned to McLennan. The next year he was drafted by the New York Yankees in the second round of the 2018 MLB draft.\n\nBreaux made his professional debut with the Gulf Coast Yankees before being promoted to the Staten Island Yankees. He played 2019 with the Charleston RiverDogs. He did not play for a minor league team during the 2020 because the season was cancelled due to the COVID-19 pandemic, but did play five games in the Constellation Energy League. Breaux started 2021 with the Hudson Valley Renegades before being promoted to the Somerset Patriots.\n\nBraden Bristo\n\nBraden James Bristo (born November 1, 1994) is an American professional baseball pitcher in the New York Yankees organization.\n\nBristo attended Ouachita Christian High School in Monroe, Louisiana and played college baseball at Louisiana Tech University. He was drafted by the New York Yankees in the twenty third round of the 2016 Major League Baseball draft.\nBristo spent his first professional season with the Pulaski Yankees in 2016. He pitched 2017 with the Charleston RiverDogs and the Staten Island Yankees. He spent 2018 between Charleston and the Tampa Tarpons and 2019 with Tampa and the Trenton Thunder. He did not play a minor league game in 2020 since the season was cancelled due to the COVID-19 pandemic. He started 2021 with the Scranton/Wilkes-Barre RailRiders.\n\nElijah Dunham\n\nElijah Zechariah Dunham (born May 29, 1998) is an American professional baseball outfielder in the New York Yankees organization.\n\nDunham attended FJ Reitz High School in Evansville, Indiana and played college baseball at Indiana University. As a sophomore at Indiana in 2019, he batted .310 with eight home runs, 29 RBIs, and 44 runs scored over 43 games. After the season, he was selected by the Pittsburgh Pirates in the 40th round of the 2019 Major League Baseball draft but did not sign. He started all 15 games as a junior in which he batted .390 before the season was cancelled due to the COVID-19 pandemic. He went unselected in the shortened 2020 Major League Baseball draft, and signed with the New York Yankees as an undrafted free agent.\n\nDunham made his professional debut in 2021 with the Tampa Tarpons of the Low-A Southeast and was promoted to the Hudson Valley Renegades of the High-A East in June. Over 93 games between the two clubs, Dunham slashed .263/.362/.463 with 13 home runs, 57 RBIs, 25 doubles and 28 stolen bases. Following the season's end, he was selected to play in the Arizona Fall League (AFL) for the Surprise Saguaros where he was named to the Fall Stars game. Dunham ended the AFL hitting .357/.465/.571 with two home runs and 11 stolen bases over 23 games, earning himself the Breakout Player of the Year award.\n\nYoendrys Gómez\n\nYoendrys Adrian Gómez (born October 15, 1999) is a Venezuelan professional baseball pitcher in the New York Yankees organization.\n\nGómez signed with the New York Yankees organization as an international free agent on July 2, 2016. Gómez played his first professional season the following year, splitting the season between the Dominican Summer League Yankees and the GCL Yankees, pitching to a cumulative 0–3 record and 5.40 ERA in 11 games between the two teams. In 2018, Gómez returned to the two teams, recording a 4–1 record and 2.08 ERA in 12 appearances. In 2019, Gómez split the season between the rookie-level Pulaski Yankees and the Single-A Charleston RiverDogs, posting a 4–5 record and 3.99 ERA with 53 strikeouts in 56.1 innings of work. He did not play a minor league game in 2020 since the season was cancelled due to the COVID-19 pandemic. The Yankees added him to their 40-man roster after the 2020 season Gómez was assigned to the Single-A Tampa Tarpons to begin the 2021 season.\n\nRon Marinaccio\n\nRonald James Marinaccio (born July 1, 1995) is an American professional baseball pitcher in the New York Yankees organization.\n\nMarinaccio played college baseball at the University of Delaware. He was drafted by the New York Yankees in the 19th round of the 2017 Major League Baseball Draft.\n\nThe Yankees added him to their 40-man roster after the 2021 season.\n\nBrandon Lockridge\n\nBrandon Marcus Lockridge (born March 14, 1997) is an American professional baseball outfielder in the New York Yankees organization.\n\nLockridge attended Pensacola Catholic High School in Pensacola, Florida and played college baseball at Troy University. In 2017, he played collegiate summer baseball with the Wareham Gatemen of the Cape Cod Baseball League. He was drafted by the New York Yankees in the fifth round of the 2018 Major League Baseball draft.\n\nLockridge made his professional debut with the Gulf Coast Yankees before being promoted to the Staten Island Yankees. He played 2019 with the Charleston RiverDogs. He did not play for a minor league team during the 2020 because the season was cancelled due to the COVID-19 pandemic. Lockridge started 2021 with the Hudson Valley Renegades before being promoted to the Somerset Patriots.\n\nOswald Peraza\n\nOswald Dair Peraza (born June 15, 2000) is a Venezuelan professional baseball shortstop in the New York Yankees organization.\n\nPeraza signed with the New York Yankees as an international free agent in July 2016. He made his professional debut in 2017 with the Dominican Summer League Yankees. He was later promoted to the Gulf Coast Yankees that season.\n\nPeraza played 2018 with the Pulaski Yankees and 2019 with the Staten Island Yankees and Charleston RiverDogs. He did not play a minor league game in 2020 since the season was cancelled due to the COVID-19 pandemic. The Yankees added him to their 40-man roster after the 2020 season. He began the 2021 season with the Somerset Patriots.\n\nEverson Pereira\n\nEverson Pereira (born April 10, 2001) is a Venezuelan professional baseball outfielder in the New York Yankees organization.\n\nPereira signed with the New York Yankees as an international free agent in July 2017. After the 2021 season, the Yankees added him to their 40-man roster.\n\nAddison Russ\n\nAddison Russ (born October 29, 1994) is an American professional baseball pitcher for the New York Yankees organization.\n\nRuss graduated from Randall High School in Amarillo, Texas. He played college baseball for Frank Phillips College, Lake Land College, and Houston Baptist University. The Philadelphia Phillies selected him in the 19th round of the 2017 MLB draft. On August 21, 2020, the Phillies traded Russ to the New York Yankees for David Hale.\n\nMatt Sauer\n\nMatthew David Sauer (born January 21, 1999) is an American professional baseball pitcher in the New York Yankees organization.\n\nSauer attended Righetti High School in Santa Maria, California. As a senior, he went 9–1 with a 0.98 earned run average (ERA) and 142 strikeouts. He committed to the University of Arizona to play college baseball. Sauer was drafted by the New York Yankees in the second round of the 2017 Major League Baseball draft.\n\nSauer officially signed with the Yankees on June 24. and was assigned to the Gulf Coast League Yankees, where he spent the whole 2017 season, posting an 0–2 record with a 5.40 ERA in innings pitched. In 2018, he pitched with the Staten Island Yankees where he went 3–6 with a 3.90 ERA in 13 starts and 67 innings.\n\nSauer spent 2019 with the Charleston RiverDogs, but pitched only innings due to injury. He did not play a minor league game in 2020 since the season was cancelled due to the COVID-19 pandemic. Sauer split the 2021 season between the Tampa Tarpons and the Hudson Valley Renegades, appearing in 23 games (21 starts) and going 5-6 with a 4.69 ERA and 127 strikeouts over innings.\n\nJP Sears\n\nJohn Patrick Sears (born February 19, 1996) is an American professional baseball pitcher in the New York Yankees organization.\n\nSears played college baseball at The Citadel. He was selected by the Seattle Mariners in the 11th round of the 2017 Major League Baseball draft. He signed and spent his first professional season with the Everett AquaSox and the Clinton LumberKings, going 1-2 with a 0.65 ERA over innings.\n\nOn November 18, 2017, Sears along with Juan Then were traded to the New York Yankees for Nick Rumbelow. He spent the 2018 season with the Charleston RiverDogs, starting ten games and going 1-5 with a 2.67 ERA with 54 strikeouts over 54 innings. In 2019, he pitched for the Tampa Tarpons and went 4-4 with a 4.07 ERA over innings. He did not play a minor league game in 2020 due to the cancellation of the season. He split the 2021 season between the Somerset Patriots and the Scranton/Wilkes-Barre RailRiders, going 10-2 with a 3.46 ERA over 25 games (18 starts), striking out 136 batters over 104 innings.\n\nThe Yankees added Sears to their 40-man roster after the 2021 season.\n\nRandy Vásquez\nRandy Vásquez is a professional baseball pitcher in the New York Yankees organization.\n\nKen Waldichuk\n\nKenneth Dieter Waldichuk (born January 21, 1999) is an American professional baseball pitcher in the New York Yankees organization.\n\nWaldichuk attended University City High School in San Diego, California. He earned First-Team All League honors as a junior in 2015. Unselected in the 2016 Major League Baseball draft, he fulfilled his commitment to play college baseball at Saint Mary's College of California.\n\nIn 2017, as a freshman at Saint Mary's, Waldichuk appeared in 22 games, going 3–4 with a 2.00 ERA and 51 strikeouts over 45 relief innings. He was named to the All-West Coast Conference Freshman Team. As a sophomore in 2018, he moved into the starting rotation, starting 14 games and pitching to an 8–4 record and a 2.05 ERA over innings, earning All-WCC First Team honors. In 2018, he played collegiate summer baseball with the Wareham Gatemen of the Cape Cod Baseball League. In 2019, his junior year, Waldichuk made 15 starts, going 5–6 with a 3.69 ERA with 106 strikeouts over innings. After the season, he was selected by the New York Yankees in the fifth round (165th overall) of the 2019 Major League Baseball draft.\n\nWaldichuk signed with the Yankees and made his professional debut with the Pulaski Yankees of the Rookie-level Appalachian League, going 0–2 with a 3.68 ERA over innings. To begin the 2021 season, he was assigned to the Hudson Valley Renegades of the High-A East. After throwing scoreless innings to begin the year, he was promoted to the Somerset Patriots of the Double-A Northeast. Over 16 games (14 starts) with Somerset, Waldichuck pitched to a 4-3 record and 4.20 ERA with 108 strikeouts over innings.\n\nGreg Weissert\n\nGreg Weissert (born February 4, 1995) is an American professional baseball pitcher in the New York Yankees organization.\n\nWeissert grew up in Bay Shore, New York and attended Bay Shore High School. He was an All-County selection in both baseball and volleyball. Weissert played college baseball at Fordham for three seasons. As a junior, he went 5–4 with a 4.04 ERA and 82 strikeouts over 14 starts.\n\nWeissert was selected in the 18th round of the 2016 MLB Draft by the New York Yankees. After signing with the team he was assigned to the Pulaski Yankees before earning a promotion to the Class A Charleston RiverDogs. Weissert spent the 2017 season with the Class A Short Season Staten Island Yankees. He returned to Charleston for the beginning of the 2018 season before earning a promotion to the Tampa Tarpons of the Class A-Advanced Florida State League after striking out 50 batters with a 2.62 ERA over innings. Weissert started the 2019 season with the Tarpons and was promoted to the Double-A Trenton Thunder, where we posted a 1.88 ERA over 14 relief appearances and was eventually promoted to the Triple-A Scranton/Wilkes-Barre RailRiders for the team's postseason. Baseball America rated Weissert as having the best slider in the Yankees' minor league system going into the 2021 season. After starting the year with the Yankees' new Double-A affiliate, the Somerset Patriots, Weissert was promoted to Scranton/Wilkes-Barre after posting a 0.71 ERA in innings pitched over 12 appearances.\n\nFordham Rams bio\n\nHayden Wesneski\n\nHayden Gregory Wesneski (born December 5, 1997) is an American professional baseball pitcher for the New York Yankees organization.\n\nWesneski attended Cy-Fair High School in Cypress, Texas. He played for the school's baseball team, and had a 25-9 win-loss record and a 3.56 earned run average (ERA). He graduated in 2016. The Tampa Bay Rays selected Wesneski in the 33rd round of the 2016 MLB draft, but he instead enrolled at Sam Houston State University to play college baseball for the Sam Houston State Bearkats.\n\nThe Yankees selected Wesneski in the sixth round of the 2019 Major League Baseball draft. He played for the Pulaski Yankees after he signed, going 1-1 with a 4.76 ERA over innings. He began the 2021 season with the Hudson Valley Renegades and was promoted to the Somerset Patriots and the Scranton/Wilkes-Barre RailRiders during the season. Over 25 games (24 starts) between the three teams, he went 11-6 with a 3.25 ERA and 151 strikeouts over innings.\n\nFull Triple-A to Rookie League rosters\n\nTriple-A\n\nDouble-A\n\nHigh-A\n\nLow-A\n\nRookie\n\nForeign Rookie\n\nSee also\nList of New York Yankees minor league affiliates\n\nReferences\n\nLists of minor league baseball players\nMinor league players", "Luis Ángel Medina (born May 3, 1999) is a Dominican professional baseball pitcher in the New York Yankees organization.\n\nCareer\nMedina signed with the New York Yankees as an international free agent in July 2015. He made his professional debut in 2016 with the Dominican Summer League Yankees. In 2017 he pitched for the Dominican Summer League Yankees and Pulaski Yankees. In 2018, he pitched for Pulaski.\n\nMedina started 2019 with the Charleston RiverDogs and was promoted to the Tampa Yankees during the season.\n\nIn 2020, he did not play a game because of the cancellation of the MiLB season due to the COVID-19 pandemic. In June 2021, Medina was selected to play in the All-Star Futures Game.\n\nReferences\n\nExternal links\n\n1999 births\nLiving people\nBaseball pitchers\nCharleston RiverDogs players\nDominican Summer League Yankees players\nDominican Republic expatriate baseball players in the United States\nIndios de Mayagüez players\nDominican Republic expatriate baseball players in Puerto Rico\nPeople from Nagua\nPulaski Yankees players\nTampa Tarpons players" ]
[ "Roger Clemens", "Return to the Yankees (2007)", "When did Clemens return to the yankees", "Clemens made his 2007 return on June 9,", "How did he perform with the yankees", "On July 2, Clemens collected his 350th win against the Minnesota Twins at Yankee Stadium," ]
C_0d846a1614904fcf97343b0d8d340347_1
did he play in the postseason
3
Did Roger Clemens play in the postseason?
Roger Clemens
Clemens unexpectedly appeared in the owner's box at Yankee Stadium on May 6, 2007, during the seventh-inning stretch of a game against the Seattle Mariners, and made a brief statement: "Thank y'all. Well they came and got me out of Texas, and uhh, I can tell you it's a privilege to be back. I'll be talkin' to y'all soon." It was simultaneously announced that Clemens had rejoined the Yankees roster, agreeing to a pro-rated one-year deal worth $28,000,022, or about $4.7 million per month. Over the contract life, he would make $18.7 million. This equated to just over $1 million per start that season. Clemens made his 2007 return on June 9, defeating the Pittsburgh Pirates by pitching six innings with seven strikeouts and 3 runs allowed. On June 21, with a single in the 5th inning against the Colorado Rockies, Clemens became the oldest New York Yankee to record a hit (44 years, 321 days). On June 24, Clemens pitched an inning in relief against the San Francisco Giants. It had been 22 years and 341 days since his previous regular-season relief appearance, the longest such gap in major league history. On July 2, Clemens collected his 350th win against the Minnesota Twins at Yankee Stadium, giving up just two hits and one run over eight innings. Clemens is one of only three pitchers to pitch his entire career in the live-ball era and reach 350 wins. The other two are Warren Spahn (whose catcher for his 350th win was Joe Torre, Clemens's manager for his 350th), and Greg Maddux, who earned his 350th win in 2008. His final regular season appearance was a start against the Red Sox at Fenway Park, in which he allowed 2 hits and 1 unearned run in 6 innings, and received a no-decision. Clemens finished the 2007 regular season with a record of 6-6 and a 4.18 ERA. Clemens was forced to leave Game 3 of the 2007 ALDS in the third inning after aggravating a hamstring injury. He struck out Victor Martinez of the Cleveland Indians with his final pitch, and was replaced by right-hander Phil Hughes. Yankees manager Joe Torre removed Clemens from the roster due to his injury, and replaced him with left-hander Ron Villone. CANNOTANSWER
CANNOTANSWER
William Roger Clemens (born August 4, 1962), nicknamed "Rocket", is an American former professional baseball pitcher who played 24 seasons in Major League Baseball (MLB), primarily with the Boston Red Sox and New York Yankees. Clemens was one of the most dominant pitchers in major league history, tallying 354 wins, a 3.12 earned run average (ERA), and 4,672 strikeouts, the third-most all time. An 11-time All-Star and two-time World Series champion, he won seven Cy Young Awards during his career, more than any other pitcher in history. Clemens was known for his fierce competitive nature and hard-throwing pitching style, which he used to intimidate batters. Clemens debuted in MLB in 1984 with the Red Sox, whose pitching staff he anchored for 12 years. In 1986, he won the American League (AL) Cy Young Award, the AL Most Valuable Player (MVP) Award, and the All-Star Game MVP Award, and he struck out an MLB-record 20 batters in a single game. After the 1996 season, in which he achieved his second 20-strikeout performance, Clemens left Boston via free agency and joined the Toronto Blue Jays. In each of his two seasons with Toronto, Clemens won a Cy Young Award, as well as the pitching triple crown by leading the league in wins, ERA, and strikeouts. Prior to the 1999 season, Clemens was traded to the Yankees where he won his two World Series titles. In 2001, Clemens became the first pitcher in major league history to start a season with a win-loss record of 20–1. In 2003, he reached his 300th win and 4,000th strikeout in the same game. Clemens left for the Houston Astros in 2004, where he spent three seasons and won his seventh Cy Young Award. He rejoined the Yankees in 2007 for one last season before retiring. He is the only pitcher in Major League history to record over 350 wins and strike out over 4,500 batters. Clemens was alleged by the Mitchell Report to have used anabolic steroids during his late career, mainly based on testimony given by his former trainer, Brian McNamee. Clemens firmly denied these allegations under oath before the United States Congress, leading congressional leaders to refer his case to the Justice Department on suspicions of perjury. On August 19, 2010, a federal grand jury at the U.S. District Court in Washington, D.C., indicted Clemens on six felony counts involving perjury, false statements and Contempt of Congress. Clemens pleaded not guilty, but proceedings were complicated by prosecutorial misconduct, leading to a mistrial. The verdict from his second trial came in June 2012, when Clemens was found not guilty on all six counts of lying to Congress. These controversies hurt his chances for election to the Baseball Hall of Fame. He never received the 75% of the votes required in his ten years of eligibility, ending with 65.2% in 2022. Early life Clemens was born in Dayton, Ohio, the fifth child of Bill and Bess (Lee) Clemens. He is of German descent, his great-grandfather Joseph Clemens having immigrated in the 1880s. Clemens's parents separated when he was an infant. His mother soon married Woody Booher, whom Clemens considers his father. Booher died when Clemens was nine years old, and Clemens has said that the only time he ever felt envious of other players was when he saw them in the clubhouse with their fathers. Clemens lived in Vandalia, Ohio, until 1977, and then spent most of his high school years in Houston, Texas. At Spring Woods High School, Clemens played baseball for longtime head coach Charles Maiorana and also played football and basketball. He was scouted by the Philadelphia Phillies and Minnesota Twins during his senior year, but opted to go to college. Collegiate career He began his college career pitching for San Jacinto College North in 1981, where he was 9–2. The New York Mets selected Clemens in the 12th round of the 1981 Major League Baseball draft, but he did not sign. He then attended the University of Texas at Austin, compiling a 25–7 record in two All-American seasons, and was on the mound when the Longhorns won the 1983 College World Series. He became the first player to have his baseball uniform number retired at the University of Texas. In 2004, the Rotary Smith Award, given to America's best college baseball player, was changed to the Roger Clemens Award, honoring the best pitcher. At Texas, Clemens pitched 35 consecutive scoreless innings, an NCAA record that stood until Justin Pope broke it in 2001. Professional career Boston Red Sox (1984–1996) Clemens was selected in the first round (19th overall) of the 1983 MLB draft by the Boston Red Sox and quickly rose through the minor league system, making his MLB debut on May 15, 1984. An undiagnosed torn labrum threatened to end his career early; he underwent successful arthroscopic surgery by Dr. James Andrews. In 1986, Clemens won the American League MVP award, finishing with a 24–4 record, 2.48 ERA, and 238 strikeouts. Clemens started the 1986 All-Star Game in the Astrodome and was named the Most Valuable Player of the contest by throwing three perfect innings and striking out two. He also won the first of his seven Cy Young Awards. When Hank Aaron said that pitchers should not be eligible for the MVP, Clemens responded: "I wish he were still playing. I'd probably crack his head open to show him how valuable I was." Clemens was the only starting pitcher since Vida Blue in 1971 to win a league MVP award until Justin Verlander won the award in 2011. On April 29, 1986, Clemens became the first pitcher in MLB history to strike out 20 batters in a nine-inning game, against the Seattle Mariners at Boston's Fenway Park. Following his performance, Clemens made the cover of Sports Illustrated which carried the headline "Lord of the K's [strikeouts]." Other than Clemens, only Kerry Wood and Max Scherzer have matched the total. (Randy Johnson fanned 20 batters in nine innings on May 8, 2001. However, as the game went into extra innings, it is not categorized as occurring in a nine-inning game. Tom Cheney holds the record for any game: 21 strikeouts in 16 innings.) Clemens attributes his switch from what he calls a "thrower" to a "pitcher" to the partial season Hall of Fame pitcher Tom Seaver spent with the Red Sox in 1986. Facing the California Angels in the 1986 ALCS, Clemens pitched poorly in the opening game, watched the Boston bullpen blow his 3–1 lead in the bottom of the ninth inning of Game 4, and then pitched a strong Game 7 to wrap up the series for Boston. The League Championship Series clincher was Clemens's first postseason career victory. He did not win his second until 13 years later. After a victory in game five, Boston led 3 games to 2 over the New York Mets in the 1986 World Series with Clemens set to start game six at Shea Stadium. Clemens who was pitching on five days rest started strong by striking out eight while throwing a no-hitter through four innings. In the top of eighth and with Boston ahead 3–2, manager John McNamara sent rookie Mike Greenwell to pinch hit for Roger Clemens. It was initially said that Clemens was removed from the game due to a blister forming on one of his fingers, but both he and McNamara dispute this. Clemens said to Bob Costas on an MLB Network program concerning the 1986 postseason that McNamara decided to pull him despite Clemens wanting to pitch. McNamara said to Costas that Clemens "begged out" of the game. The Mets rallied and took both game six and seven to win the World Series. The Red Sox had a miserable 1987 season, finishing at 78–84, though Clemens won his second consecutive Cy Young Award with a 20–9 record, 2.97 ERA, 256 strikeouts, and seven shutouts. He was the first AL pitcher with back-to-back 20-win seasons since Tommy John won 20 with the Yankees in 1979 and '80. Boston rebounded with success in 1988 and 1990, clinching the AL East Division each year, but were swept by the Oakland Athletics in each ALCS matchup. His greatest postseason failure came in the second inning of the final game of the 1990 ALCS, when he was ejected for arguing balls and strikes with umpire Terry Cooney, accentuating the A's four-game sweep of the Red Sox. He was suspended for the first five games of the 1991 season and fined $10,000. Clemens led the American League in 1988 with 291 strikeouts and a career-high 8 shutouts. On September 10, 1988, Clemens threw a one-hitter against the Cleveland Indians at Fenway Park. Dave Clark's one-out single in the eighth inning was the only hit Clemens allowed in the game. In a 9–1 victory over Cleveland on April 13, 1989, Clemens recorded his 1,000 career strikeout by fanning Brook Jacoby with the bases loaded in the second inning. Clemens finished second to Oakland's Bob Welch for the 1990 AL Cy Young Award, despite the fact that Clemens crushed Welch in ERA (1.93 to 2.95), strikeouts (209 to 127), walks (54 to 77), home runs allowed (7 to 26), and WAR (10.4 to 2.9). Clemens did, however, capture his third Cy Young Award in 1991 with an 18–10 record, 2.62 ERA, and 241 strikeouts. On June 21, 1989, Clemens surrendered the first of 609 home runs in the career of Sammy Sosa. Clemens accomplished the 20-strikeout feat twice, the only player ever to do so. The second performance came more than 10 years later, on September 18, 1996, against the Detroit Tigers at Tiger Stadium. This second 20-K day occurred in his third-to-last game as a member of the Boston Red Sox. Later, the Tigers presented him with a baseball containing the autographs of each batter who had struck out (those with multiple strikeouts signed the appropriate number of times). The Red Sox did not re-sign Clemens following the 1996 season, despite leading the A.L. with 257 strikeouts and offering him "by far the most money ever offered to a player in the history of the Red Sox franchise." General Manager Dan Duquette remarked that he "hoped to keep him in Boston during the twilight of his career", but Clemens left and signed with the Toronto Blue Jays. The emphasis on the misquoted 1996 "twilight" comment took on a life of its own following Clemens's post-Boston successes, and Duquette was vilified for letting the star pitcher go. Ultimately, Clemens would go on to have a record of 162–73 for the rest of his career after leaving the Red Sox. Clemens recorded 192 wins and 38 shutouts for the Red Sox, both tied with Cy Young for the franchise record and is their all-time strikeout leader with 2,590. Clemens's overall postseason record with Boston was 1–2 with a 3.88 ERA, and 45 strikeouts, and 19 walks in 56 innings. No Red Sox player has worn his uniform #21 since Clemens left the team in the 1996–97 offseason. Toronto Blue Jays (1997–1998) Clemens signed a four-year, $40 million deal with the Toronto Blue Jays after the 1996 season. In his first start in Fenway Park as a member of the Blue Jays, he pitched eight innings allowing only 4 hits and 1 earned run. 16 of his 24 outs were strikeouts, and every batter who faced him struck out at least once. As he left the field following his last inning of work, he stared up angrily towards the owner's box. Clemens was dominant in his two seasons with the Blue Jays, winning the pitching Triple Crown and the Cy Young Award in both seasons (1997: 21–7 record, 2.05 ERA, and 292 strikeouts; 1998: 20–6 record, 2.65 ERA, and 271 strikeouts). After the 1998 season, Clemens asked to be traded, indicating that he did not believe the Blue Jays would be competitive enough the following year and that he was dedicated to winning a championship. New York Yankees (1999–2003) Clemens was traded to the New York Yankees before the 1999 season for David Wells, Homer Bush, and Graeme Lloyd. Since his longtime uniform number #21 was in use by teammate Paul O'Neill, Clemens initially wore #12, before switching mid-season to #22. Clemens made an immediate impact on the Yankees' staff, anchoring the top of the rotation as the team went on to win a pair of World Series titles in 1999 and 2000. During the 1999 regular season, Clemens posted a 14–10 record with a 4.60 ERA. He logged a pair of wins in the postseason, though he lost Game 3 of the 1999 ALCS in a matchup against Red Sox ace Pedro Martínez, which was the Yankees' only loss in the 1999 playoffs. Clemens pitched 7.2 innings of 1-run baseball during the Yankees' game 4 clincher over the Atlanta Braves. Clemens followed up with a strong 2000 season, in which he finished with a 13–8 record with a 3.70 ERA for the regular season. During the 2000 postseason, he helped the Yankees win their third consecutive championship. Clemens set the ALCS record for strikeouts in a game when he fanned 15 batters in a one-hit shutout of the Seattle Mariners in Game 4 of the ALCS. A seventh-inning lead-off double by Seattle's Al Martin was all that prevented Clemens from throwing what was, at the time, only the second no-hitter in postseason history. In Game 2 of the 2000 World Series, Clemens pitched eight scoreless innings against the New York Mets. In 2001, Clemens became the first pitcher in MLB history to start a season 20–1 (finishing 20–3) and winning his sixth Cy Young Award. As of the 2020 season, he is the last Yankee pitcher to win the Cy Young Award. Clemens started for the Yankees in Game 7 of the 2001 World Series against the Arizona Diamondbacks, where he dueled Curt Schilling to a standstill after 6 innings, yielding only one run. The Diamondbacks went on to win the game in the 9th. Early in 2003, Clemens announced his retirement, effective at the end of that season. On June 13, 2003, pitching against the St. Louis Cardinals in Yankee Stadium, Clemens recorded his 300th career win and 4,000th career strikeout, the only player in history to record both milestones in the same game. The 300th win came on his fourth try; the Yankee bullpen had blown his chance of a win in his previous two attempts. He became the 21st pitcher ever to record 300 wins and the third ever to record 4,000 strikeouts. His career record upon reaching the milestones was 300–155. Clemens finished the season with a 17–9 record and a 3.91 ERA. The end of Clemens's 2003 season became a series of public farewells met with appreciative cheering. His last games in each AL park were given extra attention, particularly his final regular-season appearance in Fenway Park, when despite wearing the uniform of the hated arch-rival, he was afforded a standing ovation by Red Sox fans as he left the field. (This spectacle was repeated when the Yankees ended up playing the Red Sox in the 2003 ALCS and Clemens got a second "final start" in his original stadium.) As part of a tradition of manager Joe Torre, Clemens was chosen to manage the Yankees' last game of the regular season. Clemens made one start in the World Series against the Florida Marlins; when he left trailing 3–1 after seven innings, the Marlins left their dugout to give him a standing ovation. Houston Astros (2004–2006) Clemens came out of retirement, signing a one-year deal with his adopted hometown Houston Astros on January 12, 2004, joining close friend and former Yankees teammate Andy Pettitte. On May 5, 2004, Clemens recorded his 4,137th career strikeout to place him second on the all-time list behind Nolan Ryan. He was named the starter for the National League All-Star team but ultimately was the losing pitcher in that game after allowing six runs on five hits, including a three-run home run to Alfonso Soriano. Clemens finished the season with an 18–4 record, and was awarded his seventh Cy Young Award, becoming the oldest player ever to win the Cy Young at age 42. This made him one of six pitchers to win the award in both leagues, joining Gaylord Perry, Pedro Martínez, and Randy Johnson and later joined by Roy Halladay and Max Scherzer. Clemens was the losing pitcher for the Astros in Game Seven of the 2004 NLCS against the St. Louis Cardinals, allowing four runs in six innings. Although he pitched well, he tired in the sixth inning, surrendering all four runs. Clemens again decided to put off retirement before the 2005 season after the Houston Astros offered salary arbitration. The Astros submitted an offer of $13.5 million, and Clemens countered with a record $22 million demand. On January 21, 2005, both sides agreed on a one-year, $18,000,022 contract, thus avoiding arbitration. The deal gave Clemens the highest yearly salary earned by a pitcher in MLB history. Clemens's 2005 season ended as one of the finest he had ever posted. His 1.87 ERA was the lowest in the major leagues, the lowest of his 22-season career, and the lowest by any National Leaguer since Greg Maddux in 1995. He finished with a 13–8 record, with his lower win total primarily due to the fact that he ranked near the bottom of the major leagues in run support. The Astros scored an average of only 3.5 runs per game in games in which he was the pitcher of record. The Astros were shut out nine times in Clemens's 32 starts, and failed to score in a 10th until after Clemens was out of the game. The Astros lost five of Clemens's starts by scores of 1–0. In April, Clemens did not allow a run in three consecutive starts. However, the Astros lost all three of those starts by a 1–0 score in extra innings. Clemens won an emotional start on September 15, following his mother's death that morning. In his final start of the 2005 season, Clemens got his 4,500th strikeout. On October 9, 2005, Clemens made his first relief appearance since 1984, entering as a pinch hitter in the 15th, then pitching three innings to get the win as the Astros defeated the Atlanta Braves in Game 4 of the NLDS. It is the longest postseason game in MLB history at 18 innings. Clemens lasted only two innings in Game 1 of the 2005 World Series, and the Astros went on to be swept by the Chicago White Sox. It was the Astros' first World Series appearance. Clemens had aggravated a hamstring pull that had limited his performance since at least September. Clemens said that he would retire again after the World Series but he wanted to represent the United States in the inaugural World Baseball Classic, which would be played in March 2006. He went 1–1 in the tournament, with a 2.08 ERA, striking out 10 batters in innings. After pitching in a second-round loss to Mexico that eliminated the United States, Clemens began considering a return to the major leagues. On May 31, 2006, following another extended period of speculation, it was announced that Clemens was coming out of retirement for the third time to pitch for the Astros for the remainder of the 2006 season. Clemens signed a contract worth $22,000,022 (his uniform number #22). Since Clemens did not play a full season, he received a prorated percentage of that: approximately $12.25 million. Clemens made his return on June 22, 2006, against the Minnesota Twins, losing to their rookie phenom, Francisco Liriano, 4–2. For the second year in a row, his win total did not match his performance, as he finished the season with a 7–6 record, a 2.30 ERA, and a 1.04 WHIP. However, Clemens averaged just under 6 innings in his starts and never pitched into the eighth. Return to the Yankees (2007) Clemens unexpectedly appeared in the owner's box at Yankee Stadium on May 6, 2007, during the seventh-inning stretch of a game against the Seattle Mariners, and made a brief statement: "Thank y'all. Well they came and got me out of Texas, and uhh, I can tell you it's a privilege to be back. I'll be talkin' to y'all soon." It was simultaneously announced that Clemens had rejoined the Yankees roster, agreeing to a pro-rated one-year deal worth $28,000,022, or about $4.7 million per month. Over the contract life, he would make $18.7 million. This equated to just over $1 million per start that season. Clemens made his 2007 return on June 9, defeating the Pittsburgh Pirates by pitching six innings with seven strikeouts and three runs allowed. On June 21, with a single in the 5th inning against the Colorado Rockies, Clemens became the oldest New York Yankee to record a hit (44 years, 321 days). On June 24, Clemens pitched an inning in relief against the San Francisco Giants. It had been 22 years and 341 days since his previous regular-season relief appearance, the longest such gap in major league history. On July 2, Clemens collected his 350th win against the Minnesota Twins at Yankee Stadium, giving up just two hits and one run over eight innings. Clemens is one of only three pitchers to pitch his entire career in the live-ball era and reach 350 wins. The other two are Warren Spahn (whose catcher for his 350th win was Joe Torre, Clemens's manager for his 350th), and Greg Maddux, who earned his 350th win in 2008. His final regular-season appearance was a start against the Red Sox at Fenway Park, in which he allowed two hits and one unearned run in six innings, and received a no-decision. Clemens finished the 2007 regular season with a record of 6–6 and a 4.18 ERA. Clemens was forced to leave Game 3 of the 2007 ALDS in the third inning after aggravating a hamstring injury. He struck out Victor Martinez of the Cleveland Indians with his final pitch, and was replaced by right-hander Phil Hughes. Yankees manager Joe Torre removed Clemens from the roster due to his injury, and replaced him with left-hander Ron Villone. Clemens's overall postseason record with the Yankees was 7–4 with a 2.97 ERA, 98 strikeouts and 35 walks in 102 innings. Pitching appearances after retirement On August 20, 2012, Clemens signed with the Sugar Land Skeeters of the Atlantic League of Professional Baseball. He made his debut for the Skeeters against the Bridgeport Bluefish on August 25, 2012, in front of a crowd of 7,724. It was the first time the 50-year-old had taken the mound in almost five years. Clemens pitched scoreless innings and struck out two: former major leaguers Joey Gathright and Prentice Redman. He also retired Luis Figueroa, who played briefly with the Pirates, Blue Jays and the Giants. Clemens allowed only one hit and no walks on 37 pitches in the Skeeters' 1–0 victory. Clemens made his second start for the Skeeters on September 7 against the Long Island Ducks. He pitched scoreless innings, with his son, Koby, as his catcher. He retired former New York Met outfielder Timo Perez for the final out in the fourth inning, and was named the winning pitcher by the official scorer. Clemens's fastball was clocked as high as 88 mph, and the Astros sent scouts to both of his outings with the Skeeters in consideration of a possible return to the team that season. Roger Clemens joined the Kansas Stars, a group of 24 retired major leaguers and his son Koby, to compete in the 2016 National Baseball Congress World Series. The team was put together by Kansas natives Adam LaRoche and Nate Robertson, and featured eleven former All-Stars, including Tim Hudson, Roy Oswalt, and J. D. Drew as well as Clemens. Pitching just six days after his 54th birthday, Clemens started for the Kansas Stars in a game against the NJCAA National Team on August 10, 2016. He pitched innings, allowing 3 runs with one strikeout in an 11–10 loss. On August 22, 2019, Clemens wore his Red Sox uniform and pitched in the Abbot Financial Management Oldtime Baseball Game, an annual charity event held at St. Peter's Field in Cambridge, Massachusetts. The 2019 game benefitted Compassionate Care ALS, in memory of longtime Fenway Park supervisor John Welch, who died from Lou Gehrig's Disease in December 2018. Facing mostly young college players, Clemens pitched two shutout innings in the game, then moved to first base. Pitching style Clemens was a prototypical power pitcher with an aggressive edge for his entire career. This was especially the case when he was a young man. Clemens was said to throw "two pitches: a 98-mph fastball and a hard breaking ball. At 23, Clemens simply reared back and threw the ball past batters." Later in his career, Clemens developed a devastating split-finger fastball to use as an off-speed pitch in concert with his fastball. Clemens has jocularly referred to this pitch as "Mr. Splitty". By the time Clemens retired from Major League Baseball in 2007, his four-seam fastball had settled in the 91–94 mph range. He also threw a two-seam fastball, a slider in the mid 80s, his hard splitter, and an occasional curveball. Clemens was a highly durable pitcher, leading the American League in complete games three times and innings pitched twice. His 18 complete games in 1987 is more than any pitcher has thrown since. Clemens was also known as a strikeout pitcher, leading the AL in K's five times and strikeouts per nine innings three times. Controversies Clemens has been the focal point of several controversies. His reputation has always been that of a pitcher unafraid to throw close to batters. Clemens led his league in hit batsmen only once, in 1995, but he was among the leaders in several other seasons. This tendency was more pronounced during his earlier career and subsequently tapered off. After the 2000 ALCS game against the Mariners where he knocked down future teammate Alex Rodriguez and then argued with him, Seattle Mariners manager Lou Piniella called Clemens a "headhunter." His beaning earlier that year of Mike Piazza, followed by throwing a broken-bat in Piazza's direction in the 2000 World Series, cemented Clemens's surly, unapologetic image in the minds of many. In 2009, former manager Cito Gaston publicly denounced Clemens as a "double-talker" and "a complete asshole". Clemens was ranked 14th all-time in hit batsmen after the 2020 season. 14th all time may be misleading, as his rate of hit batsmen per batter faced is not out of line with other pitchers of his era at 1 hit batsmen per 125 batters faced. Numbers reflect similar rate of hit batsmen to pitchers such as Nolan Ryan, Justin Verlander, Greg Maddux. Clemens has attracted controversy over the years for his outspoken comments, such as his complaints about having to carry his own luggage through an airport and his criticism of Fenway Park for being a subpar facility. On April 4, 2006, Clemens made an insulting remark when asked about the devotion of Japanese and South Korean fans during the World Baseball Classic: "None of the dry cleaners were open, they were all at the game, Japan and Korea". Toward the end of his career, his annual on-and-off "retirements" revived a reputation for diva-like behavior. Clemens has received criticism for getting special treatment from the teams that sign him. While playing for Houston, Clemens was not obliged to travel with the team on road trips if he was not pitching. His 2007 contract with the New York Yankees had a "family plan" clause that stipulated that he not be required to go on road trips in which he was not scheduled to pitch and allowed him to leave the team between starts to be with his family. These perks were publicly criticized by Yankee reliever Kyle Farnsworth. Most of Clemens's teammates, however, did not complain of such perks because of Clemens's success on the mound and valuable presence in the clubhouse. Yankee teammate Jason Giambi spoke for such players when he said, "I'd carry his bags for him, just as long as he is on the mound." Steroid use accusations In José Canseco's book, Juiced: Wild Times, Rampant 'Roids, Smash Hits & How Baseball Got Big, Canseco suggested that Clemens had expert knowledge about steroids and suggested that he used them, based on the improvement in his performance after leaving the Red Sox. While not addressing the allegations directly, Clemens stated: "I could care less about the rules" and "I've talked to some friends of his and I've teased them that when you're under house arrest and have ankle bracelets on, you have a lot of time to write a book." Jason Grimsley named Clemens, as well as Andy Pettitte, as a user of performance-enhancing drugs. According to a 20-page search warrant affidavit signed by IRS Special Agent Jeff Novitzky, Grimsley told investigators he obtained amphetamines, anabolic steroids and human growth hormone from someone recommended to him by former Yankees trainer Brian McNamee. McNamee was a personal strength coach for Clemens and Pettitte, hired by Clemens in 1998. At the time of the Grimsley revelations, McNamee denied knowledge of steroid use by Clemens and Pettitte. Despite initial media reports, the affidavit made no mention of Clemens or Pettitte. However, Clemens's name was mentioned 82 times in the Mitchell Report on steroid use in baseball. In the report, McNamee stated that during the 1998, 2000, and 2001 baseball seasons, he injected Clemens with Winstrol. Clemens's attorney Rusty Hardin denied the claims, calling McNamee "a troubled and unreliable witness" who has changed his story five times in an attempt to avoid criminal prosecution. He noted that Clemens has never tested positive in a steroid test. Former U.S. Senator George Mitchell, who prepared the report, stated that he relayed the allegations to each athlete implicated in the report and gave them a chance to respond before his findings were published. On January 6, 2008, Clemens went on 60 Minutes to address the allegations. He told Mike Wallace that his longevity in baseball was due to "hard work" rather than illegal substances and denied all of McNamee's assertions that he injected Clemens with steroids, saying it "never happened". On January 7, Clemens filed a defamation lawsuit against McNamee, claiming that the former trainer lied after being threatened with prosecution. McNamee's attorneys argued that he was compelled to cooperate by federal officials and so his statements were protected. A federal judge agreed, throwing out all claims related to McNamee's statements to investigators on February 13, 2009, but allowing the case to proceed on statements McNamee made about Clemens to Pettitte. On February 13, 2008, Clemens appeared before a Congressional committee, along with Brian McNamee and swore under oath that he did not take steroids, that he did not discuss HGH with McNamee, that he did not attend a party at José Canseco's where steroids were the topic of conversation, that he was only injected with B-12 and lidocaine and that he never told Pettitte he had taken HGH. This last point was in contradiction to testimony Pettitte had given under oath on February 4, 2008, wherein Pettitte said he repeated to McNamee a conversation Pettitte had with Clemens. During this conversation, Pettitte said Clemens had told him that McNamee had injected Clemens with human growth hormone. Pettitte said McNamee reacted angrily, saying that Clemens "shouldn't have done that."<ref name=tj>Quinn, T.J. "In court of public opinion, a Clemens verdict: Game over." ESPN.com, December 12, 2008. Retrieved November 6, 2017.</ref> The bipartisan House committee in front of which Clemens appeared, citing seven apparent inconsistencies in Clemens's testimony, recommended that the Justice Department investigate whether Clemens lied under oath about using performance-enhancing drugs. In a letter sent February 27 to Attorney General Michael Mukasey, House Oversight and Government Reform Committee chairman Henry Waxman and ranking Republican Tom Davis said Clemens's testimony that he "never used anabolic steroids or human growth hormone warrants further investigation". As a result of the Mitchell Report, Clemens was asked to end his involvement with the Giff Nielsen Day of Golf for Kids charity tournament in Houston that he has hosted for four years. As well, his name has been removed from the Houston-based Roger Clemens Institute for Sports Medicine and will be renamed the Memorial Hermann Sports Medicine Institute. After Washington prosecutors showed "a renewed interest in the case in the final months of 2008", a federal grand jury was convened in January 2009 to hear evidence of Clemens's possible perjury before Congress. The grand jury indicted Clemens on August 19, 2010, on charges of making false statements to Congress about his use of performance-enhancing drugs. The indictment charges Clemens with one count of obstruction of Congress, three counts of making false statements and two counts of perjury in connection with his February 2008 testimony. His first trial began on July 13, 2011, but on the second day of testimony the judge in the case declared a mistrial over prosecutorial misconduct after prosecutors showed the jury prejudicial evidence they were not allowed to. Clemens was subsequently retried. The verdict from his second trial came in on June 18, 2012. Clemens was found not guilty on all six counts of lying to Congress in 2008, when he testified that he never took performance-enhancing drugs. In January 2016, after Clemens once again fell short of the votes required for election into the Hall of Fame, former major-league star Roy Halladay tweeted "No Clemens no Bonds" as part of a message indicating no performance-enhancing substance users should be voted into the Hall. Clemens countered by accusing Halladay of using amphetamines during his playing career. Adultery accusations In April 2008, the New York Daily News reported on a possible long-term relationship between Clemens and country music singer Mindy McCready that began when she was 15 years old. Clemens's attorney Rusty Hardin denied the affair and also stated that Clemens would be bringing a defamation suit regarding this allegation. Clemens's attorney admitted that a relationship existed but described McCready as a "close family friend". He also stated that McCready had traveled on Clemens's personal jet and that Clemens's wife was aware of the relationship. However, when contacted by the Daily News, McCready said, "I cannot refute anything in the story." On November 17, 2008, McCready spoke in more detail to Inside Edition about her affair with Clemens, saying their relationship lasted for more than a decade and that it ended when Clemens refused to leave his wife to marry her. However, she denied that she was 15 years old when it began, saying that they met when she was 16 and the affair only became sexual "several years later". In another soon-to-be-released sex tape by Vivid Entertainment she claimed that the first time she had sex with him was when she was 21. She also said that he often had erectile dysfunction. A few days after the Daily News broke the story about the McCready relationship, they reported on another Clemens extramarital relationship, this time with Paulette Dean Daly, the now ex-wife of pro golfer John Daly. Daly declined to elaborate on the nature of her relationship with the pitcher but did not deny that it was romantic and included financial support. There have been reports of Clemens having at least three other affairs with women. On April 29, 2008, the New York Post reported that Clemens had relationships with two or more women. One, a former bartender in Manhattan, refused comment on the story, while another, a woman from Tampa, could not be located. On May 2 of the same year, the Daily News reported a stripper in Detroit called a local radio station and said she had an affair with Clemens. He also gave tickets to baseball games, jewelry, and trips to women he was wooing. Other media Clemens has appeared as himself in several movies and television episodes and has also occasionally acted in films. Perhaps best known was his appearance in the season three episode of The Simpsons ("Homer at the Bat"), in which he is recruited to the Springfield nuclear plant's softball team but is accidentally hypnotized into thinking he is a chicken; in addition to his lines, Clemens voiced his own clucking. Clemens has also made guest appearances as himself on the TV shows Hope & Faith, Spin City, Arli$$, and Saturday Night Live as well as the movie Anger Management, and makes a brief appearance in the movie Kingpin as the character Skidmark. He also is shown playing an actual game with the Houston Astros in the film Boyhood. He appeared in the 1994 movie Cobb as an unidentified pitcher for the Philadelphia A's. In 2003, he was part of an advertising campaign for Armour hot dogs with MLB players Ken Griffey Jr., Derek Jeter, and Sammy Sosa. Since 2005, Clemens has also appeared in many commercials for Texas-based supermarket chain H-E-B. In 2007, he appeared on a baseball-themed episode of MythBusters ("Baseball Myths"). He has also starred in a commercial for Cingular parodying his return from retirement. He was calling his wife, Debra Godfrey, and a dropped call resulted in his return to the Yankees. He released an early autobiography, Rocket Man: The Roger Clemens Story written with Peter Gammons, in 1987. Clemens is also the spokesperson for Champion car dealerships in South Texas. In April 2009, Clemens was the subject of an unauthorized biography by Jeff Pearlman, titled The Rocket that Fell to Earth-Roger Clemens and the Rage for Baseball Immortality, that focused on his childhood and early career and accused Mike Piazza of using steroids. On May 12, Clemens broke a long silence to denounce a heavily researched expose by four investigative reporters from the New York Daily News, called American Icon: The Fall of Roger Clemens and the Rise of Steroids in America's Pastime. Clemens went on ESPN's Mike and Mike show to call the book "garbage", but a review by Michiko Kakutani of The New York Times called the book "gripping" and compared it to the work of Bob Woodward. Awards and recognition In 1999, while many of his performances and milestones were yet to come he ranked number 53 on The Sporting News list of the 100 Greatest Baseball Players, and was elected by the fans to the Major League Baseball All-Century Team. In 2005, the updated Sporting News list moved Clemens up to #15. By the end of the 2005 season, Clemens had won seven Cy Young Awards (he won the AL award in 1986, 1987, 1991, 1997, 1998, and 2001, and the National League award in 2004), an MVP and two pitching triple crowns. With his 2004 win, he joined Gaylord Perry, Randy Johnson, and Pedro Martínez as the only pitchers to win it in both leagues and became the oldest pitcher to ever win the Cy Young. He has also won the Sporting News Pitcher of the Year Award five times, was named an All-Star 11 times, and won the All-Star MVP in 1986. In October 2006, Clemens was named to Sports Illustrateds "all-time" team. On August 18, 2007, Clemens got his 1,000th strikeout as a Yankee. He is only the ninth player in major league history to record 1,000 or more strikeouts with two different teams. Clemens has recorded a total of 2,590 strikeouts as a member of the Red Sox and 1,014 strikeouts as a Yankee. He also had 563 strikeouts for Toronto, and 505 strikeouts for Houston. Clemens was inducted into the Boston Red Sox Hall of Fame in 2014, and was inducted into the Pawtucket Red Sox Hall of Fame on June 21, 2019. National Baseball Hall of Fame consideration In 2013 Baseball Hall of Fame balloting, his first year of eligibility, Clemens received 37.6% of the votes cast by the Baseball Writers' Association of America (BBWAA), falling well short of the 75% required for induction into the Hall of Fame. He has garnered more votes in subsequent elections without reaching the 75% threshold: he received 59.5% in 2019, 61.0% in 2020, and 61.6% in 2021. With the inductions of Greg Maddux and Tom Glavine in 2014 and Randy Johnson in 2015, Clemens is currently the only eligible member of the 300 win club not to be inducted into the Hall. He received 65.2% of the votes in his final year of eligibility, 2022. Despite falling off the ballot, Clemens is still eligible for induction through the Hall of Fame’s Today’s Game Committee. The committee is a 16-member electorate “comprised of members of the National Baseball Hall of Fame, executives, and veteran media members" (hence the nickname of “veteran’s committee”) who consider retired players who lost ballot eligibility while still having made notable contributions to baseball from 1986-2016. Voting will be held in December 2022, and 12 votes are required for induction. Personal life Clemens married Debra Lynn Godfrey (born May 27, 1963) on November 24, 1984. The couple has four sons: Koby Aaron, Kory Allen, Kacy Austin, and Kody Alec—all given "K" names to honor Clemens's strikeouts ("K's"). Koby was at one time a minor league prospect for some MLB clubs. Kacy played college baseball for the Texas Longhorns and was drafted by the Blue Jays in the eighth round of the 2017 Major League Baseball draft. Kacy is an infielder who is currently a free agent. Kody also played college baseball for the Texas Longhorns and was drafted 79th overall by the Detroit Tigers in the third round of the 2018 Major League Baseball draft. Debra once left a Red Sox game, when Clemens pitched for another team, in tears from the heckling she received. This is documented in an updated later edition to Dan Shaughnessy's best-selling book, Curse of the Bambino. Debra also was quoted in the book as stating that it was the poor attitude of Red Sox fans that prevented the team from ever winning the World Series (this was quoted prior to the Red Sox' 2004 World Series victory). Clemens is a member of the Republican Party and donated money to Texas congressman Ted Poe during his 2006 campaign. Debra posed in a bikini with her husband for a Sports Illustrated pictorial regarding athletes and their wives. This appeared in the annual Sports Illustrated Swimsuit Edition'' for 2003. Roger wore his Yankees uniform, with the jersey open. On February 27, 2006, to train for the World Baseball Classic, Roger pitched in an exhibition game between the Astros and his son's minor league team. In his first at-bat, Koby hit a home run off his father. In his next at-bat, Roger threw an inside pitch that almost hit Koby. Koby laughed in an interview after the game about the incident. See also Houston Astros award winners and league leaders List of Boston Red Sox award winners List of Boston Red Sox team records List of Major League Baseball annual shutout leaders List of Major League Baseball career hit batsmen leaders List of Major League Baseball career wins leaders List of Major League Baseball players named in the Mitchell Report List of Major League Baseball single-game strikeout leaders List of people from Dayton, Ohio List of Toronto Blue Jays team records List of University of Texas at Austin alumni Major League Baseball titles leaders Toronto Blue Jays award winners and league leaders References External links Roger Clemens Foundation 1962 births Living people American expatriate baseball players in Canada American League All-Stars American League ERA champions American League Most Valuable Player Award winners American League Pitching Triple Crown winners American League strikeout champions American League wins champions American people of German descent Baseball players from Dayton, Ohio Boston Red Sox players Bridgeport Bluefish guest managers Corpus Christi Hooks players Cy Young Award winners Houston Astros players Lexington Legends players Major League Baseball All-Star Game MVPs Major League Baseball controversies Major League Baseball pitchers National League All-Stars National League ERA champions New Britain Red Sox players New York Yankees players Norwich Navigators players Pawtucket Red Sox players People from Vandalia, Ohio Round Rock Express players San Jacinto Central Ravens baseball players Sarasota Red Sox players Scranton/Wilkes-Barre Yankees players Sugar Land Skeeters players Tampa Yankees players Texas Longhorns baseball players Texas Republicans Trenton Thunder players Toronto Blue Jays players Winter Haven Red Sox players World Baseball Classic players of the United States 2006 World Baseball Classic players
false
[ "The 2015 SWAC Men's Basketball Tournament took place March 10–14 at the Toyota Center in Houston, Texas.\n\nFormat\nNine teams participated in the 2015 tournament. Alabama State was banned from postseason play due to failing to meet the NCAA's APR requirements. Southern was ineligible for the postseason due to failure to supply usable academic data to the NCAA. However, Southern and Alabama State did participate in the SWAC Tournament but could not qualify for the NCAA Tournament if they were to win the SWAC Tournament.\n\nArkansas–Pine Bluff did not participate in the tournament due to a postseason ban issued by the NCAA.\n\nSchedule\n\n*Game times in Central Time. #Rankings denote tournament seeding.\n\nBracket\n\n* Ineligible for NCAA tournament play due to penalties.\n\nReferences\n\nSWAC Men's Basketball Tournament\n2014–15 Southwestern Athletic Conference men's basketball season", "This article is a list of the teams that have participated in the Major League Baseball (MLB) postseason, the elimination tournament conducted after the regular season by which MLB determines its World Series champion for a given year.\n\nThe MLB postseason format has evolved throughout its history, with the number of participating teams increasing from two (for its first six-plus decades) to the current 10, with a special format in 2020 having 16. The World Series was first played in 1903, when the champions of the established National League (NL) and the upstart American League (AL) met for a playoff series. From that time through 1968, the two leagues (which each had eight teams through 1960) each sent only its team with the best regular-season record to the World Series. In 1969, as each league had expanded to 12 teams, each league was divided into East and West divisions and another playoff round was created. This round became known as the League Championship Series (LCS), with the four division champions competing for a spot in the World Series every year. This format lasted until 1993.\n\nIn 1994, the again-expanded leagues were re-organized into three separate divisions, and another playoff round was established, called the Division Series (DS). In this format, for each league, the champions of the East, Central, and West divisions would be joined in the playoffs by a Wild Card team. The addition of the Wild Card allowed a team that was not a division winner but still had one of the top regular-season records to enter the postseason. In 1998, the system was slightly modified so that the division winners with better regular-season records would be rewarded with homefield advantage in the division series and LCS. In 2012, the structure was adjusted such that two teams from each league receive Wild Card berths and then play a single game against each other to determine who advances to the Division Series. It also eliminated the previous restriction that the wild card team could not play a team in its own division in the first round. Until 2019, this was the playoff format used in MLB.\n\nThree anomalies in the above-described system occurred. In 1904, the World Series did not take place because the National League champion did not wish to participate and the leagues had not yet agreed to require their champions to do so. In 1981, there was a Division Series due to a split season brought about by a midsummer player's strike. And in 1994, the postseason did not take place due to a player's strike.\n\nPostseason appearances by franchise\n\nFranchise records by postseason round\nUpdated through the 2021 postseason.\n\nSee also\nList of Major League Baseball postseason series\nList of Major League Baseball franchise postseason droughts\nList of Major League Baseball franchise postseason streaks\n\nExternal links\n MLB Postseason History at Baseball-Reference.com\n\nPostseason Teams" ]
[ "Roger Clemens", "Return to the Yankees (2007)", "When did Clemens return to the yankees", "Clemens made his 2007 return on June 9,", "How did he perform with the yankees", "On July 2, Clemens collected his 350th win against the Minnesota Twins at Yankee Stadium,", "did he play in the postseason", "I don't know." ]
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how long was he with the yankees
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How long was Roger Clemens with the Yankees?
Roger Clemens
Clemens unexpectedly appeared in the owner's box at Yankee Stadium on May 6, 2007, during the seventh-inning stretch of a game against the Seattle Mariners, and made a brief statement: "Thank y'all. Well they came and got me out of Texas, and uhh, I can tell you it's a privilege to be back. I'll be talkin' to y'all soon." It was simultaneously announced that Clemens had rejoined the Yankees roster, agreeing to a pro-rated one-year deal worth $28,000,022, or about $4.7 million per month. Over the contract life, he would make $18.7 million. This equated to just over $1 million per start that season. Clemens made his 2007 return on June 9, defeating the Pittsburgh Pirates by pitching six innings with seven strikeouts and 3 runs allowed. On June 21, with a single in the 5th inning against the Colorado Rockies, Clemens became the oldest New York Yankee to record a hit (44 years, 321 days). On June 24, Clemens pitched an inning in relief against the San Francisco Giants. It had been 22 years and 341 days since his previous regular-season relief appearance, the longest such gap in major league history. On July 2, Clemens collected his 350th win against the Minnesota Twins at Yankee Stadium, giving up just two hits and one run over eight innings. Clemens is one of only three pitchers to pitch his entire career in the live-ball era and reach 350 wins. The other two are Warren Spahn (whose catcher for his 350th win was Joe Torre, Clemens's manager for his 350th), and Greg Maddux, who earned his 350th win in 2008. His final regular season appearance was a start against the Red Sox at Fenway Park, in which he allowed 2 hits and 1 unearned run in 6 innings, and received a no-decision. Clemens finished the 2007 regular season with a record of 6-6 and a 4.18 ERA. Clemens was forced to leave Game 3 of the 2007 ALDS in the third inning after aggravating a hamstring injury. He struck out Victor Martinez of the Cleveland Indians with his final pitch, and was replaced by right-hander Phil Hughes. Yankees manager Joe Torre removed Clemens from the roster due to his injury, and replaced him with left-hander Ron Villone. CANNOTANSWER
Clemens finished the 2007 regular season
William Roger Clemens (born August 4, 1962), nicknamed "Rocket", is an American former professional baseball pitcher who played 24 seasons in Major League Baseball (MLB), primarily with the Boston Red Sox and New York Yankees. Clemens was one of the most dominant pitchers in major league history, tallying 354 wins, a 3.12 earned run average (ERA), and 4,672 strikeouts, the third-most all time. An 11-time All-Star and two-time World Series champion, he won seven Cy Young Awards during his career, more than any other pitcher in history. Clemens was known for his fierce competitive nature and hard-throwing pitching style, which he used to intimidate batters. Clemens debuted in MLB in 1984 with the Red Sox, whose pitching staff he anchored for 12 years. In 1986, he won the American League (AL) Cy Young Award, the AL Most Valuable Player (MVP) Award, and the All-Star Game MVP Award, and he struck out an MLB-record 20 batters in a single game. After the 1996 season, in which he achieved his second 20-strikeout performance, Clemens left Boston via free agency and joined the Toronto Blue Jays. In each of his two seasons with Toronto, Clemens won a Cy Young Award, as well as the pitching triple crown by leading the league in wins, ERA, and strikeouts. Prior to the 1999 season, Clemens was traded to the Yankees where he won his two World Series titles. In 2001, Clemens became the first pitcher in major league history to start a season with a win-loss record of 20–1. In 2003, he reached his 300th win and 4,000th strikeout in the same game. Clemens left for the Houston Astros in 2004, where he spent three seasons and won his seventh Cy Young Award. He rejoined the Yankees in 2007 for one last season before retiring. He is the only pitcher in Major League history to record over 350 wins and strike out over 4,500 batters. Clemens was alleged by the Mitchell Report to have used anabolic steroids during his late career, mainly based on testimony given by his former trainer, Brian McNamee. Clemens firmly denied these allegations under oath before the United States Congress, leading congressional leaders to refer his case to the Justice Department on suspicions of perjury. On August 19, 2010, a federal grand jury at the U.S. District Court in Washington, D.C., indicted Clemens on six felony counts involving perjury, false statements and Contempt of Congress. Clemens pleaded not guilty, but proceedings were complicated by prosecutorial misconduct, leading to a mistrial. The verdict from his second trial came in June 2012, when Clemens was found not guilty on all six counts of lying to Congress. These controversies hurt his chances for election to the Baseball Hall of Fame. He never received the 75% of the votes required in his ten years of eligibility, ending with 65.2% in 2022. Early life Clemens was born in Dayton, Ohio, the fifth child of Bill and Bess (Lee) Clemens. He is of German descent, his great-grandfather Joseph Clemens having immigrated in the 1880s. Clemens's parents separated when he was an infant. His mother soon married Woody Booher, whom Clemens considers his father. Booher died when Clemens was nine years old, and Clemens has said that the only time he ever felt envious of other players was when he saw them in the clubhouse with their fathers. Clemens lived in Vandalia, Ohio, until 1977, and then spent most of his high school years in Houston, Texas. At Spring Woods High School, Clemens played baseball for longtime head coach Charles Maiorana and also played football and basketball. He was scouted by the Philadelphia Phillies and Minnesota Twins during his senior year, but opted to go to college. Collegiate career He began his college career pitching for San Jacinto College North in 1981, where he was 9–2. The New York Mets selected Clemens in the 12th round of the 1981 Major League Baseball draft, but he did not sign. He then attended the University of Texas at Austin, compiling a 25–7 record in two All-American seasons, and was on the mound when the Longhorns won the 1983 College World Series. He became the first player to have his baseball uniform number retired at the University of Texas. In 2004, the Rotary Smith Award, given to America's best college baseball player, was changed to the Roger Clemens Award, honoring the best pitcher. At Texas, Clemens pitched 35 consecutive scoreless innings, an NCAA record that stood until Justin Pope broke it in 2001. Professional career Boston Red Sox (1984–1996) Clemens was selected in the first round (19th overall) of the 1983 MLB draft by the Boston Red Sox and quickly rose through the minor league system, making his MLB debut on May 15, 1984. An undiagnosed torn labrum threatened to end his career early; he underwent successful arthroscopic surgery by Dr. James Andrews. In 1986, Clemens won the American League MVP award, finishing with a 24–4 record, 2.48 ERA, and 238 strikeouts. Clemens started the 1986 All-Star Game in the Astrodome and was named the Most Valuable Player of the contest by throwing three perfect innings and striking out two. He also won the first of his seven Cy Young Awards. When Hank Aaron said that pitchers should not be eligible for the MVP, Clemens responded: "I wish he were still playing. I'd probably crack his head open to show him how valuable I was." Clemens was the only starting pitcher since Vida Blue in 1971 to win a league MVP award until Justin Verlander won the award in 2011. On April 29, 1986, Clemens became the first pitcher in MLB history to strike out 20 batters in a nine-inning game, against the Seattle Mariners at Boston's Fenway Park. Following his performance, Clemens made the cover of Sports Illustrated which carried the headline "Lord of the K's [strikeouts]." Other than Clemens, only Kerry Wood and Max Scherzer have matched the total. (Randy Johnson fanned 20 batters in nine innings on May 8, 2001. However, as the game went into extra innings, it is not categorized as occurring in a nine-inning game. Tom Cheney holds the record for any game: 21 strikeouts in 16 innings.) Clemens attributes his switch from what he calls a "thrower" to a "pitcher" to the partial season Hall of Fame pitcher Tom Seaver spent with the Red Sox in 1986. Facing the California Angels in the 1986 ALCS, Clemens pitched poorly in the opening game, watched the Boston bullpen blow his 3–1 lead in the bottom of the ninth inning of Game 4, and then pitched a strong Game 7 to wrap up the series for Boston. The League Championship Series clincher was Clemens's first postseason career victory. He did not win his second until 13 years later. After a victory in game five, Boston led 3 games to 2 over the New York Mets in the 1986 World Series with Clemens set to start game six at Shea Stadium. Clemens who was pitching on five days rest started strong by striking out eight while throwing a no-hitter through four innings. In the top of eighth and with Boston ahead 3–2, manager John McNamara sent rookie Mike Greenwell to pinch hit for Roger Clemens. It was initially said that Clemens was removed from the game due to a blister forming on one of his fingers, but both he and McNamara dispute this. Clemens said to Bob Costas on an MLB Network program concerning the 1986 postseason that McNamara decided to pull him despite Clemens wanting to pitch. McNamara said to Costas that Clemens "begged out" of the game. The Mets rallied and took both game six and seven to win the World Series. The Red Sox had a miserable 1987 season, finishing at 78–84, though Clemens won his second consecutive Cy Young Award with a 20–9 record, 2.97 ERA, 256 strikeouts, and seven shutouts. He was the first AL pitcher with back-to-back 20-win seasons since Tommy John won 20 with the Yankees in 1979 and '80. Boston rebounded with success in 1988 and 1990, clinching the AL East Division each year, but were swept by the Oakland Athletics in each ALCS matchup. His greatest postseason failure came in the second inning of the final game of the 1990 ALCS, when he was ejected for arguing balls and strikes with umpire Terry Cooney, accentuating the A's four-game sweep of the Red Sox. He was suspended for the first five games of the 1991 season and fined $10,000. Clemens led the American League in 1988 with 291 strikeouts and a career-high 8 shutouts. On September 10, 1988, Clemens threw a one-hitter against the Cleveland Indians at Fenway Park. Dave Clark's one-out single in the eighth inning was the only hit Clemens allowed in the game. In a 9–1 victory over Cleveland on April 13, 1989, Clemens recorded his 1,000 career strikeout by fanning Brook Jacoby with the bases loaded in the second inning. Clemens finished second to Oakland's Bob Welch for the 1990 AL Cy Young Award, despite the fact that Clemens crushed Welch in ERA (1.93 to 2.95), strikeouts (209 to 127), walks (54 to 77), home runs allowed (7 to 26), and WAR (10.4 to 2.9). Clemens did, however, capture his third Cy Young Award in 1991 with an 18–10 record, 2.62 ERA, and 241 strikeouts. On June 21, 1989, Clemens surrendered the first of 609 home runs in the career of Sammy Sosa. Clemens accomplished the 20-strikeout feat twice, the only player ever to do so. The second performance came more than 10 years later, on September 18, 1996, against the Detroit Tigers at Tiger Stadium. This second 20-K day occurred in his third-to-last game as a member of the Boston Red Sox. Later, the Tigers presented him with a baseball containing the autographs of each batter who had struck out (those with multiple strikeouts signed the appropriate number of times). The Red Sox did not re-sign Clemens following the 1996 season, despite leading the A.L. with 257 strikeouts and offering him "by far the most money ever offered to a player in the history of the Red Sox franchise." General Manager Dan Duquette remarked that he "hoped to keep him in Boston during the twilight of his career", but Clemens left and signed with the Toronto Blue Jays. The emphasis on the misquoted 1996 "twilight" comment took on a life of its own following Clemens's post-Boston successes, and Duquette was vilified for letting the star pitcher go. Ultimately, Clemens would go on to have a record of 162–73 for the rest of his career after leaving the Red Sox. Clemens recorded 192 wins and 38 shutouts for the Red Sox, both tied with Cy Young for the franchise record and is their all-time strikeout leader with 2,590. Clemens's overall postseason record with Boston was 1–2 with a 3.88 ERA, and 45 strikeouts, and 19 walks in 56 innings. No Red Sox player has worn his uniform #21 since Clemens left the team in the 1996–97 offseason. Toronto Blue Jays (1997–1998) Clemens signed a four-year, $40 million deal with the Toronto Blue Jays after the 1996 season. In his first start in Fenway Park as a member of the Blue Jays, he pitched eight innings allowing only 4 hits and 1 earned run. 16 of his 24 outs were strikeouts, and every batter who faced him struck out at least once. As he left the field following his last inning of work, he stared up angrily towards the owner's box. Clemens was dominant in his two seasons with the Blue Jays, winning the pitching Triple Crown and the Cy Young Award in both seasons (1997: 21–7 record, 2.05 ERA, and 292 strikeouts; 1998: 20–6 record, 2.65 ERA, and 271 strikeouts). After the 1998 season, Clemens asked to be traded, indicating that he did not believe the Blue Jays would be competitive enough the following year and that he was dedicated to winning a championship. New York Yankees (1999–2003) Clemens was traded to the New York Yankees before the 1999 season for David Wells, Homer Bush, and Graeme Lloyd. Since his longtime uniform number #21 was in use by teammate Paul O'Neill, Clemens initially wore #12, before switching mid-season to #22. Clemens made an immediate impact on the Yankees' staff, anchoring the top of the rotation as the team went on to win a pair of World Series titles in 1999 and 2000. During the 1999 regular season, Clemens posted a 14–10 record with a 4.60 ERA. He logged a pair of wins in the postseason, though he lost Game 3 of the 1999 ALCS in a matchup against Red Sox ace Pedro Martínez, which was the Yankees' only loss in the 1999 playoffs. Clemens pitched 7.2 innings of 1-run baseball during the Yankees' game 4 clincher over the Atlanta Braves. Clemens followed up with a strong 2000 season, in which he finished with a 13–8 record with a 3.70 ERA for the regular season. During the 2000 postseason, he helped the Yankees win their third consecutive championship. Clemens set the ALCS record for strikeouts in a game when he fanned 15 batters in a one-hit shutout of the Seattle Mariners in Game 4 of the ALCS. A seventh-inning lead-off double by Seattle's Al Martin was all that prevented Clemens from throwing what was, at the time, only the second no-hitter in postseason history. In Game 2 of the 2000 World Series, Clemens pitched eight scoreless innings against the New York Mets. In 2001, Clemens became the first pitcher in MLB history to start a season 20–1 (finishing 20–3) and winning his sixth Cy Young Award. As of the 2020 season, he is the last Yankee pitcher to win the Cy Young Award. Clemens started for the Yankees in Game 7 of the 2001 World Series against the Arizona Diamondbacks, where he dueled Curt Schilling to a standstill after 6 innings, yielding only one run. The Diamondbacks went on to win the game in the 9th. Early in 2003, Clemens announced his retirement, effective at the end of that season. On June 13, 2003, pitching against the St. Louis Cardinals in Yankee Stadium, Clemens recorded his 300th career win and 4,000th career strikeout, the only player in history to record both milestones in the same game. The 300th win came on his fourth try; the Yankee bullpen had blown his chance of a win in his previous two attempts. He became the 21st pitcher ever to record 300 wins and the third ever to record 4,000 strikeouts. His career record upon reaching the milestones was 300–155. Clemens finished the season with a 17–9 record and a 3.91 ERA. The end of Clemens's 2003 season became a series of public farewells met with appreciative cheering. His last games in each AL park were given extra attention, particularly his final regular-season appearance in Fenway Park, when despite wearing the uniform of the hated arch-rival, he was afforded a standing ovation by Red Sox fans as he left the field. (This spectacle was repeated when the Yankees ended up playing the Red Sox in the 2003 ALCS and Clemens got a second "final start" in his original stadium.) As part of a tradition of manager Joe Torre, Clemens was chosen to manage the Yankees' last game of the regular season. Clemens made one start in the World Series against the Florida Marlins; when he left trailing 3–1 after seven innings, the Marlins left their dugout to give him a standing ovation. Houston Astros (2004–2006) Clemens came out of retirement, signing a one-year deal with his adopted hometown Houston Astros on January 12, 2004, joining close friend and former Yankees teammate Andy Pettitte. On May 5, 2004, Clemens recorded his 4,137th career strikeout to place him second on the all-time list behind Nolan Ryan. He was named the starter for the National League All-Star team but ultimately was the losing pitcher in that game after allowing six runs on five hits, including a three-run home run to Alfonso Soriano. Clemens finished the season with an 18–4 record, and was awarded his seventh Cy Young Award, becoming the oldest player ever to win the Cy Young at age 42. This made him one of six pitchers to win the award in both leagues, joining Gaylord Perry, Pedro Martínez, and Randy Johnson and later joined by Roy Halladay and Max Scherzer. Clemens was the losing pitcher for the Astros in Game Seven of the 2004 NLCS against the St. Louis Cardinals, allowing four runs in six innings. Although he pitched well, he tired in the sixth inning, surrendering all four runs. Clemens again decided to put off retirement before the 2005 season after the Houston Astros offered salary arbitration. The Astros submitted an offer of $13.5 million, and Clemens countered with a record $22 million demand. On January 21, 2005, both sides agreed on a one-year, $18,000,022 contract, thus avoiding arbitration. The deal gave Clemens the highest yearly salary earned by a pitcher in MLB history. Clemens's 2005 season ended as one of the finest he had ever posted. His 1.87 ERA was the lowest in the major leagues, the lowest of his 22-season career, and the lowest by any National Leaguer since Greg Maddux in 1995. He finished with a 13–8 record, with his lower win total primarily due to the fact that he ranked near the bottom of the major leagues in run support. The Astros scored an average of only 3.5 runs per game in games in which he was the pitcher of record. The Astros were shut out nine times in Clemens's 32 starts, and failed to score in a 10th until after Clemens was out of the game. The Astros lost five of Clemens's starts by scores of 1–0. In April, Clemens did not allow a run in three consecutive starts. However, the Astros lost all three of those starts by a 1–0 score in extra innings. Clemens won an emotional start on September 15, following his mother's death that morning. In his final start of the 2005 season, Clemens got his 4,500th strikeout. On October 9, 2005, Clemens made his first relief appearance since 1984, entering as a pinch hitter in the 15th, then pitching three innings to get the win as the Astros defeated the Atlanta Braves in Game 4 of the NLDS. It is the longest postseason game in MLB history at 18 innings. Clemens lasted only two innings in Game 1 of the 2005 World Series, and the Astros went on to be swept by the Chicago White Sox. It was the Astros' first World Series appearance. Clemens had aggravated a hamstring pull that had limited his performance since at least September. Clemens said that he would retire again after the World Series but he wanted to represent the United States in the inaugural World Baseball Classic, which would be played in March 2006. He went 1–1 in the tournament, with a 2.08 ERA, striking out 10 batters in innings. After pitching in a second-round loss to Mexico that eliminated the United States, Clemens began considering a return to the major leagues. On May 31, 2006, following another extended period of speculation, it was announced that Clemens was coming out of retirement for the third time to pitch for the Astros for the remainder of the 2006 season. Clemens signed a contract worth $22,000,022 (his uniform number #22). Since Clemens did not play a full season, he received a prorated percentage of that: approximately $12.25 million. Clemens made his return on June 22, 2006, against the Minnesota Twins, losing to their rookie phenom, Francisco Liriano, 4–2. For the second year in a row, his win total did not match his performance, as he finished the season with a 7–6 record, a 2.30 ERA, and a 1.04 WHIP. However, Clemens averaged just under 6 innings in his starts and never pitched into the eighth. Return to the Yankees (2007) Clemens unexpectedly appeared in the owner's box at Yankee Stadium on May 6, 2007, during the seventh-inning stretch of a game against the Seattle Mariners, and made a brief statement: "Thank y'all. Well they came and got me out of Texas, and uhh, I can tell you it's a privilege to be back. I'll be talkin' to y'all soon." It was simultaneously announced that Clemens had rejoined the Yankees roster, agreeing to a pro-rated one-year deal worth $28,000,022, or about $4.7 million per month. Over the contract life, he would make $18.7 million. This equated to just over $1 million per start that season. Clemens made his 2007 return on June 9, defeating the Pittsburgh Pirates by pitching six innings with seven strikeouts and three runs allowed. On June 21, with a single in the 5th inning against the Colorado Rockies, Clemens became the oldest New York Yankee to record a hit (44 years, 321 days). On June 24, Clemens pitched an inning in relief against the San Francisco Giants. It had been 22 years and 341 days since his previous regular-season relief appearance, the longest such gap in major league history. On July 2, Clemens collected his 350th win against the Minnesota Twins at Yankee Stadium, giving up just two hits and one run over eight innings. Clemens is one of only three pitchers to pitch his entire career in the live-ball era and reach 350 wins. The other two are Warren Spahn (whose catcher for his 350th win was Joe Torre, Clemens's manager for his 350th), and Greg Maddux, who earned his 350th win in 2008. His final regular-season appearance was a start against the Red Sox at Fenway Park, in which he allowed two hits and one unearned run in six innings, and received a no-decision. Clemens finished the 2007 regular season with a record of 6–6 and a 4.18 ERA. Clemens was forced to leave Game 3 of the 2007 ALDS in the third inning after aggravating a hamstring injury. He struck out Victor Martinez of the Cleveland Indians with his final pitch, and was replaced by right-hander Phil Hughes. Yankees manager Joe Torre removed Clemens from the roster due to his injury, and replaced him with left-hander Ron Villone. Clemens's overall postseason record with the Yankees was 7–4 with a 2.97 ERA, 98 strikeouts and 35 walks in 102 innings. Pitching appearances after retirement On August 20, 2012, Clemens signed with the Sugar Land Skeeters of the Atlantic League of Professional Baseball. He made his debut for the Skeeters against the Bridgeport Bluefish on August 25, 2012, in front of a crowd of 7,724. It was the first time the 50-year-old had taken the mound in almost five years. Clemens pitched scoreless innings and struck out two: former major leaguers Joey Gathright and Prentice Redman. He also retired Luis Figueroa, who played briefly with the Pirates, Blue Jays and the Giants. Clemens allowed only one hit and no walks on 37 pitches in the Skeeters' 1–0 victory. Clemens made his second start for the Skeeters on September 7 against the Long Island Ducks. He pitched scoreless innings, with his son, Koby, as his catcher. He retired former New York Met outfielder Timo Perez for the final out in the fourth inning, and was named the winning pitcher by the official scorer. Clemens's fastball was clocked as high as 88 mph, and the Astros sent scouts to both of his outings with the Skeeters in consideration of a possible return to the team that season. Roger Clemens joined the Kansas Stars, a group of 24 retired major leaguers and his son Koby, to compete in the 2016 National Baseball Congress World Series. The team was put together by Kansas natives Adam LaRoche and Nate Robertson, and featured eleven former All-Stars, including Tim Hudson, Roy Oswalt, and J. D. Drew as well as Clemens. Pitching just six days after his 54th birthday, Clemens started for the Kansas Stars in a game against the NJCAA National Team on August 10, 2016. He pitched innings, allowing 3 runs with one strikeout in an 11–10 loss. On August 22, 2019, Clemens wore his Red Sox uniform and pitched in the Abbot Financial Management Oldtime Baseball Game, an annual charity event held at St. Peter's Field in Cambridge, Massachusetts. The 2019 game benefitted Compassionate Care ALS, in memory of longtime Fenway Park supervisor John Welch, who died from Lou Gehrig's Disease in December 2018. Facing mostly young college players, Clemens pitched two shutout innings in the game, then moved to first base. Pitching style Clemens was a prototypical power pitcher with an aggressive edge for his entire career. This was especially the case when he was a young man. Clemens was said to throw "two pitches: a 98-mph fastball and a hard breaking ball. At 23, Clemens simply reared back and threw the ball past batters." Later in his career, Clemens developed a devastating split-finger fastball to use as an off-speed pitch in concert with his fastball. Clemens has jocularly referred to this pitch as "Mr. Splitty". By the time Clemens retired from Major League Baseball in 2007, his four-seam fastball had settled in the 91–94 mph range. He also threw a two-seam fastball, a slider in the mid 80s, his hard splitter, and an occasional curveball. Clemens was a highly durable pitcher, leading the American League in complete games three times and innings pitched twice. His 18 complete games in 1987 is more than any pitcher has thrown since. Clemens was also known as a strikeout pitcher, leading the AL in K's five times and strikeouts per nine innings three times. Controversies Clemens has been the focal point of several controversies. His reputation has always been that of a pitcher unafraid to throw close to batters. Clemens led his league in hit batsmen only once, in 1995, but he was among the leaders in several other seasons. This tendency was more pronounced during his earlier career and subsequently tapered off. After the 2000 ALCS game against the Mariners where he knocked down future teammate Alex Rodriguez and then argued with him, Seattle Mariners manager Lou Piniella called Clemens a "headhunter." His beaning earlier that year of Mike Piazza, followed by throwing a broken-bat in Piazza's direction in the 2000 World Series, cemented Clemens's surly, unapologetic image in the minds of many. In 2009, former manager Cito Gaston publicly denounced Clemens as a "double-talker" and "a complete asshole". Clemens was ranked 14th all-time in hit batsmen after the 2020 season. 14th all time may be misleading, as his rate of hit batsmen per batter faced is not out of line with other pitchers of his era at 1 hit batsmen per 125 batters faced. Numbers reflect similar rate of hit batsmen to pitchers such as Nolan Ryan, Justin Verlander, Greg Maddux. Clemens has attracted controversy over the years for his outspoken comments, such as his complaints about having to carry his own luggage through an airport and his criticism of Fenway Park for being a subpar facility. On April 4, 2006, Clemens made an insulting remark when asked about the devotion of Japanese and South Korean fans during the World Baseball Classic: "None of the dry cleaners were open, they were all at the game, Japan and Korea". Toward the end of his career, his annual on-and-off "retirements" revived a reputation for diva-like behavior. Clemens has received criticism for getting special treatment from the teams that sign him. While playing for Houston, Clemens was not obliged to travel with the team on road trips if he was not pitching. His 2007 contract with the New York Yankees had a "family plan" clause that stipulated that he not be required to go on road trips in which he was not scheduled to pitch and allowed him to leave the team between starts to be with his family. These perks were publicly criticized by Yankee reliever Kyle Farnsworth. Most of Clemens's teammates, however, did not complain of such perks because of Clemens's success on the mound and valuable presence in the clubhouse. Yankee teammate Jason Giambi spoke for such players when he said, "I'd carry his bags for him, just as long as he is on the mound." Steroid use accusations In José Canseco's book, Juiced: Wild Times, Rampant 'Roids, Smash Hits & How Baseball Got Big, Canseco suggested that Clemens had expert knowledge about steroids and suggested that he used them, based on the improvement in his performance after leaving the Red Sox. While not addressing the allegations directly, Clemens stated: "I could care less about the rules" and "I've talked to some friends of his and I've teased them that when you're under house arrest and have ankle bracelets on, you have a lot of time to write a book." Jason Grimsley named Clemens, as well as Andy Pettitte, as a user of performance-enhancing drugs. According to a 20-page search warrant affidavit signed by IRS Special Agent Jeff Novitzky, Grimsley told investigators he obtained amphetamines, anabolic steroids and human growth hormone from someone recommended to him by former Yankees trainer Brian McNamee. McNamee was a personal strength coach for Clemens and Pettitte, hired by Clemens in 1998. At the time of the Grimsley revelations, McNamee denied knowledge of steroid use by Clemens and Pettitte. Despite initial media reports, the affidavit made no mention of Clemens or Pettitte. However, Clemens's name was mentioned 82 times in the Mitchell Report on steroid use in baseball. In the report, McNamee stated that during the 1998, 2000, and 2001 baseball seasons, he injected Clemens with Winstrol. Clemens's attorney Rusty Hardin denied the claims, calling McNamee "a troubled and unreliable witness" who has changed his story five times in an attempt to avoid criminal prosecution. He noted that Clemens has never tested positive in a steroid test. Former U.S. Senator George Mitchell, who prepared the report, stated that he relayed the allegations to each athlete implicated in the report and gave them a chance to respond before his findings were published. On January 6, 2008, Clemens went on 60 Minutes to address the allegations. He told Mike Wallace that his longevity in baseball was due to "hard work" rather than illegal substances and denied all of McNamee's assertions that he injected Clemens with steroids, saying it "never happened". On January 7, Clemens filed a defamation lawsuit against McNamee, claiming that the former trainer lied after being threatened with prosecution. McNamee's attorneys argued that he was compelled to cooperate by federal officials and so his statements were protected. A federal judge agreed, throwing out all claims related to McNamee's statements to investigators on February 13, 2009, but allowing the case to proceed on statements McNamee made about Clemens to Pettitte. On February 13, 2008, Clemens appeared before a Congressional committee, along with Brian McNamee and swore under oath that he did not take steroids, that he did not discuss HGH with McNamee, that he did not attend a party at José Canseco's where steroids were the topic of conversation, that he was only injected with B-12 and lidocaine and that he never told Pettitte he had taken HGH. This last point was in contradiction to testimony Pettitte had given under oath on February 4, 2008, wherein Pettitte said he repeated to McNamee a conversation Pettitte had with Clemens. During this conversation, Pettitte said Clemens had told him that McNamee had injected Clemens with human growth hormone. Pettitte said McNamee reacted angrily, saying that Clemens "shouldn't have done that."<ref name=tj>Quinn, T.J. "In court of public opinion, a Clemens verdict: Game over." ESPN.com, December 12, 2008. Retrieved November 6, 2017.</ref> The bipartisan House committee in front of which Clemens appeared, citing seven apparent inconsistencies in Clemens's testimony, recommended that the Justice Department investigate whether Clemens lied under oath about using performance-enhancing drugs. In a letter sent February 27 to Attorney General Michael Mukasey, House Oversight and Government Reform Committee chairman Henry Waxman and ranking Republican Tom Davis said Clemens's testimony that he "never used anabolic steroids or human growth hormone warrants further investigation". As a result of the Mitchell Report, Clemens was asked to end his involvement with the Giff Nielsen Day of Golf for Kids charity tournament in Houston that he has hosted for four years. As well, his name has been removed from the Houston-based Roger Clemens Institute for Sports Medicine and will be renamed the Memorial Hermann Sports Medicine Institute. After Washington prosecutors showed "a renewed interest in the case in the final months of 2008", a federal grand jury was convened in January 2009 to hear evidence of Clemens's possible perjury before Congress. The grand jury indicted Clemens on August 19, 2010, on charges of making false statements to Congress about his use of performance-enhancing drugs. The indictment charges Clemens with one count of obstruction of Congress, three counts of making false statements and two counts of perjury in connection with his February 2008 testimony. His first trial began on July 13, 2011, but on the second day of testimony the judge in the case declared a mistrial over prosecutorial misconduct after prosecutors showed the jury prejudicial evidence they were not allowed to. Clemens was subsequently retried. The verdict from his second trial came in on June 18, 2012. Clemens was found not guilty on all six counts of lying to Congress in 2008, when he testified that he never took performance-enhancing drugs. In January 2016, after Clemens once again fell short of the votes required for election into the Hall of Fame, former major-league star Roy Halladay tweeted "No Clemens no Bonds" as part of a message indicating no performance-enhancing substance users should be voted into the Hall. Clemens countered by accusing Halladay of using amphetamines during his playing career. Adultery accusations In April 2008, the New York Daily News reported on a possible long-term relationship between Clemens and country music singer Mindy McCready that began when she was 15 years old. Clemens's attorney Rusty Hardin denied the affair and also stated that Clemens would be bringing a defamation suit regarding this allegation. Clemens's attorney admitted that a relationship existed but described McCready as a "close family friend". He also stated that McCready had traveled on Clemens's personal jet and that Clemens's wife was aware of the relationship. However, when contacted by the Daily News, McCready said, "I cannot refute anything in the story." On November 17, 2008, McCready spoke in more detail to Inside Edition about her affair with Clemens, saying their relationship lasted for more than a decade and that it ended when Clemens refused to leave his wife to marry her. However, she denied that she was 15 years old when it began, saying that they met when she was 16 and the affair only became sexual "several years later". In another soon-to-be-released sex tape by Vivid Entertainment she claimed that the first time she had sex with him was when she was 21. She also said that he often had erectile dysfunction. A few days after the Daily News broke the story about the McCready relationship, they reported on another Clemens extramarital relationship, this time with Paulette Dean Daly, the now ex-wife of pro golfer John Daly. Daly declined to elaborate on the nature of her relationship with the pitcher but did not deny that it was romantic and included financial support. There have been reports of Clemens having at least three other affairs with women. On April 29, 2008, the New York Post reported that Clemens had relationships with two or more women. One, a former bartender in Manhattan, refused comment on the story, while another, a woman from Tampa, could not be located. On May 2 of the same year, the Daily News reported a stripper in Detroit called a local radio station and said she had an affair with Clemens. He also gave tickets to baseball games, jewelry, and trips to women he was wooing. Other media Clemens has appeared as himself in several movies and television episodes and has also occasionally acted in films. Perhaps best known was his appearance in the season three episode of The Simpsons ("Homer at the Bat"), in which he is recruited to the Springfield nuclear plant's softball team but is accidentally hypnotized into thinking he is a chicken; in addition to his lines, Clemens voiced his own clucking. Clemens has also made guest appearances as himself on the TV shows Hope & Faith, Spin City, Arli$$, and Saturday Night Live as well as the movie Anger Management, and makes a brief appearance in the movie Kingpin as the character Skidmark. He also is shown playing an actual game with the Houston Astros in the film Boyhood. He appeared in the 1994 movie Cobb as an unidentified pitcher for the Philadelphia A's. In 2003, he was part of an advertising campaign for Armour hot dogs with MLB players Ken Griffey Jr., Derek Jeter, and Sammy Sosa. Since 2005, Clemens has also appeared in many commercials for Texas-based supermarket chain H-E-B. In 2007, he appeared on a baseball-themed episode of MythBusters ("Baseball Myths"). He has also starred in a commercial for Cingular parodying his return from retirement. He was calling his wife, Debra Godfrey, and a dropped call resulted in his return to the Yankees. He released an early autobiography, Rocket Man: The Roger Clemens Story written with Peter Gammons, in 1987. Clemens is also the spokesperson for Champion car dealerships in South Texas. In April 2009, Clemens was the subject of an unauthorized biography by Jeff Pearlman, titled The Rocket that Fell to Earth-Roger Clemens and the Rage for Baseball Immortality, that focused on his childhood and early career and accused Mike Piazza of using steroids. On May 12, Clemens broke a long silence to denounce a heavily researched expose by four investigative reporters from the New York Daily News, called American Icon: The Fall of Roger Clemens and the Rise of Steroids in America's Pastime. Clemens went on ESPN's Mike and Mike show to call the book "garbage", but a review by Michiko Kakutani of The New York Times called the book "gripping" and compared it to the work of Bob Woodward. Awards and recognition In 1999, while many of his performances and milestones were yet to come he ranked number 53 on The Sporting News list of the 100 Greatest Baseball Players, and was elected by the fans to the Major League Baseball All-Century Team. In 2005, the updated Sporting News list moved Clemens up to #15. By the end of the 2005 season, Clemens had won seven Cy Young Awards (he won the AL award in 1986, 1987, 1991, 1997, 1998, and 2001, and the National League award in 2004), an MVP and two pitching triple crowns. With his 2004 win, he joined Gaylord Perry, Randy Johnson, and Pedro Martínez as the only pitchers to win it in both leagues and became the oldest pitcher to ever win the Cy Young. He has also won the Sporting News Pitcher of the Year Award five times, was named an All-Star 11 times, and won the All-Star MVP in 1986. In October 2006, Clemens was named to Sports Illustrateds "all-time" team. On August 18, 2007, Clemens got his 1,000th strikeout as a Yankee. He is only the ninth player in major league history to record 1,000 or more strikeouts with two different teams. Clemens has recorded a total of 2,590 strikeouts as a member of the Red Sox and 1,014 strikeouts as a Yankee. He also had 563 strikeouts for Toronto, and 505 strikeouts for Houston. Clemens was inducted into the Boston Red Sox Hall of Fame in 2014, and was inducted into the Pawtucket Red Sox Hall of Fame on June 21, 2019. National Baseball Hall of Fame consideration In 2013 Baseball Hall of Fame balloting, his first year of eligibility, Clemens received 37.6% of the votes cast by the Baseball Writers' Association of America (BBWAA), falling well short of the 75% required for induction into the Hall of Fame. He has garnered more votes in subsequent elections without reaching the 75% threshold: he received 59.5% in 2019, 61.0% in 2020, and 61.6% in 2021. With the inductions of Greg Maddux and Tom Glavine in 2014 and Randy Johnson in 2015, Clemens is currently the only eligible member of the 300 win club not to be inducted into the Hall. He received 65.2% of the votes in his final year of eligibility, 2022. Despite falling off the ballot, Clemens is still eligible for induction through the Hall of Fame’s Today’s Game Committee. The committee is a 16-member electorate “comprised of members of the National Baseball Hall of Fame, executives, and veteran media members" (hence the nickname of “veteran’s committee”) who consider retired players who lost ballot eligibility while still having made notable contributions to baseball from 1986-2016. Voting will be held in December 2022, and 12 votes are required for induction. Personal life Clemens married Debra Lynn Godfrey (born May 27, 1963) on November 24, 1984. The couple has four sons: Koby Aaron, Kory Allen, Kacy Austin, and Kody Alec—all given "K" names to honor Clemens's strikeouts ("K's"). Koby was at one time a minor league prospect for some MLB clubs. Kacy played college baseball for the Texas Longhorns and was drafted by the Blue Jays in the eighth round of the 2017 Major League Baseball draft. Kacy is an infielder who is currently a free agent. Kody also played college baseball for the Texas Longhorns and was drafted 79th overall by the Detroit Tigers in the third round of the 2018 Major League Baseball draft. Debra once left a Red Sox game, when Clemens pitched for another team, in tears from the heckling she received. This is documented in an updated later edition to Dan Shaughnessy's best-selling book, Curse of the Bambino. Debra also was quoted in the book as stating that it was the poor attitude of Red Sox fans that prevented the team from ever winning the World Series (this was quoted prior to the Red Sox' 2004 World Series victory). Clemens is a member of the Republican Party and donated money to Texas congressman Ted Poe during his 2006 campaign. Debra posed in a bikini with her husband for a Sports Illustrated pictorial regarding athletes and their wives. This appeared in the annual Sports Illustrated Swimsuit Edition'' for 2003. Roger wore his Yankees uniform, with the jersey open. On February 27, 2006, to train for the World Baseball Classic, Roger pitched in an exhibition game between the Astros and his son's minor league team. In his first at-bat, Koby hit a home run off his father. In his next at-bat, Roger threw an inside pitch that almost hit Koby. Koby laughed in an interview after the game about the incident. See also Houston Astros award winners and league leaders List of Boston Red Sox award winners List of Boston Red Sox team records List of Major League Baseball annual shutout leaders List of Major League Baseball career hit batsmen leaders List of Major League Baseball career wins leaders List of Major League Baseball players named in the Mitchell Report List of Major League Baseball single-game strikeout leaders List of people from Dayton, Ohio List of Toronto Blue Jays team records List of University of Texas at Austin alumni Major League Baseball titles leaders Toronto Blue Jays award winners and league leaders References External links Roger Clemens Foundation 1962 births Living people American expatriate baseball players in Canada American League All-Stars American League ERA champions American League Most Valuable Player Award winners American League Pitching Triple Crown winners American League strikeout champions American League wins champions American people of German descent Baseball players from Dayton, Ohio Boston Red Sox players Bridgeport Bluefish guest managers Corpus Christi Hooks players Cy Young Award winners Houston Astros players Lexington Legends players Major League Baseball All-Star Game MVPs Major League Baseball controversies Major League Baseball pitchers National League All-Stars National League ERA champions New Britain Red Sox players New York Yankees players Norwich Navigators players Pawtucket Red Sox players People from Vandalia, Ohio Round Rock Express players San Jacinto Central Ravens baseball players Sarasota Red Sox players Scranton/Wilkes-Barre Yankees players Sugar Land Skeeters players Tampa Yankees players Texas Longhorns baseball players Texas Republicans Trenton Thunder players Toronto Blue Jays players Winter Haven Red Sox players World Baseball Classic players of the United States 2006 World Baseball Classic players
true
[ "Branden Henry Pinder (born January 26, 1989) is an American former professional baseball pitcher. He played in Major League Baseball for the New York Yankees in 2015 and 2016.\n\nCareer\n\nAmateur and Minors\nPinder played college baseball at Santa Ana College and Long Beach State University. He was drafted by the New York Yankees in the 16th round of the 2011 Major League Baseball Draft. He made his professional debut for the Staten Island Yankees that season. In 31 innings over 24 games, he was 2–2 with a 1.16 earned run average (ERA), 14 saves and 38 strikeouts. Pinder played 2012 with the Tampa Yankees and pitched in one game for the Trenton Thunder. He was 2–6 with a 2.74 ERA, nine saves and 67 strikeouts in 69 innings. He played the 2013 season with Tampa and Trenton. He had a 2–3 record, 4.42 ERA, six saves and 72 strikeouts in innings. Pinder started the 2014 season back with Trenton. After recording a 0.56 ERA through 16 innings to start the season, he was promoted to the Scranton/Wilkes-Barre RailRiders.\n\nNew York Yankees\nOn April 15, 2015, Pinder made his major league debut against the Baltimore Orioles, going one inning and allowing one hit in a 7-5 loss. He was optioned to Triple-A on April 21 in exchange for Chasen Shreve. He was recalled on May 9 after Chris Martin was placed on the disabled list. He was sent back down on May 24 to make room for Jacob Lindgren. On June 19, Pinder was called up yet again after Martin was optioned to triple-A. On August 30, Pinder collected his first major league hit, an RBI double, off Atlanta Braves pitcher Jake Brigham. It would be the only at-bat of his career, giving him a career batting average of 1.000. He finished the 2015 season by making 25 relief appearances with an 0-2 record and a 2.93 ERA.\n\nOn April 22, 2016, Pinder was placed on the 15-day disabled list due to a right elbow strain. The next day on April 23, an MRI revealed that there was a partially torn UCL in the right elbow. After seeking a second opinion with Dr. James Andrews, Pinder decided to forgo the rest of the 2016 season as he chose to have Tommy John surgery. On November 8, Pinder was designated for assignment. On July 21, 2017, he was released from the Yankees organization.\n\nLos Angeles Angels\nThe Los Angeles Angels signed Pinder on August 4, 2017. He was released on June 18, 2018.\n\nLong Island Ducks\nOn June 25, 2018, Pinder signed with the Long Island Ducks of the Atlantic League of Professional Baseball. He announced his retirement on July 23, 2018.\n\nReferences\n\nExternal links \n\nLong Beach State 49ers bio\n\n1989 births\nLiving people\nSportspeople from Corona, California\nBaseball players from California\nMajor League Baseball pitchers\nNew York Yankees players\nSanta Ana Dons baseball players\nLong Beach State Dirtbags baseball players\nLong Island Ducks players\nStaten Island Yankees players\nTampa Yankees players\nTrenton Thunder players\nScranton/Wilkes-Barre RailRiders players", "William Douglas \"D. J.\" Mitchell Jr. (born May 13, 1987) is an American former professional baseball pitcher. He played in Major League Baseball for the New York Yankees in 2012. Before embarking on his professional career, he played college baseball at Clemson University.\n\nAmateur career\nMitchell graduated from North Forsyth High School in Winston-Salem, North Carolina, and attended Clemson University, where he played college baseball with the Clemson Tigers baseball team in the Atlantic Coast Conference (ACC) of the National Collegiate Athletic Association's Division I. In 2006, Mitchell's freshman year, he played as a right fielder. Mitchell began to pitch in 2007, his sophomore year at Clemson. After Clemson's 2007 season concluded, Mitchell pitched for the Bourne Braves of the Cape Cod Baseball League (CCBL), a collegiate summer baseball league. He led the CCBL in strikeouts, earning him recognition in Sports Illustrateds Faces in the Crowd feature. By 2008, Mitchell played exclusively as a pitcher, and he was named First Team All-ACC.\n\nProfessional career\n\nNew York Yankees\nThe New York Yankees drafted Mitchell in the 10th round, 320th overall, of the 2008 Major League Baseball Draft. Making his professional debut in 2009, he had a 1.95 earned run average (ERA) with the Charleston RiverDogs of the Class A South Atlantic League and a 2.87 ERA with the Tampa Yankees of the Class A-Advanced Florida State League.\n\nMitchell began the 2010 season with the Trenton Thunder of the Class AA Eastern League. On August 21, 2010, Mitchell was promoted from Trenton to the Class AAA Scranton/Wilkes-Barre Yankees of the International League. In 2011, Mitchell had a 13–9 win–loss record with a 3.18 ERA for Scranton/Wilkes-Barre. For this performance, Mitchell won the 2011 Yankees' Minor League \"Pitcher of the Year\" Award.\n\nMitchell was added to the Yankees 40-man roster after the 2011 season to protect him from the Rule 5 draft. Competing for the long reliever role with the Yankees in spring training in 2012, the Yankees chose David Phelps for the role, and Mitchell was optioned to Scranton/Wilkes-Barre.\n\nOn April 29, 2012, Mitchell was recalled to the Yankees after Freddy García was moved to the bullpen. David Phelps was placed in the rotation, Cody Eppley was optioned to Scranton/Wilkes-Barre, and Mitchell took Phelps' role of long relief. He made his major league debut on May 1, 2012, against the Baltimore Orioles, striking out one in an inning of work, he made three more appearances with the Yankees.\n\nLater career\nThe Yankees traded Mitchell and pitcher Danny Farquhar to the Seattle Mariners for Ichiro Suzuki on July 23, 2012. Mitchell was optioned to Triple-A Tacoma after the trade. On April 11, 2013, Mitchell was designated for assignment, after he cleared waivers, Mitchell opted for free agency. Mitchell signed a minor league contract with the New York Mets on April 22, 2013.\n\nMitchell signed with Bridgeport Bluefish of the Atlantic League of Professional Baseball for 2014 season, he re-signed with the Bluefish for the 2015 season. D.J. resigned with the Bluefish for the 2016 season, marking his 3rd consecutive season with the ballclub. On August 1, 2016, Mitchell was traded to the Long Island Ducks for former major league player Sean Burroughs. He became a free agent after the 2016 season.\n\nReferences\n\nExternal links\n\n1987 births\nLiving people\nNew York Yankees players\nBaseball players from Winston-Salem, North Carolina\nClemson Tigers baseball players\nMajor League Baseball pitchers\nBourne Braves players\nCharleston RiverDogs players\nTampa Yankees players\nTrenton Thunder players\nScranton/Wilkes-Barre Yankees players\nBridgeport Bluefish players\nTacoma Rainiers players\nLas Vegas 51s players" ]
[ "Roger Clemens", "Return to the Yankees (2007)", "When did Clemens return to the yankees", "Clemens made his 2007 return on June 9,", "How did he perform with the yankees", "On July 2, Clemens collected his 350th win against the Minnesota Twins at Yankee Stadium,", "did he play in the postseason", "I don't know.", "how long was he with the yankees", "Clemens finished the 2007 regular season" ]
C_0d846a1614904fcf97343b0d8d340347_1
Did anything exciting happen while he was with them
5
Did anything exciting happen while Roger Clemens was with the Yankees?
Roger Clemens
Clemens unexpectedly appeared in the owner's box at Yankee Stadium on May 6, 2007, during the seventh-inning stretch of a game against the Seattle Mariners, and made a brief statement: "Thank y'all. Well they came and got me out of Texas, and uhh, I can tell you it's a privilege to be back. I'll be talkin' to y'all soon." It was simultaneously announced that Clemens had rejoined the Yankees roster, agreeing to a pro-rated one-year deal worth $28,000,022, or about $4.7 million per month. Over the contract life, he would make $18.7 million. This equated to just over $1 million per start that season. Clemens made his 2007 return on June 9, defeating the Pittsburgh Pirates by pitching six innings with seven strikeouts and 3 runs allowed. On June 21, with a single in the 5th inning against the Colorado Rockies, Clemens became the oldest New York Yankee to record a hit (44 years, 321 days). On June 24, Clemens pitched an inning in relief against the San Francisco Giants. It had been 22 years and 341 days since his previous regular-season relief appearance, the longest such gap in major league history. On July 2, Clemens collected his 350th win against the Minnesota Twins at Yankee Stadium, giving up just two hits and one run over eight innings. Clemens is one of only three pitchers to pitch his entire career in the live-ball era and reach 350 wins. The other two are Warren Spahn (whose catcher for his 350th win was Joe Torre, Clemens's manager for his 350th), and Greg Maddux, who earned his 350th win in 2008. His final regular season appearance was a start against the Red Sox at Fenway Park, in which he allowed 2 hits and 1 unearned run in 6 innings, and received a no-decision. Clemens finished the 2007 regular season with a record of 6-6 and a 4.18 ERA. Clemens was forced to leave Game 3 of the 2007 ALDS in the third inning after aggravating a hamstring injury. He struck out Victor Martinez of the Cleveland Indians with his final pitch, and was replaced by right-hander Phil Hughes. Yankees manager Joe Torre removed Clemens from the roster due to his injury, and replaced him with left-hander Ron Villone. CANNOTANSWER
Clemens was forced to leave Game 3 of the 2007 ALDS
William Roger Clemens (born August 4, 1962), nicknamed "Rocket", is an American former professional baseball pitcher who played 24 seasons in Major League Baseball (MLB), primarily with the Boston Red Sox and New York Yankees. Clemens was one of the most dominant pitchers in major league history, tallying 354 wins, a 3.12 earned run average (ERA), and 4,672 strikeouts, the third-most all time. An 11-time All-Star and two-time World Series champion, he won seven Cy Young Awards during his career, more than any other pitcher in history. Clemens was known for his fierce competitive nature and hard-throwing pitching style, which he used to intimidate batters. Clemens debuted in MLB in 1984 with the Red Sox, whose pitching staff he anchored for 12 years. In 1986, he won the American League (AL) Cy Young Award, the AL Most Valuable Player (MVP) Award, and the All-Star Game MVP Award, and he struck out an MLB-record 20 batters in a single game. After the 1996 season, in which he achieved his second 20-strikeout performance, Clemens left Boston via free agency and joined the Toronto Blue Jays. In each of his two seasons with Toronto, Clemens won a Cy Young Award, as well as the pitching triple crown by leading the league in wins, ERA, and strikeouts. Prior to the 1999 season, Clemens was traded to the Yankees where he won his two World Series titles. In 2001, Clemens became the first pitcher in major league history to start a season with a win-loss record of 20–1. In 2003, he reached his 300th win and 4,000th strikeout in the same game. Clemens left for the Houston Astros in 2004, where he spent three seasons and won his seventh Cy Young Award. He rejoined the Yankees in 2007 for one last season before retiring. He is the only pitcher in Major League history to record over 350 wins and strike out over 4,500 batters. Clemens was alleged by the Mitchell Report to have used anabolic steroids during his late career, mainly based on testimony given by his former trainer, Brian McNamee. Clemens firmly denied these allegations under oath before the United States Congress, leading congressional leaders to refer his case to the Justice Department on suspicions of perjury. On August 19, 2010, a federal grand jury at the U.S. District Court in Washington, D.C., indicted Clemens on six felony counts involving perjury, false statements and Contempt of Congress. Clemens pleaded not guilty, but proceedings were complicated by prosecutorial misconduct, leading to a mistrial. The verdict from his second trial came in June 2012, when Clemens was found not guilty on all six counts of lying to Congress. These controversies hurt his chances for election to the Baseball Hall of Fame. He never received the 75% of the votes required in his ten years of eligibility, ending with 65.2% in 2022. Early life Clemens was born in Dayton, Ohio, the fifth child of Bill and Bess (Lee) Clemens. He is of German descent, his great-grandfather Joseph Clemens having immigrated in the 1880s. Clemens's parents separated when he was an infant. His mother soon married Woody Booher, whom Clemens considers his father. Booher died when Clemens was nine years old, and Clemens has said that the only time he ever felt envious of other players was when he saw them in the clubhouse with their fathers. Clemens lived in Vandalia, Ohio, until 1977, and then spent most of his high school years in Houston, Texas. At Spring Woods High School, Clemens played baseball for longtime head coach Charles Maiorana and also played football and basketball. He was scouted by the Philadelphia Phillies and Minnesota Twins during his senior year, but opted to go to college. Collegiate career He began his college career pitching for San Jacinto College North in 1981, where he was 9–2. The New York Mets selected Clemens in the 12th round of the 1981 Major League Baseball draft, but he did not sign. He then attended the University of Texas at Austin, compiling a 25–7 record in two All-American seasons, and was on the mound when the Longhorns won the 1983 College World Series. He became the first player to have his baseball uniform number retired at the University of Texas. In 2004, the Rotary Smith Award, given to America's best college baseball player, was changed to the Roger Clemens Award, honoring the best pitcher. At Texas, Clemens pitched 35 consecutive scoreless innings, an NCAA record that stood until Justin Pope broke it in 2001. Professional career Boston Red Sox (1984–1996) Clemens was selected in the first round (19th overall) of the 1983 MLB draft by the Boston Red Sox and quickly rose through the minor league system, making his MLB debut on May 15, 1984. An undiagnosed torn labrum threatened to end his career early; he underwent successful arthroscopic surgery by Dr. James Andrews. In 1986, Clemens won the American League MVP award, finishing with a 24–4 record, 2.48 ERA, and 238 strikeouts. Clemens started the 1986 All-Star Game in the Astrodome and was named the Most Valuable Player of the contest by throwing three perfect innings and striking out two. He also won the first of his seven Cy Young Awards. When Hank Aaron said that pitchers should not be eligible for the MVP, Clemens responded: "I wish he were still playing. I'd probably crack his head open to show him how valuable I was." Clemens was the only starting pitcher since Vida Blue in 1971 to win a league MVP award until Justin Verlander won the award in 2011. On April 29, 1986, Clemens became the first pitcher in MLB history to strike out 20 batters in a nine-inning game, against the Seattle Mariners at Boston's Fenway Park. Following his performance, Clemens made the cover of Sports Illustrated which carried the headline "Lord of the K's [strikeouts]." Other than Clemens, only Kerry Wood and Max Scherzer have matched the total. (Randy Johnson fanned 20 batters in nine innings on May 8, 2001. However, as the game went into extra innings, it is not categorized as occurring in a nine-inning game. Tom Cheney holds the record for any game: 21 strikeouts in 16 innings.) Clemens attributes his switch from what he calls a "thrower" to a "pitcher" to the partial season Hall of Fame pitcher Tom Seaver spent with the Red Sox in 1986. Facing the California Angels in the 1986 ALCS, Clemens pitched poorly in the opening game, watched the Boston bullpen blow his 3–1 lead in the bottom of the ninth inning of Game 4, and then pitched a strong Game 7 to wrap up the series for Boston. The League Championship Series clincher was Clemens's first postseason career victory. He did not win his second until 13 years later. After a victory in game five, Boston led 3 games to 2 over the New York Mets in the 1986 World Series with Clemens set to start game six at Shea Stadium. Clemens who was pitching on five days rest started strong by striking out eight while throwing a no-hitter through four innings. In the top of eighth and with Boston ahead 3–2, manager John McNamara sent rookie Mike Greenwell to pinch hit for Roger Clemens. It was initially said that Clemens was removed from the game due to a blister forming on one of his fingers, but both he and McNamara dispute this. Clemens said to Bob Costas on an MLB Network program concerning the 1986 postseason that McNamara decided to pull him despite Clemens wanting to pitch. McNamara said to Costas that Clemens "begged out" of the game. The Mets rallied and took both game six and seven to win the World Series. The Red Sox had a miserable 1987 season, finishing at 78–84, though Clemens won his second consecutive Cy Young Award with a 20–9 record, 2.97 ERA, 256 strikeouts, and seven shutouts. He was the first AL pitcher with back-to-back 20-win seasons since Tommy John won 20 with the Yankees in 1979 and '80. Boston rebounded with success in 1988 and 1990, clinching the AL East Division each year, but were swept by the Oakland Athletics in each ALCS matchup. His greatest postseason failure came in the second inning of the final game of the 1990 ALCS, when he was ejected for arguing balls and strikes with umpire Terry Cooney, accentuating the A's four-game sweep of the Red Sox. He was suspended for the first five games of the 1991 season and fined $10,000. Clemens led the American League in 1988 with 291 strikeouts and a career-high 8 shutouts. On September 10, 1988, Clemens threw a one-hitter against the Cleveland Indians at Fenway Park. Dave Clark's one-out single in the eighth inning was the only hit Clemens allowed in the game. In a 9–1 victory over Cleveland on April 13, 1989, Clemens recorded his 1,000 career strikeout by fanning Brook Jacoby with the bases loaded in the second inning. Clemens finished second to Oakland's Bob Welch for the 1990 AL Cy Young Award, despite the fact that Clemens crushed Welch in ERA (1.93 to 2.95), strikeouts (209 to 127), walks (54 to 77), home runs allowed (7 to 26), and WAR (10.4 to 2.9). Clemens did, however, capture his third Cy Young Award in 1991 with an 18–10 record, 2.62 ERA, and 241 strikeouts. On June 21, 1989, Clemens surrendered the first of 609 home runs in the career of Sammy Sosa. Clemens accomplished the 20-strikeout feat twice, the only player ever to do so. The second performance came more than 10 years later, on September 18, 1996, against the Detroit Tigers at Tiger Stadium. This second 20-K day occurred in his third-to-last game as a member of the Boston Red Sox. Later, the Tigers presented him with a baseball containing the autographs of each batter who had struck out (those with multiple strikeouts signed the appropriate number of times). The Red Sox did not re-sign Clemens following the 1996 season, despite leading the A.L. with 257 strikeouts and offering him "by far the most money ever offered to a player in the history of the Red Sox franchise." General Manager Dan Duquette remarked that he "hoped to keep him in Boston during the twilight of his career", but Clemens left and signed with the Toronto Blue Jays. The emphasis on the misquoted 1996 "twilight" comment took on a life of its own following Clemens's post-Boston successes, and Duquette was vilified for letting the star pitcher go. Ultimately, Clemens would go on to have a record of 162–73 for the rest of his career after leaving the Red Sox. Clemens recorded 192 wins and 38 shutouts for the Red Sox, both tied with Cy Young for the franchise record and is their all-time strikeout leader with 2,590. Clemens's overall postseason record with Boston was 1–2 with a 3.88 ERA, and 45 strikeouts, and 19 walks in 56 innings. No Red Sox player has worn his uniform #21 since Clemens left the team in the 1996–97 offseason. Toronto Blue Jays (1997–1998) Clemens signed a four-year, $40 million deal with the Toronto Blue Jays after the 1996 season. In his first start in Fenway Park as a member of the Blue Jays, he pitched eight innings allowing only 4 hits and 1 earned run. 16 of his 24 outs were strikeouts, and every batter who faced him struck out at least once. As he left the field following his last inning of work, he stared up angrily towards the owner's box. Clemens was dominant in his two seasons with the Blue Jays, winning the pitching Triple Crown and the Cy Young Award in both seasons (1997: 21–7 record, 2.05 ERA, and 292 strikeouts; 1998: 20–6 record, 2.65 ERA, and 271 strikeouts). After the 1998 season, Clemens asked to be traded, indicating that he did not believe the Blue Jays would be competitive enough the following year and that he was dedicated to winning a championship. New York Yankees (1999–2003) Clemens was traded to the New York Yankees before the 1999 season for David Wells, Homer Bush, and Graeme Lloyd. Since his longtime uniform number #21 was in use by teammate Paul O'Neill, Clemens initially wore #12, before switching mid-season to #22. Clemens made an immediate impact on the Yankees' staff, anchoring the top of the rotation as the team went on to win a pair of World Series titles in 1999 and 2000. During the 1999 regular season, Clemens posted a 14–10 record with a 4.60 ERA. He logged a pair of wins in the postseason, though he lost Game 3 of the 1999 ALCS in a matchup against Red Sox ace Pedro Martínez, which was the Yankees' only loss in the 1999 playoffs. Clemens pitched 7.2 innings of 1-run baseball during the Yankees' game 4 clincher over the Atlanta Braves. Clemens followed up with a strong 2000 season, in which he finished with a 13–8 record with a 3.70 ERA for the regular season. During the 2000 postseason, he helped the Yankees win their third consecutive championship. Clemens set the ALCS record for strikeouts in a game when he fanned 15 batters in a one-hit shutout of the Seattle Mariners in Game 4 of the ALCS. A seventh-inning lead-off double by Seattle's Al Martin was all that prevented Clemens from throwing what was, at the time, only the second no-hitter in postseason history. In Game 2 of the 2000 World Series, Clemens pitched eight scoreless innings against the New York Mets. In 2001, Clemens became the first pitcher in MLB history to start a season 20–1 (finishing 20–3) and winning his sixth Cy Young Award. As of the 2020 season, he is the last Yankee pitcher to win the Cy Young Award. Clemens started for the Yankees in Game 7 of the 2001 World Series against the Arizona Diamondbacks, where he dueled Curt Schilling to a standstill after 6 innings, yielding only one run. The Diamondbacks went on to win the game in the 9th. Early in 2003, Clemens announced his retirement, effective at the end of that season. On June 13, 2003, pitching against the St. Louis Cardinals in Yankee Stadium, Clemens recorded his 300th career win and 4,000th career strikeout, the only player in history to record both milestones in the same game. The 300th win came on his fourth try; the Yankee bullpen had blown his chance of a win in his previous two attempts. He became the 21st pitcher ever to record 300 wins and the third ever to record 4,000 strikeouts. His career record upon reaching the milestones was 300–155. Clemens finished the season with a 17–9 record and a 3.91 ERA. The end of Clemens's 2003 season became a series of public farewells met with appreciative cheering. His last games in each AL park were given extra attention, particularly his final regular-season appearance in Fenway Park, when despite wearing the uniform of the hated arch-rival, he was afforded a standing ovation by Red Sox fans as he left the field. (This spectacle was repeated when the Yankees ended up playing the Red Sox in the 2003 ALCS and Clemens got a second "final start" in his original stadium.) As part of a tradition of manager Joe Torre, Clemens was chosen to manage the Yankees' last game of the regular season. Clemens made one start in the World Series against the Florida Marlins; when he left trailing 3–1 after seven innings, the Marlins left their dugout to give him a standing ovation. Houston Astros (2004–2006) Clemens came out of retirement, signing a one-year deal with his adopted hometown Houston Astros on January 12, 2004, joining close friend and former Yankees teammate Andy Pettitte. On May 5, 2004, Clemens recorded his 4,137th career strikeout to place him second on the all-time list behind Nolan Ryan. He was named the starter for the National League All-Star team but ultimately was the losing pitcher in that game after allowing six runs on five hits, including a three-run home run to Alfonso Soriano. Clemens finished the season with an 18–4 record, and was awarded his seventh Cy Young Award, becoming the oldest player ever to win the Cy Young at age 42. This made him one of six pitchers to win the award in both leagues, joining Gaylord Perry, Pedro Martínez, and Randy Johnson and later joined by Roy Halladay and Max Scherzer. Clemens was the losing pitcher for the Astros in Game Seven of the 2004 NLCS against the St. Louis Cardinals, allowing four runs in six innings. Although he pitched well, he tired in the sixth inning, surrendering all four runs. Clemens again decided to put off retirement before the 2005 season after the Houston Astros offered salary arbitration. The Astros submitted an offer of $13.5 million, and Clemens countered with a record $22 million demand. On January 21, 2005, both sides agreed on a one-year, $18,000,022 contract, thus avoiding arbitration. The deal gave Clemens the highest yearly salary earned by a pitcher in MLB history. Clemens's 2005 season ended as one of the finest he had ever posted. His 1.87 ERA was the lowest in the major leagues, the lowest of his 22-season career, and the lowest by any National Leaguer since Greg Maddux in 1995. He finished with a 13–8 record, with his lower win total primarily due to the fact that he ranked near the bottom of the major leagues in run support. The Astros scored an average of only 3.5 runs per game in games in which he was the pitcher of record. The Astros were shut out nine times in Clemens's 32 starts, and failed to score in a 10th until after Clemens was out of the game. The Astros lost five of Clemens's starts by scores of 1–0. In April, Clemens did not allow a run in three consecutive starts. However, the Astros lost all three of those starts by a 1–0 score in extra innings. Clemens won an emotional start on September 15, following his mother's death that morning. In his final start of the 2005 season, Clemens got his 4,500th strikeout. On October 9, 2005, Clemens made his first relief appearance since 1984, entering as a pinch hitter in the 15th, then pitching three innings to get the win as the Astros defeated the Atlanta Braves in Game 4 of the NLDS. It is the longest postseason game in MLB history at 18 innings. Clemens lasted only two innings in Game 1 of the 2005 World Series, and the Astros went on to be swept by the Chicago White Sox. It was the Astros' first World Series appearance. Clemens had aggravated a hamstring pull that had limited his performance since at least September. Clemens said that he would retire again after the World Series but he wanted to represent the United States in the inaugural World Baseball Classic, which would be played in March 2006. He went 1–1 in the tournament, with a 2.08 ERA, striking out 10 batters in innings. After pitching in a second-round loss to Mexico that eliminated the United States, Clemens began considering a return to the major leagues. On May 31, 2006, following another extended period of speculation, it was announced that Clemens was coming out of retirement for the third time to pitch for the Astros for the remainder of the 2006 season. Clemens signed a contract worth $22,000,022 (his uniform number #22). Since Clemens did not play a full season, he received a prorated percentage of that: approximately $12.25 million. Clemens made his return on June 22, 2006, against the Minnesota Twins, losing to their rookie phenom, Francisco Liriano, 4–2. For the second year in a row, his win total did not match his performance, as he finished the season with a 7–6 record, a 2.30 ERA, and a 1.04 WHIP. However, Clemens averaged just under 6 innings in his starts and never pitched into the eighth. Return to the Yankees (2007) Clemens unexpectedly appeared in the owner's box at Yankee Stadium on May 6, 2007, during the seventh-inning stretch of a game against the Seattle Mariners, and made a brief statement: "Thank y'all. Well they came and got me out of Texas, and uhh, I can tell you it's a privilege to be back. I'll be talkin' to y'all soon." It was simultaneously announced that Clemens had rejoined the Yankees roster, agreeing to a pro-rated one-year deal worth $28,000,022, or about $4.7 million per month. Over the contract life, he would make $18.7 million. This equated to just over $1 million per start that season. Clemens made his 2007 return on June 9, defeating the Pittsburgh Pirates by pitching six innings with seven strikeouts and three runs allowed. On June 21, with a single in the 5th inning against the Colorado Rockies, Clemens became the oldest New York Yankee to record a hit (44 years, 321 days). On June 24, Clemens pitched an inning in relief against the San Francisco Giants. It had been 22 years and 341 days since his previous regular-season relief appearance, the longest such gap in major league history. On July 2, Clemens collected his 350th win against the Minnesota Twins at Yankee Stadium, giving up just two hits and one run over eight innings. Clemens is one of only three pitchers to pitch his entire career in the live-ball era and reach 350 wins. The other two are Warren Spahn (whose catcher for his 350th win was Joe Torre, Clemens's manager for his 350th), and Greg Maddux, who earned his 350th win in 2008. His final regular-season appearance was a start against the Red Sox at Fenway Park, in which he allowed two hits and one unearned run in six innings, and received a no-decision. Clemens finished the 2007 regular season with a record of 6–6 and a 4.18 ERA. Clemens was forced to leave Game 3 of the 2007 ALDS in the third inning after aggravating a hamstring injury. He struck out Victor Martinez of the Cleveland Indians with his final pitch, and was replaced by right-hander Phil Hughes. Yankees manager Joe Torre removed Clemens from the roster due to his injury, and replaced him with left-hander Ron Villone. Clemens's overall postseason record with the Yankees was 7–4 with a 2.97 ERA, 98 strikeouts and 35 walks in 102 innings. Pitching appearances after retirement On August 20, 2012, Clemens signed with the Sugar Land Skeeters of the Atlantic League of Professional Baseball. He made his debut for the Skeeters against the Bridgeport Bluefish on August 25, 2012, in front of a crowd of 7,724. It was the first time the 50-year-old had taken the mound in almost five years. Clemens pitched scoreless innings and struck out two: former major leaguers Joey Gathright and Prentice Redman. He also retired Luis Figueroa, who played briefly with the Pirates, Blue Jays and the Giants. Clemens allowed only one hit and no walks on 37 pitches in the Skeeters' 1–0 victory. Clemens made his second start for the Skeeters on September 7 against the Long Island Ducks. He pitched scoreless innings, with his son, Koby, as his catcher. He retired former New York Met outfielder Timo Perez for the final out in the fourth inning, and was named the winning pitcher by the official scorer. Clemens's fastball was clocked as high as 88 mph, and the Astros sent scouts to both of his outings with the Skeeters in consideration of a possible return to the team that season. Roger Clemens joined the Kansas Stars, a group of 24 retired major leaguers and his son Koby, to compete in the 2016 National Baseball Congress World Series. The team was put together by Kansas natives Adam LaRoche and Nate Robertson, and featured eleven former All-Stars, including Tim Hudson, Roy Oswalt, and J. D. Drew as well as Clemens. Pitching just six days after his 54th birthday, Clemens started for the Kansas Stars in a game against the NJCAA National Team on August 10, 2016. He pitched innings, allowing 3 runs with one strikeout in an 11–10 loss. On August 22, 2019, Clemens wore his Red Sox uniform and pitched in the Abbot Financial Management Oldtime Baseball Game, an annual charity event held at St. Peter's Field in Cambridge, Massachusetts. The 2019 game benefitted Compassionate Care ALS, in memory of longtime Fenway Park supervisor John Welch, who died from Lou Gehrig's Disease in December 2018. Facing mostly young college players, Clemens pitched two shutout innings in the game, then moved to first base. Pitching style Clemens was a prototypical power pitcher with an aggressive edge for his entire career. This was especially the case when he was a young man. Clemens was said to throw "two pitches: a 98-mph fastball and a hard breaking ball. At 23, Clemens simply reared back and threw the ball past batters." Later in his career, Clemens developed a devastating split-finger fastball to use as an off-speed pitch in concert with his fastball. Clemens has jocularly referred to this pitch as "Mr. Splitty". By the time Clemens retired from Major League Baseball in 2007, his four-seam fastball had settled in the 91–94 mph range. He also threw a two-seam fastball, a slider in the mid 80s, his hard splitter, and an occasional curveball. Clemens was a highly durable pitcher, leading the American League in complete games three times and innings pitched twice. His 18 complete games in 1987 is more than any pitcher has thrown since. Clemens was also known as a strikeout pitcher, leading the AL in K's five times and strikeouts per nine innings three times. Controversies Clemens has been the focal point of several controversies. His reputation has always been that of a pitcher unafraid to throw close to batters. Clemens led his league in hit batsmen only once, in 1995, but he was among the leaders in several other seasons. This tendency was more pronounced during his earlier career and subsequently tapered off. After the 2000 ALCS game against the Mariners where he knocked down future teammate Alex Rodriguez and then argued with him, Seattle Mariners manager Lou Piniella called Clemens a "headhunter." His beaning earlier that year of Mike Piazza, followed by throwing a broken-bat in Piazza's direction in the 2000 World Series, cemented Clemens's surly, unapologetic image in the minds of many. In 2009, former manager Cito Gaston publicly denounced Clemens as a "double-talker" and "a complete asshole". Clemens was ranked 14th all-time in hit batsmen after the 2020 season. 14th all time may be misleading, as his rate of hit batsmen per batter faced is not out of line with other pitchers of his era at 1 hit batsmen per 125 batters faced. Numbers reflect similar rate of hit batsmen to pitchers such as Nolan Ryan, Justin Verlander, Greg Maddux. Clemens has attracted controversy over the years for his outspoken comments, such as his complaints about having to carry his own luggage through an airport and his criticism of Fenway Park for being a subpar facility. On April 4, 2006, Clemens made an insulting remark when asked about the devotion of Japanese and South Korean fans during the World Baseball Classic: "None of the dry cleaners were open, they were all at the game, Japan and Korea". Toward the end of his career, his annual on-and-off "retirements" revived a reputation for diva-like behavior. Clemens has received criticism for getting special treatment from the teams that sign him. While playing for Houston, Clemens was not obliged to travel with the team on road trips if he was not pitching. His 2007 contract with the New York Yankees had a "family plan" clause that stipulated that he not be required to go on road trips in which he was not scheduled to pitch and allowed him to leave the team between starts to be with his family. These perks were publicly criticized by Yankee reliever Kyle Farnsworth. Most of Clemens's teammates, however, did not complain of such perks because of Clemens's success on the mound and valuable presence in the clubhouse. Yankee teammate Jason Giambi spoke for such players when he said, "I'd carry his bags for him, just as long as he is on the mound." Steroid use accusations In José Canseco's book, Juiced: Wild Times, Rampant 'Roids, Smash Hits & How Baseball Got Big, Canseco suggested that Clemens had expert knowledge about steroids and suggested that he used them, based on the improvement in his performance after leaving the Red Sox. While not addressing the allegations directly, Clemens stated: "I could care less about the rules" and "I've talked to some friends of his and I've teased them that when you're under house arrest and have ankle bracelets on, you have a lot of time to write a book." Jason Grimsley named Clemens, as well as Andy Pettitte, as a user of performance-enhancing drugs. According to a 20-page search warrant affidavit signed by IRS Special Agent Jeff Novitzky, Grimsley told investigators he obtained amphetamines, anabolic steroids and human growth hormone from someone recommended to him by former Yankees trainer Brian McNamee. McNamee was a personal strength coach for Clemens and Pettitte, hired by Clemens in 1998. At the time of the Grimsley revelations, McNamee denied knowledge of steroid use by Clemens and Pettitte. Despite initial media reports, the affidavit made no mention of Clemens or Pettitte. However, Clemens's name was mentioned 82 times in the Mitchell Report on steroid use in baseball. In the report, McNamee stated that during the 1998, 2000, and 2001 baseball seasons, he injected Clemens with Winstrol. Clemens's attorney Rusty Hardin denied the claims, calling McNamee "a troubled and unreliable witness" who has changed his story five times in an attempt to avoid criminal prosecution. He noted that Clemens has never tested positive in a steroid test. Former U.S. Senator George Mitchell, who prepared the report, stated that he relayed the allegations to each athlete implicated in the report and gave them a chance to respond before his findings were published. On January 6, 2008, Clemens went on 60 Minutes to address the allegations. He told Mike Wallace that his longevity in baseball was due to "hard work" rather than illegal substances and denied all of McNamee's assertions that he injected Clemens with steroids, saying it "never happened". On January 7, Clemens filed a defamation lawsuit against McNamee, claiming that the former trainer lied after being threatened with prosecution. McNamee's attorneys argued that he was compelled to cooperate by federal officials and so his statements were protected. A federal judge agreed, throwing out all claims related to McNamee's statements to investigators on February 13, 2009, but allowing the case to proceed on statements McNamee made about Clemens to Pettitte. On February 13, 2008, Clemens appeared before a Congressional committee, along with Brian McNamee and swore under oath that he did not take steroids, that he did not discuss HGH with McNamee, that he did not attend a party at José Canseco's where steroids were the topic of conversation, that he was only injected with B-12 and lidocaine and that he never told Pettitte he had taken HGH. This last point was in contradiction to testimony Pettitte had given under oath on February 4, 2008, wherein Pettitte said he repeated to McNamee a conversation Pettitte had with Clemens. During this conversation, Pettitte said Clemens had told him that McNamee had injected Clemens with human growth hormone. Pettitte said McNamee reacted angrily, saying that Clemens "shouldn't have done that."<ref name=tj>Quinn, T.J. "In court of public opinion, a Clemens verdict: Game over." ESPN.com, December 12, 2008. Retrieved November 6, 2017.</ref> The bipartisan House committee in front of which Clemens appeared, citing seven apparent inconsistencies in Clemens's testimony, recommended that the Justice Department investigate whether Clemens lied under oath about using performance-enhancing drugs. In a letter sent February 27 to Attorney General Michael Mukasey, House Oversight and Government Reform Committee chairman Henry Waxman and ranking Republican Tom Davis said Clemens's testimony that he "never used anabolic steroids or human growth hormone warrants further investigation". As a result of the Mitchell Report, Clemens was asked to end his involvement with the Giff Nielsen Day of Golf for Kids charity tournament in Houston that he has hosted for four years. As well, his name has been removed from the Houston-based Roger Clemens Institute for Sports Medicine and will be renamed the Memorial Hermann Sports Medicine Institute. After Washington prosecutors showed "a renewed interest in the case in the final months of 2008", a federal grand jury was convened in January 2009 to hear evidence of Clemens's possible perjury before Congress. The grand jury indicted Clemens on August 19, 2010, on charges of making false statements to Congress about his use of performance-enhancing drugs. The indictment charges Clemens with one count of obstruction of Congress, three counts of making false statements and two counts of perjury in connection with his February 2008 testimony. His first trial began on July 13, 2011, but on the second day of testimony the judge in the case declared a mistrial over prosecutorial misconduct after prosecutors showed the jury prejudicial evidence they were not allowed to. Clemens was subsequently retried. The verdict from his second trial came in on June 18, 2012. Clemens was found not guilty on all six counts of lying to Congress in 2008, when he testified that he never took performance-enhancing drugs. In January 2016, after Clemens once again fell short of the votes required for election into the Hall of Fame, former major-league star Roy Halladay tweeted "No Clemens no Bonds" as part of a message indicating no performance-enhancing substance users should be voted into the Hall. Clemens countered by accusing Halladay of using amphetamines during his playing career. Adultery accusations In April 2008, the New York Daily News reported on a possible long-term relationship between Clemens and country music singer Mindy McCready that began when she was 15 years old. Clemens's attorney Rusty Hardin denied the affair and also stated that Clemens would be bringing a defamation suit regarding this allegation. Clemens's attorney admitted that a relationship existed but described McCready as a "close family friend". He also stated that McCready had traveled on Clemens's personal jet and that Clemens's wife was aware of the relationship. However, when contacted by the Daily News, McCready said, "I cannot refute anything in the story." On November 17, 2008, McCready spoke in more detail to Inside Edition about her affair with Clemens, saying their relationship lasted for more than a decade and that it ended when Clemens refused to leave his wife to marry her. However, she denied that she was 15 years old when it began, saying that they met when she was 16 and the affair only became sexual "several years later". In another soon-to-be-released sex tape by Vivid Entertainment she claimed that the first time she had sex with him was when she was 21. She also said that he often had erectile dysfunction. A few days after the Daily News broke the story about the McCready relationship, they reported on another Clemens extramarital relationship, this time with Paulette Dean Daly, the now ex-wife of pro golfer John Daly. Daly declined to elaborate on the nature of her relationship with the pitcher but did not deny that it was romantic and included financial support. There have been reports of Clemens having at least three other affairs with women. On April 29, 2008, the New York Post reported that Clemens had relationships with two or more women. One, a former bartender in Manhattan, refused comment on the story, while another, a woman from Tampa, could not be located. On May 2 of the same year, the Daily News reported a stripper in Detroit called a local radio station and said she had an affair with Clemens. He also gave tickets to baseball games, jewelry, and trips to women he was wooing. Other media Clemens has appeared as himself in several movies and television episodes and has also occasionally acted in films. Perhaps best known was his appearance in the season three episode of The Simpsons ("Homer at the Bat"), in which he is recruited to the Springfield nuclear plant's softball team but is accidentally hypnotized into thinking he is a chicken; in addition to his lines, Clemens voiced his own clucking. Clemens has also made guest appearances as himself on the TV shows Hope & Faith, Spin City, Arli$$, and Saturday Night Live as well as the movie Anger Management, and makes a brief appearance in the movie Kingpin as the character Skidmark. He also is shown playing an actual game with the Houston Astros in the film Boyhood. He appeared in the 1994 movie Cobb as an unidentified pitcher for the Philadelphia A's. In 2003, he was part of an advertising campaign for Armour hot dogs with MLB players Ken Griffey Jr., Derek Jeter, and Sammy Sosa. Since 2005, Clemens has also appeared in many commercials for Texas-based supermarket chain H-E-B. In 2007, he appeared on a baseball-themed episode of MythBusters ("Baseball Myths"). He has also starred in a commercial for Cingular parodying his return from retirement. He was calling his wife, Debra Godfrey, and a dropped call resulted in his return to the Yankees. He released an early autobiography, Rocket Man: The Roger Clemens Story written with Peter Gammons, in 1987. Clemens is also the spokesperson for Champion car dealerships in South Texas. In April 2009, Clemens was the subject of an unauthorized biography by Jeff Pearlman, titled The Rocket that Fell to Earth-Roger Clemens and the Rage for Baseball Immortality, that focused on his childhood and early career and accused Mike Piazza of using steroids. On May 12, Clemens broke a long silence to denounce a heavily researched expose by four investigative reporters from the New York Daily News, called American Icon: The Fall of Roger Clemens and the Rise of Steroids in America's Pastime. Clemens went on ESPN's Mike and Mike show to call the book "garbage", but a review by Michiko Kakutani of The New York Times called the book "gripping" and compared it to the work of Bob Woodward. Awards and recognition In 1999, while many of his performances and milestones were yet to come he ranked number 53 on The Sporting News list of the 100 Greatest Baseball Players, and was elected by the fans to the Major League Baseball All-Century Team. In 2005, the updated Sporting News list moved Clemens up to #15. By the end of the 2005 season, Clemens had won seven Cy Young Awards (he won the AL award in 1986, 1987, 1991, 1997, 1998, and 2001, and the National League award in 2004), an MVP and two pitching triple crowns. With his 2004 win, he joined Gaylord Perry, Randy Johnson, and Pedro Martínez as the only pitchers to win it in both leagues and became the oldest pitcher to ever win the Cy Young. He has also won the Sporting News Pitcher of the Year Award five times, was named an All-Star 11 times, and won the All-Star MVP in 1986. In October 2006, Clemens was named to Sports Illustrateds "all-time" team. On August 18, 2007, Clemens got his 1,000th strikeout as a Yankee. He is only the ninth player in major league history to record 1,000 or more strikeouts with two different teams. Clemens has recorded a total of 2,590 strikeouts as a member of the Red Sox and 1,014 strikeouts as a Yankee. He also had 563 strikeouts for Toronto, and 505 strikeouts for Houston. Clemens was inducted into the Boston Red Sox Hall of Fame in 2014, and was inducted into the Pawtucket Red Sox Hall of Fame on June 21, 2019. National Baseball Hall of Fame consideration In 2013 Baseball Hall of Fame balloting, his first year of eligibility, Clemens received 37.6% of the votes cast by the Baseball Writers' Association of America (BBWAA), falling well short of the 75% required for induction into the Hall of Fame. He has garnered more votes in subsequent elections without reaching the 75% threshold: he received 59.5% in 2019, 61.0% in 2020, and 61.6% in 2021. With the inductions of Greg Maddux and Tom Glavine in 2014 and Randy Johnson in 2015, Clemens is currently the only eligible member of the 300 win club not to be inducted into the Hall. He received 65.2% of the votes in his final year of eligibility, 2022. Despite falling off the ballot, Clemens is still eligible for induction through the Hall of Fame’s Today’s Game Committee. The committee is a 16-member electorate “comprised of members of the National Baseball Hall of Fame, executives, and veteran media members" (hence the nickname of “veteran’s committee”) who consider retired players who lost ballot eligibility while still having made notable contributions to baseball from 1986-2016. Voting will be held in December 2022, and 12 votes are required for induction. Personal life Clemens married Debra Lynn Godfrey (born May 27, 1963) on November 24, 1984. The couple has four sons: Koby Aaron, Kory Allen, Kacy Austin, and Kody Alec—all given "K" names to honor Clemens's strikeouts ("K's"). Koby was at one time a minor league prospect for some MLB clubs. Kacy played college baseball for the Texas Longhorns and was drafted by the Blue Jays in the eighth round of the 2017 Major League Baseball draft. Kacy is an infielder who is currently a free agent. Kody also played college baseball for the Texas Longhorns and was drafted 79th overall by the Detroit Tigers in the third round of the 2018 Major League Baseball draft. Debra once left a Red Sox game, when Clemens pitched for another team, in tears from the heckling she received. This is documented in an updated later edition to Dan Shaughnessy's best-selling book, Curse of the Bambino. Debra also was quoted in the book as stating that it was the poor attitude of Red Sox fans that prevented the team from ever winning the World Series (this was quoted prior to the Red Sox' 2004 World Series victory). Clemens is a member of the Republican Party and donated money to Texas congressman Ted Poe during his 2006 campaign. Debra posed in a bikini with her husband for a Sports Illustrated pictorial regarding athletes and their wives. This appeared in the annual Sports Illustrated Swimsuit Edition'' for 2003. Roger wore his Yankees uniform, with the jersey open. On February 27, 2006, to train for the World Baseball Classic, Roger pitched in an exhibition game between the Astros and his son's minor league team. In his first at-bat, Koby hit a home run off his father. In his next at-bat, Roger threw an inside pitch that almost hit Koby. Koby laughed in an interview after the game about the incident. See also Houston Astros award winners and league leaders List of Boston Red Sox award winners List of Boston Red Sox team records List of Major League Baseball annual shutout leaders List of Major League Baseball career hit batsmen leaders List of Major League Baseball career wins leaders List of Major League Baseball players named in the Mitchell Report List of Major League Baseball single-game strikeout leaders List of people from Dayton, Ohio List of Toronto Blue Jays team records List of University of Texas at Austin alumni Major League Baseball titles leaders Toronto Blue Jays award winners and league leaders References External links Roger Clemens Foundation 1962 births Living people American expatriate baseball players in Canada American League All-Stars American League ERA champions American League Most Valuable Player Award winners American League Pitching Triple Crown winners American League strikeout champions American League wins champions American people of German descent Baseball players from Dayton, Ohio Boston Red Sox players Bridgeport Bluefish guest managers Corpus Christi Hooks players Cy Young Award winners Houston Astros players Lexington Legends players Major League Baseball All-Star Game MVPs Major League Baseball controversies Major League Baseball pitchers National League All-Stars National League ERA champions New Britain Red Sox players New York Yankees players Norwich Navigators players Pawtucket Red Sox players People from Vandalia, Ohio Round Rock Express players San Jacinto Central Ravens baseball players Sarasota Red Sox players Scranton/Wilkes-Barre Yankees players Sugar Land Skeeters players Tampa Yankees players Texas Longhorns baseball players Texas Republicans Trenton Thunder players Toronto Blue Jays players Winter Haven Red Sox players World Baseball Classic players of the United States 2006 World Baseball Classic players
true
[ "\"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", "What Did You Think Was Going to Happen? is the debut studio album from Los Angeles band 2AM Club. It was released September 14, 2010 by RCA Records.\n\nCritical reception\n\nMatt Collar of AllMusic stated that with this album \"2AM Club reveal themselves as the best and brightest of the nu-eyed-soul set\".\n\nTrack listing\n\nOn May 31, the band released a song named \"Baseline\" that was a bonus track on What Did You Think Was Going to Happen? (sold on iTunes). It was advertised by them via Twitter, and was available for free download through a file sharing website, Hulk Share.\n\nCharts\n\nReferences\n\n2010 albums\nPop rock albums by American artists" ]
[ "Roger Clemens", "Return to the Yankees (2007)", "When did Clemens return to the yankees", "Clemens made his 2007 return on June 9,", "How did he perform with the yankees", "On July 2, Clemens collected his 350th win against the Minnesota Twins at Yankee Stadium,", "did he play in the postseason", "I don't know.", "how long was he with the yankees", "Clemens finished the 2007 regular season", "Did anything exciting happen while he was with them", "Clemens was forced to leave Game 3 of the 2007 ALDS" ]
C_0d846a1614904fcf97343b0d8d340347_1
Why was he forced to leave
6
Why was Roger Clemens forced to leave Game 3 of the 2007 ALDS?
Roger Clemens
Clemens unexpectedly appeared in the owner's box at Yankee Stadium on May 6, 2007, during the seventh-inning stretch of a game against the Seattle Mariners, and made a brief statement: "Thank y'all. Well they came and got me out of Texas, and uhh, I can tell you it's a privilege to be back. I'll be talkin' to y'all soon." It was simultaneously announced that Clemens had rejoined the Yankees roster, agreeing to a pro-rated one-year deal worth $28,000,022, or about $4.7 million per month. Over the contract life, he would make $18.7 million. This equated to just over $1 million per start that season. Clemens made his 2007 return on June 9, defeating the Pittsburgh Pirates by pitching six innings with seven strikeouts and 3 runs allowed. On June 21, with a single in the 5th inning against the Colorado Rockies, Clemens became the oldest New York Yankee to record a hit (44 years, 321 days). On June 24, Clemens pitched an inning in relief against the San Francisco Giants. It had been 22 years and 341 days since his previous regular-season relief appearance, the longest such gap in major league history. On July 2, Clemens collected his 350th win against the Minnesota Twins at Yankee Stadium, giving up just two hits and one run over eight innings. Clemens is one of only three pitchers to pitch his entire career in the live-ball era and reach 350 wins. The other two are Warren Spahn (whose catcher for his 350th win was Joe Torre, Clemens's manager for his 350th), and Greg Maddux, who earned his 350th win in 2008. His final regular season appearance was a start against the Red Sox at Fenway Park, in which he allowed 2 hits and 1 unearned run in 6 innings, and received a no-decision. Clemens finished the 2007 regular season with a record of 6-6 and a 4.18 ERA. Clemens was forced to leave Game 3 of the 2007 ALDS in the third inning after aggravating a hamstring injury. He struck out Victor Martinez of the Cleveland Indians with his final pitch, and was replaced by right-hander Phil Hughes. Yankees manager Joe Torre removed Clemens from the roster due to his injury, and replaced him with left-hander Ron Villone. CANNOTANSWER
a hamstring injury.
William Roger Clemens (born August 4, 1962), nicknamed "Rocket", is an American former professional baseball pitcher who played 24 seasons in Major League Baseball (MLB), primarily with the Boston Red Sox and New York Yankees. Clemens was one of the most dominant pitchers in major league history, tallying 354 wins, a 3.12 earned run average (ERA), and 4,672 strikeouts, the third-most all time. An 11-time All-Star and two-time World Series champion, he won seven Cy Young Awards during his career, more than any other pitcher in history. Clemens was known for his fierce competitive nature and hard-throwing pitching style, which he used to intimidate batters. Clemens debuted in MLB in 1984 with the Red Sox, whose pitching staff he anchored for 12 years. In 1986, he won the American League (AL) Cy Young Award, the AL Most Valuable Player (MVP) Award, and the All-Star Game MVP Award, and he struck out an MLB-record 20 batters in a single game. After the 1996 season, in which he achieved his second 20-strikeout performance, Clemens left Boston via free agency and joined the Toronto Blue Jays. In each of his two seasons with Toronto, Clemens won a Cy Young Award, as well as the pitching triple crown by leading the league in wins, ERA, and strikeouts. Prior to the 1999 season, Clemens was traded to the Yankees where he won his two World Series titles. In 2001, Clemens became the first pitcher in major league history to start a season with a win-loss record of 20–1. In 2003, he reached his 300th win and 4,000th strikeout in the same game. Clemens left for the Houston Astros in 2004, where he spent three seasons and won his seventh Cy Young Award. He rejoined the Yankees in 2007 for one last season before retiring. He is the only pitcher in Major League history to record over 350 wins and strike out over 4,500 batters. Clemens was alleged by the Mitchell Report to have used anabolic steroids during his late career, mainly based on testimony given by his former trainer, Brian McNamee. Clemens firmly denied these allegations under oath before the United States Congress, leading congressional leaders to refer his case to the Justice Department on suspicions of perjury. On August 19, 2010, a federal grand jury at the U.S. District Court in Washington, D.C., indicted Clemens on six felony counts involving perjury, false statements and Contempt of Congress. Clemens pleaded not guilty, but proceedings were complicated by prosecutorial misconduct, leading to a mistrial. The verdict from his second trial came in June 2012, when Clemens was found not guilty on all six counts of lying to Congress. These controversies hurt his chances for election to the Baseball Hall of Fame. He never received the 75% of the votes required in his ten years of eligibility, ending with 65.2% in 2022. Early life Clemens was born in Dayton, Ohio, the fifth child of Bill and Bess (Lee) Clemens. He is of German descent, his great-grandfather Joseph Clemens having immigrated in the 1880s. Clemens's parents separated when he was an infant. His mother soon married Woody Booher, whom Clemens considers his father. Booher died when Clemens was nine years old, and Clemens has said that the only time he ever felt envious of other players was when he saw them in the clubhouse with their fathers. Clemens lived in Vandalia, Ohio, until 1977, and then spent most of his high school years in Houston, Texas. At Spring Woods High School, Clemens played baseball for longtime head coach Charles Maiorana and also played football and basketball. He was scouted by the Philadelphia Phillies and Minnesota Twins during his senior year, but opted to go to college. Collegiate career He began his college career pitching for San Jacinto College North in 1981, where he was 9–2. The New York Mets selected Clemens in the 12th round of the 1981 Major League Baseball draft, but he did not sign. He then attended the University of Texas at Austin, compiling a 25–7 record in two All-American seasons, and was on the mound when the Longhorns won the 1983 College World Series. He became the first player to have his baseball uniform number retired at the University of Texas. In 2004, the Rotary Smith Award, given to America's best college baseball player, was changed to the Roger Clemens Award, honoring the best pitcher. At Texas, Clemens pitched 35 consecutive scoreless innings, an NCAA record that stood until Justin Pope broke it in 2001. Professional career Boston Red Sox (1984–1996) Clemens was selected in the first round (19th overall) of the 1983 MLB draft by the Boston Red Sox and quickly rose through the minor league system, making his MLB debut on May 15, 1984. An undiagnosed torn labrum threatened to end his career early; he underwent successful arthroscopic surgery by Dr. James Andrews. In 1986, Clemens won the American League MVP award, finishing with a 24–4 record, 2.48 ERA, and 238 strikeouts. Clemens started the 1986 All-Star Game in the Astrodome and was named the Most Valuable Player of the contest by throwing three perfect innings and striking out two. He also won the first of his seven Cy Young Awards. When Hank Aaron said that pitchers should not be eligible for the MVP, Clemens responded: "I wish he were still playing. I'd probably crack his head open to show him how valuable I was." Clemens was the only starting pitcher since Vida Blue in 1971 to win a league MVP award until Justin Verlander won the award in 2011. On April 29, 1986, Clemens became the first pitcher in MLB history to strike out 20 batters in a nine-inning game, against the Seattle Mariners at Boston's Fenway Park. Following his performance, Clemens made the cover of Sports Illustrated which carried the headline "Lord of the K's [strikeouts]." Other than Clemens, only Kerry Wood and Max Scherzer have matched the total. (Randy Johnson fanned 20 batters in nine innings on May 8, 2001. However, as the game went into extra innings, it is not categorized as occurring in a nine-inning game. Tom Cheney holds the record for any game: 21 strikeouts in 16 innings.) Clemens attributes his switch from what he calls a "thrower" to a "pitcher" to the partial season Hall of Fame pitcher Tom Seaver spent with the Red Sox in 1986. Facing the California Angels in the 1986 ALCS, Clemens pitched poorly in the opening game, watched the Boston bullpen blow his 3–1 lead in the bottom of the ninth inning of Game 4, and then pitched a strong Game 7 to wrap up the series for Boston. The League Championship Series clincher was Clemens's first postseason career victory. He did not win his second until 13 years later. After a victory in game five, Boston led 3 games to 2 over the New York Mets in the 1986 World Series with Clemens set to start game six at Shea Stadium. Clemens who was pitching on five days rest started strong by striking out eight while throwing a no-hitter through four innings. In the top of eighth and with Boston ahead 3–2, manager John McNamara sent rookie Mike Greenwell to pinch hit for Roger Clemens. It was initially said that Clemens was removed from the game due to a blister forming on one of his fingers, but both he and McNamara dispute this. Clemens said to Bob Costas on an MLB Network program concerning the 1986 postseason that McNamara decided to pull him despite Clemens wanting to pitch. McNamara said to Costas that Clemens "begged out" of the game. The Mets rallied and took both game six and seven to win the World Series. The Red Sox had a miserable 1987 season, finishing at 78–84, though Clemens won his second consecutive Cy Young Award with a 20–9 record, 2.97 ERA, 256 strikeouts, and seven shutouts. He was the first AL pitcher with back-to-back 20-win seasons since Tommy John won 20 with the Yankees in 1979 and '80. Boston rebounded with success in 1988 and 1990, clinching the AL East Division each year, but were swept by the Oakland Athletics in each ALCS matchup. His greatest postseason failure came in the second inning of the final game of the 1990 ALCS, when he was ejected for arguing balls and strikes with umpire Terry Cooney, accentuating the A's four-game sweep of the Red Sox. He was suspended for the first five games of the 1991 season and fined $10,000. Clemens led the American League in 1988 with 291 strikeouts and a career-high 8 shutouts. On September 10, 1988, Clemens threw a one-hitter against the Cleveland Indians at Fenway Park. Dave Clark's one-out single in the eighth inning was the only hit Clemens allowed in the game. In a 9–1 victory over Cleveland on April 13, 1989, Clemens recorded his 1,000 career strikeout by fanning Brook Jacoby with the bases loaded in the second inning. Clemens finished second to Oakland's Bob Welch for the 1990 AL Cy Young Award, despite the fact that Clemens crushed Welch in ERA (1.93 to 2.95), strikeouts (209 to 127), walks (54 to 77), home runs allowed (7 to 26), and WAR (10.4 to 2.9). Clemens did, however, capture his third Cy Young Award in 1991 with an 18–10 record, 2.62 ERA, and 241 strikeouts. On June 21, 1989, Clemens surrendered the first of 609 home runs in the career of Sammy Sosa. Clemens accomplished the 20-strikeout feat twice, the only player ever to do so. The second performance came more than 10 years later, on September 18, 1996, against the Detroit Tigers at Tiger Stadium. This second 20-K day occurred in his third-to-last game as a member of the Boston Red Sox. Later, the Tigers presented him with a baseball containing the autographs of each batter who had struck out (those with multiple strikeouts signed the appropriate number of times). The Red Sox did not re-sign Clemens following the 1996 season, despite leading the A.L. with 257 strikeouts and offering him "by far the most money ever offered to a player in the history of the Red Sox franchise." General Manager Dan Duquette remarked that he "hoped to keep him in Boston during the twilight of his career", but Clemens left and signed with the Toronto Blue Jays. The emphasis on the misquoted 1996 "twilight" comment took on a life of its own following Clemens's post-Boston successes, and Duquette was vilified for letting the star pitcher go. Ultimately, Clemens would go on to have a record of 162–73 for the rest of his career after leaving the Red Sox. Clemens recorded 192 wins and 38 shutouts for the Red Sox, both tied with Cy Young for the franchise record and is their all-time strikeout leader with 2,590. Clemens's overall postseason record with Boston was 1–2 with a 3.88 ERA, and 45 strikeouts, and 19 walks in 56 innings. No Red Sox player has worn his uniform #21 since Clemens left the team in the 1996–97 offseason. Toronto Blue Jays (1997–1998) Clemens signed a four-year, $40 million deal with the Toronto Blue Jays after the 1996 season. In his first start in Fenway Park as a member of the Blue Jays, he pitched eight innings allowing only 4 hits and 1 earned run. 16 of his 24 outs were strikeouts, and every batter who faced him struck out at least once. As he left the field following his last inning of work, he stared up angrily towards the owner's box. Clemens was dominant in his two seasons with the Blue Jays, winning the pitching Triple Crown and the Cy Young Award in both seasons (1997: 21–7 record, 2.05 ERA, and 292 strikeouts; 1998: 20–6 record, 2.65 ERA, and 271 strikeouts). After the 1998 season, Clemens asked to be traded, indicating that he did not believe the Blue Jays would be competitive enough the following year and that he was dedicated to winning a championship. New York Yankees (1999–2003) Clemens was traded to the New York Yankees before the 1999 season for David Wells, Homer Bush, and Graeme Lloyd. Since his longtime uniform number #21 was in use by teammate Paul O'Neill, Clemens initially wore #12, before switching mid-season to #22. Clemens made an immediate impact on the Yankees' staff, anchoring the top of the rotation as the team went on to win a pair of World Series titles in 1999 and 2000. During the 1999 regular season, Clemens posted a 14–10 record with a 4.60 ERA. He logged a pair of wins in the postseason, though he lost Game 3 of the 1999 ALCS in a matchup against Red Sox ace Pedro Martínez, which was the Yankees' only loss in the 1999 playoffs. Clemens pitched 7.2 innings of 1-run baseball during the Yankees' game 4 clincher over the Atlanta Braves. Clemens followed up with a strong 2000 season, in which he finished with a 13–8 record with a 3.70 ERA for the regular season. During the 2000 postseason, he helped the Yankees win their third consecutive championship. Clemens set the ALCS record for strikeouts in a game when he fanned 15 batters in a one-hit shutout of the Seattle Mariners in Game 4 of the ALCS. A seventh-inning lead-off double by Seattle's Al Martin was all that prevented Clemens from throwing what was, at the time, only the second no-hitter in postseason history. In Game 2 of the 2000 World Series, Clemens pitched eight scoreless innings against the New York Mets. In 2001, Clemens became the first pitcher in MLB history to start a season 20–1 (finishing 20–3) and winning his sixth Cy Young Award. As of the 2020 season, he is the last Yankee pitcher to win the Cy Young Award. Clemens started for the Yankees in Game 7 of the 2001 World Series against the Arizona Diamondbacks, where he dueled Curt Schilling to a standstill after 6 innings, yielding only one run. The Diamondbacks went on to win the game in the 9th. Early in 2003, Clemens announced his retirement, effective at the end of that season. On June 13, 2003, pitching against the St. Louis Cardinals in Yankee Stadium, Clemens recorded his 300th career win and 4,000th career strikeout, the only player in history to record both milestones in the same game. The 300th win came on his fourth try; the Yankee bullpen had blown his chance of a win in his previous two attempts. He became the 21st pitcher ever to record 300 wins and the third ever to record 4,000 strikeouts. His career record upon reaching the milestones was 300–155. Clemens finished the season with a 17–9 record and a 3.91 ERA. The end of Clemens's 2003 season became a series of public farewells met with appreciative cheering. His last games in each AL park were given extra attention, particularly his final regular-season appearance in Fenway Park, when despite wearing the uniform of the hated arch-rival, he was afforded a standing ovation by Red Sox fans as he left the field. (This spectacle was repeated when the Yankees ended up playing the Red Sox in the 2003 ALCS and Clemens got a second "final start" in his original stadium.) As part of a tradition of manager Joe Torre, Clemens was chosen to manage the Yankees' last game of the regular season. Clemens made one start in the World Series against the Florida Marlins; when he left trailing 3–1 after seven innings, the Marlins left their dugout to give him a standing ovation. Houston Astros (2004–2006) Clemens came out of retirement, signing a one-year deal with his adopted hometown Houston Astros on January 12, 2004, joining close friend and former Yankees teammate Andy Pettitte. On May 5, 2004, Clemens recorded his 4,137th career strikeout to place him second on the all-time list behind Nolan Ryan. He was named the starter for the National League All-Star team but ultimately was the losing pitcher in that game after allowing six runs on five hits, including a three-run home run to Alfonso Soriano. Clemens finished the season with an 18–4 record, and was awarded his seventh Cy Young Award, becoming the oldest player ever to win the Cy Young at age 42. This made him one of six pitchers to win the award in both leagues, joining Gaylord Perry, Pedro Martínez, and Randy Johnson and later joined by Roy Halladay and Max Scherzer. Clemens was the losing pitcher for the Astros in Game Seven of the 2004 NLCS against the St. Louis Cardinals, allowing four runs in six innings. Although he pitched well, he tired in the sixth inning, surrendering all four runs. Clemens again decided to put off retirement before the 2005 season after the Houston Astros offered salary arbitration. The Astros submitted an offer of $13.5 million, and Clemens countered with a record $22 million demand. On January 21, 2005, both sides agreed on a one-year, $18,000,022 contract, thus avoiding arbitration. The deal gave Clemens the highest yearly salary earned by a pitcher in MLB history. Clemens's 2005 season ended as one of the finest he had ever posted. His 1.87 ERA was the lowest in the major leagues, the lowest of his 22-season career, and the lowest by any National Leaguer since Greg Maddux in 1995. He finished with a 13–8 record, with his lower win total primarily due to the fact that he ranked near the bottom of the major leagues in run support. The Astros scored an average of only 3.5 runs per game in games in which he was the pitcher of record. The Astros were shut out nine times in Clemens's 32 starts, and failed to score in a 10th until after Clemens was out of the game. The Astros lost five of Clemens's starts by scores of 1–0. In April, Clemens did not allow a run in three consecutive starts. However, the Astros lost all three of those starts by a 1–0 score in extra innings. Clemens won an emotional start on September 15, following his mother's death that morning. In his final start of the 2005 season, Clemens got his 4,500th strikeout. On October 9, 2005, Clemens made his first relief appearance since 1984, entering as a pinch hitter in the 15th, then pitching three innings to get the win as the Astros defeated the Atlanta Braves in Game 4 of the NLDS. It is the longest postseason game in MLB history at 18 innings. Clemens lasted only two innings in Game 1 of the 2005 World Series, and the Astros went on to be swept by the Chicago White Sox. It was the Astros' first World Series appearance. Clemens had aggravated a hamstring pull that had limited his performance since at least September. Clemens said that he would retire again after the World Series but he wanted to represent the United States in the inaugural World Baseball Classic, which would be played in March 2006. He went 1–1 in the tournament, with a 2.08 ERA, striking out 10 batters in innings. After pitching in a second-round loss to Mexico that eliminated the United States, Clemens began considering a return to the major leagues. On May 31, 2006, following another extended period of speculation, it was announced that Clemens was coming out of retirement for the third time to pitch for the Astros for the remainder of the 2006 season. Clemens signed a contract worth $22,000,022 (his uniform number #22). Since Clemens did not play a full season, he received a prorated percentage of that: approximately $12.25 million. Clemens made his return on June 22, 2006, against the Minnesota Twins, losing to their rookie phenom, Francisco Liriano, 4–2. For the second year in a row, his win total did not match his performance, as he finished the season with a 7–6 record, a 2.30 ERA, and a 1.04 WHIP. However, Clemens averaged just under 6 innings in his starts and never pitched into the eighth. Return to the Yankees (2007) Clemens unexpectedly appeared in the owner's box at Yankee Stadium on May 6, 2007, during the seventh-inning stretch of a game against the Seattle Mariners, and made a brief statement: "Thank y'all. Well they came and got me out of Texas, and uhh, I can tell you it's a privilege to be back. I'll be talkin' to y'all soon." It was simultaneously announced that Clemens had rejoined the Yankees roster, agreeing to a pro-rated one-year deal worth $28,000,022, or about $4.7 million per month. Over the contract life, he would make $18.7 million. This equated to just over $1 million per start that season. Clemens made his 2007 return on June 9, defeating the Pittsburgh Pirates by pitching six innings with seven strikeouts and three runs allowed. On June 21, with a single in the 5th inning against the Colorado Rockies, Clemens became the oldest New York Yankee to record a hit (44 years, 321 days). On June 24, Clemens pitched an inning in relief against the San Francisco Giants. It had been 22 years and 341 days since his previous regular-season relief appearance, the longest such gap in major league history. On July 2, Clemens collected his 350th win against the Minnesota Twins at Yankee Stadium, giving up just two hits and one run over eight innings. Clemens is one of only three pitchers to pitch his entire career in the live-ball era and reach 350 wins. The other two are Warren Spahn (whose catcher for his 350th win was Joe Torre, Clemens's manager for his 350th), and Greg Maddux, who earned his 350th win in 2008. His final regular-season appearance was a start against the Red Sox at Fenway Park, in which he allowed two hits and one unearned run in six innings, and received a no-decision. Clemens finished the 2007 regular season with a record of 6–6 and a 4.18 ERA. Clemens was forced to leave Game 3 of the 2007 ALDS in the third inning after aggravating a hamstring injury. He struck out Victor Martinez of the Cleveland Indians with his final pitch, and was replaced by right-hander Phil Hughes. Yankees manager Joe Torre removed Clemens from the roster due to his injury, and replaced him with left-hander Ron Villone. Clemens's overall postseason record with the Yankees was 7–4 with a 2.97 ERA, 98 strikeouts and 35 walks in 102 innings. Pitching appearances after retirement On August 20, 2012, Clemens signed with the Sugar Land Skeeters of the Atlantic League of Professional Baseball. He made his debut for the Skeeters against the Bridgeport Bluefish on August 25, 2012, in front of a crowd of 7,724. It was the first time the 50-year-old had taken the mound in almost five years. Clemens pitched scoreless innings and struck out two: former major leaguers Joey Gathright and Prentice Redman. He also retired Luis Figueroa, who played briefly with the Pirates, Blue Jays and the Giants. Clemens allowed only one hit and no walks on 37 pitches in the Skeeters' 1–0 victory. Clemens made his second start for the Skeeters on September 7 against the Long Island Ducks. He pitched scoreless innings, with his son, Koby, as his catcher. He retired former New York Met outfielder Timo Perez for the final out in the fourth inning, and was named the winning pitcher by the official scorer. Clemens's fastball was clocked as high as 88 mph, and the Astros sent scouts to both of his outings with the Skeeters in consideration of a possible return to the team that season. Roger Clemens joined the Kansas Stars, a group of 24 retired major leaguers and his son Koby, to compete in the 2016 National Baseball Congress World Series. The team was put together by Kansas natives Adam LaRoche and Nate Robertson, and featured eleven former All-Stars, including Tim Hudson, Roy Oswalt, and J. D. Drew as well as Clemens. Pitching just six days after his 54th birthday, Clemens started for the Kansas Stars in a game against the NJCAA National Team on August 10, 2016. He pitched innings, allowing 3 runs with one strikeout in an 11–10 loss. On August 22, 2019, Clemens wore his Red Sox uniform and pitched in the Abbot Financial Management Oldtime Baseball Game, an annual charity event held at St. Peter's Field in Cambridge, Massachusetts. The 2019 game benefitted Compassionate Care ALS, in memory of longtime Fenway Park supervisor John Welch, who died from Lou Gehrig's Disease in December 2018. Facing mostly young college players, Clemens pitched two shutout innings in the game, then moved to first base. Pitching style Clemens was a prototypical power pitcher with an aggressive edge for his entire career. This was especially the case when he was a young man. Clemens was said to throw "two pitches: a 98-mph fastball and a hard breaking ball. At 23, Clemens simply reared back and threw the ball past batters." Later in his career, Clemens developed a devastating split-finger fastball to use as an off-speed pitch in concert with his fastball. Clemens has jocularly referred to this pitch as "Mr. Splitty". By the time Clemens retired from Major League Baseball in 2007, his four-seam fastball had settled in the 91–94 mph range. He also threw a two-seam fastball, a slider in the mid 80s, his hard splitter, and an occasional curveball. Clemens was a highly durable pitcher, leading the American League in complete games three times and innings pitched twice. His 18 complete games in 1987 is more than any pitcher has thrown since. Clemens was also known as a strikeout pitcher, leading the AL in K's five times and strikeouts per nine innings three times. Controversies Clemens has been the focal point of several controversies. His reputation has always been that of a pitcher unafraid to throw close to batters. Clemens led his league in hit batsmen only once, in 1995, but he was among the leaders in several other seasons. This tendency was more pronounced during his earlier career and subsequently tapered off. After the 2000 ALCS game against the Mariners where he knocked down future teammate Alex Rodriguez and then argued with him, Seattle Mariners manager Lou Piniella called Clemens a "headhunter." His beaning earlier that year of Mike Piazza, followed by throwing a broken-bat in Piazza's direction in the 2000 World Series, cemented Clemens's surly, unapologetic image in the minds of many. In 2009, former manager Cito Gaston publicly denounced Clemens as a "double-talker" and "a complete asshole". Clemens was ranked 14th all-time in hit batsmen after the 2020 season. 14th all time may be misleading, as his rate of hit batsmen per batter faced is not out of line with other pitchers of his era at 1 hit batsmen per 125 batters faced. Numbers reflect similar rate of hit batsmen to pitchers such as Nolan Ryan, Justin Verlander, Greg Maddux. Clemens has attracted controversy over the years for his outspoken comments, such as his complaints about having to carry his own luggage through an airport and his criticism of Fenway Park for being a subpar facility. On April 4, 2006, Clemens made an insulting remark when asked about the devotion of Japanese and South Korean fans during the World Baseball Classic: "None of the dry cleaners were open, they were all at the game, Japan and Korea". Toward the end of his career, his annual on-and-off "retirements" revived a reputation for diva-like behavior. Clemens has received criticism for getting special treatment from the teams that sign him. While playing for Houston, Clemens was not obliged to travel with the team on road trips if he was not pitching. His 2007 contract with the New York Yankees had a "family plan" clause that stipulated that he not be required to go on road trips in which he was not scheduled to pitch and allowed him to leave the team between starts to be with his family. These perks were publicly criticized by Yankee reliever Kyle Farnsworth. Most of Clemens's teammates, however, did not complain of such perks because of Clemens's success on the mound and valuable presence in the clubhouse. Yankee teammate Jason Giambi spoke for such players when he said, "I'd carry his bags for him, just as long as he is on the mound." Steroid use accusations In José Canseco's book, Juiced: Wild Times, Rampant 'Roids, Smash Hits & How Baseball Got Big, Canseco suggested that Clemens had expert knowledge about steroids and suggested that he used them, based on the improvement in his performance after leaving the Red Sox. While not addressing the allegations directly, Clemens stated: "I could care less about the rules" and "I've talked to some friends of his and I've teased them that when you're under house arrest and have ankle bracelets on, you have a lot of time to write a book." Jason Grimsley named Clemens, as well as Andy Pettitte, as a user of performance-enhancing drugs. According to a 20-page search warrant affidavit signed by IRS Special Agent Jeff Novitzky, Grimsley told investigators he obtained amphetamines, anabolic steroids and human growth hormone from someone recommended to him by former Yankees trainer Brian McNamee. McNamee was a personal strength coach for Clemens and Pettitte, hired by Clemens in 1998. At the time of the Grimsley revelations, McNamee denied knowledge of steroid use by Clemens and Pettitte. Despite initial media reports, the affidavit made no mention of Clemens or Pettitte. However, Clemens's name was mentioned 82 times in the Mitchell Report on steroid use in baseball. In the report, McNamee stated that during the 1998, 2000, and 2001 baseball seasons, he injected Clemens with Winstrol. Clemens's attorney Rusty Hardin denied the claims, calling McNamee "a troubled and unreliable witness" who has changed his story five times in an attempt to avoid criminal prosecution. He noted that Clemens has never tested positive in a steroid test. Former U.S. Senator George Mitchell, who prepared the report, stated that he relayed the allegations to each athlete implicated in the report and gave them a chance to respond before his findings were published. On January 6, 2008, Clemens went on 60 Minutes to address the allegations. He told Mike Wallace that his longevity in baseball was due to "hard work" rather than illegal substances and denied all of McNamee's assertions that he injected Clemens with steroids, saying it "never happened". On January 7, Clemens filed a defamation lawsuit against McNamee, claiming that the former trainer lied after being threatened with prosecution. McNamee's attorneys argued that he was compelled to cooperate by federal officials and so his statements were protected. A federal judge agreed, throwing out all claims related to McNamee's statements to investigators on February 13, 2009, but allowing the case to proceed on statements McNamee made about Clemens to Pettitte. On February 13, 2008, Clemens appeared before a Congressional committee, along with Brian McNamee and swore under oath that he did not take steroids, that he did not discuss HGH with McNamee, that he did not attend a party at José Canseco's where steroids were the topic of conversation, that he was only injected with B-12 and lidocaine and that he never told Pettitte he had taken HGH. This last point was in contradiction to testimony Pettitte had given under oath on February 4, 2008, wherein Pettitte said he repeated to McNamee a conversation Pettitte had with Clemens. During this conversation, Pettitte said Clemens had told him that McNamee had injected Clemens with human growth hormone. Pettitte said McNamee reacted angrily, saying that Clemens "shouldn't have done that."<ref name=tj>Quinn, T.J. "In court of public opinion, a Clemens verdict: Game over." ESPN.com, December 12, 2008. Retrieved November 6, 2017.</ref> The bipartisan House committee in front of which Clemens appeared, citing seven apparent inconsistencies in Clemens's testimony, recommended that the Justice Department investigate whether Clemens lied under oath about using performance-enhancing drugs. In a letter sent February 27 to Attorney General Michael Mukasey, House Oversight and Government Reform Committee chairman Henry Waxman and ranking Republican Tom Davis said Clemens's testimony that he "never used anabolic steroids or human growth hormone warrants further investigation". As a result of the Mitchell Report, Clemens was asked to end his involvement with the Giff Nielsen Day of Golf for Kids charity tournament in Houston that he has hosted for four years. As well, his name has been removed from the Houston-based Roger Clemens Institute for Sports Medicine and will be renamed the Memorial Hermann Sports Medicine Institute. After Washington prosecutors showed "a renewed interest in the case in the final months of 2008", a federal grand jury was convened in January 2009 to hear evidence of Clemens's possible perjury before Congress. The grand jury indicted Clemens on August 19, 2010, on charges of making false statements to Congress about his use of performance-enhancing drugs. The indictment charges Clemens with one count of obstruction of Congress, three counts of making false statements and two counts of perjury in connection with his February 2008 testimony. His first trial began on July 13, 2011, but on the second day of testimony the judge in the case declared a mistrial over prosecutorial misconduct after prosecutors showed the jury prejudicial evidence they were not allowed to. Clemens was subsequently retried. The verdict from his second trial came in on June 18, 2012. Clemens was found not guilty on all six counts of lying to Congress in 2008, when he testified that he never took performance-enhancing drugs. In January 2016, after Clemens once again fell short of the votes required for election into the Hall of Fame, former major-league star Roy Halladay tweeted "No Clemens no Bonds" as part of a message indicating no performance-enhancing substance users should be voted into the Hall. Clemens countered by accusing Halladay of using amphetamines during his playing career. Adultery accusations In April 2008, the New York Daily News reported on a possible long-term relationship between Clemens and country music singer Mindy McCready that began when she was 15 years old. Clemens's attorney Rusty Hardin denied the affair and also stated that Clemens would be bringing a defamation suit regarding this allegation. Clemens's attorney admitted that a relationship existed but described McCready as a "close family friend". He also stated that McCready had traveled on Clemens's personal jet and that Clemens's wife was aware of the relationship. However, when contacted by the Daily News, McCready said, "I cannot refute anything in the story." On November 17, 2008, McCready spoke in more detail to Inside Edition about her affair with Clemens, saying their relationship lasted for more than a decade and that it ended when Clemens refused to leave his wife to marry her. However, she denied that she was 15 years old when it began, saying that they met when she was 16 and the affair only became sexual "several years later". In another soon-to-be-released sex tape by Vivid Entertainment she claimed that the first time she had sex with him was when she was 21. She also said that he often had erectile dysfunction. A few days after the Daily News broke the story about the McCready relationship, they reported on another Clemens extramarital relationship, this time with Paulette Dean Daly, the now ex-wife of pro golfer John Daly. Daly declined to elaborate on the nature of her relationship with the pitcher but did not deny that it was romantic and included financial support. There have been reports of Clemens having at least three other affairs with women. On April 29, 2008, the New York Post reported that Clemens had relationships with two or more women. One, a former bartender in Manhattan, refused comment on the story, while another, a woman from Tampa, could not be located. On May 2 of the same year, the Daily News reported a stripper in Detroit called a local radio station and said she had an affair with Clemens. He also gave tickets to baseball games, jewelry, and trips to women he was wooing. Other media Clemens has appeared as himself in several movies and television episodes and has also occasionally acted in films. Perhaps best known was his appearance in the season three episode of The Simpsons ("Homer at the Bat"), in which he is recruited to the Springfield nuclear plant's softball team but is accidentally hypnotized into thinking he is a chicken; in addition to his lines, Clemens voiced his own clucking. Clemens has also made guest appearances as himself on the TV shows Hope & Faith, Spin City, Arli$$, and Saturday Night Live as well as the movie Anger Management, and makes a brief appearance in the movie Kingpin as the character Skidmark. He also is shown playing an actual game with the Houston Astros in the film Boyhood. He appeared in the 1994 movie Cobb as an unidentified pitcher for the Philadelphia A's. In 2003, he was part of an advertising campaign for Armour hot dogs with MLB players Ken Griffey Jr., Derek Jeter, and Sammy Sosa. Since 2005, Clemens has also appeared in many commercials for Texas-based supermarket chain H-E-B. In 2007, he appeared on a baseball-themed episode of MythBusters ("Baseball Myths"). He has also starred in a commercial for Cingular parodying his return from retirement. He was calling his wife, Debra Godfrey, and a dropped call resulted in his return to the Yankees. He released an early autobiography, Rocket Man: The Roger Clemens Story written with Peter Gammons, in 1987. Clemens is also the spokesperson for Champion car dealerships in South Texas. In April 2009, Clemens was the subject of an unauthorized biography by Jeff Pearlman, titled The Rocket that Fell to Earth-Roger Clemens and the Rage for Baseball Immortality, that focused on his childhood and early career and accused Mike Piazza of using steroids. On May 12, Clemens broke a long silence to denounce a heavily researched expose by four investigative reporters from the New York Daily News, called American Icon: The Fall of Roger Clemens and the Rise of Steroids in America's Pastime. Clemens went on ESPN's Mike and Mike show to call the book "garbage", but a review by Michiko Kakutani of The New York Times called the book "gripping" and compared it to the work of Bob Woodward. Awards and recognition In 1999, while many of his performances and milestones were yet to come he ranked number 53 on The Sporting News list of the 100 Greatest Baseball Players, and was elected by the fans to the Major League Baseball All-Century Team. In 2005, the updated Sporting News list moved Clemens up to #15. By the end of the 2005 season, Clemens had won seven Cy Young Awards (he won the AL award in 1986, 1987, 1991, 1997, 1998, and 2001, and the National League award in 2004), an MVP and two pitching triple crowns. With his 2004 win, he joined Gaylord Perry, Randy Johnson, and Pedro Martínez as the only pitchers to win it in both leagues and became the oldest pitcher to ever win the Cy Young. He has also won the Sporting News Pitcher of the Year Award five times, was named an All-Star 11 times, and won the All-Star MVP in 1986. In October 2006, Clemens was named to Sports Illustrateds "all-time" team. On August 18, 2007, Clemens got his 1,000th strikeout as a Yankee. He is only the ninth player in major league history to record 1,000 or more strikeouts with two different teams. Clemens has recorded a total of 2,590 strikeouts as a member of the Red Sox and 1,014 strikeouts as a Yankee. He also had 563 strikeouts for Toronto, and 505 strikeouts for Houston. Clemens was inducted into the Boston Red Sox Hall of Fame in 2014, and was inducted into the Pawtucket Red Sox Hall of Fame on June 21, 2019. National Baseball Hall of Fame consideration In 2013 Baseball Hall of Fame balloting, his first year of eligibility, Clemens received 37.6% of the votes cast by the Baseball Writers' Association of America (BBWAA), falling well short of the 75% required for induction into the Hall of Fame. He has garnered more votes in subsequent elections without reaching the 75% threshold: he received 59.5% in 2019, 61.0% in 2020, and 61.6% in 2021. With the inductions of Greg Maddux and Tom Glavine in 2014 and Randy Johnson in 2015, Clemens is currently the only eligible member of the 300 win club not to be inducted into the Hall. He received 65.2% of the votes in his final year of eligibility, 2022. Despite falling off the ballot, Clemens is still eligible for induction through the Hall of Fame’s Today’s Game Committee. The committee is a 16-member electorate “comprised of members of the National Baseball Hall of Fame, executives, and veteran media members" (hence the nickname of “veteran’s committee”) who consider retired players who lost ballot eligibility while still having made notable contributions to baseball from 1986-2016. Voting will be held in December 2022, and 12 votes are required for induction. Personal life Clemens married Debra Lynn Godfrey (born May 27, 1963) on November 24, 1984. The couple has four sons: Koby Aaron, Kory Allen, Kacy Austin, and Kody Alec—all given "K" names to honor Clemens's strikeouts ("K's"). Koby was at one time a minor league prospect for some MLB clubs. Kacy played college baseball for the Texas Longhorns and was drafted by the Blue Jays in the eighth round of the 2017 Major League Baseball draft. Kacy is an infielder who is currently a free agent. Kody also played college baseball for the Texas Longhorns and was drafted 79th overall by the Detroit Tigers in the third round of the 2018 Major League Baseball draft. Debra once left a Red Sox game, when Clemens pitched for another team, in tears from the heckling she received. This is documented in an updated later edition to Dan Shaughnessy's best-selling book, Curse of the Bambino. Debra also was quoted in the book as stating that it was the poor attitude of Red Sox fans that prevented the team from ever winning the World Series (this was quoted prior to the Red Sox' 2004 World Series victory). Clemens is a member of the Republican Party and donated money to Texas congressman Ted Poe during his 2006 campaign. Debra posed in a bikini with her husband for a Sports Illustrated pictorial regarding athletes and their wives. This appeared in the annual Sports Illustrated Swimsuit Edition'' for 2003. Roger wore his Yankees uniform, with the jersey open. On February 27, 2006, to train for the World Baseball Classic, Roger pitched in an exhibition game between the Astros and his son's minor league team. In his first at-bat, Koby hit a home run off his father. In his next at-bat, Roger threw an inside pitch that almost hit Koby. Koby laughed in an interview after the game about the incident. See also Houston Astros award winners and league leaders List of Boston Red Sox award winners List of Boston Red Sox team records List of Major League Baseball annual shutout leaders List of Major League Baseball career hit batsmen leaders List of Major League Baseball career wins leaders List of Major League Baseball players named in the Mitchell Report List of Major League Baseball single-game strikeout leaders List of people from Dayton, Ohio List of Toronto Blue Jays team records List of University of Texas at Austin alumni Major League Baseball titles leaders Toronto Blue Jays award winners and league leaders References External links Roger Clemens Foundation 1962 births Living people American expatriate baseball players in Canada American League All-Stars American League ERA champions American League Most Valuable Player Award winners American League Pitching Triple Crown winners American League strikeout champions American League wins champions American people of German descent Baseball players from Dayton, Ohio Boston Red Sox players Bridgeport Bluefish guest managers Corpus Christi Hooks players Cy Young Award winners Houston Astros players Lexington Legends players Major League Baseball All-Star Game MVPs Major League Baseball controversies Major League Baseball pitchers National League All-Stars National League ERA champions New Britain Red Sox players New York Yankees players Norwich Navigators players Pawtucket Red Sox players People from Vandalia, Ohio Round Rock Express players San Jacinto Central Ravens baseball players Sarasota Red Sox players Scranton/Wilkes-Barre Yankees players Sugar Land Skeeters players Tampa Yankees players Texas Longhorns baseball players Texas Republicans Trenton Thunder players Toronto Blue Jays players Winter Haven Red Sox players World Baseball Classic players of the United States 2006 World Baseball Classic players
true
[ "Redemption Inc. (also known as Redemption Inc. with Kevin O'Leary) is a nine-part Canadian reality TV game show hosted by business commentator Kevin O'Leary, broadcast on CBC, produced by Proper Television. The show stars 10 ex-cons, from cocaine dealers to fraud artists, in an elimination-style competition that results in the winner earning $100,000 of O'Leary's money to launch their own business.\n\nFormat\nOn Redemption Inc., every week the contestants are plunged into another business, in order to prove themselves to the business manager and O'Leary himself. O'Leary assigns a team leader (or multiple team leaders) and they are given a business task that they are to meet. Often there will be a training day followed by the business day.\n\nEliminations proceed as thus: All contestants come into the studio to discuss the pros and cons of the business challenge, and then Kevin selects players to stay behind with him and those players make their case to stay. Finally, Kevin offers someone an exit package, to start up their own business. The exit package does not have to be taken; however, the package cannot be offered again.\n\nThe contestants were:\n\nElimination Table\n = Winner of the show\n = Runners-up of the show and left with a consolation package\n = Designated leader or co-leader in challenge\n = Ranked low in performance\n = Designated leader or co-leader in challenge and ranked low in challenge\n = Accepted the exit package and left\n = Declined the exit package and stayed\n = Forced to accept exit package and leave\n = Quit the show\n\nLeslie was designated as the team leader for this task.\n\nReasons for Elimination\nNicole: Gave too many excuses, Kevin felt she didn't participate in the challenge as much as her fellow participants. She also crashed a car.\nAaron: His fellow participants had many problems with his attitude, and found him hard to work with.\nLeslie: As leader, his fellow participants had many problems with his attitude, and didn't respect his leadership.\nRyan: Failed to show up to challenge and failed to give any reason why. In the boardroom he gave excuses that nobody, including Kevin, believed. In the end Ryan was forced to leave with his exit package, he was not given the opportunity to turn it down and remain in the game.\nJoseph: Even though Joseph was asked to stay behind, Kevin gave him another chance. However, after Adam revealed his decision to stay Joseph told everyone he couldn't handle the competition anymore (saying it was like when he was incarcerated) and quit.\nAdam: Was named leader in episode 5, and was ranked low in performance. He chose to stay on. In episode 6, he was successful at selling art, but was viewed unfavorably by the store owners and fellow competitors. Despite declining an exit package before, Kevin decided to give half of the previous package to Adam. However, he was forced to take it and leave.\nJeff: Made the least amount in profits. Expenses made the difference in the assessment of performance.\nBrian and Samuel: Challengers were given the opportunity to present a business plan to a panel of business people, and Alia was declared the winner. Brian and Samuel received consolation packages.\n\nViewership ratings\n\nSee also\nAmerican Inventor\nThe Big Idea\nFortune: Million Pound Giveaway\nWin in China\nThe Profit\nShark Tank\nDragons' Den\n\nReferences\n\nExternal links\n Official Website\n\n2010s Canadian game shows\nCBC Television original programming\n2010s Canadian reality television series\n2012 Canadian television series debuts\n2012 Canadian television series endings\nTelevision series by Proper Television", "\"Llangollen Market\" is a song from early 19th century Wales. It is known to have been performed at an eisteddfod at Llangollen in 1858.\n\nThe text of the song survives in a manuscript held by the National Museum of Wales, which came into the possession of singer Mary Davies, a co-founder of the Welsh Folk-Song Society.\n\nThe song tells the tale of a young man from the Llangollen area going off to war and leaving behind his broken-hearted girlfriend. Originally written in English, the song has been translated into Welsh and recorded by several artists such as Siân James, Siobhan Owen, Calennig and Siwsann George.\n\nLyrics\nIt’s far beyond the mountains that look so distant here,\nTo fight his country’s battles, last Mayday went my dear;\nAh, well shall I remember with bitter sighs the day,\nWhy, Owen, did you leave me? At home why did I stay?\n\nAh, cruel was my father that did my flight restrain,\nAnd I was cruel-hearted that did at home remain,\nWith you, my love, contented, I’d journey far away;\nWhy, Owen, did you leave me? At home why did I stay?\n\nWhile thinking of my Owen, my eyes with tears do fill,\nAnd then my mother chides me because my wheel stands still,\nBut how can I think of spinning when my Owen’s far away;\nWhy, Owen, did you leave me? At home why did I stay?\n\nTo market at Llangollen each morning do I go,\nBut how to strike a bargain no longer do I know;\nMy father chides at evening, my mother all the day;\nWhy, Owen, did you leave me, at home why did I stay?\n\nOh, would it please kind heaven to shield my love from harm,\nTo clasp him to my bosom would every care disarm,\nBut alas, I fear, 'tis distant - that happy, happy day;\nWhy, Owen, did you leave me, at home why did stay?\n\nReferences\n\nWelsh folk songs" ]
[ "Roger Clemens", "Return to the Yankees (2007)", "When did Clemens return to the yankees", "Clemens made his 2007 return on June 9,", "How did he perform with the yankees", "On July 2, Clemens collected his 350th win against the Minnesota Twins at Yankee Stadium,", "did he play in the postseason", "I don't know.", "how long was he with the yankees", "Clemens finished the 2007 regular season", "Did anything exciting happen while he was with them", "Clemens was forced to leave Game 3 of the 2007 ALDS", "Why was he forced to leave", "a hamstring injury." ]
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Was this a big deal?
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Was Roger Clemens's hamstring injury a big deal?
Roger Clemens
Clemens unexpectedly appeared in the owner's box at Yankee Stadium on May 6, 2007, during the seventh-inning stretch of a game against the Seattle Mariners, and made a brief statement: "Thank y'all. Well they came and got me out of Texas, and uhh, I can tell you it's a privilege to be back. I'll be talkin' to y'all soon." It was simultaneously announced that Clemens had rejoined the Yankees roster, agreeing to a pro-rated one-year deal worth $28,000,022, or about $4.7 million per month. Over the contract life, he would make $18.7 million. This equated to just over $1 million per start that season. Clemens made his 2007 return on June 9, defeating the Pittsburgh Pirates by pitching six innings with seven strikeouts and 3 runs allowed. On June 21, with a single in the 5th inning against the Colorado Rockies, Clemens became the oldest New York Yankee to record a hit (44 years, 321 days). On June 24, Clemens pitched an inning in relief against the San Francisco Giants. It had been 22 years and 341 days since his previous regular-season relief appearance, the longest such gap in major league history. On July 2, Clemens collected his 350th win against the Minnesota Twins at Yankee Stadium, giving up just two hits and one run over eight innings. Clemens is one of only three pitchers to pitch his entire career in the live-ball era and reach 350 wins. The other two are Warren Spahn (whose catcher for his 350th win was Joe Torre, Clemens's manager for his 350th), and Greg Maddux, who earned his 350th win in 2008. His final regular season appearance was a start against the Red Sox at Fenway Park, in which he allowed 2 hits and 1 unearned run in 6 innings, and received a no-decision. Clemens finished the 2007 regular season with a record of 6-6 and a 4.18 ERA. Clemens was forced to leave Game 3 of the 2007 ALDS in the third inning after aggravating a hamstring injury. He struck out Victor Martinez of the Cleveland Indians with his final pitch, and was replaced by right-hander Phil Hughes. Yankees manager Joe Torre removed Clemens from the roster due to his injury, and replaced him with left-hander Ron Villone. CANNOTANSWER
Yankees manager Joe Torre removed Clemens from the roster due to his injury,
William Roger Clemens (born August 4, 1962), nicknamed "Rocket", is an American former professional baseball pitcher who played 24 seasons in Major League Baseball (MLB), primarily with the Boston Red Sox and New York Yankees. Clemens was one of the most dominant pitchers in major league history, tallying 354 wins, a 3.12 earned run average (ERA), and 4,672 strikeouts, the third-most all time. An 11-time All-Star and two-time World Series champion, he won seven Cy Young Awards during his career, more than any other pitcher in history. Clemens was known for his fierce competitive nature and hard-throwing pitching style, which he used to intimidate batters. Clemens debuted in MLB in 1984 with the Red Sox, whose pitching staff he anchored for 12 years. In 1986, he won the American League (AL) Cy Young Award, the AL Most Valuable Player (MVP) Award, and the All-Star Game MVP Award, and he struck out an MLB-record 20 batters in a single game. After the 1996 season, in which he achieved his second 20-strikeout performance, Clemens left Boston via free agency and joined the Toronto Blue Jays. In each of his two seasons with Toronto, Clemens won a Cy Young Award, as well as the pitching triple crown by leading the league in wins, ERA, and strikeouts. Prior to the 1999 season, Clemens was traded to the Yankees where he won his two World Series titles. In 2001, Clemens became the first pitcher in major league history to start a season with a win-loss record of 20–1. In 2003, he reached his 300th win and 4,000th strikeout in the same game. Clemens left for the Houston Astros in 2004, where he spent three seasons and won his seventh Cy Young Award. He rejoined the Yankees in 2007 for one last season before retiring. He is the only pitcher in Major League history to record over 350 wins and strike out over 4,500 batters. Clemens was alleged by the Mitchell Report to have used anabolic steroids during his late career, mainly based on testimony given by his former trainer, Brian McNamee. Clemens firmly denied these allegations under oath before the United States Congress, leading congressional leaders to refer his case to the Justice Department on suspicions of perjury. On August 19, 2010, a federal grand jury at the U.S. District Court in Washington, D.C., indicted Clemens on six felony counts involving perjury, false statements and Contempt of Congress. Clemens pleaded not guilty, but proceedings were complicated by prosecutorial misconduct, leading to a mistrial. The verdict from his second trial came in June 2012, when Clemens was found not guilty on all six counts of lying to Congress. These controversies hurt his chances for election to the Baseball Hall of Fame. He never received the 75% of the votes required in his ten years of eligibility, ending with 65.2% in 2022. Early life Clemens was born in Dayton, Ohio, the fifth child of Bill and Bess (Lee) Clemens. He is of German descent, his great-grandfather Joseph Clemens having immigrated in the 1880s. Clemens's parents separated when he was an infant. His mother soon married Woody Booher, whom Clemens considers his father. Booher died when Clemens was nine years old, and Clemens has said that the only time he ever felt envious of other players was when he saw them in the clubhouse with their fathers. Clemens lived in Vandalia, Ohio, until 1977, and then spent most of his high school years in Houston, Texas. At Spring Woods High School, Clemens played baseball for longtime head coach Charles Maiorana and also played football and basketball. He was scouted by the Philadelphia Phillies and Minnesota Twins during his senior year, but opted to go to college. Collegiate career He began his college career pitching for San Jacinto College North in 1981, where he was 9–2. The New York Mets selected Clemens in the 12th round of the 1981 Major League Baseball draft, but he did not sign. He then attended the University of Texas at Austin, compiling a 25–7 record in two All-American seasons, and was on the mound when the Longhorns won the 1983 College World Series. He became the first player to have his baseball uniform number retired at the University of Texas. In 2004, the Rotary Smith Award, given to America's best college baseball player, was changed to the Roger Clemens Award, honoring the best pitcher. At Texas, Clemens pitched 35 consecutive scoreless innings, an NCAA record that stood until Justin Pope broke it in 2001. Professional career Boston Red Sox (1984–1996) Clemens was selected in the first round (19th overall) of the 1983 MLB draft by the Boston Red Sox and quickly rose through the minor league system, making his MLB debut on May 15, 1984. An undiagnosed torn labrum threatened to end his career early; he underwent successful arthroscopic surgery by Dr. James Andrews. In 1986, Clemens won the American League MVP award, finishing with a 24–4 record, 2.48 ERA, and 238 strikeouts. Clemens started the 1986 All-Star Game in the Astrodome and was named the Most Valuable Player of the contest by throwing three perfect innings and striking out two. He also won the first of his seven Cy Young Awards. When Hank Aaron said that pitchers should not be eligible for the MVP, Clemens responded: "I wish he were still playing. I'd probably crack his head open to show him how valuable I was." Clemens was the only starting pitcher since Vida Blue in 1971 to win a league MVP award until Justin Verlander won the award in 2011. On April 29, 1986, Clemens became the first pitcher in MLB history to strike out 20 batters in a nine-inning game, against the Seattle Mariners at Boston's Fenway Park. Following his performance, Clemens made the cover of Sports Illustrated which carried the headline "Lord of the K's [strikeouts]." Other than Clemens, only Kerry Wood and Max Scherzer have matched the total. (Randy Johnson fanned 20 batters in nine innings on May 8, 2001. However, as the game went into extra innings, it is not categorized as occurring in a nine-inning game. Tom Cheney holds the record for any game: 21 strikeouts in 16 innings.) Clemens attributes his switch from what he calls a "thrower" to a "pitcher" to the partial season Hall of Fame pitcher Tom Seaver spent with the Red Sox in 1986. Facing the California Angels in the 1986 ALCS, Clemens pitched poorly in the opening game, watched the Boston bullpen blow his 3–1 lead in the bottom of the ninth inning of Game 4, and then pitched a strong Game 7 to wrap up the series for Boston. The League Championship Series clincher was Clemens's first postseason career victory. He did not win his second until 13 years later. After a victory in game five, Boston led 3 games to 2 over the New York Mets in the 1986 World Series with Clemens set to start game six at Shea Stadium. Clemens who was pitching on five days rest started strong by striking out eight while throwing a no-hitter through four innings. In the top of eighth and with Boston ahead 3–2, manager John McNamara sent rookie Mike Greenwell to pinch hit for Roger Clemens. It was initially said that Clemens was removed from the game due to a blister forming on one of his fingers, but both he and McNamara dispute this. Clemens said to Bob Costas on an MLB Network program concerning the 1986 postseason that McNamara decided to pull him despite Clemens wanting to pitch. McNamara said to Costas that Clemens "begged out" of the game. The Mets rallied and took both game six and seven to win the World Series. The Red Sox had a miserable 1987 season, finishing at 78–84, though Clemens won his second consecutive Cy Young Award with a 20–9 record, 2.97 ERA, 256 strikeouts, and seven shutouts. He was the first AL pitcher with back-to-back 20-win seasons since Tommy John won 20 with the Yankees in 1979 and '80. Boston rebounded with success in 1988 and 1990, clinching the AL East Division each year, but were swept by the Oakland Athletics in each ALCS matchup. His greatest postseason failure came in the second inning of the final game of the 1990 ALCS, when he was ejected for arguing balls and strikes with umpire Terry Cooney, accentuating the A's four-game sweep of the Red Sox. He was suspended for the first five games of the 1991 season and fined $10,000. Clemens led the American League in 1988 with 291 strikeouts and a career-high 8 shutouts. On September 10, 1988, Clemens threw a one-hitter against the Cleveland Indians at Fenway Park. Dave Clark's one-out single in the eighth inning was the only hit Clemens allowed in the game. In a 9–1 victory over Cleveland on April 13, 1989, Clemens recorded his 1,000 career strikeout by fanning Brook Jacoby with the bases loaded in the second inning. Clemens finished second to Oakland's Bob Welch for the 1990 AL Cy Young Award, despite the fact that Clemens crushed Welch in ERA (1.93 to 2.95), strikeouts (209 to 127), walks (54 to 77), home runs allowed (7 to 26), and WAR (10.4 to 2.9). Clemens did, however, capture his third Cy Young Award in 1991 with an 18–10 record, 2.62 ERA, and 241 strikeouts. On June 21, 1989, Clemens surrendered the first of 609 home runs in the career of Sammy Sosa. Clemens accomplished the 20-strikeout feat twice, the only player ever to do so. The second performance came more than 10 years later, on September 18, 1996, against the Detroit Tigers at Tiger Stadium. This second 20-K day occurred in his third-to-last game as a member of the Boston Red Sox. Later, the Tigers presented him with a baseball containing the autographs of each batter who had struck out (those with multiple strikeouts signed the appropriate number of times). The Red Sox did not re-sign Clemens following the 1996 season, despite leading the A.L. with 257 strikeouts and offering him "by far the most money ever offered to a player in the history of the Red Sox franchise." General Manager Dan Duquette remarked that he "hoped to keep him in Boston during the twilight of his career", but Clemens left and signed with the Toronto Blue Jays. The emphasis on the misquoted 1996 "twilight" comment took on a life of its own following Clemens's post-Boston successes, and Duquette was vilified for letting the star pitcher go. Ultimately, Clemens would go on to have a record of 162–73 for the rest of his career after leaving the Red Sox. Clemens recorded 192 wins and 38 shutouts for the Red Sox, both tied with Cy Young for the franchise record and is their all-time strikeout leader with 2,590. Clemens's overall postseason record with Boston was 1–2 with a 3.88 ERA, and 45 strikeouts, and 19 walks in 56 innings. No Red Sox player has worn his uniform #21 since Clemens left the team in the 1996–97 offseason. Toronto Blue Jays (1997–1998) Clemens signed a four-year, $40 million deal with the Toronto Blue Jays after the 1996 season. In his first start in Fenway Park as a member of the Blue Jays, he pitched eight innings allowing only 4 hits and 1 earned run. 16 of his 24 outs were strikeouts, and every batter who faced him struck out at least once. As he left the field following his last inning of work, he stared up angrily towards the owner's box. Clemens was dominant in his two seasons with the Blue Jays, winning the pitching Triple Crown and the Cy Young Award in both seasons (1997: 21–7 record, 2.05 ERA, and 292 strikeouts; 1998: 20–6 record, 2.65 ERA, and 271 strikeouts). After the 1998 season, Clemens asked to be traded, indicating that he did not believe the Blue Jays would be competitive enough the following year and that he was dedicated to winning a championship. New York Yankees (1999–2003) Clemens was traded to the New York Yankees before the 1999 season for David Wells, Homer Bush, and Graeme Lloyd. Since his longtime uniform number #21 was in use by teammate Paul O'Neill, Clemens initially wore #12, before switching mid-season to #22. Clemens made an immediate impact on the Yankees' staff, anchoring the top of the rotation as the team went on to win a pair of World Series titles in 1999 and 2000. During the 1999 regular season, Clemens posted a 14–10 record with a 4.60 ERA. He logged a pair of wins in the postseason, though he lost Game 3 of the 1999 ALCS in a matchup against Red Sox ace Pedro Martínez, which was the Yankees' only loss in the 1999 playoffs. Clemens pitched 7.2 innings of 1-run baseball during the Yankees' game 4 clincher over the Atlanta Braves. Clemens followed up with a strong 2000 season, in which he finished with a 13–8 record with a 3.70 ERA for the regular season. During the 2000 postseason, he helped the Yankees win their third consecutive championship. Clemens set the ALCS record for strikeouts in a game when he fanned 15 batters in a one-hit shutout of the Seattle Mariners in Game 4 of the ALCS. A seventh-inning lead-off double by Seattle's Al Martin was all that prevented Clemens from throwing what was, at the time, only the second no-hitter in postseason history. In Game 2 of the 2000 World Series, Clemens pitched eight scoreless innings against the New York Mets. In 2001, Clemens became the first pitcher in MLB history to start a season 20–1 (finishing 20–3) and winning his sixth Cy Young Award. As of the 2020 season, he is the last Yankee pitcher to win the Cy Young Award. Clemens started for the Yankees in Game 7 of the 2001 World Series against the Arizona Diamondbacks, where he dueled Curt Schilling to a standstill after 6 innings, yielding only one run. The Diamondbacks went on to win the game in the 9th. Early in 2003, Clemens announced his retirement, effective at the end of that season. On June 13, 2003, pitching against the St. Louis Cardinals in Yankee Stadium, Clemens recorded his 300th career win and 4,000th career strikeout, the only player in history to record both milestones in the same game. The 300th win came on his fourth try; the Yankee bullpen had blown his chance of a win in his previous two attempts. He became the 21st pitcher ever to record 300 wins and the third ever to record 4,000 strikeouts. His career record upon reaching the milestones was 300–155. Clemens finished the season with a 17–9 record and a 3.91 ERA. The end of Clemens's 2003 season became a series of public farewells met with appreciative cheering. His last games in each AL park were given extra attention, particularly his final regular-season appearance in Fenway Park, when despite wearing the uniform of the hated arch-rival, he was afforded a standing ovation by Red Sox fans as he left the field. (This spectacle was repeated when the Yankees ended up playing the Red Sox in the 2003 ALCS and Clemens got a second "final start" in his original stadium.) As part of a tradition of manager Joe Torre, Clemens was chosen to manage the Yankees' last game of the regular season. Clemens made one start in the World Series against the Florida Marlins; when he left trailing 3–1 after seven innings, the Marlins left their dugout to give him a standing ovation. Houston Astros (2004–2006) Clemens came out of retirement, signing a one-year deal with his adopted hometown Houston Astros on January 12, 2004, joining close friend and former Yankees teammate Andy Pettitte. On May 5, 2004, Clemens recorded his 4,137th career strikeout to place him second on the all-time list behind Nolan Ryan. He was named the starter for the National League All-Star team but ultimately was the losing pitcher in that game after allowing six runs on five hits, including a three-run home run to Alfonso Soriano. Clemens finished the season with an 18–4 record, and was awarded his seventh Cy Young Award, becoming the oldest player ever to win the Cy Young at age 42. This made him one of six pitchers to win the award in both leagues, joining Gaylord Perry, Pedro Martínez, and Randy Johnson and later joined by Roy Halladay and Max Scherzer. Clemens was the losing pitcher for the Astros in Game Seven of the 2004 NLCS against the St. Louis Cardinals, allowing four runs in six innings. Although he pitched well, he tired in the sixth inning, surrendering all four runs. Clemens again decided to put off retirement before the 2005 season after the Houston Astros offered salary arbitration. The Astros submitted an offer of $13.5 million, and Clemens countered with a record $22 million demand. On January 21, 2005, both sides agreed on a one-year, $18,000,022 contract, thus avoiding arbitration. The deal gave Clemens the highest yearly salary earned by a pitcher in MLB history. Clemens's 2005 season ended as one of the finest he had ever posted. His 1.87 ERA was the lowest in the major leagues, the lowest of his 22-season career, and the lowest by any National Leaguer since Greg Maddux in 1995. He finished with a 13–8 record, with his lower win total primarily due to the fact that he ranked near the bottom of the major leagues in run support. The Astros scored an average of only 3.5 runs per game in games in which he was the pitcher of record. The Astros were shut out nine times in Clemens's 32 starts, and failed to score in a 10th until after Clemens was out of the game. The Astros lost five of Clemens's starts by scores of 1–0. In April, Clemens did not allow a run in three consecutive starts. However, the Astros lost all three of those starts by a 1–0 score in extra innings. Clemens won an emotional start on September 15, following his mother's death that morning. In his final start of the 2005 season, Clemens got his 4,500th strikeout. On October 9, 2005, Clemens made his first relief appearance since 1984, entering as a pinch hitter in the 15th, then pitching three innings to get the win as the Astros defeated the Atlanta Braves in Game 4 of the NLDS. It is the longest postseason game in MLB history at 18 innings. Clemens lasted only two innings in Game 1 of the 2005 World Series, and the Astros went on to be swept by the Chicago White Sox. It was the Astros' first World Series appearance. Clemens had aggravated a hamstring pull that had limited his performance since at least September. Clemens said that he would retire again after the World Series but he wanted to represent the United States in the inaugural World Baseball Classic, which would be played in March 2006. He went 1–1 in the tournament, with a 2.08 ERA, striking out 10 batters in innings. After pitching in a second-round loss to Mexico that eliminated the United States, Clemens began considering a return to the major leagues. On May 31, 2006, following another extended period of speculation, it was announced that Clemens was coming out of retirement for the third time to pitch for the Astros for the remainder of the 2006 season. Clemens signed a contract worth $22,000,022 (his uniform number #22). Since Clemens did not play a full season, he received a prorated percentage of that: approximately $12.25 million. Clemens made his return on June 22, 2006, against the Minnesota Twins, losing to their rookie phenom, Francisco Liriano, 4–2. For the second year in a row, his win total did not match his performance, as he finished the season with a 7–6 record, a 2.30 ERA, and a 1.04 WHIP. However, Clemens averaged just under 6 innings in his starts and never pitched into the eighth. Return to the Yankees (2007) Clemens unexpectedly appeared in the owner's box at Yankee Stadium on May 6, 2007, during the seventh-inning stretch of a game against the Seattle Mariners, and made a brief statement: "Thank y'all. Well they came and got me out of Texas, and uhh, I can tell you it's a privilege to be back. I'll be talkin' to y'all soon." It was simultaneously announced that Clemens had rejoined the Yankees roster, agreeing to a pro-rated one-year deal worth $28,000,022, or about $4.7 million per month. Over the contract life, he would make $18.7 million. This equated to just over $1 million per start that season. Clemens made his 2007 return on June 9, defeating the Pittsburgh Pirates by pitching six innings with seven strikeouts and three runs allowed. On June 21, with a single in the 5th inning against the Colorado Rockies, Clemens became the oldest New York Yankee to record a hit (44 years, 321 days). On June 24, Clemens pitched an inning in relief against the San Francisco Giants. It had been 22 years and 341 days since his previous regular-season relief appearance, the longest such gap in major league history. On July 2, Clemens collected his 350th win against the Minnesota Twins at Yankee Stadium, giving up just two hits and one run over eight innings. Clemens is one of only three pitchers to pitch his entire career in the live-ball era and reach 350 wins. The other two are Warren Spahn (whose catcher for his 350th win was Joe Torre, Clemens's manager for his 350th), and Greg Maddux, who earned his 350th win in 2008. His final regular-season appearance was a start against the Red Sox at Fenway Park, in which he allowed two hits and one unearned run in six innings, and received a no-decision. Clemens finished the 2007 regular season with a record of 6–6 and a 4.18 ERA. Clemens was forced to leave Game 3 of the 2007 ALDS in the third inning after aggravating a hamstring injury. He struck out Victor Martinez of the Cleveland Indians with his final pitch, and was replaced by right-hander Phil Hughes. Yankees manager Joe Torre removed Clemens from the roster due to his injury, and replaced him with left-hander Ron Villone. Clemens's overall postseason record with the Yankees was 7–4 with a 2.97 ERA, 98 strikeouts and 35 walks in 102 innings. Pitching appearances after retirement On August 20, 2012, Clemens signed with the Sugar Land Skeeters of the Atlantic League of Professional Baseball. He made his debut for the Skeeters against the Bridgeport Bluefish on August 25, 2012, in front of a crowd of 7,724. It was the first time the 50-year-old had taken the mound in almost five years. Clemens pitched scoreless innings and struck out two: former major leaguers Joey Gathright and Prentice Redman. He also retired Luis Figueroa, who played briefly with the Pirates, Blue Jays and the Giants. Clemens allowed only one hit and no walks on 37 pitches in the Skeeters' 1–0 victory. Clemens made his second start for the Skeeters on September 7 against the Long Island Ducks. He pitched scoreless innings, with his son, Koby, as his catcher. He retired former New York Met outfielder Timo Perez for the final out in the fourth inning, and was named the winning pitcher by the official scorer. Clemens's fastball was clocked as high as 88 mph, and the Astros sent scouts to both of his outings with the Skeeters in consideration of a possible return to the team that season. Roger Clemens joined the Kansas Stars, a group of 24 retired major leaguers and his son Koby, to compete in the 2016 National Baseball Congress World Series. The team was put together by Kansas natives Adam LaRoche and Nate Robertson, and featured eleven former All-Stars, including Tim Hudson, Roy Oswalt, and J. D. Drew as well as Clemens. Pitching just six days after his 54th birthday, Clemens started for the Kansas Stars in a game against the NJCAA National Team on August 10, 2016. He pitched innings, allowing 3 runs with one strikeout in an 11–10 loss. On August 22, 2019, Clemens wore his Red Sox uniform and pitched in the Abbot Financial Management Oldtime Baseball Game, an annual charity event held at St. Peter's Field in Cambridge, Massachusetts. The 2019 game benefitted Compassionate Care ALS, in memory of longtime Fenway Park supervisor John Welch, who died from Lou Gehrig's Disease in December 2018. Facing mostly young college players, Clemens pitched two shutout innings in the game, then moved to first base. Pitching style Clemens was a prototypical power pitcher with an aggressive edge for his entire career. This was especially the case when he was a young man. Clemens was said to throw "two pitches: a 98-mph fastball and a hard breaking ball. At 23, Clemens simply reared back and threw the ball past batters." Later in his career, Clemens developed a devastating split-finger fastball to use as an off-speed pitch in concert with his fastball. Clemens has jocularly referred to this pitch as "Mr. Splitty". By the time Clemens retired from Major League Baseball in 2007, his four-seam fastball had settled in the 91–94 mph range. He also threw a two-seam fastball, a slider in the mid 80s, his hard splitter, and an occasional curveball. Clemens was a highly durable pitcher, leading the American League in complete games three times and innings pitched twice. His 18 complete games in 1987 is more than any pitcher has thrown since. Clemens was also known as a strikeout pitcher, leading the AL in K's five times and strikeouts per nine innings three times. Controversies Clemens has been the focal point of several controversies. His reputation has always been that of a pitcher unafraid to throw close to batters. Clemens led his league in hit batsmen only once, in 1995, but he was among the leaders in several other seasons. This tendency was more pronounced during his earlier career and subsequently tapered off. After the 2000 ALCS game against the Mariners where he knocked down future teammate Alex Rodriguez and then argued with him, Seattle Mariners manager Lou Piniella called Clemens a "headhunter." His beaning earlier that year of Mike Piazza, followed by throwing a broken-bat in Piazza's direction in the 2000 World Series, cemented Clemens's surly, unapologetic image in the minds of many. In 2009, former manager Cito Gaston publicly denounced Clemens as a "double-talker" and "a complete asshole". Clemens was ranked 14th all-time in hit batsmen after the 2020 season. 14th all time may be misleading, as his rate of hit batsmen per batter faced is not out of line with other pitchers of his era at 1 hit batsmen per 125 batters faced. Numbers reflect similar rate of hit batsmen to pitchers such as Nolan Ryan, Justin Verlander, Greg Maddux. Clemens has attracted controversy over the years for his outspoken comments, such as his complaints about having to carry his own luggage through an airport and his criticism of Fenway Park for being a subpar facility. On April 4, 2006, Clemens made an insulting remark when asked about the devotion of Japanese and South Korean fans during the World Baseball Classic: "None of the dry cleaners were open, they were all at the game, Japan and Korea". Toward the end of his career, his annual on-and-off "retirements" revived a reputation for diva-like behavior. Clemens has received criticism for getting special treatment from the teams that sign him. While playing for Houston, Clemens was not obliged to travel with the team on road trips if he was not pitching. His 2007 contract with the New York Yankees had a "family plan" clause that stipulated that he not be required to go on road trips in which he was not scheduled to pitch and allowed him to leave the team between starts to be with his family. These perks were publicly criticized by Yankee reliever Kyle Farnsworth. Most of Clemens's teammates, however, did not complain of such perks because of Clemens's success on the mound and valuable presence in the clubhouse. Yankee teammate Jason Giambi spoke for such players when he said, "I'd carry his bags for him, just as long as he is on the mound." Steroid use accusations In José Canseco's book, Juiced: Wild Times, Rampant 'Roids, Smash Hits & How Baseball Got Big, Canseco suggested that Clemens had expert knowledge about steroids and suggested that he used them, based on the improvement in his performance after leaving the Red Sox. While not addressing the allegations directly, Clemens stated: "I could care less about the rules" and "I've talked to some friends of his and I've teased them that when you're under house arrest and have ankle bracelets on, you have a lot of time to write a book." Jason Grimsley named Clemens, as well as Andy Pettitte, as a user of performance-enhancing drugs. According to a 20-page search warrant affidavit signed by IRS Special Agent Jeff Novitzky, Grimsley told investigators he obtained amphetamines, anabolic steroids and human growth hormone from someone recommended to him by former Yankees trainer Brian McNamee. McNamee was a personal strength coach for Clemens and Pettitte, hired by Clemens in 1998. At the time of the Grimsley revelations, McNamee denied knowledge of steroid use by Clemens and Pettitte. Despite initial media reports, the affidavit made no mention of Clemens or Pettitte. However, Clemens's name was mentioned 82 times in the Mitchell Report on steroid use in baseball. In the report, McNamee stated that during the 1998, 2000, and 2001 baseball seasons, he injected Clemens with Winstrol. Clemens's attorney Rusty Hardin denied the claims, calling McNamee "a troubled and unreliable witness" who has changed his story five times in an attempt to avoid criminal prosecution. He noted that Clemens has never tested positive in a steroid test. Former U.S. Senator George Mitchell, who prepared the report, stated that he relayed the allegations to each athlete implicated in the report and gave them a chance to respond before his findings were published. On January 6, 2008, Clemens went on 60 Minutes to address the allegations. He told Mike Wallace that his longevity in baseball was due to "hard work" rather than illegal substances and denied all of McNamee's assertions that he injected Clemens with steroids, saying it "never happened". On January 7, Clemens filed a defamation lawsuit against McNamee, claiming that the former trainer lied after being threatened with prosecution. McNamee's attorneys argued that he was compelled to cooperate by federal officials and so his statements were protected. A federal judge agreed, throwing out all claims related to McNamee's statements to investigators on February 13, 2009, but allowing the case to proceed on statements McNamee made about Clemens to Pettitte. On February 13, 2008, Clemens appeared before a Congressional committee, along with Brian McNamee and swore under oath that he did not take steroids, that he did not discuss HGH with McNamee, that he did not attend a party at José Canseco's where steroids were the topic of conversation, that he was only injected with B-12 and lidocaine and that he never told Pettitte he had taken HGH. This last point was in contradiction to testimony Pettitte had given under oath on February 4, 2008, wherein Pettitte said he repeated to McNamee a conversation Pettitte had with Clemens. During this conversation, Pettitte said Clemens had told him that McNamee had injected Clemens with human growth hormone. Pettitte said McNamee reacted angrily, saying that Clemens "shouldn't have done that."<ref name=tj>Quinn, T.J. "In court of public opinion, a Clemens verdict: Game over." ESPN.com, December 12, 2008. Retrieved November 6, 2017.</ref> The bipartisan House committee in front of which Clemens appeared, citing seven apparent inconsistencies in Clemens's testimony, recommended that the Justice Department investigate whether Clemens lied under oath about using performance-enhancing drugs. In a letter sent February 27 to Attorney General Michael Mukasey, House Oversight and Government Reform Committee chairman Henry Waxman and ranking Republican Tom Davis said Clemens's testimony that he "never used anabolic steroids or human growth hormone warrants further investigation". As a result of the Mitchell Report, Clemens was asked to end his involvement with the Giff Nielsen Day of Golf for Kids charity tournament in Houston that he has hosted for four years. As well, his name has been removed from the Houston-based Roger Clemens Institute for Sports Medicine and will be renamed the Memorial Hermann Sports Medicine Institute. After Washington prosecutors showed "a renewed interest in the case in the final months of 2008", a federal grand jury was convened in January 2009 to hear evidence of Clemens's possible perjury before Congress. The grand jury indicted Clemens on August 19, 2010, on charges of making false statements to Congress about his use of performance-enhancing drugs. The indictment charges Clemens with one count of obstruction of Congress, three counts of making false statements and two counts of perjury in connection with his February 2008 testimony. His first trial began on July 13, 2011, but on the second day of testimony the judge in the case declared a mistrial over prosecutorial misconduct after prosecutors showed the jury prejudicial evidence they were not allowed to. Clemens was subsequently retried. The verdict from his second trial came in on June 18, 2012. Clemens was found not guilty on all six counts of lying to Congress in 2008, when he testified that he never took performance-enhancing drugs. In January 2016, after Clemens once again fell short of the votes required for election into the Hall of Fame, former major-league star Roy Halladay tweeted "No Clemens no Bonds" as part of a message indicating no performance-enhancing substance users should be voted into the Hall. Clemens countered by accusing Halladay of using amphetamines during his playing career. Adultery accusations In April 2008, the New York Daily News reported on a possible long-term relationship between Clemens and country music singer Mindy McCready that began when she was 15 years old. Clemens's attorney Rusty Hardin denied the affair and also stated that Clemens would be bringing a defamation suit regarding this allegation. Clemens's attorney admitted that a relationship existed but described McCready as a "close family friend". He also stated that McCready had traveled on Clemens's personal jet and that Clemens's wife was aware of the relationship. However, when contacted by the Daily News, McCready said, "I cannot refute anything in the story." On November 17, 2008, McCready spoke in more detail to Inside Edition about her affair with Clemens, saying their relationship lasted for more than a decade and that it ended when Clemens refused to leave his wife to marry her. However, she denied that she was 15 years old when it began, saying that they met when she was 16 and the affair only became sexual "several years later". In another soon-to-be-released sex tape by Vivid Entertainment she claimed that the first time she had sex with him was when she was 21. She also said that he often had erectile dysfunction. A few days after the Daily News broke the story about the McCready relationship, they reported on another Clemens extramarital relationship, this time with Paulette Dean Daly, the now ex-wife of pro golfer John Daly. Daly declined to elaborate on the nature of her relationship with the pitcher but did not deny that it was romantic and included financial support. There have been reports of Clemens having at least three other affairs with women. On April 29, 2008, the New York Post reported that Clemens had relationships with two or more women. One, a former bartender in Manhattan, refused comment on the story, while another, a woman from Tampa, could not be located. On May 2 of the same year, the Daily News reported a stripper in Detroit called a local radio station and said she had an affair with Clemens. He also gave tickets to baseball games, jewelry, and trips to women he was wooing. Other media Clemens has appeared as himself in several movies and television episodes and has also occasionally acted in films. Perhaps best known was his appearance in the season three episode of The Simpsons ("Homer at the Bat"), in which he is recruited to the Springfield nuclear plant's softball team but is accidentally hypnotized into thinking he is a chicken; in addition to his lines, Clemens voiced his own clucking. Clemens has also made guest appearances as himself on the TV shows Hope & Faith, Spin City, Arli$$, and Saturday Night Live as well as the movie Anger Management, and makes a brief appearance in the movie Kingpin as the character Skidmark. He also is shown playing an actual game with the Houston Astros in the film Boyhood. He appeared in the 1994 movie Cobb as an unidentified pitcher for the Philadelphia A's. In 2003, he was part of an advertising campaign for Armour hot dogs with MLB players Ken Griffey Jr., Derek Jeter, and Sammy Sosa. Since 2005, Clemens has also appeared in many commercials for Texas-based supermarket chain H-E-B. In 2007, he appeared on a baseball-themed episode of MythBusters ("Baseball Myths"). He has also starred in a commercial for Cingular parodying his return from retirement. He was calling his wife, Debra Godfrey, and a dropped call resulted in his return to the Yankees. He released an early autobiography, Rocket Man: The Roger Clemens Story written with Peter Gammons, in 1987. Clemens is also the spokesperson for Champion car dealerships in South Texas. In April 2009, Clemens was the subject of an unauthorized biography by Jeff Pearlman, titled The Rocket that Fell to Earth-Roger Clemens and the Rage for Baseball Immortality, that focused on his childhood and early career and accused Mike Piazza of using steroids. On May 12, Clemens broke a long silence to denounce a heavily researched expose by four investigative reporters from the New York Daily News, called American Icon: The Fall of Roger Clemens and the Rise of Steroids in America's Pastime. Clemens went on ESPN's Mike and Mike show to call the book "garbage", but a review by Michiko Kakutani of The New York Times called the book "gripping" and compared it to the work of Bob Woodward. Awards and recognition In 1999, while many of his performances and milestones were yet to come he ranked number 53 on The Sporting News list of the 100 Greatest Baseball Players, and was elected by the fans to the Major League Baseball All-Century Team. In 2005, the updated Sporting News list moved Clemens up to #15. By the end of the 2005 season, Clemens had won seven Cy Young Awards (he won the AL award in 1986, 1987, 1991, 1997, 1998, and 2001, and the National League award in 2004), an MVP and two pitching triple crowns. With his 2004 win, he joined Gaylord Perry, Randy Johnson, and Pedro Martínez as the only pitchers to win it in both leagues and became the oldest pitcher to ever win the Cy Young. He has also won the Sporting News Pitcher of the Year Award five times, was named an All-Star 11 times, and won the All-Star MVP in 1986. In October 2006, Clemens was named to Sports Illustrateds "all-time" team. On August 18, 2007, Clemens got his 1,000th strikeout as a Yankee. He is only the ninth player in major league history to record 1,000 or more strikeouts with two different teams. Clemens has recorded a total of 2,590 strikeouts as a member of the Red Sox and 1,014 strikeouts as a Yankee. He also had 563 strikeouts for Toronto, and 505 strikeouts for Houston. Clemens was inducted into the Boston Red Sox Hall of Fame in 2014, and was inducted into the Pawtucket Red Sox Hall of Fame on June 21, 2019. National Baseball Hall of Fame consideration In 2013 Baseball Hall of Fame balloting, his first year of eligibility, Clemens received 37.6% of the votes cast by the Baseball Writers' Association of America (BBWAA), falling well short of the 75% required for induction into the Hall of Fame. He has garnered more votes in subsequent elections without reaching the 75% threshold: he received 59.5% in 2019, 61.0% in 2020, and 61.6% in 2021. With the inductions of Greg Maddux and Tom Glavine in 2014 and Randy Johnson in 2015, Clemens is currently the only eligible member of the 300 win club not to be inducted into the Hall. He received 65.2% of the votes in his final year of eligibility, 2022. Despite falling off the ballot, Clemens is still eligible for induction through the Hall of Fame’s Today’s Game Committee. The committee is a 16-member electorate “comprised of members of the National Baseball Hall of Fame, executives, and veteran media members" (hence the nickname of “veteran’s committee”) who consider retired players who lost ballot eligibility while still having made notable contributions to baseball from 1986-2016. Voting will be held in December 2022, and 12 votes are required for induction. Personal life Clemens married Debra Lynn Godfrey (born May 27, 1963) on November 24, 1984. The couple has four sons: Koby Aaron, Kory Allen, Kacy Austin, and Kody Alec—all given "K" names to honor Clemens's strikeouts ("K's"). Koby was at one time a minor league prospect for some MLB clubs. Kacy played college baseball for the Texas Longhorns and was drafted by the Blue Jays in the eighth round of the 2017 Major League Baseball draft. Kacy is an infielder who is currently a free agent. Kody also played college baseball for the Texas Longhorns and was drafted 79th overall by the Detroit Tigers in the third round of the 2018 Major League Baseball draft. Debra once left a Red Sox game, when Clemens pitched for another team, in tears from the heckling she received. This is documented in an updated later edition to Dan Shaughnessy's best-selling book, Curse of the Bambino. Debra also was quoted in the book as stating that it was the poor attitude of Red Sox fans that prevented the team from ever winning the World Series (this was quoted prior to the Red Sox' 2004 World Series victory). Clemens is a member of the Republican Party and donated money to Texas congressman Ted Poe during his 2006 campaign. Debra posed in a bikini with her husband for a Sports Illustrated pictorial regarding athletes and their wives. This appeared in the annual Sports Illustrated Swimsuit Edition'' for 2003. Roger wore his Yankees uniform, with the jersey open. On February 27, 2006, to train for the World Baseball Classic, Roger pitched in an exhibition game between the Astros and his son's minor league team. In his first at-bat, Koby hit a home run off his father. In his next at-bat, Roger threw an inside pitch that almost hit Koby. Koby laughed in an interview after the game about the incident. See also Houston Astros award winners and league leaders List of Boston Red Sox award winners List of Boston Red Sox team records List of Major League Baseball annual shutout leaders List of Major League Baseball career hit batsmen leaders List of Major League Baseball career wins leaders List of Major League Baseball players named in the Mitchell Report List of Major League Baseball single-game strikeout leaders List of people from Dayton, Ohio List of Toronto Blue Jays team records List of University of Texas at Austin alumni Major League Baseball titles leaders Toronto Blue Jays award winners and league leaders References External links Roger Clemens Foundation 1962 births Living people American expatriate baseball players in Canada American League All-Stars American League ERA champions American League Most Valuable Player Award winners American League Pitching Triple Crown winners American League strikeout champions American League wins champions American people of German descent Baseball players from Dayton, Ohio Boston Red Sox players Bridgeport Bluefish guest managers Corpus Christi Hooks players Cy Young Award winners Houston Astros players Lexington Legends players Major League Baseball All-Star Game MVPs Major League Baseball controversies Major League Baseball pitchers National League All-Stars National League ERA champions New Britain Red Sox players New York Yankees players Norwich Navigators players Pawtucket Red Sox players People from Vandalia, Ohio Round Rock Express players San Jacinto Central Ravens baseball players Sarasota Red Sox players Scranton/Wilkes-Barre Yankees players Sugar Land Skeeters players Tampa Yankees players Texas Longhorns baseball players Texas Republicans Trenton Thunder players Toronto Blue Jays players Winter Haven Red Sox players World Baseball Classic players of the United States 2006 World Baseball Classic players
true
[ "\"Big Big Deal\" is a song by the British singer-songwriter Steve Harley, which was released as his debut, non-album solo single in 1974. The song, which was written and produced by Harley, would be his last release before scoring the UK number one hit \"Make Me Smile (Come Up and See Me)\" in 1975. \"Big Big Deal\" also preceded the formation of the second line-up of Harley's band Cockney Rebel.\n\nBackground\n\"Big Big Deal\" was released during the time when Harley was in the process of forming a new line-up for Cockney Rebel. The original band split at the end of an extensive UK tour in July 1974, leaving Harley without a band. Despite the setback, the band's label, EMI Records, were not dissuaded, as Harley revealed in 2014, \"The people at my record label, EMI, were right behind me. They believed I could find new band members without too much of a problem and continue on to a new level of success. They believed it wasn't a major stumbling block.\"\n\nWhile auditioning musicians and finalising a new line-up, Harley attempted to keep up the momentum of Cockney Rebel's recent commercial success by releasing a solo single. With the help of Cockney Rebel drummer Stuart Elliott, Harley recorded \"Big Big Deal\" at Air Studios, London in September 1974. Harley played all the instruments on the track except drums. Speaking to Record & Popswop Mirror in 1974, Harley said of the song, \"It's on the lines of 'Judy Teen' and 'Mr. Soft'. Could almost be the old group [Cockney Rebel], couldn't it? First time I played it back I thought 'hey it could be the old group' and I realised a few home truths.\"\n\nOnce recorded, Harley took \"Big Big Deal\" to EMI and expressed his wishes to have it released as a single. He demanded it be released under his name only as he did not want to mislead the public. He told Record & Popswop Mirror, \"I don't want anyone thinking it's my new group playing on it because it isn't.\" \"Big Big Deal\" was released as a single in November 1974, but failed to enter the UK Singles Chart. However, it did enter the unnumbered BMRB Breakers Chart on 23 November 1974, which would have been equal to a position somewhere between number 51-60 on the UK Singles Chart, at a time when the chart only ran to the top 50.\n\nRelease\n\"Big Big Deal\" was released by EMI Records on 7-inch vinyl in the UK, Ireland, Belgium and Germany. The B-side, \"Bed in the Corner\", was taken from Cockney Rebel's 1974 album The Psychomodo, and was written by Harley, and produced by Harley and Alan Parsons.\n\nFollowing its original release as a single, \"Big Big Deal\" first appeared on the 1980 EMI compilation The Best of Steve Harley and Cockney Rebel. In 1992, it appeared as a bonus track on the EMI CD re-issue of The Psychomodo. It has also appeared on 2006's The Cockney Rebel – A Steve Harley Anthology, and on 2012's Cavaliers: An Anthology 1973-1974. In addition to the single version, the Cavaliers release included the full version of \"Big Big Deal\", which was previously unreleased.\n\nPromotion\nOn 24 October 1974, Harley performed the song, along with \"Bed in the Corner\", live on David Jensen's ITV show 45. The single was also promoted by an advert in the 9 November 1974 issue of Melody Maker. During October 1974, the new Cockney Rebel line-up included the song within their set-list for the three concerts they performed that month.\n\nCritical reception\nOn its release, Sue Byrom of Record & Popswop Mirror felt \"Big Big Deal\" was not \"as good\" as Harley's previous material with Cockney Rebel and lacked \"the force normally associated with Harley\". However, she praised the song's latter section \"when Harley goes into a semi la la la hook line\". Andy Bone of the Sunday Sun picked the song as one his \"blockbusters\" during November 1974. Look-in commented, \"The latest single is written, produced and performed by Steve, and the new group's not on it. It's a sign of his individuality and talent, and he's worked hard to get where he is.\" Stephen Thomas Erlewine of AllMusic highlighted \"Big Big Deal\" as a standout track on the 2012 compilation Cavaliers: An Anthology 1973-1974 by labelling it an AMG Pick Track.\n\nCover versions\nIn April 2016, a version of the song was released by Darren Hayman and the Papernut Cambridge. It was released as a double A-side 7\" single, along with a cover of the Paul Jones' 1967 song \"I've Been a Bad, Bad Boy\".\n\nTrack listing\n7-inch single\n\"Big Big Deal\" – 4:34\n\"Bed in the Corner\" – 3:33\n\nPersonnel\n Steve Harley – vocals\n Stuart Elliott – drums\n\nProduction\n Steve Harley – producer on \"Big Big Deal\" and \"Bed in the Corner\"\n Pete Swettenham – engineer on \"Big Big Deal\"\n Alan Parsons – producer on \"Bed in the Corner\"\n\nReferences\n\n1974 songs\n1974 singles\nEMI Records singles\nSteve Harley songs\nSongs written by Steve Harley", "\"Big Deal\" is a song written by Jeffrey Steele and Al Anderson, and recorded by American country music artist LeAnn Rimes. It was released on September 28, 1999, as the first single from her eponymous album. The song charted at number 6 on the US country charts and number 23 on the US Hot 100 chart. The B-side track, \"Leaving's Not Leaving,\" was released on the soundtrack for the film, Anywhere But Here on November 2, 1999.\n\nTrack listing\nCD/Cassette tape Single\n \"Big Deal\"* (Al Anderson, Jeffrey Steele) — 3:05\n \"Leaving's Not Leaving\"** (Diane Warren) — 4:53\n\n* Note: Produced by Wilbur C. Rimes.\n** Note: Produced by Don Was and Wilbur C. Rimes.\n\nMusic video\nA music video was filmed for the song.\n\nChart positions\n\nYear-end charts\n\nReferences\n\nExternal links\n\"Big Deal\" official music video at official website.\n\n1999 singles\n1999 songs\nLeAnn Rimes songs\nSongs written by Jeffrey Steele\nSongs written by Al Anderson (NRBQ)\nCurb Records singles" ]
[ "Andrei Sakharov", "Particle physics and cosmology" ]
C_c68fec27848b4a908430a3cd4ecb5a8a_1
Who is Andrei?
1
Who is Andrei Sakharov?
Andrei Sakharov
After 1965 Sakharov returned to fundamental science and began working on particle physics and physical cosmology. He mainly tried to explain the baryon asymmetry of the universe; in that regard, he was the first to propose proton decay and to consider CPT-symmetric events occurring before the Big Bang: We can visualize that neutral spinless maximons (or photons) are produced at t < 0 from contracting matter having an excess of antiquarks, that they pass "one through the other" at the instant t = 0 when the density is infinite, and decay with an excess of quarks when t > 0, realizing total CPT symmetry of the universe. All the phenomena at t < 0 are assumed in this hypothesis to be CPT reflections of the phenomena at t > 0. Sakharov was the first scientist to introduce twin universes he called "sheets". He achieved a complete CPT symmetry since the second sheet is populated by invisible "shadow matter" which is antimatter (C-symmetry) because of an opposite CP-violation there, and the two sheets are mirror of each other both in space (P-symmetry) and time (T-symmetry) through the same initial gravitational singularity. In his first model the two universes did not interact, except via local matter accumulation whose density and pressure become high enough to connect the two sheets through a bridge without spacetime between them, but with a continuity of geodesics beyond the Schwarzschild radius with no singularity, allowing an exchange of matter between the two conjugated sheets, based on an idea after Igor Dmitriyevich Novikov. Novikov called such singularities a collapse and an anticollapse, which are an alternative to the couple black hole and white hole in the wormhole model. Sakharov also proposed the idea of induced gravity as an alternative theory of quantum gravity. CANNOTANSWER
He mainly tried to explain the baryon asymmetry of the universe; in that regard,
Andrei Dmitrievich Sakharov (; 21 May 192114 December 1989) was a Soviet nuclear physicist, dissident, Nobel laureate, and activist for disarmament, peace and human rights. He became renowned as the designer of the Soviet Union's RDS-37, a codename for Soviet development of thermonuclear weapons. Sakharov later became an advocate of civil liberties and civil reforms in the Soviet Union, for which he faced state persecution; these efforts earned him the Nobel Peace Prize in 1975. The Sakharov Prize, which is awarded annually by the European Parliament for people and organizations dedicated to human rights and freedoms, is named in his honor. Biography Early life Sakharov was born in Moscow on May 21, 1921. His father was Dmitri Ivanovich Sakharov, a physics professor and an amateur pianist. His father taught at the Second Moscow State University. Andrei's grandfather Ivan had been a prominent lawyer in the Russian Empire who had displayed respect for social awareness and humanitarian principles (including advocating the abolition of capital punishment) that would later influence his grandson. Sakharov's mother was Yekaterina Alekseevna Sofiano, a daughter of the army general Aleksey Semenovich Sofiano. Sakharov's parents and paternal grandmother, Maria Petrovna, largely shaped his personality. His mother and grandmother were churchgoers; his father was a nonbeliever. When Andrei was about thirteen, he realized that he did not believe. However, despite being an atheist, he did believe in a "guiding principle" that transcends the physical laws. Education and career Sakharov entered Physics Department of Moscow State University in 1938. Following evacuation in 1941 during the Great Patriotic War (World War II), he graduated in Aşgabat, in today's Turkmenistan. He was then assigned to laboratory work in Ulyanovsk. In 1943, he married Klavdia Alekseyevna Vikhireva, with whom he raised two daughters and a son. Klavdia would later die in 1969. He returned to Moscow in 1945 to study at the Theoretical Department of FIAN (the Physical Institute of the Soviet Academy of Sciences). He received his Ph.D. in 1947. Development of thermonuclear devices After World War II, he researched cosmic rays. In mid-1948 he participated in the Soviet atomic bomb project under Igor Kurchatov and Igor Tamm. Sakharov's study group at FIAN in 1948 came up with a second concept in August–September 1948. Adding a shell of natural, unenriched uranium around the deuterium would increase the deuterium concentration at the uranium-deuterium boundary and the overall yield of the device, because the natural uranium would capture neutrons and itself fission as part of the thermonuclear reaction. This idea of a layered fission-fusion-fission bomb led Sakharov to call it the sloika, or layered cake. The first Soviet atomic device was tested on August 29, 1949. After moving to Sarov in 1950, Sakharov played a key role in the development of the first megaton-range Soviet hydrogen bomb using a design known as Sakharov's Third Idea in Russia and the Teller–Ulam design in the United States. Before his Third Idea, Sakharov tried a "layer cake" of alternating layers of fission and fusion fuel. The results were disappointing, yielding no more than a typical fission bomb. However the design was seen to be worth pursuing because deuterium is abundant and uranium is scarce, and he had no idea how powerful the US design was. Sakharov realised that in order to cause the explosion of one side of the fuel to symmetrically compress the fusion fuel, a mirror could be used to reflect the radiation. The details had not been officially declassified in Russia when Sakharov was writing his memoirs, but in the Teller–Ulam design, soft X-rays emitted by the fission bomb were focused onto a cylinder of lithium deuteride to compress it symmetrically. This is called radiation implosion. The Teller–Ulam design also had a secondary fission device inside the fusion cylinder to assist with the compression of the fusion fuel and generate neutrons to convert some of the lithium to tritium, producing a mixture of deuterium and tritium. Sakharov's idea was first tested as RDS-37 in 1955. A larger variation of the same design which Sakharov worked on was the 50 Mt Tsar Bomba of October 1961, which was the most powerful nuclear device ever detonated. Sakharov saw "striking parallels" between his fate and those of J. Robert Oppenheimer and Edward Teller in the US. Sakharov believed that in this "tragic confrontation of two outstanding people", both deserved respect, because "each of them was certain he had right on his side and was morally obligated to go to the end in the name of truth." While Sakharov strongly disagreed with Teller over nuclear testing in the atmosphere and the Strategic Defense Initiative, he believed that American academics had been unfair to Teller's resolve to get the H-bomb for the United States since "all steps by the Americans of a temporary or permanent rejection of developing thermonuclear weapons would have been seen either as a clever feint, or as the manifestation of stupidity. In both cases, the reaction would have been the same – avoid the trap and immediately take advantage of the enemy's stupidity." Sakharov never felt that by creating nuclear weapons he had "known sin", in Oppenheimer's expression. He later wrote: Support for peaceful use of nuclear technology In 1950 he proposed an idea for a controlled nuclear fusion reactor, the tokamak, which is still the basis for the majority of work in the area. Sakharov, in association with Tamm, proposed confining extremely hot ionized plasma by torus shaped magnetic fields for controlling thermonuclear fusion that led to the development of the tokamak device. Magneto-implosive generators In 1951 he invented and tested the first explosively pumped flux compression generators, compressing magnetic fields by explosives. He called these devices MK (for MagnetoKumulative) generators. The radial MK-1 produced a pulsed magnetic field of 25 megagauss (2500 teslas). The resulting helical MK-2 generated 1000 million amperes in 1953. Sakharov then tested a MK-driven "plasma cannon" where a small aluminum ring was vaporized by huge eddy currents into a stable, self-confined toroidal plasmoid and was accelerated to 100 km/s. Sakharov later suggested replacing the copper coil in MK generators with a large superconductor solenoid to magnetically compress and focus underground nuclear explosions into a shaped charge effect. He theorized this could focus 1023 protons per second on a 1 mm2 surface. Particle physics and cosmology After 1965 Sakharov returned to fundamental science and began working on particle physics and physical cosmology. He tried to explain the baryon asymmetry of the universe; in that regard, he was the first to give a theoretical motivation for proton decay. Proton decay was suggested by Wigner in 1949 and 1952. Proton decay experiments had been performed since 1954 already. Sakharov was the first to consider CPT-symmetric events occurring before the Big Bang:We can visualize that neutral spinless maximons (or photons) are produced at ''t'' < 0 from contracting matter having an excess of antiquarks, that they pass "one through the other" at the instant ''t'' = 0 when the density is infinite, and decay with an excess of quarks when ''t'' > 0, realizing total CPT symmetry of the universe. All the phenomena at t < 0 are assumed in this hypothesis to be CPT reflections of the phenomena at t > 0. His legacy in this domain are the famous conditions named after him: Baryon number violation, C-symmetry and CP-symmetry violation, and interactions out of thermal equilibrium. Sakharov was also interested in explaining why the curvature of the universe is so small. This lead him to consider cyclic models, where the universe oscillates between contraction and expansion phases. In those models, after a certain number of cycles the curvature naturally becomes infinite even if it had not started this way: Sakharov considered three starting points, a flat universe with a slightly negative cosmological constant, a universe with a positive curvature and a zero cosmological constant, and a universe with a negative curvature and a slightly negative cosmological constant. Those last two models feature what Sakharov calls a reversal of the time arrow, which can be summarized as follows: He considers times t > 0 after the initial Big Bang singularity at t = 0 (which he calls "Friedman singularity" and denotes Φ) as well as times t < 0 before that singularity. He then assumes that entropy increases when time increases for t > 0 as well as when time decreases for t < 0, which constitutes his reversal of time. Then he considers the case when the universe at t < 0 is the image of the universe at t > 0 under CPT symmetry but also the case when it is not so: the universe has a non-zero CPT charge at t = 0 in this case. Sakharov considers a variant of this model where the reversal of the time arrow occurs at a point of maximum entropy instead of happening at the singularity. In those models there is no dynamic interaction between the universe at t < 0 and t > 0. In his first model the two universes did not interact, except via local matter accumulation whose density and pressure become high enough to connect the two sheets through a bridge without spacetime between them, but with a continuity of geodesics beyond the Schwarzschild radius with no singularity, allowing an exchange of matter between the two conjugated sheets, based on an idea after Igor Dmitriyevich Novikov. Novikov called such singularities a collapse and an anticollapse, which are an alternative to the couple black hole and white hole in the wormhole model. Sakharov also proposed the idea of induced gravity as an alternative theory of quantum gravity. Turn to activism Since the late 1950s Sakharov had become concerned about the moral and political implications of his work. Politically active during the 1960s, Sakharov was against nuclear proliferation. Pushing for the end of atmospheric tests, he played a role in the 1963 Partial Test Ban Treaty, signed in Moscow. Sakharov was also involved in an event with political consequences in 1964, when the Soviet Academy of Sciences nominated for full membership Nikolai Nuzhdin, a follower of Trofim Lysenko (initiator of the Stalin-supported anti-genetics campaign Lysenkoism). Contrary to normal practice, Sakharov, a member of the academy, publicly spoke out against full membership for Nuzhdin and held him responsible for "the defamation, firing, arrest, even death, of many genuine scientists." In the end, Nuzhdin was not elected, but the episode prompted Sergei Khrushchev to order the KGB to gather compromising material on Sakharov. The major turn in Sakharov's political evolution came in 1967, when anti-ballistic missile defense became a key issue in US–Soviet relations. In a secret detailed letter to the Soviet leadership of July 21, 1967, Sakharov explained the need to "take the Americans at their word" and accept their proposal for a "bilateral rejection by the USA and the Soviet Union of the development of antiballistic missile defense" because an arms race in the new technology would otherwise increase the likelihood of nuclear war. He also asked permission to publish his manuscript, which accompanied the letter, in a newspaper to explain the dangers posed by that kind of defense. The government ignored his letter and refused to let him initiate a public discussion of ABMs in the Soviet press. Since 1967, after the Six Day War and the beginning of the Arab-Israeli conflict, he actively supported Israel, as he reported more than once in the press, and also maintained friendly relations with refuseniks who later made aliyah. In May 1968, Sakharov completed an essay, "Reflections on Progress, Peaceful Coexistence, and Intellectual Freedom". He described the anti-ballistic missile defense as a major threat of world nuclear war. After the essay was circulated in samizdat and then published outside the Soviet Union, Sakharov was banned from conducting any military-related research and returned to FIAN to study fundamental theoretical physics. For 12 years, until his exile to Gorky (Nizhny Novgorod) in January 1980, Sakharov assumed the role of a widely recognized and open dissident in Moscow. He stood vigil outside closed courtrooms, wrote appeals on behalf of more than 200 individual prisoners, and continued to write essays about the need for democratization. In 1970, Sakharov was among the three founding members of the Committee on Human Rights in the USSR, along with Valery Chalidze and Andrei Tverdokhlebov. The Committee wrote appeals, collected signatures for petitions and succeeded in affiliating with several international human rights organizations. Its work was the subject of many KGB reports and brought Sakharov under increasing pressure from the government. Sakharov married a fellow human rights activist, Yelena Bonner, in 1972. By 1973, Sakharov was meeting regularly with Western correspondents and holding press conferences in his apartment. He appealed to the US Congress to approve the 1974 Jackson-Vanik Amendment to a trade bill, which coupled trade tariffs to the Kremlin's willingness to allow freer emigration. Attacked by Soviet establishment from 1972 In 1972, Sakharov became the target of sustained pressure from his fellow scientists in the Soviet Academy of Sciences and the Soviet press. The writer Aleksandr Solzhenitsyn came to his defence. In 1973 and 1974, the Soviet media campaign continued, targeting both Sakharov and Solzhenitsyn for their pro-Western, anti-socialist positions. Sakharov later described that it took "years" for him to "understand how much substitution, deceit, and lack of correspondence with reality there was" in the Soviet ideals. "At first I thought, despite everything that I saw with my own eyes, that the Soviet State was a breakthrough into the future, a kind of prototype for all countries". Then he came, in his words, to "the theory of symmetry: all governments and regimes to a first approximation are bad, all peoples are oppressed, and all are threatened by common dangers." Sakharov's ideas on social development led him to put forward the principle of human rights as a new basis of all politics. In his works, he declared that "the principle 'what is not prohibited is allowed' should be understood literally", and defied what he saw as unwritten ideological rules imposed by the Communist Party on the society in spite of a democratic Soviet Constitution (1936). In a letter written from exile, he cheered up a fellow physicist and free market advocate with the words: "Fortunately, the future is unpredictable and also – because of quantum effects – uncertain." For Sakharov, the indeterminacy of the future supported his belief that he could and should take personal responsibility for it. Nobel Peace Prize (1975) In 1973, Sakharov was nominated for the Nobel Peace Prize, and in 1974, he was awarded the Prix mondial Cino Del Duca. Sakharov was awarded the Nobel Peace Prize in 1975. The Norwegian Nobel Committee called him "a spokesman for the conscience of mankind". In the words of the Nobel Committee's citation: "In a convincing manner Sakharov has emphasised that Man's inviolable rights provide the only safe foundation for genuine and enduring international cooperation." Sakharov was not allowed to leave the Soviet Union to collect the prize. His wife, Yelena Bonner, read his speech at the ceremony in Oslo, Norway. On the day the prize was awarded, Sakharov was in Vilnius, where the human rights activist Sergei Kovalev was being tried. In his Nobel lecture, "Peace, Progress, Human Rights", Sakharov called for an end to the arms race, greater respect for the environment, international cooperation, and universal respect for human rights. He included a list of prisoners of conscience and political prisoners in the Soviet Union and stated that he shared the prize with them. By 1976, the head of the KGB, Yuri Andropov, was prepared to call Sakharov "Domestic Enemy Number One" before a group of KGB officers. Internal exile (1980–1986) Sakharov was arrested on 22 January 1980, following his public protests against the Soviet intervention in Afghanistan in 1979, and was sent to the city of Gorky, now Nizhny Novgorod, a city that was off limits to foreigners. Between 1980 and 1986, Sakharov was kept under Soviet police surveillance. In his memoirs, he mentioned that their apartment in Gorky was repeatedly subjected to searches and heists. Sakharov was named the 1980 Humanist of the Year by the American Humanist Association. In May 1984, Sakharov's wife, Yelena Bonner, was detained, and Sakharov began a hunger strike, demanding permission for his wife to travel to the United States for heart surgery. He was forcibly hospitalized and force-fed. He was held in isolation for four months. In August 1984, Bonner was sentenced by a court to five years of exile in Gorky. In April 1985, Sakharov started a new hunger strike for his wife to travel abroad for medical treatment. He again was taken to a hospital and force-fed. In August, the Politburo discussed what to do about Sakharov. He remained in the hospital until October 1985, when his wife was allowed to travel to the United States. She had heart surgery in the United States and returned to Gorky in June 1986. In December 1985, the European Parliament established the Sakharov Prize for Freedom of Thought, to be given annually for outstanding contributions to human rights. On 19 December 1986, Mikhail Gorbachev, who had initiated the policies of perestroika and glasnost, called Sakharov to tell him that he and his wife could return to Moscow. Political leader In 1988, Sakharov was given the International Humanist Award by the International Humanist and Ethical Union. He helped to initiate the first independent legal political organizations and became prominent in the Soviet Union's growing political opposition. In March 1989, Sakharov was elected to the new parliament, the All-Union Congress of People's Deputies and co-led the democratic opposition, the Inter-Regional Deputies Group. In November the head of the KGB reported to Gorbachev on Sakharov's encouragement and support for the coal miners' strike in Vorkuta. In December 1988, Sakharov visited Armenia and Azerbaijan on a fact-finding mission. He concluded, "For Azerbaijan the issue of Karabakh is a matter of ambition, for the Armenians of Karabakh, it is a matter of life and death". Death Soon after 9pm on 14 December 1989, Sakharov went to his study to take a nap before preparing an important speech he was to deliver the next day in the Congress. His wife went to wake him at 11pm as he had requested but she found Sakharov dead on the floor. According to the notes of Yakov Rapoport, a senior pathologist present at the autopsy, it is most likely that Sakharov died of an arrhythmia consequent to dilated cardiomyopathy at the age of 68. He was interred in the Vostryakovskoye Cemetery in Moscow. Influence Memorial prizes The Sakharov Prize for Freedom of Thought was established in 1988 by the European Parliament in his honour, and is the highest tribute to human rights endeavours awarded by the European Union. It is awarded annually by the parliament to "those who carry the spirit of Soviet dissident Andrei Sakharov"; to "Laureates who, like Sakharov, dedicate their lives to peaceful struggle for human rights." An Andrei Sakharov prize has also been awarded by the American Physical Society every second year since 2006 "to recognize outstanding leadership and/or achievements of scientists in upholding human rights". The Andrei Sakharov Prize For Writer's Civic Courage was established in October 1990. In 2004, with the approval of Yelena Bonner, an annual Sakharov Prize for journalism was established for reporters and commentators in Russia. Funded by former Soviet dissident Pyotr Vins, now a businessman in the US, the prize is administered by the Glasnost Defence Foundation in Moscow. The prize "for journalism as an act of conscience" has been won over the years by famous journalists such as Anna Politkovskaya and young reporters and editors working far from Russia's media capital, Moscow. The 2015 winner was Yelena Kostyuchenko. Andrei Sakharov Archives and Human Rights Center The Andrei Sakharov Archives and Human Rights Center, established at Brandeis University in 1993, are now housed at Harvard University. The documents from that archive were published by the Yale University Press in 2005. These documents are available online. Most of documents of the archive are letters from the head of the KGB to the Central Committee about activities of Soviet dissidents and recommendations about the interpretation in newspapers. The letters cover the period from 1968 to 1991 (Brezhnev stagnation). The documents characterize not only Sakharov's activity, but that of other dissidents, as well as that of highest-position apparatchiks and the KGB. No Russian equivalent of the KGB archive is available. Legacy and remembrance Places In Moscow, there is Academician Sakharov Avenue and Sakharov Center. During the 1980s, the block of 16th Street NW between L and M streets, in front of the Russian ambassador's residence in Washington, D.C. was renamed "Andrei Sakharov Plaza" as a form of protest against his 1980 arrest and detention. In Yerevan, the capital of Armenia, Sakharov Square, located in the heart of the city, is named after him. The Sakharov Gardens (est. 1990) are located at the entrance to Jerusalem, Israel, off the Jerusalem–Tel Aviv Highway. There is also a street named after him in Haifa. In Nizhny Novgorod, there is a Sakharov Museum in the apartment on the first floor of the 12-storeyed house where the Sakharov family lived for seven years; in 2014 his monument was erected near the house. In Saint Petersburg, his monument stands in Sakharov Square, and there is a Sakharov Park. In 1979, an asteroid, 1979 Sakharov, was named after him. A public square in Vilnius in front of the Press House is named after Sakharov. The square was named on 16 March 1991, as the Press House was still occupied by the Soviet Army. Andreja Saharova iela in the district of Pļavnieki in Riga, Latvia, is named after Sakharov. Andreij-Sacharow-Platz in downtown Nuremberg is named in honour of Sakharov. In Belarus, International Sakharov Environmental University was named after him. Intersection of Ventura Blvd and Laurel Canyon Blvd in Studio City, Los Angeles, is named Andrei Sakharov Square. In Arnhem, the bridge over the Nederrijn is called the Andrej Sacharovbrug. The Andrej Sacharovweg is a street in Assen, Netherlands. There are also streets named in his honour in other places in the Netherlands such as Amsterdam, Amstelveen, The Hague, Hellevoetsluis, Leiden, Purmerend, Rotterdam, Utrecht A street in Copenhagen, Denmark. Quai Andreï Sakharov in Tournai, Belgium, is named in honour of Sakharov. In Poland, streets named in his honour in Warsaw, Łódź and Kraków. Andreï Sakharov Boulevard in the district of Mladost in Sofia, Bulgaria, is named after him. In New York, a street sign at the southwest corner of Third Avenue and 67th Street reads Sakharov-Bonner Corner, in honor of Sakharov and his wife, Yelena Bonner. The corner is just down the block from the Russian (then Soviet) Mission to the United Nations and was the scene of repeated anti-Soviet demonstrations. Media In the 1984 made-for-TV film Sakharov starring Jason Robards. In the television series Star Trek: The Next Generation, one of the Enterprise-D's Shuttlecraft is named after Sakharov, and is featured prominently in several episodes. This follows the Star Trek tradition of naming Shuttlecraft after prominent scientists, and particularly in The Next Generation, physicists. The fictitious interplanetary spacecraft Cosmonaut Alexei Leonov from the novel 2010: Odyssey Two by Arthur C. Clarke is powered by a "Sakharov drive". The novel was published in 1982, when Sakharov was in exile in Nizhny Novgorod, and was dedicated both to Sakharov and to Alexei Leonov. Russian singer Alexander Gradsky wrote and performed the song "Памяти А. Д. Сахарова" ("In memory of Andrei Sakharov"), which features on his Live In "Russia" 2 (Живем в "России" 2) CD. The faction leader of the Ecologists in the PC game S.T.A.L.K.E.R.: Shadow of Chernobyl and its prequel is a scientist named Professor Sakharov. Honours and awards Hero of Socialist Labour (three times: 12 August 1953; 20 June 1956; 7 March 1962). Four Orders of Lenin. Lenin Prize (1956). Stalin Prize (1953). In 1980, Sakharov was stripped of all Soviet awards for "anti-Soviet activities". Later, during glasnost, he declined the return of his awards and, consequently, Mikhail Gorbachev did not sign the necessary decree. Prix mondial Cino Del Duca (1974). Nobel Peace Prize (1975). Laurea Honoris Causa of the Sapienza University of Rome (1980). Grand Cross of Order of the Cross of Vytis (posthumously on January 8, 2003). Bibliography Books Articles and interviews See also Sakharov conditions Sakharov Prize List of peace activists Sergei Kovalev Natan Sharansky Edward Teller Stanislaw Ulam Omid Kokabee, Mordechai Vanunu References Further reading The Regesto delle lauree honoris causa dal 1944 al 1985 is a detailed and carefully commented register of all the documents of the official archive of the Sapienza University of Rome pertaining to the honoris causa degrees awarded or not. It includes all the awarding proposals submitted during the considered period, detailed presentations of the work of the candidate, if available, and precise references to related articles published on Italian newspapers and magazines, if the laurea was awarded. External links The Andrei Sakharov Archives at the Houghton Library. Andrei Sakharov: Soviet Physics, Nuclear Weapons, and Human Rights. Web exhibit at the American Institute of Physics. Andrei Sakharov: Photo-chronology Annotated bibliography of Andrei Sakharov from the Alsos Digital Library Videos 1921 births 1989 deaths 20th-century Russian writers Amnesty International prisoners of conscience held by the Soviet Union Full Members of the USSR Academy of Sciences Grand Crosses of the Order of the Cross of Vytis Heroes of Socialist Labour Lenin Prize winners Members of the Congress of People's Deputies of the Soviet Union Moscow State University alumni Nobel Peace Prize laureates Nuclear weapons program of the Soviet Union Perestroika Recipients of the Order of Lenin Hunger strikers Soviet atheists Soviet inventors Soviet memoirists Soviet anti–nuclear weapons activists Soviet dissidents Soviet male writers 20th-century male writers Soviet Nobel laureates Soviet non-fiction writers Soviet nuclear physicists Soviet prisoners and detainees Soviet psychiatric abuse whistleblowers Stalin Prize winners Writers from Moscow Political prisoners Russian people of Greek descent Political party founders 20th-century memoirists Male non-fiction writers World War II refugees
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[ "Prince Andrei Nikolayevich Bolkonsky () is a fictional character in Leo Tolstoy's 1869 novel War and Peace. He is the son of famed Russian general Nikolai Bolkonsky, who raises Andrei and his sister Maria Bolkonskaya on a remote estate. Andrei is best friends with Pierre Bezukhov.\n\nPossible prototype\nHe is possibly based on Tolstoy's cousin Prince Sergey Volkonsky, who was a hero of the Napoleonic Wars and later a Decembrist. However, author Laura Jepsen explains that unlike \"many of the other characters for whom the author found living prototypes, Prince Andrei is entirely fictitious\".\n\nLife and death\nAt the beginning of the novel, the handsome and intellectual Andrei, disillusioned with married life and finding his wife preoccupied with trivialities, becomes an officer in the Third Coalition against his idol, Napoleon Bonaparte. When he goes to war, he leaves his pregnant wife, Lise, at Bald Hills in the countryside with his father and sister.\n\nAndrei is wounded at the Battle of Austerlitz. He has an epiphany while lying on the battlefield gazing up at the vastness of the blue sky, realising the triviality of human affairs under the immobile eyes of nature and that he has the potential to be happy. Shortly afterwards, Andrei is rescued from the battlefield by Napoleon, who takes a liking to him, although Andrei no longer sees him as a great man but as \"...a small, insignificant man compared with what was happening between his soul and this lofty, infinite sky with clouds racing across it...with his petty vanity and joy in victory.\" However, Prince Andrei is not listed among the dead or the officers taken prisoner, leading his father and sister to assume the worst. Neither inform Lise that he is unaccounted-for, fearing to cause her any anxiety in the final stages of her pregnancy. Andrei arrives, fully recovered, while his wife is in labour and sees her briefly before she dies in childbirth. The child, a boy, survives. Andrei, who, despite everything, had cared deeply for his wife (as he confides later to Pierre), is guilt-stricken and depressed. Completely disillusioned with his former wartime ambitions, Andrei spends the following few years at home, raising his son and serving under his father.\n\nIn 1809, Andrei is recalled to Petersburg, where he is formally introduced to Countess Natasha Rostova for the first time. Andrei wishes to marry Natasha, but his father expresses concern: he does not wish to see his son rush into a marriage with a woman half his age, and socially below him. Old Prince Bolkonsky demands that they wait a year before marrying. Andrei proposes marriage to Natasha, who happily accepts, though she is upset by the one-year wait. In the meantime Andrei decides to tour Europe.\n\nIn Andrei's absence however, Natasha develops an infatuation with the libertine Prince Anatole Kuragin. She breaks off the engagement with Andrei and plans to elope with Kuragin. Natasha is stopped by her cousin Sonya and Marya Dmitrievna, who suspect Anatole's intentions. They later find out from Pierre Bezukhov that Anatole is already secretly married to a Polish woman.\n\nAndrei wants to take revenge on Kuragin, who flees after Pierre warns him. Not having found Kuragin and in the light of Napoleon's 1812 invasion, he decides to join the army again. When Kutuzov is appointed commander-in-chief, he offers Andrei a position in his personal staff. Andrei declines as he is a well-liked regimental commander, considering his role there to be more important than what he could possibly accomplish as a staff officer.\n\nDuring the Battle of Borodino he is hit by an exploding shell and seriously wounded in the stomach. While in agony, he sees Anatole, whose leg is amputated due to war wounds, and realizes that he has the capability to forgive both Anatole and Natasha, and that he still loves her. He is driven back to Moscow, where Sonya (Natasha's cousin) notices him when the Rostovs are helping transport wounded soldiers. Eventually, Natasha discovers him, and they are reunited. She tries to nurse him back to his health. Although Prince Andrei's wounds begin to heal and health slowly returns, he eventually loses the will to live and dies in Natasha and Mary's care.\n\nCharacter development\nPrince Andrei is one of the most elaborated personages in the novel, together with Count Pierre Bezukhov, to whom he serves as a philosophical opposite. He is introduced as a slightly cynical character, disillusioned in his marriage by what he sees as the simple-mindedness of his wife. He's depicted as an atheist, sceptical of his sister Marya's strong religious beliefs.\n\nAndrei enlists in the army and desperately tries to reach a high rank because he believes history is made at the top of command. He often dreams of being in command of the army and wishes he could make his imaginative plans become a reality. Andrei is shown to have great respect for Napoleon, as his view on historic events being the will of a few important people is embodied best by Napoleon. While lying wounded on the Austerlitz battlefield, Andrei meets Napoleon and realizes the nature of his hero, who is excited by the carnage on the battlefield. He loses his belief in the importance of single personages compared to the whole world.\n\nAfter his return home and the death of his wife, Andrei becomes more cynical, losing his interest in war and politics. The Battle of Austerlitz made him see the chaos in war, and the inability of even the great figures of history to change the course of events. Focusing completely on the education of his son, he only enters public service under his father because the latter wished so. A visit by Pierre Bezukhov, who recently joined the Freemasons and attempts to explain his philosophies to the pessimistic and disillusioned Andrei, makes Andrei realise that his life is not over yet. Although Pierre's philosophies fail to convince him, he finds joy in his life again.\n\nAndrei regains the will to live and becomes more optimistic. During this period he is also shown to be fairly humanist, he frees his serfs and tries to improve their living conditions under influence of the thoughts Pierre expressed to him. Reflecting on his experiences at Austerlitz, he now becomes convinced that in order to prevent the chaos on the battlefield he experienced, the military code needs to be changed.\n\nAfter meeting Natasha Rostova, he becomes enchanted with her liveliness, which contrasts with his life after the death of his wife. He proposes to her but his father disapproves, and suggests that Andrei should wait a year and receive treatment abroad for his wound. While Andrei is away, Natasha disgraces herself by attempting to elope with Anatole Kuragin. Andrei is too proud to forgive her.\n\nWhen back in the army, Andrei realises that his previous visions on historic events were false, that the course of historic events is not decided by the actions of a few, as he thought before Austerlitz, nor by the laws (he tried to change) by which they operate, but by the decisions and actions of every single individual. He adopts the same deterministic view of history that Tolstoy himself expresses in the narrative chapters. For this reason he declines to join Kutuzov's staff to remain in command of his regiment, where he feels his actions are just as important, if not more important, than trying to change the course of events from a distance.\n\nIn the hospital at the Borodino, Andrei meets Kuragin, on whom he wanted to take revenge. However, seeing the horribly wounded Kuragin's suffering makes him realise the meaning of forgiveness and absolute love. Recovering from his wound, he starts believing that the love he felt for his former enemy Kuragin, is the same love expressed in the Gospels. Following this change, he starts to recover and meets Natasha again, whom he forgives stating he loves her now more than ever. After having a dream that parallels dying with awakening in a new reality, he loses his will to live and dies.\n\nSee also\n List of characters in War and Peace\n\nReferences\n\nExternal links\n\"Andrei Bolkonsky (Character) from Voyna i mir (1967),\" The Internet Movie Database\n\nFictional soldiers\nCharacters in War and Peace\nFictional Russian people in literature\nMale characters in literature\nLiterary characters introduced in 1869", "The Betrayal is a 2010 historical novel by English writer Helen Dunmore. It is set in Leningrad in 1952, ten years after the Siege of Leningrad, and takes place during political repression in the Soviet Union and the plot against doctors in the Stalin era. The book was longlisted for the 2010 Man Booker Prize, and shortlisted for the 2011 Commonwealth Writer's Prize and the Orwell Prize.\n\nThe Betrayal is the second of a two-book series. The first, The Siege was published in 2001 and is set in Leningrad during the siege.\n\nSynopsis\nAnna, Andrei and Kolya have survived the siege of Leningrad. Anna and Andrei marry and live in the city where she is a nursery-school teacher and he is a paediatrician at the local hospital. It is 1952 and they live in Joseph Stalin's repressive regime where it is prudent not to draw attention to yourself.\n\nAndrei unwittingly takes on the case of a young boy, Gorya, who has a cancerous tumour in his leg. The child is the son of Volkov, a Commissar of State Security, and while Andrei knows the dangers if things go wrong, he is determined to give the boy the best possible care. Andrei tells Volkov the only course of action to prevent the cancer spreading is to amputate Gorya's leg. Volkov is unhappy with this decision, particularly because Brodskaya, the surgeon who will perform the operation, is Jewish. Andrei insists that she is an excellent surgeon and Volkov reluctantly agrees to the amputation. The operation is successful, and after intensive physiotherapy, Gorya is discharged.\n\nSeveral months later Gorya returns. The cancer was not contained and has spread to his lungs. Volkov accuses Andrei of butchering Gorya for no reason and of being part of a conspiracy by doctors to murder Soviet leaders. Andrei is arrested and taken to Lubyanka prison in Moscow. Anna tries to elicit help from some of Andrei's colleagues, but they all shun her for fear of being implicated themselves. She sends Andrei money, but has no way of knowing whether it gets through to him. Andrei is subjected to brutal interrogation, which includes prolonged sleep deprivation. After several weeks he is interviewed by Volkov, who tells Andrei that Brodskaya was also arrested, but \"suffered a heart attack\". He promises to spare Andrei if he signs a document admitting \"insufficient vigilance\". Andrei signs the \"confession\" and is exiled to Siberia for 10 years.\n\nWhen news arrives that Stalin has died, an uneasy calm descends over the country. The Doctor's plot is ruled to have been a fabrication, and all sentenced doctors are freed. Andrei slowly makes his way back home, while Anna wonders if she will see him again.\n\nReception\nIn a review in BookBrowse, Sarah Sacha Dollacker called The Betrayal \"[a] powerful novel\" with \"expertly drawn\" characters, convincing dialogue and believable conflicts. Unlike some historical fiction that places the emphasis on setting rather than characters, Dollacker opined that Dunmore uses her characters to \"paint\" the setting for her. British poet Carol Rumens wrote in The Independent that Dunmore's dialogue is \"powerful\" and \"subtle\", and connects the book's two adversaries, Volkov and Andrei \"in a way that shocks, surprises and moves us\". She praised the author's depiction of children, adding that Gorya \"is hauntingly portrayed\".\n\nReviewing The Betrayal in The Guardian, Susanna Rustin described the novel as \"an absorbing and thoughtful tale of good people in hard times\". She praised the author's \"meticulous\" research into Soviet bureaucracy, hospitals and Leningrad at the time. Rustin remarked that while The Betrayal \"falls far short\" of other historical works, like Pat Barker's Regeneration trilogy, Dunmore's \"intelligence and gift for narrative\" makes her books something to look forward to. Jane Shilling wrote in The Telegraph that The Betrayal is a \"lovely, thoughtful novel\". She said the book's \"impalpable apprehension\", Andrei's conflict between his doctor's instinct to heal and his \"panic-stricken desire\" to protect his family, \"is chillingly described\". But Shilling felt that once apprehension turns to horror, Dunmore's \"power to disturb weaken[s]\". What happens to Andrei \"has become so familiar that it is hard to find original ways to write about it\".\n\nReferences\n\nWorks cited\n\n2010 British novels\nRussian historical novels\nNovels set in 20th-century Russia\nNovels set in Saint Petersburg\nNovels set in the Stalin era\nNovels about political repression in the Soviet Union\nNovels by Helen Dunmore\nPenguin Books books\n1950s in Leningrad\nFiction set in 1952" ]
[ "Andrei Sakharov", "Particle physics and cosmology", "Who is Andrei?", "He mainly tried to explain the baryon asymmetry of the universe; in that regard," ]
C_c68fec27848b4a908430a3cd4ecb5a8a_1
What happen in the 70s
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What happen in the 70s with Andrei Sakharov?
Andrei Sakharov
After 1965 Sakharov returned to fundamental science and began working on particle physics and physical cosmology. He mainly tried to explain the baryon asymmetry of the universe; in that regard, he was the first to propose proton decay and to consider CPT-symmetric events occurring before the Big Bang: We can visualize that neutral spinless maximons (or photons) are produced at t < 0 from contracting matter having an excess of antiquarks, that they pass "one through the other" at the instant t = 0 when the density is infinite, and decay with an excess of quarks when t > 0, realizing total CPT symmetry of the universe. All the phenomena at t < 0 are assumed in this hypothesis to be CPT reflections of the phenomena at t > 0. Sakharov was the first scientist to introduce twin universes he called "sheets". He achieved a complete CPT symmetry since the second sheet is populated by invisible "shadow matter" which is antimatter (C-symmetry) because of an opposite CP-violation there, and the two sheets are mirror of each other both in space (P-symmetry) and time (T-symmetry) through the same initial gravitational singularity. In his first model the two universes did not interact, except via local matter accumulation whose density and pressure become high enough to connect the two sheets through a bridge without spacetime between them, but with a continuity of geodesics beyond the Schwarzschild radius with no singularity, allowing an exchange of matter between the two conjugated sheets, based on an idea after Igor Dmitriyevich Novikov. Novikov called such singularities a collapse and an anticollapse, which are an alternative to the couple black hole and white hole in the wormhole model. Sakharov also proposed the idea of induced gravity as an alternative theory of quantum gravity. CANNOTANSWER
Sakharov was the first scientist to introduce twin universes he called "sheets".
Andrei Dmitrievich Sakharov (; 21 May 192114 December 1989) was a Soviet nuclear physicist, dissident, Nobel laureate, and activist for disarmament, peace and human rights. He became renowned as the designer of the Soviet Union's RDS-37, a codename for Soviet development of thermonuclear weapons. Sakharov later became an advocate of civil liberties and civil reforms in the Soviet Union, for which he faced state persecution; these efforts earned him the Nobel Peace Prize in 1975. The Sakharov Prize, which is awarded annually by the European Parliament for people and organizations dedicated to human rights and freedoms, is named in his honor. Biography Early life Sakharov was born in Moscow on May 21, 1921. His father was Dmitri Ivanovich Sakharov, a physics professor and an amateur pianist. His father taught at the Second Moscow State University. Andrei's grandfather Ivan had been a prominent lawyer in the Russian Empire who had displayed respect for social awareness and humanitarian principles (including advocating the abolition of capital punishment) that would later influence his grandson. Sakharov's mother was Yekaterina Alekseevna Sofiano, a daughter of the army general Aleksey Semenovich Sofiano. Sakharov's parents and paternal grandmother, Maria Petrovna, largely shaped his personality. His mother and grandmother were churchgoers; his father was a nonbeliever. When Andrei was about thirteen, he realized that he did not believe. However, despite being an atheist, he did believe in a "guiding principle" that transcends the physical laws. Education and career Sakharov entered Physics Department of Moscow State University in 1938. Following evacuation in 1941 during the Great Patriotic War (World War II), he graduated in Aşgabat, in today's Turkmenistan. He was then assigned to laboratory work in Ulyanovsk. In 1943, he married Klavdia Alekseyevna Vikhireva, with whom he raised two daughters and a son. Klavdia would later die in 1969. He returned to Moscow in 1945 to study at the Theoretical Department of FIAN (the Physical Institute of the Soviet Academy of Sciences). He received his Ph.D. in 1947. Development of thermonuclear devices After World War II, he researched cosmic rays. In mid-1948 he participated in the Soviet atomic bomb project under Igor Kurchatov and Igor Tamm. Sakharov's study group at FIAN in 1948 came up with a second concept in August–September 1948. Adding a shell of natural, unenriched uranium around the deuterium would increase the deuterium concentration at the uranium-deuterium boundary and the overall yield of the device, because the natural uranium would capture neutrons and itself fission as part of the thermonuclear reaction. This idea of a layered fission-fusion-fission bomb led Sakharov to call it the sloika, or layered cake. The first Soviet atomic device was tested on August 29, 1949. After moving to Sarov in 1950, Sakharov played a key role in the development of the first megaton-range Soviet hydrogen bomb using a design known as Sakharov's Third Idea in Russia and the Teller–Ulam design in the United States. Before his Third Idea, Sakharov tried a "layer cake" of alternating layers of fission and fusion fuel. The results were disappointing, yielding no more than a typical fission bomb. However the design was seen to be worth pursuing because deuterium is abundant and uranium is scarce, and he had no idea how powerful the US design was. Sakharov realised that in order to cause the explosion of one side of the fuel to symmetrically compress the fusion fuel, a mirror could be used to reflect the radiation. The details had not been officially declassified in Russia when Sakharov was writing his memoirs, but in the Teller–Ulam design, soft X-rays emitted by the fission bomb were focused onto a cylinder of lithium deuteride to compress it symmetrically. This is called radiation implosion. The Teller–Ulam design also had a secondary fission device inside the fusion cylinder to assist with the compression of the fusion fuel and generate neutrons to convert some of the lithium to tritium, producing a mixture of deuterium and tritium. Sakharov's idea was first tested as RDS-37 in 1955. A larger variation of the same design which Sakharov worked on was the 50 Mt Tsar Bomba of October 1961, which was the most powerful nuclear device ever detonated. Sakharov saw "striking parallels" between his fate and those of J. Robert Oppenheimer and Edward Teller in the US. Sakharov believed that in this "tragic confrontation of two outstanding people", both deserved respect, because "each of them was certain he had right on his side and was morally obligated to go to the end in the name of truth." While Sakharov strongly disagreed with Teller over nuclear testing in the atmosphere and the Strategic Defense Initiative, he believed that American academics had been unfair to Teller's resolve to get the H-bomb for the United States since "all steps by the Americans of a temporary or permanent rejection of developing thermonuclear weapons would have been seen either as a clever feint, or as the manifestation of stupidity. In both cases, the reaction would have been the same – avoid the trap and immediately take advantage of the enemy's stupidity." Sakharov never felt that by creating nuclear weapons he had "known sin", in Oppenheimer's expression. He later wrote: Support for peaceful use of nuclear technology In 1950 he proposed an idea for a controlled nuclear fusion reactor, the tokamak, which is still the basis for the majority of work in the area. Sakharov, in association with Tamm, proposed confining extremely hot ionized plasma by torus shaped magnetic fields for controlling thermonuclear fusion that led to the development of the tokamak device. Magneto-implosive generators In 1951 he invented and tested the first explosively pumped flux compression generators, compressing magnetic fields by explosives. He called these devices MK (for MagnetoKumulative) generators. The radial MK-1 produced a pulsed magnetic field of 25 megagauss (2500 teslas). The resulting helical MK-2 generated 1000 million amperes in 1953. Sakharov then tested a MK-driven "plasma cannon" where a small aluminum ring was vaporized by huge eddy currents into a stable, self-confined toroidal plasmoid and was accelerated to 100 km/s. Sakharov later suggested replacing the copper coil in MK generators with a large superconductor solenoid to magnetically compress and focus underground nuclear explosions into a shaped charge effect. He theorized this could focus 1023 protons per second on a 1 mm2 surface. Particle physics and cosmology After 1965 Sakharov returned to fundamental science and began working on particle physics and physical cosmology. He tried to explain the baryon asymmetry of the universe; in that regard, he was the first to give a theoretical motivation for proton decay. Proton decay was suggested by Wigner in 1949 and 1952. Proton decay experiments had been performed since 1954 already. Sakharov was the first to consider CPT-symmetric events occurring before the Big Bang:We can visualize that neutral spinless maximons (or photons) are produced at ''t'' < 0 from contracting matter having an excess of antiquarks, that they pass "one through the other" at the instant ''t'' = 0 when the density is infinite, and decay with an excess of quarks when ''t'' > 0, realizing total CPT symmetry of the universe. All the phenomena at t < 0 are assumed in this hypothesis to be CPT reflections of the phenomena at t > 0. His legacy in this domain are the famous conditions named after him: Baryon number violation, C-symmetry and CP-symmetry violation, and interactions out of thermal equilibrium. Sakharov was also interested in explaining why the curvature of the universe is so small. This lead him to consider cyclic models, where the universe oscillates between contraction and expansion phases. In those models, after a certain number of cycles the curvature naturally becomes infinite even if it had not started this way: Sakharov considered three starting points, a flat universe with a slightly negative cosmological constant, a universe with a positive curvature and a zero cosmological constant, and a universe with a negative curvature and a slightly negative cosmological constant. Those last two models feature what Sakharov calls a reversal of the time arrow, which can be summarized as follows: He considers times t > 0 after the initial Big Bang singularity at t = 0 (which he calls "Friedman singularity" and denotes Φ) as well as times t < 0 before that singularity. He then assumes that entropy increases when time increases for t > 0 as well as when time decreases for t < 0, which constitutes his reversal of time. Then he considers the case when the universe at t < 0 is the image of the universe at t > 0 under CPT symmetry but also the case when it is not so: the universe has a non-zero CPT charge at t = 0 in this case. Sakharov considers a variant of this model where the reversal of the time arrow occurs at a point of maximum entropy instead of happening at the singularity. In those models there is no dynamic interaction between the universe at t < 0 and t > 0. In his first model the two universes did not interact, except via local matter accumulation whose density and pressure become high enough to connect the two sheets through a bridge without spacetime between them, but with a continuity of geodesics beyond the Schwarzschild radius with no singularity, allowing an exchange of matter between the two conjugated sheets, based on an idea after Igor Dmitriyevich Novikov. Novikov called such singularities a collapse and an anticollapse, which are an alternative to the couple black hole and white hole in the wormhole model. Sakharov also proposed the idea of induced gravity as an alternative theory of quantum gravity. Turn to activism Since the late 1950s Sakharov had become concerned about the moral and political implications of his work. Politically active during the 1960s, Sakharov was against nuclear proliferation. Pushing for the end of atmospheric tests, he played a role in the 1963 Partial Test Ban Treaty, signed in Moscow. Sakharov was also involved in an event with political consequences in 1964, when the Soviet Academy of Sciences nominated for full membership Nikolai Nuzhdin, a follower of Trofim Lysenko (initiator of the Stalin-supported anti-genetics campaign Lysenkoism). Contrary to normal practice, Sakharov, a member of the academy, publicly spoke out against full membership for Nuzhdin and held him responsible for "the defamation, firing, arrest, even death, of many genuine scientists." In the end, Nuzhdin was not elected, but the episode prompted Sergei Khrushchev to order the KGB to gather compromising material on Sakharov. The major turn in Sakharov's political evolution came in 1967, when anti-ballistic missile defense became a key issue in US–Soviet relations. In a secret detailed letter to the Soviet leadership of July 21, 1967, Sakharov explained the need to "take the Americans at their word" and accept their proposal for a "bilateral rejection by the USA and the Soviet Union of the development of antiballistic missile defense" because an arms race in the new technology would otherwise increase the likelihood of nuclear war. He also asked permission to publish his manuscript, which accompanied the letter, in a newspaper to explain the dangers posed by that kind of defense. The government ignored his letter and refused to let him initiate a public discussion of ABMs in the Soviet press. Since 1967, after the Six Day War and the beginning of the Arab-Israeli conflict, he actively supported Israel, as he reported more than once in the press, and also maintained friendly relations with refuseniks who later made aliyah. In May 1968, Sakharov completed an essay, "Reflections on Progress, Peaceful Coexistence, and Intellectual Freedom". He described the anti-ballistic missile defense as a major threat of world nuclear war. After the essay was circulated in samizdat and then published outside the Soviet Union, Sakharov was banned from conducting any military-related research and returned to FIAN to study fundamental theoretical physics. For 12 years, until his exile to Gorky (Nizhny Novgorod) in January 1980, Sakharov assumed the role of a widely recognized and open dissident in Moscow. He stood vigil outside closed courtrooms, wrote appeals on behalf of more than 200 individual prisoners, and continued to write essays about the need for democratization. In 1970, Sakharov was among the three founding members of the Committee on Human Rights in the USSR, along with Valery Chalidze and Andrei Tverdokhlebov. The Committee wrote appeals, collected signatures for petitions and succeeded in affiliating with several international human rights organizations. Its work was the subject of many KGB reports and brought Sakharov under increasing pressure from the government. Sakharov married a fellow human rights activist, Yelena Bonner, in 1972. By 1973, Sakharov was meeting regularly with Western correspondents and holding press conferences in his apartment. He appealed to the US Congress to approve the 1974 Jackson-Vanik Amendment to a trade bill, which coupled trade tariffs to the Kremlin's willingness to allow freer emigration. Attacked by Soviet establishment from 1972 In 1972, Sakharov became the target of sustained pressure from his fellow scientists in the Soviet Academy of Sciences and the Soviet press. The writer Aleksandr Solzhenitsyn came to his defence. In 1973 and 1974, the Soviet media campaign continued, targeting both Sakharov and Solzhenitsyn for their pro-Western, anti-socialist positions. Sakharov later described that it took "years" for him to "understand how much substitution, deceit, and lack of correspondence with reality there was" in the Soviet ideals. "At first I thought, despite everything that I saw with my own eyes, that the Soviet State was a breakthrough into the future, a kind of prototype for all countries". Then he came, in his words, to "the theory of symmetry: all governments and regimes to a first approximation are bad, all peoples are oppressed, and all are threatened by common dangers." Sakharov's ideas on social development led him to put forward the principle of human rights as a new basis of all politics. In his works, he declared that "the principle 'what is not prohibited is allowed' should be understood literally", and defied what he saw as unwritten ideological rules imposed by the Communist Party on the society in spite of a democratic Soviet Constitution (1936). In a letter written from exile, he cheered up a fellow physicist and free market advocate with the words: "Fortunately, the future is unpredictable and also – because of quantum effects – uncertain." For Sakharov, the indeterminacy of the future supported his belief that he could and should take personal responsibility for it. Nobel Peace Prize (1975) In 1973, Sakharov was nominated for the Nobel Peace Prize, and in 1974, he was awarded the Prix mondial Cino Del Duca. Sakharov was awarded the Nobel Peace Prize in 1975. The Norwegian Nobel Committee called him "a spokesman for the conscience of mankind". In the words of the Nobel Committee's citation: "In a convincing manner Sakharov has emphasised that Man's inviolable rights provide the only safe foundation for genuine and enduring international cooperation." Sakharov was not allowed to leave the Soviet Union to collect the prize. His wife, Yelena Bonner, read his speech at the ceremony in Oslo, Norway. On the day the prize was awarded, Sakharov was in Vilnius, where the human rights activist Sergei Kovalev was being tried. In his Nobel lecture, "Peace, Progress, Human Rights", Sakharov called for an end to the arms race, greater respect for the environment, international cooperation, and universal respect for human rights. He included a list of prisoners of conscience and political prisoners in the Soviet Union and stated that he shared the prize with them. By 1976, the head of the KGB, Yuri Andropov, was prepared to call Sakharov "Domestic Enemy Number One" before a group of KGB officers. Internal exile (1980–1986) Sakharov was arrested on 22 January 1980, following his public protests against the Soviet intervention in Afghanistan in 1979, and was sent to the city of Gorky, now Nizhny Novgorod, a city that was off limits to foreigners. Between 1980 and 1986, Sakharov was kept under Soviet police surveillance. In his memoirs, he mentioned that their apartment in Gorky was repeatedly subjected to searches and heists. Sakharov was named the 1980 Humanist of the Year by the American Humanist Association. In May 1984, Sakharov's wife, Yelena Bonner, was detained, and Sakharov began a hunger strike, demanding permission for his wife to travel to the United States for heart surgery. He was forcibly hospitalized and force-fed. He was held in isolation for four months. In August 1984, Bonner was sentenced by a court to five years of exile in Gorky. In April 1985, Sakharov started a new hunger strike for his wife to travel abroad for medical treatment. He again was taken to a hospital and force-fed. In August, the Politburo discussed what to do about Sakharov. He remained in the hospital until October 1985, when his wife was allowed to travel to the United States. She had heart surgery in the United States and returned to Gorky in June 1986. In December 1985, the European Parliament established the Sakharov Prize for Freedom of Thought, to be given annually for outstanding contributions to human rights. On 19 December 1986, Mikhail Gorbachev, who had initiated the policies of perestroika and glasnost, called Sakharov to tell him that he and his wife could return to Moscow. Political leader In 1988, Sakharov was given the International Humanist Award by the International Humanist and Ethical Union. He helped to initiate the first independent legal political organizations and became prominent in the Soviet Union's growing political opposition. In March 1989, Sakharov was elected to the new parliament, the All-Union Congress of People's Deputies and co-led the democratic opposition, the Inter-Regional Deputies Group. In November the head of the KGB reported to Gorbachev on Sakharov's encouragement and support for the coal miners' strike in Vorkuta. In December 1988, Sakharov visited Armenia and Azerbaijan on a fact-finding mission. He concluded, "For Azerbaijan the issue of Karabakh is a matter of ambition, for the Armenians of Karabakh, it is a matter of life and death". Death Soon after 9pm on 14 December 1989, Sakharov went to his study to take a nap before preparing an important speech he was to deliver the next day in the Congress. His wife went to wake him at 11pm as he had requested but she found Sakharov dead on the floor. According to the notes of Yakov Rapoport, a senior pathologist present at the autopsy, it is most likely that Sakharov died of an arrhythmia consequent to dilated cardiomyopathy at the age of 68. He was interred in the Vostryakovskoye Cemetery in Moscow. Influence Memorial prizes The Sakharov Prize for Freedom of Thought was established in 1988 by the European Parliament in his honour, and is the highest tribute to human rights endeavours awarded by the European Union. It is awarded annually by the parliament to "those who carry the spirit of Soviet dissident Andrei Sakharov"; to "Laureates who, like Sakharov, dedicate their lives to peaceful struggle for human rights." An Andrei Sakharov prize has also been awarded by the American Physical Society every second year since 2006 "to recognize outstanding leadership and/or achievements of scientists in upholding human rights". The Andrei Sakharov Prize For Writer's Civic Courage was established in October 1990. In 2004, with the approval of Yelena Bonner, an annual Sakharov Prize for journalism was established for reporters and commentators in Russia. Funded by former Soviet dissident Pyotr Vins, now a businessman in the US, the prize is administered by the Glasnost Defence Foundation in Moscow. The prize "for journalism as an act of conscience" has been won over the years by famous journalists such as Anna Politkovskaya and young reporters and editors working far from Russia's media capital, Moscow. The 2015 winner was Yelena Kostyuchenko. Andrei Sakharov Archives and Human Rights Center The Andrei Sakharov Archives and Human Rights Center, established at Brandeis University in 1993, are now housed at Harvard University. The documents from that archive were published by the Yale University Press in 2005. These documents are available online. Most of documents of the archive are letters from the head of the KGB to the Central Committee about activities of Soviet dissidents and recommendations about the interpretation in newspapers. The letters cover the period from 1968 to 1991 (Brezhnev stagnation). The documents characterize not only Sakharov's activity, but that of other dissidents, as well as that of highest-position apparatchiks and the KGB. No Russian equivalent of the KGB archive is available. Legacy and remembrance Places In Moscow, there is Academician Sakharov Avenue and Sakharov Center. During the 1980s, the block of 16th Street NW between L and M streets, in front of the Russian ambassador's residence in Washington, D.C. was renamed "Andrei Sakharov Plaza" as a form of protest against his 1980 arrest and detention. In Yerevan, the capital of Armenia, Sakharov Square, located in the heart of the city, is named after him. The Sakharov Gardens (est. 1990) are located at the entrance to Jerusalem, Israel, off the Jerusalem–Tel Aviv Highway. There is also a street named after him in Haifa. In Nizhny Novgorod, there is a Sakharov Museum in the apartment on the first floor of the 12-storeyed house where the Sakharov family lived for seven years; in 2014 his monument was erected near the house. In Saint Petersburg, his monument stands in Sakharov Square, and there is a Sakharov Park. In 1979, an asteroid, 1979 Sakharov, was named after him. A public square in Vilnius in front of the Press House is named after Sakharov. The square was named on 16 March 1991, as the Press House was still occupied by the Soviet Army. Andreja Saharova iela in the district of Pļavnieki in Riga, Latvia, is named after Sakharov. Andreij-Sacharow-Platz in downtown Nuremberg is named in honour of Sakharov. In Belarus, International Sakharov Environmental University was named after him. Intersection of Ventura Blvd and Laurel Canyon Blvd in Studio City, Los Angeles, is named Andrei Sakharov Square. In Arnhem, the bridge over the Nederrijn is called the Andrej Sacharovbrug. The Andrej Sacharovweg is a street in Assen, Netherlands. There are also streets named in his honour in other places in the Netherlands such as Amsterdam, Amstelveen, The Hague, Hellevoetsluis, Leiden, Purmerend, Rotterdam, Utrecht A street in Copenhagen, Denmark. Quai Andreï Sakharov in Tournai, Belgium, is named in honour of Sakharov. In Poland, streets named in his honour in Warsaw, Łódź and Kraków. Andreï Sakharov Boulevard in the district of Mladost in Sofia, Bulgaria, is named after him. In New York, a street sign at the southwest corner of Third Avenue and 67th Street reads Sakharov-Bonner Corner, in honor of Sakharov and his wife, Yelena Bonner. The corner is just down the block from the Russian (then Soviet) Mission to the United Nations and was the scene of repeated anti-Soviet demonstrations. Media In the 1984 made-for-TV film Sakharov starring Jason Robards. In the television series Star Trek: The Next Generation, one of the Enterprise-D's Shuttlecraft is named after Sakharov, and is featured prominently in several episodes. This follows the Star Trek tradition of naming Shuttlecraft after prominent scientists, and particularly in The Next Generation, physicists. The fictitious interplanetary spacecraft Cosmonaut Alexei Leonov from the novel 2010: Odyssey Two by Arthur C. Clarke is powered by a "Sakharov drive". The novel was published in 1982, when Sakharov was in exile in Nizhny Novgorod, and was dedicated both to Sakharov and to Alexei Leonov. Russian singer Alexander Gradsky wrote and performed the song "Памяти А. Д. Сахарова" ("In memory of Andrei Sakharov"), which features on his Live In "Russia" 2 (Живем в "России" 2) CD. The faction leader of the Ecologists in the PC game S.T.A.L.K.E.R.: Shadow of Chernobyl and its prequel is a scientist named Professor Sakharov. Honours and awards Hero of Socialist Labour (three times: 12 August 1953; 20 June 1956; 7 March 1962). Four Orders of Lenin. Lenin Prize (1956). Stalin Prize (1953). In 1980, Sakharov was stripped of all Soviet awards for "anti-Soviet activities". Later, during glasnost, he declined the return of his awards and, consequently, Mikhail Gorbachev did not sign the necessary decree. Prix mondial Cino Del Duca (1974). Nobel Peace Prize (1975). Laurea Honoris Causa of the Sapienza University of Rome (1980). Grand Cross of Order of the Cross of Vytis (posthumously on January 8, 2003). Bibliography Books Articles and interviews See also Sakharov conditions Sakharov Prize List of peace activists Sergei Kovalev Natan Sharansky Edward Teller Stanislaw Ulam Omid Kokabee, Mordechai Vanunu References Further reading The Regesto delle lauree honoris causa dal 1944 al 1985 is a detailed and carefully commented register of all the documents of the official archive of the Sapienza University of Rome pertaining to the honoris causa degrees awarded or not. It includes all the awarding proposals submitted during the considered period, detailed presentations of the work of the candidate, if available, and precise references to related articles published on Italian newspapers and magazines, if the laurea was awarded. External links The Andrei Sakharov Archives at the Houghton Library. Andrei Sakharov: Soviet Physics, Nuclear Weapons, and Human Rights. Web exhibit at the American Institute of Physics. Andrei Sakharov: Photo-chronology Annotated bibliography of Andrei Sakharov from the Alsos Digital Library Videos 1921 births 1989 deaths 20th-century Russian writers Amnesty International prisoners of conscience held by the Soviet Union Full Members of the USSR Academy of Sciences Grand Crosses of the Order of the Cross of Vytis Heroes of Socialist Labour Lenin Prize winners Members of the Congress of People's Deputies of the Soviet Union Moscow State University alumni Nobel Peace Prize laureates Nuclear weapons program of the Soviet Union Perestroika Recipients of the Order of Lenin Hunger strikers Soviet atheists Soviet inventors Soviet memoirists Soviet anti–nuclear weapons activists Soviet dissidents Soviet male writers 20th-century male writers Soviet Nobel laureates Soviet non-fiction writers Soviet nuclear physicists Soviet prisoners and detainees Soviet psychiatric abuse whistleblowers Stalin Prize winners Writers from Moscow Political prisoners Russian people of Greek descent Political party founders 20th-century memoirists Male non-fiction writers World War II refugees
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[ "James P. Flynn (born February 5, 1934) is an American teamster and film actor. He was a reputed member of the famous Winter Hill Gang. He has been in films including Good Will Hunting, The Cider House Rules and What's the Worst That Could Happen?.\n\nBiography\nJames P. Flynn was born in Somerville, Massachusetts.\n\nIn 1982, Flynn was wrongly identified as a shooter in the murder of Winter Hill Gang mob associate Brian \"Balloonhead\" Halloran and attempted murder of Michael Donahue. He was tried and acquitted for the murder in 1986 after being framed by John Connolly and James J. Bulger.\n\nFlynn was a part of Boston's International Brotherhood of Teamsters Local 25 labor union where he later ran the organization's movie production crew. He has also been the Teamster Union's transportation coordinator and transportation captain in the transportation department on numerous films, including The Departed, Fever Pitch and Jumanji.\n\nFlynn appeared in many films shot in the New England area. In show business he goes by the name 'James P. Flynn'. Flynn was cast as a judge in the Boston-based film Good Will Hunting in 1997. Later, he acted in the 1999 film The Cider House Rules and What's the Worst That Could Happen? in 2001. He was also a truck driver for movie production equipment during the filming of My Best Friend's Girl in 2008. Boston actor Tom Kemp remarked: \"[The film The Departed] wouldn't be a Boston movie without me, a Wahlberg, and Jimmy Flynn from the teamsters.\"\n\nFilmography\nGood Will Hunting (1997) as Judge George H. Malone\nThe Cider House Rules (1999) as Vernon\nWhat's the Worst That Could Happen? (2001) as the Fire Captain\n\nReferences\n\nExternal links \n\n1934 births\nLiving people\nMale actors from Boston\nWinter Hill Gang", "Giovanni Veronesi (born 1962) is an Italian film screenwriter, actor and director. Born in Prato, he is the brother of the writer Sandro Veronesi.\n\nHe started his career writing scripts for directors such as Francesco Nuti, Leonardo Pieraccioni, Massimo Ceccherini and Carlo Verdone. He debuted as film director with Maramao in 1987, before reaching commercial success with What Will Happen to Us (2004). He is known for his Manual of Love romantic comedy trilogy: Manual of Love (2005), Manual of Love 2 (2007) and The Ages of Love (2011).\n\nHis partner is actress Valeria Solarino, whom Veronesi directed in What Will Happen to Us.\n\nFilmography\n\nFilm director\nMaramao (1987)\nFor Love, Only for Love (1993)\nSilenzio... si nasce (1996)\nThe Barber of Rio (1996)\nViola Kisses Everybody (1998)\nGunslinger's Revenge (1998)\nWitches to the North (2001)\nWhat Will Happen to Us (2004)\nManual of Love (2005)\nManual of Love 2 (2007)\nItalians (2009)\nParents and Children: Shake Well Before Using (2010)\nThe Ages of Love (2011)\nThe Fifth Wheel (2013)\nA Woman as a Friend (2014)\nNo Country for Young Men (2017)\nThe King's Musketeers (2018)\nTutti per 1 - 1 per tutti (2020)\n\nScreenwriter\nAll the Fault of Paradise (1985)\nStregati (1987)\nMaramao (1987)\nCaruso Pascoski, Son of a Pole (1988)\nWomen in Skirts (1991)\nVacanze di Natale '91 (1991)\nAnni 90 (1992)\nAmami (1992)\nFor Love, Only for Love (1993)\nOcchioPinocchio (1994)\nMen Men Men (1995)\nThe Graduates (1995)\nSilenzio... si nasce (1996)\n3 (1996)\nThe Barber of Rio (1996)\nThe Cyclone (1996)\nCinque giorni di tempesta (1997)\nFireworks (1997)\nViola Kisses Everybody (1998)\nGunslinger's Revenge (1998)\nLucignolo (1999)\nThe Fish in Love (1999)\nA Chinese in a Coma (2000)\nPicasso's Face (2000)\nWitches to the North (2001)\nThe Prince and the Pirate (2001)\nMy Life with Stars and Stripes (2003)\nSuddenly Paradise (2003)\nWhat Will Happen to Us (2004)\nManual of Love (2005)\nI Love You in Every Language in the World (2005)\nManual of Love 2 (2007)\nIl professor Cenerentolo (2015)\nThe King's Musketeers (2018)\nTutti per 1 - 1 per tutti (2020)\nSi vive una volta sola (2021)\n\nActor\nA School Outing (1983)\nCaruso Pascoski, Son of a Pole (1988)\nPicasso's Face (2000)\nFughe da fermo (2001)\n\nExternal links\n\n \n\n1962 births\nLiving people\nPeople from Prato\nItalian film directors\nItalian screenwriters\nItalian male screenwriters\nDavid di Donatello winners" ]
[ "Andrei Sakharov", "Particle physics and cosmology", "Who is Andrei?", "He mainly tried to explain the baryon asymmetry of the universe; in that regard,", "What happen in the 70s", "Sakharov was the first scientist to introduce twin universes he called \"sheets\"." ]
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What else did you found interesting about Andrei Sakharov other than introducing twin universes?
Andrei Sakharov
After 1965 Sakharov returned to fundamental science and began working on particle physics and physical cosmology. He mainly tried to explain the baryon asymmetry of the universe; in that regard, he was the first to propose proton decay and to consider CPT-symmetric events occurring before the Big Bang: We can visualize that neutral spinless maximons (or photons) are produced at t < 0 from contracting matter having an excess of antiquarks, that they pass "one through the other" at the instant t = 0 when the density is infinite, and decay with an excess of quarks when t > 0, realizing total CPT symmetry of the universe. All the phenomena at t < 0 are assumed in this hypothesis to be CPT reflections of the phenomena at t > 0. Sakharov was the first scientist to introduce twin universes he called "sheets". He achieved a complete CPT symmetry since the second sheet is populated by invisible "shadow matter" which is antimatter (C-symmetry) because of an opposite CP-violation there, and the two sheets are mirror of each other both in space (P-symmetry) and time (T-symmetry) through the same initial gravitational singularity. In his first model the two universes did not interact, except via local matter accumulation whose density and pressure become high enough to connect the two sheets through a bridge without spacetime between them, but with a continuity of geodesics beyond the Schwarzschild radius with no singularity, allowing an exchange of matter between the two conjugated sheets, based on an idea after Igor Dmitriyevich Novikov. Novikov called such singularities a collapse and an anticollapse, which are an alternative to the couple black hole and white hole in the wormhole model. Sakharov also proposed the idea of induced gravity as an alternative theory of quantum gravity. CANNOTANSWER
Big Bang:
Andrei Dmitrievich Sakharov (; 21 May 192114 December 1989) was a Soviet nuclear physicist, dissident, Nobel laureate, and activist for disarmament, peace and human rights. He became renowned as the designer of the Soviet Union's RDS-37, a codename for Soviet development of thermonuclear weapons. Sakharov later became an advocate of civil liberties and civil reforms in the Soviet Union, for which he faced state persecution; these efforts earned him the Nobel Peace Prize in 1975. The Sakharov Prize, which is awarded annually by the European Parliament for people and organizations dedicated to human rights and freedoms, is named in his honor. Biography Early life Sakharov was born in Moscow on May 21, 1921. His father was Dmitri Ivanovich Sakharov, a physics professor and an amateur pianist. His father taught at the Second Moscow State University. Andrei's grandfather Ivan had been a prominent lawyer in the Russian Empire who had displayed respect for social awareness and humanitarian principles (including advocating the abolition of capital punishment) that would later influence his grandson. Sakharov's mother was Yekaterina Alekseevna Sofiano, a daughter of the army general Aleksey Semenovich Sofiano. Sakharov's parents and paternal grandmother, Maria Petrovna, largely shaped his personality. His mother and grandmother were churchgoers; his father was a nonbeliever. When Andrei was about thirteen, he realized that he did not believe. However, despite being an atheist, he did believe in a "guiding principle" that transcends the physical laws. Education and career Sakharov entered Physics Department of Moscow State University in 1938. Following evacuation in 1941 during the Great Patriotic War (World War II), he graduated in Aşgabat, in today's Turkmenistan. He was then assigned to laboratory work in Ulyanovsk. In 1943, he married Klavdia Alekseyevna Vikhireva, with whom he raised two daughters and a son. Klavdia would later die in 1969. He returned to Moscow in 1945 to study at the Theoretical Department of FIAN (the Physical Institute of the Soviet Academy of Sciences). He received his Ph.D. in 1947. Development of thermonuclear devices After World War II, he researched cosmic rays. In mid-1948 he participated in the Soviet atomic bomb project under Igor Kurchatov and Igor Tamm. Sakharov's study group at FIAN in 1948 came up with a second concept in August–September 1948. Adding a shell of natural, unenriched uranium around the deuterium would increase the deuterium concentration at the uranium-deuterium boundary and the overall yield of the device, because the natural uranium would capture neutrons and itself fission as part of the thermonuclear reaction. This idea of a layered fission-fusion-fission bomb led Sakharov to call it the sloika, or layered cake. The first Soviet atomic device was tested on August 29, 1949. After moving to Sarov in 1950, Sakharov played a key role in the development of the first megaton-range Soviet hydrogen bomb using a design known as Sakharov's Third Idea in Russia and the Teller–Ulam design in the United States. Before his Third Idea, Sakharov tried a "layer cake" of alternating layers of fission and fusion fuel. The results were disappointing, yielding no more than a typical fission bomb. However the design was seen to be worth pursuing because deuterium is abundant and uranium is scarce, and he had no idea how powerful the US design was. Sakharov realised that in order to cause the explosion of one side of the fuel to symmetrically compress the fusion fuel, a mirror could be used to reflect the radiation. The details had not been officially declassified in Russia when Sakharov was writing his memoirs, but in the Teller–Ulam design, soft X-rays emitted by the fission bomb were focused onto a cylinder of lithium deuteride to compress it symmetrically. This is called radiation implosion. The Teller–Ulam design also had a secondary fission device inside the fusion cylinder to assist with the compression of the fusion fuel and generate neutrons to convert some of the lithium to tritium, producing a mixture of deuterium and tritium. Sakharov's idea was first tested as RDS-37 in 1955. A larger variation of the same design which Sakharov worked on was the 50 Mt Tsar Bomba of October 1961, which was the most powerful nuclear device ever detonated. Sakharov saw "striking parallels" between his fate and those of J. Robert Oppenheimer and Edward Teller in the US. Sakharov believed that in this "tragic confrontation of two outstanding people", both deserved respect, because "each of them was certain he had right on his side and was morally obligated to go to the end in the name of truth." While Sakharov strongly disagreed with Teller over nuclear testing in the atmosphere and the Strategic Defense Initiative, he believed that American academics had been unfair to Teller's resolve to get the H-bomb for the United States since "all steps by the Americans of a temporary or permanent rejection of developing thermonuclear weapons would have been seen either as a clever feint, or as the manifestation of stupidity. In both cases, the reaction would have been the same – avoid the trap and immediately take advantage of the enemy's stupidity." Sakharov never felt that by creating nuclear weapons he had "known sin", in Oppenheimer's expression. He later wrote: Support for peaceful use of nuclear technology In 1950 he proposed an idea for a controlled nuclear fusion reactor, the tokamak, which is still the basis for the majority of work in the area. Sakharov, in association with Tamm, proposed confining extremely hot ionized plasma by torus shaped magnetic fields for controlling thermonuclear fusion that led to the development of the tokamak device. Magneto-implosive generators In 1951 he invented and tested the first explosively pumped flux compression generators, compressing magnetic fields by explosives. He called these devices MK (for MagnetoKumulative) generators. The radial MK-1 produced a pulsed magnetic field of 25 megagauss (2500 teslas). The resulting helical MK-2 generated 1000 million amperes in 1953. Sakharov then tested a MK-driven "plasma cannon" where a small aluminum ring was vaporized by huge eddy currents into a stable, self-confined toroidal plasmoid and was accelerated to 100 km/s. Sakharov later suggested replacing the copper coil in MK generators with a large superconductor solenoid to magnetically compress and focus underground nuclear explosions into a shaped charge effect. He theorized this could focus 1023 protons per second on a 1 mm2 surface. Particle physics and cosmology After 1965 Sakharov returned to fundamental science and began working on particle physics and physical cosmology. He tried to explain the baryon asymmetry of the universe; in that regard, he was the first to give a theoretical motivation for proton decay. Proton decay was suggested by Wigner in 1949 and 1952. Proton decay experiments had been performed since 1954 already. Sakharov was the first to consider CPT-symmetric events occurring before the Big Bang:We can visualize that neutral spinless maximons (or photons) are produced at ''t'' < 0 from contracting matter having an excess of antiquarks, that they pass "one through the other" at the instant ''t'' = 0 when the density is infinite, and decay with an excess of quarks when ''t'' > 0, realizing total CPT symmetry of the universe. All the phenomena at t < 0 are assumed in this hypothesis to be CPT reflections of the phenomena at t > 0. His legacy in this domain are the famous conditions named after him: Baryon number violation, C-symmetry and CP-symmetry violation, and interactions out of thermal equilibrium. Sakharov was also interested in explaining why the curvature of the universe is so small. This lead him to consider cyclic models, where the universe oscillates between contraction and expansion phases. In those models, after a certain number of cycles the curvature naturally becomes infinite even if it had not started this way: Sakharov considered three starting points, a flat universe with a slightly negative cosmological constant, a universe with a positive curvature and a zero cosmological constant, and a universe with a negative curvature and a slightly negative cosmological constant. Those last two models feature what Sakharov calls a reversal of the time arrow, which can be summarized as follows: He considers times t > 0 after the initial Big Bang singularity at t = 0 (which he calls "Friedman singularity" and denotes Φ) as well as times t < 0 before that singularity. He then assumes that entropy increases when time increases for t > 0 as well as when time decreases for t < 0, which constitutes his reversal of time. Then he considers the case when the universe at t < 0 is the image of the universe at t > 0 under CPT symmetry but also the case when it is not so: the universe has a non-zero CPT charge at t = 0 in this case. Sakharov considers a variant of this model where the reversal of the time arrow occurs at a point of maximum entropy instead of happening at the singularity. In those models there is no dynamic interaction between the universe at t < 0 and t > 0. In his first model the two universes did not interact, except via local matter accumulation whose density and pressure become high enough to connect the two sheets through a bridge without spacetime between them, but with a continuity of geodesics beyond the Schwarzschild radius with no singularity, allowing an exchange of matter between the two conjugated sheets, based on an idea after Igor Dmitriyevich Novikov. Novikov called such singularities a collapse and an anticollapse, which are an alternative to the couple black hole and white hole in the wormhole model. Sakharov also proposed the idea of induced gravity as an alternative theory of quantum gravity. Turn to activism Since the late 1950s Sakharov had become concerned about the moral and political implications of his work. Politically active during the 1960s, Sakharov was against nuclear proliferation. Pushing for the end of atmospheric tests, he played a role in the 1963 Partial Test Ban Treaty, signed in Moscow. Sakharov was also involved in an event with political consequences in 1964, when the Soviet Academy of Sciences nominated for full membership Nikolai Nuzhdin, a follower of Trofim Lysenko (initiator of the Stalin-supported anti-genetics campaign Lysenkoism). Contrary to normal practice, Sakharov, a member of the academy, publicly spoke out against full membership for Nuzhdin and held him responsible for "the defamation, firing, arrest, even death, of many genuine scientists." In the end, Nuzhdin was not elected, but the episode prompted Sergei Khrushchev to order the KGB to gather compromising material on Sakharov. The major turn in Sakharov's political evolution came in 1967, when anti-ballistic missile defense became a key issue in US–Soviet relations. In a secret detailed letter to the Soviet leadership of July 21, 1967, Sakharov explained the need to "take the Americans at their word" and accept their proposal for a "bilateral rejection by the USA and the Soviet Union of the development of antiballistic missile defense" because an arms race in the new technology would otherwise increase the likelihood of nuclear war. He also asked permission to publish his manuscript, which accompanied the letter, in a newspaper to explain the dangers posed by that kind of defense. The government ignored his letter and refused to let him initiate a public discussion of ABMs in the Soviet press. Since 1967, after the Six Day War and the beginning of the Arab-Israeli conflict, he actively supported Israel, as he reported more than once in the press, and also maintained friendly relations with refuseniks who later made aliyah. In May 1968, Sakharov completed an essay, "Reflections on Progress, Peaceful Coexistence, and Intellectual Freedom". He described the anti-ballistic missile defense as a major threat of world nuclear war. After the essay was circulated in samizdat and then published outside the Soviet Union, Sakharov was banned from conducting any military-related research and returned to FIAN to study fundamental theoretical physics. For 12 years, until his exile to Gorky (Nizhny Novgorod) in January 1980, Sakharov assumed the role of a widely recognized and open dissident in Moscow. He stood vigil outside closed courtrooms, wrote appeals on behalf of more than 200 individual prisoners, and continued to write essays about the need for democratization. In 1970, Sakharov was among the three founding members of the Committee on Human Rights in the USSR, along with Valery Chalidze and Andrei Tverdokhlebov. The Committee wrote appeals, collected signatures for petitions and succeeded in affiliating with several international human rights organizations. Its work was the subject of many KGB reports and brought Sakharov under increasing pressure from the government. Sakharov married a fellow human rights activist, Yelena Bonner, in 1972. By 1973, Sakharov was meeting regularly with Western correspondents and holding press conferences in his apartment. He appealed to the US Congress to approve the 1974 Jackson-Vanik Amendment to a trade bill, which coupled trade tariffs to the Kremlin's willingness to allow freer emigration. Attacked by Soviet establishment from 1972 In 1972, Sakharov became the target of sustained pressure from his fellow scientists in the Soviet Academy of Sciences and the Soviet press. The writer Aleksandr Solzhenitsyn came to his defence. In 1973 and 1974, the Soviet media campaign continued, targeting both Sakharov and Solzhenitsyn for their pro-Western, anti-socialist positions. Sakharov later described that it took "years" for him to "understand how much substitution, deceit, and lack of correspondence with reality there was" in the Soviet ideals. "At first I thought, despite everything that I saw with my own eyes, that the Soviet State was a breakthrough into the future, a kind of prototype for all countries". Then he came, in his words, to "the theory of symmetry: all governments and regimes to a first approximation are bad, all peoples are oppressed, and all are threatened by common dangers." Sakharov's ideas on social development led him to put forward the principle of human rights as a new basis of all politics. In his works, he declared that "the principle 'what is not prohibited is allowed' should be understood literally", and defied what he saw as unwritten ideological rules imposed by the Communist Party on the society in spite of a democratic Soviet Constitution (1936). In a letter written from exile, he cheered up a fellow physicist and free market advocate with the words: "Fortunately, the future is unpredictable and also – because of quantum effects – uncertain." For Sakharov, the indeterminacy of the future supported his belief that he could and should take personal responsibility for it. Nobel Peace Prize (1975) In 1973, Sakharov was nominated for the Nobel Peace Prize, and in 1974, he was awarded the Prix mondial Cino Del Duca. Sakharov was awarded the Nobel Peace Prize in 1975. The Norwegian Nobel Committee called him "a spokesman for the conscience of mankind". In the words of the Nobel Committee's citation: "In a convincing manner Sakharov has emphasised that Man's inviolable rights provide the only safe foundation for genuine and enduring international cooperation." Sakharov was not allowed to leave the Soviet Union to collect the prize. His wife, Yelena Bonner, read his speech at the ceremony in Oslo, Norway. On the day the prize was awarded, Sakharov was in Vilnius, where the human rights activist Sergei Kovalev was being tried. In his Nobel lecture, "Peace, Progress, Human Rights", Sakharov called for an end to the arms race, greater respect for the environment, international cooperation, and universal respect for human rights. He included a list of prisoners of conscience and political prisoners in the Soviet Union and stated that he shared the prize with them. By 1976, the head of the KGB, Yuri Andropov, was prepared to call Sakharov "Domestic Enemy Number One" before a group of KGB officers. Internal exile (1980–1986) Sakharov was arrested on 22 January 1980, following his public protests against the Soviet intervention in Afghanistan in 1979, and was sent to the city of Gorky, now Nizhny Novgorod, a city that was off limits to foreigners. Between 1980 and 1986, Sakharov was kept under Soviet police surveillance. In his memoirs, he mentioned that their apartment in Gorky was repeatedly subjected to searches and heists. Sakharov was named the 1980 Humanist of the Year by the American Humanist Association. In May 1984, Sakharov's wife, Yelena Bonner, was detained, and Sakharov began a hunger strike, demanding permission for his wife to travel to the United States for heart surgery. He was forcibly hospitalized and force-fed. He was held in isolation for four months. In August 1984, Bonner was sentenced by a court to five years of exile in Gorky. In April 1985, Sakharov started a new hunger strike for his wife to travel abroad for medical treatment. He again was taken to a hospital and force-fed. In August, the Politburo discussed what to do about Sakharov. He remained in the hospital until October 1985, when his wife was allowed to travel to the United States. She had heart surgery in the United States and returned to Gorky in June 1986. In December 1985, the European Parliament established the Sakharov Prize for Freedom of Thought, to be given annually for outstanding contributions to human rights. On 19 December 1986, Mikhail Gorbachev, who had initiated the policies of perestroika and glasnost, called Sakharov to tell him that he and his wife could return to Moscow. Political leader In 1988, Sakharov was given the International Humanist Award by the International Humanist and Ethical Union. He helped to initiate the first independent legal political organizations and became prominent in the Soviet Union's growing political opposition. In March 1989, Sakharov was elected to the new parliament, the All-Union Congress of People's Deputies and co-led the democratic opposition, the Inter-Regional Deputies Group. In November the head of the KGB reported to Gorbachev on Sakharov's encouragement and support for the coal miners' strike in Vorkuta. In December 1988, Sakharov visited Armenia and Azerbaijan on a fact-finding mission. He concluded, "For Azerbaijan the issue of Karabakh is a matter of ambition, for the Armenians of Karabakh, it is a matter of life and death". Death Soon after 9pm on 14 December 1989, Sakharov went to his study to take a nap before preparing an important speech he was to deliver the next day in the Congress. His wife went to wake him at 11pm as he had requested but she found Sakharov dead on the floor. According to the notes of Yakov Rapoport, a senior pathologist present at the autopsy, it is most likely that Sakharov died of an arrhythmia consequent to dilated cardiomyopathy at the age of 68. He was interred in the Vostryakovskoye Cemetery in Moscow. Influence Memorial prizes The Sakharov Prize for Freedom of Thought was established in 1988 by the European Parliament in his honour, and is the highest tribute to human rights endeavours awarded by the European Union. It is awarded annually by the parliament to "those who carry the spirit of Soviet dissident Andrei Sakharov"; to "Laureates who, like Sakharov, dedicate their lives to peaceful struggle for human rights." An Andrei Sakharov prize has also been awarded by the American Physical Society every second year since 2006 "to recognize outstanding leadership and/or achievements of scientists in upholding human rights". The Andrei Sakharov Prize For Writer's Civic Courage was established in October 1990. In 2004, with the approval of Yelena Bonner, an annual Sakharov Prize for journalism was established for reporters and commentators in Russia. Funded by former Soviet dissident Pyotr Vins, now a businessman in the US, the prize is administered by the Glasnost Defence Foundation in Moscow. The prize "for journalism as an act of conscience" has been won over the years by famous journalists such as Anna Politkovskaya and young reporters and editors working far from Russia's media capital, Moscow. The 2015 winner was Yelena Kostyuchenko. Andrei Sakharov Archives and Human Rights Center The Andrei Sakharov Archives and Human Rights Center, established at Brandeis University in 1993, are now housed at Harvard University. The documents from that archive were published by the Yale University Press in 2005. These documents are available online. Most of documents of the archive are letters from the head of the KGB to the Central Committee about activities of Soviet dissidents and recommendations about the interpretation in newspapers. The letters cover the period from 1968 to 1991 (Brezhnev stagnation). The documents characterize not only Sakharov's activity, but that of other dissidents, as well as that of highest-position apparatchiks and the KGB. No Russian equivalent of the KGB archive is available. Legacy and remembrance Places In Moscow, there is Academician Sakharov Avenue and Sakharov Center. During the 1980s, the block of 16th Street NW between L and M streets, in front of the Russian ambassador's residence in Washington, D.C. was renamed "Andrei Sakharov Plaza" as a form of protest against his 1980 arrest and detention. In Yerevan, the capital of Armenia, Sakharov Square, located in the heart of the city, is named after him. The Sakharov Gardens (est. 1990) are located at the entrance to Jerusalem, Israel, off the Jerusalem–Tel Aviv Highway. There is also a street named after him in Haifa. In Nizhny Novgorod, there is a Sakharov Museum in the apartment on the first floor of the 12-storeyed house where the Sakharov family lived for seven years; in 2014 his monument was erected near the house. In Saint Petersburg, his monument stands in Sakharov Square, and there is a Sakharov Park. In 1979, an asteroid, 1979 Sakharov, was named after him. A public square in Vilnius in front of the Press House is named after Sakharov. The square was named on 16 March 1991, as the Press House was still occupied by the Soviet Army. Andreja Saharova iela in the district of Pļavnieki in Riga, Latvia, is named after Sakharov. Andreij-Sacharow-Platz in downtown Nuremberg is named in honour of Sakharov. In Belarus, International Sakharov Environmental University was named after him. Intersection of Ventura Blvd and Laurel Canyon Blvd in Studio City, Los Angeles, is named Andrei Sakharov Square. In Arnhem, the bridge over the Nederrijn is called the Andrej Sacharovbrug. The Andrej Sacharovweg is a street in Assen, Netherlands. There are also streets named in his honour in other places in the Netherlands such as Amsterdam, Amstelveen, The Hague, Hellevoetsluis, Leiden, Purmerend, Rotterdam, Utrecht A street in Copenhagen, Denmark. Quai Andreï Sakharov in Tournai, Belgium, is named in honour of Sakharov. In Poland, streets named in his honour in Warsaw, Łódź and Kraków. Andreï Sakharov Boulevard in the district of Mladost in Sofia, Bulgaria, is named after him. In New York, a street sign at the southwest corner of Third Avenue and 67th Street reads Sakharov-Bonner Corner, in honor of Sakharov and his wife, Yelena Bonner. The corner is just down the block from the Russian (then Soviet) Mission to the United Nations and was the scene of repeated anti-Soviet demonstrations. Media In the 1984 made-for-TV film Sakharov starring Jason Robards. In the television series Star Trek: The Next Generation, one of the Enterprise-D's Shuttlecraft is named after Sakharov, and is featured prominently in several episodes. This follows the Star Trek tradition of naming Shuttlecraft after prominent scientists, and particularly in The Next Generation, physicists. The fictitious interplanetary spacecraft Cosmonaut Alexei Leonov from the novel 2010: Odyssey Two by Arthur C. Clarke is powered by a "Sakharov drive". The novel was published in 1982, when Sakharov was in exile in Nizhny Novgorod, and was dedicated both to Sakharov and to Alexei Leonov. Russian singer Alexander Gradsky wrote and performed the song "Памяти А. Д. Сахарова" ("In memory of Andrei Sakharov"), which features on his Live In "Russia" 2 (Живем в "России" 2) CD. The faction leader of the Ecologists in the PC game S.T.A.L.K.E.R.: Shadow of Chernobyl and its prequel is a scientist named Professor Sakharov. Honours and awards Hero of Socialist Labour (three times: 12 August 1953; 20 June 1956; 7 March 1962). Four Orders of Lenin. Lenin Prize (1956). Stalin Prize (1953). In 1980, Sakharov was stripped of all Soviet awards for "anti-Soviet activities". Later, during glasnost, he declined the return of his awards and, consequently, Mikhail Gorbachev did not sign the necessary decree. Prix mondial Cino Del Duca (1974). Nobel Peace Prize (1975). Laurea Honoris Causa of the Sapienza University of Rome (1980). Grand Cross of Order of the Cross of Vytis (posthumously on January 8, 2003). Bibliography Books Articles and interviews See also Sakharov conditions Sakharov Prize List of peace activists Sergei Kovalev Natan Sharansky Edward Teller Stanislaw Ulam Omid Kokabee, Mordechai Vanunu References Further reading The Regesto delle lauree honoris causa dal 1944 al 1985 is a detailed and carefully commented register of all the documents of the official archive of the Sapienza University of Rome pertaining to the honoris causa degrees awarded or not. It includes all the awarding proposals submitted during the considered period, detailed presentations of the work of the candidate, if available, and precise references to related articles published on Italian newspapers and magazines, if the laurea was awarded. External links The Andrei Sakharov Archives at the Houghton Library. Andrei Sakharov: Soviet Physics, Nuclear Weapons, and Human Rights. Web exhibit at the American Institute of Physics. Andrei Sakharov: Photo-chronology Annotated bibliography of Andrei Sakharov from the Alsos Digital Library Videos 1921 births 1989 deaths 20th-century Russian writers Amnesty International prisoners of conscience held by the Soviet Union Full Members of the USSR Academy of Sciences Grand Crosses of the Order of the Cross of Vytis Heroes of Socialist Labour Lenin Prize winners Members of the Congress of People's Deputies of the Soviet Union Moscow State University alumni Nobel Peace Prize laureates Nuclear weapons program of the Soviet Union Perestroika Recipients of the Order of Lenin Hunger strikers Soviet atheists Soviet inventors Soviet memoirists Soviet anti–nuclear weapons activists Soviet dissidents Soviet male writers 20th-century male writers Soviet Nobel laureates Soviet non-fiction writers Soviet nuclear physicists Soviet prisoners and detainees Soviet psychiatric abuse whistleblowers Stalin Prize winners Writers from Moscow Political prisoners Russian people of Greek descent Political party founders 20th-century memoirists Male non-fiction writers World War II refugees
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[ "SOARA (Situation, Objective, Action, Results, Aftermath) is a job interview technique developed by Hagymas Laszlo, Professor of Language at the University of Munich, and Alexander Botos, Chief Curator at the National Institute of Economic and Social Research. It is similar to the Situation, Task, Action, Result technique. In many interviews, SOARA is used as a structure for clarifying information relating to a recent challenge.\n\nDetails\n\n Situation: The interviewer wants you to present a recent challenge and situation you found yourself in.\n Objective: What did you have to achieve? The interviewer will be looking to see what you were trying to achieve from the situation.\n Action: What did you do? The interviewer will be looking for information on what you did, why you did it and what were the alternatives.\n Results: What was the outcome of your actions? What did you achieve through your actions and did you meet your objectives.\n Aftermath: What did you learn from this experience and have you used this learning since?\n\nJob interview", "What Else Do You Do? (A Compilation of Quiet Music) is a various artists compilation album, released in 1990 by Shimmy Disc.\n\nTrack listing\n\nPersonnel \nAdapted from the What Else Do You Do? (A Compilation of Quiet Music) liner notes.\n Kramer – production, engineering\n\nRelease history\n\nReferences\n\nExternal links \n \n\n1990 compilation albums\nAlbums produced by Kramer (musician)\nShimmy Disc compilation albums" ]
[ "Andrei Sakharov", "Particle physics and cosmology", "Who is Andrei?", "He mainly tried to explain the baryon asymmetry of the universe; in that regard,", "What happen in the 70s", "Sakharov was the first scientist to introduce twin universes he called \"sheets\".", "What else did you found interesting?", "Big Bang:" ]
C_c68fec27848b4a908430a3cd4ecb5a8a_1
What was the big bang
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What did Andrei Sakharov have to do with the Big Bang?
Andrei Sakharov
After 1965 Sakharov returned to fundamental science and began working on particle physics and physical cosmology. He mainly tried to explain the baryon asymmetry of the universe; in that regard, he was the first to propose proton decay and to consider CPT-symmetric events occurring before the Big Bang: We can visualize that neutral spinless maximons (or photons) are produced at t < 0 from contracting matter having an excess of antiquarks, that they pass "one through the other" at the instant t = 0 when the density is infinite, and decay with an excess of quarks when t > 0, realizing total CPT symmetry of the universe. All the phenomena at t < 0 are assumed in this hypothesis to be CPT reflections of the phenomena at t > 0. Sakharov was the first scientist to introduce twin universes he called "sheets". He achieved a complete CPT symmetry since the second sheet is populated by invisible "shadow matter" which is antimatter (C-symmetry) because of an opposite CP-violation there, and the two sheets are mirror of each other both in space (P-symmetry) and time (T-symmetry) through the same initial gravitational singularity. In his first model the two universes did not interact, except via local matter accumulation whose density and pressure become high enough to connect the two sheets through a bridge without spacetime between them, but with a continuity of geodesics beyond the Schwarzschild radius with no singularity, allowing an exchange of matter between the two conjugated sheets, based on an idea after Igor Dmitriyevich Novikov. Novikov called such singularities a collapse and an anticollapse, which are an alternative to the couple black hole and white hole in the wormhole model. Sakharov also proposed the idea of induced gravity as an alternative theory of quantum gravity. CANNOTANSWER
We can visualize that neutral spinless maximons (or photons) are produced at t < 0 from contracting matter having an excess of antiquarks, that they pass "one through the other"
Andrei Dmitrievich Sakharov (; 21 May 192114 December 1989) was a Soviet nuclear physicist, dissident, Nobel laureate, and activist for disarmament, peace and human rights. He became renowned as the designer of the Soviet Union's RDS-37, a codename for Soviet development of thermonuclear weapons. Sakharov later became an advocate of civil liberties and civil reforms in the Soviet Union, for which he faced state persecution; these efforts earned him the Nobel Peace Prize in 1975. The Sakharov Prize, which is awarded annually by the European Parliament for people and organizations dedicated to human rights and freedoms, is named in his honor. Biography Early life Sakharov was born in Moscow on May 21, 1921. His father was Dmitri Ivanovich Sakharov, a physics professor and an amateur pianist. His father taught at the Second Moscow State University. Andrei's grandfather Ivan had been a prominent lawyer in the Russian Empire who had displayed respect for social awareness and humanitarian principles (including advocating the abolition of capital punishment) that would later influence his grandson. Sakharov's mother was Yekaterina Alekseevna Sofiano, a daughter of the army general Aleksey Semenovich Sofiano. Sakharov's parents and paternal grandmother, Maria Petrovna, largely shaped his personality. His mother and grandmother were churchgoers; his father was a nonbeliever. When Andrei was about thirteen, he realized that he did not believe. However, despite being an atheist, he did believe in a "guiding principle" that transcends the physical laws. Education and career Sakharov entered Physics Department of Moscow State University in 1938. Following evacuation in 1941 during the Great Patriotic War (World War II), he graduated in Aşgabat, in today's Turkmenistan. He was then assigned to laboratory work in Ulyanovsk. In 1943, he married Klavdia Alekseyevna Vikhireva, with whom he raised two daughters and a son. Klavdia would later die in 1969. He returned to Moscow in 1945 to study at the Theoretical Department of FIAN (the Physical Institute of the Soviet Academy of Sciences). He received his Ph.D. in 1947. Development of thermonuclear devices After World War II, he researched cosmic rays. In mid-1948 he participated in the Soviet atomic bomb project under Igor Kurchatov and Igor Tamm. Sakharov's study group at FIAN in 1948 came up with a second concept in August–September 1948. Adding a shell of natural, unenriched uranium around the deuterium would increase the deuterium concentration at the uranium-deuterium boundary and the overall yield of the device, because the natural uranium would capture neutrons and itself fission as part of the thermonuclear reaction. This idea of a layered fission-fusion-fission bomb led Sakharov to call it the sloika, or layered cake. The first Soviet atomic device was tested on August 29, 1949. After moving to Sarov in 1950, Sakharov played a key role in the development of the first megaton-range Soviet hydrogen bomb using a design known as Sakharov's Third Idea in Russia and the Teller–Ulam design in the United States. Before his Third Idea, Sakharov tried a "layer cake" of alternating layers of fission and fusion fuel. The results were disappointing, yielding no more than a typical fission bomb. However the design was seen to be worth pursuing because deuterium is abundant and uranium is scarce, and he had no idea how powerful the US design was. Sakharov realised that in order to cause the explosion of one side of the fuel to symmetrically compress the fusion fuel, a mirror could be used to reflect the radiation. The details had not been officially declassified in Russia when Sakharov was writing his memoirs, but in the Teller–Ulam design, soft X-rays emitted by the fission bomb were focused onto a cylinder of lithium deuteride to compress it symmetrically. This is called radiation implosion. The Teller–Ulam design also had a secondary fission device inside the fusion cylinder to assist with the compression of the fusion fuel and generate neutrons to convert some of the lithium to tritium, producing a mixture of deuterium and tritium. Sakharov's idea was first tested as RDS-37 in 1955. A larger variation of the same design which Sakharov worked on was the 50 Mt Tsar Bomba of October 1961, which was the most powerful nuclear device ever detonated. Sakharov saw "striking parallels" between his fate and those of J. Robert Oppenheimer and Edward Teller in the US. Sakharov believed that in this "tragic confrontation of two outstanding people", both deserved respect, because "each of them was certain he had right on his side and was morally obligated to go to the end in the name of truth." While Sakharov strongly disagreed with Teller over nuclear testing in the atmosphere and the Strategic Defense Initiative, he believed that American academics had been unfair to Teller's resolve to get the H-bomb for the United States since "all steps by the Americans of a temporary or permanent rejection of developing thermonuclear weapons would have been seen either as a clever feint, or as the manifestation of stupidity. In both cases, the reaction would have been the same – avoid the trap and immediately take advantage of the enemy's stupidity." Sakharov never felt that by creating nuclear weapons he had "known sin", in Oppenheimer's expression. He later wrote: Support for peaceful use of nuclear technology In 1950 he proposed an idea for a controlled nuclear fusion reactor, the tokamak, which is still the basis for the majority of work in the area. Sakharov, in association with Tamm, proposed confining extremely hot ionized plasma by torus shaped magnetic fields for controlling thermonuclear fusion that led to the development of the tokamak device. Magneto-implosive generators In 1951 he invented and tested the first explosively pumped flux compression generators, compressing magnetic fields by explosives. He called these devices MK (for MagnetoKumulative) generators. The radial MK-1 produced a pulsed magnetic field of 25 megagauss (2500 teslas). The resulting helical MK-2 generated 1000 million amperes in 1953. Sakharov then tested a MK-driven "plasma cannon" where a small aluminum ring was vaporized by huge eddy currents into a stable, self-confined toroidal plasmoid and was accelerated to 100 km/s. Sakharov later suggested replacing the copper coil in MK generators with a large superconductor solenoid to magnetically compress and focus underground nuclear explosions into a shaped charge effect. He theorized this could focus 1023 protons per second on a 1 mm2 surface. Particle physics and cosmology After 1965 Sakharov returned to fundamental science and began working on particle physics and physical cosmology. He tried to explain the baryon asymmetry of the universe; in that regard, he was the first to give a theoretical motivation for proton decay. Proton decay was suggested by Wigner in 1949 and 1952. Proton decay experiments had been performed since 1954 already. Sakharov was the first to consider CPT-symmetric events occurring before the Big Bang:We can visualize that neutral spinless maximons (or photons) are produced at ''t'' < 0 from contracting matter having an excess of antiquarks, that they pass "one through the other" at the instant ''t'' = 0 when the density is infinite, and decay with an excess of quarks when ''t'' > 0, realizing total CPT symmetry of the universe. All the phenomena at t < 0 are assumed in this hypothesis to be CPT reflections of the phenomena at t > 0. His legacy in this domain are the famous conditions named after him: Baryon number violation, C-symmetry and CP-symmetry violation, and interactions out of thermal equilibrium. Sakharov was also interested in explaining why the curvature of the universe is so small. This lead him to consider cyclic models, where the universe oscillates between contraction and expansion phases. In those models, after a certain number of cycles the curvature naturally becomes infinite even if it had not started this way: Sakharov considered three starting points, a flat universe with a slightly negative cosmological constant, a universe with a positive curvature and a zero cosmological constant, and a universe with a negative curvature and a slightly negative cosmological constant. Those last two models feature what Sakharov calls a reversal of the time arrow, which can be summarized as follows: He considers times t > 0 after the initial Big Bang singularity at t = 0 (which he calls "Friedman singularity" and denotes Φ) as well as times t < 0 before that singularity. He then assumes that entropy increases when time increases for t > 0 as well as when time decreases for t < 0, which constitutes his reversal of time. Then he considers the case when the universe at t < 0 is the image of the universe at t > 0 under CPT symmetry but also the case when it is not so: the universe has a non-zero CPT charge at t = 0 in this case. Sakharov considers a variant of this model where the reversal of the time arrow occurs at a point of maximum entropy instead of happening at the singularity. In those models there is no dynamic interaction between the universe at t < 0 and t > 0. In his first model the two universes did not interact, except via local matter accumulation whose density and pressure become high enough to connect the two sheets through a bridge without spacetime between them, but with a continuity of geodesics beyond the Schwarzschild radius with no singularity, allowing an exchange of matter between the two conjugated sheets, based on an idea after Igor Dmitriyevich Novikov. Novikov called such singularities a collapse and an anticollapse, which are an alternative to the couple black hole and white hole in the wormhole model. Sakharov also proposed the idea of induced gravity as an alternative theory of quantum gravity. Turn to activism Since the late 1950s Sakharov had become concerned about the moral and political implications of his work. Politically active during the 1960s, Sakharov was against nuclear proliferation. Pushing for the end of atmospheric tests, he played a role in the 1963 Partial Test Ban Treaty, signed in Moscow. Sakharov was also involved in an event with political consequences in 1964, when the Soviet Academy of Sciences nominated for full membership Nikolai Nuzhdin, a follower of Trofim Lysenko (initiator of the Stalin-supported anti-genetics campaign Lysenkoism). Contrary to normal practice, Sakharov, a member of the academy, publicly spoke out against full membership for Nuzhdin and held him responsible for "the defamation, firing, arrest, even death, of many genuine scientists." In the end, Nuzhdin was not elected, but the episode prompted Sergei Khrushchev to order the KGB to gather compromising material on Sakharov. The major turn in Sakharov's political evolution came in 1967, when anti-ballistic missile defense became a key issue in US–Soviet relations. In a secret detailed letter to the Soviet leadership of July 21, 1967, Sakharov explained the need to "take the Americans at their word" and accept their proposal for a "bilateral rejection by the USA and the Soviet Union of the development of antiballistic missile defense" because an arms race in the new technology would otherwise increase the likelihood of nuclear war. He also asked permission to publish his manuscript, which accompanied the letter, in a newspaper to explain the dangers posed by that kind of defense. The government ignored his letter and refused to let him initiate a public discussion of ABMs in the Soviet press. Since 1967, after the Six Day War and the beginning of the Arab-Israeli conflict, he actively supported Israel, as he reported more than once in the press, and also maintained friendly relations with refuseniks who later made aliyah. In May 1968, Sakharov completed an essay, "Reflections on Progress, Peaceful Coexistence, and Intellectual Freedom". He described the anti-ballistic missile defense as a major threat of world nuclear war. After the essay was circulated in samizdat and then published outside the Soviet Union, Sakharov was banned from conducting any military-related research and returned to FIAN to study fundamental theoretical physics. For 12 years, until his exile to Gorky (Nizhny Novgorod) in January 1980, Sakharov assumed the role of a widely recognized and open dissident in Moscow. He stood vigil outside closed courtrooms, wrote appeals on behalf of more than 200 individual prisoners, and continued to write essays about the need for democratization. In 1970, Sakharov was among the three founding members of the Committee on Human Rights in the USSR, along with Valery Chalidze and Andrei Tverdokhlebov. The Committee wrote appeals, collected signatures for petitions and succeeded in affiliating with several international human rights organizations. Its work was the subject of many KGB reports and brought Sakharov under increasing pressure from the government. Sakharov married a fellow human rights activist, Yelena Bonner, in 1972. By 1973, Sakharov was meeting regularly with Western correspondents and holding press conferences in his apartment. He appealed to the US Congress to approve the 1974 Jackson-Vanik Amendment to a trade bill, which coupled trade tariffs to the Kremlin's willingness to allow freer emigration. Attacked by Soviet establishment from 1972 In 1972, Sakharov became the target of sustained pressure from his fellow scientists in the Soviet Academy of Sciences and the Soviet press. The writer Aleksandr Solzhenitsyn came to his defence. In 1973 and 1974, the Soviet media campaign continued, targeting both Sakharov and Solzhenitsyn for their pro-Western, anti-socialist positions. Sakharov later described that it took "years" for him to "understand how much substitution, deceit, and lack of correspondence with reality there was" in the Soviet ideals. "At first I thought, despite everything that I saw with my own eyes, that the Soviet State was a breakthrough into the future, a kind of prototype for all countries". Then he came, in his words, to "the theory of symmetry: all governments and regimes to a first approximation are bad, all peoples are oppressed, and all are threatened by common dangers." Sakharov's ideas on social development led him to put forward the principle of human rights as a new basis of all politics. In his works, he declared that "the principle 'what is not prohibited is allowed' should be understood literally", and defied what he saw as unwritten ideological rules imposed by the Communist Party on the society in spite of a democratic Soviet Constitution (1936). In a letter written from exile, he cheered up a fellow physicist and free market advocate with the words: "Fortunately, the future is unpredictable and also – because of quantum effects – uncertain." For Sakharov, the indeterminacy of the future supported his belief that he could and should take personal responsibility for it. Nobel Peace Prize (1975) In 1973, Sakharov was nominated for the Nobel Peace Prize, and in 1974, he was awarded the Prix mondial Cino Del Duca. Sakharov was awarded the Nobel Peace Prize in 1975. The Norwegian Nobel Committee called him "a spokesman for the conscience of mankind". In the words of the Nobel Committee's citation: "In a convincing manner Sakharov has emphasised that Man's inviolable rights provide the only safe foundation for genuine and enduring international cooperation." Sakharov was not allowed to leave the Soviet Union to collect the prize. His wife, Yelena Bonner, read his speech at the ceremony in Oslo, Norway. On the day the prize was awarded, Sakharov was in Vilnius, where the human rights activist Sergei Kovalev was being tried. In his Nobel lecture, "Peace, Progress, Human Rights", Sakharov called for an end to the arms race, greater respect for the environment, international cooperation, and universal respect for human rights. He included a list of prisoners of conscience and political prisoners in the Soviet Union and stated that he shared the prize with them. By 1976, the head of the KGB, Yuri Andropov, was prepared to call Sakharov "Domestic Enemy Number One" before a group of KGB officers. Internal exile (1980–1986) Sakharov was arrested on 22 January 1980, following his public protests against the Soviet intervention in Afghanistan in 1979, and was sent to the city of Gorky, now Nizhny Novgorod, a city that was off limits to foreigners. Between 1980 and 1986, Sakharov was kept under Soviet police surveillance. In his memoirs, he mentioned that their apartment in Gorky was repeatedly subjected to searches and heists. Sakharov was named the 1980 Humanist of the Year by the American Humanist Association. In May 1984, Sakharov's wife, Yelena Bonner, was detained, and Sakharov began a hunger strike, demanding permission for his wife to travel to the United States for heart surgery. He was forcibly hospitalized and force-fed. He was held in isolation for four months. In August 1984, Bonner was sentenced by a court to five years of exile in Gorky. In April 1985, Sakharov started a new hunger strike for his wife to travel abroad for medical treatment. He again was taken to a hospital and force-fed. In August, the Politburo discussed what to do about Sakharov. He remained in the hospital until October 1985, when his wife was allowed to travel to the United States. She had heart surgery in the United States and returned to Gorky in June 1986. In December 1985, the European Parliament established the Sakharov Prize for Freedom of Thought, to be given annually for outstanding contributions to human rights. On 19 December 1986, Mikhail Gorbachev, who had initiated the policies of perestroika and glasnost, called Sakharov to tell him that he and his wife could return to Moscow. Political leader In 1988, Sakharov was given the International Humanist Award by the International Humanist and Ethical Union. He helped to initiate the first independent legal political organizations and became prominent in the Soviet Union's growing political opposition. In March 1989, Sakharov was elected to the new parliament, the All-Union Congress of People's Deputies and co-led the democratic opposition, the Inter-Regional Deputies Group. In November the head of the KGB reported to Gorbachev on Sakharov's encouragement and support for the coal miners' strike in Vorkuta. In December 1988, Sakharov visited Armenia and Azerbaijan on a fact-finding mission. He concluded, "For Azerbaijan the issue of Karabakh is a matter of ambition, for the Armenians of Karabakh, it is a matter of life and death". Death Soon after 9pm on 14 December 1989, Sakharov went to his study to take a nap before preparing an important speech he was to deliver the next day in the Congress. His wife went to wake him at 11pm as he had requested but she found Sakharov dead on the floor. According to the notes of Yakov Rapoport, a senior pathologist present at the autopsy, it is most likely that Sakharov died of an arrhythmia consequent to dilated cardiomyopathy at the age of 68. He was interred in the Vostryakovskoye Cemetery in Moscow. Influence Memorial prizes The Sakharov Prize for Freedom of Thought was established in 1988 by the European Parliament in his honour, and is the highest tribute to human rights endeavours awarded by the European Union. It is awarded annually by the parliament to "those who carry the spirit of Soviet dissident Andrei Sakharov"; to "Laureates who, like Sakharov, dedicate their lives to peaceful struggle for human rights." An Andrei Sakharov prize has also been awarded by the American Physical Society every second year since 2006 "to recognize outstanding leadership and/or achievements of scientists in upholding human rights". The Andrei Sakharov Prize For Writer's Civic Courage was established in October 1990. In 2004, with the approval of Yelena Bonner, an annual Sakharov Prize for journalism was established for reporters and commentators in Russia. Funded by former Soviet dissident Pyotr Vins, now a businessman in the US, the prize is administered by the Glasnost Defence Foundation in Moscow. The prize "for journalism as an act of conscience" has been won over the years by famous journalists such as Anna Politkovskaya and young reporters and editors working far from Russia's media capital, Moscow. The 2015 winner was Yelena Kostyuchenko. Andrei Sakharov Archives and Human Rights Center The Andrei Sakharov Archives and Human Rights Center, established at Brandeis University in 1993, are now housed at Harvard University. The documents from that archive were published by the Yale University Press in 2005. These documents are available online. Most of documents of the archive are letters from the head of the KGB to the Central Committee about activities of Soviet dissidents and recommendations about the interpretation in newspapers. The letters cover the period from 1968 to 1991 (Brezhnev stagnation). The documents characterize not only Sakharov's activity, but that of other dissidents, as well as that of highest-position apparatchiks and the KGB. No Russian equivalent of the KGB archive is available. Legacy and remembrance Places In Moscow, there is Academician Sakharov Avenue and Sakharov Center. During the 1980s, the block of 16th Street NW between L and M streets, in front of the Russian ambassador's residence in Washington, D.C. was renamed "Andrei Sakharov Plaza" as a form of protest against his 1980 arrest and detention. In Yerevan, the capital of Armenia, Sakharov Square, located in the heart of the city, is named after him. The Sakharov Gardens (est. 1990) are located at the entrance to Jerusalem, Israel, off the Jerusalem–Tel Aviv Highway. There is also a street named after him in Haifa. In Nizhny Novgorod, there is a Sakharov Museum in the apartment on the first floor of the 12-storeyed house where the Sakharov family lived for seven years; in 2014 his monument was erected near the house. In Saint Petersburg, his monument stands in Sakharov Square, and there is a Sakharov Park. In 1979, an asteroid, 1979 Sakharov, was named after him. A public square in Vilnius in front of the Press House is named after Sakharov. The square was named on 16 March 1991, as the Press House was still occupied by the Soviet Army. Andreja Saharova iela in the district of Pļavnieki in Riga, Latvia, is named after Sakharov. Andreij-Sacharow-Platz in downtown Nuremberg is named in honour of Sakharov. In Belarus, International Sakharov Environmental University was named after him. Intersection of Ventura Blvd and Laurel Canyon Blvd in Studio City, Los Angeles, is named Andrei Sakharov Square. In Arnhem, the bridge over the Nederrijn is called the Andrej Sacharovbrug. The Andrej Sacharovweg is a street in Assen, Netherlands. There are also streets named in his honour in other places in the Netherlands such as Amsterdam, Amstelveen, The Hague, Hellevoetsluis, Leiden, Purmerend, Rotterdam, Utrecht A street in Copenhagen, Denmark. Quai Andreï Sakharov in Tournai, Belgium, is named in honour of Sakharov. In Poland, streets named in his honour in Warsaw, Łódź and Kraków. Andreï Sakharov Boulevard in the district of Mladost in Sofia, Bulgaria, is named after him. In New York, a street sign at the southwest corner of Third Avenue and 67th Street reads Sakharov-Bonner Corner, in honor of Sakharov and his wife, Yelena Bonner. The corner is just down the block from the Russian (then Soviet) Mission to the United Nations and was the scene of repeated anti-Soviet demonstrations. Media In the 1984 made-for-TV film Sakharov starring Jason Robards. In the television series Star Trek: The Next Generation, one of the Enterprise-D's Shuttlecraft is named after Sakharov, and is featured prominently in several episodes. This follows the Star Trek tradition of naming Shuttlecraft after prominent scientists, and particularly in The Next Generation, physicists. The fictitious interplanetary spacecraft Cosmonaut Alexei Leonov from the novel 2010: Odyssey Two by Arthur C. Clarke is powered by a "Sakharov drive". The novel was published in 1982, when Sakharov was in exile in Nizhny Novgorod, and was dedicated both to Sakharov and to Alexei Leonov. Russian singer Alexander Gradsky wrote and performed the song "Памяти А. Д. Сахарова" ("In memory of Andrei Sakharov"), which features on his Live In "Russia" 2 (Живем в "России" 2) CD. The faction leader of the Ecologists in the PC game S.T.A.L.K.E.R.: Shadow of Chernobyl and its prequel is a scientist named Professor Sakharov. Honours and awards Hero of Socialist Labour (three times: 12 August 1953; 20 June 1956; 7 March 1962). Four Orders of Lenin. Lenin Prize (1956). Stalin Prize (1953). In 1980, Sakharov was stripped of all Soviet awards for "anti-Soviet activities". Later, during glasnost, he declined the return of his awards and, consequently, Mikhail Gorbachev did not sign the necessary decree. Prix mondial Cino Del Duca (1974). Nobel Peace Prize (1975). Laurea Honoris Causa of the Sapienza University of Rome (1980). Grand Cross of Order of the Cross of Vytis (posthumously on January 8, 2003). Bibliography Books Articles and interviews See also Sakharov conditions Sakharov Prize List of peace activists Sergei Kovalev Natan Sharansky Edward Teller Stanislaw Ulam Omid Kokabee, Mordechai Vanunu References Further reading The Regesto delle lauree honoris causa dal 1944 al 1985 is a detailed and carefully commented register of all the documents of the official archive of the Sapienza University of Rome pertaining to the honoris causa degrees awarded or not. It includes all the awarding proposals submitted during the considered period, detailed presentations of the work of the candidate, if available, and precise references to related articles published on Italian newspapers and magazines, if the laurea was awarded. External links The Andrei Sakharov Archives at the Houghton Library. Andrei Sakharov: Soviet Physics, Nuclear Weapons, and Human Rights. Web exhibit at the American Institute of Physics. Andrei Sakharov: Photo-chronology Annotated bibliography of Andrei Sakharov from the Alsos Digital Library Videos 1921 births 1989 deaths 20th-century Russian writers Amnesty International prisoners of conscience held by the Soviet Union Full Members of the USSR Academy of Sciences Grand Crosses of the Order of the Cross of Vytis Heroes of Socialist Labour Lenin Prize winners Members of the Congress of People's Deputies of the Soviet Union Moscow State University alumni Nobel Peace Prize laureates Nuclear weapons program of the Soviet Union Perestroika Recipients of the Order of Lenin Hunger strikers Soviet atheists Soviet inventors Soviet memoirists Soviet anti–nuclear weapons activists Soviet dissidents Soviet male writers 20th-century male writers Soviet Nobel laureates Soviet non-fiction writers Soviet nuclear physicists Soviet prisoners and detainees Soviet psychiatric abuse whistleblowers Stalin Prize winners Writers from Moscow Political prisoners Russian people of Greek descent Political party founders 20th-century memoirists Male non-fiction writers World War II refugees
false
[ "Big Bang 2 is South Korean boy band Big Bang's third Japanese album. It was released on May 11, 2011.\n\nThe album was preceded by three singles: \"Koe o Kikasete\", \"Tell Me Goodbye\", and \"Beautiful Hangover\". \"Koe o Kikasete\" and \"Tell Me Goodbye\" managed to chart within the top five in the Japanese Oricon charts, and \"Beautiful Hangover\" managed to chart in the top ten.\n\nBackground and development \nBig Bang 2 is Big Bang's second original Japanese album, following the release of Big Bang in 2009. The song \"Ms. Liar\" is a Japanese remake of their Korean song \"Stupid Liar\".\n\nSingles\nPrior to Big Bang 2s announcement, three singles were released. \"Koe o Kikasete\" was the first single and was released November 4, 2009. It charted for sixteen weeks and managed a peak position at number four. Following \"Koe o Kikasete\" was \"Tell Me Goodbye\", released June 9, 2010. \"Tell Me Goodbye\" achieved much the same success, managing to chart for fifteen weeks peaking at number five. \"Beautiful Hangover\", the third single reached number seven and charted for eight weeks. On April 18, 2011, a Japanese music video version of \"Tonight\" was made and uploaded on YG Entertainment's YouTube account and was released as a digital download on April 27, 2011. A fifth single, \"Ms. Liar\", was digitally released the same day as the album release.\n\nPromotion\nBig Bang 2 is to be accompanied by the Love & Hope Tour across Japan. The tour was previously titled the Love & Pain Tour, but it was changed due to the 2011 Tōhoku earthquake and tsunami. Part of the proceeds went to disaster relief.\n\nTrack listing\n\nCharts\n\nSales and certifications\n\nRelease history\n\nReferences\n\nExternal links\nBig Bang Official Site\nBig Bang Japan Official Site\nBig Bang by Universal Music Japan \n\nBig Bang (South Korean band) albums\n2011 albums\nYG Entertainment albums\nUniversal Music Japan albums\nJapanese-language albums", "The Best of Big Bang is the third greatest hits album by South Korean boy band Big Bang. The album was stated to release on November 23, 2011 but due to G-Dragon's scandal, it was postponed to December 14, 2011.\n\nBackground\nThe Japanese Best album includes all singles released in Japan and songs from the albums Big Bang and Big Bang 2. It also includes a Japanese version of the song \"Haru Haru\". The Asia Best 2 2006–2011 album includes hits of the group during 2006 until 2011. It is the second part of the greatest hits Asia Best 2006–2009. The album was released in three different formats: a 2CD+DVD edition with a T-shirt, a 2CD+DVD edition only and a regular edition with the Japanese Best disc only.\n\nChart performance\nThe album debuted at number 1 in Oricon's daily chart and number 2 in Weekly album chart with 30,043 copies sold.\n\nTrack listing\n\nCharts\n\nSales and certifications\n\nRelease history\n\nReferences\n\nExternal links\nBig Bang Official Site\nBig Bang Japan Official Site\n\nBig Bang (South Korean band) albums\n2011 greatest hits albums\nUniversal Records compilation albums\nDance-pop compilation albums" ]
[ "Prince Harry", "Secondment to Australian Defence Force and leaving the Army" ]
C_f8c27b63ae6c4269a3b82b7b4b9ce6c3_1
When did Harry leave the Army?
1
When did Prince Harry leave the Army?
Prince Harry
On 17 March 2015, Kensington Palace announced that Prince Harry would leave the Armed Forces in June. Before then, he would spend four weeks throughout April and May at army barracks in Darwin, Perth and Sydney whilst seconded to the Australian Defence Force (ADF). After leaving the Army, while considering his future, he would return to work with the Ministry of Defence, supporting Case Officers in the Ministry of Defence's Recovery Capability Programme, working with both those who administer and receive physical and mental care within the London District area in a voluntary capacity. On 6 April 2015, Prince Harry reported for duty to Australia's Chief of the Defence Force, Air Chief Marshal Mark Binskin at the Royal Military College, Duntroon in Canberra, Australia. Harry flew to Darwin later that day to start his month-long secondment to the ADF's 1st Brigade. His visit included detachments to NORFORCE as well as to an aviation unit. While in Perth, he trained with Special Air Service Regiment (SASR), participating in the SASR selection course, including a fitness test and a physical training session with SASR selection candidates. He also joined SASR members in Perth for live-fire shooting exercises with numerous Special Forces weapons at a variety of ranges and completed an insertion training exercise using a rigid-hull inflatable boat. In Sydney, he undertook urban operations training with the 2nd Commando Regiment. Training activities included remotely detonating an Improvised Explosive Device (IED) and rappelling from a building. He also spent time flying over Sydney as co-pilot of an Army Black Hawk and participated in counter-terrorism training in Sydney Harbour with Royal Australian Navy clearance divers. Harry's attachment with the ADF ended on 8 May 2015, and on 19 June 2015 his career with the Army ended. CANNOTANSWER
Harry's attachment with the ADF ended on 8 May 2015, and on 19 June 2015 his career with the Army ended.
false
[ "Harry Palmer (c.1889-1962) was a vaudeville actor in the 1910s who was the inspiration for the musical film For Me and My Gal.\n\nPalmer was born in Chicago, Illinois in 1889. He grew up always wanted to act, and in 1909, at the age of 20, he made his vaudeville debut at the Palace Theater in Chicago. Just a few years later, Palmer rose to stardom, acting in comedies and musicals by himself, until late 1916 when he teamed up with Joanne 'Jo' Hayden. Their act, \"Palmer & Hayden\", stayed together until they retired from show business in the 1920s. In mid-1917, the two became engaged.\n\nIn September 1917, Hayden's good friend Danny Metcalf, who was supposed to finish medical school, was drafted into the U.S. Army, and was killed in action in World War I on September 29 of that year. Shortly after, Palmer was also drafted into the Army, just before he and Hayden were going to play at The Palace in New York City. Palmer did not want to go to war and purposely damaged his hand so he would not have to go to France. Hayden was going to leave Palmer if he did not serve, so Palmer tried enlisting, but none of the armed services would accept him because of his hand. However, Palmer was accepted to the Red Cross ambulance corps and went overseas in early 1918. Hayden did not leave him or stop the engagement. Palmer saw action in France at Cantigny, the second Battle of Marne, Soissons, Saint-Mihiel and the Meuse-Argonne. Palmer was shot in the shoulder, but survived the war and was discharged from service in 1919.\n\nPalmer and Hayden returned to vaudeville in 1919, and also got married that same year, but did not do many shows afterward. They retired from vaudeville in the early 1920s.\n\nIn 1942, Gene Kelly and Judy Garland player Palmer and Hayden in the MGM musical film For Me and My Gal, directed by Busby Berkeley. The story of the film closely followed the actual events surrounding Palmer's involvement in the First World War, although some details were changed for dramatic purposes, such as making \"Danny\" Hayden's brother dying in the war instead of a friend. Danny's last name was also used for the character \"Jimmy Metcalf\", the rival for Hayden's affections.\n\nHarry Palmer died in 1962, at the age of 73.\n\nNotes\n\n1889 births\n1962 deaths\nMale actors from Chicago\nAmerican military personnel of World War I\nVaudeville performers", "The 2nd Maryland Cavalry Battalion, a.k.a. Gilmor's Partisan Rangers, was a Confederate unit in the American Civil War.\n\nHistory\nThe unit was founded and commanded by Colonel Harry Gilmor. Gilmor was a member of the Towson Guards (a.k.a. Baltimore Horse Guards), when the Civil War started. Due to his political views, he was taken prisoner by the U.S. Federal government and imprisoned at Fort McHenry. After he was released, he went to the Shenandoah Valley to join the Confederate Army. He served as a scout for Colonel Turner Ashby, General J. E. B. Stuart's predecessor. Gilmor joined as a Private, but was quickly promoted to Sergeant Major. In March, 1862, he had raised his own company, which was attached to the 12th Virginia Cavalry. \nGilmor served with General Stonewall Jackson at McDowell County, West Virginia in May 1862. Gilmor's Cavalry Company spent the next three months scouting, serving as couriers and harassing enemy camps and trains. In September 1862, Harry Gilmor was with General Jackson when he crossed the Potomac River into Maryland. While in Maryland, Gilmor went on \"French leave\", to see his family in Towson, Maryland, just north of Baltimore. While en route to his family home, Glen Ellen Plantation, Gilmor was taken prisoner by Union Forces. \n \nSometime later, Harry Gilmor was back with Confederate Forces as part of a prisoner exchange. He was serving under General JEB Stuart at the Battle of Kelly's Ford in March 1863. Shortly after the battle, Harry Gilmor petitioned to raise his own cavalry regiment. He organized several companies of mostly Marylanders into a unit that called themselves \"The Band\". \nOccasionally, Gilmor's Battalion fought alongside other units such as McNeill's Rangers, and the 1st Maryland Cavalry, CSA. During the Confederate campaign into Maryland in June 1863, Harry Gilmor was temporarily placed in command of the 1st Maryland Cavalry, after its commander was wounded in combat. After the Maryland Campaign, the Confederate Army returned to Virginia. During this time, Gilmor had 6 full companies of rangers operating in the Shenandoah Valley. They conducted mainly guerrilla-type operations against Union wagon trains, railroads, telegraph lines, depots, bridges and encampments.\n\nIn June 1864, Gilmor's Battalion was designated as the 2nd Maryland Cavalry. The 1st & 2nd Maryland Cavalry units became involved in almost daily skirmishes with Union General Sheridan's cavalry. In one of these battles, Colonel Gilmor was seriously wounded, and did not return to action until October. In February 1865, the 2nd Maryland went into West Virginia to forage for supplies, and to meet up with McNeill's Rangers. In the process, Colonel Harry Gilmor was captured on February 4, 1865, and taken to Fort Warren, Massachusetts.\n\nSee also\nMaryland Civil War Confederate Units\nLists of American Civil War Regiments by State\n\nReferences\n\nUnits and formations of the Confederate States Army from Maryland\n1862 establishments in Maryland\n1865 disestablishments in Maryland\nMilitary units and formations disestablished in 1865", "Three's a Crowd is a 1927 American comedy film directed by Harry Langdon and written by James Langdon and Robert Eddy. The film stars Harry Langdon, Gladys McConnell, Cornelius Keefe and Arthur Thalasso. The film was released on August 28, 1927, by First National Pictures.\n\nPlot\nHarry, a mover's boy, watches his boss play proudly with his son, then retrieves a rag doll from the garbage.\n\nGladys, exasperated by her husband's intemperance, leaves him. Harry finds her slumped on the snowy ground and comes to her aid by hosting her in his modest attic. Then he realizes that the woman is about to give birth to a child, and immediately summons an army of midwives and doctors, who, after the birth, congratulate him, believing him to be the father.\n\nHarry sees his desire for family magically fulfilled, and busily takes care of the woman and the child. A palmist assures him that the child's father will never come looking for his wife and baby.\n\nThe father, now repentant, instead, goes to look for them and finds them, looking out, on a stormy night, at the window of the attic.\n\nGladys, however, has grown fond of Harry, and, in the boxing match organized between the two men, she encourages and supports him, because she wants to stay with him, together with the child.\n\nBut this is only Harry's dream. In reality, husband and wife make peace, and, deeply grateful to Harry, greet him with a handshake (the palm of which Harry then looks dejected) and leave with their son.\n\nThat same night, when the elements have subsided, Harry leaves the house, and - after seeing the lost rag doll abandoned along the street - goes to the fortune teller's window brandishing a brick. Then he renounces the useless revenge, and drops the brick ...\n\nCast \nHarry Langdon as Harry \nGladys McConnell as Gladys \nCornelius Keefe as The Husband\nArthur Thalasso as Harry's Boss\n\nReferences\n\nExternal links\n \n\n1927 films\nAmerican films\nEnglish-language films\nAmerican comedy films\n1927 comedy films\nFirst National Pictures films\nAmerican silent feature films\nAmerican black-and-white films" ]
[ "Prince Harry", "Secondment to Australian Defence Force and leaving the Army", "When did Harry leave the Army?", "Harry's attachment with the ADF ended on 8 May 2015, and on 19 June 2015 his career with the Army ended." ]
C_f8c27b63ae6c4269a3b82b7b4b9ce6c3_1
When was he Seconded to the Australian Defence Force?
2
When was Prince Harry Seconded to the Australian Defence Force?
Prince Harry
On 17 March 2015, Kensington Palace announced that Prince Harry would leave the Armed Forces in June. Before then, he would spend four weeks throughout April and May at army barracks in Darwin, Perth and Sydney whilst seconded to the Australian Defence Force (ADF). After leaving the Army, while considering his future, he would return to work with the Ministry of Defence, supporting Case Officers in the Ministry of Defence's Recovery Capability Programme, working with both those who administer and receive physical and mental care within the London District area in a voluntary capacity. On 6 April 2015, Prince Harry reported for duty to Australia's Chief of the Defence Force, Air Chief Marshal Mark Binskin at the Royal Military College, Duntroon in Canberra, Australia. Harry flew to Darwin later that day to start his month-long secondment to the ADF's 1st Brigade. His visit included detachments to NORFORCE as well as to an aviation unit. While in Perth, he trained with Special Air Service Regiment (SASR), participating in the SASR selection course, including a fitness test and a physical training session with SASR selection candidates. He also joined SASR members in Perth for live-fire shooting exercises with numerous Special Forces weapons at a variety of ranges and completed an insertion training exercise using a rigid-hull inflatable boat. In Sydney, he undertook urban operations training with the 2nd Commando Regiment. Training activities included remotely detonating an Improvised Explosive Device (IED) and rappelling from a building. He also spent time flying over Sydney as co-pilot of an Army Black Hawk and participated in counter-terrorism training in Sydney Harbour with Royal Australian Navy clearance divers. Harry's attachment with the ADF ended on 8 May 2015, and on 19 June 2015 his career with the Army ended. CANNOTANSWER
On 6 April 2015,
false
[ "Air Vice Marshal Richard John Bomball, (born 13 October 1937) is a retired Royal Australian Air Force officer, Assistant Chief of the Air Staff – Development and former Commandant of the Australian Defence Force Academy.\n\nEarly life\nBorn on 13 October 1937, in Richmond, Victoria, Bomball was educated at Mentone Grammar School and joined the RAAF on graduation.\n\nAir Force career\n\n Entered – Royal Australian Air Force (1956)\n Trained at No. 1 Basic Flying Training School RAAF, Uranquinty, New South Wales and No. 1 Applied Flying Training School RAAF, Point Cook, Victoria.\n Served – No. 25 Squadron, RAAF Pearce, WA (1957–1958), No. 78 Wing, RAAF Butterworth, Malaya (1958–1961), No. 2 Operational Conversion Unit (1964–1969), RAAF Staff College (1969), seconded to Department of Air (1969–1973), Joint Services Staff College (1975), Royal College of Defence Studies, London, (1987). \n Commanding Officer – No. 3 Squadron, RAAF Butterworth (1973–1974)\n Director of Staff – RAAF Staff College (1975–1978)\n Air Attaché – Australian Embassy, Tokyo (1978–1981)\n Director of Operational Requirements – Air Force – Department of Defence (1982–1983)\n Officer Commanding – RAAF Williamtown, New South Wales (1984–1986)\n Chief of Staff – RAAF HQ Support Command (1987–1988)\n Promoted to Air Vice Marshal (1988)\n Assistant Chief of the Air Staff – Development (1988–1989)\n Commandant – Australian Defence Force Academy (5 March 1990–1993)\n\nLater life\nFollowing his retirement from the Air Force, Bomball was appointed as the first Chairman of the Board of Newcastle Airport Limited in 1993, when control of the airport was transferred from the Commonwealth to joint control by Newcastle City Council and Port Stephens Council. He served until 2004. In 1994 he was appointed to serve on the Veterans' Compensation Review Committee by the Minister for Veterans' Affairs, John Faulkner, subsequently co-authoring a report on compensation for veterans and war widows.\n\nHonours\n\nReferences\n\n1937 births\nLiving people\nOfficers of the Order of Australia\nPeople educated at Mentone Grammar School\nAustralian recipients of the Air Force Cross (United Kingdom)\nRoyal Australian Air Force air marshals\nAustralian military personnel of the Malayan Emergency\nRecipients of the Commendation for Valuable Service in the Air", "Lieutenant General Hector Geoffrey Edgar, (31 October 1903 – 1978) was a senior officer in the Australian Army. He graduated from the Royal Military College, Duntroon in 1923, and occupied a series of staff positions prior to and during the Second World War. Involved in the planning for the Long Range Weapons Establishment in the late 1940s, he served as Deputy Chief of the General Staff (1954–58), General Officer Commanding (GOC) Southern Command (1958–60), and GOC Eastern Command (1960–63).\n\nEarly life\nHector Geoffrey Edgar was born in Wedderburn, Victoria, on 31 October 1903 to Thomas George Edgar and his second wife Bessie ( Trotman). Cedric Edgar was an elder brother. Edgar was educated in Victoria and New South Wales, and was a member of the Cadets from 1917. He was accepted into the Royal Military College, Duntroon as an officer cadet commencing February 1920.\n\nMilitary career\nOn graduating from Duntroon, Edgar was commissioned a lieutenant in the Australian Army on 13 December 1923. He was seconded to the Queen's Bays (2nd Dragoon Guards) in India for a period in the 1920s, and was promoted captain on 13 December 1931. In 1936, he graduated from the Royal Military College of Science in Woolwich, United Kingdom, and returned to Australia as Proof and Experimental Officer seconded to the Munitions and Supply Board from 11 January 1937. He remained seconded until 14 January 1941 and was made temporary lieutenant colonel the following day, having been promoted major on 13 December 1939.\n\nEdgar was seconded to the Second Australian Imperial Force from 17 July 1942 for active service during the Second World War and, from 1943 to 1944, served with Allied Land Headquarters, South West Pacific Area. He was then appointed General Staff Officer Grade 1 to the 3rd Australian Division. In this post he was the division's chief of staff, responsible for administration and planning during the formation's service in New Guinea, withdrawal to Australia for a period of leave and reorganisation, and redeployment to the Solomon Islands from November 1944 to take part in the Bougainville Campaign. He relinquished the position to Lieutenant Colonel Frank Hassett in March 1945.\n\nWhile remaining a substantive lieutenant colonel, Edgar was granted the temporary rank of brigadier from 6 February 1946. That year, he was involved in planning the Long Range Weapons Establishment at Woomera, South Australia, and was appointed the first superintendent of the site. He was promoted substantive colonel on 18 October 1948. This was followed by a posting as Deputy Director of Staff Duties at Army Headquarters. He relinquished the appointment on 2 November 1949 and was sent to London to attend the 1950 course at the Imperial Defence College. On his return to Australia, Edgar was appointed Director of Personal Services on 21 December 1950 and, on 17 September 1951, was reconfirmed as a temporary brigadier and appointed to command the Australian Staff College. He returned to Army Headquarters as Director of Staff Duties from 31 August 1953, and was promoted substantive brigadier on 23 November that year.\n\nEdgar was promoted temporary major general on 30 October 1954 (substantive 2 August 1956) and posted as Deputy Chief of the General Staff. He was appointed a Commander of the Order of the British Empire in the 1955 Birthday Honours. From 30 June 1956 he was accorded status as Fifth Military Member of the Military Board, the governing body of the Australian Army, when membership was extended to include the position of Deputy Chief. Promoted lieutenant general, Edgar was appointed General Officer Commanding (GOC) Southern Command on 23 March 1958. He served in this position for two years, before assuming the post of GOC Eastern Command from 30 May 1960. He was appointed a Companion of the Order of the Bath four days later in the 1960 Birthday Honours.\n\nLater life\nEdgar left the Australian Army after 43 years of service on 1 November 1963, and was succeeded as GOC Eastern Command by Major General Thomas Daly. He retired to Melbourne, where he died in 1978.\n\nReferences\n\nFootnotes\n\nBibliography\n \n\n|- \n\n|-\n\n1903 births\n1978 deaths\nAlumni of the Royal College of Defence Studies\nAustralian generals\nAustralian Commanders of the Order of the British Empire\nAustralian Companions of the Order of the Bath\nAustralian Army personnel of World War II\nPeople from Victoria (Australia)\nRoyal Military College, Duntroon graduates", "Major General Christopher Antony Field, is a senior officer in the Australian Army. He joined the army via the Australian Defence Force Academy in 1984 and was commissioned into the Royal Australian Infantry Corps. He has commanded the 1st Battalion, Royal Australian Regiment (2003–05), Combined Joint Task Force 635 (2004–05) and the 3rd Brigade (2015–17), coordinated reconstruction efforts in Queensland in the wake of the 2010–11 Queensland floods and Cyclone Debbie, and deployed on operations to East Timor, Iraq, the Solomon Islands and Afghanistan. He was Commander Forces Command from June 2019 to February 2020, Deputy Commanding General – Operations for United States Army Central from March 2020 to November 2021, and has been Assistant to the Chief of the Defence Force since 2022.\n\nMilitary career\nField entered the Australian Defence Force Academy as an Australian Army officer cadet in 1984. He graduated with a Bachelor of Arts degree and, following additional training at the Royal Military College, Duntroon, was commissioned into the Royal Australian Infantry Corps. During his early career, Field served as a rifle platoon commander and mortar line officer in the 2nd/4th Battalion, Royal Australian Regiment, deployed for service with the United Nations Truce Supervision Organization in 1996–97, was adjutant of an Australian Army Reserve unit, served as an instructor at Duntroon, and commanded companies in the 2nd Battalion, Royal Australian Regiment (2RAR). He was operations officer when 2RAR deployed as part of the International Force East Timor in September 1999. For his \"distinguished performance of duties\" during the operation, Field was awarded a Commendation for Distinguished Service in March 2000.\n\nAs a lieutenant colonel, Field was seconded to the United States Army in 2002 and was an operational planner in the Third Army during the early stages of the United States' Operation Iraqi Freedom and Australia's Operation Falconer during the Iraq War. For his \"outstanding achievement in strategic analysis and operational planning\" in this role, Field was awarded the Conspicuous Service Cross in November 2003 and the United States Bronze Star Medal in March 2005. Field was appointed commanding officer of the 1st Battalion, Royal Australian Regiment (1RAR) from December 2003. In December 2004, Field led a deployment of his battalion's A Company to the Solomon Islands and assumed command of Combined Joint Task Force 635. The Australian government had recently drawn back its military commitment to the Regional Assistance Mission to Solomon Islands (RAMSI). After Australian Federal Police officer Adam Dunning was ambushed and killed while conducting a patrol on 22 December, however, the Australian government committed Field and his soldiers to reinforce RAMSI and enhance security in the region.\n\nOn relinquishing command of 1RAR in December 2005, Field was appointed J3 Operations to the 1st Division and Deployable Joint Force Headquarters. He then served as Director Future Land Warfare and Strategy at Australian Army headquarters and, in January 2011, was appointed Chief of Operations and Plans, Queensland Reconstruction Authority to assist in the recovery and reconstruction efforts in the wake of the 2010–11 Queensland floods. Later that year, Field was promoted to brigadier and was again seconded to the United States Army. He served as Deputy Commanding General – Force Development in the 82nd Airborne Division during an operational deployment to Kandahar, Afghanistan, for which he was awarded the NATO Meritorious Service Medal. He returned to Australia in 2012 as chief of staff in Forces Command and was appointed Regimental Colonel of the Royal Australian Regiment and Head of Corps of the Royal Australian Infantry. Field's \"exceptional service\" in these postings was recognised with his appointment as a Member of the Order of Australia in the 2016 Queen's Birthday Honours.\n\nIn 2015, Field was appointed commander of the 3rd Brigade in Townsville, Queensland. He additionally assumed the role of Queensland State Recovery Coordinator, overseeing the efforts to recover and rebuilt Queensland communities following the severe tropical Cyclone Debbie, in March 2017. Field handed over command of the 3rd Brigade to Brigadier Scott Winter in November that year and, promoted to major general, was posted to the United States as Vice Director of Operations and Plans in United States Central Command. During the eighteen-month posting, Field oversaw United States and coalition operations in the Middle East. He returned to Australia and succeeded Major General Greg Bilton as Commander Forces Command in June 2019. As Commander Forces Command, Field mobilised approximately 6,000 personnel as part of Operation Bushfire Assist, the Australian Army's response to the severe bushfires that burnt throughout southeast Australia over summer 2019–2020.\n\nField handed over leadership of Forces Command to Major General Matt Pearse in February 2020 and, in March, was posted to the United States as Deputy Commanding General – Operations for United States Army Central. In this role, Field deployed to United States Army Central's forward headquarters in Kuwait in October 2020, where he was involved in supporting Operations Inherent Resolve, Freedom's Sentinel and Spartan Shield, as well as the Multinational Force and Observers. In recognition of his \"exceptional leadership, professionalism and uncompromising commitment\", showing \"distinguished command and leadership in warlike operations\" in the Middle East, Field was awarded the Distinguished Service Cross in the 2022 Australia Day Honours.\n\nFollowing his return to Australia, Field was appointed Assistant to the Chief of the Defence Force.\n\nField is a graduate of the University of Southern Queensland, the Marine Corps University, Deakin University, and the Australian Institute of Company Directors.\n\nPersonal life\nField is married to Sarah Kendall, with whom he has one son. He is a former director of Ronald McDonald House in North Queensland, a previous member of the Townsville District Community Policing Board and the Regional Managers’ Coordination Network, Townsville, and is Patron and past-President of the Australian Services Rugby Referees Association.\n\nFootnotes\n\nBibliography\n \n \n\nAustralian generals\nAustralian military personnel of the International Force for East Timor\nAustralian military personnel of the Iraq War\nAustralian military personnel of the War in Afghanistan (2001–2021)\nDeakin University alumni\nForeign recipients of the Legion of Merit\nGraduates of the Australian Defence Force Academy\nLiving people\nMarine Corps University alumni\nMembers of the Order of Australia\nRecipients of the Commendation for Distinguished Service\nRecipients of the Conspicuous Service Cross (Australia)\nRecipients of the Distinguished Service Cross (Australia)\nRecipients of the NATO Meritorious Service Medal\nRoyal Military College, Duntroon graduates\nUniversity of New South Wales alumni\nUniversity of Southern Queensland alumni\nYear of birth missing (living people)" ]
[ "Prince Harry", "Secondment to Australian Defence Force and leaving the Army", "When did Harry leave the Army?", "Harry's attachment with the ADF ended on 8 May 2015, and on 19 June 2015 his career with the Army ended.", "When was he Seconded to the Australian Defence Force?", "On 6 April 2015," ]
C_f8c27b63ae6c4269a3b82b7b4b9ce6c3_1
What did he do while on duty?
3
What did Prince Harry do while on duty in the Australian Defence Force?
Prince Harry
On 17 March 2015, Kensington Palace announced that Prince Harry would leave the Armed Forces in June. Before then, he would spend four weeks throughout April and May at army barracks in Darwin, Perth and Sydney whilst seconded to the Australian Defence Force (ADF). After leaving the Army, while considering his future, he would return to work with the Ministry of Defence, supporting Case Officers in the Ministry of Defence's Recovery Capability Programme, working with both those who administer and receive physical and mental care within the London District area in a voluntary capacity. On 6 April 2015, Prince Harry reported for duty to Australia's Chief of the Defence Force, Air Chief Marshal Mark Binskin at the Royal Military College, Duntroon in Canberra, Australia. Harry flew to Darwin later that day to start his month-long secondment to the ADF's 1st Brigade. His visit included detachments to NORFORCE as well as to an aviation unit. While in Perth, he trained with Special Air Service Regiment (SASR), participating in the SASR selection course, including a fitness test and a physical training session with SASR selection candidates. He also joined SASR members in Perth for live-fire shooting exercises with numerous Special Forces weapons at a variety of ranges and completed an insertion training exercise using a rigid-hull inflatable boat. In Sydney, he undertook urban operations training with the 2nd Commando Regiment. Training activities included remotely detonating an Improvised Explosive Device (IED) and rappelling from a building. He also spent time flying over Sydney as co-pilot of an Army Black Hawk and participated in counter-terrorism training in Sydney Harbour with Royal Australian Navy clearance divers. Harry's attachment with the ADF ended on 8 May 2015, and on 19 June 2015 his career with the Army ended. CANNOTANSWER
While in Perth, he trained with Special Air Service Regiment (SASR), participating in the SASR selection course, including a fitness test and a physical training session
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)", "Private Duty Nurses is a 1971 American film written and directed by George Armitage. It is a sequel to The Student Nurses (1970) for New World Pictures. Roger Corman says they got the idea for the title after being sent a letter of complaint about the first film from the Private Duty Nurses Association.\n\nThe film was followed by Night Call Nurses (1972).\n\nPlot\n\nNurse Spring takes care of grumpy Vietnam veteran Domino who has a plate in his head and is in need of surgery from Dr. McClintock. Nurse Lynn fights against water pollution, and gets involved with Dewey.\n\nCast\n Katherine Cannon as Spring\n Joyce Williams as Lola\n Pegi Boucher as Lynn\n Joseph Kaufmann as Dr. Selden\n Dennis Redfield as Domino\n Robert F. Simon as Dr. Sutton \n Morris Buchanan as Kirby \n Herbert Jefferson, Jr. as Dr. Elton\n Paul Hampton as Dewey \n Paul Gleason as Dr. McClintock\n\nProduction\nGeorge Armitage had made a few films for Roger Corman, acting in Von Richtofen and Brown and writing and acting in Gas-s-s-s. He wanted to direct. Armitage:\nPeter Bogdanovich and Francis [Ford Coppola] had left working with Roger, so there was an opening there for directors, I asked him if I could direct, and he said sure. He said: \"Would you like to do a nurse movie or a stewardess move?\" I said I'd like to do a stewardess movie, and he said: \"Okay, well then you can do the nurse movie.\" Okay! Anyways, I got into it, and I wrote the script, and I got Everett Chambers, from Peyton Place, a crew of some TV guys that I'd worked with, and some young commercial crew. This fellow called Fouad Said had invented this thing called Cinemobile ... and I used it to film on location. I did everything on location ... I shot the whole movie in the South Bay, Manhattan Beach—it's exactly the same place and time period that Paul Thomas Anderson used in Inherent Vice.\nArmitage was familiar with the Manhattan beach area having surfed there when he was younger.\n\nArmitage said the film had to feature sex but he put in a let-down sex scene at the beginning.\nI was talking to the girls and they said: \"Hey, why don't you do a guy who's just a lousy lay. Sometimes you run into that.\" And I thought that'd be perfect for the South Bay, because it was a pretty crazy culture going on down there at the time, so that's what we did.\nArmitage heard about the band Sky, went to see them perform at a high school, and cast them in the film.\n\nArmitage says Corman left him alone for most of the film.\nHe wanted us to do whatever we felt, what we were thinking of poetically, socially, culturally at the time. So I tried to look at it from a woman's point-of-view, adding my own feelings about what was going on. Corman and I got along very well. I didn't like the way Hollywood treated him—he was kind of an underdog and I loved the fact that he would just say, \"Here, go make the movie.\" He never came to the set, he totally allowed us to do what we were doing ... And Private Duty Nurses was done in 15 days.\n\nSee also\n List of American films of 1971\n\nReferences\n\nExternal links\n \n\n1970s exploitation films\n1971 films\nAmerican films\n1970s English-language films\nNew World Pictures films\nFilms about nurses\nMedical-themed films\nAmerican sequel films\n1971 directorial debut films", "Sleeping while on duty or sleeping on the job – falling asleep while one is not supposed to – is considered gross misconduct and grounds for disciplinary action, including termination of employment, in some occupations. Recently however, there has been a movement in support of sleeping, or napping at work, with scientific studies highlighting health and productivity benefits, and over 6% of employers in some countries providing facilities to do so. In some types of work, such as firefighting or live-in caregiving, sleeping at least part of the shift may be an expected part of paid work time. While some employees who sleep while on duty in violation do so intentionally and hope not to get caught, others intend in good faith to stay awake, and accidentally doze.\n\nSleeping while on duty is such an important issue that it is addressed in the employee handbook in some workplaces. Concerns that employers have may include the lack of productivity, the unprofessional appearance, and danger that may occur when the employee's duties involve watching to prevent a hazardous situation. In some occupations, such as pilots, truck and bus drivers, or those operating heavy machinery, falling asleep while on duty puts lives in danger. However, in many countries, these workers are supposed to take a break and rest every few hours.\n\nFrequency\nThe frequency of sleeping while on duty that occurs varies depending on the time of day. Daytime employees are more likely to take short naps, while graveyard shift workers have a higher likelihood of sleeping for a large portion of their shift, sometimes intentionally.\n\nA survey by the National Sleep Foundation has found that 30% of participants have admitted to sleeping while on duty. More than 90% of Americans have experienced a problem at work because of a poor night's sleep. One in four admit to shirking duties on the job for the same reason, either calling in sick or napping during work hours.\n\nViews\nEmployers have varying views of sleeping while on duty. Some companies have instituted policies to allow employees to take napping breaks during the workday in order to improve productivity while others are strict when dealing with employees who sleep while on duty and use high-tech means, such as video surveillance, to catch their employees who may be sleeping on the job. Those who are caught in violation may face disciplinary action such as suspension or firing.\n\nSome employees sleep, nap, or take a power-nap only during their allotted break time at work. This may or may not be permitted, depending on the employer's policies. Some employers may prohibit sleeping, even during unpaid break time, for various reasons, such as the unprofessional appearance of a sleeping employee, the need for an employee to be available during an emergency, or legal regulations. Employees who may endanger others by sleeping on the job may face more serious consequences, such as legal sanctions. For example, airline pilots risk loss of their licenses.\n\nIn some industries and work cultures sleeping at work is permitted and even encouraged. Such work cultures typically have flexible schedules, and variant work loads with extremely demanding periods where employees feel unable to spend time commuting. In such environments it is common for employers to provide makeshift sleeping materials for employees, such as a couch and/or inflatable mattress and blankets. This practice is particularly common in start-ups and during political campaigns. In those work cultures sleeping in the office is seen as evidence of dedication.\n \nIn 1968, New York police officers admitted that sleeping while on duty was customary.\n\nIn Japan, the practice of napping in public, called , may occur in work meetings or classes. Brigitte Steger, a scholar who focuses on Japanese culture, writes that sleeping at work is considered a sign of dedication to the job, such that one has stayed up late doing work or worked to the point of complete exhaustion, and may therefore be excusable.\n\nNotable incidents\n\nAirline pilots\n February 2008 – the pilots on a Go! airline flight were suspended during an investigation when it was suspected they fell asleep mid-flight from Honolulu, Hawaii to Hilo, Hawaii, resulting in their overshooting Hilo Airport by about 24 kilometers (15 miles) before turning around to land safely.\n\nAir traffic controllers\n October 1984 – Aeroflot Flight 3352 hit maintenance vehicles on the runway while attempting to land in Omsk, Russia. The ground controller, who had been up at nights due to recently becoming a father of two, allowed the workers to dry the runway during heavy rain and fell asleep on the job. 178 people were killed in the crash; the controller later killed himself in prison.\n October 2007 – four Italian air traffic controllers were suspended after they were caught asleep while on duty.\n March 2011 – the lone night shift air traffic controller at Ronald Reagan Washington National Airport fell asleep on duty. During the period he was asleep two airliners landed uneventfully. In the weeks that followed, there were other similar incidents and it was revealed that other lone air traffic controllers on duty fell asleep in the towers. This led to the resignation of United States air traffic chief Hank Krakowski and a new policy being set requiring two controllers to be on duty at all times.\n\nBus drivers\n March 2011 – a tour bus driver crashed while returning from a casino in Connecticut to New York City. Fifteen people were killed and many others injured. Although the driver, who was found to be sober, denied sleeping, a survivor who witnessed the crash reported that he was speeding and sleeping.\n\nPolice officers/security officers\n December 1947 – a Washington, D.C. police officer was fined $75 for sleeping while on duty.\n October 2007 – a CBS news story revealed nearly a dozen security guards at a nuclear power plant who were videotaped sleeping while on duty.\n December 2009 – The New York Post published a photo of a prison guard sleeping next to an inmate at the Rikers Island penitentiary. The photo was allegedly captured on the cell phone camera of another guard. Both guards were disciplined for this action, the sleeping officer for sleeping and the officer who took the photo for violating a prison policy forbidding cell phones while on duty. The inmate was not identified.\n\nOther\n March 1987 – The Peach Bottom Nuclear Generating Station was ordered shut down by the Nuclear Regulatory Commission after four operators were found sleeping while on duty.\n\nSee also\n Nap\n Power nap\n\nReferences\n\nDuty\nGrounds for termination of employment\nOccupational safety and health" ]
[ "Prince Harry", "Secondment to Australian Defence Force and leaving the Army", "When did Harry leave the Army?", "Harry's attachment with the ADF ended on 8 May 2015, and on 19 June 2015 his career with the Army ended.", "When was he Seconded to the Australian Defence Force?", "On 6 April 2015,", "What did he do while on duty?", "While in Perth, he trained with Special Air Service Regiment (SASR), participating in the SASR selection course, including a fitness test and a physical training session" ]
C_f8c27b63ae6c4269a3b82b7b4b9ce6c3_1
Did he go into any war zones during this time?
4
Did Prince Harry go into any war zones during his time in the Australian Defence Force?
Prince Harry
On 17 March 2015, Kensington Palace announced that Prince Harry would leave the Armed Forces in June. Before then, he would spend four weeks throughout April and May at army barracks in Darwin, Perth and Sydney whilst seconded to the Australian Defence Force (ADF). After leaving the Army, while considering his future, he would return to work with the Ministry of Defence, supporting Case Officers in the Ministry of Defence's Recovery Capability Programme, working with both those who administer and receive physical and mental care within the London District area in a voluntary capacity. On 6 April 2015, Prince Harry reported for duty to Australia's Chief of the Defence Force, Air Chief Marshal Mark Binskin at the Royal Military College, Duntroon in Canberra, Australia. Harry flew to Darwin later that day to start his month-long secondment to the ADF's 1st Brigade. His visit included detachments to NORFORCE as well as to an aviation unit. While in Perth, he trained with Special Air Service Regiment (SASR), participating in the SASR selection course, including a fitness test and a physical training session with SASR selection candidates. He also joined SASR members in Perth for live-fire shooting exercises with numerous Special Forces weapons at a variety of ranges and completed an insertion training exercise using a rigid-hull inflatable boat. In Sydney, he undertook urban operations training with the 2nd Commando Regiment. Training activities included remotely detonating an Improvised Explosive Device (IED) and rappelling from a building. He also spent time flying over Sydney as co-pilot of an Army Black Hawk and participated in counter-terrorism training in Sydney Harbour with Royal Australian Navy clearance divers. Harry's attachment with the ADF ended on 8 May 2015, and on 19 June 2015 his career with the Army ended. CANNOTANSWER
He also spent time flying over Sydney as co-pilot of an Army Black Hawk and participated in counter-terrorism training in Sydney Harbour
false
[ "The time zones of China refer to the time zone divisions used in China between 1918 and 1949. The first time zone plan was proposed by the Central Observatory (now Beijing Ancient Observatory) of the Beiyang government in Peking (Beijing) in 1918. The proposal divided the country into five time zones: Kunlun (UTC+05:30), Sinkiang-Tibet (UTC+06:00), Kansu-Szechwan (UTC+07:00), Chungyuan (UTC+08:00) and Changpai (UTC+08:30). These time zones were ratified in 1939 by the Nationalist government in the Standard Time Conference, hosted by the Ministry of Interior of Executive Yuan. Because of the Second Sino-Japanese War, it was also stated that Kansu-Szechwan time shall be the sole national time during the war time. After the war in 1945, these five times zones were implemented national widely. In 1949, after the Chinese Civil War, the Central People's Government abolished the five time zones and announced to use a single time zone UTC+08:00 named Beijing Time (). The term Chungyuan Standard Time () was still used by the Government of the Republic of China on Taiwan until the early 2000s.\n\nOverview of the time zones\n\nTime zones and administrative divisions\n\nSee also \n Time in China\n Time zones\n\nTime in China", "Kiribati, a country in Oceania comprising 32 atolls and reef islands and one raised coral island, observes three time zones, ranging from UTC+12:00 to +14. Kiribati does not observe daylight saving time.\n\nThe three given time zones are for the three primary island groups that form Kiribati, and their associated atolls: Gilbert Island Time (GILT; UTC+12:00), Phoenix Island Time (PHOT; UTC+13:00) and Line Islands Time (LINT; UTC+14:00). UTC+14:00 is the most advanced time zone in the world, making Kiribati one of the first countries to celebrate a New Year, although Samoa also observes UTC+14:00 during their daylight saving time.\n\nAlthough Kiribati spans both the equator and the 180th meridian, the International Date Line goes around Kiribati and swings far to the east, almost reaching the 150°W meridian. This was the result of the Phoenix and Line Islands switching in 1994 from UTC−11:00 and −10 to UTC+13:00 and +14 respectively.\n\nHistory \n\nWhen the Republic of Kiribati was founded in 1979, it had three time zones: UTC+12:00 in the Gilbert Islands, UTC−11:00 in the Phoenix Islands and UTC−10:00 in the Line Islands. Gilbert was west of the international dateline and the Phoenix and Line Islands were east of it. This meant that the Gilbert Islands were a full day ahead of the eastern islands.\n\nFor administrative purposes, the time zones had to be adjusted. To solve it, the government of Kiribati introduced a change of date for its eastern half on 31 December 1994, from time zones UTC−11:00 and UTC−10:00 to UTC+13:00 and UTC+14:00. Before this, UTC+13:00 and UTC+14:00 did not exist.\n\nThe revision of Kiribati's time zone meant that the international date line in effect moved 1,000 kilometers (620 mi) eastwards to go around this country, so that the Line Islands, including the inhabited Kiritimati island, started the year 2000 on its territory before any other country on Earth, a feature the Kiribati government capitalised on as a potential tourist draw.\n\nIANA time zone database \nThe IANA time zone database in the file zone.tab contains three time zones for Kiribati. Data below is for Kiribati directly from zone.tab of the IANA time zone database. Columns marked with * are the columns from zone.tab itself:\n\nReferences\n\nExternal links \nTime in Kiribati at TimeAndDate.com\n\nTime in Kiribati", "Rail service fares in Greater London and the surrounding area are calculated in accordance with the London fare zones system managed by Transport for London. Within London, all London Underground, National Rail, London Overground, TfL Rail and Docklands Light Railway stations are assigned to six fare zones. Fare zone 1 covers the central area and fare zones 2, 3, 4, 5 and 6 form concentric rings around it. Some National Rail stations and almost all Transport for London served stations outside Greater London in the home counties of Buckinghamshire, Essex, Hertfordshire and Surrey are either included in fare zones 4, 5 or 6 or in extended zones beyond these. Transport for London fare zones are also known simply as zones or travel zones, referring to their use in calculating prices for the travelcards or pay-as-you-go caps. Before flat fares were introduced in 2004, fare zones were used on the London Buses network. London fare zones are also used for calculating the cost of single and return paper tickets, Oyster card pay-as-you-go fares and season tickets.\n\nHistory\nBefore the introduction of fare zones, tickets for rail travel in Greater London were purchased on a 'point-to-point' basis between two stations, either as a single, return or season ticket; and were priced according to distance travelled. During the early 1980s the London Transport Executive of the Greater London Council made a series of revisions to fares which introduced the fare zones. The purpose of creating zones was to simplify fares, in order to speed up the process of buying tickets. On buses this became necessary as conductors were being eliminated in favour of the driver selling tickets, which was having an impact on the time it took passengers to board the bus and therefore on journey times.\n\nThe first zones were introduced on 4 October 1981. The whole of Greater London was divided into bus zones where flat fares applied. On the London Underground the area that is now zone 1 was divided into two overlapping areas called City and West End. On 21 March 1982 fares to all other London Underground stations were graduated at three mile intervals, effectively creating zones, although they were not named as such until 1983 when the Travelcard product was launched covering five numbered zones. City and West End became zone 1 and the rest of Greater London was within zones 2, 3, 4 and 5. Further products were launched using the zones: One Day Travelcard (1984), Capitalcard (1985), One Day Capitalcard (1986). In January 1991 Zone 5 was split to create a new Zone 6.\n\nPrincipal fare zones\nAll of Greater London is within the six principal fare zones numbered 1 to 6. Inner zone 1 forms a roughly circular area and covers central London. Each of five outer zones forms a concentric ring around it. Zones 4, 5 and 6 additionally extend into parts of Essex, Hertfordshire and Surrey. List of boroughs in each zone:\n\nAncillary zones\n\nFor some services outside Greater London, where fares are set by Transport for London, there are three additional zones 7, 8 and 9. They extend into Buckinghamshire, Essex and Hertfordshire to include all stations served by TfL services (except Shenfield, Watford Junction) and some c2c services that are outside Greater London. Unlike zones 2–6, they do not form complete rings around London.\n\nAs of January 2013, there were eight National Rail stations outside the nine numbered fare zones, where Oyster card pay as you go is permitted and fares are set by the train operating companies. They are located in Essex and Hertfordshire, and are organised into additional areas B, C, G and W. On maps, these stations are shown as being outside fare zones 1–9, but within the 'special fares' Oyster pay as you go area.\n\nIn January 2016, the Oyster and contactless system was extended to Gatwick Airport in Crawley, West Sussex, and the stations down that line (Horley, Salfords, Earlswood, Redhill and Merstham).\n\nNotes\n\nReferences\n\nTransport infrastructure in London\nFare collection systems in London\nFare zones" ]
[ "Prince Harry", "Secondment to Australian Defence Force and leaving the Army", "When did Harry leave the Army?", "Harry's attachment with the ADF ended on 8 May 2015, and on 19 June 2015 his career with the Army ended.", "When was he Seconded to the Australian Defence Force?", "On 6 April 2015,", "What did he do while on duty?", "While in Perth, he trained with Special Air Service Regiment (SASR), participating in the SASR selection course, including a fitness test and a physical training session", "Did he go into any war zones during this time?", "He also spent time flying over Sydney as co-pilot of an Army Black Hawk and participated in counter-terrorism training in Sydney Harbour" ]
C_f8c27b63ae6c4269a3b82b7b4b9ce6c3_1
Did he train with any special forces?
5
Did Prince Harry train with any special forces?
Prince Harry
On 17 March 2015, Kensington Palace announced that Prince Harry would leave the Armed Forces in June. Before then, he would spend four weeks throughout April and May at army barracks in Darwin, Perth and Sydney whilst seconded to the Australian Defence Force (ADF). After leaving the Army, while considering his future, he would return to work with the Ministry of Defence, supporting Case Officers in the Ministry of Defence's Recovery Capability Programme, working with both those who administer and receive physical and mental care within the London District area in a voluntary capacity. On 6 April 2015, Prince Harry reported for duty to Australia's Chief of the Defence Force, Air Chief Marshal Mark Binskin at the Royal Military College, Duntroon in Canberra, Australia. Harry flew to Darwin later that day to start his month-long secondment to the ADF's 1st Brigade. His visit included detachments to NORFORCE as well as to an aviation unit. While in Perth, he trained with Special Air Service Regiment (SASR), participating in the SASR selection course, including a fitness test and a physical training session with SASR selection candidates. He also joined SASR members in Perth for live-fire shooting exercises with numerous Special Forces weapons at a variety of ranges and completed an insertion training exercise using a rigid-hull inflatable boat. In Sydney, he undertook urban operations training with the 2nd Commando Regiment. Training activities included remotely detonating an Improvised Explosive Device (IED) and rappelling from a building. He also spent time flying over Sydney as co-pilot of an Army Black Hawk and participated in counter-terrorism training in Sydney Harbour with Royal Australian Navy clearance divers. Harry's attachment with the ADF ended on 8 May 2015, and on 19 June 2015 his career with the Army ended. CANNOTANSWER
He also joined SASR members in Perth for live-fire shooting exercises with numerous Special Forces weapons at a variety of ranges and completed an insertion training exercise
false
[ "The following is a partial list of all known ground raids undertaken by United States special operations forces in Syria on forces (primarily those of the Islamic State of Iraq and the Levant) engaged in the Syrian Civil War. Along with conducting raids, U.S. special forces in Syria regularly take part in battles against the Islamic State alongside allied Syrian Democratic Forces, primarily in a \"train, advise, and assist\" role, with 2,000 U.S. special forces soldiers being deployed in Syria by the end of 2017.\n\nList of attacks\n\nSee also \n List of United States attacks on Syria during the Syrian Civil War\n\nReferences \n\nUnited States attacks\nAmerican involvement in the Syrian civil war\n\n2014 in the Syrian civil war\n2015 in the Syrian civil war\n2017 in the Syrian civil war\n2018 in the Syrian civil war\nSyria–United States relations", "In Mexico, both the army and navy have special forces groups or elite units.\n\nArmy Special Forces\nThe Army has a Special Forces Corps unified command consisting of three Special Forces Brigades, a High Command GAFE (Grupo Aeromóvil de Fuerzas Especiales) group, a GAFE group assigned to the Airborne Brigade and several Amphibious Special Forces Groups.\n\nThe Special Forces Brigades are formed by nine SF battalions. The First Brigade has the 1st, 2nd and 3rd SF Battalions, the Second Brigade has the 5th, 6th, 7th and 8th Battalions, and the Third Brigade has the 4th and 9th Battalions and a Rapid Intervention Force group.\n\nThe High Command GAFE is a group with no more than 100 members who are specially trained in counter-terrorist tactics. They receive orders directly from the Secretary of National Defense.\n\nThe Amphibious Special Forces Groups are trained in amphibious warfare. They give the army special capabilities on coastlines.\n\nNavy Special Forces\nThe Navy has a special operations force called Fuerzas Especiales, better known as FES. Their specialties are unconventional warfare, assault, counter-terrorism, and special reconnaissance operations.\n\nThere is also another special forces unit called Batallones de Comandos Anfibios. These units carry out special tasks for the Amphibious Reaction Forces (Marines). They are known to train with their American counterparts: the Navy SEALs, at the Naval Special Warfare Center in Coronado, California.\n\nSee also\nFuerzas Especiales\nGrupo Aeromóvil de Fuerzas Especiales\nGrupo Aeromóvil de Fuerzas Especiales del Alto Mando\n\nReferences\n\nSpecial forces of Mexico", "The Special Forces Regiment (SF) (Sinhala: විශේෂ බලකාය Visēsha Balakāya; Tamil: சிறப்பு படைகள் ரெஜிமென்ட்) is a special forces unit of the Sri Lanka Army. Founded in 1986 as a combat tracker team , it was established as a regiment in 1988, and later expanded into an brigade. The unit specialises in a number of roles including counter-terrorism, direct action and covert reconnaissance. Much like the British Army Special Air Service, much of the information about the SF is highly classified due to the secrecy and sensitivity of its operations.\n\nThe Special Forces Regiment currently consists of four regular battalions organized into the Special Forces Brigade, under the operational command of I Corps forming its Special Operations Force along with the Commando Brigade.\n\nHistory \nWith the escalation of the Sri Lankan Civil War in the mid 1980's the Sri Lanka Army formed an \"Combat Tracker Team\" in 1985 to conduct direct action and covert reconnaissance against LTTE units operating in the thick jungles in the northern part of the island in small groups. At its inception this unit was made up of two officers and 38 men under the command of Major Gamini Hettiarachchi from the Sri Lanka Armoured Corps. The Combat Tracker Team became the reconnaissance element of the short lived Special Service Group (SSG) and was renamed as the Rapid Deployment Force (RDF) (Special Force) in 1985 which operated independently, during which time Lieutenant (later Colonel) A. F. Lafir joined the RDF from the Gajaba Regiment. Following several successful operations, the RDF was gradually expanded to four squadrons. On 10 December 1988, the RDF (SF) was officially designated as the 1 Special Forces Regiment (1 SF) Naula in the Central province under the command of Major G. Hettiarachchi. With the view of increasing its mobility and stroke capacity 1 SF formed Combat Rider Team with assistance from South Africa. The 2 Special Forces Regiment (2 SF) was formed on 18 February 1994 at Monkey Bridge Camp in Trincomalee with detached B, D, and E squadrons of 1 SF under the command of Major Raj Wijesiri. 2 SF soon raised a Combat Diver Team to specializing in amphibious warfare and later moved to Nayaru on the eastern seaboard. On 18 July 1996 the 25 Brigade HQ of the Sri Lanka Army at its base at Mullaitivu came under attack in what is known as the Battle of Mullaitivu. 1SF and 2SF were dropped by helicopter to spearhead in the rescue operation which reached the base on 23 July. Both units suffered heavy casualties including the commanding officer of 1SF, Lieutenant Colonel A. F. Lafir who was posthumously awarded the Parama Weera Vibhushanaya. In August 1996, the 3 Special Forces Regiment (3 SF) was formed with personal from the other two SF regiments to develop amphibious warfare capability to counter activity of the Sea Tigers, it was soon re-tasked to carryout long-range penetration missions in deep into LTTE controlled areas. This resulted in the start of Long Range Reconnaissance Patrol (LRRP) concept in September 1996 with 3 SF based at Vavuniya under the command of Major Mahesh Senanayake. 3 SF rescinded J and K Squadrons and created M Squadron. In December 1996, the Special Forces Brigade was formed bringing 1SF, 2SF and 2SF under its operational command. On 15 June 2008, 4 Special Forces Regiment (4 SF) was raised at SF Training School in Maduru Oya under the command of Major J.P.C. Peiris support the demands of the new northern offensive. The 5th Special Forces Regiment (5 SF) was formed in 2009 and was disbanded on 1 April 2012. On 16 April 2012, 4SF formed an Urban Fighting Squadron specializing in counter terrorism and urban warfare.\n\nOrganisation \nThe Special Forces Regiment consists of four regular battalions. The Regimental Headquarter which includes the Regimental Centre and the Regimental Headquarter Battalion handles administration while the four regular battalions are organised into the Special Forces Brigade (SF BDE) which comes under the operational command of I Corps.\n\nFormations \n\n Special Forces Brigade (SF BDE)\n 1st Special Forces Regiment (1 SF) - specialists in high mobility direct action \n C Squadron \n F Squadron \n G Squadron \n J Squadron \n Combat Rider Squadron\n Support Squadron\n Administrative Squadron\n 2nd Special Forces Regiment (2 SF) - specialists in amphibious, small boat and underwater demolition. \n B Squadron \n D Squadron \n E Squadron \n H Squadron \n Combat Diving Squadron\n Support Squadron\n Administrative Squadron\n 3rd Special Forces Regiment (3 SF) - specialists in long range reconnaissance (LRP) \n M Squadron \n I Squadron\n Support Squadron\n Administrative Squadron\n 4th Special Forces Regiment (4 SF) - specialists in counter terrorism and urban warfare \n A Squadron \n K Squadron \n L Squadron \n S Squadron \n Urban Fighting Squadron - formed on 16 April 2012\n Support Squadron\n Administrative Squadron\n 5th Special Forces Regiment (5 SF) - formed in 2009 and disbanded on 1 April 2012.\n\nRecruitment and training\n\nAny member of the Sri Lanka Army can apply for the Special Forces Regiment. Applicants need to pass the 28 day selection course. Candidates who successfully complete this course are then enrolled to complete the basic Special Forces course which lasts between 10–12 months. After graduating the Special Forces course, the candidates are inducted as members of the Special Forces Regiment and are offered training programs of occupational specialities offered by the Regiment.\n\nTraining Schools\nSpecial Forces Training School was established on 15 February 1992 and it is conducting the basic and specialized training for all Special Forces personnel. It also conducts special courses to train instructors from other battalions in the Army and has also helped to train Navy Special Boat Squadron personnel and Sri Lanka Air Force Regiment Special Force.\n\n Special Forces Training School - SFTS\n Special Forces Combat Diving Training School - SFCDTS\n Special Forces Jungle Warfare Training School - SFJWTS\n\nColors and insignia\n\nRana Parashuwa \n\nUnlike other regiments in the Sri Lanka Army, the Special Forces Regiment has been awarded Rana Parashuwa which are a ceremonial battle hatchets that represent President's and regimental colors in 2019.\n\nInsignia \nThe Special Forces Regiment cap badge depicts an Eagle and has been regarded as a symbol of the SF along with the black-colored beret and the Jolly Roger skull-and-crossed-bones arm patch with the \"Special Forces\" shoulder tab.\n\nParama Weera Vibhushanaya recipient\nColonel A.F. Lafir, PWV, RWP, RSP – Former Commanding Officer of the 1st Regiment Special Forces\nLieutenant Colonel J.A.L Jayasinghe, PWV, WWV, RWP, RSP – Former Officer Commanding of M Sqn, 3rd Regiment Special Forces.\nMajor Ajith Gamage, PWV, RWP, RSP – Former Officer Commanding of C Sqn\nSergeant Sugath Chandrasiri Bandara, PWV - 2nd Special Forces Regiment\nCorporal K. Chandana, PWV - 3rd Special Forces Regiment\n\nNotable members\n\nMajor General Gamini Hettiarachchi - Father of the Special Forces Regiment\nGeneral Mahesh Senanayake - former Commander Of the Army and Special Forces Brigade Commander \nMajor General Prasanna De Silva - Former Special Forces Brigade Commander \nColonel Raj Vijayasiri, RWP, RSP - Founder of the Long Range Reconnaissance Patrol (LRRP) Concept for Special Forces and former Special Forces Brigade Commander\nMajor General Nirmal Dharmaratne -Former Special Forces Brigade Commander \nBrigadier Harendra Ranasingle – Former Special Forces Brigade Commander\nBrigadier Sujeewa Senarathyapa – Special Forces Brigade Commander\n\nOrder of precedence\n\nSee also\nLong Range Reconnaissance Patrol (Sri Lanka)\nCommando Regiment\nList of military special forces units\n\nFurther reading\nThe Perfect Soldier: Special Operations, Commandos, and the Future of U.S. Warfare by James F. Dunnigan\n\nReferences\n\nExternal links\nMinistry of Defence Sri Lanka\nSri Lanka Army\nShadowSpear Special Operations – Sri Lanka Special Forces\n\nSpecial Forces Regiment\nSpecial forces of Sri Lanka\nMilitary units and formations established in 1986\n1986 establishments in Sri Lanka" ]
[ "Prince Harry", "Secondment to Australian Defence Force and leaving the Army", "When did Harry leave the Army?", "Harry's attachment with the ADF ended on 8 May 2015, and on 19 June 2015 his career with the Army ended.", "When was he Seconded to the Australian Defence Force?", "On 6 April 2015,", "What did he do while on duty?", "While in Perth, he trained with Special Air Service Regiment (SASR), participating in the SASR selection course, including a fitness test and a physical training session", "Did he go into any war zones during this time?", "He also spent time flying over Sydney as co-pilot of an Army Black Hawk and participated in counter-terrorism training in Sydney Harbour", "Did he train with any special forces?", "He also joined SASR members in Perth for live-fire shooting exercises with numerous Special Forces weapons at a variety of ranges and completed an insertion training exercise" ]
C_f8c27b63ae6c4269a3b82b7b4b9ce6c3_1
Did he do any other training with special forces?
6
Other than training with the SASR, did Prince Harry do any other training with special forces?
Prince Harry
On 17 March 2015, Kensington Palace announced that Prince Harry would leave the Armed Forces in June. Before then, he would spend four weeks throughout April and May at army barracks in Darwin, Perth and Sydney whilst seconded to the Australian Defence Force (ADF). After leaving the Army, while considering his future, he would return to work with the Ministry of Defence, supporting Case Officers in the Ministry of Defence's Recovery Capability Programme, working with both those who administer and receive physical and mental care within the London District area in a voluntary capacity. On 6 April 2015, Prince Harry reported for duty to Australia's Chief of the Defence Force, Air Chief Marshal Mark Binskin at the Royal Military College, Duntroon in Canberra, Australia. Harry flew to Darwin later that day to start his month-long secondment to the ADF's 1st Brigade. His visit included detachments to NORFORCE as well as to an aviation unit. While in Perth, he trained with Special Air Service Regiment (SASR), participating in the SASR selection course, including a fitness test and a physical training session with SASR selection candidates. He also joined SASR members in Perth for live-fire shooting exercises with numerous Special Forces weapons at a variety of ranges and completed an insertion training exercise using a rigid-hull inflatable boat. In Sydney, he undertook urban operations training with the 2nd Commando Regiment. Training activities included remotely detonating an Improvised Explosive Device (IED) and rappelling from a building. He also spent time flying over Sydney as co-pilot of an Army Black Hawk and participated in counter-terrorism training in Sydney Harbour with Royal Australian Navy clearance divers. Harry's attachment with the ADF ended on 8 May 2015, and on 19 June 2015 his career with the Army ended. CANNOTANSWER
Training activities included remotely detonating an Improvised Explosive Device (IED) and rappelling from a building. He also spent time flying over Sydney
false
[ "The 101st Amphibious Reconnaissance Battalion (), known as the Sea Dragon Frogmen, is an elite special operations unit of the Republic of China Army.\n\nOverview\nThe members of the 101st Amphibious Reconnaissance Battalion are commonly known as Sea Dragon Frogmen. The unit specializes in underwater, amphibious, and coastal reconnaissance operations.\n\nThey have a role analogous to that of the US Navy Seals. Along with other Taiwanese special operations forces they are expected to play a key role in any conflict with China.\n\nHistory\nThe 101st Amphibious Reconnaissance Battalion was founded in 1949 with American assistance as a special purpose coastal surveillance, infiltration, and covert operations unit.\n\nUnit members received a pay raise in 2017.\n\nIn 2019 the MoD commenced construction on two new bases on Kinmen and Penghu to support rapid deployments by the 101st.\n\nIn 2020 the US Army 1st Special Forces Group released a video which showed themselves training with the 101st Amphibious Reconnaissance Battalion in Taiwan.\n\nTraining\nApplicants undergo a 15-week training course known as “the iron-man road” which follows a five-day qualification course. Only twenty percent of applicants make it through training. Inducted recruits receive their unit badge pinned to their bare chest.\n\nSee also\nAirborne Special Service Company\nAmphibious Reconnaissance and Patrol Unit\nRepublic of China Military Police Special Services Company\nList of military special forces units\n\nReferences\n\nSpecial forces units of the Republic of China\nRepublic of China Army\nArmed forces diving\nArmy reconnaissance units and formations\nInfantry battalions\nMilitary units and formations established in 1949", "The Hunter Group was South Africa's first special forces unit and counter-insurgency elite formed in 1968, with members of the unit forming and training later special forces and other specialised units of the South African Army.\n\nHistory\nHunter Group was formed in May 1968 by Commandant G. van Kerckhoven of the South African Irish Regiment who saw a need to expand the counter-insurgency skills of certain members in the regiment and which would be superior to the basic skills provided to the average national serviceman. He was aided by an ex-Rhodesian army weapons and unarmed combat expert named Grant-Grierson. Initially it drew members from the Irish regiment but as it reputation grew volunteers from other army units also joined. Members received 240 hours of training over weekends and at night over twelve months. \n\nUp to 700 men passed through the group's training with members forming or training the first special forces unit and 32 Battalion By 1976 the group had disbanded and its remaining members placed in Citizen Force (Reserve) unit 2 Reconnaissance Commando.\n\nTraining\nTraining included activities such as close weapons use, first aid, vehicle driving, parachuting, guerrilla warfare, stress and shock training, bushcraft and survival, demolitions and many other skills. Member of the group wore camouflaged uniforms which were not worn by any other South African unit with some in the style of airborne smocks with a silver scorpion insignia on a green background on their right sleeve.\n\nReferences\n\nFurther reading \n \n\n1968 establishments in South Africa\n1976 disestablishments in South Africa\nSpecial forces of South Africa\nDefunct organisations based in South Africa\nDisbanded military units and formations in Johannesburg\nMilitary units and formations of South Africa in the Border War\nMilitary units and formations established in 1968\nMilitary units and formations disestablished in 1976", "The Special Forces Brigades of the Republic of Korea (ROK) are six special forces brigades and one oversea deployment group under the command and control of the Republic of Korea Army Special Warfare Command (ROK-SWC; Korean: 대한민국 육군 특수전사령부, 특전사; Hanja: 大韓民國陸軍 特殊戰司令部). These units were modelled after United States Army Special Forces (Green Berets).\n\nMembers of the brigades receive special training for various unconventional warfare missions. These seven units are part of ROK Special Forces, founded in 1958 and fall under the jurisdiction of the Republic of Korea Army Special Warfare Command, which was created in 1969. ROK special forces brigades main tasks include guerrilla warfare, special reconnaissance, unconventional warfare, direct action, collecting information in enemy territory and conducting special missions.\n\nRelationship with SOCKOR\n\nThe members of the ROK Special Forces Brigades train and work in close partnership with members of the United States Special Operations Forces in defense of the Republic of Korea. U.S. SOF in Korea are under the command and control of Special Operations Command Korea (SOCKOR) which is a sub-unified command assigned under the Combatant Command (COCOM) of United States Special Operations Command (USSOCOM) and further delegated to the Operational Command of the United States Forces Korea (USFK) Commander.\n\nSpecial Forces Brigades\n\nVolunteers for these brigades undergo training in high skilled weapon handling and parachuting as well as the regular physical and psychological tests. All weapons and equipment used by the ROK special forces are South Korea, U.S., German, and others products. Although ROK Special Forces Brigades consist purely of volunteer soldiers, they have to reach certain requirements such as achieving a black belt in Taekwondo or any similar martial art. Battalions of ROK Special Forces Brigades are frequently used for destruction of tactical targets. Normal uniform is a camouflage combat suit and ROK Special Forces distinguish icon are their black berets with the SF badge in silver. The usual distribution of the ROK Special Forces Brigades is one battalion per each Army corps and each unit is capable of using either continuous guerrilla operations or single operations, whether or not they find themselves on friendly or enemy territory.\n\nEach of the seven ROK Special Forces Brigades have their own mascot. They are: \n 1st Special Forces Brigade (Eagle)\n 3rd Special Forces Brigade (Flying Tiger)\n Oversea Deployment Group (Whole World) (Formerly 5th Special Mission Group 'Black Dragon')\n 7th Special Forces Brigade (Pegasus)\n 9th Special Forces Brigade (Ghost)\n 11th Special Forces Brigade (Golden Bat)\n 13th Special Mission Brigade (Black Panther) (Formerly 13th Special Forces Brigade)\n\n1st Special Forces Brigade\nFounded on April 1, 1958 under the name of 1st Combat Group. This was the original unit of the ROK Special Forces. In October 1958, it adopted the name of 1st Special Forces Group. And in September 1972 it became 1st Special Forces Brigade. The former commander of the 1st Special Forces Brigade, Chun Doo Hwan, served as President of Korea from 1980-1987. Its special pocket patch emblem is the Eagle.\n\n3rd Special Forces Brigade\nFounded on January 18, 1969 under the name of 1st Ranger Brigade. On September 10, 1972 it adopted the name of 3rd Special Forces Brigade. It is well known among the other brigades for its excellence in Tae Kwon Do. Its special pocket patch emblem is the Flying Tiger.\n\nOversea Deployment Group\nFounded on February 17, 1969 under the name of 2nd Ranger Brigade. On September 10, 1972 it was re-designated to 5th Special Forces Brigade. And in 2000 it adopted the name of Special Missions Group. Its special pocket patch emblem is the Black Dragon.\nIn 2010, it became Oversea Deployment Group. The group consists of around 1,000 members.\n\n7th Special Forces Brigade\nFounded on October 1, 1974. This unit is known for its HALO Jumping abilities. The 7th Special Forces Brigade maintains one of the only usable year-round Drop Zone. Its special pocket patch emblem is the Flying Horse or Pegasus.\n\n9th Special Forces Brigade\nFounded on October 1, 1974, along with the 7th Special Forces Brigade. One former 9th special Forces Brigade Commander, Roh Tae-woo, served as President of the Republic of Korea from 1987-1992. Its special pocket patch emblem is the Ghost.\n\n11th Special Forces Brigade\nFounded on October 1, 1977. Its special pocket patch emblem is the Golden Bat.\n\n13th Special Mission Brigade\nThe 13th Special Forces Brigade was founded on October 1, 1977 along with the 11th Special Forces Brigade. Its special pocket patch emblem is the Black Panther.\n\nOn Dec. 1, 2017, the 13th Special Forces Brigade was reorganized into the 13th Special Mission Brigade. It was formerly known as \"The Decapitation Unit\" (참수 부대), as unlike the other Korean Special Forces Brigades in addition to conducting unconventional warfare in enemy territory, it is tasked with neutralizing well-protected, high-priority targets such as political and military leaders and facilities. It is regarded as having the most intensive training regimen out of all the Korean Special Forces Brigades, holding regular joint training sessions with US Navy Seals and Green Berets, and is the only Korean Special Forces unit to still use conscripted troops in combat roles and training.\n\n707th Special Mission Group\n\nFounded late in 1981 under the Executive Order of the President of the Republic of Korea as world-class Counter-terrorist force with the goal to support Domestic and International Counter-terrorist agencies. The hostage-taking situation of the 1972 Summer Olympics was key for the development of such unit in which Palestinian guerrillas belonging to the Black September organization took eleven Israeli athletes as hostages. The members from 707th Special Mission Group are distinguished from other soldiers by their unique black berets. All operators of the 707th receive a full year of special training; six months of basic infantry combat skills and another six months of special warfare training. Every member of the 707th is SCUBA and parachute qualified.\n\nSee also\nRepublic of Korea Army Special Warfare Command \nRepublic of Korea Armed Forces \nRepublic of Korea Army \nRepublic of Korea Naval Special Warfare Flotilla\nList of military equipment of Republic of Korea \nSpecial Operations Command Korea\nUnited States Army Special Forces\n\nReferences\n\nExternal links \n ROK Army Special Forces training during winter season\n\nMilitary units and formations of the South Korean Army\nSpecial forces of the Republic of Korea" ]
[ "Prince Harry", "Secondment to Australian Defence Force and leaving the Army", "When did Harry leave the Army?", "Harry's attachment with the ADF ended on 8 May 2015, and on 19 June 2015 his career with the Army ended.", "When was he Seconded to the Australian Defence Force?", "On 6 April 2015,", "What did he do while on duty?", "While in Perth, he trained with Special Air Service Regiment (SASR), participating in the SASR selection course, including a fitness test and a physical training session", "Did he go into any war zones during this time?", "He also spent time flying over Sydney as co-pilot of an Army Black Hawk and participated in counter-terrorism training in Sydney Harbour", "Did he train with any special forces?", "He also joined SASR members in Perth for live-fire shooting exercises with numerous Special Forces weapons at a variety of ranges and completed an insertion training exercise", "Did he do any other training with special forces?", "Training activities included remotely detonating an Improvised Explosive Device (IED) and rappelling from a building. He also spent time flying over Sydney" ]
C_f8c27b63ae6c4269a3b82b7b4b9ce6c3_1
Did he fly with the Air Force?
7
Did Prince Harry fly with the Air Force?
Prince Harry
On 17 March 2015, Kensington Palace announced that Prince Harry would leave the Armed Forces in June. Before then, he would spend four weeks throughout April and May at army barracks in Darwin, Perth and Sydney whilst seconded to the Australian Defence Force (ADF). After leaving the Army, while considering his future, he would return to work with the Ministry of Defence, supporting Case Officers in the Ministry of Defence's Recovery Capability Programme, working with both those who administer and receive physical and mental care within the London District area in a voluntary capacity. On 6 April 2015, Prince Harry reported for duty to Australia's Chief of the Defence Force, Air Chief Marshal Mark Binskin at the Royal Military College, Duntroon in Canberra, Australia. Harry flew to Darwin later that day to start his month-long secondment to the ADF's 1st Brigade. His visit included detachments to NORFORCE as well as to an aviation unit. While in Perth, he trained with Special Air Service Regiment (SASR), participating in the SASR selection course, including a fitness test and a physical training session with SASR selection candidates. He also joined SASR members in Perth for live-fire shooting exercises with numerous Special Forces weapons at a variety of ranges and completed an insertion training exercise using a rigid-hull inflatable boat. In Sydney, he undertook urban operations training with the 2nd Commando Regiment. Training activities included remotely detonating an Improvised Explosive Device (IED) and rappelling from a building. He also spent time flying over Sydney as co-pilot of an Army Black Hawk and participated in counter-terrorism training in Sydney Harbour with Royal Australian Navy clearance divers. Harry's attachment with the ADF ended on 8 May 2015, and on 19 June 2015 his career with the Army ended. CANNOTANSWER
He also spent time flying over Sydney as co-pilot of an Army Black Hawk and participated in counter-terrorism training in Sydney Harbour with Royal Australian Navy clearance divers.
false
[ "The Royal New Zealand Air Force Ensign is the official flag which is used to represent the Royal New Zealand Air Force. The ensign has a field of air force blue with the Union Jack in the canton and the Royal New Zealand Air Force's roundel in the middle of the fly. It is based on the British Royal Air Force Ensign with the letters \"NZ\" superimposed in white over the red central disc of the roundel.\n\nReferences\n\nExternal links\nNew Zealand History - Royal New Zealand Air Force Ensign\n\nRoyal New Zealand Air Force\nFlags of New Zealand\nAir Force ensigns\nFlags with crosses\nLight blue ensigns", "Michelle Curran (born 1987) is a United States Air Force major and a pilot in the USAF Air Demonstration Squadron, or Thunderbirds. Curran is the Lead Solo Pilot for the Squadron. Curran is the fifth woman to fly with the Thunderbirds.\n\nEarly life\nCurran was born in Medford, Wisconsin. She studied criminal justice at the University of St. Thomas and competed in a number of sports there. Curran was also active in Air Force Reserve Officer Training Corps (AFROTC) at St. Thomas.\n\nAir Force career\nCurran began service in the United States Air Force in 2009, earning a commission through the AFROTC. Her first two years with the Air Force were spent in Pilot Training with the 14th Operations Group at Columbus Air Force Base in Mississippi. Her next year was spent as a F-16 student with the 308th Fighter Squadron at Luke Air Force Base in Arizona. Curran then spent three years at Misawa Air Base in northern Japan. Curran later worked for three years as an F-16 instructor in the 355th Fighter Squadron at NAS JRB Fort Worth in Texas. She was the first woman to fly as part of the 335th Fighter Squadron.\n\nCurran joined the Thunderbirds in 2019 and currently flies as Thunderbird 5, serving as the Lead Solo Pilot for the Demonstration Team. She flew as the Left-Wing Solo pilot during her first season with the Squadron, the first woman to fly in that position. Curran is the only female pilot currently flying with the Squadron, and the fifth female pilot in the Squadron overall.\n\nCurran has logged over 1,500 total flight hours with the Air Force. She served in Afghanistan for two months in 2016 as part of both Operation Freedom's Sentinel and Operation Resolute Support, acquiring 163 combat hours.\n\nDecorations\nCurran's decorations as of 2020 were as follows:\n\nPromotion dates\n\nReferences\n\n1987 births\nLiving people\nUnited States Air Force Thunderbirds pilots\nAmerican women aviators\nUnited States Air Force officers\nAviators from Wisconsin\nPeople from Medford, Wisconsin\nMilitary personnel from Wisconsin\nUniversity of St. Thomas (Minnesota) alumni\n21st-century American women", "The Royal Australian Air Force Ensign is used by the Royal Australian Air Force and the Australian Air Force Cadets in Australia and overseas. It is based on the Australian national flag, with the field changed to Air Force blue, and the southern cross tilted clockwise to make room for the RAAF roundel inserted in the lower fly quarter. The roundel is a red leaping kangaroo on white within a dark blue ring. The ensign was proclaimed as a Flag of Australia under section 5 of the Flags Act on 6 May 1982.\n\nThe southern cross is tilted so that Gamma Crucis stays in the same position as for the Australian National Flag and that Alpha Crucis is moved along the x-axis towards the hoist by one-sixth of the width of the flag. This results in the axis being rotated 14.036° clockwise around Gamma Crucis and each star is rotated in this way, although the constellation as a whole is not simply rotated.\n\nHistory\nThe RAAF was established in 1921. On 24 July 1922, the British Royal Air Force Ensign, a sky-blue British ensign with the RAF roundel in the fly, was approved as the ensign of the RAAF. This flag was used until 1948, when the RAAF asked to change the flag to avoid confusion. A warrant for the new flag, which had the roundel in the lower fly of sky-blue ensign with Commonwealth Star and tilted southern cross to match the Australian national flag, was given in 1949. The RAAF adopted a distinctive roundel on 2 July 1956; a red kangaroo replacing the red circle of the British version. The old roundel remained on the ensign, however, until 1981, when Elizabeth II as Queen of Australia approved the change to the current flag.\n\nAlthough the flag is only flown by the RAAF, dispensation was granted to New Lambton Public School, NSW on 18 May 1995 to fly the RAAF ensign. This was in recognition of the school's involvement with the RAAF during World War II, when it was requisitioned by the government and used as No. 2 Fighter Sector Headquarters. New Lambton Public School is currently the only school in Australia with permission to fly the RAAF ensign.\n\nSee also\n\nRoyal Canadian Air Force Ensign\n\nReferences\n\nExternal links \n \n\nFlags of Australia\nRoyal Australian Air Force\nNational symbols of Australia\nAir Force ensigns\nSouthern Cross flags\n1982 establishments in Australia\nFlags displaying animals\nLight blue ensigns\nFlags introduced in 1982" ]
[ "Prince Harry", "Secondment to Australian Defence Force and leaving the Army", "When did Harry leave the Army?", "Harry's attachment with the ADF ended on 8 May 2015, and on 19 June 2015 his career with the Army ended.", "When was he Seconded to the Australian Defence Force?", "On 6 April 2015,", "What did he do while on duty?", "While in Perth, he trained with Special Air Service Regiment (SASR), participating in the SASR selection course, including a fitness test and a physical training session", "Did he go into any war zones during this time?", "He also spent time flying over Sydney as co-pilot of an Army Black Hawk and participated in counter-terrorism training in Sydney Harbour", "Did he train with any special forces?", "He also joined SASR members in Perth for live-fire shooting exercises with numerous Special Forces weapons at a variety of ranges and completed an insertion training exercise", "Did he do any other training with special forces?", "Training activities included remotely detonating an Improvised Explosive Device (IED) and rappelling from a building. He also spent time flying over Sydney", "Did he fly with the Air Force?", "He also spent time flying over Sydney as co-pilot of an Army Black Hawk and participated in counter-terrorism training in Sydney Harbour with Royal Australian Navy clearance divers." ]
C_f8c27b63ae6c4269a3b82b7b4b9ce6c3_1
How long did her serve with the Australian Defence Force?
8
How long did Prince Harry serve with the Australian Defence Force?
Prince Harry
On 17 March 2015, Kensington Palace announced that Prince Harry would leave the Armed Forces in June. Before then, he would spend four weeks throughout April and May at army barracks in Darwin, Perth and Sydney whilst seconded to the Australian Defence Force (ADF). After leaving the Army, while considering his future, he would return to work with the Ministry of Defence, supporting Case Officers in the Ministry of Defence's Recovery Capability Programme, working with both those who administer and receive physical and mental care within the London District area in a voluntary capacity. On 6 April 2015, Prince Harry reported for duty to Australia's Chief of the Defence Force, Air Chief Marshal Mark Binskin at the Royal Military College, Duntroon in Canberra, Australia. Harry flew to Darwin later that day to start his month-long secondment to the ADF's 1st Brigade. His visit included detachments to NORFORCE as well as to an aviation unit. While in Perth, he trained with Special Air Service Regiment (SASR), participating in the SASR selection course, including a fitness test and a physical training session with SASR selection candidates. He also joined SASR members in Perth for live-fire shooting exercises with numerous Special Forces weapons at a variety of ranges and completed an insertion training exercise using a rigid-hull inflatable boat. In Sydney, he undertook urban operations training with the 2nd Commando Regiment. Training activities included remotely detonating an Improvised Explosive Device (IED) and rappelling from a building. He also spent time flying over Sydney as co-pilot of an Army Black Hawk and participated in counter-terrorism training in Sydney Harbour with Royal Australian Navy clearance divers. Harry's attachment with the ADF ended on 8 May 2015, and on 19 June 2015 his career with the Army ended. CANNOTANSWER
Harry's attachment with the ADF ended on 8 May 2015, and on 19 June 2015 his career with the Army ended.
false
[ "The Defence Act 1903 (Cth) is an Act of the Parliament of the Commonwealth of Australia, that acquired royal assent on 22 October 1903. It was created to allow for the naval and military defence of Australia. The Act was amended and expanded overtime to formerly include conscription, the envelopment of the Naval Defence Act 1910 and the Air Force Act 1923, and today governs how the Australian Defence Force operates.\n\nBackground \nOn 1 January 1901, the federation of the Australian Colonies to form the Commonwealth of Australia was proclaimed, with the newly in force Constitution of Australia requiring that the colonial military forces be combined under the Commonwealth.\n\nAct\n\nOriginal \nThe Act, as originally made, consisted of 11 parts, 124 sections, and 3 schedules.\n\nCurrent \nAs of 2021, the Act is divided into 24 parts, 359 sections, and 1 schedule.\n\nAdministration \nPart II and Part III's Division 1 covers the administrative aspects of the defence force. The rest of part III covers the requirements of service, including reservist service, and remuneration. Part IV deals with the citizenry's liability to serve within the defence forces, while part V covers the Australian Defence Force Cadets. Part VI charges the Governor–General with special powers. Part VII to IX deal with disputes and offences committed under the act.\n\nAnalysis\n\nAmendments\n\nLegacy\n\nSee also \n\n Australian Army\n\nReferences\n\nBibliography \n\nAustralian law\nAustralian defence policies", "\nThe Defence Force Service Medal (DFSM) is an Australian Military award given for long service by permanent members of the Australian Defence Force. It is part of the suite of defence force service awards introduced in 1982, which also included the Reserve Force Decoration (RFD, for officers of the Australian Defence Force Reserves) and the Reserve Force Medal (RFM, for non-commissioned members of the Reserve forces). All three medals were replaced in 2002 with a single medal, the Defence Long Service Medal, which is now awarded to all permanent and reserve members irrespective of rank.\n\nAdditional service clasps are issued for each further 5 years after the initial 15 year qualifying service period. On the ribbon, a rosette indicates the award of each clasp, although the fifth and subsequent clasps are indicated by a small Federation Star. With the introduction of the Defence Long Service Medal, the DFSM is now a closed award with only clasps to existing awards continuing to be issued.\n\nDescription\n The DFSM is a cupro-nickel circular chamfered medal. The obverse has the Joint Service Emblem.\n The reverse is inscribed 'FOR EFFICIENT SERVICE IN THE PERMANENT FORCES' around the circumference.\n The ribbon has three equal stripes of gold and azure-blue edged with azure-blue. The colours were the national colours of Australia at the time of introduction.\n The clasp is a cupro-nickel bar with the Royal Cypher flanked by sprigs of wattle in the centre. When the ribbon is worn alone a clasp is indicated by the addition of a cupro-nickel round rosette, or a silver miniature Federation Star.\n\nOther Australian long service awards\nOther Australian long service awards include:\n Reserve Force Decoration\n Reserve Force Medal\n Defence Long Service Medal\n National Medal\n Australian Cadet Forces Service Medal\n\nAustralian Defence Medal\nWhile not awarded for \"long service\" per se, the Australian Defence Medal is sometimes classified as a \"long service medal\" - it is intended to recognise all those who completed an obligation to serve their country (whether voluntarily or conscripted).\n\nSee also\n Australian Honours Order of Precedence\n Australian Honours System\n\nReferences\n\nExternal links\n Defence Force Service Medal, itsanhonour.gov.au\n DFSM Fact Sheet, itsanhonour.gov.au\n Number awarded, itsanhonour.gov.au\n\nMilitary awards and decorations of Australia\n1982 establishments in Australia\nAwards established in 1982\nLong and Meritorious Service Medals of Britain and the Commonwealth", "The Reserve Force Medal (RFM) is an Australian Military award given for long service by non-commissioned members of the Reserve Forces. It is part of the suite of defence force service awards introduced in 1982, which also included the Defence Force Service Medal (DFSM, for all members of the permanent forces) and the Reserve Force Decoration (RFD, for officers of the Reserve forces). All three medals were replaced in 2002 with a single medal, the Defence Long Service Medal, which is now awarded to all permanent and reserve members irrespective of rank.\n\nAdditional service clasps, each indicating a further 5 years after the initial 15 year qualifying service, can still be issued to persons awarded the RFD, RFM or DFSM. The first four clasps to the medal are indicated by rosettes. These are replaced by a single silver Federation Star for the fifth clasp. Additional Federation Star emblems are added for subsequent clasps.\n\nOther Australian Long Service Awards include:\n Defence Force Service Medal\n Defence Long Service Medal (currently awarded)\n National Medal (Australia)\n Australian Cadet Forces Service Medal\n\nWhile the Australian Defence Medal is sometimes classified as a \"long service medal\", it is intended to recognise all those who completed an obligation to serve their country (whether voluntarily or conscripted), and is not awarded for \"long service\" per se.\n\nDescription\n The Reserve Force Medal is an oval cupro-nickel medal, ensigned with the Crown of Saint Edward. The obverse has the Joint Service Emblem on a rayed background.\n The reverse is inscribed 'FOR EFFICIENT SERVICE IN THE RESERVE FORCES'.\n The ribbon is azure blue with gold edges. The colours were the national colours of Australia at the time of introduction.\n The clasp is a cupro-nickel bar with the Royal Cypher flanked by sprigs of wattle in the centre. When the ribbon is worn alone a clasp is indicated by the addition of a cupro-nickel oval rosette or a silver Federation Star.\n\nSee also\n Australian Honours System\n Australian Honours Order of Precedence\n\nReferences\n\nExternal links\nADF Honours and Awards - Military site\nIt's an Honour - Australian Government site\n\nMilitary awards and decorations of Australia\n1982 establishments in Australia\nAwards established in 1982\nLong service medals\nLong and Meritorious Service Medals of Britain and the Commonwealth" ]
[ "Sam Harris", "Islam" ]
C_498d41e95a814b8e998dfd1794017dba_0
What is his view on Islam?
1
What is Sam Harris's view on Islam?
Sam Harris
Harris considers Islam to be "especially belligerent and inimical to the norms of civil discourse," relative to other world religions. He asserts that the "dogmatic commitment to using violence to defend one's faith, both from within and without" to varying degrees, is a central Islamic doctrine that is found in few other religions to the same degree, and that "this difference has consequences in the real world." In 2006, after the Jyllands-Posten Muhammad cartoons controversy, Harris wrote, "The idea that Islam is a 'peaceful religion hijacked by extremists' is a dangerous fantasy--and it is now a particularly dangerous fantasy for Muslims to indulge. It is not at all clear how we should proceed in our dialogue with the Muslim world, but deluding ourselves with euphemisms is not the answer. It now appears to be a truism in foreign policy circles that real reform in the Muslim world cannot be imposed from the outside. But it is important to recognize why this is so--it is so because the Muslim world is utterly deranged by its religious tribalism. In confronting the religious literalism and ignorance of the Muslim world, we must appreciate how terrifyingly isolated Muslims have become in intellectual terms." He states that his criticism of the religion is aimed not at Muslims as people, but at the doctrine of Islam. Harris wrote a response to controversy over his criticism of Islam, which also aired on a debate hosted by The Huffington Post on whether critics of Islam are unfairly labeled as bigots: Is it really true that the sins for which I hold Islam accountable are "committed at least to an equal extent by many other groups, especially [my] own"? ... The freedom to poke fun at Mormonism is guaranteed [not by the First Amendment but] by the fact that Mormons do not dispatch assassins to silence their critics or summon murderous hordes in response to satire. ... Can any reader of this page imagine the staging of a similar play [to The Book of Mormon] about Islam in the United States, or anywhere else, in the year 2013? ... At this moment in history, there is only one religion that systematically stifles free expression with credible threats of violence. The truth is, we have already lost our First Amendment rights with respect to Islam--and because they brand any observation of this fact a symptom of Islamophobia, Muslim apologists like Greenwald are largely to blame. Harris has criticized common usage of the term "Islamophobia". "My criticism of Islam is a criticism of beliefs and their consequences," he wrote following a controversial clash with Ben Affleck in October 2014 on the show Real Time with Bill Maher, "but my fellow liberals reflexively view it as an expression of intolerance toward people." During an email exchange with Glenn Greenwald, a critic of the New Atheists, Harris argued that "Islamophobia is a term of propaganda designed to protect Islam from the forces of secularism by conflating all criticism of it with racism and xenophobia. And it is doing its job, because people like you have been taken in by it." CANNOTANSWER
"The idea that Islam is a 'peaceful religion hijacked by extremists' is a dangerous fantasy--and it is now a particularly dangerous fantasy for Muslims to indulge.
Samuel Benjamin Harris (born April 9, 1967) is an American philosopher, neuroscientist, author, and podcast host. His work touches on a wide range of topics, including rationality, religion, ethics, free will, neuroscience, meditation, psychedelics, philosophy of mind, politics, terrorism, and artificial intelligence. Harris came to prominence for his criticism of religion, and Islam in particular, and is known as one of the "Four Horsemen" of New Atheism, along with Richard Dawkins, Christopher Hitchens, and Daniel Dennett. Harris's first book, The End of Faith (2004), won the PEN/Martha Albrand Award for First Nonfiction and remained on The New York Times Best Seller list for 33 weeks. Harris has since written six additional books: Letter to a Christian Nation in 2006, The Moral Landscape: How Science Can Determine Human Values in 2010, the long-form essay Lying in 2011, the short book Free Will in 2012, Waking Up: A Guide to Spirituality Without Religion in 2014, and (with British writer Maajid Nawaz) Islam and the Future of Tolerance: A Dialogue in 2015. Harris's work has been translated into over 20 languages. Harris has debated with many prominent figures on the topics of God or religion, including William Lane Craig, Jordan Peterson, Rick Warren, Andrew Sullivan, Reza Aslan, David Wolpe, Deepak Chopra, Ben Shapiro and Jean Houston. Since September 2013, Harris has hosted the Making Sense podcast (originally titled Waking Up), which has a large listenership. In September 2018, Harris released a meditation app, Waking Up with Sam Harris. Harris's views on free will, race, and Islam have attracted controversy. Early life and education Samuel Benjamin Harris was born in Los Angeles, California, on April 9, 1967. He is the son of actor Berkeley Harris, who appeared mainly in Western films, and TV writer and producer Susan Harris (née Spivak), who created Soap (TV series) and The Golden Girls among other series. His father, born in North Carolina, came from a Quaker background, and his mother is Jewish but not religious. He was raised by his mother following his parents' divorce when he was aged two. Harris has stated that his upbringing was entirely secular and that his parents rarely discussed religion, though he also stated that he was not raised as an atheist. While his original major was in English, Harris became interested in philosophical questions while at Stanford University after an experience with the empathogen–entactogen MDMA (colloquially known as ecstasy or XTC). The experience led him to be interested in the idea that he might be able to achieve spiritual insights without the use of drugs. Leaving Stanford in his second year, a quarter after his psychedelic experience, he visited India and Nepal, where he studied meditation with teachers of Buddhist and Hindu religions, including Dilgo Khyentse. Eleven years later, in 1997, he returned to Stanford, completing a B.A. degree in philosophy in 2000. Harris began writing his first book, The End of Faith, immediately after the September 11 attacks. He received a Ph.D. in cognitive neuroscience in 2009 from the University of California, Los Angeles, using functional magnetic resonance imaging to conduct research into the neural basis of belief, disbelief, and uncertainty. His thesis was titled The Moral Landscape: How Science Could Determine Human Values. His advisor was Mark S. Cohen. Career Writing Harris's writing focuses on philosophy, neuroscience, and criticism of religion. He came to prominence for his criticism of religion (Islam in particular) and he is described as one of the Four Horsemen of Atheism, along with Richard Dawkins, Christopher Hitchens, and Daniel Dennett. He has written for publications such as The New York Times, the Los Angeles Times, Economist, London Times, Boston Globe, and The Atlantic. Five of Harris's books have been New York Times bestsellers, and his writing has been translated into over 20 languages. The End of Faith (2004) remained on The New York Times Best Seller list for 33 weeks. Harris has a chapter giving advice in Tim Ferriss' book Tools of Titans. Debates on religion In 2007, Harris engaged in a lengthy debate with conservative commentator Andrew Sullivan on the Internet forum Beliefnet. In April 2007, Harris debated with evangelical pastor Rick Warren for Newsweek magazine. Harris also debated with Rabbi David Wolpe in 2007. In 2010, Harris joined Michael Shermer to debate with Deepak Chopra and Jean Houston on the future of God in a debate hosted by ABC News Nightline. Harris debated with Christian philosopher William Lane Craig in April 2011 on whether there can be an objective morality without God. In June and July 2018, he met with Canadian psychologist Jordan Peterson for a series of debates on religion, particularly the relationship between religious values and scientific fact in defining truth. Harris has also debated with the scholar Reza Aslan. Podcast In September 2013, Harris began releasing the Waking Up podcast (since re-titled Making Sense). Episodes vary in length but often last over two hours. Releases do not follow a regular schedule. The podcast has a large listenership. Meditation app In September 2018, Harris released a meditation course app, Waking Up with Sam Harris. The app provides daily meditations; long guided meditations; daily "Moments" (brief meditations and reminders); conversations with thought leaders in psychology, meditation, philosophy, psychedelics, and other disciplines; a selection of lessons on various topics, such as Mind & Emotion, Free Will, and Doing Good; and more. Users of the app are introduced to a number of types of meditation, such as mindfulness meditation, vipassanā-style meditation, loving-kindness meditation, and Dzogchen. In September 2020, Harris announced his commitment to donate a least 10% of Waking Up's profits to highly effective charities, thus becoming the first company to sign the Giving What We Can pledge for companies. The pledge was done retroactively, taking into account the profits since the day the app launched 2 years previously. Views Religion Harris is known as one of the most prominent critics of religion, and is a leading figure in the New Atheist movement. Harris is particularly opposed to what he refers to as dogmatic belief, and says that "Pretending to know things one doesn't know is a betrayal of science – and yet it is the lifeblood of religion." While purportedly opposed to religion in general and the belief systems of them, Harris believes that all religions are not created equal. Often invoking Jainism to contrast Islam as a whole, Harris highlights the difference in the specific doctrine and scripture as the main indicator of a religion's value, or lack thereof. In 2006, Harris described Islam as "all fringe and no center," and wrote in The End of Faith that "the doctrine of Islam [...] represents a unique danger to all of us", arguing that the War on terror is really a war against Islam. In 2014, Harris said he considers Islam to be "especially belligerent and inimical to the norms of civil discourse", as it involves what Harris considers to be "bad ideas, held for bad reasons, leading to bad behavior." In 2015 Harris and secular Islamic activist Maajid Nawaz cowrote Islam and the Future of Tolerance. In this book, Harris argues that the word Islamophobia is a "pernicious meme", a label which prevents discussion about the threat of Islam. Harris has been described in 2020 by Jonathan Matusitz, Associate Professor at the University of Central Florida, as "a champion of the counter-jihad left". Harris is critical of the Christian right in politics in the United States, blaming them for the political focus on "pseudo-problems like gay marriage." He is also critical of liberal Christianityas represented, for instance, by the theology of Paul Tillichwhich he argues claims to base its beliefs on the Bible despite actually being influenced by secular modernity. He further states that in so doing liberal Christianity provides rhetorical cover to fundamentalists. Spirituality Harris holds that there is "nothing irrational about seeking the states of mind that lie at the core of many religions. Compassion, awe, devotion, and feelings of oneness are surely among the most valuable experiences a person can have." Harris rejects the dichotomy between spirituality and rationality, favoring a middle path that preserves spirituality and science but does not involve religion. He writes that spirituality should be understood in light of scientific disciplines like neuroscience and psychology. Science, he contends, can show how to maximize human well-being, but may fail to answer certain questions about the nature of being, answers to some of which he says are discoverable directly through our experience. His conception of spirituality does not involve a belief in any god. In Waking Up: A Guide to Spirituality Without Religion (2014), Harris describes his experience with Dzogchen, a Tibetan Buddhist meditation practice, and recommends it to his readers. He writes that the purpose of spirituality (as he defines it – he concedes that the term's uses are diverse and sometimes indefensible) is to become aware that our sense of self is illusory, and says this realization brings both happiness and insight into the nature of consciousness. This process of realization, he argues, is based on experience and is not contingent on faith. Harris especially recommends the “headless” meditation technique as written about by Douglas Harding. Science and morality In The Moral Landscape, Harris argues that science answers moral problems and can aid human well-being. Free will Harris says that the idea of free will "cannot be mapped on to any conceivable reality" and is incoherent. Harris writes in Free Will that neuroscience "reveals you to be a biochemical puppet." Social and political views Harris describes himself as a liberal, and states that he supports raising taxes on the wealthy, decriminalizing drugs and legalizing same-sex marriage. In an op-ed for the Los Angeles Times, Harris said that he supported most of the criticism against Bush administration's war in Iraq, and all criticism of fiscal policy and the administration's treatment of science. Harris also said that liberalism has grown "dangerously out of touch with the realities of our world" when it comes to threats allegedly posed by Islamic fundamentalism. Harris is a registered Democrat. During the 2016 United States presidential election, Harris supported Hillary Clinton in the Democratic Party presidential primaries against Bernie Sanders, and despite calling her "a terribly flawed candidate for the presidency," he favored her in the general election and came out strongly in opposition to Donald Trump's candidacy. Harris has criticized Trump for lying, stating in 2018 that Trump "has assaulted truth more than anyone in human history." During the 2020 United States presidential election, Harris supported Andrew Yang in the Democratic primaries. Harris also introduced Yang to podcaster Joe Rogan. Artificial intelligence Harris has discussed existential risk from artificial general intelligence in depth. He has given a TED talk on the topic, arguing it will be a major threat in the future and criticizing the paucity of human interest on the subject. He argues the dangers from artificial intelligence (AI) follow from three premises: that intelligence is the result of physical information processing, that humans will continue innovation in AI, and that humans are nowhere near the maximum possible extent of intelligence. Harris states that even if superintelligent AI is five to ten decades away, the scale of its implications for human civilization warrant discussion of the issue in the present. Reception and controversies Academic and journalistic reception to Harris's works and ideas has been varied. Harris's first two books, in which he lays out his criticisms of religion, received negative reviews from Christian scholars. From secular sources, the books received a mixture of negative reviews and positive reviews. In his review of The End of Faith, American historian Alexander Saxton criticized what he called Harris's "vitriolic and selective polemic against Islam," (emphasis in original) which he said "obscure[s] the obvious reality that the invasion of Iraq and the War against Terror are driven by religious irrationalities, cultivated and conceded to, at high policy levels in the U.S., and which are at least comparable to the irrationality of Islamic crusaders and Jihadists." By contrast, Stephanie Merritt wrote of the same book that Harris's "central argument in The End of Faith is sound: religion is the only area of human knowledge in which it is still acceptable to hold beliefs dating from antiquity and a modern society should subject those beliefs to the same principles that govern scientific, medical or geographical inquiry – particularly if they are inherently hostile to those with different ideas." Harris's next two books, which discuss philosophical issues relating to ethics and free will, received several negative academic reviews. In his review of The Moral Landscape, neuroscientist Kenan Malik criticized Harris for not engaging adequately with philosophical literature: "Imagine a sociologist who wrote about evolutionary theory without discussing the work of Darwin, Fisher, Mayr, Hamilton, Trivers or Dawkins on the grounds that he did not come to his conclusions by reading about biology and because discussing concepts such as 'adaptation', 'speciation', 'homology', 'phylogenetics' or 'kin selection' would 'increase the amount of boredom in the universe'. How seriously would we, and should we, take his argument?" Philosopher Daniel Dennett argued that Harris's book Free Will successfully refuted the common understanding of free will, but that he failed to respond adequately to the compatibilist understanding of free will. Dennett said the book was valuable because it expressed the views of many eminent scientists, but that it nonetheless contained a "veritable museum of mistakes" and that "Harris and others need to do their homework if they want to engage with the best thought on the topic." On the other hand, The Moral Landscape received a largely positive review from psychologists James Diller and Andrew Nuzzolilli. Additionally, Free Will received a mixed academic review from philosopher Paul Pardi, who acknowledged that while it suffers from some conceptual confusions and that the core argument is a bit too 'breezy', it serves as a "good primer on key ideas in physicalist theories of freedom and the will". Harris's book on spirituality and meditation received mainly positive reviews as well as some mixed reviews. It was praised by Frank Bruni, for example, who described it as "so entirely of this moment, so keenly in touch with the growing number of Americans who are willing to say that they do not find the succor they crave, or a truth that makes sense to them, in organized religion." In April 2017, Harris stirred controversy by hosting the social scientist Charles Murray on his podcast, discussing topics including the heritability of IQ and race and intelligence. Harris stated the invitation was out of indignation at a violent protest against Murray at Middlebury College the month before and not out of particular interest in the material at hand. The podcast episode garnered significant criticism, most notably from Vox and Slate. Harris and Murray were defended by conservative commentators Andrew Sullivan and Kyle Smith, as well as by neuroscientist Richard Haier, who stated that the points Murray claimed were mainstream actually do receive broad scientific support. Harris and Vox editor-at-large Ezra Klein later discussed the affair in a podcast interview, where Klein criticized Harris for rebuking tribalism in the form of identity politics while failing to recognize his own version of tribalism. Hatewatch staff at the Southern Poverty Law Center (SPLC) wrote that members of the "skeptics" movement, of which Harris is "one of the most public faces," help to "channel people into the alt-right." Bari Weiss wrote in her opinion column that the SPLC had misrepresented Harris's views. Harris was profiled by Weiss in The New York Times as part of the "Intellectual Dark Web" (a term coined semi-ironically by Eric Weinstein). She described the group as "a collection of iconoclastic thinkers, academic renegades and media personalities who are having a rolling conversation – on podcasts, YouTube and Twitter, and in sold-out auditoriums – that sound unlike anything else happening, at least publicly, in the culture right now." In November 2020, Harris stated that he does not identify as a part of that group. In 2018, Robert Wright, a visiting professor of science and religion at Union Theological Seminary, published an article in Wired criticizing Harris, whom he described as "annoying" and "deluded". Wright wrote that Harris, despite claiming to be a champion of rationality, ignored his own cognitive biases and engaged in faulty and inconsistent arguments in his book The End of Faith. He wrote that "the famous proponent of New Atheism is on a crusade against tribalism but seems oblivious to his own version of it." Wright wrote that these biases are rooted in natural selection and impact everyone, but that they can be mitigated when acknowledged, whereas Harris offered no such acknowledgement. The UK Business Insider included Harris's podcast in their list of "8 podcasts that will change how you think about human behavior" in 2017, and PC Magazine included it in their list of "The Best Podcasts of 2018." In January 2020, Max Sanderson included Harris's podcast as a "Producer pick" in a "podcasts of the week" section for The Guardian. Accusations of Anti-Muslim bigotry and Islamophobia Harris has been accused of Islamophobia by journalist Glenn Greenwald and linguist and political commentator Noam Chomsky. Greenwald characterized some of Harris's statements as Islamophobic, such as: "the people who speak most sensibly about the threat that Islam poses to Europe are actually fascists," and "[t]he only future devout Muslims can envisage – as Muslims – is one in which all infidels have been converted to Islam, politically subjugated, or killed." After Harris and Chomsky exchanged a series of emails on terrorism and U.S. foreign policy in 2015, Chomsky said Harris had not prepared adequately for the exchange and that this revealed his work as unserious. Kyle Schmidlin also wrote in Salon that he considered Chomsky the winner of the exchange because Harris's arguments relied excessively on thought experiments with little application to the real world. In a 2016 interview with Al Jazeera English's UpFront, Chomsky further criticized Harris, saying he "specializes in hysterical, slanderous charges against people he doesn't like." Harris has countered that his views on this and other topics are frequently misrepresented by "unethical critics" who "deliberately" regard his words out of context. He has also criticized the validity of the term Islamophobia. "My criticism of Islam is a criticism of beliefs and their consequences, but my fellow liberals reflexively view it as an expression of intolerance toward people," he wrote following a disagreement with actor Ben Affleck in October 2014 on the show Real Time with Bill Maher. Affleck had described Harris's and host Bill Maher's views on Muslims as "gross" and "racist," and Harris's statement that "Islam is the mother lode of bad ideas" as an "ugly thing to say." Affleck also compared Harris's and Maher's rhetoric to that of people who use antisemitic canards or define African-Americans in terms of intraracial crime. Several conservative American media pundits in turn criticized Affleck and praised Harris and Maher for broaching the topic, saying that discussing it had become a "taboo." Harris's dialogue on Islam with Maajid Nawaz received a combination of positive reviews and mixed reviews. Irshad Manji wrote: "Their back-and-forth clarifies multiple confusions that plague the public conversation about Islam." Of Harris specifically, she said "[he] is right that liberals must end their silence about the religious motives behind much Islamist terror. At the same time, he ought to call out another double standard that feeds the liberal reflex to excuse Islamists: Atheists do not make nearly enough noise about hatred toward Muslims." Hamid Dabashi, a professor at Columbia University accused Sam Harris of being a "new atheist crusader" having never studied Islam thoroughly and having no special insight into any Muslim community on earth. He further accused Harris of engaging in such language to justify Western imperialism in the Muslim world. An article published in The Guardian accused Harris, along with Milo Yiannopoulos of influencing young white men into becoming racists and Anti-Muslim bigots. Harris has also been accused of merging his thoughts with far right ideologies, stating that he advocates the profiling of Muslims, "or anyone who looks like he or she could conceivably be Muslim," at airports. Harris was also accused of "advancing Neoconservative agendas" by Chris Hedges and for advocating a nuclear first strike policy on Muslims if an Islamist regime ever obtained nuclear weapons, stating in The End of Faith: Religion, Terror, and the Future of Reason that "in such a situation, the only thing likely to ensure our survival may be a nuclear first strike of our own." Recognition Harris's first book, The End of Faith (2004), won the PEN/Martha Albrand Award for First Nonfiction. The Waking Up podcast won the 2017 Webby Award for "People's Voice" in the category "Science & Education" under "Podcasts & Digital Audio". Harris was included on a list of the "100 Most Spiritually Influential Living People 2019" in the Watkins Review, a publication of Watkins Books, a London esoterica bookshop. Personal life Harris is a martial arts student and practices Brazilian jiu-jitsu. In 2004, he married Annaka Gorton, an author and editor of nonfiction and scientific books after engaging in a common interest about the nature of consciousness. They have two daughters, and live in Los Angeles. In September 2020, Harris became a member of Giving What We Can, an effective altruism organization whose members pledge to give at least 10% of their income to effective charities, both as an individual and as a company with Waking Up. Works Books Documentary Amila, D. & Shapiro, J. (2018). Islam and the Future of Tolerance. United States: The Orchard. Peer-reviewed articles Notes References External links 1967 births 21st-century American essayists 21st-century American male writers 21st-century American non-fiction writers 21st-century American philosophers 21st-century atheists Action theorists Activists from California American atheism activists American atheist writers American critics of Islam American ethicists American logicians American male essayists American male non-fiction writers American men podcasters American neuroscientists American people of Jewish descent American podcasters American practitioners of Brazilian jiu-jitsu American science writers American secularists American skeptics American social commentators American social sciences writers American spiritual writers Analytic philosophers Atheism activists Atheism in the United States Atheist philosophers California Democrats Cognitive neuroscientists Consciousness researchers and theorists Conversationalists Criticism of religion Critics of conspiracy theories Critics of creationism Critics of multiculturalism Critics of neoconservatism Critics of postmodernism Critics of religions Cultural critics Epistemologists Freethought writers Hyperreality theorists Living people Metaphysicians Metaphysics writers Moral philosophers Moral realists Ontologists Philosophers of culture Philosophers of education Philosophers of ethics and morality Philosophers of history Philosophers of logic Philosophers of love Philosophers of mind Philosophers of psychology Philosophers of religion Philosophers of science Philosophers of sexuality Philosophers of social science Philosophers of technology Philosophers of war Philosophy writers Political philosophers Psychedelic drug advocates Race and intelligence controversy Rationalists Rationality theorists Science activists Social critics Social philosophers Stanford University alumni Students of U Pandita Theorists on Western civilization University of California, Los Angeles alumni Writers about activism and social change Writers about globalization Writers about religion and science Writers from Los Angeles
false
[ "Militant Islam Reaches America is a book written by historian Daniel Pipes, published in 2002. It focuses on Islamic fundamentalism and Islamism, reflecting Pipes' view that, as he said in 1995, \"Unnoticed by most Westerners, war has been unilaterally declared on Europe and the United States.\" \n\nThe book is a collection of Pipes' essays, published in the decade that ended in 2001.\n\nIn Militant Islam Pipes contradicts the consensus view of scholars and journalists including Judith Miller, Fouad Ajami, Olivier Roy who argued in the wake of the September 11 attacks that militant Islam of the type represented by Al Qaeda had peaked and was fading into insignificance; Pipes asserted that Islamism had been on the ascendant for a full quarter-century, and was on the ascent.\n\nReferences\n\nFurther reading\n Introductory chapter Militant Islam Reaches America\n\nMilitant Islam Reaches America\nBooks about Islamic fundamentalism", "Mount Bongao (famously known as Bud Bongao) is a mountain located on Bongao Island in the province of Tawi-Tawi. It is a mountain formed with six limestone pillars that serves as its six peaks. It is the Philippines' southernmost peak. \n\nBud Bongao is inside the Bongao Peak Eco-Tourism Park that was inaugurated last July 3, 2017. It is a 250-hectare forest that is one of the last remaining moist forests in the Sulu Archipelago.\n\nThe mountain is of spiritual and traditional importance to the indigenous Sama Dilaut people. The mountain is also considered sacred where it is believed that two Islamic preachers who were direct followers of Karim ul-Makhdum, are buried under what is called Tampat Rocks, although the site was already sacred even before Islam arrived. Karim ul-Makhdum brought Islam to the Philippines in the year 1380.\n\nPhysical characteristics\nBud Bongao is composed of six limestone pillars that form six of its peaks, which serves as view points for the islands and locations they are named after. These peaks are Bongao, Pajar, Sibutu (summit), Simunul, Tambisan, and Tinondakan.\n\nBiodiversity\nMount Bongao hosts one of the last remaining moist forests in the Sulu Archipelago.\n\nMonkeys endemic to Bud Bongao include Macaca fascicularis. The red dragonfly, orange albatross, mangrove blue flycatcher, Philippine pitta are found on the mountain. Bongao and its surrounding islands—Sanga-Sanga, Simunul, Tawi-Tawi—are also home to the vulnerable Tawi-Tawi forest rat and the Philippine slow loris. The jungle flycatcher was once observed in 1973.\n\nHiking activity\nAside from being a sacred mountain, Bud Bongao is also famous for hikers. A 3,608-step cobblestone trail has been constructed from the jump-off at Barangay Pasiagan that ends at a view deck constructed on Tambisan Peak. The view deck offers a vantage point overlooking Celebes Sea and Tambisan Island in Sabah at above sea level.\n\nSee also\n Sacred mountains\n Sheik Karimol Makhdum Mosque\n Islam in the Philippines\n\nReferences\n\nExternal links\n\nMountains of the Philippines\nSacred mountains\nLandforms of Tawi-Tawi" ]
[ "Sam Harris", "Islam", "What is his view on Islam?", "\"The idea that Islam is a 'peaceful religion hijacked by extremists' is a dangerous fantasy--and it is now a particularly dangerous fantasy for Muslims to indulge." ]
C_498d41e95a814b8e998dfd1794017dba_0
Does he write about this?
2
Does Sam Harris write about his views on Islam?
Sam Harris
Harris considers Islam to be "especially belligerent and inimical to the norms of civil discourse," relative to other world religions. He asserts that the "dogmatic commitment to using violence to defend one's faith, both from within and without" to varying degrees, is a central Islamic doctrine that is found in few other religions to the same degree, and that "this difference has consequences in the real world." In 2006, after the Jyllands-Posten Muhammad cartoons controversy, Harris wrote, "The idea that Islam is a 'peaceful religion hijacked by extremists' is a dangerous fantasy--and it is now a particularly dangerous fantasy for Muslims to indulge. It is not at all clear how we should proceed in our dialogue with the Muslim world, but deluding ourselves with euphemisms is not the answer. It now appears to be a truism in foreign policy circles that real reform in the Muslim world cannot be imposed from the outside. But it is important to recognize why this is so--it is so because the Muslim world is utterly deranged by its religious tribalism. In confronting the religious literalism and ignorance of the Muslim world, we must appreciate how terrifyingly isolated Muslims have become in intellectual terms." He states that his criticism of the religion is aimed not at Muslims as people, but at the doctrine of Islam. Harris wrote a response to controversy over his criticism of Islam, which also aired on a debate hosted by The Huffington Post on whether critics of Islam are unfairly labeled as bigots: Is it really true that the sins for which I hold Islam accountable are "committed at least to an equal extent by many other groups, especially [my] own"? ... The freedom to poke fun at Mormonism is guaranteed [not by the First Amendment but] by the fact that Mormons do not dispatch assassins to silence their critics or summon murderous hordes in response to satire. ... Can any reader of this page imagine the staging of a similar play [to The Book of Mormon] about Islam in the United States, or anywhere else, in the year 2013? ... At this moment in history, there is only one religion that systematically stifles free expression with credible threats of violence. The truth is, we have already lost our First Amendment rights with respect to Islam--and because they brand any observation of this fact a symptom of Islamophobia, Muslim apologists like Greenwald are largely to blame. Harris has criticized common usage of the term "Islamophobia". "My criticism of Islam is a criticism of beliefs and their consequences," he wrote following a controversial clash with Ben Affleck in October 2014 on the show Real Time with Bill Maher, "but my fellow liberals reflexively view it as an expression of intolerance toward people." During an email exchange with Glenn Greenwald, a critic of the New Atheists, Harris argued that "Islamophobia is a term of propaganda designed to protect Islam from the forces of secularism by conflating all criticism of it with racism and xenophobia. And it is doing its job, because people like you have been taken in by it." CANNOTANSWER
Harris wrote a response to controversy over his criticism of Islam, which also aired on a debate
Samuel Benjamin Harris (born April 9, 1967) is an American philosopher, neuroscientist, author, and podcast host. His work touches on a wide range of topics, including rationality, religion, ethics, free will, neuroscience, meditation, psychedelics, philosophy of mind, politics, terrorism, and artificial intelligence. Harris came to prominence for his criticism of religion, and Islam in particular, and is known as one of the "Four Horsemen" of New Atheism, along with Richard Dawkins, Christopher Hitchens, and Daniel Dennett. Harris's first book, The End of Faith (2004), won the PEN/Martha Albrand Award for First Nonfiction and remained on The New York Times Best Seller list for 33 weeks. Harris has since written six additional books: Letter to a Christian Nation in 2006, The Moral Landscape: How Science Can Determine Human Values in 2010, the long-form essay Lying in 2011, the short book Free Will in 2012, Waking Up: A Guide to Spirituality Without Religion in 2014, and (with British writer Maajid Nawaz) Islam and the Future of Tolerance: A Dialogue in 2015. Harris's work has been translated into over 20 languages. Harris has debated with many prominent figures on the topics of God or religion, including William Lane Craig, Jordan Peterson, Rick Warren, Andrew Sullivan, Reza Aslan, David Wolpe, Deepak Chopra, Ben Shapiro and Jean Houston. Since September 2013, Harris has hosted the Making Sense podcast (originally titled Waking Up), which has a large listenership. In September 2018, Harris released a meditation app, Waking Up with Sam Harris. Harris's views on free will, race, and Islam have attracted controversy. Early life and education Samuel Benjamin Harris was born in Los Angeles, California, on April 9, 1967. He is the son of actor Berkeley Harris, who appeared mainly in Western films, and TV writer and producer Susan Harris (née Spivak), who created Soap (TV series) and The Golden Girls among other series. His father, born in North Carolina, came from a Quaker background, and his mother is Jewish but not religious. He was raised by his mother following his parents' divorce when he was aged two. Harris has stated that his upbringing was entirely secular and that his parents rarely discussed religion, though he also stated that he was not raised as an atheist. While his original major was in English, Harris became interested in philosophical questions while at Stanford University after an experience with the empathogen–entactogen MDMA (colloquially known as ecstasy or XTC). The experience led him to be interested in the idea that he might be able to achieve spiritual insights without the use of drugs. Leaving Stanford in his second year, a quarter after his psychedelic experience, he visited India and Nepal, where he studied meditation with teachers of Buddhist and Hindu religions, including Dilgo Khyentse. Eleven years later, in 1997, he returned to Stanford, completing a B.A. degree in philosophy in 2000. Harris began writing his first book, The End of Faith, immediately after the September 11 attacks. He received a Ph.D. in cognitive neuroscience in 2009 from the University of California, Los Angeles, using functional magnetic resonance imaging to conduct research into the neural basis of belief, disbelief, and uncertainty. His thesis was titled The Moral Landscape: How Science Could Determine Human Values. His advisor was Mark S. Cohen. Career Writing Harris's writing focuses on philosophy, neuroscience, and criticism of religion. He came to prominence for his criticism of religion (Islam in particular) and he is described as one of the Four Horsemen of Atheism, along with Richard Dawkins, Christopher Hitchens, and Daniel Dennett. He has written for publications such as The New York Times, the Los Angeles Times, Economist, London Times, Boston Globe, and The Atlantic. Five of Harris's books have been New York Times bestsellers, and his writing has been translated into over 20 languages. The End of Faith (2004) remained on The New York Times Best Seller list for 33 weeks. Harris has a chapter giving advice in Tim Ferriss' book Tools of Titans. Debates on religion In 2007, Harris engaged in a lengthy debate with conservative commentator Andrew Sullivan on the Internet forum Beliefnet. In April 2007, Harris debated with evangelical pastor Rick Warren for Newsweek magazine. Harris also debated with Rabbi David Wolpe in 2007. In 2010, Harris joined Michael Shermer to debate with Deepak Chopra and Jean Houston on the future of God in a debate hosted by ABC News Nightline. Harris debated with Christian philosopher William Lane Craig in April 2011 on whether there can be an objective morality without God. In June and July 2018, he met with Canadian psychologist Jordan Peterson for a series of debates on religion, particularly the relationship between religious values and scientific fact in defining truth. Harris has also debated with the scholar Reza Aslan. Podcast In September 2013, Harris began releasing the Waking Up podcast (since re-titled Making Sense). Episodes vary in length but often last over two hours. Releases do not follow a regular schedule. The podcast has a large listenership. Meditation app In September 2018, Harris released a meditation course app, Waking Up with Sam Harris. The app provides daily meditations; long guided meditations; daily "Moments" (brief meditations and reminders); conversations with thought leaders in psychology, meditation, philosophy, psychedelics, and other disciplines; a selection of lessons on various topics, such as Mind & Emotion, Free Will, and Doing Good; and more. Users of the app are introduced to a number of types of meditation, such as mindfulness meditation, vipassanā-style meditation, loving-kindness meditation, and Dzogchen. In September 2020, Harris announced his commitment to donate a least 10% of Waking Up's profits to highly effective charities, thus becoming the first company to sign the Giving What We Can pledge for companies. The pledge was done retroactively, taking into account the profits since the day the app launched 2 years previously. Views Religion Harris is known as one of the most prominent critics of religion, and is a leading figure in the New Atheist movement. Harris is particularly opposed to what he refers to as dogmatic belief, and says that "Pretending to know things one doesn't know is a betrayal of science – and yet it is the lifeblood of religion." While purportedly opposed to religion in general and the belief systems of them, Harris believes that all religions are not created equal. Often invoking Jainism to contrast Islam as a whole, Harris highlights the difference in the specific doctrine and scripture as the main indicator of a religion's value, or lack thereof. In 2006, Harris described Islam as "all fringe and no center," and wrote in The End of Faith that "the doctrine of Islam [...] represents a unique danger to all of us", arguing that the War on terror is really a war against Islam. In 2014, Harris said he considers Islam to be "especially belligerent and inimical to the norms of civil discourse", as it involves what Harris considers to be "bad ideas, held for bad reasons, leading to bad behavior." In 2015 Harris and secular Islamic activist Maajid Nawaz cowrote Islam and the Future of Tolerance. In this book, Harris argues that the word Islamophobia is a "pernicious meme", a label which prevents discussion about the threat of Islam. Harris has been described in 2020 by Jonathan Matusitz, Associate Professor at the University of Central Florida, as "a champion of the counter-jihad left". Harris is critical of the Christian right in politics in the United States, blaming them for the political focus on "pseudo-problems like gay marriage." He is also critical of liberal Christianityas represented, for instance, by the theology of Paul Tillichwhich he argues claims to base its beliefs on the Bible despite actually being influenced by secular modernity. He further states that in so doing liberal Christianity provides rhetorical cover to fundamentalists. Spirituality Harris holds that there is "nothing irrational about seeking the states of mind that lie at the core of many religions. Compassion, awe, devotion, and feelings of oneness are surely among the most valuable experiences a person can have." Harris rejects the dichotomy between spirituality and rationality, favoring a middle path that preserves spirituality and science but does not involve religion. He writes that spirituality should be understood in light of scientific disciplines like neuroscience and psychology. Science, he contends, can show how to maximize human well-being, but may fail to answer certain questions about the nature of being, answers to some of which he says are discoverable directly through our experience. His conception of spirituality does not involve a belief in any god. In Waking Up: A Guide to Spirituality Without Religion (2014), Harris describes his experience with Dzogchen, a Tibetan Buddhist meditation practice, and recommends it to his readers. He writes that the purpose of spirituality (as he defines it – he concedes that the term's uses are diverse and sometimes indefensible) is to become aware that our sense of self is illusory, and says this realization brings both happiness and insight into the nature of consciousness. This process of realization, he argues, is based on experience and is not contingent on faith. Harris especially recommends the “headless” meditation technique as written about by Douglas Harding. Science and morality In The Moral Landscape, Harris argues that science answers moral problems and can aid human well-being. Free will Harris says that the idea of free will "cannot be mapped on to any conceivable reality" and is incoherent. Harris writes in Free Will that neuroscience "reveals you to be a biochemical puppet." Social and political views Harris describes himself as a liberal, and states that he supports raising taxes on the wealthy, decriminalizing drugs and legalizing same-sex marriage. In an op-ed for the Los Angeles Times, Harris said that he supported most of the criticism against Bush administration's war in Iraq, and all criticism of fiscal policy and the administration's treatment of science. Harris also said that liberalism has grown "dangerously out of touch with the realities of our world" when it comes to threats allegedly posed by Islamic fundamentalism. Harris is a registered Democrat. During the 2016 United States presidential election, Harris supported Hillary Clinton in the Democratic Party presidential primaries against Bernie Sanders, and despite calling her "a terribly flawed candidate for the presidency," he favored her in the general election and came out strongly in opposition to Donald Trump's candidacy. Harris has criticized Trump for lying, stating in 2018 that Trump "has assaulted truth more than anyone in human history." During the 2020 United States presidential election, Harris supported Andrew Yang in the Democratic primaries. Harris also introduced Yang to podcaster Joe Rogan. Artificial intelligence Harris has discussed existential risk from artificial general intelligence in depth. He has given a TED talk on the topic, arguing it will be a major threat in the future and criticizing the paucity of human interest on the subject. He argues the dangers from artificial intelligence (AI) follow from three premises: that intelligence is the result of physical information processing, that humans will continue innovation in AI, and that humans are nowhere near the maximum possible extent of intelligence. Harris states that even if superintelligent AI is five to ten decades away, the scale of its implications for human civilization warrant discussion of the issue in the present. Reception and controversies Academic and journalistic reception to Harris's works and ideas has been varied. Harris's first two books, in which he lays out his criticisms of religion, received negative reviews from Christian scholars. From secular sources, the books received a mixture of negative reviews and positive reviews. In his review of The End of Faith, American historian Alexander Saxton criticized what he called Harris's "vitriolic and selective polemic against Islam," (emphasis in original) which he said "obscure[s] the obvious reality that the invasion of Iraq and the War against Terror are driven by religious irrationalities, cultivated and conceded to, at high policy levels in the U.S., and which are at least comparable to the irrationality of Islamic crusaders and Jihadists." By contrast, Stephanie Merritt wrote of the same book that Harris's "central argument in The End of Faith is sound: religion is the only area of human knowledge in which it is still acceptable to hold beliefs dating from antiquity and a modern society should subject those beliefs to the same principles that govern scientific, medical or geographical inquiry – particularly if they are inherently hostile to those with different ideas." Harris's next two books, which discuss philosophical issues relating to ethics and free will, received several negative academic reviews. In his review of The Moral Landscape, neuroscientist Kenan Malik criticized Harris for not engaging adequately with philosophical literature: "Imagine a sociologist who wrote about evolutionary theory without discussing the work of Darwin, Fisher, Mayr, Hamilton, Trivers or Dawkins on the grounds that he did not come to his conclusions by reading about biology and because discussing concepts such as 'adaptation', 'speciation', 'homology', 'phylogenetics' or 'kin selection' would 'increase the amount of boredom in the universe'. How seriously would we, and should we, take his argument?" Philosopher Daniel Dennett argued that Harris's book Free Will successfully refuted the common understanding of free will, but that he failed to respond adequately to the compatibilist understanding of free will. Dennett said the book was valuable because it expressed the views of many eminent scientists, but that it nonetheless contained a "veritable museum of mistakes" and that "Harris and others need to do their homework if they want to engage with the best thought on the topic." On the other hand, The Moral Landscape received a largely positive review from psychologists James Diller and Andrew Nuzzolilli. Additionally, Free Will received a mixed academic review from philosopher Paul Pardi, who acknowledged that while it suffers from some conceptual confusions and that the core argument is a bit too 'breezy', it serves as a "good primer on key ideas in physicalist theories of freedom and the will". Harris's book on spirituality and meditation received mainly positive reviews as well as some mixed reviews. It was praised by Frank Bruni, for example, who described it as "so entirely of this moment, so keenly in touch with the growing number of Americans who are willing to say that they do not find the succor they crave, or a truth that makes sense to them, in organized religion." In April 2017, Harris stirred controversy by hosting the social scientist Charles Murray on his podcast, discussing topics including the heritability of IQ and race and intelligence. Harris stated the invitation was out of indignation at a violent protest against Murray at Middlebury College the month before and not out of particular interest in the material at hand. The podcast episode garnered significant criticism, most notably from Vox and Slate. Harris and Murray were defended by conservative commentators Andrew Sullivan and Kyle Smith, as well as by neuroscientist Richard Haier, who stated that the points Murray claimed were mainstream actually do receive broad scientific support. Harris and Vox editor-at-large Ezra Klein later discussed the affair in a podcast interview, where Klein criticized Harris for rebuking tribalism in the form of identity politics while failing to recognize his own version of tribalism. Hatewatch staff at the Southern Poverty Law Center (SPLC) wrote that members of the "skeptics" movement, of which Harris is "one of the most public faces," help to "channel people into the alt-right." Bari Weiss wrote in her opinion column that the SPLC had misrepresented Harris's views. Harris was profiled by Weiss in The New York Times as part of the "Intellectual Dark Web" (a term coined semi-ironically by Eric Weinstein). She described the group as "a collection of iconoclastic thinkers, academic renegades and media personalities who are having a rolling conversation – on podcasts, YouTube and Twitter, and in sold-out auditoriums – that sound unlike anything else happening, at least publicly, in the culture right now." In November 2020, Harris stated that he does not identify as a part of that group. In 2018, Robert Wright, a visiting professor of science and religion at Union Theological Seminary, published an article in Wired criticizing Harris, whom he described as "annoying" and "deluded". Wright wrote that Harris, despite claiming to be a champion of rationality, ignored his own cognitive biases and engaged in faulty and inconsistent arguments in his book The End of Faith. He wrote that "the famous proponent of New Atheism is on a crusade against tribalism but seems oblivious to his own version of it." Wright wrote that these biases are rooted in natural selection and impact everyone, but that they can be mitigated when acknowledged, whereas Harris offered no such acknowledgement. The UK Business Insider included Harris's podcast in their list of "8 podcasts that will change how you think about human behavior" in 2017, and PC Magazine included it in their list of "The Best Podcasts of 2018." In January 2020, Max Sanderson included Harris's podcast as a "Producer pick" in a "podcasts of the week" section for The Guardian. Accusations of Anti-Muslim bigotry and Islamophobia Harris has been accused of Islamophobia by journalist Glenn Greenwald and linguist and political commentator Noam Chomsky. Greenwald characterized some of Harris's statements as Islamophobic, such as: "the people who speak most sensibly about the threat that Islam poses to Europe are actually fascists," and "[t]he only future devout Muslims can envisage – as Muslims – is one in which all infidels have been converted to Islam, politically subjugated, or killed." After Harris and Chomsky exchanged a series of emails on terrorism and U.S. foreign policy in 2015, Chomsky said Harris had not prepared adequately for the exchange and that this revealed his work as unserious. Kyle Schmidlin also wrote in Salon that he considered Chomsky the winner of the exchange because Harris's arguments relied excessively on thought experiments with little application to the real world. In a 2016 interview with Al Jazeera English's UpFront, Chomsky further criticized Harris, saying he "specializes in hysterical, slanderous charges against people he doesn't like." Harris has countered that his views on this and other topics are frequently misrepresented by "unethical critics" who "deliberately" regard his words out of context. He has also criticized the validity of the term Islamophobia. "My criticism of Islam is a criticism of beliefs and their consequences, but my fellow liberals reflexively view it as an expression of intolerance toward people," he wrote following a disagreement with actor Ben Affleck in October 2014 on the show Real Time with Bill Maher. Affleck had described Harris's and host Bill Maher's views on Muslims as "gross" and "racist," and Harris's statement that "Islam is the mother lode of bad ideas" as an "ugly thing to say." Affleck also compared Harris's and Maher's rhetoric to that of people who use antisemitic canards or define African-Americans in terms of intraracial crime. Several conservative American media pundits in turn criticized Affleck and praised Harris and Maher for broaching the topic, saying that discussing it had become a "taboo." Harris's dialogue on Islam with Maajid Nawaz received a combination of positive reviews and mixed reviews. Irshad Manji wrote: "Their back-and-forth clarifies multiple confusions that plague the public conversation about Islam." Of Harris specifically, she said "[he] is right that liberals must end their silence about the religious motives behind much Islamist terror. At the same time, he ought to call out another double standard that feeds the liberal reflex to excuse Islamists: Atheists do not make nearly enough noise about hatred toward Muslims." Hamid Dabashi, a professor at Columbia University accused Sam Harris of being a "new atheist crusader" having never studied Islam thoroughly and having no special insight into any Muslim community on earth. He further accused Harris of engaging in such language to justify Western imperialism in the Muslim world. An article published in The Guardian accused Harris, along with Milo Yiannopoulos of influencing young white men into becoming racists and Anti-Muslim bigots. Harris has also been accused of merging his thoughts with far right ideologies, stating that he advocates the profiling of Muslims, "or anyone who looks like he or she could conceivably be Muslim," at airports. Harris was also accused of "advancing Neoconservative agendas" by Chris Hedges and for advocating a nuclear first strike policy on Muslims if an Islamist regime ever obtained nuclear weapons, stating in The End of Faith: Religion, Terror, and the Future of Reason that "in such a situation, the only thing likely to ensure our survival may be a nuclear first strike of our own." Recognition Harris's first book, The End of Faith (2004), won the PEN/Martha Albrand Award for First Nonfiction. The Waking Up podcast won the 2017 Webby Award for "People's Voice" in the category "Science & Education" under "Podcasts & Digital Audio". Harris was included on a list of the "100 Most Spiritually Influential Living People 2019" in the Watkins Review, a publication of Watkins Books, a London esoterica bookshop. Personal life Harris is a martial arts student and practices Brazilian jiu-jitsu. In 2004, he married Annaka Gorton, an author and editor of nonfiction and scientific books after engaging in a common interest about the nature of consciousness. They have two daughters, and live in Los Angeles. In September 2020, Harris became a member of Giving What We Can, an effective altruism organization whose members pledge to give at least 10% of their income to effective charities, both as an individual and as a company with Waking Up. Works Books Documentary Amila, D. & Shapiro, J. (2018). Islam and the Future of Tolerance. United States: The Orchard. Peer-reviewed articles Notes References External links 1967 births 21st-century American essayists 21st-century American male writers 21st-century American non-fiction writers 21st-century American philosophers 21st-century atheists Action theorists Activists from California American atheism activists American atheist writers American critics of Islam American ethicists American logicians American male essayists American male non-fiction writers American men podcasters American neuroscientists American people of Jewish descent American podcasters American practitioners of Brazilian jiu-jitsu American science writers American secularists American skeptics American social commentators American social sciences writers American spiritual writers Analytic philosophers Atheism activists Atheism in the United States Atheist philosophers California Democrats Cognitive neuroscientists Consciousness researchers and theorists Conversationalists Criticism of religion Critics of conspiracy theories Critics of creationism Critics of multiculturalism Critics of neoconservatism Critics of postmodernism Critics of religions Cultural critics Epistemologists Freethought writers Hyperreality theorists Living people Metaphysicians Metaphysics writers Moral philosophers Moral realists Ontologists Philosophers of culture Philosophers of education Philosophers of ethics and morality Philosophers of history Philosophers of logic Philosophers of love Philosophers of mind Philosophers of psychology Philosophers of religion Philosophers of science Philosophers of sexuality Philosophers of social science Philosophers of technology Philosophers of war Philosophy writers Political philosophers Psychedelic drug advocates Race and intelligence controversy Rationalists Rationality theorists Science activists Social critics Social philosophers Stanford University alumni Students of U Pandita Theorists on Western civilization University of California, Los Angeles alumni Writers about activism and social change Writers about globalization Writers about religion and science Writers from Los Angeles
false
[ "Write combining (WC) is a computer bus technique for allowing data to be combined and temporarily stored in a buffer the write combine buffer (WCB) to be released together later in burst mode instead of writing (immediately) as single bits or small chunks.\n\nTechnique\nWrite combining cannot be used for general memory access (data or code regions) due to the weak ordering. Write-combining does not guarantee that the combination of writes and reads is done in the expected order. For example, a write/read/write combination to a specific address would lead to the write combining order of read/write/write which can lead to obtaining wrong values with the first read (which potentially relies on the write before).\n\nIn order to avoid the problem of read/write order described above, the write buffer can be treated as a fully associative cache and added into the memory hierarchy of the device in which it is implemented.\nAdding complexity slows down the memory hierarchy so this technique is often only used for memory which does not need strong ordering (always correct) like the frame buffers of video cards.\n\nSee also\nFramebuffer (FB), and when linear: LFB\nMemory type range registers (MTRR) – the older x86 cache control mechanism\nPage attribute table (PAT) – x86 page table extension that allows fine-grained cache control, including write combining\nPage table\nUncacheable speculative write combining (USWC)\nVideo Graphics Array (VGA), and Banked (BVGA) Frame Buffer\n\nReferences\n\nExternal links\n6x86opt, ctppro, CTU, DirectNT, FastVid, fstorion, K6Speed, MTRRLFBE, S3 Speed Up & Write Allocate Monitor enable LFB and BVGA Write Combining on Intel Pentium Pro/2/3/4 and AMD K6 CPUs in Windows 9x, Windows NTx, DOS, OS/2 and Linux\nMTRRLFBE enable LFB and BVGA Write Combining on Intel Pentium Pro/2/3/4 CPUs in Windows 9x and DOS\nCTU (Internet Archive cached copy) enable LFB and Banked VGA Write Combining on AMD K6 CPUs in Windows 9x and DOS\n\nComputer buses\nComputer memory", "A posted write is a computer bus write transaction that does not wait for a write completion response to indicate success or failure of the write transaction. For a posted write, the CPU assumes that the write cycle will complete with zero wait states, and so doesn't wait for the done. This speeds up writes considerably. For starters, it doesn't have to wait for the done response, but it also allows for better pipelining of the datapath without much performance penalty.\n\nA non-posted write requires that a bus transaction responds with a write completion response to indicate success or failure of the transaction, and is naturally much slower than a posted write since it requires a round trip delay similar to read bus transactions.\n\nIn reference to memory bus accesses, a posted write is referred to as a posted memory write (PMW).\n\nSee also\n CPU cache\n Computer memory\n\nReferences\n\n PCI System Architecture, Don Anderson, Tom Shanley, MindShare, Inc - 1999\n\nExternal links \n \n Computer hardware buses and slots pinouts with brief descriptions\n\nComputer buses\nDigital electronics\nMotherboard" ]
[ "Sam Harris", "Islam", "What is his view on Islam?", "\"The idea that Islam is a 'peaceful religion hijacked by extremists' is a dangerous fantasy--and it is now a particularly dangerous fantasy for Muslims to indulge.", "Does he write about this?", "Harris wrote a response to controversy over his criticism of Islam, which also aired on a debate" ]
C_498d41e95a814b8e998dfd1794017dba_0
Where did the debate happen?
3
Where did Sam Harris's debate on the criticism of Islam happen?
Sam Harris
Harris considers Islam to be "especially belligerent and inimical to the norms of civil discourse," relative to other world religions. He asserts that the "dogmatic commitment to using violence to defend one's faith, both from within and without" to varying degrees, is a central Islamic doctrine that is found in few other religions to the same degree, and that "this difference has consequences in the real world." In 2006, after the Jyllands-Posten Muhammad cartoons controversy, Harris wrote, "The idea that Islam is a 'peaceful religion hijacked by extremists' is a dangerous fantasy--and it is now a particularly dangerous fantasy for Muslims to indulge. It is not at all clear how we should proceed in our dialogue with the Muslim world, but deluding ourselves with euphemisms is not the answer. It now appears to be a truism in foreign policy circles that real reform in the Muslim world cannot be imposed from the outside. But it is important to recognize why this is so--it is so because the Muslim world is utterly deranged by its religious tribalism. In confronting the religious literalism and ignorance of the Muslim world, we must appreciate how terrifyingly isolated Muslims have become in intellectual terms." He states that his criticism of the religion is aimed not at Muslims as people, but at the doctrine of Islam. Harris wrote a response to controversy over his criticism of Islam, which also aired on a debate hosted by The Huffington Post on whether critics of Islam are unfairly labeled as bigots: Is it really true that the sins for which I hold Islam accountable are "committed at least to an equal extent by many other groups, especially [my] own"? ... The freedom to poke fun at Mormonism is guaranteed [not by the First Amendment but] by the fact that Mormons do not dispatch assassins to silence their critics or summon murderous hordes in response to satire. ... Can any reader of this page imagine the staging of a similar play [to The Book of Mormon] about Islam in the United States, or anywhere else, in the year 2013? ... At this moment in history, there is only one religion that systematically stifles free expression with credible threats of violence. The truth is, we have already lost our First Amendment rights with respect to Islam--and because they brand any observation of this fact a symptom of Islamophobia, Muslim apologists like Greenwald are largely to blame. Harris has criticized common usage of the term "Islamophobia". "My criticism of Islam is a criticism of beliefs and their consequences," he wrote following a controversial clash with Ben Affleck in October 2014 on the show Real Time with Bill Maher, "but my fellow liberals reflexively view it as an expression of intolerance toward people." During an email exchange with Glenn Greenwald, a critic of the New Atheists, Harris argued that "Islamophobia is a term of propaganda designed to protect Islam from the forces of secularism by conflating all criticism of it with racism and xenophobia. And it is doing its job, because people like you have been taken in by it." CANNOTANSWER
on a debate hosted by The Huffington Post
Samuel Benjamin Harris (born April 9, 1967) is an American philosopher, neuroscientist, author, and podcast host. His work touches on a wide range of topics, including rationality, religion, ethics, free will, neuroscience, meditation, psychedelics, philosophy of mind, politics, terrorism, and artificial intelligence. Harris came to prominence for his criticism of religion, and Islam in particular, and is known as one of the "Four Horsemen" of New Atheism, along with Richard Dawkins, Christopher Hitchens, and Daniel Dennett. Harris's first book, The End of Faith (2004), won the PEN/Martha Albrand Award for First Nonfiction and remained on The New York Times Best Seller list for 33 weeks. Harris has since written six additional books: Letter to a Christian Nation in 2006, The Moral Landscape: How Science Can Determine Human Values in 2010, the long-form essay Lying in 2011, the short book Free Will in 2012, Waking Up: A Guide to Spirituality Without Religion in 2014, and (with British writer Maajid Nawaz) Islam and the Future of Tolerance: A Dialogue in 2015. Harris's work has been translated into over 20 languages. Harris has debated with many prominent figures on the topics of God or religion, including William Lane Craig, Jordan Peterson, Rick Warren, Andrew Sullivan, Reza Aslan, David Wolpe, Deepak Chopra, Ben Shapiro and Jean Houston. Since September 2013, Harris has hosted the Making Sense podcast (originally titled Waking Up), which has a large listenership. In September 2018, Harris released a meditation app, Waking Up with Sam Harris. Harris's views on free will, race, and Islam have attracted controversy. Early life and education Samuel Benjamin Harris was born in Los Angeles, California, on April 9, 1967. He is the son of actor Berkeley Harris, who appeared mainly in Western films, and TV writer and producer Susan Harris (née Spivak), who created Soap (TV series) and The Golden Girls among other series. His father, born in North Carolina, came from a Quaker background, and his mother is Jewish but not religious. He was raised by his mother following his parents' divorce when he was aged two. Harris has stated that his upbringing was entirely secular and that his parents rarely discussed religion, though he also stated that he was not raised as an atheist. While his original major was in English, Harris became interested in philosophical questions while at Stanford University after an experience with the empathogen–entactogen MDMA (colloquially known as ecstasy or XTC). The experience led him to be interested in the idea that he might be able to achieve spiritual insights without the use of drugs. Leaving Stanford in his second year, a quarter after his psychedelic experience, he visited India and Nepal, where he studied meditation with teachers of Buddhist and Hindu religions, including Dilgo Khyentse. Eleven years later, in 1997, he returned to Stanford, completing a B.A. degree in philosophy in 2000. Harris began writing his first book, The End of Faith, immediately after the September 11 attacks. He received a Ph.D. in cognitive neuroscience in 2009 from the University of California, Los Angeles, using functional magnetic resonance imaging to conduct research into the neural basis of belief, disbelief, and uncertainty. His thesis was titled The Moral Landscape: How Science Could Determine Human Values. His advisor was Mark S. Cohen. Career Writing Harris's writing focuses on philosophy, neuroscience, and criticism of religion. He came to prominence for his criticism of religion (Islam in particular) and he is described as one of the Four Horsemen of Atheism, along with Richard Dawkins, Christopher Hitchens, and Daniel Dennett. He has written for publications such as The New York Times, the Los Angeles Times, Economist, London Times, Boston Globe, and The Atlantic. Five of Harris's books have been New York Times bestsellers, and his writing has been translated into over 20 languages. The End of Faith (2004) remained on The New York Times Best Seller list for 33 weeks. Harris has a chapter giving advice in Tim Ferriss' book Tools of Titans. Debates on religion In 2007, Harris engaged in a lengthy debate with conservative commentator Andrew Sullivan on the Internet forum Beliefnet. In April 2007, Harris debated with evangelical pastor Rick Warren for Newsweek magazine. Harris also debated with Rabbi David Wolpe in 2007. In 2010, Harris joined Michael Shermer to debate with Deepak Chopra and Jean Houston on the future of God in a debate hosted by ABC News Nightline. Harris debated with Christian philosopher William Lane Craig in April 2011 on whether there can be an objective morality without God. In June and July 2018, he met with Canadian psychologist Jordan Peterson for a series of debates on religion, particularly the relationship between religious values and scientific fact in defining truth. Harris has also debated with the scholar Reza Aslan. Podcast In September 2013, Harris began releasing the Waking Up podcast (since re-titled Making Sense). Episodes vary in length but often last over two hours. Releases do not follow a regular schedule. The podcast has a large listenership. Meditation app In September 2018, Harris released a meditation course app, Waking Up with Sam Harris. The app provides daily meditations; long guided meditations; daily "Moments" (brief meditations and reminders); conversations with thought leaders in psychology, meditation, philosophy, psychedelics, and other disciplines; a selection of lessons on various topics, such as Mind & Emotion, Free Will, and Doing Good; and more. Users of the app are introduced to a number of types of meditation, such as mindfulness meditation, vipassanā-style meditation, loving-kindness meditation, and Dzogchen. In September 2020, Harris announced his commitment to donate a least 10% of Waking Up's profits to highly effective charities, thus becoming the first company to sign the Giving What We Can pledge for companies. The pledge was done retroactively, taking into account the profits since the day the app launched 2 years previously. Views Religion Harris is known as one of the most prominent critics of religion, and is a leading figure in the New Atheist movement. Harris is particularly opposed to what he refers to as dogmatic belief, and says that "Pretending to know things one doesn't know is a betrayal of science – and yet it is the lifeblood of religion." While purportedly opposed to religion in general and the belief systems of them, Harris believes that all religions are not created equal. Often invoking Jainism to contrast Islam as a whole, Harris highlights the difference in the specific doctrine and scripture as the main indicator of a religion's value, or lack thereof. In 2006, Harris described Islam as "all fringe and no center," and wrote in The End of Faith that "the doctrine of Islam [...] represents a unique danger to all of us", arguing that the War on terror is really a war against Islam. In 2014, Harris said he considers Islam to be "especially belligerent and inimical to the norms of civil discourse", as it involves what Harris considers to be "bad ideas, held for bad reasons, leading to bad behavior." In 2015 Harris and secular Islamic activist Maajid Nawaz cowrote Islam and the Future of Tolerance. In this book, Harris argues that the word Islamophobia is a "pernicious meme", a label which prevents discussion about the threat of Islam. Harris has been described in 2020 by Jonathan Matusitz, Associate Professor at the University of Central Florida, as "a champion of the counter-jihad left". Harris is critical of the Christian right in politics in the United States, blaming them for the political focus on "pseudo-problems like gay marriage." He is also critical of liberal Christianityas represented, for instance, by the theology of Paul Tillichwhich he argues claims to base its beliefs on the Bible despite actually being influenced by secular modernity. He further states that in so doing liberal Christianity provides rhetorical cover to fundamentalists. Spirituality Harris holds that there is "nothing irrational about seeking the states of mind that lie at the core of many religions. Compassion, awe, devotion, and feelings of oneness are surely among the most valuable experiences a person can have." Harris rejects the dichotomy between spirituality and rationality, favoring a middle path that preserves spirituality and science but does not involve religion. He writes that spirituality should be understood in light of scientific disciplines like neuroscience and psychology. Science, he contends, can show how to maximize human well-being, but may fail to answer certain questions about the nature of being, answers to some of which he says are discoverable directly through our experience. His conception of spirituality does not involve a belief in any god. In Waking Up: A Guide to Spirituality Without Religion (2014), Harris describes his experience with Dzogchen, a Tibetan Buddhist meditation practice, and recommends it to his readers. He writes that the purpose of spirituality (as he defines it – he concedes that the term's uses are diverse and sometimes indefensible) is to become aware that our sense of self is illusory, and says this realization brings both happiness and insight into the nature of consciousness. This process of realization, he argues, is based on experience and is not contingent on faith. Harris especially recommends the “headless” meditation technique as written about by Douglas Harding. Science and morality In The Moral Landscape, Harris argues that science answers moral problems and can aid human well-being. Free will Harris says that the idea of free will "cannot be mapped on to any conceivable reality" and is incoherent. Harris writes in Free Will that neuroscience "reveals you to be a biochemical puppet." Social and political views Harris describes himself as a liberal, and states that he supports raising taxes on the wealthy, decriminalizing drugs and legalizing same-sex marriage. In an op-ed for the Los Angeles Times, Harris said that he supported most of the criticism against Bush administration's war in Iraq, and all criticism of fiscal policy and the administration's treatment of science. Harris also said that liberalism has grown "dangerously out of touch with the realities of our world" when it comes to threats allegedly posed by Islamic fundamentalism. Harris is a registered Democrat. During the 2016 United States presidential election, Harris supported Hillary Clinton in the Democratic Party presidential primaries against Bernie Sanders, and despite calling her "a terribly flawed candidate for the presidency," he favored her in the general election and came out strongly in opposition to Donald Trump's candidacy. Harris has criticized Trump for lying, stating in 2018 that Trump "has assaulted truth more than anyone in human history." During the 2020 United States presidential election, Harris supported Andrew Yang in the Democratic primaries. Harris also introduced Yang to podcaster Joe Rogan. Artificial intelligence Harris has discussed existential risk from artificial general intelligence in depth. He has given a TED talk on the topic, arguing it will be a major threat in the future and criticizing the paucity of human interest on the subject. He argues the dangers from artificial intelligence (AI) follow from three premises: that intelligence is the result of physical information processing, that humans will continue innovation in AI, and that humans are nowhere near the maximum possible extent of intelligence. Harris states that even if superintelligent AI is five to ten decades away, the scale of its implications for human civilization warrant discussion of the issue in the present. Reception and controversies Academic and journalistic reception to Harris's works and ideas has been varied. Harris's first two books, in which he lays out his criticisms of religion, received negative reviews from Christian scholars. From secular sources, the books received a mixture of negative reviews and positive reviews. In his review of The End of Faith, American historian Alexander Saxton criticized what he called Harris's "vitriolic and selective polemic against Islam," (emphasis in original) which he said "obscure[s] the obvious reality that the invasion of Iraq and the War against Terror are driven by religious irrationalities, cultivated and conceded to, at high policy levels in the U.S., and which are at least comparable to the irrationality of Islamic crusaders and Jihadists." By contrast, Stephanie Merritt wrote of the same book that Harris's "central argument in The End of Faith is sound: religion is the only area of human knowledge in which it is still acceptable to hold beliefs dating from antiquity and a modern society should subject those beliefs to the same principles that govern scientific, medical or geographical inquiry – particularly if they are inherently hostile to those with different ideas." Harris's next two books, which discuss philosophical issues relating to ethics and free will, received several negative academic reviews. In his review of The Moral Landscape, neuroscientist Kenan Malik criticized Harris for not engaging adequately with philosophical literature: "Imagine a sociologist who wrote about evolutionary theory without discussing the work of Darwin, Fisher, Mayr, Hamilton, Trivers or Dawkins on the grounds that he did not come to his conclusions by reading about biology and because discussing concepts such as 'adaptation', 'speciation', 'homology', 'phylogenetics' or 'kin selection' would 'increase the amount of boredom in the universe'. How seriously would we, and should we, take his argument?" Philosopher Daniel Dennett argued that Harris's book Free Will successfully refuted the common understanding of free will, but that he failed to respond adequately to the compatibilist understanding of free will. Dennett said the book was valuable because it expressed the views of many eminent scientists, but that it nonetheless contained a "veritable museum of mistakes" and that "Harris and others need to do their homework if they want to engage with the best thought on the topic." On the other hand, The Moral Landscape received a largely positive review from psychologists James Diller and Andrew Nuzzolilli. Additionally, Free Will received a mixed academic review from philosopher Paul Pardi, who acknowledged that while it suffers from some conceptual confusions and that the core argument is a bit too 'breezy', it serves as a "good primer on key ideas in physicalist theories of freedom and the will". Harris's book on spirituality and meditation received mainly positive reviews as well as some mixed reviews. It was praised by Frank Bruni, for example, who described it as "so entirely of this moment, so keenly in touch with the growing number of Americans who are willing to say that they do not find the succor they crave, or a truth that makes sense to them, in organized religion." In April 2017, Harris stirred controversy by hosting the social scientist Charles Murray on his podcast, discussing topics including the heritability of IQ and race and intelligence. Harris stated the invitation was out of indignation at a violent protest against Murray at Middlebury College the month before and not out of particular interest in the material at hand. The podcast episode garnered significant criticism, most notably from Vox and Slate. Harris and Murray were defended by conservative commentators Andrew Sullivan and Kyle Smith, as well as by neuroscientist Richard Haier, who stated that the points Murray claimed were mainstream actually do receive broad scientific support. Harris and Vox editor-at-large Ezra Klein later discussed the affair in a podcast interview, where Klein criticized Harris for rebuking tribalism in the form of identity politics while failing to recognize his own version of tribalism. Hatewatch staff at the Southern Poverty Law Center (SPLC) wrote that members of the "skeptics" movement, of which Harris is "one of the most public faces," help to "channel people into the alt-right." Bari Weiss wrote in her opinion column that the SPLC had misrepresented Harris's views. Harris was profiled by Weiss in The New York Times as part of the "Intellectual Dark Web" (a term coined semi-ironically by Eric Weinstein). She described the group as "a collection of iconoclastic thinkers, academic renegades and media personalities who are having a rolling conversation – on podcasts, YouTube and Twitter, and in sold-out auditoriums – that sound unlike anything else happening, at least publicly, in the culture right now." In November 2020, Harris stated that he does not identify as a part of that group. In 2018, Robert Wright, a visiting professor of science and religion at Union Theological Seminary, published an article in Wired criticizing Harris, whom he described as "annoying" and "deluded". Wright wrote that Harris, despite claiming to be a champion of rationality, ignored his own cognitive biases and engaged in faulty and inconsistent arguments in his book The End of Faith. He wrote that "the famous proponent of New Atheism is on a crusade against tribalism but seems oblivious to his own version of it." Wright wrote that these biases are rooted in natural selection and impact everyone, but that they can be mitigated when acknowledged, whereas Harris offered no such acknowledgement. The UK Business Insider included Harris's podcast in their list of "8 podcasts that will change how you think about human behavior" in 2017, and PC Magazine included it in their list of "The Best Podcasts of 2018." In January 2020, Max Sanderson included Harris's podcast as a "Producer pick" in a "podcasts of the week" section for The Guardian. Accusations of Anti-Muslim bigotry and Islamophobia Harris has been accused of Islamophobia by journalist Glenn Greenwald and linguist and political commentator Noam Chomsky. Greenwald characterized some of Harris's statements as Islamophobic, such as: "the people who speak most sensibly about the threat that Islam poses to Europe are actually fascists," and "[t]he only future devout Muslims can envisage – as Muslims – is one in which all infidels have been converted to Islam, politically subjugated, or killed." After Harris and Chomsky exchanged a series of emails on terrorism and U.S. foreign policy in 2015, Chomsky said Harris had not prepared adequately for the exchange and that this revealed his work as unserious. Kyle Schmidlin also wrote in Salon that he considered Chomsky the winner of the exchange because Harris's arguments relied excessively on thought experiments with little application to the real world. In a 2016 interview with Al Jazeera English's UpFront, Chomsky further criticized Harris, saying he "specializes in hysterical, slanderous charges against people he doesn't like." Harris has countered that his views on this and other topics are frequently misrepresented by "unethical critics" who "deliberately" regard his words out of context. He has also criticized the validity of the term Islamophobia. "My criticism of Islam is a criticism of beliefs and their consequences, but my fellow liberals reflexively view it as an expression of intolerance toward people," he wrote following a disagreement with actor Ben Affleck in October 2014 on the show Real Time with Bill Maher. Affleck had described Harris's and host Bill Maher's views on Muslims as "gross" and "racist," and Harris's statement that "Islam is the mother lode of bad ideas" as an "ugly thing to say." Affleck also compared Harris's and Maher's rhetoric to that of people who use antisemitic canards or define African-Americans in terms of intraracial crime. Several conservative American media pundits in turn criticized Affleck and praised Harris and Maher for broaching the topic, saying that discussing it had become a "taboo." Harris's dialogue on Islam with Maajid Nawaz received a combination of positive reviews and mixed reviews. Irshad Manji wrote: "Their back-and-forth clarifies multiple confusions that plague the public conversation about Islam." Of Harris specifically, she said "[he] is right that liberals must end their silence about the religious motives behind much Islamist terror. At the same time, he ought to call out another double standard that feeds the liberal reflex to excuse Islamists: Atheists do not make nearly enough noise about hatred toward Muslims." Hamid Dabashi, a professor at Columbia University accused Sam Harris of being a "new atheist crusader" having never studied Islam thoroughly and having no special insight into any Muslim community on earth. He further accused Harris of engaging in such language to justify Western imperialism in the Muslim world. An article published in The Guardian accused Harris, along with Milo Yiannopoulos of influencing young white men into becoming racists and Anti-Muslim bigots. Harris has also been accused of merging his thoughts with far right ideologies, stating that he advocates the profiling of Muslims, "or anyone who looks like he or she could conceivably be Muslim," at airports. Harris was also accused of "advancing Neoconservative agendas" by Chris Hedges and for advocating a nuclear first strike policy on Muslims if an Islamist regime ever obtained nuclear weapons, stating in The End of Faith: Religion, Terror, and the Future of Reason that "in such a situation, the only thing likely to ensure our survival may be a nuclear first strike of our own." Recognition Harris's first book, The End of Faith (2004), won the PEN/Martha Albrand Award for First Nonfiction. The Waking Up podcast won the 2017 Webby Award for "People's Voice" in the category "Science & Education" under "Podcasts & Digital Audio". Harris was included on a list of the "100 Most Spiritually Influential Living People 2019" in the Watkins Review, a publication of Watkins Books, a London esoterica bookshop. Personal life Harris is a martial arts student and practices Brazilian jiu-jitsu. In 2004, he married Annaka Gorton, an author and editor of nonfiction and scientific books after engaging in a common interest about the nature of consciousness. They have two daughters, and live in Los Angeles. In September 2020, Harris became a member of Giving What We Can, an effective altruism organization whose members pledge to give at least 10% of their income to effective charities, both as an individual and as a company with Waking Up. Works Books Documentary Amila, D. & Shapiro, J. (2018). Islam and the Future of Tolerance. United States: The Orchard. Peer-reviewed articles Notes References External links 1967 births 21st-century American essayists 21st-century American male writers 21st-century American non-fiction writers 21st-century American philosophers 21st-century atheists Action theorists Activists from California American atheism activists American atheist writers American critics of Islam American ethicists American logicians American male essayists American male non-fiction writers American men podcasters American neuroscientists American people of Jewish descent American podcasters American practitioners of Brazilian jiu-jitsu American science writers American secularists American skeptics American social commentators American social sciences writers American spiritual writers Analytic philosophers Atheism activists Atheism in the United States Atheist philosophers California Democrats Cognitive neuroscientists Consciousness researchers and theorists Conversationalists Criticism of religion Critics of conspiracy theories Critics of creationism Critics of multiculturalism Critics of neoconservatism Critics of postmodernism Critics of religions Cultural critics Epistemologists Freethought writers Hyperreality theorists Living people Metaphysicians Metaphysics writers Moral philosophers Moral realists Ontologists Philosophers of culture Philosophers of education Philosophers of ethics and morality Philosophers of history Philosophers of logic Philosophers of love Philosophers of mind Philosophers of psychology Philosophers of religion Philosophers of science Philosophers of sexuality Philosophers of social science Philosophers of technology Philosophers of war Philosophy writers Political philosophers Psychedelic drug advocates Race and intelligence controversy Rationalists Rationality theorists Science activists Social critics Social philosophers Stanford University alumni Students of U Pandita Theorists on Western civilization University of California, Los Angeles alumni Writers about activism and social change Writers about globalization Writers about religion and science Writers from Los Angeles
false
[ "Greg Craven is an American high school science teacher and climate change author. The creator of a 2007 viral video on YouTube, he is the author of the 2009 book What's the Worst That Could Happen?: A Rational Response to the Climate Change Debate.\n\nEarly life and education \nCraven grew up in Silverton, Oregon. He earned a bachelor's degree from the University of Puget Sound in Tacoma, Washington, studying Asian studies and computer science.\n\nCareer \nAfter graduating from college, Craven worked as a software engineer, traveled in Asia, and took graduate science courses at the University of Washington in Seattle.\n\nIn 2007, when he was a science teacher at Central High School in Independence, Oregon, Craven posted the nine and one-half minute The Most Terrifying Video You'll Ever See on YouTube. The video presented a simplified version of risk management using a 2x2 grid to sketch out possible scenarios based on: a) whether we choose to take action or not, and b) whether global warming turns out to be a threat or not. Using the grid, Craven concluded that taking action to combat climate change was the better choice, given the relative risks.\n\nIn the first six months online it garnered four million hits, and prompted Craven to spend six weeks creating 44 follow up videos totaling over seven hours detailing specifics of risk management applied to climate change. Craven's conclusion was that \"the risk of not acting far outweighs the risk of acting.\" Craven was the focus of some media attention, was named \"Featured Teacher\" by WIRED Science, and received criticism by climate change denialists. In 2009, Craven published the book What's the Worst That Could Happen?: A Rational Response to the Climate Change Debate.\n\nAt the annual Fall Meeting of the American Geophysical Union (AGU) in 2010, Craven delivered a speech (and subsequent comments during a panel discussion) exhorting the climate science community to become personally involved in the public debate over climate change. Craven's comments caused some negative attention in denialist climate blogs, which argued that Craven was \"the face of the 'New AGU.'\" This prompted Craven to publish a clarification taking personal responsibility and emphasizing that his remarks were in no way associated with the AGU organization or its official view.\n\nPublications\n What's the Worst That Could Happen?: A Rational Response to the Climate Change Debate, Perigee Trade, 2009;\n\nExternal links\n\nReferences\n\nPeople from Silverton, Oregon\nUniversity of Puget Sound alumni\nSchoolteachers from Oregon\nClimate activists\nWriters from Oregon\nAmerican non-fiction environmental writers\nYear of birth missing (living people)\nLiving people\nPeople from Independence, Oregon\n21st-century American educators", "Salmond & Darling: The Debate is a Scottish television debate that was first broadcast on STV on 5 August 2014. The two-hour broadcast marked the first face-to-face debate between First Minister Alex Salmond and Alistair Darling ahead of the forthcoming Scottish independence referendum, in front of a studio audience of 350 people.\n\nThe debate, moderated by Bernard Ponsonby, saw both politicians make opening statements and cross-examine each other before taking questions from the audience. At the end of the clash, they were both given the chance to make a closing speech.\n\nResponses\nOpinion polling by Survation ahead of the broadcast suggested that the general public expected Salmond to win, but a snap poll conducted by ICM stated Darling won the debate by 56% to 44%. In his analysis of the ICM poll, Professor John Curtice detected little movement either way as a result of the debate.\n\nAmongst the national newspapers, The Herald, Daily Record and The Times reckoned that Darling won, while The Scotsman and The Scottish Sun considered the debate a draw. A readers' poll for the Edinburgh Evening News found 37% in favour of Salmond, 38% thought Darling had won and 24% considered it a tie. Both campaign groups claimed victory.\n\nSummarising the debate in its aftermath, BBC Scotland correspondent Colin Blane wrote:\n\nBroadcast arrangements\nThe audience for the live broadcast on STV reached a peak audience of 920,000, while averaging 765,000 across its two-hour duration. STV said the programme attracted 36% of viewers in Scotland, the highest rating for a political debate in the country for more than 10 years.\n\nThe debate was not broadcast live on television elsewhere in the United Kingdom, as STV refused requests to simulcast it on the BBC News Channel and Sky News. STV did make the debate available as live to its network partner ITV, but they only opted to show it in areas where people were eligible to vote in the referendum (the Scottish part of the ITV Border region). The debate was shown live on the STV Player internet service, but the debate's live streaming broke down under \"unprecedented demand\". STV apologised for the interruption to its service. The debate was broadcast as live on the BBC Parliament channel the following day.\n\nSee also\n United Kingdom general election debates, 2010\n 2014 Scottish independence referendum\n\nReferences\n\nExternal links\n \n Salmond & Darling: The Debate on STV Player\n\n2014 in British television\n2014 Scottish independence referendum\nEnglish-language television shows\nLeaders' debates\nSTV News\nAugust 2014 events in the United Kingdom" ]
[ "Sam Harris", "Islam", "What is his view on Islam?", "\"The idea that Islam is a 'peaceful religion hijacked by extremists' is a dangerous fantasy--and it is now a particularly dangerous fantasy for Muslims to indulge.", "Does he write about this?", "Harris wrote a response to controversy over his criticism of Islam, which also aired on a debate", "Where did the debate happen?", "on a debate hosted by The Huffington Post" ]
C_498d41e95a814b8e998dfd1794017dba_0
Was there a specific topic for that debate?
4
Was there a specific topic for Sam Harris's debate on Islam?
Sam Harris
Harris considers Islam to be "especially belligerent and inimical to the norms of civil discourse," relative to other world religions. He asserts that the "dogmatic commitment to using violence to defend one's faith, both from within and without" to varying degrees, is a central Islamic doctrine that is found in few other religions to the same degree, and that "this difference has consequences in the real world." In 2006, after the Jyllands-Posten Muhammad cartoons controversy, Harris wrote, "The idea that Islam is a 'peaceful religion hijacked by extremists' is a dangerous fantasy--and it is now a particularly dangerous fantasy for Muslims to indulge. It is not at all clear how we should proceed in our dialogue with the Muslim world, but deluding ourselves with euphemisms is not the answer. It now appears to be a truism in foreign policy circles that real reform in the Muslim world cannot be imposed from the outside. But it is important to recognize why this is so--it is so because the Muslim world is utterly deranged by its religious tribalism. In confronting the religious literalism and ignorance of the Muslim world, we must appreciate how terrifyingly isolated Muslims have become in intellectual terms." He states that his criticism of the religion is aimed not at Muslims as people, but at the doctrine of Islam. Harris wrote a response to controversy over his criticism of Islam, which also aired on a debate hosted by The Huffington Post on whether critics of Islam are unfairly labeled as bigots: Is it really true that the sins for which I hold Islam accountable are "committed at least to an equal extent by many other groups, especially [my] own"? ... The freedom to poke fun at Mormonism is guaranteed [not by the First Amendment but] by the fact that Mormons do not dispatch assassins to silence their critics or summon murderous hordes in response to satire. ... Can any reader of this page imagine the staging of a similar play [to The Book of Mormon] about Islam in the United States, or anywhere else, in the year 2013? ... At this moment in history, there is only one religion that systematically stifles free expression with credible threats of violence. The truth is, we have already lost our First Amendment rights with respect to Islam--and because they brand any observation of this fact a symptom of Islamophobia, Muslim apologists like Greenwald are largely to blame. Harris has criticized common usage of the term "Islamophobia". "My criticism of Islam is a criticism of beliefs and their consequences," he wrote following a controversial clash with Ben Affleck in October 2014 on the show Real Time with Bill Maher, "but my fellow liberals reflexively view it as an expression of intolerance toward people." During an email exchange with Glenn Greenwald, a critic of the New Atheists, Harris argued that "Islamophobia is a term of propaganda designed to protect Islam from the forces of secularism by conflating all criticism of it with racism and xenophobia. And it is doing its job, because people like you have been taken in by it." CANNOTANSWER
controversy over his criticism of Islam,
Samuel Benjamin Harris (born April 9, 1967) is an American philosopher, neuroscientist, author, and podcast host. His work touches on a wide range of topics, including rationality, religion, ethics, free will, neuroscience, meditation, psychedelics, philosophy of mind, politics, terrorism, and artificial intelligence. Harris came to prominence for his criticism of religion, and Islam in particular, and is known as one of the "Four Horsemen" of New Atheism, along with Richard Dawkins, Christopher Hitchens, and Daniel Dennett. Harris's first book, The End of Faith (2004), won the PEN/Martha Albrand Award for First Nonfiction and remained on The New York Times Best Seller list for 33 weeks. Harris has since written six additional books: Letter to a Christian Nation in 2006, The Moral Landscape: How Science Can Determine Human Values in 2010, the long-form essay Lying in 2011, the short book Free Will in 2012, Waking Up: A Guide to Spirituality Without Religion in 2014, and (with British writer Maajid Nawaz) Islam and the Future of Tolerance: A Dialogue in 2015. Harris's work has been translated into over 20 languages. Harris has debated with many prominent figures on the topics of God or religion, including William Lane Craig, Jordan Peterson, Rick Warren, Andrew Sullivan, Reza Aslan, David Wolpe, Deepak Chopra, Ben Shapiro and Jean Houston. Since September 2013, Harris has hosted the Making Sense podcast (originally titled Waking Up), which has a large listenership. In September 2018, Harris released a meditation app, Waking Up with Sam Harris. Harris's views on free will, race, and Islam have attracted controversy. Early life and education Samuel Benjamin Harris was born in Los Angeles, California, on April 9, 1967. He is the son of actor Berkeley Harris, who appeared mainly in Western films, and TV writer and producer Susan Harris (née Spivak), who created Soap (TV series) and The Golden Girls among other series. His father, born in North Carolina, came from a Quaker background, and his mother is Jewish but not religious. He was raised by his mother following his parents' divorce when he was aged two. Harris has stated that his upbringing was entirely secular and that his parents rarely discussed religion, though he also stated that he was not raised as an atheist. While his original major was in English, Harris became interested in philosophical questions while at Stanford University after an experience with the empathogen–entactogen MDMA (colloquially known as ecstasy or XTC). The experience led him to be interested in the idea that he might be able to achieve spiritual insights without the use of drugs. Leaving Stanford in his second year, a quarter after his psychedelic experience, he visited India and Nepal, where he studied meditation with teachers of Buddhist and Hindu religions, including Dilgo Khyentse. Eleven years later, in 1997, he returned to Stanford, completing a B.A. degree in philosophy in 2000. Harris began writing his first book, The End of Faith, immediately after the September 11 attacks. He received a Ph.D. in cognitive neuroscience in 2009 from the University of California, Los Angeles, using functional magnetic resonance imaging to conduct research into the neural basis of belief, disbelief, and uncertainty. His thesis was titled The Moral Landscape: How Science Could Determine Human Values. His advisor was Mark S. Cohen. Career Writing Harris's writing focuses on philosophy, neuroscience, and criticism of religion. He came to prominence for his criticism of religion (Islam in particular) and he is described as one of the Four Horsemen of Atheism, along with Richard Dawkins, Christopher Hitchens, and Daniel Dennett. He has written for publications such as The New York Times, the Los Angeles Times, Economist, London Times, Boston Globe, and The Atlantic. Five of Harris's books have been New York Times bestsellers, and his writing has been translated into over 20 languages. The End of Faith (2004) remained on The New York Times Best Seller list for 33 weeks. Harris has a chapter giving advice in Tim Ferriss' book Tools of Titans. Debates on religion In 2007, Harris engaged in a lengthy debate with conservative commentator Andrew Sullivan on the Internet forum Beliefnet. In April 2007, Harris debated with evangelical pastor Rick Warren for Newsweek magazine. Harris also debated with Rabbi David Wolpe in 2007. In 2010, Harris joined Michael Shermer to debate with Deepak Chopra and Jean Houston on the future of God in a debate hosted by ABC News Nightline. Harris debated with Christian philosopher William Lane Craig in April 2011 on whether there can be an objective morality without God. In June and July 2018, he met with Canadian psychologist Jordan Peterson for a series of debates on religion, particularly the relationship between religious values and scientific fact in defining truth. Harris has also debated with the scholar Reza Aslan. Podcast In September 2013, Harris began releasing the Waking Up podcast (since re-titled Making Sense). Episodes vary in length but often last over two hours. Releases do not follow a regular schedule. The podcast has a large listenership. Meditation app In September 2018, Harris released a meditation course app, Waking Up with Sam Harris. The app provides daily meditations; long guided meditations; daily "Moments" (brief meditations and reminders); conversations with thought leaders in psychology, meditation, philosophy, psychedelics, and other disciplines; a selection of lessons on various topics, such as Mind & Emotion, Free Will, and Doing Good; and more. Users of the app are introduced to a number of types of meditation, such as mindfulness meditation, vipassanā-style meditation, loving-kindness meditation, and Dzogchen. In September 2020, Harris announced his commitment to donate a least 10% of Waking Up's profits to highly effective charities, thus becoming the first company to sign the Giving What We Can pledge for companies. The pledge was done retroactively, taking into account the profits since the day the app launched 2 years previously. Views Religion Harris is known as one of the most prominent critics of religion, and is a leading figure in the New Atheist movement. Harris is particularly opposed to what he refers to as dogmatic belief, and says that "Pretending to know things one doesn't know is a betrayal of science – and yet it is the lifeblood of religion." While purportedly opposed to religion in general and the belief systems of them, Harris believes that all religions are not created equal. Often invoking Jainism to contrast Islam as a whole, Harris highlights the difference in the specific doctrine and scripture as the main indicator of a religion's value, or lack thereof. In 2006, Harris described Islam as "all fringe and no center," and wrote in The End of Faith that "the doctrine of Islam [...] represents a unique danger to all of us", arguing that the War on terror is really a war against Islam. In 2014, Harris said he considers Islam to be "especially belligerent and inimical to the norms of civil discourse", as it involves what Harris considers to be "bad ideas, held for bad reasons, leading to bad behavior." In 2015 Harris and secular Islamic activist Maajid Nawaz cowrote Islam and the Future of Tolerance. In this book, Harris argues that the word Islamophobia is a "pernicious meme", a label which prevents discussion about the threat of Islam. Harris has been described in 2020 by Jonathan Matusitz, Associate Professor at the University of Central Florida, as "a champion of the counter-jihad left". Harris is critical of the Christian right in politics in the United States, blaming them for the political focus on "pseudo-problems like gay marriage." He is also critical of liberal Christianityas represented, for instance, by the theology of Paul Tillichwhich he argues claims to base its beliefs on the Bible despite actually being influenced by secular modernity. He further states that in so doing liberal Christianity provides rhetorical cover to fundamentalists. Spirituality Harris holds that there is "nothing irrational about seeking the states of mind that lie at the core of many religions. Compassion, awe, devotion, and feelings of oneness are surely among the most valuable experiences a person can have." Harris rejects the dichotomy between spirituality and rationality, favoring a middle path that preserves spirituality and science but does not involve religion. He writes that spirituality should be understood in light of scientific disciplines like neuroscience and psychology. Science, he contends, can show how to maximize human well-being, but may fail to answer certain questions about the nature of being, answers to some of which he says are discoverable directly through our experience. His conception of spirituality does not involve a belief in any god. In Waking Up: A Guide to Spirituality Without Religion (2014), Harris describes his experience with Dzogchen, a Tibetan Buddhist meditation practice, and recommends it to his readers. He writes that the purpose of spirituality (as he defines it – he concedes that the term's uses are diverse and sometimes indefensible) is to become aware that our sense of self is illusory, and says this realization brings both happiness and insight into the nature of consciousness. This process of realization, he argues, is based on experience and is not contingent on faith. Harris especially recommends the “headless” meditation technique as written about by Douglas Harding. Science and morality In The Moral Landscape, Harris argues that science answers moral problems and can aid human well-being. Free will Harris says that the idea of free will "cannot be mapped on to any conceivable reality" and is incoherent. Harris writes in Free Will that neuroscience "reveals you to be a biochemical puppet." Social and political views Harris describes himself as a liberal, and states that he supports raising taxes on the wealthy, decriminalizing drugs and legalizing same-sex marriage. In an op-ed for the Los Angeles Times, Harris said that he supported most of the criticism against Bush administration's war in Iraq, and all criticism of fiscal policy and the administration's treatment of science. Harris also said that liberalism has grown "dangerously out of touch with the realities of our world" when it comes to threats allegedly posed by Islamic fundamentalism. Harris is a registered Democrat. During the 2016 United States presidential election, Harris supported Hillary Clinton in the Democratic Party presidential primaries against Bernie Sanders, and despite calling her "a terribly flawed candidate for the presidency," he favored her in the general election and came out strongly in opposition to Donald Trump's candidacy. Harris has criticized Trump for lying, stating in 2018 that Trump "has assaulted truth more than anyone in human history." During the 2020 United States presidential election, Harris supported Andrew Yang in the Democratic primaries. Harris also introduced Yang to podcaster Joe Rogan. Artificial intelligence Harris has discussed existential risk from artificial general intelligence in depth. He has given a TED talk on the topic, arguing it will be a major threat in the future and criticizing the paucity of human interest on the subject. He argues the dangers from artificial intelligence (AI) follow from three premises: that intelligence is the result of physical information processing, that humans will continue innovation in AI, and that humans are nowhere near the maximum possible extent of intelligence. Harris states that even if superintelligent AI is five to ten decades away, the scale of its implications for human civilization warrant discussion of the issue in the present. Reception and controversies Academic and journalistic reception to Harris's works and ideas has been varied. Harris's first two books, in which he lays out his criticisms of religion, received negative reviews from Christian scholars. From secular sources, the books received a mixture of negative reviews and positive reviews. In his review of The End of Faith, American historian Alexander Saxton criticized what he called Harris's "vitriolic and selective polemic against Islam," (emphasis in original) which he said "obscure[s] the obvious reality that the invasion of Iraq and the War against Terror are driven by religious irrationalities, cultivated and conceded to, at high policy levels in the U.S., and which are at least comparable to the irrationality of Islamic crusaders and Jihadists." By contrast, Stephanie Merritt wrote of the same book that Harris's "central argument in The End of Faith is sound: religion is the only area of human knowledge in which it is still acceptable to hold beliefs dating from antiquity and a modern society should subject those beliefs to the same principles that govern scientific, medical or geographical inquiry – particularly if they are inherently hostile to those with different ideas." Harris's next two books, which discuss philosophical issues relating to ethics and free will, received several negative academic reviews. In his review of The Moral Landscape, neuroscientist Kenan Malik criticized Harris for not engaging adequately with philosophical literature: "Imagine a sociologist who wrote about evolutionary theory without discussing the work of Darwin, Fisher, Mayr, Hamilton, Trivers or Dawkins on the grounds that he did not come to his conclusions by reading about biology and because discussing concepts such as 'adaptation', 'speciation', 'homology', 'phylogenetics' or 'kin selection' would 'increase the amount of boredom in the universe'. How seriously would we, and should we, take his argument?" Philosopher Daniel Dennett argued that Harris's book Free Will successfully refuted the common understanding of free will, but that he failed to respond adequately to the compatibilist understanding of free will. Dennett said the book was valuable because it expressed the views of many eminent scientists, but that it nonetheless contained a "veritable museum of mistakes" and that "Harris and others need to do their homework if they want to engage with the best thought on the topic." On the other hand, The Moral Landscape received a largely positive review from psychologists James Diller and Andrew Nuzzolilli. Additionally, Free Will received a mixed academic review from philosopher Paul Pardi, who acknowledged that while it suffers from some conceptual confusions and that the core argument is a bit too 'breezy', it serves as a "good primer on key ideas in physicalist theories of freedom and the will". Harris's book on spirituality and meditation received mainly positive reviews as well as some mixed reviews. It was praised by Frank Bruni, for example, who described it as "so entirely of this moment, so keenly in touch with the growing number of Americans who are willing to say that they do not find the succor they crave, or a truth that makes sense to them, in organized religion." In April 2017, Harris stirred controversy by hosting the social scientist Charles Murray on his podcast, discussing topics including the heritability of IQ and race and intelligence. Harris stated the invitation was out of indignation at a violent protest against Murray at Middlebury College the month before and not out of particular interest in the material at hand. The podcast episode garnered significant criticism, most notably from Vox and Slate. Harris and Murray were defended by conservative commentators Andrew Sullivan and Kyle Smith, as well as by neuroscientist Richard Haier, who stated that the points Murray claimed were mainstream actually do receive broad scientific support. Harris and Vox editor-at-large Ezra Klein later discussed the affair in a podcast interview, where Klein criticized Harris for rebuking tribalism in the form of identity politics while failing to recognize his own version of tribalism. Hatewatch staff at the Southern Poverty Law Center (SPLC) wrote that members of the "skeptics" movement, of which Harris is "one of the most public faces," help to "channel people into the alt-right." Bari Weiss wrote in her opinion column that the SPLC had misrepresented Harris's views. Harris was profiled by Weiss in The New York Times as part of the "Intellectual Dark Web" (a term coined semi-ironically by Eric Weinstein). She described the group as "a collection of iconoclastic thinkers, academic renegades and media personalities who are having a rolling conversation – on podcasts, YouTube and Twitter, and in sold-out auditoriums – that sound unlike anything else happening, at least publicly, in the culture right now." In November 2020, Harris stated that he does not identify as a part of that group. In 2018, Robert Wright, a visiting professor of science and religion at Union Theological Seminary, published an article in Wired criticizing Harris, whom he described as "annoying" and "deluded". Wright wrote that Harris, despite claiming to be a champion of rationality, ignored his own cognitive biases and engaged in faulty and inconsistent arguments in his book The End of Faith. He wrote that "the famous proponent of New Atheism is on a crusade against tribalism but seems oblivious to his own version of it." Wright wrote that these biases are rooted in natural selection and impact everyone, but that they can be mitigated when acknowledged, whereas Harris offered no such acknowledgement. The UK Business Insider included Harris's podcast in their list of "8 podcasts that will change how you think about human behavior" in 2017, and PC Magazine included it in their list of "The Best Podcasts of 2018." In January 2020, Max Sanderson included Harris's podcast as a "Producer pick" in a "podcasts of the week" section for The Guardian. Accusations of Anti-Muslim bigotry and Islamophobia Harris has been accused of Islamophobia by journalist Glenn Greenwald and linguist and political commentator Noam Chomsky. Greenwald characterized some of Harris's statements as Islamophobic, such as: "the people who speak most sensibly about the threat that Islam poses to Europe are actually fascists," and "[t]he only future devout Muslims can envisage – as Muslims – is one in which all infidels have been converted to Islam, politically subjugated, or killed." After Harris and Chomsky exchanged a series of emails on terrorism and U.S. foreign policy in 2015, Chomsky said Harris had not prepared adequately for the exchange and that this revealed his work as unserious. Kyle Schmidlin also wrote in Salon that he considered Chomsky the winner of the exchange because Harris's arguments relied excessively on thought experiments with little application to the real world. In a 2016 interview with Al Jazeera English's UpFront, Chomsky further criticized Harris, saying he "specializes in hysterical, slanderous charges against people he doesn't like." Harris has countered that his views on this and other topics are frequently misrepresented by "unethical critics" who "deliberately" regard his words out of context. He has also criticized the validity of the term Islamophobia. "My criticism of Islam is a criticism of beliefs and their consequences, but my fellow liberals reflexively view it as an expression of intolerance toward people," he wrote following a disagreement with actor Ben Affleck in October 2014 on the show Real Time with Bill Maher. Affleck had described Harris's and host Bill Maher's views on Muslims as "gross" and "racist," and Harris's statement that "Islam is the mother lode of bad ideas" as an "ugly thing to say." Affleck also compared Harris's and Maher's rhetoric to that of people who use antisemitic canards or define African-Americans in terms of intraracial crime. Several conservative American media pundits in turn criticized Affleck and praised Harris and Maher for broaching the topic, saying that discussing it had become a "taboo." Harris's dialogue on Islam with Maajid Nawaz received a combination of positive reviews and mixed reviews. Irshad Manji wrote: "Their back-and-forth clarifies multiple confusions that plague the public conversation about Islam." Of Harris specifically, she said "[he] is right that liberals must end their silence about the religious motives behind much Islamist terror. At the same time, he ought to call out another double standard that feeds the liberal reflex to excuse Islamists: Atheists do not make nearly enough noise about hatred toward Muslims." Hamid Dabashi, a professor at Columbia University accused Sam Harris of being a "new atheist crusader" having never studied Islam thoroughly and having no special insight into any Muslim community on earth. He further accused Harris of engaging in such language to justify Western imperialism in the Muslim world. An article published in The Guardian accused Harris, along with Milo Yiannopoulos of influencing young white men into becoming racists and Anti-Muslim bigots. Harris has also been accused of merging his thoughts with far right ideologies, stating that he advocates the profiling of Muslims, "or anyone who looks like he or she could conceivably be Muslim," at airports. Harris was also accused of "advancing Neoconservative agendas" by Chris Hedges and for advocating a nuclear first strike policy on Muslims if an Islamist regime ever obtained nuclear weapons, stating in The End of Faith: Religion, Terror, and the Future of Reason that "in such a situation, the only thing likely to ensure our survival may be a nuclear first strike of our own." Recognition Harris's first book, The End of Faith (2004), won the PEN/Martha Albrand Award for First Nonfiction. The Waking Up podcast won the 2017 Webby Award for "People's Voice" in the category "Science & Education" under "Podcasts & Digital Audio". Harris was included on a list of the "100 Most Spiritually Influential Living People 2019" in the Watkins Review, a publication of Watkins Books, a London esoterica bookshop. Personal life Harris is a martial arts student and practices Brazilian jiu-jitsu. In 2004, he married Annaka Gorton, an author and editor of nonfiction and scientific books after engaging in a common interest about the nature of consciousness. They have two daughters, and live in Los Angeles. In September 2020, Harris became a member of Giving What We Can, an effective altruism organization whose members pledge to give at least 10% of their income to effective charities, both as an individual and as a company with Waking Up. Works Books Documentary Amila, D. & Shapiro, J. (2018). Islam and the Future of Tolerance. United States: The Orchard. Peer-reviewed articles Notes References External links 1967 births 21st-century American essayists 21st-century American male writers 21st-century American non-fiction writers 21st-century American philosophers 21st-century atheists Action theorists Activists from California American atheism activists American atheist writers American critics of Islam American ethicists American logicians American male essayists American male non-fiction writers American men podcasters American neuroscientists American people of Jewish descent American podcasters American practitioners of Brazilian jiu-jitsu American science writers American secularists American skeptics American social commentators American social sciences writers American spiritual writers Analytic philosophers Atheism activists Atheism in the United States Atheist philosophers California Democrats Cognitive neuroscientists Consciousness researchers and theorists Conversationalists Criticism of religion Critics of conspiracy theories Critics of creationism Critics of multiculturalism Critics of neoconservatism Critics of postmodernism Critics of religions Cultural critics Epistemologists Freethought writers Hyperreality theorists Living people Metaphysicians Metaphysics writers Moral philosophers Moral realists Ontologists Philosophers of culture Philosophers of education Philosophers of ethics and morality Philosophers of history Philosophers of logic Philosophers of love Philosophers of mind Philosophers of psychology Philosophers of religion Philosophers of science Philosophers of sexuality Philosophers of social science Philosophers of technology Philosophers of war Philosophy writers Political philosophers Psychedelic drug advocates Race and intelligence controversy Rationalists Rationality theorists Science activists Social critics Social philosophers Stanford University alumni Students of U Pandita Theorists on Western civilization University of California, Los Angeles alumni Writers about activism and social change Writers about globalization Writers about religion and science Writers from Los Angeles
false
[ "The Frank Anthony Memorial All-India Inter-School English Debate is held in the honor of Frank Anthony.\n\nIt is among the most prestigious inter-school, annual debate competition organised by the Council for the Indian School Certificate Examinations (CICSE). Participants represent their schools and are divided into two groups (Category I for students of Standards XI and XII and Category II for students of Standards IX and X). Over 1,600 schools participate in the event each year.\n\nThe Debate competition is spread over three levels – Regional, Zonal and National Levels.\n\nEach school sends two students from each group mentioned above. The topic is only revealed to the students an hour before the actual debate by way of opening a sealed envelope in their presence. This ensures that no pre-written material can be used in the debate. Students are expected to speak for a total time period of four minutes which is followed by two minutes of questioning and rebuttals. The students are allowed to and expected to refer to journals, magazines, and other books from the library during the one hour time to generate matter for their speaking time. No internet access or use of any electronic devices is allowed and referring to a written script during their speaking time is strictly discouraged.\n\nThe debate is only open to CISCE accredited schools.\n\nVarious years of debate\n\n2009\n\nRound 3 – National\n\nCategory 1\n\n2010\n\nRound 3 – National\n\nCategory 1\n\n2011\n\nRound 3 – National\n\nCategory 2\n\n2012\n\nRound 3 – National\n\nCategory 2\n\n2013\n\nRound 3 – National\n\nCategory 2 \n{| class=\"wikitable\" border=\"1\"\n! rowspan=\"2\" | Date\n! rowspan=\"2\" | Host School\n! rowspan=\"2\" | Topic\n! colspan=\"4\" | Awards\n|-\n! Winner\n! Best Speaker\n! Runner-up speaker\n! Second runner-up speaker\n|-\n| align=\"center\" | 25 September 2013 ||The Frank Anthony Public School, Lajpat Nagar - IV, New Delhi || Most of the problems of students today arise from their unrestricted freedom || Jamnabai Narsee School, Mumbai || Kanishk Mittal || Maahir Shah || ' |\n|}\n\n Category 1 \n\n 2014 \n\n Round 1 – Regional \n\nThe first round of debate of the year 2014 was conducted in the following schools and zones with the topic mentioned accordingly.\n\n Round 2 – Zonal \n\n Round 3 – National \n\n 2015 \n\n Round 1 – Regional \n\n Round 2 – Zonal \nThe Level I Debate was won by The Heritage School, Kolkata. Mohit Poddar, of The Heritage School, Kolkata was adjudged the Best Speaker in the Finals while Loyola School, Jamshedpur were the runners-up.\nThe 2015 level II debate was won by Aayush Rathod and Shrutika Mane of the Smt. Sulochanadevi Singhania School, Thane and was held in Dehradun. Loyola School, Jamshedpur was the 2nd Runners-Up in this category too.\n\n 2016 \nThe first round of the debate in 2016 was on July 15.\nThe National Round was held on September 25. Loyola School, Jamshedpur was the only school to have qualified for both the category 1 and Category 2 of the debate.\n\nThe National Winners for Category 2 were Nitya K Nair and Megha N Nair from L'ecole Chempaka, Thiruvananthapuram, Kerala. The Best Speaker was Nitya K Nair. The national runners-up were Adarsh Sriram and Shivali Shah from Dhirubhai Ambani International School, Mumbai. \n\n 2018 \n\n Round 1 – Regional \n\nThe first round of debate of the year 2018 was conducted in the following schools and zones with the topic mentioned accordingly.\n\n National Finals 2018 \n\nWith the Diamond Jubilee of the council, the Frank Anthony memorial all India inter school debate competition's National finals were hosted in the Frank Anthony Public school, Delhi. The seniors round saw schools from all across India. The topic was \"Famous dropouts are the ones that contribute most to society\".\nThe National champions were St. James' School Kolkata, represented by Rustam Biswas and Souti Mukhopadhyay. Souti Mukhopadhyay also won the award for best speaker in the finals.\n\n 2019 \n ROUND 1 – REGIONAL Category (II) – Class IX & X Round 2 – Zonal'''\n\n▼\n\nRound 3 – National Finals \n\nThe National Finals for the Frank Anthony memorial all India inter school debate were held in Kolkata on 25th September 2019. The senior round had schools from all across India, such as the Shriram Aravalli School, Delhi, and the Heritage school and defending champions St. James' School from Kolkata. The topic given was \"The right to dissent is an integral part of any democracy\". After a fiery round of debating, St. James' School was crowned National Champions for the second year running. The Heritage School was second runner up. The Best Speaker award went to Souti Mukhopadhyay, who is the only person to have won best speaker twice consecutively in the national finals of debate's long and prestigious history.\n\nReferences\n\nAsian debating competitions\nSchools debating competitions", "Dubai Debates is an online video debating forum based in Dubai, United Arab Emirates. According to its website, Dubai Debates offers \"a platform for online opinion leaders, pundits, academics, journalists, politicians, activists and all interested users to exchange ideas through videos.\" In addition to video debating via its website, regular debates are also held in Dubai, bringing together opinion leaders for panel discussions.\n\nHistory \nThe series was launched in early February 2011, in the midst of the Egyptian revolution. According to The National newspaper, the founder of Dubai Debates, Belabbes Benkredda, \"drew inspiration from how opinions were circulated on Twitter and Facebook during the Tunisian and Egyptian uprisings.\" Dubai Debates was conceived as a contribution to the global discourse in social media, adding a video element and putting a face to the people shaping that discourse. And\n\nA conflicting report in the New York Times states that Dubai Debates was conceived as a reaction to a Doha Debates panel on the motion \"Dubai is a bad idea\", held on 14 December 2009.\n\nThe first Dubai Debates panel discussion was held on 23 February 2011.\n\nFormat \nA current debate topic is defined and announced through the Dubai Debates website, its YouTube channel, as well as on its Twitter and Facebook feeds. At the same time, a date is announced for a panel debate on the respective issue. Interested users are then requested to submit their video contributions to the topic, which are all featured on the website and on YouTube.\n\nThe panel sessions are split into thematic segments, each representing a specific question. All debates are video-filmed and made available after the event on DubaiDebates.com and YouTube. During the panel session, selected videos uploaded by outside contributors are shown. A Twitter hashtag is defined, allowing live discussions about the panel to be incorporated into the discussion. The number of segments was six for the first two editions of Dubai Debates, each between 6–9 minutes in length.\n\nPrevious debates\n\nMark Zuckerberg - the new hero of the Arab people? (Dubai Debates 1) \nThe inaugural Dubai Debates topic was \"Mark Zuckerberg - the New Hero of the Arab People?\". A panel session on the topic was held on 23 February at the Media One Hotel in Dubai. Participants included Mahmoud Salem, the award-winning Egyptian blogger widely known as Sandmonkey, as well as Daniel Gerlach of Zenith Magazine, Al Arabiya TV anchor Mahmoud Abu Obeid, and American University of Sharjah scholar Mohammed Ibahrine. The debate was filmed and widely viewed on the Internet since. The Goethe Institute was one of the first supporters of the debate.\n\nAfter the Arab Awakening: Opportunities and Challenges for a New Arab World (Dubai Debates 2) \nThe second Dubai Debates topic was announced through Twitter on 12 May 2011 as \"After the Arab Awakening: Opportunities and Challenges for a New Arab World\". A panel debate on 31 May was initially planned to be held in co-operation with the American University in Dubai (AUD), in the main auditorium. On 28 May, three days before the debate, the event was moved to the Kempinski Hotel Dubai and co-operation with AUD terminated without further comment.\n\nPanelists at Dubai Debates 2 have been described as \"star academics\" and included:\n\n Dalia Mogahed, Director of the Abu Dhabi Gallup Center and an adviser to US President Obama\n Shadi Hamid, research director of the Brookings Doha Center\n Abdel Bari Atwan, editor of Al Quds Al Arabi and one of only five journalists who interviewed Osama bin Laden\n Tarik Yousef, the Dean of the Dubai School of Government.\n\nThe debate was moderated by Matt J. Duffy, a media scholar from Zayed University.\n\nThe debate was composed of the following six segments:\n Is the Arab Spring over? \n Where is Egypt headed after the revolution? \n Can Arab and Islamic values be reconciled with democracy? \n Do Western governments even care about democracy? \n A new Arab world - new alliances? \n Will Arab democracy bring Arab prosperity? \n\nDubai Debates 2 was supported by the Konrad Adenauer Foundation, a think tank connected to German Chancellor Angela Merkel's CDU party, as well as CNN International. There was an audience of 200 guests.\n\nWho’s got the power? The future of energy in the Arabian Gulf (Dubai Debates 3) \nThe latest Dubai Debates 3 took place at Knowledge Village Conference Centre in Dubai on 16 November. The panel of speakers constituted Michael Peel, Middle East Correspondent for the Financial Times, Robin Mills, Expert on Middle East energy strategy and economics to Dubai Government and columnist for The National and formerly Shell’s expert on Iran, Kate Dorian Middle East editor covering energy developments throughout the Persian Gulf and North Africa for Platts. The moderator for Who’s got the power? The future of energy in the Arabian Gulf’ was Mishaal Al Gergawi a current affairs and commentator for Gulf News.\n\nThe topic attracted students from Abu Dhabi (home of Masdar) at the universities of Sorbonne and New York. Bjørn Lomborg Director, Copenhagen Consensus Center. Author of 'Cool It' and 'Skeptical Environmentalist' also took part via Skype and posed his questions to the panel.\n\nDubai Debates 3 was divided into the following six segments:\n\n The Arabian Gulf: What’s Next for Oil and Gas?\n Energy for the World Economy: But from where?\n Renewable Energies- Much Ado About Nothing?\n Nuclear Energy: More risks than opportunities?\n How Can We Waste Less Energy in the Gulf?\n What Will Our Future Cities Look Like?\n\nThe next debate is due to take place on 18 December on After the Arab Awakening: Women, Civil Society and Leadership in the New Arab World at Knowledge Village.\n\nWomen, Civil Society, and Leadership in the New Arab World\nIn cooperation with Vital Voices Global Partnership, Konrad Adenauer Stiftung and CNN International, Dubai Debates held its fourth edition on the topic Women, Civil Society and Leadership in the New Arab World. The panel brought together Amira Yahyaoui, a Tunisian blogger, Dr. Ebtisam Al Kitbi, professor of political science at UAE University, and Mohamed Abu Obeid a Palestinian women’s rights advocate and a TV presenter on Al Arabiya on 18 December 2011, for the first debate in Arabic language simultaneously translated into English, at the Dubai Knowledge Village Auditorium. The panel was moderated by Gulf News columnist Mishaal Al Gergawi.\n\nThe debate consisted of five motions, after each the audience voted. The motions were\n\n The role of women in the Arab revolutions has been exaggerated\n There should be quotas for women in Arab parliaments?\n Arab women should choose between family and business\n The Western model of “women’s rights” should be applied to Arab countries\n Constitutional guarantees for women’s rights won’t change social attitudes\n\nVideo contributors via Skype included Ms Almas Jiwani, Head of the UN Committee on Women in Canada and Manal Sharif a Saudi Arabian Women's rights activist.\n\nReferences\n\nExternal links\n\nOrganisations based in Dubai\nPolitical debates" ]
[ "Sam Harris", "Islam", "What is his view on Islam?", "\"The idea that Islam is a 'peaceful religion hijacked by extremists' is a dangerous fantasy--and it is now a particularly dangerous fantasy for Muslims to indulge.", "Does he write about this?", "Harris wrote a response to controversy over his criticism of Islam, which also aired on a debate", "Where did the debate happen?", "on a debate hosted by The Huffington Post", "Was there a specific topic for that debate?", "controversy over his criticism of Islam," ]
C_498d41e95a814b8e998dfd1794017dba_0
Does it state when he started speaking out against Islam?
5
Does the debate on The Huffington Post state when Sam Harris started speaking out against Islam?
Sam Harris
Harris considers Islam to be "especially belligerent and inimical to the norms of civil discourse," relative to other world religions. He asserts that the "dogmatic commitment to using violence to defend one's faith, both from within and without" to varying degrees, is a central Islamic doctrine that is found in few other religions to the same degree, and that "this difference has consequences in the real world." In 2006, after the Jyllands-Posten Muhammad cartoons controversy, Harris wrote, "The idea that Islam is a 'peaceful religion hijacked by extremists' is a dangerous fantasy--and it is now a particularly dangerous fantasy for Muslims to indulge. It is not at all clear how we should proceed in our dialogue with the Muslim world, but deluding ourselves with euphemisms is not the answer. It now appears to be a truism in foreign policy circles that real reform in the Muslim world cannot be imposed from the outside. But it is important to recognize why this is so--it is so because the Muslim world is utterly deranged by its religious tribalism. In confronting the religious literalism and ignorance of the Muslim world, we must appreciate how terrifyingly isolated Muslims have become in intellectual terms." He states that his criticism of the religion is aimed not at Muslims as people, but at the doctrine of Islam. Harris wrote a response to controversy over his criticism of Islam, which also aired on a debate hosted by The Huffington Post on whether critics of Islam are unfairly labeled as bigots: Is it really true that the sins for which I hold Islam accountable are "committed at least to an equal extent by many other groups, especially [my] own"? ... The freedom to poke fun at Mormonism is guaranteed [not by the First Amendment but] by the fact that Mormons do not dispatch assassins to silence their critics or summon murderous hordes in response to satire. ... Can any reader of this page imagine the staging of a similar play [to The Book of Mormon] about Islam in the United States, or anywhere else, in the year 2013? ... At this moment in history, there is only one religion that systematically stifles free expression with credible threats of violence. The truth is, we have already lost our First Amendment rights with respect to Islam--and because they brand any observation of this fact a symptom of Islamophobia, Muslim apologists like Greenwald are largely to blame. Harris has criticized common usage of the term "Islamophobia". "My criticism of Islam is a criticism of beliefs and their consequences," he wrote following a controversial clash with Ben Affleck in October 2014 on the show Real Time with Bill Maher, "but my fellow liberals reflexively view it as an expression of intolerance toward people." During an email exchange with Glenn Greenwald, a critic of the New Atheists, Harris argued that "Islamophobia is a term of propaganda designed to protect Islam from the forces of secularism by conflating all criticism of it with racism and xenophobia. And it is doing its job, because people like you have been taken in by it." CANNOTANSWER
In 2006, after the Jyllands-Posten Muhammad cartoons controversy,
Samuel Benjamin Harris (born April 9, 1967) is an American philosopher, neuroscientist, author, and podcast host. His work touches on a wide range of topics, including rationality, religion, ethics, free will, neuroscience, meditation, psychedelics, philosophy of mind, politics, terrorism, and artificial intelligence. Harris came to prominence for his criticism of religion, and Islam in particular, and is known as one of the "Four Horsemen" of New Atheism, along with Richard Dawkins, Christopher Hitchens, and Daniel Dennett. Harris's first book, The End of Faith (2004), won the PEN/Martha Albrand Award for First Nonfiction and remained on The New York Times Best Seller list for 33 weeks. Harris has since written six additional books: Letter to a Christian Nation in 2006, The Moral Landscape: How Science Can Determine Human Values in 2010, the long-form essay Lying in 2011, the short book Free Will in 2012, Waking Up: A Guide to Spirituality Without Religion in 2014, and (with British writer Maajid Nawaz) Islam and the Future of Tolerance: A Dialogue in 2015. Harris's work has been translated into over 20 languages. Harris has debated with many prominent figures on the topics of God or religion, including William Lane Craig, Jordan Peterson, Rick Warren, Andrew Sullivan, Reza Aslan, David Wolpe, Deepak Chopra, Ben Shapiro and Jean Houston. Since September 2013, Harris has hosted the Making Sense podcast (originally titled Waking Up), which has a large listenership. In September 2018, Harris released a meditation app, Waking Up with Sam Harris. Harris's views on free will, race, and Islam have attracted controversy. Early life and education Samuel Benjamin Harris was born in Los Angeles, California, on April 9, 1967. He is the son of actor Berkeley Harris, who appeared mainly in Western films, and TV writer and producer Susan Harris (née Spivak), who created Soap (TV series) and The Golden Girls among other series. His father, born in North Carolina, came from a Quaker background, and his mother is Jewish but not religious. He was raised by his mother following his parents' divorce when he was aged two. Harris has stated that his upbringing was entirely secular and that his parents rarely discussed religion, though he also stated that he was not raised as an atheist. While his original major was in English, Harris became interested in philosophical questions while at Stanford University after an experience with the empathogen–entactogen MDMA (colloquially known as ecstasy or XTC). The experience led him to be interested in the idea that he might be able to achieve spiritual insights without the use of drugs. Leaving Stanford in his second year, a quarter after his psychedelic experience, he visited India and Nepal, where he studied meditation with teachers of Buddhist and Hindu religions, including Dilgo Khyentse. Eleven years later, in 1997, he returned to Stanford, completing a B.A. degree in philosophy in 2000. Harris began writing his first book, The End of Faith, immediately after the September 11 attacks. He received a Ph.D. in cognitive neuroscience in 2009 from the University of California, Los Angeles, using functional magnetic resonance imaging to conduct research into the neural basis of belief, disbelief, and uncertainty. His thesis was titled The Moral Landscape: How Science Could Determine Human Values. His advisor was Mark S. Cohen. Career Writing Harris's writing focuses on philosophy, neuroscience, and criticism of religion. He came to prominence for his criticism of religion (Islam in particular) and he is described as one of the Four Horsemen of Atheism, along with Richard Dawkins, Christopher Hitchens, and Daniel Dennett. He has written for publications such as The New York Times, the Los Angeles Times, Economist, London Times, Boston Globe, and The Atlantic. Five of Harris's books have been New York Times bestsellers, and his writing has been translated into over 20 languages. The End of Faith (2004) remained on The New York Times Best Seller list for 33 weeks. Harris has a chapter giving advice in Tim Ferriss' book Tools of Titans. Debates on religion In 2007, Harris engaged in a lengthy debate with conservative commentator Andrew Sullivan on the Internet forum Beliefnet. In April 2007, Harris debated with evangelical pastor Rick Warren for Newsweek magazine. Harris also debated with Rabbi David Wolpe in 2007. In 2010, Harris joined Michael Shermer to debate with Deepak Chopra and Jean Houston on the future of God in a debate hosted by ABC News Nightline. Harris debated with Christian philosopher William Lane Craig in April 2011 on whether there can be an objective morality without God. In June and July 2018, he met with Canadian psychologist Jordan Peterson for a series of debates on religion, particularly the relationship between religious values and scientific fact in defining truth. Harris has also debated with the scholar Reza Aslan. Podcast In September 2013, Harris began releasing the Waking Up podcast (since re-titled Making Sense). Episodes vary in length but often last over two hours. Releases do not follow a regular schedule. The podcast has a large listenership. Meditation app In September 2018, Harris released a meditation course app, Waking Up with Sam Harris. The app provides daily meditations; long guided meditations; daily "Moments" (brief meditations and reminders); conversations with thought leaders in psychology, meditation, philosophy, psychedelics, and other disciplines; a selection of lessons on various topics, such as Mind & Emotion, Free Will, and Doing Good; and more. Users of the app are introduced to a number of types of meditation, such as mindfulness meditation, vipassanā-style meditation, loving-kindness meditation, and Dzogchen. In September 2020, Harris announced his commitment to donate a least 10% of Waking Up's profits to highly effective charities, thus becoming the first company to sign the Giving What We Can pledge for companies. The pledge was done retroactively, taking into account the profits since the day the app launched 2 years previously. Views Religion Harris is known as one of the most prominent critics of religion, and is a leading figure in the New Atheist movement. Harris is particularly opposed to what he refers to as dogmatic belief, and says that "Pretending to know things one doesn't know is a betrayal of science – and yet it is the lifeblood of religion." While purportedly opposed to religion in general and the belief systems of them, Harris believes that all religions are not created equal. Often invoking Jainism to contrast Islam as a whole, Harris highlights the difference in the specific doctrine and scripture as the main indicator of a religion's value, or lack thereof. In 2006, Harris described Islam as "all fringe and no center," and wrote in The End of Faith that "the doctrine of Islam [...] represents a unique danger to all of us", arguing that the War on terror is really a war against Islam. In 2014, Harris said he considers Islam to be "especially belligerent and inimical to the norms of civil discourse", as it involves what Harris considers to be "bad ideas, held for bad reasons, leading to bad behavior." In 2015 Harris and secular Islamic activist Maajid Nawaz cowrote Islam and the Future of Tolerance. In this book, Harris argues that the word Islamophobia is a "pernicious meme", a label which prevents discussion about the threat of Islam. Harris has been described in 2020 by Jonathan Matusitz, Associate Professor at the University of Central Florida, as "a champion of the counter-jihad left". Harris is critical of the Christian right in politics in the United States, blaming them for the political focus on "pseudo-problems like gay marriage." He is also critical of liberal Christianityas represented, for instance, by the theology of Paul Tillichwhich he argues claims to base its beliefs on the Bible despite actually being influenced by secular modernity. He further states that in so doing liberal Christianity provides rhetorical cover to fundamentalists. Spirituality Harris holds that there is "nothing irrational about seeking the states of mind that lie at the core of many religions. Compassion, awe, devotion, and feelings of oneness are surely among the most valuable experiences a person can have." Harris rejects the dichotomy between spirituality and rationality, favoring a middle path that preserves spirituality and science but does not involve religion. He writes that spirituality should be understood in light of scientific disciplines like neuroscience and psychology. Science, he contends, can show how to maximize human well-being, but may fail to answer certain questions about the nature of being, answers to some of which he says are discoverable directly through our experience. His conception of spirituality does not involve a belief in any god. In Waking Up: A Guide to Spirituality Without Religion (2014), Harris describes his experience with Dzogchen, a Tibetan Buddhist meditation practice, and recommends it to his readers. He writes that the purpose of spirituality (as he defines it – he concedes that the term's uses are diverse and sometimes indefensible) is to become aware that our sense of self is illusory, and says this realization brings both happiness and insight into the nature of consciousness. This process of realization, he argues, is based on experience and is not contingent on faith. Harris especially recommends the “headless” meditation technique as written about by Douglas Harding. Science and morality In The Moral Landscape, Harris argues that science answers moral problems and can aid human well-being. Free will Harris says that the idea of free will "cannot be mapped on to any conceivable reality" and is incoherent. Harris writes in Free Will that neuroscience "reveals you to be a biochemical puppet." Social and political views Harris describes himself as a liberal, and states that he supports raising taxes on the wealthy, decriminalizing drugs and legalizing same-sex marriage. In an op-ed for the Los Angeles Times, Harris said that he supported most of the criticism against Bush administration's war in Iraq, and all criticism of fiscal policy and the administration's treatment of science. Harris also said that liberalism has grown "dangerously out of touch with the realities of our world" when it comes to threats allegedly posed by Islamic fundamentalism. Harris is a registered Democrat. During the 2016 United States presidential election, Harris supported Hillary Clinton in the Democratic Party presidential primaries against Bernie Sanders, and despite calling her "a terribly flawed candidate for the presidency," he favored her in the general election and came out strongly in opposition to Donald Trump's candidacy. Harris has criticized Trump for lying, stating in 2018 that Trump "has assaulted truth more than anyone in human history." During the 2020 United States presidential election, Harris supported Andrew Yang in the Democratic primaries. Harris also introduced Yang to podcaster Joe Rogan. Artificial intelligence Harris has discussed existential risk from artificial general intelligence in depth. He has given a TED talk on the topic, arguing it will be a major threat in the future and criticizing the paucity of human interest on the subject. He argues the dangers from artificial intelligence (AI) follow from three premises: that intelligence is the result of physical information processing, that humans will continue innovation in AI, and that humans are nowhere near the maximum possible extent of intelligence. Harris states that even if superintelligent AI is five to ten decades away, the scale of its implications for human civilization warrant discussion of the issue in the present. Reception and controversies Academic and journalistic reception to Harris's works and ideas has been varied. Harris's first two books, in which he lays out his criticisms of religion, received negative reviews from Christian scholars. From secular sources, the books received a mixture of negative reviews and positive reviews. In his review of The End of Faith, American historian Alexander Saxton criticized what he called Harris's "vitriolic and selective polemic against Islam," (emphasis in original) which he said "obscure[s] the obvious reality that the invasion of Iraq and the War against Terror are driven by religious irrationalities, cultivated and conceded to, at high policy levels in the U.S., and which are at least comparable to the irrationality of Islamic crusaders and Jihadists." By contrast, Stephanie Merritt wrote of the same book that Harris's "central argument in The End of Faith is sound: religion is the only area of human knowledge in which it is still acceptable to hold beliefs dating from antiquity and a modern society should subject those beliefs to the same principles that govern scientific, medical or geographical inquiry – particularly if they are inherently hostile to those with different ideas." Harris's next two books, which discuss philosophical issues relating to ethics and free will, received several negative academic reviews. In his review of The Moral Landscape, neuroscientist Kenan Malik criticized Harris for not engaging adequately with philosophical literature: "Imagine a sociologist who wrote about evolutionary theory without discussing the work of Darwin, Fisher, Mayr, Hamilton, Trivers or Dawkins on the grounds that he did not come to his conclusions by reading about biology and because discussing concepts such as 'adaptation', 'speciation', 'homology', 'phylogenetics' or 'kin selection' would 'increase the amount of boredom in the universe'. How seriously would we, and should we, take his argument?" Philosopher Daniel Dennett argued that Harris's book Free Will successfully refuted the common understanding of free will, but that he failed to respond adequately to the compatibilist understanding of free will. Dennett said the book was valuable because it expressed the views of many eminent scientists, but that it nonetheless contained a "veritable museum of mistakes" and that "Harris and others need to do their homework if they want to engage with the best thought on the topic." On the other hand, The Moral Landscape received a largely positive review from psychologists James Diller and Andrew Nuzzolilli. Additionally, Free Will received a mixed academic review from philosopher Paul Pardi, who acknowledged that while it suffers from some conceptual confusions and that the core argument is a bit too 'breezy', it serves as a "good primer on key ideas in physicalist theories of freedom and the will". Harris's book on spirituality and meditation received mainly positive reviews as well as some mixed reviews. It was praised by Frank Bruni, for example, who described it as "so entirely of this moment, so keenly in touch with the growing number of Americans who are willing to say that they do not find the succor they crave, or a truth that makes sense to them, in organized religion." In April 2017, Harris stirred controversy by hosting the social scientist Charles Murray on his podcast, discussing topics including the heritability of IQ and race and intelligence. Harris stated the invitation was out of indignation at a violent protest against Murray at Middlebury College the month before and not out of particular interest in the material at hand. The podcast episode garnered significant criticism, most notably from Vox and Slate. Harris and Murray were defended by conservative commentators Andrew Sullivan and Kyle Smith, as well as by neuroscientist Richard Haier, who stated that the points Murray claimed were mainstream actually do receive broad scientific support. Harris and Vox editor-at-large Ezra Klein later discussed the affair in a podcast interview, where Klein criticized Harris for rebuking tribalism in the form of identity politics while failing to recognize his own version of tribalism. Hatewatch staff at the Southern Poverty Law Center (SPLC) wrote that members of the "skeptics" movement, of which Harris is "one of the most public faces," help to "channel people into the alt-right." Bari Weiss wrote in her opinion column that the SPLC had misrepresented Harris's views. Harris was profiled by Weiss in The New York Times as part of the "Intellectual Dark Web" (a term coined semi-ironically by Eric Weinstein). She described the group as "a collection of iconoclastic thinkers, academic renegades and media personalities who are having a rolling conversation – on podcasts, YouTube and Twitter, and in sold-out auditoriums – that sound unlike anything else happening, at least publicly, in the culture right now." In November 2020, Harris stated that he does not identify as a part of that group. In 2018, Robert Wright, a visiting professor of science and religion at Union Theological Seminary, published an article in Wired criticizing Harris, whom he described as "annoying" and "deluded". Wright wrote that Harris, despite claiming to be a champion of rationality, ignored his own cognitive biases and engaged in faulty and inconsistent arguments in his book The End of Faith. He wrote that "the famous proponent of New Atheism is on a crusade against tribalism but seems oblivious to his own version of it." Wright wrote that these biases are rooted in natural selection and impact everyone, but that they can be mitigated when acknowledged, whereas Harris offered no such acknowledgement. The UK Business Insider included Harris's podcast in their list of "8 podcasts that will change how you think about human behavior" in 2017, and PC Magazine included it in their list of "The Best Podcasts of 2018." In January 2020, Max Sanderson included Harris's podcast as a "Producer pick" in a "podcasts of the week" section for The Guardian. Accusations of Anti-Muslim bigotry and Islamophobia Harris has been accused of Islamophobia by journalist Glenn Greenwald and linguist and political commentator Noam Chomsky. Greenwald characterized some of Harris's statements as Islamophobic, such as: "the people who speak most sensibly about the threat that Islam poses to Europe are actually fascists," and "[t]he only future devout Muslims can envisage – as Muslims – is one in which all infidels have been converted to Islam, politically subjugated, or killed." After Harris and Chomsky exchanged a series of emails on terrorism and U.S. foreign policy in 2015, Chomsky said Harris had not prepared adequately for the exchange and that this revealed his work as unserious. Kyle Schmidlin also wrote in Salon that he considered Chomsky the winner of the exchange because Harris's arguments relied excessively on thought experiments with little application to the real world. In a 2016 interview with Al Jazeera English's UpFront, Chomsky further criticized Harris, saying he "specializes in hysterical, slanderous charges against people he doesn't like." Harris has countered that his views on this and other topics are frequently misrepresented by "unethical critics" who "deliberately" regard his words out of context. He has also criticized the validity of the term Islamophobia. "My criticism of Islam is a criticism of beliefs and their consequences, but my fellow liberals reflexively view it as an expression of intolerance toward people," he wrote following a disagreement with actor Ben Affleck in October 2014 on the show Real Time with Bill Maher. Affleck had described Harris's and host Bill Maher's views on Muslims as "gross" and "racist," and Harris's statement that "Islam is the mother lode of bad ideas" as an "ugly thing to say." Affleck also compared Harris's and Maher's rhetoric to that of people who use antisemitic canards or define African-Americans in terms of intraracial crime. Several conservative American media pundits in turn criticized Affleck and praised Harris and Maher for broaching the topic, saying that discussing it had become a "taboo." Harris's dialogue on Islam with Maajid Nawaz received a combination of positive reviews and mixed reviews. Irshad Manji wrote: "Their back-and-forth clarifies multiple confusions that plague the public conversation about Islam." Of Harris specifically, she said "[he] is right that liberals must end their silence about the religious motives behind much Islamist terror. At the same time, he ought to call out another double standard that feeds the liberal reflex to excuse Islamists: Atheists do not make nearly enough noise about hatred toward Muslims." Hamid Dabashi, a professor at Columbia University accused Sam Harris of being a "new atheist crusader" having never studied Islam thoroughly and having no special insight into any Muslim community on earth. He further accused Harris of engaging in such language to justify Western imperialism in the Muslim world. An article published in The Guardian accused Harris, along with Milo Yiannopoulos of influencing young white men into becoming racists and Anti-Muslim bigots. Harris has also been accused of merging his thoughts with far right ideologies, stating that he advocates the profiling of Muslims, "or anyone who looks like he or she could conceivably be Muslim," at airports. Harris was also accused of "advancing Neoconservative agendas" by Chris Hedges and for advocating a nuclear first strike policy on Muslims if an Islamist regime ever obtained nuclear weapons, stating in The End of Faith: Religion, Terror, and the Future of Reason that "in such a situation, the only thing likely to ensure our survival may be a nuclear first strike of our own." Recognition Harris's first book, The End of Faith (2004), won the PEN/Martha Albrand Award for First Nonfiction. The Waking Up podcast won the 2017 Webby Award for "People's Voice" in the category "Science & Education" under "Podcasts & Digital Audio". Harris was included on a list of the "100 Most Spiritually Influential Living People 2019" in the Watkins Review, a publication of Watkins Books, a London esoterica bookshop. Personal life Harris is a martial arts student and practices Brazilian jiu-jitsu. In 2004, he married Annaka Gorton, an author and editor of nonfiction and scientific books after engaging in a common interest about the nature of consciousness. They have two daughters, and live in Los Angeles. In September 2020, Harris became a member of Giving What We Can, an effective altruism organization whose members pledge to give at least 10% of their income to effective charities, both as an individual and as a company with Waking Up. Works Books Documentary Amila, D. & Shapiro, J. (2018). Islam and the Future of Tolerance. United States: The Orchard. Peer-reviewed articles Notes References External links 1967 births 21st-century American essayists 21st-century American male writers 21st-century American non-fiction writers 21st-century American philosophers 21st-century atheists Action theorists Activists from California American atheism activists American atheist writers American critics of Islam American ethicists American logicians American male essayists American male non-fiction writers American men podcasters American neuroscientists American people of Jewish descent American podcasters American practitioners of Brazilian jiu-jitsu American science writers American secularists American skeptics American social commentators American social sciences writers American spiritual writers Analytic philosophers Atheism activists Atheism in the United States Atheist philosophers California Democrats Cognitive neuroscientists Consciousness researchers and theorists Conversationalists Criticism of religion Critics of conspiracy theories Critics of creationism Critics of multiculturalism Critics of neoconservatism Critics of postmodernism Critics of religions Cultural critics Epistemologists Freethought writers Hyperreality theorists Living people Metaphysicians Metaphysics writers Moral philosophers Moral realists Ontologists Philosophers of culture Philosophers of education Philosophers of ethics and morality Philosophers of history Philosophers of logic Philosophers of love Philosophers of mind Philosophers of psychology Philosophers of religion Philosophers of science Philosophers of sexuality Philosophers of social science Philosophers of technology Philosophers of war Philosophy writers Political philosophers Psychedelic drug advocates Race and intelligence controversy Rationalists Rationality theorists Science activists Social critics Social philosophers Stanford University alumni Students of U Pandita Theorists on Western civilization University of California, Los Angeles alumni Writers about activism and social change Writers about globalization Writers about religion and science Writers from Los Angeles
false
[ "Allama Mamunul Haque () (born November 1973) is a Bangladeshi Deobandi Islamic scholar, politician, academic, writer, editor, and social reformer. He is the former Joint Secretary General of Hefazat-e-Islam Bangladesh, Secretary General of Bangladesh Khelafat Majlish, Shaykh al-Hadith of Jamia Rahmania Arabia Dhaka, Founder of Babri Mosque Bangladesh, Editor-in-Chief of Monthly Rahmani Paigam, President of Bangladesh Khelafat Youth Majlish and Khatib at Baitul Mamur Jame Mosque. He is also a leading figure in several organizations, including Rabetatul Waizin Bangladesh, an organization of Islamic speakers in Bangladesh. He is particularly popular with the hard-line speaks against atheists, secularists, anti-islamist and was arrested for leading the movement in this regard. 65 organizations including Bangladesh Awami League, Chhatra League, Jubo League have started a massive movement across the country demanding banning, arrest and exemplary punishment of him for promoting Islamic fundamentalism. In 2021, his \"claimed\" second wife has accused him of raping her.\n\nName and lineage \nHis father is Azizul Haque, founder of the Bangladesh Khelafat Majlish and first Bangali translator of Sahih al-Bukhari, who was well-known as ‘Shaykh al-Hadith’. He has 13 brothers and sisters. Mahfuzul Haque is his eldest brother, a prominent Islamic scholar in Bangladesh.\n\nCareer \nOn 10 October 2020, he was elected Secretary General of Bangladesh Khelafat Majlish and on 15 November, Joint-Secretary General of Hefazat-e-Islam Bangladesh.\n\nOn 29 September 2019, he was elected as an advisor to Rabetatul Waizin Bangladesh, an organization of Islamic speakers in Bangladesh. In February 2020, he started the construction of Babri Mosque Bangladesh in Dhaka.\n\nFamily \nAccording to Haque, he has married thrice but only with his marriage with, Amina Tayyiba, is certified. According to him, his other two wives are Jannat Ara Jharna and Jannatul Ferdous Lipi. However the Jharna has charged him with rape and detention and stated that they are not married.\n\nArrest \nHe was arrested by the Bangladesh government on 12 May 2013 for leading the Hefazat Movement held at Shapla Square in Dhaka on 5 and 6 May 2013. During this time he wrote a book, Speaking From Prison, which was published in September of that year.\n\nCriticism \nOn 6 April 2019, The Bangladesh government declared him an aggressive speaker.\n\nIn 13 November 2020, he requested Bangladesh government to remove the upcoming big statue of Sheikh Mujibur Rahman, saying that it is contradictory with Islam to establishing statues of the leaders. In 19 November 2020, he clarified that, he doesn't disrespect Mujib, but only requesting not to make the statue of Mujib which is prohibited in Islam.\n\nPublications \nHe has published ten books and edited four. Since 2001, he has been editor of the magazine Montly Rahmani Paygame. He also writes articles on contemporary issues in national and daily newspapers.\n\nBooks:\n\n Speaking from prison (2013)\n Time message\n Speaking of arches and pulpits\n The role of Alem Society in the freedom struggle\n Struggle in the way of truth\n Women's rights: interpretation and elimination of misconceptions\n Pahela Boishakh: What does Islam say?\n The identity of a successful believer\n A religious invitation\n Caliphate state system: introduction and policy\n I want lively workers in the Islamic movement\n Leadership and loyalty in Islamic organizations\n Leadership, loyalty and Islamic life\n What is the Islamic organization and why?\n\nReferences \n\nBangladeshi Islamic religious leaders\n1973 births\nDeobandis\n20th-century Muslim scholars of Islam\nSunni Islamic movements\nPeople from Dhaka District\nBangladeshi Sunni Muslim scholars of Islam\nSunni Muslim scholars\nPeople from Dhaka\nHanafis\nLiving people\n21st-century Bangladeshi politicians\nBangladeshi editors\n21st-century Bangladeshi writers\n20th-century Bengalis\n21st-century Bengalis", "A God Who Hates: The Courageous Woman Who Inflamed the Muslim World Speaks Out Against the Evils of Islam is a book written by Wafa Sultan (Arabic: وفاء سلطان; born June 14, 1958, Baniyas, Syria) a medical doctor who trained as a psychiatrist in Syria, and later emigrated to the United States, where she became an author and critic of Muslim society and Islam.\n\nThe book was published in 2009 by St. Martin's Press.\n\nIn her book, Sultan relates her life story and personal relationship with Islam. She attempts to address the history of Islam from a psychological perspective, and examine the political ideology of the religion's modern form.\n\nSultan has received death threats since publishing her book.\n\nNotable quotations\n\"The trouble with Islam is deeply rooted in its teachings. Islam is not only a religion. Islam is also a political ideology that preaches violence and applies its agenda by force.\"\n\n\"No one can be a true Muslim and a true American simultaneously. Islam is both a religion and a state, and to be a true Muslim you must believe in Islam as both religion and state. A true Muslim does not acknowledge the U.S. Constitution, and his willingness to live under that constitution is, as far as he is concerned, nothing more than an unavoidable step on the way to the constitution's replacement by Islamic Sharia law.\"\n\nReferences \n\nBooks critical of Islam\n2009 non-fiction books\nSt. Martin's Press books" ]
[ "Sam Harris", "Islam", "What is his view on Islam?", "\"The idea that Islam is a 'peaceful religion hijacked by extremists' is a dangerous fantasy--and it is now a particularly dangerous fantasy for Muslims to indulge.", "Does he write about this?", "Harris wrote a response to controversy over his criticism of Islam, which also aired on a debate", "Where did the debate happen?", "on a debate hosted by The Huffington Post", "Was there a specific topic for that debate?", "controversy over his criticism of Islam,", "Does it state when he started speaking out against Islam?", "In 2006, after the Jyllands-Posten Muhammad cartoons controversy," ]
C_498d41e95a814b8e998dfd1794017dba_0
Does he feel this way towards Muslims in general or just the religion?
6
Does Sam Harris feel critical of Muslims in general or just the religion?
Sam Harris
Harris considers Islam to be "especially belligerent and inimical to the norms of civil discourse," relative to other world religions. He asserts that the "dogmatic commitment to using violence to defend one's faith, both from within and without" to varying degrees, is a central Islamic doctrine that is found in few other religions to the same degree, and that "this difference has consequences in the real world." In 2006, after the Jyllands-Posten Muhammad cartoons controversy, Harris wrote, "The idea that Islam is a 'peaceful religion hijacked by extremists' is a dangerous fantasy--and it is now a particularly dangerous fantasy for Muslims to indulge. It is not at all clear how we should proceed in our dialogue with the Muslim world, but deluding ourselves with euphemisms is not the answer. It now appears to be a truism in foreign policy circles that real reform in the Muslim world cannot be imposed from the outside. But it is important to recognize why this is so--it is so because the Muslim world is utterly deranged by its religious tribalism. In confronting the religious literalism and ignorance of the Muslim world, we must appreciate how terrifyingly isolated Muslims have become in intellectual terms." He states that his criticism of the religion is aimed not at Muslims as people, but at the doctrine of Islam. Harris wrote a response to controversy over his criticism of Islam, which also aired on a debate hosted by The Huffington Post on whether critics of Islam are unfairly labeled as bigots: Is it really true that the sins for which I hold Islam accountable are "committed at least to an equal extent by many other groups, especially [my] own"? ... The freedom to poke fun at Mormonism is guaranteed [not by the First Amendment but] by the fact that Mormons do not dispatch assassins to silence their critics or summon murderous hordes in response to satire. ... Can any reader of this page imagine the staging of a similar play [to The Book of Mormon] about Islam in the United States, or anywhere else, in the year 2013? ... At this moment in history, there is only one religion that systematically stifles free expression with credible threats of violence. The truth is, we have already lost our First Amendment rights with respect to Islam--and because they brand any observation of this fact a symptom of Islamophobia, Muslim apologists like Greenwald are largely to blame. Harris has criticized common usage of the term "Islamophobia". "My criticism of Islam is a criticism of beliefs and their consequences," he wrote following a controversial clash with Ben Affleck in October 2014 on the show Real Time with Bill Maher, "but my fellow liberals reflexively view it as an expression of intolerance toward people." During an email exchange with Glenn Greenwald, a critic of the New Atheists, Harris argued that "Islamophobia is a term of propaganda designed to protect Islam from the forces of secularism by conflating all criticism of it with racism and xenophobia. And it is doing its job, because people like you have been taken in by it." CANNOTANSWER
Harris considers Islam to be "especially belligerent and inimical to the norms of civil discourse," relative to other world religions.
Samuel Benjamin Harris (born April 9, 1967) is an American philosopher, neuroscientist, author, and podcast host. His work touches on a wide range of topics, including rationality, religion, ethics, free will, neuroscience, meditation, psychedelics, philosophy of mind, politics, terrorism, and artificial intelligence. Harris came to prominence for his criticism of religion, and Islam in particular, and is known as one of the "Four Horsemen" of New Atheism, along with Richard Dawkins, Christopher Hitchens, and Daniel Dennett. Harris's first book, The End of Faith (2004), won the PEN/Martha Albrand Award for First Nonfiction and remained on The New York Times Best Seller list for 33 weeks. Harris has since written six additional books: Letter to a Christian Nation in 2006, The Moral Landscape: How Science Can Determine Human Values in 2010, the long-form essay Lying in 2011, the short book Free Will in 2012, Waking Up: A Guide to Spirituality Without Religion in 2014, and (with British writer Maajid Nawaz) Islam and the Future of Tolerance: A Dialogue in 2015. Harris's work has been translated into over 20 languages. Harris has debated with many prominent figures on the topics of God or religion, including William Lane Craig, Jordan Peterson, Rick Warren, Andrew Sullivan, Reza Aslan, David Wolpe, Deepak Chopra, Ben Shapiro and Jean Houston. Since September 2013, Harris has hosted the Making Sense podcast (originally titled Waking Up), which has a large listenership. In September 2018, Harris released a meditation app, Waking Up with Sam Harris. Harris's views on free will, race, and Islam have attracted controversy. Early life and education Samuel Benjamin Harris was born in Los Angeles, California, on April 9, 1967. He is the son of actor Berkeley Harris, who appeared mainly in Western films, and TV writer and producer Susan Harris (née Spivak), who created Soap (TV series) and The Golden Girls among other series. His father, born in North Carolina, came from a Quaker background, and his mother is Jewish but not religious. He was raised by his mother following his parents' divorce when he was aged two. Harris has stated that his upbringing was entirely secular and that his parents rarely discussed religion, though he also stated that he was not raised as an atheist. While his original major was in English, Harris became interested in philosophical questions while at Stanford University after an experience with the empathogen–entactogen MDMA (colloquially known as ecstasy or XTC). The experience led him to be interested in the idea that he might be able to achieve spiritual insights without the use of drugs. Leaving Stanford in his second year, a quarter after his psychedelic experience, he visited India and Nepal, where he studied meditation with teachers of Buddhist and Hindu religions, including Dilgo Khyentse. Eleven years later, in 1997, he returned to Stanford, completing a B.A. degree in philosophy in 2000. Harris began writing his first book, The End of Faith, immediately after the September 11 attacks. He received a Ph.D. in cognitive neuroscience in 2009 from the University of California, Los Angeles, using functional magnetic resonance imaging to conduct research into the neural basis of belief, disbelief, and uncertainty. His thesis was titled The Moral Landscape: How Science Could Determine Human Values. His advisor was Mark S. Cohen. Career Writing Harris's writing focuses on philosophy, neuroscience, and criticism of religion. He came to prominence for his criticism of religion (Islam in particular) and he is described as one of the Four Horsemen of Atheism, along with Richard Dawkins, Christopher Hitchens, and Daniel Dennett. He has written for publications such as The New York Times, the Los Angeles Times, Economist, London Times, Boston Globe, and The Atlantic. Five of Harris's books have been New York Times bestsellers, and his writing has been translated into over 20 languages. The End of Faith (2004) remained on The New York Times Best Seller list for 33 weeks. Harris has a chapter giving advice in Tim Ferriss' book Tools of Titans. Debates on religion In 2007, Harris engaged in a lengthy debate with conservative commentator Andrew Sullivan on the Internet forum Beliefnet. In April 2007, Harris debated with evangelical pastor Rick Warren for Newsweek magazine. Harris also debated with Rabbi David Wolpe in 2007. In 2010, Harris joined Michael Shermer to debate with Deepak Chopra and Jean Houston on the future of God in a debate hosted by ABC News Nightline. Harris debated with Christian philosopher William Lane Craig in April 2011 on whether there can be an objective morality without God. In June and July 2018, he met with Canadian psychologist Jordan Peterson for a series of debates on religion, particularly the relationship between religious values and scientific fact in defining truth. Harris has also debated with the scholar Reza Aslan. Podcast In September 2013, Harris began releasing the Waking Up podcast (since re-titled Making Sense). Episodes vary in length but often last over two hours. Releases do not follow a regular schedule. The podcast has a large listenership. Meditation app In September 2018, Harris released a meditation course app, Waking Up with Sam Harris. The app provides daily meditations; long guided meditations; daily "Moments" (brief meditations and reminders); conversations with thought leaders in psychology, meditation, philosophy, psychedelics, and other disciplines; a selection of lessons on various topics, such as Mind & Emotion, Free Will, and Doing Good; and more. Users of the app are introduced to a number of types of meditation, such as mindfulness meditation, vipassanā-style meditation, loving-kindness meditation, and Dzogchen. In September 2020, Harris announced his commitment to donate a least 10% of Waking Up's profits to highly effective charities, thus becoming the first company to sign the Giving What We Can pledge for companies. The pledge was done retroactively, taking into account the profits since the day the app launched 2 years previously. Views Religion Harris is known as one of the most prominent critics of religion, and is a leading figure in the New Atheist movement. Harris is particularly opposed to what he refers to as dogmatic belief, and says that "Pretending to know things one doesn't know is a betrayal of science – and yet it is the lifeblood of religion." While purportedly opposed to religion in general and the belief systems of them, Harris believes that all religions are not created equal. Often invoking Jainism to contrast Islam as a whole, Harris highlights the difference in the specific doctrine and scripture as the main indicator of a religion's value, or lack thereof. In 2006, Harris described Islam as "all fringe and no center," and wrote in The End of Faith that "the doctrine of Islam [...] represents a unique danger to all of us", arguing that the War on terror is really a war against Islam. In 2014, Harris said he considers Islam to be "especially belligerent and inimical to the norms of civil discourse", as it involves what Harris considers to be "bad ideas, held for bad reasons, leading to bad behavior." In 2015 Harris and secular Islamic activist Maajid Nawaz cowrote Islam and the Future of Tolerance. In this book, Harris argues that the word Islamophobia is a "pernicious meme", a label which prevents discussion about the threat of Islam. Harris has been described in 2020 by Jonathan Matusitz, Associate Professor at the University of Central Florida, as "a champion of the counter-jihad left". Harris is critical of the Christian right in politics in the United States, blaming them for the political focus on "pseudo-problems like gay marriage." He is also critical of liberal Christianityas represented, for instance, by the theology of Paul Tillichwhich he argues claims to base its beliefs on the Bible despite actually being influenced by secular modernity. He further states that in so doing liberal Christianity provides rhetorical cover to fundamentalists. Spirituality Harris holds that there is "nothing irrational about seeking the states of mind that lie at the core of many religions. Compassion, awe, devotion, and feelings of oneness are surely among the most valuable experiences a person can have." Harris rejects the dichotomy between spirituality and rationality, favoring a middle path that preserves spirituality and science but does not involve religion. He writes that spirituality should be understood in light of scientific disciplines like neuroscience and psychology. Science, he contends, can show how to maximize human well-being, but may fail to answer certain questions about the nature of being, answers to some of which he says are discoverable directly through our experience. His conception of spirituality does not involve a belief in any god. In Waking Up: A Guide to Spirituality Without Religion (2014), Harris describes his experience with Dzogchen, a Tibetan Buddhist meditation practice, and recommends it to his readers. He writes that the purpose of spirituality (as he defines it – he concedes that the term's uses are diverse and sometimes indefensible) is to become aware that our sense of self is illusory, and says this realization brings both happiness and insight into the nature of consciousness. This process of realization, he argues, is based on experience and is not contingent on faith. Harris especially recommends the “headless” meditation technique as written about by Douglas Harding. Science and morality In The Moral Landscape, Harris argues that science answers moral problems and can aid human well-being. Free will Harris says that the idea of free will "cannot be mapped on to any conceivable reality" and is incoherent. Harris writes in Free Will that neuroscience "reveals you to be a biochemical puppet." Social and political views Harris describes himself as a liberal, and states that he supports raising taxes on the wealthy, decriminalizing drugs and legalizing same-sex marriage. In an op-ed for the Los Angeles Times, Harris said that he supported most of the criticism against Bush administration's war in Iraq, and all criticism of fiscal policy and the administration's treatment of science. Harris also said that liberalism has grown "dangerously out of touch with the realities of our world" when it comes to threats allegedly posed by Islamic fundamentalism. Harris is a registered Democrat. During the 2016 United States presidential election, Harris supported Hillary Clinton in the Democratic Party presidential primaries against Bernie Sanders, and despite calling her "a terribly flawed candidate for the presidency," he favored her in the general election and came out strongly in opposition to Donald Trump's candidacy. Harris has criticized Trump for lying, stating in 2018 that Trump "has assaulted truth more than anyone in human history." During the 2020 United States presidential election, Harris supported Andrew Yang in the Democratic primaries. Harris also introduced Yang to podcaster Joe Rogan. Artificial intelligence Harris has discussed existential risk from artificial general intelligence in depth. He has given a TED talk on the topic, arguing it will be a major threat in the future and criticizing the paucity of human interest on the subject. He argues the dangers from artificial intelligence (AI) follow from three premises: that intelligence is the result of physical information processing, that humans will continue innovation in AI, and that humans are nowhere near the maximum possible extent of intelligence. Harris states that even if superintelligent AI is five to ten decades away, the scale of its implications for human civilization warrant discussion of the issue in the present. Reception and controversies Academic and journalistic reception to Harris's works and ideas has been varied. Harris's first two books, in which he lays out his criticisms of religion, received negative reviews from Christian scholars. From secular sources, the books received a mixture of negative reviews and positive reviews. In his review of The End of Faith, American historian Alexander Saxton criticized what he called Harris's "vitriolic and selective polemic against Islam," (emphasis in original) which he said "obscure[s] the obvious reality that the invasion of Iraq and the War against Terror are driven by religious irrationalities, cultivated and conceded to, at high policy levels in the U.S., and which are at least comparable to the irrationality of Islamic crusaders and Jihadists." By contrast, Stephanie Merritt wrote of the same book that Harris's "central argument in The End of Faith is sound: religion is the only area of human knowledge in which it is still acceptable to hold beliefs dating from antiquity and a modern society should subject those beliefs to the same principles that govern scientific, medical or geographical inquiry – particularly if they are inherently hostile to those with different ideas." Harris's next two books, which discuss philosophical issues relating to ethics and free will, received several negative academic reviews. In his review of The Moral Landscape, neuroscientist Kenan Malik criticized Harris for not engaging adequately with philosophical literature: "Imagine a sociologist who wrote about evolutionary theory without discussing the work of Darwin, Fisher, Mayr, Hamilton, Trivers or Dawkins on the grounds that he did not come to his conclusions by reading about biology and because discussing concepts such as 'adaptation', 'speciation', 'homology', 'phylogenetics' or 'kin selection' would 'increase the amount of boredom in the universe'. How seriously would we, and should we, take his argument?" Philosopher Daniel Dennett argued that Harris's book Free Will successfully refuted the common understanding of free will, but that he failed to respond adequately to the compatibilist understanding of free will. Dennett said the book was valuable because it expressed the views of many eminent scientists, but that it nonetheless contained a "veritable museum of mistakes" and that "Harris and others need to do their homework if they want to engage with the best thought on the topic." On the other hand, The Moral Landscape received a largely positive review from psychologists James Diller and Andrew Nuzzolilli. Additionally, Free Will received a mixed academic review from philosopher Paul Pardi, who acknowledged that while it suffers from some conceptual confusions and that the core argument is a bit too 'breezy', it serves as a "good primer on key ideas in physicalist theories of freedom and the will". Harris's book on spirituality and meditation received mainly positive reviews as well as some mixed reviews. It was praised by Frank Bruni, for example, who described it as "so entirely of this moment, so keenly in touch with the growing number of Americans who are willing to say that they do not find the succor they crave, or a truth that makes sense to them, in organized religion." In April 2017, Harris stirred controversy by hosting the social scientist Charles Murray on his podcast, discussing topics including the heritability of IQ and race and intelligence. Harris stated the invitation was out of indignation at a violent protest against Murray at Middlebury College the month before and not out of particular interest in the material at hand. The podcast episode garnered significant criticism, most notably from Vox and Slate. Harris and Murray were defended by conservative commentators Andrew Sullivan and Kyle Smith, as well as by neuroscientist Richard Haier, who stated that the points Murray claimed were mainstream actually do receive broad scientific support. Harris and Vox editor-at-large Ezra Klein later discussed the affair in a podcast interview, where Klein criticized Harris for rebuking tribalism in the form of identity politics while failing to recognize his own version of tribalism. Hatewatch staff at the Southern Poverty Law Center (SPLC) wrote that members of the "skeptics" movement, of which Harris is "one of the most public faces," help to "channel people into the alt-right." Bari Weiss wrote in her opinion column that the SPLC had misrepresented Harris's views. Harris was profiled by Weiss in The New York Times as part of the "Intellectual Dark Web" (a term coined semi-ironically by Eric Weinstein). She described the group as "a collection of iconoclastic thinkers, academic renegades and media personalities who are having a rolling conversation – on podcasts, YouTube and Twitter, and in sold-out auditoriums – that sound unlike anything else happening, at least publicly, in the culture right now." In November 2020, Harris stated that he does not identify as a part of that group. In 2018, Robert Wright, a visiting professor of science and religion at Union Theological Seminary, published an article in Wired criticizing Harris, whom he described as "annoying" and "deluded". Wright wrote that Harris, despite claiming to be a champion of rationality, ignored his own cognitive biases and engaged in faulty and inconsistent arguments in his book The End of Faith. He wrote that "the famous proponent of New Atheism is on a crusade against tribalism but seems oblivious to his own version of it." Wright wrote that these biases are rooted in natural selection and impact everyone, but that they can be mitigated when acknowledged, whereas Harris offered no such acknowledgement. The UK Business Insider included Harris's podcast in their list of "8 podcasts that will change how you think about human behavior" in 2017, and PC Magazine included it in their list of "The Best Podcasts of 2018." In January 2020, Max Sanderson included Harris's podcast as a "Producer pick" in a "podcasts of the week" section for The Guardian. Accusations of Anti-Muslim bigotry and Islamophobia Harris has been accused of Islamophobia by journalist Glenn Greenwald and linguist and political commentator Noam Chomsky. Greenwald characterized some of Harris's statements as Islamophobic, such as: "the people who speak most sensibly about the threat that Islam poses to Europe are actually fascists," and "[t]he only future devout Muslims can envisage – as Muslims – is one in which all infidels have been converted to Islam, politically subjugated, or killed." After Harris and Chomsky exchanged a series of emails on terrorism and U.S. foreign policy in 2015, Chomsky said Harris had not prepared adequately for the exchange and that this revealed his work as unserious. Kyle Schmidlin also wrote in Salon that he considered Chomsky the winner of the exchange because Harris's arguments relied excessively on thought experiments with little application to the real world. In a 2016 interview with Al Jazeera English's UpFront, Chomsky further criticized Harris, saying he "specializes in hysterical, slanderous charges against people he doesn't like." Harris has countered that his views on this and other topics are frequently misrepresented by "unethical critics" who "deliberately" regard his words out of context. He has also criticized the validity of the term Islamophobia. "My criticism of Islam is a criticism of beliefs and their consequences, but my fellow liberals reflexively view it as an expression of intolerance toward people," he wrote following a disagreement with actor Ben Affleck in October 2014 on the show Real Time with Bill Maher. Affleck had described Harris's and host Bill Maher's views on Muslims as "gross" and "racist," and Harris's statement that "Islam is the mother lode of bad ideas" as an "ugly thing to say." Affleck also compared Harris's and Maher's rhetoric to that of people who use antisemitic canards or define African-Americans in terms of intraracial crime. Several conservative American media pundits in turn criticized Affleck and praised Harris and Maher for broaching the topic, saying that discussing it had become a "taboo." Harris's dialogue on Islam with Maajid Nawaz received a combination of positive reviews and mixed reviews. Irshad Manji wrote: "Their back-and-forth clarifies multiple confusions that plague the public conversation about Islam." Of Harris specifically, she said "[he] is right that liberals must end their silence about the religious motives behind much Islamist terror. At the same time, he ought to call out another double standard that feeds the liberal reflex to excuse Islamists: Atheists do not make nearly enough noise about hatred toward Muslims." Hamid Dabashi, a professor at Columbia University accused Sam Harris of being a "new atheist crusader" having never studied Islam thoroughly and having no special insight into any Muslim community on earth. He further accused Harris of engaging in such language to justify Western imperialism in the Muslim world. An article published in The Guardian accused Harris, along with Milo Yiannopoulos of influencing young white men into becoming racists and Anti-Muslim bigots. Harris has also been accused of merging his thoughts with far right ideologies, stating that he advocates the profiling of Muslims, "or anyone who looks like he or she could conceivably be Muslim," at airports. Harris was also accused of "advancing Neoconservative agendas" by Chris Hedges and for advocating a nuclear first strike policy on Muslims if an Islamist regime ever obtained nuclear weapons, stating in The End of Faith: Religion, Terror, and the Future of Reason that "in such a situation, the only thing likely to ensure our survival may be a nuclear first strike of our own." Recognition Harris's first book, The End of Faith (2004), won the PEN/Martha Albrand Award for First Nonfiction. The Waking Up podcast won the 2017 Webby Award for "People's Voice" in the category "Science & Education" under "Podcasts & Digital Audio". Harris was included on a list of the "100 Most Spiritually Influential Living People 2019" in the Watkins Review, a publication of Watkins Books, a London esoterica bookshop. Personal life Harris is a martial arts student and practices Brazilian jiu-jitsu. In 2004, he married Annaka Gorton, an author and editor of nonfiction and scientific books after engaging in a common interest about the nature of consciousness. They have two daughters, and live in Los Angeles. In September 2020, Harris became a member of Giving What We Can, an effective altruism organization whose members pledge to give at least 10% of their income to effective charities, both as an individual and as a company with Waking Up. Works Books Documentary Amila, D. & Shapiro, J. (2018). Islam and the Future of Tolerance. United States: The Orchard. Peer-reviewed articles Notes References External links 1967 births 21st-century American essayists 21st-century American male writers 21st-century American non-fiction writers 21st-century American philosophers 21st-century atheists Action theorists Activists from California American atheism activists American atheist writers American critics of Islam American ethicists American logicians American male essayists American male non-fiction writers American men podcasters American neuroscientists American people of Jewish descent American podcasters American practitioners of Brazilian jiu-jitsu American science writers American secularists American skeptics American social commentators American social sciences writers American spiritual writers Analytic philosophers Atheism activists Atheism in the United States Atheist philosophers California Democrats Cognitive neuroscientists Consciousness researchers and theorists Conversationalists Criticism of religion Critics of conspiracy theories Critics of creationism Critics of multiculturalism Critics of neoconservatism Critics of postmodernism Critics of religions Cultural critics Epistemologists Freethought writers Hyperreality theorists Living people Metaphysicians Metaphysics writers Moral philosophers Moral realists Ontologists Philosophers of culture Philosophers of education Philosophers of ethics and morality Philosophers of history Philosophers of logic Philosophers of love Philosophers of mind Philosophers of psychology Philosophers of religion Philosophers of science Philosophers of sexuality Philosophers of social science Philosophers of technology Philosophers of war Philosophy writers Political philosophers Psychedelic drug advocates Race and intelligence controversy Rationalists Rationality theorists Science activists Social critics Social philosophers Stanford University alumni Students of U Pandita Theorists on Western civilization University of California, Los Angeles alumni Writers about activism and social change Writers about globalization Writers about religion and science Writers from Los Angeles
false
[ "The National Association of Muslim Police (NAMP) is a British organisation for Muslim police officers. It represents more than 2,000 members and was founded in 2007.\n\n1. The National Association of Muslim Police (NAMP) is a British organisation for Muslim police officers & staff.\n\n2. To provide support to localised associations.\n\n3. Improving recruitment, retention and progression of Muslim officers and staff.\n\n4. Addressing disproportionality within misconduct and grievance procedures.\n\n5. To promote an understanding and awareness of Islam within the police service and the wider community\n\n6. To influence the direction of national policies within the Police Service.\n\n7. To promote community cohesion and enhance the safety of our communities.\n\nCurrent Chair:\nAlex Gent 2020 - Current\n\nPrevious Chairs:\nMustafa Mohammed QPM 2016 – 2020\n\nIslamophobia\n\nThe top priority for NAMP is to tackle Islamophobia both internally within the Police and externally within the community. A survey conducted by NAMP in 2020 showed that the one of the biggest barriers for Muslims applying for the Police is fear of institutional Racism and Islamophobia.\n\nIn October 2019, NAMP submitted a report to the Home Affairs Select Committee Islamophobia inquiry. The paper proposed that the following definition should be used to describe Islamophobia.\n\n\"Islamophobia encompasses a range of negative perceptions and attitudes towards Muslims. This may be expressed as a prejudice against and/or hatred towards Muslims. Islamophobia may take the form of rhetorical, physical or discriminatory behaviour and directed towards Muslim or non-Muslim individuals, the wider Muslim community and/or Muslim property.\"\n\nIn addition:\nIslamophobia frequently links Muslims to terrorism, and it is often used to blame Muslims for issues within society. It is expressed in speech, writing, visual forms and action, and employs sinister stereotypes and negative character traits.\nContemporary examples of Islamophobia in public life, the media, schools, the workplace, and in the religious sphere could, taking into account the overall context, include, but are not limited to:\n\n1. Calling for, aiding, or justifying the killing or harming of Muslims in the name of a radical ideology or an extremist view of religion\n\n2. Calling for, aiding, or justifying damage or destruction of property such as Mosques and other religious establishments in the name of a radical ideology or an extremist view of religion\n\n3. Making deceitful, dehumanising, demonising, or stereotypical allegations about Muslims such as, especially but not exclusively, the myth about all Muslims being terrorists\n\n4. Accusing Muslims collectively of being responsible for real or imagined wrongdoing committed by a single Muslim person or group, or even for acts committed by non-Muslims\n\n5. Accusing Muslims collectively of being supportive of terrorist organisations and other illegal practices such as FGM\n\n6. Rhetoric which links Islam to terrorism and/or terrorist activity\n\n7. Using the symbols and images associated with classic Islamophobia (e.g., illustrations of Muslims carrying bombs) to characterise Muslims\n\n8. Holding Muslims collectively responsible for the actions of a government in a country where Muslims form the majority\n\n9. Treating Muslims less favourably due to perceptions driven by negative stereotypes of the Muslim community\n\nCriminal acts are Islamophobic when the targets of attacks, whether they are people or property (such as buildings, schools, places of worship and cemeteries) are selected because they are, or are perceived to be, Muslim or linked to Muslims.\n\nIslamophobic discrimination is the denial of opportunities or services for Muslims, which are available to others.\n\nCounter Terrorism (CT) Terminology\n\nNAMP originally raised the issue about CT terminology in a paper submitted to the Home Affairs Select Committee in October 2019. This was followed by paper submitted to the Counter Terrorism Advisory Group, which proposed a change in terminology. Later that year in 2020 a survey was conducted by NAMP over members of the association and Muslims within the community. The survey highlighted that words such as \"Islamism\" and \"Jihadism\" link Islam itself to extremism, therefore stigmatising a whole religion and followers of it. The majority of respondents felt vulnerable when these terms are used. NAMP believes the use of such terminology creates negative perceptions of the general Muslim population, and contributes towards Islamophobic attitudes and an increase in hate crime. NAMP are seeking change this terminology and have made recommendations to the National Police Chief Council and the Independent Prevent Review.\n\nNAMP Website: https://muslim.police.uk/\nNAMP Twitter: @Official_NAMP\n\nNAMP Knowledge Hub page: https://knowledgehub.group- National Association of Muslim Police User Group.\n\nReferences\n\nExternal links\n Official webpage\n\nMuslim Police\nOrganizations established in 2007\n2007 establishments in the United Kingdom\nIslamic organisations based in the United Kingdom", "Islam has no recognition in Bhutan and is practised by just 2,000 people, where the constitution establishes the \"Chhoe-sid-nyi\" (dual system of religion and politics) of Bhutan as unified in the person of the King who, as a Buddhist, is the upholder of the Chhoe-sid (religion and politics; temporal and secular) and the protector of all religions in Bhutan. In 2009, the Pew Research Center estimated based on 2010 data that 0.1% of the population, or less than 2,000 people, were Muslims.\n\nSee also\nFreedom of religion in Bhutan\nIslam in South Asia\nCaste system among South Asian Muslims\n\nReferences\n\n \nBhutan" ]
[ "Sam Harris", "Islam", "What is his view on Islam?", "\"The idea that Islam is a 'peaceful religion hijacked by extremists' is a dangerous fantasy--and it is now a particularly dangerous fantasy for Muslims to indulge.", "Does he write about this?", "Harris wrote a response to controversy over his criticism of Islam, which also aired on a debate", "Where did the debate happen?", "on a debate hosted by The Huffington Post", "Was there a specific topic for that debate?", "controversy over his criticism of Islam,", "Does it state when he started speaking out against Islam?", "In 2006, after the Jyllands-Posten Muhammad cartoons controversy,", "Does he feel this way towards Muslims in general or just the religion?", "Harris considers Islam to be \"especially belligerent and inimical to the norms of civil discourse,\" relative to other world religions." ]
C_498d41e95a814b8e998dfd1794017dba_0
Was he on any tv shows?
7
Was Sam Harris on any tv shows?
Sam Harris
Harris considers Islam to be "especially belligerent and inimical to the norms of civil discourse," relative to other world religions. He asserts that the "dogmatic commitment to using violence to defend one's faith, both from within and without" to varying degrees, is a central Islamic doctrine that is found in few other religions to the same degree, and that "this difference has consequences in the real world." In 2006, after the Jyllands-Posten Muhammad cartoons controversy, Harris wrote, "The idea that Islam is a 'peaceful religion hijacked by extremists' is a dangerous fantasy--and it is now a particularly dangerous fantasy for Muslims to indulge. It is not at all clear how we should proceed in our dialogue with the Muslim world, but deluding ourselves with euphemisms is not the answer. It now appears to be a truism in foreign policy circles that real reform in the Muslim world cannot be imposed from the outside. But it is important to recognize why this is so--it is so because the Muslim world is utterly deranged by its religious tribalism. In confronting the religious literalism and ignorance of the Muslim world, we must appreciate how terrifyingly isolated Muslims have become in intellectual terms." He states that his criticism of the religion is aimed not at Muslims as people, but at the doctrine of Islam. Harris wrote a response to controversy over his criticism of Islam, which also aired on a debate hosted by The Huffington Post on whether critics of Islam are unfairly labeled as bigots: Is it really true that the sins for which I hold Islam accountable are "committed at least to an equal extent by many other groups, especially [my] own"? ... The freedom to poke fun at Mormonism is guaranteed [not by the First Amendment but] by the fact that Mormons do not dispatch assassins to silence their critics or summon murderous hordes in response to satire. ... Can any reader of this page imagine the staging of a similar play [to The Book of Mormon] about Islam in the United States, or anywhere else, in the year 2013? ... At this moment in history, there is only one religion that systematically stifles free expression with credible threats of violence. The truth is, we have already lost our First Amendment rights with respect to Islam--and because they brand any observation of this fact a symptom of Islamophobia, Muslim apologists like Greenwald are largely to blame. Harris has criticized common usage of the term "Islamophobia". "My criticism of Islam is a criticism of beliefs and their consequences," he wrote following a controversial clash with Ben Affleck in October 2014 on the show Real Time with Bill Maher, "but my fellow liberals reflexively view it as an expression of intolerance toward people." During an email exchange with Glenn Greenwald, a critic of the New Atheists, Harris argued that "Islamophobia is a term of propaganda designed to protect Islam from the forces of secularism by conflating all criticism of it with racism and xenophobia. And it is doing its job, because people like you have been taken in by it." CANNOTANSWER
CANNOTANSWER
Samuel Benjamin Harris (born April 9, 1967) is an American philosopher, neuroscientist, author, and podcast host. His work touches on a wide range of topics, including rationality, religion, ethics, free will, neuroscience, meditation, psychedelics, philosophy of mind, politics, terrorism, and artificial intelligence. Harris came to prominence for his criticism of religion, and Islam in particular, and is known as one of the "Four Horsemen" of New Atheism, along with Richard Dawkins, Christopher Hitchens, and Daniel Dennett. Harris's first book, The End of Faith (2004), won the PEN/Martha Albrand Award for First Nonfiction and remained on The New York Times Best Seller list for 33 weeks. Harris has since written six additional books: Letter to a Christian Nation in 2006, The Moral Landscape: How Science Can Determine Human Values in 2010, the long-form essay Lying in 2011, the short book Free Will in 2012, Waking Up: A Guide to Spirituality Without Religion in 2014, and (with British writer Maajid Nawaz) Islam and the Future of Tolerance: A Dialogue in 2015. Harris's work has been translated into over 20 languages. Harris has debated with many prominent figures on the topics of God or religion, including William Lane Craig, Jordan Peterson, Rick Warren, Andrew Sullivan, Reza Aslan, David Wolpe, Deepak Chopra, Ben Shapiro and Jean Houston. Since September 2013, Harris has hosted the Making Sense podcast (originally titled Waking Up), which has a large listenership. In September 2018, Harris released a meditation app, Waking Up with Sam Harris. Harris's views on free will, race, and Islam have attracted controversy. Early life and education Samuel Benjamin Harris was born in Los Angeles, California, on April 9, 1967. He is the son of actor Berkeley Harris, who appeared mainly in Western films, and TV writer and producer Susan Harris (née Spivak), who created Soap (TV series) and The Golden Girls among other series. His father, born in North Carolina, came from a Quaker background, and his mother is Jewish but not religious. He was raised by his mother following his parents' divorce when he was aged two. Harris has stated that his upbringing was entirely secular and that his parents rarely discussed religion, though he also stated that he was not raised as an atheist. While his original major was in English, Harris became interested in philosophical questions while at Stanford University after an experience with the empathogen–entactogen MDMA (colloquially known as ecstasy or XTC). The experience led him to be interested in the idea that he might be able to achieve spiritual insights without the use of drugs. Leaving Stanford in his second year, a quarter after his psychedelic experience, he visited India and Nepal, where he studied meditation with teachers of Buddhist and Hindu religions, including Dilgo Khyentse. Eleven years later, in 1997, he returned to Stanford, completing a B.A. degree in philosophy in 2000. Harris began writing his first book, The End of Faith, immediately after the September 11 attacks. He received a Ph.D. in cognitive neuroscience in 2009 from the University of California, Los Angeles, using functional magnetic resonance imaging to conduct research into the neural basis of belief, disbelief, and uncertainty. His thesis was titled The Moral Landscape: How Science Could Determine Human Values. His advisor was Mark S. Cohen. Career Writing Harris's writing focuses on philosophy, neuroscience, and criticism of religion. He came to prominence for his criticism of religion (Islam in particular) and he is described as one of the Four Horsemen of Atheism, along with Richard Dawkins, Christopher Hitchens, and Daniel Dennett. He has written for publications such as The New York Times, the Los Angeles Times, Economist, London Times, Boston Globe, and The Atlantic. Five of Harris's books have been New York Times bestsellers, and his writing has been translated into over 20 languages. The End of Faith (2004) remained on The New York Times Best Seller list for 33 weeks. Harris has a chapter giving advice in Tim Ferriss' book Tools of Titans. Debates on religion In 2007, Harris engaged in a lengthy debate with conservative commentator Andrew Sullivan on the Internet forum Beliefnet. In April 2007, Harris debated with evangelical pastor Rick Warren for Newsweek magazine. Harris also debated with Rabbi David Wolpe in 2007. In 2010, Harris joined Michael Shermer to debate with Deepak Chopra and Jean Houston on the future of God in a debate hosted by ABC News Nightline. Harris debated with Christian philosopher William Lane Craig in April 2011 on whether there can be an objective morality without God. In June and July 2018, he met with Canadian psychologist Jordan Peterson for a series of debates on religion, particularly the relationship between religious values and scientific fact in defining truth. Harris has also debated with the scholar Reza Aslan. Podcast In September 2013, Harris began releasing the Waking Up podcast (since re-titled Making Sense). Episodes vary in length but often last over two hours. Releases do not follow a regular schedule. The podcast has a large listenership. Meditation app In September 2018, Harris released a meditation course app, Waking Up with Sam Harris. The app provides daily meditations; long guided meditations; daily "Moments" (brief meditations and reminders); conversations with thought leaders in psychology, meditation, philosophy, psychedelics, and other disciplines; a selection of lessons on various topics, such as Mind & Emotion, Free Will, and Doing Good; and more. Users of the app are introduced to a number of types of meditation, such as mindfulness meditation, vipassanā-style meditation, loving-kindness meditation, and Dzogchen. In September 2020, Harris announced his commitment to donate a least 10% of Waking Up's profits to highly effective charities, thus becoming the first company to sign the Giving What We Can pledge for companies. The pledge was done retroactively, taking into account the profits since the day the app launched 2 years previously. Views Religion Harris is known as one of the most prominent critics of religion, and is a leading figure in the New Atheist movement. Harris is particularly opposed to what he refers to as dogmatic belief, and says that "Pretending to know things one doesn't know is a betrayal of science – and yet it is the lifeblood of religion." While purportedly opposed to religion in general and the belief systems of them, Harris believes that all religions are not created equal. Often invoking Jainism to contrast Islam as a whole, Harris highlights the difference in the specific doctrine and scripture as the main indicator of a religion's value, or lack thereof. In 2006, Harris described Islam as "all fringe and no center," and wrote in The End of Faith that "the doctrine of Islam [...] represents a unique danger to all of us", arguing that the War on terror is really a war against Islam. In 2014, Harris said he considers Islam to be "especially belligerent and inimical to the norms of civil discourse", as it involves what Harris considers to be "bad ideas, held for bad reasons, leading to bad behavior." In 2015 Harris and secular Islamic activist Maajid Nawaz cowrote Islam and the Future of Tolerance. In this book, Harris argues that the word Islamophobia is a "pernicious meme", a label which prevents discussion about the threat of Islam. Harris has been described in 2020 by Jonathan Matusitz, Associate Professor at the University of Central Florida, as "a champion of the counter-jihad left". Harris is critical of the Christian right in politics in the United States, blaming them for the political focus on "pseudo-problems like gay marriage." He is also critical of liberal Christianityas represented, for instance, by the theology of Paul Tillichwhich he argues claims to base its beliefs on the Bible despite actually being influenced by secular modernity. He further states that in so doing liberal Christianity provides rhetorical cover to fundamentalists. Spirituality Harris holds that there is "nothing irrational about seeking the states of mind that lie at the core of many religions. Compassion, awe, devotion, and feelings of oneness are surely among the most valuable experiences a person can have." Harris rejects the dichotomy between spirituality and rationality, favoring a middle path that preserves spirituality and science but does not involve religion. He writes that spirituality should be understood in light of scientific disciplines like neuroscience and psychology. Science, he contends, can show how to maximize human well-being, but may fail to answer certain questions about the nature of being, answers to some of which he says are discoverable directly through our experience. His conception of spirituality does not involve a belief in any god. In Waking Up: A Guide to Spirituality Without Religion (2014), Harris describes his experience with Dzogchen, a Tibetan Buddhist meditation practice, and recommends it to his readers. He writes that the purpose of spirituality (as he defines it – he concedes that the term's uses are diverse and sometimes indefensible) is to become aware that our sense of self is illusory, and says this realization brings both happiness and insight into the nature of consciousness. This process of realization, he argues, is based on experience and is not contingent on faith. Harris especially recommends the “headless” meditation technique as written about by Douglas Harding. Science and morality In The Moral Landscape, Harris argues that science answers moral problems and can aid human well-being. Free will Harris says that the idea of free will "cannot be mapped on to any conceivable reality" and is incoherent. Harris writes in Free Will that neuroscience "reveals you to be a biochemical puppet." Social and political views Harris describes himself as a liberal, and states that he supports raising taxes on the wealthy, decriminalizing drugs and legalizing same-sex marriage. In an op-ed for the Los Angeles Times, Harris said that he supported most of the criticism against Bush administration's war in Iraq, and all criticism of fiscal policy and the administration's treatment of science. Harris also said that liberalism has grown "dangerously out of touch with the realities of our world" when it comes to threats allegedly posed by Islamic fundamentalism. Harris is a registered Democrat. During the 2016 United States presidential election, Harris supported Hillary Clinton in the Democratic Party presidential primaries against Bernie Sanders, and despite calling her "a terribly flawed candidate for the presidency," he favored her in the general election and came out strongly in opposition to Donald Trump's candidacy. Harris has criticized Trump for lying, stating in 2018 that Trump "has assaulted truth more than anyone in human history." During the 2020 United States presidential election, Harris supported Andrew Yang in the Democratic primaries. Harris also introduced Yang to podcaster Joe Rogan. Artificial intelligence Harris has discussed existential risk from artificial general intelligence in depth. He has given a TED talk on the topic, arguing it will be a major threat in the future and criticizing the paucity of human interest on the subject. He argues the dangers from artificial intelligence (AI) follow from three premises: that intelligence is the result of physical information processing, that humans will continue innovation in AI, and that humans are nowhere near the maximum possible extent of intelligence. Harris states that even if superintelligent AI is five to ten decades away, the scale of its implications for human civilization warrant discussion of the issue in the present. Reception and controversies Academic and journalistic reception to Harris's works and ideas has been varied. Harris's first two books, in which he lays out his criticisms of religion, received negative reviews from Christian scholars. From secular sources, the books received a mixture of negative reviews and positive reviews. In his review of The End of Faith, American historian Alexander Saxton criticized what he called Harris's "vitriolic and selective polemic against Islam," (emphasis in original) which he said "obscure[s] the obvious reality that the invasion of Iraq and the War against Terror are driven by religious irrationalities, cultivated and conceded to, at high policy levels in the U.S., and which are at least comparable to the irrationality of Islamic crusaders and Jihadists." By contrast, Stephanie Merritt wrote of the same book that Harris's "central argument in The End of Faith is sound: religion is the only area of human knowledge in which it is still acceptable to hold beliefs dating from antiquity and a modern society should subject those beliefs to the same principles that govern scientific, medical or geographical inquiry – particularly if they are inherently hostile to those with different ideas." Harris's next two books, which discuss philosophical issues relating to ethics and free will, received several negative academic reviews. In his review of The Moral Landscape, neuroscientist Kenan Malik criticized Harris for not engaging adequately with philosophical literature: "Imagine a sociologist who wrote about evolutionary theory without discussing the work of Darwin, Fisher, Mayr, Hamilton, Trivers or Dawkins on the grounds that he did not come to his conclusions by reading about biology and because discussing concepts such as 'adaptation', 'speciation', 'homology', 'phylogenetics' or 'kin selection' would 'increase the amount of boredom in the universe'. How seriously would we, and should we, take his argument?" Philosopher Daniel Dennett argued that Harris's book Free Will successfully refuted the common understanding of free will, but that he failed to respond adequately to the compatibilist understanding of free will. Dennett said the book was valuable because it expressed the views of many eminent scientists, but that it nonetheless contained a "veritable museum of mistakes" and that "Harris and others need to do their homework if they want to engage with the best thought on the topic." On the other hand, The Moral Landscape received a largely positive review from psychologists James Diller and Andrew Nuzzolilli. Additionally, Free Will received a mixed academic review from philosopher Paul Pardi, who acknowledged that while it suffers from some conceptual confusions and that the core argument is a bit too 'breezy', it serves as a "good primer on key ideas in physicalist theories of freedom and the will". Harris's book on spirituality and meditation received mainly positive reviews as well as some mixed reviews. It was praised by Frank Bruni, for example, who described it as "so entirely of this moment, so keenly in touch with the growing number of Americans who are willing to say that they do not find the succor they crave, or a truth that makes sense to them, in organized religion." In April 2017, Harris stirred controversy by hosting the social scientist Charles Murray on his podcast, discussing topics including the heritability of IQ and race and intelligence. Harris stated the invitation was out of indignation at a violent protest against Murray at Middlebury College the month before and not out of particular interest in the material at hand. The podcast episode garnered significant criticism, most notably from Vox and Slate. Harris and Murray were defended by conservative commentators Andrew Sullivan and Kyle Smith, as well as by neuroscientist Richard Haier, who stated that the points Murray claimed were mainstream actually do receive broad scientific support. Harris and Vox editor-at-large Ezra Klein later discussed the affair in a podcast interview, where Klein criticized Harris for rebuking tribalism in the form of identity politics while failing to recognize his own version of tribalism. Hatewatch staff at the Southern Poverty Law Center (SPLC) wrote that members of the "skeptics" movement, of which Harris is "one of the most public faces," help to "channel people into the alt-right." Bari Weiss wrote in her opinion column that the SPLC had misrepresented Harris's views. Harris was profiled by Weiss in The New York Times as part of the "Intellectual Dark Web" (a term coined semi-ironically by Eric Weinstein). She described the group as "a collection of iconoclastic thinkers, academic renegades and media personalities who are having a rolling conversation – on podcasts, YouTube and Twitter, and in sold-out auditoriums – that sound unlike anything else happening, at least publicly, in the culture right now." In November 2020, Harris stated that he does not identify as a part of that group. In 2018, Robert Wright, a visiting professor of science and religion at Union Theological Seminary, published an article in Wired criticizing Harris, whom he described as "annoying" and "deluded". Wright wrote that Harris, despite claiming to be a champion of rationality, ignored his own cognitive biases and engaged in faulty and inconsistent arguments in his book The End of Faith. He wrote that "the famous proponent of New Atheism is on a crusade against tribalism but seems oblivious to his own version of it." Wright wrote that these biases are rooted in natural selection and impact everyone, but that they can be mitigated when acknowledged, whereas Harris offered no such acknowledgement. The UK Business Insider included Harris's podcast in their list of "8 podcasts that will change how you think about human behavior" in 2017, and PC Magazine included it in their list of "The Best Podcasts of 2018." In January 2020, Max Sanderson included Harris's podcast as a "Producer pick" in a "podcasts of the week" section for The Guardian. Accusations of Anti-Muslim bigotry and Islamophobia Harris has been accused of Islamophobia by journalist Glenn Greenwald and linguist and political commentator Noam Chomsky. Greenwald characterized some of Harris's statements as Islamophobic, such as: "the people who speak most sensibly about the threat that Islam poses to Europe are actually fascists," and "[t]he only future devout Muslims can envisage – as Muslims – is one in which all infidels have been converted to Islam, politically subjugated, or killed." After Harris and Chomsky exchanged a series of emails on terrorism and U.S. foreign policy in 2015, Chomsky said Harris had not prepared adequately for the exchange and that this revealed his work as unserious. Kyle Schmidlin also wrote in Salon that he considered Chomsky the winner of the exchange because Harris's arguments relied excessively on thought experiments with little application to the real world. In a 2016 interview with Al Jazeera English's UpFront, Chomsky further criticized Harris, saying he "specializes in hysterical, slanderous charges against people he doesn't like." Harris has countered that his views on this and other topics are frequently misrepresented by "unethical critics" who "deliberately" regard his words out of context. He has also criticized the validity of the term Islamophobia. "My criticism of Islam is a criticism of beliefs and their consequences, but my fellow liberals reflexively view it as an expression of intolerance toward people," he wrote following a disagreement with actor Ben Affleck in October 2014 on the show Real Time with Bill Maher. Affleck had described Harris's and host Bill Maher's views on Muslims as "gross" and "racist," and Harris's statement that "Islam is the mother lode of bad ideas" as an "ugly thing to say." Affleck also compared Harris's and Maher's rhetoric to that of people who use antisemitic canards or define African-Americans in terms of intraracial crime. Several conservative American media pundits in turn criticized Affleck and praised Harris and Maher for broaching the topic, saying that discussing it had become a "taboo." Harris's dialogue on Islam with Maajid Nawaz received a combination of positive reviews and mixed reviews. Irshad Manji wrote: "Their back-and-forth clarifies multiple confusions that plague the public conversation about Islam." Of Harris specifically, she said "[he] is right that liberals must end their silence about the religious motives behind much Islamist terror. At the same time, he ought to call out another double standard that feeds the liberal reflex to excuse Islamists: Atheists do not make nearly enough noise about hatred toward Muslims." Hamid Dabashi, a professor at Columbia University accused Sam Harris of being a "new atheist crusader" having never studied Islam thoroughly and having no special insight into any Muslim community on earth. He further accused Harris of engaging in such language to justify Western imperialism in the Muslim world. An article published in The Guardian accused Harris, along with Milo Yiannopoulos of influencing young white men into becoming racists and Anti-Muslim bigots. Harris has also been accused of merging his thoughts with far right ideologies, stating that he advocates the profiling of Muslims, "or anyone who looks like he or she could conceivably be Muslim," at airports. Harris was also accused of "advancing Neoconservative agendas" by Chris Hedges and for advocating a nuclear first strike policy on Muslims if an Islamist regime ever obtained nuclear weapons, stating in The End of Faith: Religion, Terror, and the Future of Reason that "in such a situation, the only thing likely to ensure our survival may be a nuclear first strike of our own." Recognition Harris's first book, The End of Faith (2004), won the PEN/Martha Albrand Award for First Nonfiction. The Waking Up podcast won the 2017 Webby Award for "People's Voice" in the category "Science & Education" under "Podcasts & Digital Audio". Harris was included on a list of the "100 Most Spiritually Influential Living People 2019" in the Watkins Review, a publication of Watkins Books, a London esoterica bookshop. Personal life Harris is a martial arts student and practices Brazilian jiu-jitsu. In 2004, he married Annaka Gorton, an author and editor of nonfiction and scientific books after engaging in a common interest about the nature of consciousness. They have two daughters, and live in Los Angeles. In September 2020, Harris became a member of Giving What We Can, an effective altruism organization whose members pledge to give at least 10% of their income to effective charities, both as an individual and as a company with Waking Up. Works Books Documentary Amila, D. & Shapiro, J. (2018). Islam and the Future of Tolerance. United States: The Orchard. Peer-reviewed articles Notes References External links 1967 births 21st-century American essayists 21st-century American male writers 21st-century American non-fiction writers 21st-century American philosophers 21st-century atheists Action theorists Activists from California American atheism activists American atheist writers American critics of Islam American ethicists American logicians American male essayists American male non-fiction writers American men podcasters American neuroscientists American people of Jewish descent American podcasters American practitioners of Brazilian jiu-jitsu American science writers American secularists American skeptics American social commentators American social sciences writers American spiritual writers Analytic philosophers Atheism activists Atheism in the United States Atheist philosophers California Democrats Cognitive neuroscientists Consciousness researchers and theorists Conversationalists Criticism of religion Critics of conspiracy theories Critics of creationism Critics of multiculturalism Critics of neoconservatism Critics of postmodernism Critics of religions Cultural critics Epistemologists Freethought writers Hyperreality theorists Living people Metaphysicians Metaphysics writers Moral philosophers Moral realists Ontologists Philosophers of culture Philosophers of education Philosophers of ethics and morality Philosophers of history Philosophers of logic Philosophers of love Philosophers of mind Philosophers of psychology Philosophers of religion Philosophers of science Philosophers of sexuality Philosophers of social science Philosophers of technology Philosophers of war Philosophy writers Political philosophers Psychedelic drug advocates Race and intelligence controversy Rationalists Rationality theorists Science activists Social critics Social philosophers Stanford University alumni Students of U Pandita Theorists on Western civilization University of California, Los Angeles alumni Writers about activism and social change Writers about globalization Writers about religion and science Writers from Los Angeles
false
[ "TV Channell was an early Australian television that aired live on Sydney station ABN-2 from 15 November 1956 to around 11 April 1957, airing on Thursdays, and starred Douglas Channell. It was replaced on ABN's schedule by The Johnny Gredula Show. Gredula had appeared previously on an episode of TV Channell.\n\nTV Channell was a variety show. An episode broadcast on 7 February 1957 featured regulars pianist Reg Lewis; organist Wilbur Kentwell; singers Margaret Day, Ross Higgins, and Brian Lawrence; fire-eater Ya Yahmen and organist Perc Roberts.\n\n1957-era TV listings suggest that some of the TV Channell episodes were kinescoped for broadcast on Melbourne television station ABV-2, but it is not known if any of these recordings still exist.\n\nReferences\n\nExternal links\nTV Channell at IMDb\n\n1956 Australian television series debuts\n1957 Australian television series endings\nAustralian variety television shows\nEnglish-language television shows\nBlack-and-white Australian television shows\nAustralian live television series\nAustralian Broadcasting Corporation original programming", "Does The Team Think? was a radio panel game broadcast originally on the BBC Light Programme (and later on BBC Radio 2 and BBC Radio 4) from 1957 to 1976, and revived, again on Radio 2, with a new cast, in 2007. It also broadcast as a TV programme.\n\nFormat\nThe show was a parody of Any Questions?, where audience members pose questions to an assembled panel. The questions and answers were played for laughs (in contrast to the serious political debate in Any Questions?), with the panellists improvising witty answers.\n\nOriginal series 1957–1976\nThe idea of a parody version of Any Questions? was suggested by Jimmy Edwards in 1957. The Light Programme agreed to run a short series, which ended up running almost twenty years. The panel was chaired by Peter Haigh for the first series and by McDonald Hobley for the majority of its run. Regular panellists were Edwards, Arthur Askey, Tommy Trinder and Ted Ray, with a guest fourth panellist joining them each week.\nOther panellists who appeared on the radio series included Bernard Braden, Kenneth Horne, Cyril Fletcher, Derek Roy, Richard Murdoch, Cardew Robinson, Alfred Marks and Leslie Crowther.\n\nTV series\nA television programme of the same name was briefly trialled in 1961, also hosted by McDonald Hobley.\n\nIn 1982, a second TV series ran for 9 episodes, with Tim Brooke-Taylor as the host. It was produced by Robert Reed for Thames Television. Jimmy Edwards, Frankie Howerd, Beryl Reid and Willie Rushton were regular panellists. Guest panellists were Steve Davis, Robert Dougall, Britt Ekland, Roy Plomley, Magnus Pyke, Shaw Taylor and Barbara Woodhouse.\n\n2007 revival\nThe radio show was revived in 2007. It was broadcast on BBC Radio 2 and was written and hosted by Vic Reeves, and produced by Paul Russell for Open Mike Productions. The title was changed slightly, to Does the Team Think.... The first programme went out on 28 June 2007. \nIt was recorded at University of London Union on 27 March, 2, 23 and 30 April 2007.\nA second series was aired in 2009. The first programme from this series was aired on 17 June 2009 and featured Reeves' comedy partner Bob Mortimer, and Shooting Stars team captains Ulrika Jonsson and Jack Dee.\n\nEpisodes\n\nReferences\n\nExternal links\n 1957 version\n UKgameshows.com\n Whirligig-tv.co.uk\n\nBritish panel games\nBritish radio game shows\n1950s British game shows\n1960s British game shows\n1970s British game shows\n1980s British game shows\n2000s British game shows\nBBC Radio comedy programmes\nLost BBC episodes\n1957 radio programme debuts\n1976 radio programme endings\n2007 radio programme debuts" ]
[ "Sam Harris", "Islam", "What is his view on Islam?", "\"The idea that Islam is a 'peaceful religion hijacked by extremists' is a dangerous fantasy--and it is now a particularly dangerous fantasy for Muslims to indulge.", "Does he write about this?", "Harris wrote a response to controversy over his criticism of Islam, which also aired on a debate", "Where did the debate happen?", "on a debate hosted by The Huffington Post", "Was there a specific topic for that debate?", "controversy over his criticism of Islam,", "Does it state when he started speaking out against Islam?", "In 2006, after the Jyllands-Posten Muhammad cartoons controversy,", "Does he feel this way towards Muslims in general or just the religion?", "Harris considers Islam to be \"especially belligerent and inimical to the norms of civil discourse,\" relative to other world religions.", "Was he on any tv shows?", "I don't know." ]
C_498d41e95a814b8e998dfd1794017dba_0
Is he racist?
8
Is Sam Harris racist?
Sam Harris
Harris considers Islam to be "especially belligerent and inimical to the norms of civil discourse," relative to other world religions. He asserts that the "dogmatic commitment to using violence to defend one's faith, both from within and without" to varying degrees, is a central Islamic doctrine that is found in few other religions to the same degree, and that "this difference has consequences in the real world." In 2006, after the Jyllands-Posten Muhammad cartoons controversy, Harris wrote, "The idea that Islam is a 'peaceful religion hijacked by extremists' is a dangerous fantasy--and it is now a particularly dangerous fantasy for Muslims to indulge. It is not at all clear how we should proceed in our dialogue with the Muslim world, but deluding ourselves with euphemisms is not the answer. It now appears to be a truism in foreign policy circles that real reform in the Muslim world cannot be imposed from the outside. But it is important to recognize why this is so--it is so because the Muslim world is utterly deranged by its religious tribalism. In confronting the religious literalism and ignorance of the Muslim world, we must appreciate how terrifyingly isolated Muslims have become in intellectual terms." He states that his criticism of the religion is aimed not at Muslims as people, but at the doctrine of Islam. Harris wrote a response to controversy over his criticism of Islam, which also aired on a debate hosted by The Huffington Post on whether critics of Islam are unfairly labeled as bigots: Is it really true that the sins for which I hold Islam accountable are "committed at least to an equal extent by many other groups, especially [my] own"? ... The freedom to poke fun at Mormonism is guaranteed [not by the First Amendment but] by the fact that Mormons do not dispatch assassins to silence their critics or summon murderous hordes in response to satire. ... Can any reader of this page imagine the staging of a similar play [to The Book of Mormon] about Islam in the United States, or anywhere else, in the year 2013? ... At this moment in history, there is only one religion that systematically stifles free expression with credible threats of violence. The truth is, we have already lost our First Amendment rights with respect to Islam--and because they brand any observation of this fact a symptom of Islamophobia, Muslim apologists like Greenwald are largely to blame. Harris has criticized common usage of the term "Islamophobia". "My criticism of Islam is a criticism of beliefs and their consequences," he wrote following a controversial clash with Ben Affleck in October 2014 on the show Real Time with Bill Maher, "but my fellow liberals reflexively view it as an expression of intolerance toward people." During an email exchange with Glenn Greenwald, a critic of the New Atheists, Harris argued that "Islamophobia is a term of propaganda designed to protect Islam from the forces of secularism by conflating all criticism of it with racism and xenophobia. And it is doing its job, because people like you have been taken in by it." CANNOTANSWER
CANNOTANSWER
Samuel Benjamin Harris (born April 9, 1967) is an American philosopher, neuroscientist, author, and podcast host. His work touches on a wide range of topics, including rationality, religion, ethics, free will, neuroscience, meditation, psychedelics, philosophy of mind, politics, terrorism, and artificial intelligence. Harris came to prominence for his criticism of religion, and Islam in particular, and is known as one of the "Four Horsemen" of New Atheism, along with Richard Dawkins, Christopher Hitchens, and Daniel Dennett. Harris's first book, The End of Faith (2004), won the PEN/Martha Albrand Award for First Nonfiction and remained on The New York Times Best Seller list for 33 weeks. Harris has since written six additional books: Letter to a Christian Nation in 2006, The Moral Landscape: How Science Can Determine Human Values in 2010, the long-form essay Lying in 2011, the short book Free Will in 2012, Waking Up: A Guide to Spirituality Without Religion in 2014, and (with British writer Maajid Nawaz) Islam and the Future of Tolerance: A Dialogue in 2015. Harris's work has been translated into over 20 languages. Harris has debated with many prominent figures on the topics of God or religion, including William Lane Craig, Jordan Peterson, Rick Warren, Andrew Sullivan, Reza Aslan, David Wolpe, Deepak Chopra, Ben Shapiro and Jean Houston. Since September 2013, Harris has hosted the Making Sense podcast (originally titled Waking Up), which has a large listenership. In September 2018, Harris released a meditation app, Waking Up with Sam Harris. Harris's views on free will, race, and Islam have attracted controversy. Early life and education Samuel Benjamin Harris was born in Los Angeles, California, on April 9, 1967. He is the son of actor Berkeley Harris, who appeared mainly in Western films, and TV writer and producer Susan Harris (née Spivak), who created Soap (TV series) and The Golden Girls among other series. His father, born in North Carolina, came from a Quaker background, and his mother is Jewish but not religious. He was raised by his mother following his parents' divorce when he was aged two. Harris has stated that his upbringing was entirely secular and that his parents rarely discussed religion, though he also stated that he was not raised as an atheist. While his original major was in English, Harris became interested in philosophical questions while at Stanford University after an experience with the empathogen–entactogen MDMA (colloquially known as ecstasy or XTC). The experience led him to be interested in the idea that he might be able to achieve spiritual insights without the use of drugs. Leaving Stanford in his second year, a quarter after his psychedelic experience, he visited India and Nepal, where he studied meditation with teachers of Buddhist and Hindu religions, including Dilgo Khyentse. Eleven years later, in 1997, he returned to Stanford, completing a B.A. degree in philosophy in 2000. Harris began writing his first book, The End of Faith, immediately after the September 11 attacks. He received a Ph.D. in cognitive neuroscience in 2009 from the University of California, Los Angeles, using functional magnetic resonance imaging to conduct research into the neural basis of belief, disbelief, and uncertainty. His thesis was titled The Moral Landscape: How Science Could Determine Human Values. His advisor was Mark S. Cohen. Career Writing Harris's writing focuses on philosophy, neuroscience, and criticism of religion. He came to prominence for his criticism of religion (Islam in particular) and he is described as one of the Four Horsemen of Atheism, along with Richard Dawkins, Christopher Hitchens, and Daniel Dennett. He has written for publications such as The New York Times, the Los Angeles Times, Economist, London Times, Boston Globe, and The Atlantic. Five of Harris's books have been New York Times bestsellers, and his writing has been translated into over 20 languages. The End of Faith (2004) remained on The New York Times Best Seller list for 33 weeks. Harris has a chapter giving advice in Tim Ferriss' book Tools of Titans. Debates on religion In 2007, Harris engaged in a lengthy debate with conservative commentator Andrew Sullivan on the Internet forum Beliefnet. In April 2007, Harris debated with evangelical pastor Rick Warren for Newsweek magazine. Harris also debated with Rabbi David Wolpe in 2007. In 2010, Harris joined Michael Shermer to debate with Deepak Chopra and Jean Houston on the future of God in a debate hosted by ABC News Nightline. Harris debated with Christian philosopher William Lane Craig in April 2011 on whether there can be an objective morality without God. In June and July 2018, he met with Canadian psychologist Jordan Peterson for a series of debates on religion, particularly the relationship between religious values and scientific fact in defining truth. Harris has also debated with the scholar Reza Aslan. Podcast In September 2013, Harris began releasing the Waking Up podcast (since re-titled Making Sense). Episodes vary in length but often last over two hours. Releases do not follow a regular schedule. The podcast has a large listenership. Meditation app In September 2018, Harris released a meditation course app, Waking Up with Sam Harris. The app provides daily meditations; long guided meditations; daily "Moments" (brief meditations and reminders); conversations with thought leaders in psychology, meditation, philosophy, psychedelics, and other disciplines; a selection of lessons on various topics, such as Mind & Emotion, Free Will, and Doing Good; and more. Users of the app are introduced to a number of types of meditation, such as mindfulness meditation, vipassanā-style meditation, loving-kindness meditation, and Dzogchen. In September 2020, Harris announced his commitment to donate a least 10% of Waking Up's profits to highly effective charities, thus becoming the first company to sign the Giving What We Can pledge for companies. The pledge was done retroactively, taking into account the profits since the day the app launched 2 years previously. Views Religion Harris is known as one of the most prominent critics of religion, and is a leading figure in the New Atheist movement. Harris is particularly opposed to what he refers to as dogmatic belief, and says that "Pretending to know things one doesn't know is a betrayal of science – and yet it is the lifeblood of religion." While purportedly opposed to religion in general and the belief systems of them, Harris believes that all religions are not created equal. Often invoking Jainism to contrast Islam as a whole, Harris highlights the difference in the specific doctrine and scripture as the main indicator of a religion's value, or lack thereof. In 2006, Harris described Islam as "all fringe and no center," and wrote in The End of Faith that "the doctrine of Islam [...] represents a unique danger to all of us", arguing that the War on terror is really a war against Islam. In 2014, Harris said he considers Islam to be "especially belligerent and inimical to the norms of civil discourse", as it involves what Harris considers to be "bad ideas, held for bad reasons, leading to bad behavior." In 2015 Harris and secular Islamic activist Maajid Nawaz cowrote Islam and the Future of Tolerance. In this book, Harris argues that the word Islamophobia is a "pernicious meme", a label which prevents discussion about the threat of Islam. Harris has been described in 2020 by Jonathan Matusitz, Associate Professor at the University of Central Florida, as "a champion of the counter-jihad left". Harris is critical of the Christian right in politics in the United States, blaming them for the political focus on "pseudo-problems like gay marriage." He is also critical of liberal Christianityas represented, for instance, by the theology of Paul Tillichwhich he argues claims to base its beliefs on the Bible despite actually being influenced by secular modernity. He further states that in so doing liberal Christianity provides rhetorical cover to fundamentalists. Spirituality Harris holds that there is "nothing irrational about seeking the states of mind that lie at the core of many religions. Compassion, awe, devotion, and feelings of oneness are surely among the most valuable experiences a person can have." Harris rejects the dichotomy between spirituality and rationality, favoring a middle path that preserves spirituality and science but does not involve religion. He writes that spirituality should be understood in light of scientific disciplines like neuroscience and psychology. Science, he contends, can show how to maximize human well-being, but may fail to answer certain questions about the nature of being, answers to some of which he says are discoverable directly through our experience. His conception of spirituality does not involve a belief in any god. In Waking Up: A Guide to Spirituality Without Religion (2014), Harris describes his experience with Dzogchen, a Tibetan Buddhist meditation practice, and recommends it to his readers. He writes that the purpose of spirituality (as he defines it – he concedes that the term's uses are diverse and sometimes indefensible) is to become aware that our sense of self is illusory, and says this realization brings both happiness and insight into the nature of consciousness. This process of realization, he argues, is based on experience and is not contingent on faith. Harris especially recommends the “headless” meditation technique as written about by Douglas Harding. Science and morality In The Moral Landscape, Harris argues that science answers moral problems and can aid human well-being. Free will Harris says that the idea of free will "cannot be mapped on to any conceivable reality" and is incoherent. Harris writes in Free Will that neuroscience "reveals you to be a biochemical puppet." Social and political views Harris describes himself as a liberal, and states that he supports raising taxes on the wealthy, decriminalizing drugs and legalizing same-sex marriage. In an op-ed for the Los Angeles Times, Harris said that he supported most of the criticism against Bush administration's war in Iraq, and all criticism of fiscal policy and the administration's treatment of science. Harris also said that liberalism has grown "dangerously out of touch with the realities of our world" when it comes to threats allegedly posed by Islamic fundamentalism. Harris is a registered Democrat. During the 2016 United States presidential election, Harris supported Hillary Clinton in the Democratic Party presidential primaries against Bernie Sanders, and despite calling her "a terribly flawed candidate for the presidency," he favored her in the general election and came out strongly in opposition to Donald Trump's candidacy. Harris has criticized Trump for lying, stating in 2018 that Trump "has assaulted truth more than anyone in human history." During the 2020 United States presidential election, Harris supported Andrew Yang in the Democratic primaries. Harris also introduced Yang to podcaster Joe Rogan. Artificial intelligence Harris has discussed existential risk from artificial general intelligence in depth. He has given a TED talk on the topic, arguing it will be a major threat in the future and criticizing the paucity of human interest on the subject. He argues the dangers from artificial intelligence (AI) follow from three premises: that intelligence is the result of physical information processing, that humans will continue innovation in AI, and that humans are nowhere near the maximum possible extent of intelligence. Harris states that even if superintelligent AI is five to ten decades away, the scale of its implications for human civilization warrant discussion of the issue in the present. Reception and controversies Academic and journalistic reception to Harris's works and ideas has been varied. Harris's first two books, in which he lays out his criticisms of religion, received negative reviews from Christian scholars. From secular sources, the books received a mixture of negative reviews and positive reviews. In his review of The End of Faith, American historian Alexander Saxton criticized what he called Harris's "vitriolic and selective polemic against Islam," (emphasis in original) which he said "obscure[s] the obvious reality that the invasion of Iraq and the War against Terror are driven by religious irrationalities, cultivated and conceded to, at high policy levels in the U.S., and which are at least comparable to the irrationality of Islamic crusaders and Jihadists." By contrast, Stephanie Merritt wrote of the same book that Harris's "central argument in The End of Faith is sound: religion is the only area of human knowledge in which it is still acceptable to hold beliefs dating from antiquity and a modern society should subject those beliefs to the same principles that govern scientific, medical or geographical inquiry – particularly if they are inherently hostile to those with different ideas." Harris's next two books, which discuss philosophical issues relating to ethics and free will, received several negative academic reviews. In his review of The Moral Landscape, neuroscientist Kenan Malik criticized Harris for not engaging adequately with philosophical literature: "Imagine a sociologist who wrote about evolutionary theory without discussing the work of Darwin, Fisher, Mayr, Hamilton, Trivers or Dawkins on the grounds that he did not come to his conclusions by reading about biology and because discussing concepts such as 'adaptation', 'speciation', 'homology', 'phylogenetics' or 'kin selection' would 'increase the amount of boredom in the universe'. How seriously would we, and should we, take his argument?" Philosopher Daniel Dennett argued that Harris's book Free Will successfully refuted the common understanding of free will, but that he failed to respond adequately to the compatibilist understanding of free will. Dennett said the book was valuable because it expressed the views of many eminent scientists, but that it nonetheless contained a "veritable museum of mistakes" and that "Harris and others need to do their homework if they want to engage with the best thought on the topic." On the other hand, The Moral Landscape received a largely positive review from psychologists James Diller and Andrew Nuzzolilli. Additionally, Free Will received a mixed academic review from philosopher Paul Pardi, who acknowledged that while it suffers from some conceptual confusions and that the core argument is a bit too 'breezy', it serves as a "good primer on key ideas in physicalist theories of freedom and the will". Harris's book on spirituality and meditation received mainly positive reviews as well as some mixed reviews. It was praised by Frank Bruni, for example, who described it as "so entirely of this moment, so keenly in touch with the growing number of Americans who are willing to say that they do not find the succor they crave, or a truth that makes sense to them, in organized religion." In April 2017, Harris stirred controversy by hosting the social scientist Charles Murray on his podcast, discussing topics including the heritability of IQ and race and intelligence. Harris stated the invitation was out of indignation at a violent protest against Murray at Middlebury College the month before and not out of particular interest in the material at hand. The podcast episode garnered significant criticism, most notably from Vox and Slate. Harris and Murray were defended by conservative commentators Andrew Sullivan and Kyle Smith, as well as by neuroscientist Richard Haier, who stated that the points Murray claimed were mainstream actually do receive broad scientific support. Harris and Vox editor-at-large Ezra Klein later discussed the affair in a podcast interview, where Klein criticized Harris for rebuking tribalism in the form of identity politics while failing to recognize his own version of tribalism. Hatewatch staff at the Southern Poverty Law Center (SPLC) wrote that members of the "skeptics" movement, of which Harris is "one of the most public faces," help to "channel people into the alt-right." Bari Weiss wrote in her opinion column that the SPLC had misrepresented Harris's views. Harris was profiled by Weiss in The New York Times as part of the "Intellectual Dark Web" (a term coined semi-ironically by Eric Weinstein). She described the group as "a collection of iconoclastic thinkers, academic renegades and media personalities who are having a rolling conversation – on podcasts, YouTube and Twitter, and in sold-out auditoriums – that sound unlike anything else happening, at least publicly, in the culture right now." In November 2020, Harris stated that he does not identify as a part of that group. In 2018, Robert Wright, a visiting professor of science and religion at Union Theological Seminary, published an article in Wired criticizing Harris, whom he described as "annoying" and "deluded". Wright wrote that Harris, despite claiming to be a champion of rationality, ignored his own cognitive biases and engaged in faulty and inconsistent arguments in his book The End of Faith. He wrote that "the famous proponent of New Atheism is on a crusade against tribalism but seems oblivious to his own version of it." Wright wrote that these biases are rooted in natural selection and impact everyone, but that they can be mitigated when acknowledged, whereas Harris offered no such acknowledgement. The UK Business Insider included Harris's podcast in their list of "8 podcasts that will change how you think about human behavior" in 2017, and PC Magazine included it in their list of "The Best Podcasts of 2018." In January 2020, Max Sanderson included Harris's podcast as a "Producer pick" in a "podcasts of the week" section for The Guardian. Accusations of Anti-Muslim bigotry and Islamophobia Harris has been accused of Islamophobia by journalist Glenn Greenwald and linguist and political commentator Noam Chomsky. Greenwald characterized some of Harris's statements as Islamophobic, such as: "the people who speak most sensibly about the threat that Islam poses to Europe are actually fascists," and "[t]he only future devout Muslims can envisage – as Muslims – is one in which all infidels have been converted to Islam, politically subjugated, or killed." After Harris and Chomsky exchanged a series of emails on terrorism and U.S. foreign policy in 2015, Chomsky said Harris had not prepared adequately for the exchange and that this revealed his work as unserious. Kyle Schmidlin also wrote in Salon that he considered Chomsky the winner of the exchange because Harris's arguments relied excessively on thought experiments with little application to the real world. In a 2016 interview with Al Jazeera English's UpFront, Chomsky further criticized Harris, saying he "specializes in hysterical, slanderous charges against people he doesn't like." Harris has countered that his views on this and other topics are frequently misrepresented by "unethical critics" who "deliberately" regard his words out of context. He has also criticized the validity of the term Islamophobia. "My criticism of Islam is a criticism of beliefs and their consequences, but my fellow liberals reflexively view it as an expression of intolerance toward people," he wrote following a disagreement with actor Ben Affleck in October 2014 on the show Real Time with Bill Maher. Affleck had described Harris's and host Bill Maher's views on Muslims as "gross" and "racist," and Harris's statement that "Islam is the mother lode of bad ideas" as an "ugly thing to say." Affleck also compared Harris's and Maher's rhetoric to that of people who use antisemitic canards or define African-Americans in terms of intraracial crime. Several conservative American media pundits in turn criticized Affleck and praised Harris and Maher for broaching the topic, saying that discussing it had become a "taboo." Harris's dialogue on Islam with Maajid Nawaz received a combination of positive reviews and mixed reviews. Irshad Manji wrote: "Their back-and-forth clarifies multiple confusions that plague the public conversation about Islam." Of Harris specifically, she said "[he] is right that liberals must end their silence about the religious motives behind much Islamist terror. At the same time, he ought to call out another double standard that feeds the liberal reflex to excuse Islamists: Atheists do not make nearly enough noise about hatred toward Muslims." Hamid Dabashi, a professor at Columbia University accused Sam Harris of being a "new atheist crusader" having never studied Islam thoroughly and having no special insight into any Muslim community on earth. He further accused Harris of engaging in such language to justify Western imperialism in the Muslim world. An article published in The Guardian accused Harris, along with Milo Yiannopoulos of influencing young white men into becoming racists and Anti-Muslim bigots. Harris has also been accused of merging his thoughts with far right ideologies, stating that he advocates the profiling of Muslims, "or anyone who looks like he or she could conceivably be Muslim," at airports. Harris was also accused of "advancing Neoconservative agendas" by Chris Hedges and for advocating a nuclear first strike policy on Muslims if an Islamist regime ever obtained nuclear weapons, stating in The End of Faith: Religion, Terror, and the Future of Reason that "in such a situation, the only thing likely to ensure our survival may be a nuclear first strike of our own." Recognition Harris's first book, The End of Faith (2004), won the PEN/Martha Albrand Award for First Nonfiction. The Waking Up podcast won the 2017 Webby Award for "People's Voice" in the category "Science & Education" under "Podcasts & Digital Audio". Harris was included on a list of the "100 Most Spiritually Influential Living People 2019" in the Watkins Review, a publication of Watkins Books, a London esoterica bookshop. Personal life Harris is a martial arts student and practices Brazilian jiu-jitsu. In 2004, he married Annaka Gorton, an author and editor of nonfiction and scientific books after engaging in a common interest about the nature of consciousness. They have two daughters, and live in Los Angeles. In September 2020, Harris became a member of Giving What We Can, an effective altruism organization whose members pledge to give at least 10% of their income to effective charities, both as an individual and as a company with Waking Up. Works Books Documentary Amila, D. & Shapiro, J. (2018). Islam and the Future of Tolerance. United States: The Orchard. Peer-reviewed articles Notes References External links 1967 births 21st-century American essayists 21st-century American male writers 21st-century American non-fiction writers 21st-century American philosophers 21st-century atheists Action theorists Activists from California American atheism activists American atheist writers American critics of Islam American ethicists American logicians American male essayists American male non-fiction writers American men podcasters American neuroscientists American people of Jewish descent American podcasters American practitioners of Brazilian jiu-jitsu American science writers American secularists American skeptics American social commentators American social sciences writers American spiritual writers Analytic philosophers Atheism activists Atheism in the United States Atheist philosophers California Democrats Cognitive neuroscientists Consciousness researchers and theorists Conversationalists Criticism of religion Critics of conspiracy theories Critics of creationism Critics of multiculturalism Critics of neoconservatism Critics of postmodernism Critics of religions Cultural critics Epistemologists Freethought writers Hyperreality theorists Living people Metaphysicians Metaphysics writers Moral philosophers Moral realists Ontologists Philosophers of culture Philosophers of education Philosophers of ethics and morality Philosophers of history Philosophers of logic Philosophers of love Philosophers of mind Philosophers of psychology Philosophers of religion Philosophers of science Philosophers of sexuality Philosophers of social science Philosophers of technology Philosophers of war Philosophy writers Political philosophers Psychedelic drug advocates Race and intelligence controversy Rationalists Rationality theorists Science activists Social critics Social philosophers Stanford University alumni Students of U Pandita Theorists on Western civilization University of California, Los Angeles alumni Writers about activism and social change Writers about globalization Writers about religion and science Writers from Los Angeles
false
[ "I'm not racist, but... is a commonly used phrase, which often precedes a racist argument and provides a \"veneer of political correctness\".\n\nInterpretations \nThe preface has been described as \"hypocritical\" and \"apologetic\"; Eduardo Bonilla-Silva and Tyrone Forman argued that it is used by \"the new racists, all the nice Whites\". Alana Lentin, in a op-ed for ABC, cited the phrase as an example of \"how denying racism reproduces its violence\". Deutsche Welle's, Torsten Landsberg and Rachel Stewart stated that the refrain is \"usually followed by an opinion that belies at best ignorance and at worst a deep-seated prejudice or even racially fueled hatred\".\n\nIbram X. Kendi felt that its usage is an ineffective means of combating racism.\n\nFrequency \nBaugh (1991) found that when questioned as to why the term African-American should or should not be used, respondents repeatedly prefaced answers with \"I'm not racist, but...\". Brown (2006) noted that Lancastrian interviewees uneased with the influx of racial minorities often utilised the phrase. According to Simon Goodman, of Coventry University, the phrase encapsulates \"a major feature of talk about immigration [in Britain]\", that being \"the repeated denial that opposition to it is racist\".\n\nEdwy Plenel ascribed the saying to the \"average Frenchman\"; Mahfoud Bennoune expressed a similar opinion, exclaiming that \"The typical French racist attitude is expressed in this manner, \"I'm not racist, but I find that the Algerians are the rabble that must be expelled; the syphilis that arises like arrows\". Former American white supremacist, Derek Black explained that he wished to recruit people to the movement who \"start a sentence by saying, I'm not racist, but. And if they've said that, they're almost there\".\n\nThe Irish Times' Donald Clarke noted that Halle Bailey's casting in The Little Mermaid \"reveal[ed] the usual unconvincing qualification\". The Twitter account YesYoureRacist seeks to condemn \"casual racism on Twitter\" and \"retweet[s] everyday users who say: \"I'm not racist but ...\" followed by something, well, racist\".\n\nReferences \n\nAnti-black racism\nSlogans\nRacism", "Paulo Lins (born January 11, 1958, Rio de Janeiro) is a Brazilian author.\n\nLins grew up in Rio de Janeiro and at the age of seven moved to the City of God favela. Lins's parents came from the impoverished northeastern region of Brazil, which prompted him to examine the racial profile of Brazilian society: \"Brazil is a racist country and a racist society, but the funny thing is that nobody will admit to being a racist, and that's the problem. Blacks in Brazil are always in an inferior, subaltern position, but you can't find a white person who is a racist.\"\n\nHis literacy and verbal skill enabled Lins to begin writing sambas and contributing to local culture, which enabled him to escape the cycle of gang violence in the favela and become a successful writer. He published his novel City of God in 1997, which was adapted into the successful 2002 film City of God.\n\nReferences\n\nExternal links\n \n \n\nLiving people\nBrazilian male writers\nPeople associated with Federal University of Rio de Janeiro\n1958 births" ]
[ "Jess Neely", "Football" ]
C_a36fe6cc1eb0413aaf649b01daf9b705_0
What year did he start paying football?
1
What year did Jess Neely start paying football?
Jess Neely
In the second week of the 1921 season the Commodores shut out the Mercer Baptists, 42-0. Neely helped score one of four second-quarter touchdowns with a 55-yard pass to end Tot McCullough, and had a 25-yard punt return in the second half. In the next game, a 21-14 victory over the Kentucky Wildcats, the Wildcats scored against the Commodores for the first time in their history. Kentucky's second possession began with Bob Lavin fumbling the return, which was recovered by Neely on the 10-yard line. On third down, after little gain on first and second, Frank Godchaux ran an end-around touchdown. Rupe Smith scored the other two touchdowns, his first on a drive begun with a 22-yard pass from Neely to captain Pink Wade (father of later Vanderbilt quarterback Bill Wade). One Kentucky touchdown followed a blocked Neely punt. The Wildcats threatened to score late and tie the game, but they turned the ball over on downs at the two-yard line; Neely ran 34 yards, to the 36-yard line. In the season's sixth week, Vanderbilt defeated Alabama 14-0 at Birmingham in line with predictions. Neely played a role in both touchdowns. Early in the first quarter, Vanderbilt had the ball at midfield after an Alabama punt. Two line bucks preceded Neely's connection with Tot McCullough for a 30-yard pass play. Neely ran for about 17 yards more through left tackle, putting the ball on the nine-yard line. After a run by Frank Godchaux, Lynn Bomar bucked over the line for the touchdown and Rupe Smith made the field goal. The second scoring drive began with a pass interception by Paul Stumb. In the second half, quarterback Doc Kuhn invigorated the Commodores after he sat out the first half due to injuries; Neely ran for 21 yards around the right end, and Kuhn passed 25 yards to Tot McCullough. Rupe Smith (or Kuhn) then ran the remaining few yards for the touchdown. For its seventh game, Vanderbilt faced the defending Southern Intercollegiate Athletic Association (SIAA) champion Georgia Bulldogs at home. The game, the highlight of Vanderbilt's season, was described by The New York Times as an "important clash" and would determine the SIAA champion. Georgia scored during the first half; early in the fourth quarter Neely intercepted a pass, weaving for 25 yards to Georgia's 40-yard line before he was tackled by Jim Reynolds. Two long pass attempts failed, and Thomas Ryan lined up to punt. Rupert Smith sneaked behind Ryan; he rushed to recover the 25-yard onside kick, jumping up to get the ball off a bounce from the Bulldogs and racing for a 15-yard touchdown. The game ended in a tie, and the teams shared the SIAA championship. Vanderbilt finished its season against Sewanee in "the muddiest game in its history"; the Commodores were reportedly knee-deep in mud and water, with the players unrecognizable. The game was scoreless until the fourth quarter, when Sewanee fumbled the snap on a punt; the punter was smothered by the Commodores' Neely, Godchaux and Wade for a safety. Hek Wakefield later scored a touchdown for a 9-0 Vanderbilt win. CANNOTANSWER
CANNOTANSWER
Jesse Claiborne Neely (January 4, 1898 – April 9, 1983) was an American football player and a baseball and football coach. He was head football coach at Southwestern University (now Rhodes College) from 1924 to 1927, at Clemson University from 1931 to 1939 and at Rice University from 1940 to 1966, compiling a career college football record of 207–176–19. He was inducted into the College Football Hall of Fame as a coach in 1971. Neely was also the head baseball coach at the University of Alabama (1929–1930), at Clemson (1932–1938) and at Rice (1945 and 1948), tallying a career college baseball mark of 109–108–5. Early years and ancestry Neely was born on January 4, 1898 in Smyrna, Tennessee to William Daniel Neely, Sr. and Mary Elizabeth Gooch. His father died of sunstroke in 1900. His mother's father was John Gooch, a farmer and breeder of thoroughbred horses in Goochland. John, known as "Colonel Jack", organized the Company E of the 20th Tennessee Regiment during the American Civil War. His brother, Bill Neely, Jr., was a captain and All-Southern end on the undefeated 1910 Vanderbilt football team. Jess attended Branham and Hughes Military Academy. Playing career Middle Tennessee State The First Fifty Years: A History of Middle Tennessee State College recounts Neely's days playing for Middle Tennessee State Normal School: Jess Neely, a brilliant half-back and a handsome man on the campus, is remembered for his popularity among members of the opposite sex and for an incident that occurred just prior to a football game with Southern Presbyterian in Clarksville. Miles had done an exceptionally good job in mentally preparing his team for the game. He climaxed the pre-game, locker-room exhortation with a soaring call for courage and deathless allegiance to "dear Ol' Normal." Neely was greatly affected by the words of his coach for he leaped to his feet and, roaring like an angry bull, led the team in a rush to the doorway opening to the field. He misjudged the extremely low entrance, and his head received the full impact of the strip of wall above the doorway. He was revived shortly before the kickoff, but he never quite knew where he was, frequently huddling and aligning himself with the enemy. That team included Preston Vaughn Overall and Rupert Smith, who rejoined Neely on the 1921 Vanderbilt team. Vanderbilt Neely played football at Vanderbilt University from 1920 to 1922 under head coach Dan McGugin. He was captain and halfback of the undefeated 1922 team, and its best passer. Neely belonged to the Delta Tau Delta fraternity. 1920 Although the Commodores expected a "hard game against the university rivals", Vanderbilt shut out Tennessee 20–0. All three Commodore touchdowns came from passes by Neely to Gink Hendrick. Neely's long first-quarter pass hit Hendrick, who ran 25 yards for the touchdown. In the second quarter Hendrick ran to the 4-yard line on a pass from Neely, and the first half ended with Vanderbilt in possession at the Tennessee one-foot line. Hendrick caught another 30-yard touchdown pass from Neely in the fourth quarter. Two weeks later the Commodores lost 56–6 to one of Auburn's greatest teams, Vanderbilt's worst defeat since its 83–0 loss to Georgia Tech in 1917. The Commodores had only one first down, and never moved the ball beyond their 40-yard line. Neely was one of Vanderbilt's few stars, blocking well and passing Vanderbilt's only touchdown to Hendrick in the end zone. In a "thriller from the start," the Alabama Crimson Tide defeated Vanderbilt for the first time on November 6, 1920 by a score of 14–7. A forward pass from Doc Kuhn to Neely gave the Commodores their sole touchdown. The following week, "expecting one of the greatest football games of the year", Vanderbilt had a difficult practice schedule before its game with the Virginia Cavaliers; Virginia and Vanderbilt tied, 7–7. Early in the game, Vanderbilt mounted a swift offense, with Neely throwing Hendrick a touchdown pass. That season, Vanderbilt opponents gained less on punt returns than they did against any other team in the South because of coverage by Percy Conyers and Neely. 1921 Football In the second week of the 1921 season the Commodores shut out the Mercer Baptists, 42–0. Neely helped score one of four second-quarter touchdowns with a 55-yard pass to end Tot McCullough, and had a 25-yard punt return in the second half. In the next game, a 21–14 victory over the Kentucky Wildcats, the Wildcats scored against the Commodores for the first time in their history. Kentucky's second possession began with Bob Lavin fumbling the return, which was recovered by Neely on the 10-yard line. On third down, after little gain on first and second, Frank Godchaux ran an end-around touchdown. Rupe Smith scored the other two touchdowns, his first on a drive begun with a 22-yard pass from Neely to captain Pink Wade (father of later Vanderbilt quarterback Bill Wade). One Kentucky touchdown followed a blocked Neely punt. The Wildcats threatened to score late and tie the game, but they turned the ball over on downs at the two-yard line; Neely ran 34 yards, to the 36-yard line. In the season's sixth week, Vanderbilt defeated Alabama 14–0 at Birmingham in line with predictions. Neely played a role in both touchdowns. Early in the first quarter, Vanderbilt had the ball at midfield after an Alabama punt. Two line bucks preceded Neely's connection with Tot McCullough for a 30-yard pass play. Neely ran for about 17 yards more through left tackle, putting the ball on the nine-yard line. After a run by Frank Godchaux, Lynn Bomar bucked over the line for the touchdown and Rupe Smith made the field goal. The second scoring drive began with a pass interception by Paul Stumb. In the second half, quarterback Doc Kuhn invigorated the Commodores after he sat out the first half due to injuries; Neely ran for 21 yards around the right end, and Kuhn passed 25 yards to Tot McCullough. Rupe Smith (or Kuhn) then ran the remaining few yards for the touchdown. For its seventh game, Vanderbilt faced the defending Southern Intercollegiate Athletic Association (SIAA) champion Georgia Bulldogs at home. The game, the highlight of Vanderbilt's season, was described by The New York Times as an "important clash" and would determine the SIAA champion. Georgia scored during the first half; early in the fourth quarter Neely intercepted a pass, weaving for 25 yards to Georgia's 40-yard line before he was tackled by Jim Reynolds. Two long pass attempts failed, and Thomas Ryan lined up to punt. Rupert Smith sneaked behind Ryan; he rushed to recover the 25-yard onside kick, jumping up to get the ball off a bounce from the Bulldogs and racing for a 15-yard touchdown. The game ended in a tie, and the teams shared the SIAA championship. Vanderbilt finished its season against Sewanee in "the muddiest game in its history"; the Commodores were reportedly knee-deep in mud and water, with the players unrecognizable. The game was scoreless until the fourth quarter, when Sewanee fumbled the snap on a punt; the punter was smothered by the Commodores' Neely, Godchaux and Wade for a safety. Hek Wakefield later scored a touchdown for a 9–0 Vanderbilt win. Baseball Neely was a member of the 1921 SIAA champion Vanderbilt baseball team. According to The Commodore, the school yearbook, in a 1921 game against Southwestern Presbyterian University the team scored a world record 13 runs in one inning with two out. The Tennessean reported: Neely singled as did Kuhn; Neil fanned but Thomas got his third straight hit and both tallied. Big Tot got hit by a pitched ball and Smith was safe on a fielder's choice with one out. Woodruf flied out to right. Tyner slammed one to center which Jetty juggled and everybody advanced a pair of sacks. Ryan was safe on another error and two runs came over. Neely beat out his second hit of the inning and Kuhn walked. Neil walked. Thomas was safe on an error and Big Tot McCullough picked one over the right field fence, clearing the sacks--but oh, what's the use? Why continue? 1922 Neely was captain of the undefeated 1922 team. In the second week of play Vanderbilt shut out Henderson-Brown 33–0, with Neely scoring a third-quarter touchdown. Despite an injured left arm, he started in the scoreless tie with Michigan at the dedication at Dudley Field. Vanderbilt was forced to punt from its seven-yard line early in the first quarter. The Wolverines completed their first pass (from Doug Roby to Paul Goebel), setting in motion a change in field position which placed them inside the five-yard line. The Commodore punt was partially blocked, giving Michigan the ball at Vanderbilt's 25-yard line. Two end runs, two line bucks and a forward pass brought them to first and goal after six minutes. The Commodore defense stiffened, repelling four touchdown tries; three runs up the middle were stopped before the goal line. Franklin Cappon gained a yard, Harry Kipke lost one and Cappon drove to within a foot of the goal; Neely was heard shouting, "Stop 'em!" On fourth down, Michigan faked a field goal and ran with Harry Kipke off tackle to the right. Kipke was tackled inches from the end zone. A Vanderbilt player pushed himself off the goal post to generate a greater backwards push as the crowd cheered. Vanderbilt's only noteworthy offensive play occurred soon afterwards. The Commodores punted out of the shadow of their goalpost after a goal line stand; Neely tackled Kipke (or Irwin Uteritz) hard on the punt return, causing a fumble which he recovered. He then connected on a 20–plus-yard pass to Tot McCullough. This gave Vanderbilt the ball at Michigan's 20-yard line, but subsequent Vanderbilt plays saw runs stopped with little gain and a pass intercepted by Uteritz. The tie was reportedly preserved when Neely recovered a fumble near the Commodore goal. He and Lynn Bomar were acknowledged as Vanderbilt's players of the game, and Neely wept tears of joy by the game's end. Bomar spent much of his day tackling Michigan runners, and Neely was a battered, bruised captain playing hard despite his injuries. Franklin Cappon said after the game, "What sort of a crazy man is this Neely? He played like a fiend and when he tackled me I thought I was broken in two. When I got up he was crying and cussed me out. I was the one who should have been crying". At the Texas State Fair game in Dallas against the Texas Longhorns, an early surge saw Texas at Vanderbilt's 18-yard line. McGugin sent in Neely, his injured captain. It worked to some extent, with Texas losing yards and ending up at the 17-yard line; Franklin Stacy then kicked a field goal. After a Vanderbilt touchdown, the offenses exchanged punts before Neely ran back a 30-yard punt return. The 60-yard drive which followed was capped by a 46-yard touchdown run by Gil Reese. In the fourth quarter, Neely hit Bomar with a 23-yard pass and Bomar ran for 20 yards more, close to the goal. Reese ran it in on the next play and the field goal was good, giving the Commodores a 20–10 victory. Vanderbilt defeated the Tennessee Volunteers 14–6, with both touchdowns on passes from Neely. The first was in the second quarter, on a 31-yard pass to Doc Kuhn; in the fourth quarter, a five-yard pass to Lynn Bomar also scored a touchdown. Neely-to-Bomar is considered one of the best pass-receiver combinations in Vanderbilt history. In the game against the Georgia Bulldogs, Neely connected with Bomar on a long pass thrown from a few yards behind the line of scrimmage at the 45-yard line. Bomar caught it around the seven-yard line before being tackled by Georgia halfback Loren Chester (Teany) Randall at about the three-yard line. The next series of downs produced a touchdown by Gil Reese on his second run at the left tackle. Although Neely was sidelined by injury in the second quarter, Vanderbilt won 12–0. At the end of the season, he was on Walter Camp's list of players worthy of mention, and Vanderbilt compiled an 8–0–1 record. The season was among the best in school and Southern football history; according to a number of publications, Vanderbilt's season was the best in the South. One of the highest honors a student could receive at Vanderbilt was Bachelor of Ugliness, created by William H. Dodd in 1885 and given to the male undergraduate student considered most representative of ideal young manhood. In 1923, Neely received the award. Coaching career After Neely graduated from Vanderbilt with a law degree in 1924, he began his coaching career at Murfreesboro High School in Tennessee and ran a farm-loan business. His college-football coaching career began at Rhodes College (then known as Southwestern University), a job he got thanks to former coach McGugin's recommendation, where he had a 20–17–2 record from 1924 to 1927. Neely was assistant baseball coach at Princeton in the spring of 1928 before going to Alabama. From 1928 to 1930, Neely was assistant football coach under former Vanderbilt assistant Wallace Wade, and compiled a 28–15–2 record as the school's head baseball coach from 1929 to 1930. From 1931 to 1939 he coached football at Clemson, compiling a 43–35–7 record. Neely coached at Rice from 1940 to 1966 with a 144–124–10 record, the most wins by a Rice coach. He won the first four bowl games he coached: the 1940 Cotton Bowl (with Clemson), the 1946 Orange Bowl and the 1949 and 1953 Cotton Bowls (with Rice). However, at Rice, he also lost the last three bowl games he coached: the 1957 Cotton Bowl, the 1960 Sugar Bowl and 1961 Bluebonnet Bowl. Clemson Neely coached the Tigers during what is known as the "Seven Lean Years", and helped start the first booster club. The 1939 team lost only to Tulane. In the 1940 Cotton Bowl, Neely's Tigers upset Frank Leahy's Boston College Eagles. Banks McFadden led the Tigers. Rice Neely was hired by Rice in 1940 and led the team to a six-win turnaround. Neely's 1946 team won the Southwest Conference and the Orange Bowl. Weldon Humble starred for the Owls The 1949 team won the Southwest Conference and the Cotton Bowl, and Neely was named the conference's coach of the year. Hall of Fame end Froggy Williams was "the most important cog" in Neely's "gridiron machine". The 1949 team won the Cotton Bowl. In 1953 Neely's Rice team again won the Cotton Bowl. The game featured one of college football's most famous plays. Dicky Moegle had broken free on a run when he was tackled by Tommy Lewis, who had come off the sidelines from Alabama's bench. Moegle was awarded a touchdown for the illegal play. Buddy Dial tied Williams's records in 1958. Rice lost the 1960 Sugar Bowl to national champion Ole Miss. Neely's last road win was a 20–17 upset over the Texas Longhorns in 1965. Athletic director at Vanderbilt After the 1966 season he returned to Vanderbilt as athletic director, and received the Amos Alonzo Stagg Award the following year. Neely brought the football program out of a dire financial situation. Jess convinced Sam Fleming, who was involved at that time in a $30 million campus fundraising project, that he could get the McGugin Center built and called on his friends among those the late Alf Sharpe, to help him. This actually started all the improvements of the football facilities at the university. Jess had a very special way with people. Legacy In 1999, he was ranked 39th on Sports Illustrated list of the 50 greatest Tennessee sports figures of the 20th century. Head coaching record Football See also List of college football coaches with 200 wins References Bibliography External links The Coach: Jess Neely's last game and interview 1898 births 1983 deaths American football halfbacks Alabama Crimson Tide baseball coaches Alabama Crimson Tide football coaches Clemson Tigers athletic directors Clemson Tigers baseball coaches Clemson Tigers football coaches Middle Tennessee Blue Raiders football players Rhodes Lynx football coaches Rice Owls athletic directors Rice Owls baseball coaches Rice Owls football coaches Vanderbilt Commodores athletic directors Vanderbilt Commodores football players College Football Hall of Fame inductees People from Smyrna, Tennessee Coaches of American football from Tennessee Players of American football from Tennessee Baseball coaches from Tennessee
false
[ "The 1959 NCAA College Division football rankings are from the United Press International poll of College Division head coaches. The 1959 NCAA College Division football season was the second year UPI published a poll in what was termed the \"Small College\" division. The Associated Press did not start their version of the poll until 1960. The Top 10 included the team's record while the \"Second 10\" did not.\n\nLegend\n\nThe UPI coaches poll\n\nReferences\n\nRankings\nNCAA College Division football rankings", "The 1958 NCAA College Division football rankings are from the United Press International poll of College Division head coaches. The 1958 NCAA College Division football season was the first year UPI published a poll in what was termed the \"Small College\" division. The Associated Press did not start their version of the poll until 1960. In most of the weekly polls, the Top 10 included the team's record while the \"Second 10\" did not. Individual team records in the Top 10 were sometimes missing as well.\n\nLegend\n\nThe UPI coaches poll\n\nNotes\n\nReferences\n\nRankings\nNCAA College Division football rankings" ]
[ "Jess Neely", "Football", "What year did he start paying football?", "I don't know." ]
C_a36fe6cc1eb0413aaf649b01daf9b705_0
Who did he play for?
2
Who did Jess Neely play for?
Jess Neely
In the second week of the 1921 season the Commodores shut out the Mercer Baptists, 42-0. Neely helped score one of four second-quarter touchdowns with a 55-yard pass to end Tot McCullough, and had a 25-yard punt return in the second half. In the next game, a 21-14 victory over the Kentucky Wildcats, the Wildcats scored against the Commodores for the first time in their history. Kentucky's second possession began with Bob Lavin fumbling the return, which was recovered by Neely on the 10-yard line. On third down, after little gain on first and second, Frank Godchaux ran an end-around touchdown. Rupe Smith scored the other two touchdowns, his first on a drive begun with a 22-yard pass from Neely to captain Pink Wade (father of later Vanderbilt quarterback Bill Wade). One Kentucky touchdown followed a blocked Neely punt. The Wildcats threatened to score late and tie the game, but they turned the ball over on downs at the two-yard line; Neely ran 34 yards, to the 36-yard line. In the season's sixth week, Vanderbilt defeated Alabama 14-0 at Birmingham in line with predictions. Neely played a role in both touchdowns. Early in the first quarter, Vanderbilt had the ball at midfield after an Alabama punt. Two line bucks preceded Neely's connection with Tot McCullough for a 30-yard pass play. Neely ran for about 17 yards more through left tackle, putting the ball on the nine-yard line. After a run by Frank Godchaux, Lynn Bomar bucked over the line for the touchdown and Rupe Smith made the field goal. The second scoring drive began with a pass interception by Paul Stumb. In the second half, quarterback Doc Kuhn invigorated the Commodores after he sat out the first half due to injuries; Neely ran for 21 yards around the right end, and Kuhn passed 25 yards to Tot McCullough. Rupe Smith (or Kuhn) then ran the remaining few yards for the touchdown. For its seventh game, Vanderbilt faced the defending Southern Intercollegiate Athletic Association (SIAA) champion Georgia Bulldogs at home. The game, the highlight of Vanderbilt's season, was described by The New York Times as an "important clash" and would determine the SIAA champion. Georgia scored during the first half; early in the fourth quarter Neely intercepted a pass, weaving for 25 yards to Georgia's 40-yard line before he was tackled by Jim Reynolds. Two long pass attempts failed, and Thomas Ryan lined up to punt. Rupert Smith sneaked behind Ryan; he rushed to recover the 25-yard onside kick, jumping up to get the ball off a bounce from the Bulldogs and racing for a 15-yard touchdown. The game ended in a tie, and the teams shared the SIAA championship. Vanderbilt finished its season against Sewanee in "the muddiest game in its history"; the Commodores were reportedly knee-deep in mud and water, with the players unrecognizable. The game was scoreless until the fourth quarter, when Sewanee fumbled the snap on a punt; the punter was smothered by the Commodores' Neely, Godchaux and Wade for a safety. Hek Wakefield later scored a touchdown for a 9-0 Vanderbilt win. CANNOTANSWER
the Commodores
Jesse Claiborne Neely (January 4, 1898 – April 9, 1983) was an American football player and a baseball and football coach. He was head football coach at Southwestern University (now Rhodes College) from 1924 to 1927, at Clemson University from 1931 to 1939 and at Rice University from 1940 to 1966, compiling a career college football record of 207–176–19. He was inducted into the College Football Hall of Fame as a coach in 1971. Neely was also the head baseball coach at the University of Alabama (1929–1930), at Clemson (1932–1938) and at Rice (1945 and 1948), tallying a career college baseball mark of 109–108–5. Early years and ancestry Neely was born on January 4, 1898 in Smyrna, Tennessee to William Daniel Neely, Sr. and Mary Elizabeth Gooch. His father died of sunstroke in 1900. His mother's father was John Gooch, a farmer and breeder of thoroughbred horses in Goochland. John, known as "Colonel Jack", organized the Company E of the 20th Tennessee Regiment during the American Civil War. His brother, Bill Neely, Jr., was a captain and All-Southern end on the undefeated 1910 Vanderbilt football team. Jess attended Branham and Hughes Military Academy. Playing career Middle Tennessee State The First Fifty Years: A History of Middle Tennessee State College recounts Neely's days playing for Middle Tennessee State Normal School: Jess Neely, a brilliant half-back and a handsome man on the campus, is remembered for his popularity among members of the opposite sex and for an incident that occurred just prior to a football game with Southern Presbyterian in Clarksville. Miles had done an exceptionally good job in mentally preparing his team for the game. He climaxed the pre-game, locker-room exhortation with a soaring call for courage and deathless allegiance to "dear Ol' Normal." Neely was greatly affected by the words of his coach for he leaped to his feet and, roaring like an angry bull, led the team in a rush to the doorway opening to the field. He misjudged the extremely low entrance, and his head received the full impact of the strip of wall above the doorway. He was revived shortly before the kickoff, but he never quite knew where he was, frequently huddling and aligning himself with the enemy. That team included Preston Vaughn Overall and Rupert Smith, who rejoined Neely on the 1921 Vanderbilt team. Vanderbilt Neely played football at Vanderbilt University from 1920 to 1922 under head coach Dan McGugin. He was captain and halfback of the undefeated 1922 team, and its best passer. Neely belonged to the Delta Tau Delta fraternity. 1920 Although the Commodores expected a "hard game against the university rivals", Vanderbilt shut out Tennessee 20–0. All three Commodore touchdowns came from passes by Neely to Gink Hendrick. Neely's long first-quarter pass hit Hendrick, who ran 25 yards for the touchdown. In the second quarter Hendrick ran to the 4-yard line on a pass from Neely, and the first half ended with Vanderbilt in possession at the Tennessee one-foot line. Hendrick caught another 30-yard touchdown pass from Neely in the fourth quarter. Two weeks later the Commodores lost 56–6 to one of Auburn's greatest teams, Vanderbilt's worst defeat since its 83–0 loss to Georgia Tech in 1917. The Commodores had only one first down, and never moved the ball beyond their 40-yard line. Neely was one of Vanderbilt's few stars, blocking well and passing Vanderbilt's only touchdown to Hendrick in the end zone. In a "thriller from the start," the Alabama Crimson Tide defeated Vanderbilt for the first time on November 6, 1920 by a score of 14–7. A forward pass from Doc Kuhn to Neely gave the Commodores their sole touchdown. The following week, "expecting one of the greatest football games of the year", Vanderbilt had a difficult practice schedule before its game with the Virginia Cavaliers; Virginia and Vanderbilt tied, 7–7. Early in the game, Vanderbilt mounted a swift offense, with Neely throwing Hendrick a touchdown pass. That season, Vanderbilt opponents gained less on punt returns than they did against any other team in the South because of coverage by Percy Conyers and Neely. 1921 Football In the second week of the 1921 season the Commodores shut out the Mercer Baptists, 42–0. Neely helped score one of four second-quarter touchdowns with a 55-yard pass to end Tot McCullough, and had a 25-yard punt return in the second half. In the next game, a 21–14 victory over the Kentucky Wildcats, the Wildcats scored against the Commodores for the first time in their history. Kentucky's second possession began with Bob Lavin fumbling the return, which was recovered by Neely on the 10-yard line. On third down, after little gain on first and second, Frank Godchaux ran an end-around touchdown. Rupe Smith scored the other two touchdowns, his first on a drive begun with a 22-yard pass from Neely to captain Pink Wade (father of later Vanderbilt quarterback Bill Wade). One Kentucky touchdown followed a blocked Neely punt. The Wildcats threatened to score late and tie the game, but they turned the ball over on downs at the two-yard line; Neely ran 34 yards, to the 36-yard line. In the season's sixth week, Vanderbilt defeated Alabama 14–0 at Birmingham in line with predictions. Neely played a role in both touchdowns. Early in the first quarter, Vanderbilt had the ball at midfield after an Alabama punt. Two line bucks preceded Neely's connection with Tot McCullough for a 30-yard pass play. Neely ran for about 17 yards more through left tackle, putting the ball on the nine-yard line. After a run by Frank Godchaux, Lynn Bomar bucked over the line for the touchdown and Rupe Smith made the field goal. The second scoring drive began with a pass interception by Paul Stumb. In the second half, quarterback Doc Kuhn invigorated the Commodores after he sat out the first half due to injuries; Neely ran for 21 yards around the right end, and Kuhn passed 25 yards to Tot McCullough. Rupe Smith (or Kuhn) then ran the remaining few yards for the touchdown. For its seventh game, Vanderbilt faced the defending Southern Intercollegiate Athletic Association (SIAA) champion Georgia Bulldogs at home. The game, the highlight of Vanderbilt's season, was described by The New York Times as an "important clash" and would determine the SIAA champion. Georgia scored during the first half; early in the fourth quarter Neely intercepted a pass, weaving for 25 yards to Georgia's 40-yard line before he was tackled by Jim Reynolds. Two long pass attempts failed, and Thomas Ryan lined up to punt. Rupert Smith sneaked behind Ryan; he rushed to recover the 25-yard onside kick, jumping up to get the ball off a bounce from the Bulldogs and racing for a 15-yard touchdown. The game ended in a tie, and the teams shared the SIAA championship. Vanderbilt finished its season against Sewanee in "the muddiest game in its history"; the Commodores were reportedly knee-deep in mud and water, with the players unrecognizable. The game was scoreless until the fourth quarter, when Sewanee fumbled the snap on a punt; the punter was smothered by the Commodores' Neely, Godchaux and Wade for a safety. Hek Wakefield later scored a touchdown for a 9–0 Vanderbilt win. Baseball Neely was a member of the 1921 SIAA champion Vanderbilt baseball team. According to The Commodore, the school yearbook, in a 1921 game against Southwestern Presbyterian University the team scored a world record 13 runs in one inning with two out. The Tennessean reported: Neely singled as did Kuhn; Neil fanned but Thomas got his third straight hit and both tallied. Big Tot got hit by a pitched ball and Smith was safe on a fielder's choice with one out. Woodruf flied out to right. Tyner slammed one to center which Jetty juggled and everybody advanced a pair of sacks. Ryan was safe on another error and two runs came over. Neely beat out his second hit of the inning and Kuhn walked. Neil walked. Thomas was safe on an error and Big Tot McCullough picked one over the right field fence, clearing the sacks--but oh, what's the use? Why continue? 1922 Neely was captain of the undefeated 1922 team. In the second week of play Vanderbilt shut out Henderson-Brown 33–0, with Neely scoring a third-quarter touchdown. Despite an injured left arm, he started in the scoreless tie with Michigan at the dedication at Dudley Field. Vanderbilt was forced to punt from its seven-yard line early in the first quarter. The Wolverines completed their first pass (from Doug Roby to Paul Goebel), setting in motion a change in field position which placed them inside the five-yard line. The Commodore punt was partially blocked, giving Michigan the ball at Vanderbilt's 25-yard line. Two end runs, two line bucks and a forward pass brought them to first and goal after six minutes. The Commodore defense stiffened, repelling four touchdown tries; three runs up the middle were stopped before the goal line. Franklin Cappon gained a yard, Harry Kipke lost one and Cappon drove to within a foot of the goal; Neely was heard shouting, "Stop 'em!" On fourth down, Michigan faked a field goal and ran with Harry Kipke off tackle to the right. Kipke was tackled inches from the end zone. A Vanderbilt player pushed himself off the goal post to generate a greater backwards push as the crowd cheered. Vanderbilt's only noteworthy offensive play occurred soon afterwards. The Commodores punted out of the shadow of their goalpost after a goal line stand; Neely tackled Kipke (or Irwin Uteritz) hard on the punt return, causing a fumble which he recovered. He then connected on a 20–plus-yard pass to Tot McCullough. This gave Vanderbilt the ball at Michigan's 20-yard line, but subsequent Vanderbilt plays saw runs stopped with little gain and a pass intercepted by Uteritz. The tie was reportedly preserved when Neely recovered a fumble near the Commodore goal. He and Lynn Bomar were acknowledged as Vanderbilt's players of the game, and Neely wept tears of joy by the game's end. Bomar spent much of his day tackling Michigan runners, and Neely was a battered, bruised captain playing hard despite his injuries. Franklin Cappon said after the game, "What sort of a crazy man is this Neely? He played like a fiend and when he tackled me I thought I was broken in two. When I got up he was crying and cussed me out. I was the one who should have been crying". At the Texas State Fair game in Dallas against the Texas Longhorns, an early surge saw Texas at Vanderbilt's 18-yard line. McGugin sent in Neely, his injured captain. It worked to some extent, with Texas losing yards and ending up at the 17-yard line; Franklin Stacy then kicked a field goal. After a Vanderbilt touchdown, the offenses exchanged punts before Neely ran back a 30-yard punt return. The 60-yard drive which followed was capped by a 46-yard touchdown run by Gil Reese. In the fourth quarter, Neely hit Bomar with a 23-yard pass and Bomar ran for 20 yards more, close to the goal. Reese ran it in on the next play and the field goal was good, giving the Commodores a 20–10 victory. Vanderbilt defeated the Tennessee Volunteers 14–6, with both touchdowns on passes from Neely. The first was in the second quarter, on a 31-yard pass to Doc Kuhn; in the fourth quarter, a five-yard pass to Lynn Bomar also scored a touchdown. Neely-to-Bomar is considered one of the best pass-receiver combinations in Vanderbilt history. In the game against the Georgia Bulldogs, Neely connected with Bomar on a long pass thrown from a few yards behind the line of scrimmage at the 45-yard line. Bomar caught it around the seven-yard line before being tackled by Georgia halfback Loren Chester (Teany) Randall at about the three-yard line. The next series of downs produced a touchdown by Gil Reese on his second run at the left tackle. Although Neely was sidelined by injury in the second quarter, Vanderbilt won 12–0. At the end of the season, he was on Walter Camp's list of players worthy of mention, and Vanderbilt compiled an 8–0–1 record. The season was among the best in school and Southern football history; according to a number of publications, Vanderbilt's season was the best in the South. One of the highest honors a student could receive at Vanderbilt was Bachelor of Ugliness, created by William H. Dodd in 1885 and given to the male undergraduate student considered most representative of ideal young manhood. In 1923, Neely received the award. Coaching career After Neely graduated from Vanderbilt with a law degree in 1924, he began his coaching career at Murfreesboro High School in Tennessee and ran a farm-loan business. His college-football coaching career began at Rhodes College (then known as Southwestern University), a job he got thanks to former coach McGugin's recommendation, where he had a 20–17–2 record from 1924 to 1927. Neely was assistant baseball coach at Princeton in the spring of 1928 before going to Alabama. From 1928 to 1930, Neely was assistant football coach under former Vanderbilt assistant Wallace Wade, and compiled a 28–15–2 record as the school's head baseball coach from 1929 to 1930. From 1931 to 1939 he coached football at Clemson, compiling a 43–35–7 record. Neely coached at Rice from 1940 to 1966 with a 144–124–10 record, the most wins by a Rice coach. He won the first four bowl games he coached: the 1940 Cotton Bowl (with Clemson), the 1946 Orange Bowl and the 1949 and 1953 Cotton Bowls (with Rice). However, at Rice, he also lost the last three bowl games he coached: the 1957 Cotton Bowl, the 1960 Sugar Bowl and 1961 Bluebonnet Bowl. Clemson Neely coached the Tigers during what is known as the "Seven Lean Years", and helped start the first booster club. The 1939 team lost only to Tulane. In the 1940 Cotton Bowl, Neely's Tigers upset Frank Leahy's Boston College Eagles. Banks McFadden led the Tigers. Rice Neely was hired by Rice in 1940 and led the team to a six-win turnaround. Neely's 1946 team won the Southwest Conference and the Orange Bowl. Weldon Humble starred for the Owls The 1949 team won the Southwest Conference and the Cotton Bowl, and Neely was named the conference's coach of the year. Hall of Fame end Froggy Williams was "the most important cog" in Neely's "gridiron machine". The 1949 team won the Cotton Bowl. In 1953 Neely's Rice team again won the Cotton Bowl. The game featured one of college football's most famous plays. Dicky Moegle had broken free on a run when he was tackled by Tommy Lewis, who had come off the sidelines from Alabama's bench. Moegle was awarded a touchdown for the illegal play. Buddy Dial tied Williams's records in 1958. Rice lost the 1960 Sugar Bowl to national champion Ole Miss. Neely's last road win was a 20–17 upset over the Texas Longhorns in 1965. Athletic director at Vanderbilt After the 1966 season he returned to Vanderbilt as athletic director, and received the Amos Alonzo Stagg Award the following year. Neely brought the football program out of a dire financial situation. Jess convinced Sam Fleming, who was involved at that time in a $30 million campus fundraising project, that he could get the McGugin Center built and called on his friends among those the late Alf Sharpe, to help him. This actually started all the improvements of the football facilities at the university. Jess had a very special way with people. Legacy In 1999, he was ranked 39th on Sports Illustrated list of the 50 greatest Tennessee sports figures of the 20th century. Head coaching record Football See also List of college football coaches with 200 wins References Bibliography External links The Coach: Jess Neely's last game and interview 1898 births 1983 deaths American football halfbacks Alabama Crimson Tide baseball coaches Alabama Crimson Tide football coaches Clemson Tigers athletic directors Clemson Tigers baseball coaches Clemson Tigers football coaches Middle Tennessee Blue Raiders football players Rhodes Lynx football coaches Rice Owls athletic directors Rice Owls baseball coaches Rice Owls football coaches Vanderbilt Commodores athletic directors Vanderbilt Commodores football players College Football Hall of Fame inductees People from Smyrna, Tennessee Coaches of American football from Tennessee Players of American football from Tennessee Baseball coaches from Tennessee
true
[ "Joseph Jef Nelis was a Belgian footballer, born on 1 April 1917 in Tutbury, Staffordshire, (England), who died on 12 April 1994. Striker for Royal Berchem Sport, he was picked for the World Cup in 1938 in France, but did not play. However, he played two games and scored two goals in 1940 for Belgium.\n\nHonours \n International in 1940 (2 caps and 2 goals)\n Picked for the 1938 World Cup (did not play)\n\nReferences \n\nBelgium international footballers\nBelgian footballers\n1938 FIFA World Cup players\nK. Berchem Sport players\nRoyale Union Saint-Gilloise players\n1917 births\n1994 deaths\nAssociation football forwards\nPeople from Tutbury", "Boris Kotoff (born c. 1928) is a former Canadian football player who played for the Ottawa Rough Riders. He previously played football in Hamilton, Ontario.\n\nKotoff was a fullback who played three years for Ottawa from 1954 to 1957. Kotoff was probably at training camp with Ottawa in 1957, but did not play in any regular season games. In 1958, Kotoff was in the Montreal training camp, but again did not play any regular season games. He ran for 132 yards in his career on 31 attempts, scoring 1 rushing touchdown. He also caught 7 passes for 106 yards.\n\nReferences\n\nPossibly living people\n1920s births\nPlayers of Canadian football from Ontario\nCanadian football running backs\nOttawa Rough Riders players\nSportspeople from Hamilton, Ontario" ]
[ "Jess Neely", "Football", "What year did he start paying football?", "I don't know.", "Who did he play for?", "the Commodores" ]
C_a36fe6cc1eb0413aaf649b01daf9b705_0
Did he ever get injured?
3
Did Jess Neely ever get injured?
Jess Neely
In the second week of the 1921 season the Commodores shut out the Mercer Baptists, 42-0. Neely helped score one of four second-quarter touchdowns with a 55-yard pass to end Tot McCullough, and had a 25-yard punt return in the second half. In the next game, a 21-14 victory over the Kentucky Wildcats, the Wildcats scored against the Commodores for the first time in their history. Kentucky's second possession began with Bob Lavin fumbling the return, which was recovered by Neely on the 10-yard line. On third down, after little gain on first and second, Frank Godchaux ran an end-around touchdown. Rupe Smith scored the other two touchdowns, his first on a drive begun with a 22-yard pass from Neely to captain Pink Wade (father of later Vanderbilt quarterback Bill Wade). One Kentucky touchdown followed a blocked Neely punt. The Wildcats threatened to score late and tie the game, but they turned the ball over on downs at the two-yard line; Neely ran 34 yards, to the 36-yard line. In the season's sixth week, Vanderbilt defeated Alabama 14-0 at Birmingham in line with predictions. Neely played a role in both touchdowns. Early in the first quarter, Vanderbilt had the ball at midfield after an Alabama punt. Two line bucks preceded Neely's connection with Tot McCullough for a 30-yard pass play. Neely ran for about 17 yards more through left tackle, putting the ball on the nine-yard line. After a run by Frank Godchaux, Lynn Bomar bucked over the line for the touchdown and Rupe Smith made the field goal. The second scoring drive began with a pass interception by Paul Stumb. In the second half, quarterback Doc Kuhn invigorated the Commodores after he sat out the first half due to injuries; Neely ran for 21 yards around the right end, and Kuhn passed 25 yards to Tot McCullough. Rupe Smith (or Kuhn) then ran the remaining few yards for the touchdown. For its seventh game, Vanderbilt faced the defending Southern Intercollegiate Athletic Association (SIAA) champion Georgia Bulldogs at home. The game, the highlight of Vanderbilt's season, was described by The New York Times as an "important clash" and would determine the SIAA champion. Georgia scored during the first half; early in the fourth quarter Neely intercepted a pass, weaving for 25 yards to Georgia's 40-yard line before he was tackled by Jim Reynolds. Two long pass attempts failed, and Thomas Ryan lined up to punt. Rupert Smith sneaked behind Ryan; he rushed to recover the 25-yard onside kick, jumping up to get the ball off a bounce from the Bulldogs and racing for a 15-yard touchdown. The game ended in a tie, and the teams shared the SIAA championship. Vanderbilt finished its season against Sewanee in "the muddiest game in its history"; the Commodores were reportedly knee-deep in mud and water, with the players unrecognizable. The game was scoreless until the fourth quarter, when Sewanee fumbled the snap on a punt; the punter was smothered by the Commodores' Neely, Godchaux and Wade for a safety. Hek Wakefield later scored a touchdown for a 9-0 Vanderbilt win. CANNOTANSWER
CANNOTANSWER
Jesse Claiborne Neely (January 4, 1898 – April 9, 1983) was an American football player and a baseball and football coach. He was head football coach at Southwestern University (now Rhodes College) from 1924 to 1927, at Clemson University from 1931 to 1939 and at Rice University from 1940 to 1966, compiling a career college football record of 207–176–19. He was inducted into the College Football Hall of Fame as a coach in 1971. Neely was also the head baseball coach at the University of Alabama (1929–1930), at Clemson (1932–1938) and at Rice (1945 and 1948), tallying a career college baseball mark of 109–108–5. Early years and ancestry Neely was born on January 4, 1898 in Smyrna, Tennessee to William Daniel Neely, Sr. and Mary Elizabeth Gooch. His father died of sunstroke in 1900. His mother's father was John Gooch, a farmer and breeder of thoroughbred horses in Goochland. John, known as "Colonel Jack", organized the Company E of the 20th Tennessee Regiment during the American Civil War. His brother, Bill Neely, Jr., was a captain and All-Southern end on the undefeated 1910 Vanderbilt football team. Jess attended Branham and Hughes Military Academy. Playing career Middle Tennessee State The First Fifty Years: A History of Middle Tennessee State College recounts Neely's days playing for Middle Tennessee State Normal School: Jess Neely, a brilliant half-back and a handsome man on the campus, is remembered for his popularity among members of the opposite sex and for an incident that occurred just prior to a football game with Southern Presbyterian in Clarksville. Miles had done an exceptionally good job in mentally preparing his team for the game. He climaxed the pre-game, locker-room exhortation with a soaring call for courage and deathless allegiance to "dear Ol' Normal." Neely was greatly affected by the words of his coach for he leaped to his feet and, roaring like an angry bull, led the team in a rush to the doorway opening to the field. He misjudged the extremely low entrance, and his head received the full impact of the strip of wall above the doorway. He was revived shortly before the kickoff, but he never quite knew where he was, frequently huddling and aligning himself with the enemy. That team included Preston Vaughn Overall and Rupert Smith, who rejoined Neely on the 1921 Vanderbilt team. Vanderbilt Neely played football at Vanderbilt University from 1920 to 1922 under head coach Dan McGugin. He was captain and halfback of the undefeated 1922 team, and its best passer. Neely belonged to the Delta Tau Delta fraternity. 1920 Although the Commodores expected a "hard game against the university rivals", Vanderbilt shut out Tennessee 20–0. All three Commodore touchdowns came from passes by Neely to Gink Hendrick. Neely's long first-quarter pass hit Hendrick, who ran 25 yards for the touchdown. In the second quarter Hendrick ran to the 4-yard line on a pass from Neely, and the first half ended with Vanderbilt in possession at the Tennessee one-foot line. Hendrick caught another 30-yard touchdown pass from Neely in the fourth quarter. Two weeks later the Commodores lost 56–6 to one of Auburn's greatest teams, Vanderbilt's worst defeat since its 83–0 loss to Georgia Tech in 1917. The Commodores had only one first down, and never moved the ball beyond their 40-yard line. Neely was one of Vanderbilt's few stars, blocking well and passing Vanderbilt's only touchdown to Hendrick in the end zone. In a "thriller from the start," the Alabama Crimson Tide defeated Vanderbilt for the first time on November 6, 1920 by a score of 14–7. A forward pass from Doc Kuhn to Neely gave the Commodores their sole touchdown. The following week, "expecting one of the greatest football games of the year", Vanderbilt had a difficult practice schedule before its game with the Virginia Cavaliers; Virginia and Vanderbilt tied, 7–7. Early in the game, Vanderbilt mounted a swift offense, with Neely throwing Hendrick a touchdown pass. That season, Vanderbilt opponents gained less on punt returns than they did against any other team in the South because of coverage by Percy Conyers and Neely. 1921 Football In the second week of the 1921 season the Commodores shut out the Mercer Baptists, 42–0. Neely helped score one of four second-quarter touchdowns with a 55-yard pass to end Tot McCullough, and had a 25-yard punt return in the second half. In the next game, a 21–14 victory over the Kentucky Wildcats, the Wildcats scored against the Commodores for the first time in their history. Kentucky's second possession began with Bob Lavin fumbling the return, which was recovered by Neely on the 10-yard line. On third down, after little gain on first and second, Frank Godchaux ran an end-around touchdown. Rupe Smith scored the other two touchdowns, his first on a drive begun with a 22-yard pass from Neely to captain Pink Wade (father of later Vanderbilt quarterback Bill Wade). One Kentucky touchdown followed a blocked Neely punt. The Wildcats threatened to score late and tie the game, but they turned the ball over on downs at the two-yard line; Neely ran 34 yards, to the 36-yard line. In the season's sixth week, Vanderbilt defeated Alabama 14–0 at Birmingham in line with predictions. Neely played a role in both touchdowns. Early in the first quarter, Vanderbilt had the ball at midfield after an Alabama punt. Two line bucks preceded Neely's connection with Tot McCullough for a 30-yard pass play. Neely ran for about 17 yards more through left tackle, putting the ball on the nine-yard line. After a run by Frank Godchaux, Lynn Bomar bucked over the line for the touchdown and Rupe Smith made the field goal. The second scoring drive began with a pass interception by Paul Stumb. In the second half, quarterback Doc Kuhn invigorated the Commodores after he sat out the first half due to injuries; Neely ran for 21 yards around the right end, and Kuhn passed 25 yards to Tot McCullough. Rupe Smith (or Kuhn) then ran the remaining few yards for the touchdown. For its seventh game, Vanderbilt faced the defending Southern Intercollegiate Athletic Association (SIAA) champion Georgia Bulldogs at home. The game, the highlight of Vanderbilt's season, was described by The New York Times as an "important clash" and would determine the SIAA champion. Georgia scored during the first half; early in the fourth quarter Neely intercepted a pass, weaving for 25 yards to Georgia's 40-yard line before he was tackled by Jim Reynolds. Two long pass attempts failed, and Thomas Ryan lined up to punt. Rupert Smith sneaked behind Ryan; he rushed to recover the 25-yard onside kick, jumping up to get the ball off a bounce from the Bulldogs and racing for a 15-yard touchdown. The game ended in a tie, and the teams shared the SIAA championship. Vanderbilt finished its season against Sewanee in "the muddiest game in its history"; the Commodores were reportedly knee-deep in mud and water, with the players unrecognizable. The game was scoreless until the fourth quarter, when Sewanee fumbled the snap on a punt; the punter was smothered by the Commodores' Neely, Godchaux and Wade for a safety. Hek Wakefield later scored a touchdown for a 9–0 Vanderbilt win. Baseball Neely was a member of the 1921 SIAA champion Vanderbilt baseball team. According to The Commodore, the school yearbook, in a 1921 game against Southwestern Presbyterian University the team scored a world record 13 runs in one inning with two out. The Tennessean reported: Neely singled as did Kuhn; Neil fanned but Thomas got his third straight hit and both tallied. Big Tot got hit by a pitched ball and Smith was safe on a fielder's choice with one out. Woodruf flied out to right. Tyner slammed one to center which Jetty juggled and everybody advanced a pair of sacks. Ryan was safe on another error and two runs came over. Neely beat out his second hit of the inning and Kuhn walked. Neil walked. Thomas was safe on an error and Big Tot McCullough picked one over the right field fence, clearing the sacks--but oh, what's the use? Why continue? 1922 Neely was captain of the undefeated 1922 team. In the second week of play Vanderbilt shut out Henderson-Brown 33–0, with Neely scoring a third-quarter touchdown. Despite an injured left arm, he started in the scoreless tie with Michigan at the dedication at Dudley Field. Vanderbilt was forced to punt from its seven-yard line early in the first quarter. The Wolverines completed their first pass (from Doug Roby to Paul Goebel), setting in motion a change in field position which placed them inside the five-yard line. The Commodore punt was partially blocked, giving Michigan the ball at Vanderbilt's 25-yard line. Two end runs, two line bucks and a forward pass brought them to first and goal after six minutes. The Commodore defense stiffened, repelling four touchdown tries; three runs up the middle were stopped before the goal line. Franklin Cappon gained a yard, Harry Kipke lost one and Cappon drove to within a foot of the goal; Neely was heard shouting, "Stop 'em!" On fourth down, Michigan faked a field goal and ran with Harry Kipke off tackle to the right. Kipke was tackled inches from the end zone. A Vanderbilt player pushed himself off the goal post to generate a greater backwards push as the crowd cheered. Vanderbilt's only noteworthy offensive play occurred soon afterwards. The Commodores punted out of the shadow of their goalpost after a goal line stand; Neely tackled Kipke (or Irwin Uteritz) hard on the punt return, causing a fumble which he recovered. He then connected on a 20–plus-yard pass to Tot McCullough. This gave Vanderbilt the ball at Michigan's 20-yard line, but subsequent Vanderbilt plays saw runs stopped with little gain and a pass intercepted by Uteritz. The tie was reportedly preserved when Neely recovered a fumble near the Commodore goal. He and Lynn Bomar were acknowledged as Vanderbilt's players of the game, and Neely wept tears of joy by the game's end. Bomar spent much of his day tackling Michigan runners, and Neely was a battered, bruised captain playing hard despite his injuries. Franklin Cappon said after the game, "What sort of a crazy man is this Neely? He played like a fiend and when he tackled me I thought I was broken in two. When I got up he was crying and cussed me out. I was the one who should have been crying". At the Texas State Fair game in Dallas against the Texas Longhorns, an early surge saw Texas at Vanderbilt's 18-yard line. McGugin sent in Neely, his injured captain. It worked to some extent, with Texas losing yards and ending up at the 17-yard line; Franklin Stacy then kicked a field goal. After a Vanderbilt touchdown, the offenses exchanged punts before Neely ran back a 30-yard punt return. The 60-yard drive which followed was capped by a 46-yard touchdown run by Gil Reese. In the fourth quarter, Neely hit Bomar with a 23-yard pass and Bomar ran for 20 yards more, close to the goal. Reese ran it in on the next play and the field goal was good, giving the Commodores a 20–10 victory. Vanderbilt defeated the Tennessee Volunteers 14–6, with both touchdowns on passes from Neely. The first was in the second quarter, on a 31-yard pass to Doc Kuhn; in the fourth quarter, a five-yard pass to Lynn Bomar also scored a touchdown. Neely-to-Bomar is considered one of the best pass-receiver combinations in Vanderbilt history. In the game against the Georgia Bulldogs, Neely connected with Bomar on a long pass thrown from a few yards behind the line of scrimmage at the 45-yard line. Bomar caught it around the seven-yard line before being tackled by Georgia halfback Loren Chester (Teany) Randall at about the three-yard line. The next series of downs produced a touchdown by Gil Reese on his second run at the left tackle. Although Neely was sidelined by injury in the second quarter, Vanderbilt won 12–0. At the end of the season, he was on Walter Camp's list of players worthy of mention, and Vanderbilt compiled an 8–0–1 record. The season was among the best in school and Southern football history; according to a number of publications, Vanderbilt's season was the best in the South. One of the highest honors a student could receive at Vanderbilt was Bachelor of Ugliness, created by William H. Dodd in 1885 and given to the male undergraduate student considered most representative of ideal young manhood. In 1923, Neely received the award. Coaching career After Neely graduated from Vanderbilt with a law degree in 1924, he began his coaching career at Murfreesboro High School in Tennessee and ran a farm-loan business. His college-football coaching career began at Rhodes College (then known as Southwestern University), a job he got thanks to former coach McGugin's recommendation, where he had a 20–17–2 record from 1924 to 1927. Neely was assistant baseball coach at Princeton in the spring of 1928 before going to Alabama. From 1928 to 1930, Neely was assistant football coach under former Vanderbilt assistant Wallace Wade, and compiled a 28–15–2 record as the school's head baseball coach from 1929 to 1930. From 1931 to 1939 he coached football at Clemson, compiling a 43–35–7 record. Neely coached at Rice from 1940 to 1966 with a 144–124–10 record, the most wins by a Rice coach. He won the first four bowl games he coached: the 1940 Cotton Bowl (with Clemson), the 1946 Orange Bowl and the 1949 and 1953 Cotton Bowls (with Rice). However, at Rice, he also lost the last three bowl games he coached: the 1957 Cotton Bowl, the 1960 Sugar Bowl and 1961 Bluebonnet Bowl. Clemson Neely coached the Tigers during what is known as the "Seven Lean Years", and helped start the first booster club. The 1939 team lost only to Tulane. In the 1940 Cotton Bowl, Neely's Tigers upset Frank Leahy's Boston College Eagles. Banks McFadden led the Tigers. Rice Neely was hired by Rice in 1940 and led the team to a six-win turnaround. Neely's 1946 team won the Southwest Conference and the Orange Bowl. Weldon Humble starred for the Owls The 1949 team won the Southwest Conference and the Cotton Bowl, and Neely was named the conference's coach of the year. Hall of Fame end Froggy Williams was "the most important cog" in Neely's "gridiron machine". The 1949 team won the Cotton Bowl. In 1953 Neely's Rice team again won the Cotton Bowl. The game featured one of college football's most famous plays. Dicky Moegle had broken free on a run when he was tackled by Tommy Lewis, who had come off the sidelines from Alabama's bench. Moegle was awarded a touchdown for the illegal play. Buddy Dial tied Williams's records in 1958. Rice lost the 1960 Sugar Bowl to national champion Ole Miss. Neely's last road win was a 20–17 upset over the Texas Longhorns in 1965. Athletic director at Vanderbilt After the 1966 season he returned to Vanderbilt as athletic director, and received the Amos Alonzo Stagg Award the following year. Neely brought the football program out of a dire financial situation. Jess convinced Sam Fleming, who was involved at that time in a $30 million campus fundraising project, that he could get the McGugin Center built and called on his friends among those the late Alf Sharpe, to help him. This actually started all the improvements of the football facilities at the university. Jess had a very special way with people. Legacy In 1999, he was ranked 39th on Sports Illustrated list of the 50 greatest Tennessee sports figures of the 20th century. Head coaching record Football See also List of college football coaches with 200 wins References Bibliography External links The Coach: Jess Neely's last game and interview 1898 births 1983 deaths American football halfbacks Alabama Crimson Tide baseball coaches Alabama Crimson Tide football coaches Clemson Tigers athletic directors Clemson Tigers baseball coaches Clemson Tigers football coaches Middle Tennessee Blue Raiders football players Rhodes Lynx football coaches Rice Owls athletic directors Rice Owls baseball coaches Rice Owls football coaches Vanderbilt Commodores athletic directors Vanderbilt Commodores football players College Football Hall of Fame inductees People from Smyrna, Tennessee Coaches of American football from Tennessee Players of American football from Tennessee Baseball coaches from Tennessee
false
[ "Moe Segal was a Grey Cup champion Canadian Football League player. He played offensive guard and tackle.\n\nA native Québécois, Segal played football with Ottawa Technical High School. He won the Grey Cup with the champion St. Hyacinthe-Donnacona Navy team in 1944 (unfortunately Segal was injured just before the championship game and did not get to play.) He played with the Ottawa Rough Riders in 1946 and the Ottawa Trojans in 1947.\n\nReferences\n\n1925 births\nPeople from Outaouais\nOttawa Rough Riders players\nOntario Rugby Football Union players\n2016 deaths\nPlayers of Canadian football from Quebec\nSt. Hyacinthe-Donnacona Navy football players", "Sanjay Kumar Rai (born 1 May 1979) is an Indian track and field athlete from Uttar Pradesh, India who specializes in the long jump event. He competed at the 2000 Sydney Olympic Games but did not record a valid jump. His personal best jump in IAAF competition is 8.03 m at the 2000 Asian Athletics Championships in Jakarta in 2000, where he won the silver medal.\n\nHe has succeeded T. C. Yohannan of Kerala. Later Amritpal Singh (8.08 m) broke his record in the 10th Federation Cup Athletics Championships at the Nehru Stadium in New Delhi in 2004.\n\nLater in his career he did not get proper support from IAF when he was injured.\n\nReferences\n\nExternal links\n \n \n\n1979 births\nOlympic athletes of India\nAthletes (track and field) at the 2000 Summer Olympics\nIndian male long jumpers\nLiving people\nAthletes from Uttar Pradesh" ]
[ "Jess Neely", "Football", "What year did he start paying football?", "I don't know.", "Who did he play for?", "the Commodores", "Did he ever get injured?", "I don't know." ]
C_a36fe6cc1eb0413aaf649b01daf9b705_0
Did he win any notable games?
4
Did Jess Neely win any notable games?
Jess Neely
In the second week of the 1921 season the Commodores shut out the Mercer Baptists, 42-0. Neely helped score one of four second-quarter touchdowns with a 55-yard pass to end Tot McCullough, and had a 25-yard punt return in the second half. In the next game, a 21-14 victory over the Kentucky Wildcats, the Wildcats scored against the Commodores for the first time in their history. Kentucky's second possession began with Bob Lavin fumbling the return, which was recovered by Neely on the 10-yard line. On third down, after little gain on first and second, Frank Godchaux ran an end-around touchdown. Rupe Smith scored the other two touchdowns, his first on a drive begun with a 22-yard pass from Neely to captain Pink Wade (father of later Vanderbilt quarterback Bill Wade). One Kentucky touchdown followed a blocked Neely punt. The Wildcats threatened to score late and tie the game, but they turned the ball over on downs at the two-yard line; Neely ran 34 yards, to the 36-yard line. In the season's sixth week, Vanderbilt defeated Alabama 14-0 at Birmingham in line with predictions. Neely played a role in both touchdowns. Early in the first quarter, Vanderbilt had the ball at midfield after an Alabama punt. Two line bucks preceded Neely's connection with Tot McCullough for a 30-yard pass play. Neely ran for about 17 yards more through left tackle, putting the ball on the nine-yard line. After a run by Frank Godchaux, Lynn Bomar bucked over the line for the touchdown and Rupe Smith made the field goal. The second scoring drive began with a pass interception by Paul Stumb. In the second half, quarterback Doc Kuhn invigorated the Commodores after he sat out the first half due to injuries; Neely ran for 21 yards around the right end, and Kuhn passed 25 yards to Tot McCullough. Rupe Smith (or Kuhn) then ran the remaining few yards for the touchdown. For its seventh game, Vanderbilt faced the defending Southern Intercollegiate Athletic Association (SIAA) champion Georgia Bulldogs at home. The game, the highlight of Vanderbilt's season, was described by The New York Times as an "important clash" and would determine the SIAA champion. Georgia scored during the first half; early in the fourth quarter Neely intercepted a pass, weaving for 25 yards to Georgia's 40-yard line before he was tackled by Jim Reynolds. Two long pass attempts failed, and Thomas Ryan lined up to punt. Rupert Smith sneaked behind Ryan; he rushed to recover the 25-yard onside kick, jumping up to get the ball off a bounce from the Bulldogs and racing for a 15-yard touchdown. The game ended in a tie, and the teams shared the SIAA championship. Vanderbilt finished its season against Sewanee in "the muddiest game in its history"; the Commodores were reportedly knee-deep in mud and water, with the players unrecognizable. The game was scoreless until the fourth quarter, when Sewanee fumbled the snap on a punt; the punter was smothered by the Commodores' Neely, Godchaux and Wade for a safety. Hek Wakefield later scored a touchdown for a 9-0 Vanderbilt win. CANNOTANSWER
Vanderbilt faced the defending Southern Intercollegiate Athletic Association (SIAA) champion Georgia Bulldogs at home.
Jesse Claiborne Neely (January 4, 1898 – April 9, 1983) was an American football player and a baseball and football coach. He was head football coach at Southwestern University (now Rhodes College) from 1924 to 1927, at Clemson University from 1931 to 1939 and at Rice University from 1940 to 1966, compiling a career college football record of 207–176–19. He was inducted into the College Football Hall of Fame as a coach in 1971. Neely was also the head baseball coach at the University of Alabama (1929–1930), at Clemson (1932–1938) and at Rice (1945 and 1948), tallying a career college baseball mark of 109–108–5. Early years and ancestry Neely was born on January 4, 1898 in Smyrna, Tennessee to William Daniel Neely, Sr. and Mary Elizabeth Gooch. His father died of sunstroke in 1900. His mother's father was John Gooch, a farmer and breeder of thoroughbred horses in Goochland. John, known as "Colonel Jack", organized the Company E of the 20th Tennessee Regiment during the American Civil War. His brother, Bill Neely, Jr., was a captain and All-Southern end on the undefeated 1910 Vanderbilt football team. Jess attended Branham and Hughes Military Academy. Playing career Middle Tennessee State The First Fifty Years: A History of Middle Tennessee State College recounts Neely's days playing for Middle Tennessee State Normal School: Jess Neely, a brilliant half-back and a handsome man on the campus, is remembered for his popularity among members of the opposite sex and for an incident that occurred just prior to a football game with Southern Presbyterian in Clarksville. Miles had done an exceptionally good job in mentally preparing his team for the game. He climaxed the pre-game, locker-room exhortation with a soaring call for courage and deathless allegiance to "dear Ol' Normal." Neely was greatly affected by the words of his coach for he leaped to his feet and, roaring like an angry bull, led the team in a rush to the doorway opening to the field. He misjudged the extremely low entrance, and his head received the full impact of the strip of wall above the doorway. He was revived shortly before the kickoff, but he never quite knew where he was, frequently huddling and aligning himself with the enemy. That team included Preston Vaughn Overall and Rupert Smith, who rejoined Neely on the 1921 Vanderbilt team. Vanderbilt Neely played football at Vanderbilt University from 1920 to 1922 under head coach Dan McGugin. He was captain and halfback of the undefeated 1922 team, and its best passer. Neely belonged to the Delta Tau Delta fraternity. 1920 Although the Commodores expected a "hard game against the university rivals", Vanderbilt shut out Tennessee 20–0. All three Commodore touchdowns came from passes by Neely to Gink Hendrick. Neely's long first-quarter pass hit Hendrick, who ran 25 yards for the touchdown. In the second quarter Hendrick ran to the 4-yard line on a pass from Neely, and the first half ended with Vanderbilt in possession at the Tennessee one-foot line. Hendrick caught another 30-yard touchdown pass from Neely in the fourth quarter. Two weeks later the Commodores lost 56–6 to one of Auburn's greatest teams, Vanderbilt's worst defeat since its 83–0 loss to Georgia Tech in 1917. The Commodores had only one first down, and never moved the ball beyond their 40-yard line. Neely was one of Vanderbilt's few stars, blocking well and passing Vanderbilt's only touchdown to Hendrick in the end zone. In a "thriller from the start," the Alabama Crimson Tide defeated Vanderbilt for the first time on November 6, 1920 by a score of 14–7. A forward pass from Doc Kuhn to Neely gave the Commodores their sole touchdown. The following week, "expecting one of the greatest football games of the year", Vanderbilt had a difficult practice schedule before its game with the Virginia Cavaliers; Virginia and Vanderbilt tied, 7–7. Early in the game, Vanderbilt mounted a swift offense, with Neely throwing Hendrick a touchdown pass. That season, Vanderbilt opponents gained less on punt returns than they did against any other team in the South because of coverage by Percy Conyers and Neely. 1921 Football In the second week of the 1921 season the Commodores shut out the Mercer Baptists, 42–0. Neely helped score one of four second-quarter touchdowns with a 55-yard pass to end Tot McCullough, and had a 25-yard punt return in the second half. In the next game, a 21–14 victory over the Kentucky Wildcats, the Wildcats scored against the Commodores for the first time in their history. Kentucky's second possession began with Bob Lavin fumbling the return, which was recovered by Neely on the 10-yard line. On third down, after little gain on first and second, Frank Godchaux ran an end-around touchdown. Rupe Smith scored the other two touchdowns, his first on a drive begun with a 22-yard pass from Neely to captain Pink Wade (father of later Vanderbilt quarterback Bill Wade). One Kentucky touchdown followed a blocked Neely punt. The Wildcats threatened to score late and tie the game, but they turned the ball over on downs at the two-yard line; Neely ran 34 yards, to the 36-yard line. In the season's sixth week, Vanderbilt defeated Alabama 14–0 at Birmingham in line with predictions. Neely played a role in both touchdowns. Early in the first quarter, Vanderbilt had the ball at midfield after an Alabama punt. Two line bucks preceded Neely's connection with Tot McCullough for a 30-yard pass play. Neely ran for about 17 yards more through left tackle, putting the ball on the nine-yard line. After a run by Frank Godchaux, Lynn Bomar bucked over the line for the touchdown and Rupe Smith made the field goal. The second scoring drive began with a pass interception by Paul Stumb. In the second half, quarterback Doc Kuhn invigorated the Commodores after he sat out the first half due to injuries; Neely ran for 21 yards around the right end, and Kuhn passed 25 yards to Tot McCullough. Rupe Smith (or Kuhn) then ran the remaining few yards for the touchdown. For its seventh game, Vanderbilt faced the defending Southern Intercollegiate Athletic Association (SIAA) champion Georgia Bulldogs at home. The game, the highlight of Vanderbilt's season, was described by The New York Times as an "important clash" and would determine the SIAA champion. Georgia scored during the first half; early in the fourth quarter Neely intercepted a pass, weaving for 25 yards to Georgia's 40-yard line before he was tackled by Jim Reynolds. Two long pass attempts failed, and Thomas Ryan lined up to punt. Rupert Smith sneaked behind Ryan; he rushed to recover the 25-yard onside kick, jumping up to get the ball off a bounce from the Bulldogs and racing for a 15-yard touchdown. The game ended in a tie, and the teams shared the SIAA championship. Vanderbilt finished its season against Sewanee in "the muddiest game in its history"; the Commodores were reportedly knee-deep in mud and water, with the players unrecognizable. The game was scoreless until the fourth quarter, when Sewanee fumbled the snap on a punt; the punter was smothered by the Commodores' Neely, Godchaux and Wade for a safety. Hek Wakefield later scored a touchdown for a 9–0 Vanderbilt win. Baseball Neely was a member of the 1921 SIAA champion Vanderbilt baseball team. According to The Commodore, the school yearbook, in a 1921 game against Southwestern Presbyterian University the team scored a world record 13 runs in one inning with two out. The Tennessean reported: Neely singled as did Kuhn; Neil fanned but Thomas got his third straight hit and both tallied. Big Tot got hit by a pitched ball and Smith was safe on a fielder's choice with one out. Woodruf flied out to right. Tyner slammed one to center which Jetty juggled and everybody advanced a pair of sacks. Ryan was safe on another error and two runs came over. Neely beat out his second hit of the inning and Kuhn walked. Neil walked. Thomas was safe on an error and Big Tot McCullough picked one over the right field fence, clearing the sacks--but oh, what's the use? Why continue? 1922 Neely was captain of the undefeated 1922 team. In the second week of play Vanderbilt shut out Henderson-Brown 33–0, with Neely scoring a third-quarter touchdown. Despite an injured left arm, he started in the scoreless tie with Michigan at the dedication at Dudley Field. Vanderbilt was forced to punt from its seven-yard line early in the first quarter. The Wolverines completed their first pass (from Doug Roby to Paul Goebel), setting in motion a change in field position which placed them inside the five-yard line. The Commodore punt was partially blocked, giving Michigan the ball at Vanderbilt's 25-yard line. Two end runs, two line bucks and a forward pass brought them to first and goal after six minutes. The Commodore defense stiffened, repelling four touchdown tries; three runs up the middle were stopped before the goal line. Franklin Cappon gained a yard, Harry Kipke lost one and Cappon drove to within a foot of the goal; Neely was heard shouting, "Stop 'em!" On fourth down, Michigan faked a field goal and ran with Harry Kipke off tackle to the right. Kipke was tackled inches from the end zone. A Vanderbilt player pushed himself off the goal post to generate a greater backwards push as the crowd cheered. Vanderbilt's only noteworthy offensive play occurred soon afterwards. The Commodores punted out of the shadow of their goalpost after a goal line stand; Neely tackled Kipke (or Irwin Uteritz) hard on the punt return, causing a fumble which he recovered. He then connected on a 20–plus-yard pass to Tot McCullough. This gave Vanderbilt the ball at Michigan's 20-yard line, but subsequent Vanderbilt plays saw runs stopped with little gain and a pass intercepted by Uteritz. The tie was reportedly preserved when Neely recovered a fumble near the Commodore goal. He and Lynn Bomar were acknowledged as Vanderbilt's players of the game, and Neely wept tears of joy by the game's end. Bomar spent much of his day tackling Michigan runners, and Neely was a battered, bruised captain playing hard despite his injuries. Franklin Cappon said after the game, "What sort of a crazy man is this Neely? He played like a fiend and when he tackled me I thought I was broken in two. When I got up he was crying and cussed me out. I was the one who should have been crying". At the Texas State Fair game in Dallas against the Texas Longhorns, an early surge saw Texas at Vanderbilt's 18-yard line. McGugin sent in Neely, his injured captain. It worked to some extent, with Texas losing yards and ending up at the 17-yard line; Franklin Stacy then kicked a field goal. After a Vanderbilt touchdown, the offenses exchanged punts before Neely ran back a 30-yard punt return. The 60-yard drive which followed was capped by a 46-yard touchdown run by Gil Reese. In the fourth quarter, Neely hit Bomar with a 23-yard pass and Bomar ran for 20 yards more, close to the goal. Reese ran it in on the next play and the field goal was good, giving the Commodores a 20–10 victory. Vanderbilt defeated the Tennessee Volunteers 14–6, with both touchdowns on passes from Neely. The first was in the second quarter, on a 31-yard pass to Doc Kuhn; in the fourth quarter, a five-yard pass to Lynn Bomar also scored a touchdown. Neely-to-Bomar is considered one of the best pass-receiver combinations in Vanderbilt history. In the game against the Georgia Bulldogs, Neely connected with Bomar on a long pass thrown from a few yards behind the line of scrimmage at the 45-yard line. Bomar caught it around the seven-yard line before being tackled by Georgia halfback Loren Chester (Teany) Randall at about the three-yard line. The next series of downs produced a touchdown by Gil Reese on his second run at the left tackle. Although Neely was sidelined by injury in the second quarter, Vanderbilt won 12–0. At the end of the season, he was on Walter Camp's list of players worthy of mention, and Vanderbilt compiled an 8–0–1 record. The season was among the best in school and Southern football history; according to a number of publications, Vanderbilt's season was the best in the South. One of the highest honors a student could receive at Vanderbilt was Bachelor of Ugliness, created by William H. Dodd in 1885 and given to the male undergraduate student considered most representative of ideal young manhood. In 1923, Neely received the award. Coaching career After Neely graduated from Vanderbilt with a law degree in 1924, he began his coaching career at Murfreesboro High School in Tennessee and ran a farm-loan business. His college-football coaching career began at Rhodes College (then known as Southwestern University), a job he got thanks to former coach McGugin's recommendation, where he had a 20–17–2 record from 1924 to 1927. Neely was assistant baseball coach at Princeton in the spring of 1928 before going to Alabama. From 1928 to 1930, Neely was assistant football coach under former Vanderbilt assistant Wallace Wade, and compiled a 28–15–2 record as the school's head baseball coach from 1929 to 1930. From 1931 to 1939 he coached football at Clemson, compiling a 43–35–7 record. Neely coached at Rice from 1940 to 1966 with a 144–124–10 record, the most wins by a Rice coach. He won the first four bowl games he coached: the 1940 Cotton Bowl (with Clemson), the 1946 Orange Bowl and the 1949 and 1953 Cotton Bowls (with Rice). However, at Rice, he also lost the last three bowl games he coached: the 1957 Cotton Bowl, the 1960 Sugar Bowl and 1961 Bluebonnet Bowl. Clemson Neely coached the Tigers during what is known as the "Seven Lean Years", and helped start the first booster club. The 1939 team lost only to Tulane. In the 1940 Cotton Bowl, Neely's Tigers upset Frank Leahy's Boston College Eagles. Banks McFadden led the Tigers. Rice Neely was hired by Rice in 1940 and led the team to a six-win turnaround. Neely's 1946 team won the Southwest Conference and the Orange Bowl. Weldon Humble starred for the Owls The 1949 team won the Southwest Conference and the Cotton Bowl, and Neely was named the conference's coach of the year. Hall of Fame end Froggy Williams was "the most important cog" in Neely's "gridiron machine". The 1949 team won the Cotton Bowl. In 1953 Neely's Rice team again won the Cotton Bowl. The game featured one of college football's most famous plays. Dicky Moegle had broken free on a run when he was tackled by Tommy Lewis, who had come off the sidelines from Alabama's bench. Moegle was awarded a touchdown for the illegal play. Buddy Dial tied Williams's records in 1958. Rice lost the 1960 Sugar Bowl to national champion Ole Miss. Neely's last road win was a 20–17 upset over the Texas Longhorns in 1965. Athletic director at Vanderbilt After the 1966 season he returned to Vanderbilt as athletic director, and received the Amos Alonzo Stagg Award the following year. Neely brought the football program out of a dire financial situation. Jess convinced Sam Fleming, who was involved at that time in a $30 million campus fundraising project, that he could get the McGugin Center built and called on his friends among those the late Alf Sharpe, to help him. This actually started all the improvements of the football facilities at the university. Jess had a very special way with people. Legacy In 1999, he was ranked 39th on Sports Illustrated list of the 50 greatest Tennessee sports figures of the 20th century. Head coaching record Football See also List of college football coaches with 200 wins References Bibliography External links The Coach: Jess Neely's last game and interview 1898 births 1983 deaths American football halfbacks Alabama Crimson Tide baseball coaches Alabama Crimson Tide football coaches Clemson Tigers athletic directors Clemson Tigers baseball coaches Clemson Tigers football coaches Middle Tennessee Blue Raiders football players Rhodes Lynx football coaches Rice Owls athletic directors Rice Owls baseball coaches Rice Owls football coaches Vanderbilt Commodores athletic directors Vanderbilt Commodores football players College Football Hall of Fame inductees People from Smyrna, Tennessee Coaches of American football from Tennessee Players of American football from Tennessee Baseball coaches from Tennessee
true
[ "Alex Hadley (born 14 September 1973) is an Australian Paralympic swimmer from the United Kingdom. He was born in Staines, England. He competed but did not win any medals at the 1996 Atlanta Games. At the 2004 Athens Games, he won a gold medal in the Men's 4 × 100 m Medley 34 pts event and a silver medal in the Men's 4 × 100 m Freestyle 34 pts event. He also competed but did not win any medals at the 2008 Beijing Games.\n\nReferences\n\nMale Paralympic swimmers of Australia\nSwimmers at the 1996 Summer Paralympics\nSwimmers at the 2004 Summer Paralympics\nSwimmers at the 2008 Summer Paralympics\nMedalists at the 2004 Summer Paralympics\nParalympic gold medalists for Australia\nParalympic silver medalists for Australia\nEnglish emigrants to Australia\nPeople from Staines-upon-Thames\n1973 births\nLiving people\nParalympic medalists in swimming", "Herbert Seidman (17 October 1920 – 30 August 1995) was a U.S. Senior Master of chess born in New York City. He played several times in the U.S. Chess Championship. He was known for his swashbuckling-style. He defeated many notable players, including Pal Benko, Arthur Bisguier, Donald Byrne, Arnold Denker, William Lombardy, Edmar Mednis, Samuel Reshevsky, and Jan Timman.\n\nIn 1961, Seidman won the most games of any player in the U.S. Championship, but did not win the tournament.\n\nHe played on board eight in the famous USA vs USSR radio match in September 1945, losing both games to Viacheslav Ragozin.\n\nReferences\n\nExternal links\n\n1920 births\n1995 deaths\n20th-century American Jews\nAmerican chess players\nJewish chess players\nSportspeople from New York City\n20th-century chess players" ]
[ "Jess Neely", "Football", "What year did he start paying football?", "I don't know.", "Who did he play for?", "the Commodores", "Did he ever get injured?", "I don't know.", "Did he win any notable games?", "Vanderbilt faced the defending Southern Intercollegiate Athletic Association (SIAA) champion Georgia Bulldogs at home." ]
C_a36fe6cc1eb0413aaf649b01daf9b705_0
Did they win this game?
5
Did Vanderbilt win the game against Georgia Bulldogs?
Jess Neely
In the second week of the 1921 season the Commodores shut out the Mercer Baptists, 42-0. Neely helped score one of four second-quarter touchdowns with a 55-yard pass to end Tot McCullough, and had a 25-yard punt return in the second half. In the next game, a 21-14 victory over the Kentucky Wildcats, the Wildcats scored against the Commodores for the first time in their history. Kentucky's second possession began with Bob Lavin fumbling the return, which was recovered by Neely on the 10-yard line. On third down, after little gain on first and second, Frank Godchaux ran an end-around touchdown. Rupe Smith scored the other two touchdowns, his first on a drive begun with a 22-yard pass from Neely to captain Pink Wade (father of later Vanderbilt quarterback Bill Wade). One Kentucky touchdown followed a blocked Neely punt. The Wildcats threatened to score late and tie the game, but they turned the ball over on downs at the two-yard line; Neely ran 34 yards, to the 36-yard line. In the season's sixth week, Vanderbilt defeated Alabama 14-0 at Birmingham in line with predictions. Neely played a role in both touchdowns. Early in the first quarter, Vanderbilt had the ball at midfield after an Alabama punt. Two line bucks preceded Neely's connection with Tot McCullough for a 30-yard pass play. Neely ran for about 17 yards more through left tackle, putting the ball on the nine-yard line. After a run by Frank Godchaux, Lynn Bomar bucked over the line for the touchdown and Rupe Smith made the field goal. The second scoring drive began with a pass interception by Paul Stumb. In the second half, quarterback Doc Kuhn invigorated the Commodores after he sat out the first half due to injuries; Neely ran for 21 yards around the right end, and Kuhn passed 25 yards to Tot McCullough. Rupe Smith (or Kuhn) then ran the remaining few yards for the touchdown. For its seventh game, Vanderbilt faced the defending Southern Intercollegiate Athletic Association (SIAA) champion Georgia Bulldogs at home. The game, the highlight of Vanderbilt's season, was described by The New York Times as an "important clash" and would determine the SIAA champion. Georgia scored during the first half; early in the fourth quarter Neely intercepted a pass, weaving for 25 yards to Georgia's 40-yard line before he was tackled by Jim Reynolds. Two long pass attempts failed, and Thomas Ryan lined up to punt. Rupert Smith sneaked behind Ryan; he rushed to recover the 25-yard onside kick, jumping up to get the ball off a bounce from the Bulldogs and racing for a 15-yard touchdown. The game ended in a tie, and the teams shared the SIAA championship. Vanderbilt finished its season against Sewanee in "the muddiest game in its history"; the Commodores were reportedly knee-deep in mud and water, with the players unrecognizable. The game was scoreless until the fourth quarter, when Sewanee fumbled the snap on a punt; the punter was smothered by the Commodores' Neely, Godchaux and Wade for a safety. Hek Wakefield later scored a touchdown for a 9-0 Vanderbilt win. CANNOTANSWER
Hek Wakefield later scored a touchdown for a 9-0 Vanderbilt win.
Jesse Claiborne Neely (January 4, 1898 – April 9, 1983) was an American football player and a baseball and football coach. He was head football coach at Southwestern University (now Rhodes College) from 1924 to 1927, at Clemson University from 1931 to 1939 and at Rice University from 1940 to 1966, compiling a career college football record of 207–176–19. He was inducted into the College Football Hall of Fame as a coach in 1971. Neely was also the head baseball coach at the University of Alabama (1929–1930), at Clemson (1932–1938) and at Rice (1945 and 1948), tallying a career college baseball mark of 109–108–5. Early years and ancestry Neely was born on January 4, 1898 in Smyrna, Tennessee to William Daniel Neely, Sr. and Mary Elizabeth Gooch. His father died of sunstroke in 1900. His mother's father was John Gooch, a farmer and breeder of thoroughbred horses in Goochland. John, known as "Colonel Jack", organized the Company E of the 20th Tennessee Regiment during the American Civil War. His brother, Bill Neely, Jr., was a captain and All-Southern end on the undefeated 1910 Vanderbilt football team. Jess attended Branham and Hughes Military Academy. Playing career Middle Tennessee State The First Fifty Years: A History of Middle Tennessee State College recounts Neely's days playing for Middle Tennessee State Normal School: Jess Neely, a brilliant half-back and a handsome man on the campus, is remembered for his popularity among members of the opposite sex and for an incident that occurred just prior to a football game with Southern Presbyterian in Clarksville. Miles had done an exceptionally good job in mentally preparing his team for the game. He climaxed the pre-game, locker-room exhortation with a soaring call for courage and deathless allegiance to "dear Ol' Normal." Neely was greatly affected by the words of his coach for he leaped to his feet and, roaring like an angry bull, led the team in a rush to the doorway opening to the field. He misjudged the extremely low entrance, and his head received the full impact of the strip of wall above the doorway. He was revived shortly before the kickoff, but he never quite knew where he was, frequently huddling and aligning himself with the enemy. That team included Preston Vaughn Overall and Rupert Smith, who rejoined Neely on the 1921 Vanderbilt team. Vanderbilt Neely played football at Vanderbilt University from 1920 to 1922 under head coach Dan McGugin. He was captain and halfback of the undefeated 1922 team, and its best passer. Neely belonged to the Delta Tau Delta fraternity. 1920 Although the Commodores expected a "hard game against the university rivals", Vanderbilt shut out Tennessee 20–0. All three Commodore touchdowns came from passes by Neely to Gink Hendrick. Neely's long first-quarter pass hit Hendrick, who ran 25 yards for the touchdown. In the second quarter Hendrick ran to the 4-yard line on a pass from Neely, and the first half ended with Vanderbilt in possession at the Tennessee one-foot line. Hendrick caught another 30-yard touchdown pass from Neely in the fourth quarter. Two weeks later the Commodores lost 56–6 to one of Auburn's greatest teams, Vanderbilt's worst defeat since its 83–0 loss to Georgia Tech in 1917. The Commodores had only one first down, and never moved the ball beyond their 40-yard line. Neely was one of Vanderbilt's few stars, blocking well and passing Vanderbilt's only touchdown to Hendrick in the end zone. In a "thriller from the start," the Alabama Crimson Tide defeated Vanderbilt for the first time on November 6, 1920 by a score of 14–7. A forward pass from Doc Kuhn to Neely gave the Commodores their sole touchdown. The following week, "expecting one of the greatest football games of the year", Vanderbilt had a difficult practice schedule before its game with the Virginia Cavaliers; Virginia and Vanderbilt tied, 7–7. Early in the game, Vanderbilt mounted a swift offense, with Neely throwing Hendrick a touchdown pass. That season, Vanderbilt opponents gained less on punt returns than they did against any other team in the South because of coverage by Percy Conyers and Neely. 1921 Football In the second week of the 1921 season the Commodores shut out the Mercer Baptists, 42–0. Neely helped score one of four second-quarter touchdowns with a 55-yard pass to end Tot McCullough, and had a 25-yard punt return in the second half. In the next game, a 21–14 victory over the Kentucky Wildcats, the Wildcats scored against the Commodores for the first time in their history. Kentucky's second possession began with Bob Lavin fumbling the return, which was recovered by Neely on the 10-yard line. On third down, after little gain on first and second, Frank Godchaux ran an end-around touchdown. Rupe Smith scored the other two touchdowns, his first on a drive begun with a 22-yard pass from Neely to captain Pink Wade (father of later Vanderbilt quarterback Bill Wade). One Kentucky touchdown followed a blocked Neely punt. The Wildcats threatened to score late and tie the game, but they turned the ball over on downs at the two-yard line; Neely ran 34 yards, to the 36-yard line. In the season's sixth week, Vanderbilt defeated Alabama 14–0 at Birmingham in line with predictions. Neely played a role in both touchdowns. Early in the first quarter, Vanderbilt had the ball at midfield after an Alabama punt. Two line bucks preceded Neely's connection with Tot McCullough for a 30-yard pass play. Neely ran for about 17 yards more through left tackle, putting the ball on the nine-yard line. After a run by Frank Godchaux, Lynn Bomar bucked over the line for the touchdown and Rupe Smith made the field goal. The second scoring drive began with a pass interception by Paul Stumb. In the second half, quarterback Doc Kuhn invigorated the Commodores after he sat out the first half due to injuries; Neely ran for 21 yards around the right end, and Kuhn passed 25 yards to Tot McCullough. Rupe Smith (or Kuhn) then ran the remaining few yards for the touchdown. For its seventh game, Vanderbilt faced the defending Southern Intercollegiate Athletic Association (SIAA) champion Georgia Bulldogs at home. The game, the highlight of Vanderbilt's season, was described by The New York Times as an "important clash" and would determine the SIAA champion. Georgia scored during the first half; early in the fourth quarter Neely intercepted a pass, weaving for 25 yards to Georgia's 40-yard line before he was tackled by Jim Reynolds. Two long pass attempts failed, and Thomas Ryan lined up to punt. Rupert Smith sneaked behind Ryan; he rushed to recover the 25-yard onside kick, jumping up to get the ball off a bounce from the Bulldogs and racing for a 15-yard touchdown. The game ended in a tie, and the teams shared the SIAA championship. Vanderbilt finished its season against Sewanee in "the muddiest game in its history"; the Commodores were reportedly knee-deep in mud and water, with the players unrecognizable. The game was scoreless until the fourth quarter, when Sewanee fumbled the snap on a punt; the punter was smothered by the Commodores' Neely, Godchaux and Wade for a safety. Hek Wakefield later scored a touchdown for a 9–0 Vanderbilt win. Baseball Neely was a member of the 1921 SIAA champion Vanderbilt baseball team. According to The Commodore, the school yearbook, in a 1921 game against Southwestern Presbyterian University the team scored a world record 13 runs in one inning with two out. The Tennessean reported: Neely singled as did Kuhn; Neil fanned but Thomas got his third straight hit and both tallied. Big Tot got hit by a pitched ball and Smith was safe on a fielder's choice with one out. Woodruf flied out to right. Tyner slammed one to center which Jetty juggled and everybody advanced a pair of sacks. Ryan was safe on another error and two runs came over. Neely beat out his second hit of the inning and Kuhn walked. Neil walked. Thomas was safe on an error and Big Tot McCullough picked one over the right field fence, clearing the sacks--but oh, what's the use? Why continue? 1922 Neely was captain of the undefeated 1922 team. In the second week of play Vanderbilt shut out Henderson-Brown 33–0, with Neely scoring a third-quarter touchdown. Despite an injured left arm, he started in the scoreless tie with Michigan at the dedication at Dudley Field. Vanderbilt was forced to punt from its seven-yard line early in the first quarter. The Wolverines completed their first pass (from Doug Roby to Paul Goebel), setting in motion a change in field position which placed them inside the five-yard line. The Commodore punt was partially blocked, giving Michigan the ball at Vanderbilt's 25-yard line. Two end runs, two line bucks and a forward pass brought them to first and goal after six minutes. The Commodore defense stiffened, repelling four touchdown tries; three runs up the middle were stopped before the goal line. Franklin Cappon gained a yard, Harry Kipke lost one and Cappon drove to within a foot of the goal; Neely was heard shouting, "Stop 'em!" On fourth down, Michigan faked a field goal and ran with Harry Kipke off tackle to the right. Kipke was tackled inches from the end zone. A Vanderbilt player pushed himself off the goal post to generate a greater backwards push as the crowd cheered. Vanderbilt's only noteworthy offensive play occurred soon afterwards. The Commodores punted out of the shadow of their goalpost after a goal line stand; Neely tackled Kipke (or Irwin Uteritz) hard on the punt return, causing a fumble which he recovered. He then connected on a 20–plus-yard pass to Tot McCullough. This gave Vanderbilt the ball at Michigan's 20-yard line, but subsequent Vanderbilt plays saw runs stopped with little gain and a pass intercepted by Uteritz. The tie was reportedly preserved when Neely recovered a fumble near the Commodore goal. He and Lynn Bomar were acknowledged as Vanderbilt's players of the game, and Neely wept tears of joy by the game's end. Bomar spent much of his day tackling Michigan runners, and Neely was a battered, bruised captain playing hard despite his injuries. Franklin Cappon said after the game, "What sort of a crazy man is this Neely? He played like a fiend and when he tackled me I thought I was broken in two. When I got up he was crying and cussed me out. I was the one who should have been crying". At the Texas State Fair game in Dallas against the Texas Longhorns, an early surge saw Texas at Vanderbilt's 18-yard line. McGugin sent in Neely, his injured captain. It worked to some extent, with Texas losing yards and ending up at the 17-yard line; Franklin Stacy then kicked a field goal. After a Vanderbilt touchdown, the offenses exchanged punts before Neely ran back a 30-yard punt return. The 60-yard drive which followed was capped by a 46-yard touchdown run by Gil Reese. In the fourth quarter, Neely hit Bomar with a 23-yard pass and Bomar ran for 20 yards more, close to the goal. Reese ran it in on the next play and the field goal was good, giving the Commodores a 20–10 victory. Vanderbilt defeated the Tennessee Volunteers 14–6, with both touchdowns on passes from Neely. The first was in the second quarter, on a 31-yard pass to Doc Kuhn; in the fourth quarter, a five-yard pass to Lynn Bomar also scored a touchdown. Neely-to-Bomar is considered one of the best pass-receiver combinations in Vanderbilt history. In the game against the Georgia Bulldogs, Neely connected with Bomar on a long pass thrown from a few yards behind the line of scrimmage at the 45-yard line. Bomar caught it around the seven-yard line before being tackled by Georgia halfback Loren Chester (Teany) Randall at about the three-yard line. The next series of downs produced a touchdown by Gil Reese on his second run at the left tackle. Although Neely was sidelined by injury in the second quarter, Vanderbilt won 12–0. At the end of the season, he was on Walter Camp's list of players worthy of mention, and Vanderbilt compiled an 8–0–1 record. The season was among the best in school and Southern football history; according to a number of publications, Vanderbilt's season was the best in the South. One of the highest honors a student could receive at Vanderbilt was Bachelor of Ugliness, created by William H. Dodd in 1885 and given to the male undergraduate student considered most representative of ideal young manhood. In 1923, Neely received the award. Coaching career After Neely graduated from Vanderbilt with a law degree in 1924, he began his coaching career at Murfreesboro High School in Tennessee and ran a farm-loan business. His college-football coaching career began at Rhodes College (then known as Southwestern University), a job he got thanks to former coach McGugin's recommendation, where he had a 20–17–2 record from 1924 to 1927. Neely was assistant baseball coach at Princeton in the spring of 1928 before going to Alabama. From 1928 to 1930, Neely was assistant football coach under former Vanderbilt assistant Wallace Wade, and compiled a 28–15–2 record as the school's head baseball coach from 1929 to 1930. From 1931 to 1939 he coached football at Clemson, compiling a 43–35–7 record. Neely coached at Rice from 1940 to 1966 with a 144–124–10 record, the most wins by a Rice coach. He won the first four bowl games he coached: the 1940 Cotton Bowl (with Clemson), the 1946 Orange Bowl and the 1949 and 1953 Cotton Bowls (with Rice). However, at Rice, he also lost the last three bowl games he coached: the 1957 Cotton Bowl, the 1960 Sugar Bowl and 1961 Bluebonnet Bowl. Clemson Neely coached the Tigers during what is known as the "Seven Lean Years", and helped start the first booster club. The 1939 team lost only to Tulane. In the 1940 Cotton Bowl, Neely's Tigers upset Frank Leahy's Boston College Eagles. Banks McFadden led the Tigers. Rice Neely was hired by Rice in 1940 and led the team to a six-win turnaround. Neely's 1946 team won the Southwest Conference and the Orange Bowl. Weldon Humble starred for the Owls The 1949 team won the Southwest Conference and the Cotton Bowl, and Neely was named the conference's coach of the year. Hall of Fame end Froggy Williams was "the most important cog" in Neely's "gridiron machine". The 1949 team won the Cotton Bowl. In 1953 Neely's Rice team again won the Cotton Bowl. The game featured one of college football's most famous plays. Dicky Moegle had broken free on a run when he was tackled by Tommy Lewis, who had come off the sidelines from Alabama's bench. Moegle was awarded a touchdown for the illegal play. Buddy Dial tied Williams's records in 1958. Rice lost the 1960 Sugar Bowl to national champion Ole Miss. Neely's last road win was a 20–17 upset over the Texas Longhorns in 1965. Athletic director at Vanderbilt After the 1966 season he returned to Vanderbilt as athletic director, and received the Amos Alonzo Stagg Award the following year. Neely brought the football program out of a dire financial situation. Jess convinced Sam Fleming, who was involved at that time in a $30 million campus fundraising project, that he could get the McGugin Center built and called on his friends among those the late Alf Sharpe, to help him. This actually started all the improvements of the football facilities at the university. Jess had a very special way with people. Legacy In 1999, he was ranked 39th on Sports Illustrated list of the 50 greatest Tennessee sports figures of the 20th century. Head coaching record Football See also List of college football coaches with 200 wins References Bibliography External links The Coach: Jess Neely's last game and interview 1898 births 1983 deaths American football halfbacks Alabama Crimson Tide baseball coaches Alabama Crimson Tide football coaches Clemson Tigers athletic directors Clemson Tigers baseball coaches Clemson Tigers football coaches Middle Tennessee Blue Raiders football players Rhodes Lynx football coaches Rice Owls athletic directors Rice Owls baseball coaches Rice Owls football coaches Vanderbilt Commodores athletic directors Vanderbilt Commodores football players College Football Hall of Fame inductees People from Smyrna, Tennessee Coaches of American football from Tennessee Players of American football from Tennessee Baseball coaches from Tennessee
false
[ "The 1949 Raisin Bowl (December) was an American college football bowl game played on December 31, 1949 at Ratcliffe Stadium in Fresno, California. The game pitted the San Jose State Spartans and the Texas Tech Red Raiders. This was the fifth and final Raisin Bowl played.\n\nBackground\nSan Jose State won eight games in the regular season, though they were invited to their second bowl game in four seasons. Texas Tech finished as champion of the Border Intercollegiate Athletic Association for the third straight year and fourth in seven years (with no champion awarded from 1943–45). This was their fifth bowl game in 11 years.\n\nGame summary\nTexas Tech - Hatch 1 yard run\nSan Jose State - Wilson 30 yard pass from Menges\nSan Jose State - Donaldson 11 yard run\nSan Jose State - Donaldson 5 yard run\nTexas Tech - Stuver 76 yard run\nIn a game that started and ended with fog, San Jose State pulled through with quick scoring to win their second ever bowl game.\n\nAftermath\nWith the win, San Jose State had won nine games for the fourth straight season. They did not win 9 games again until 1975. Incidentally, they did not reach a bowl game until the Pasadena Bowl in 1971 and a major bowl game until 1981. Texas Tech returned to a bowl game in 1952, which they won for their first ever win in school history.\n\nReferences\n\nRaisin Bowl\nRaisin Bowl\nSan Jose State Spartans football bowl games\nTexas Tech Red Raiders football bowl games\nDecember 1949 sports events\nRaisin Bowl", "The 1977 Astro-Bluebonnet Bowl was an American college football bowl game played on December 31, 1977, at the Astrodome in Houston, Texas. The game pitted the Texas A&M Aggies and the USC Trojans.\n\nBackground\nThe Trojans started the season ranked #4, and they won their first four games to rise to #1 in the polls before a matchup with #7 Alabama at home. A 21–20 loss dropped them to #6, and they responded with a win over Oregon. But losses to #11 Notre Dame and California dropped them to #16. A win over Stanford was soon followed with a loss to Washington that dropped them out of the rankings, though they did beat #17 UCLA to finish the season strong, albeit tied for 2nd with Stanford in the Pacific-8 Conference. This was their seventh bowl game of the decade. As for Texas A&M, they started the season ranked at #9, and they responded with three victories to rise to #5 in the polls heading into a matchup with #3 Michigan in Ann Arbor. A 41–3 loss dropped them to #13, though they did win their next three games to get to #11 before a game with #8 Arkansas. A 26–20 loss dropped them to #14, though they did beat TCU the next week. A 57–28 loss to #1 Texas killed their hopes for a conference title, though they finished with a 27–7 win over Houston, with a third-place finish in the Southwest Conference. This was their third bowl game in three years, and second in the calendar year of 1977.\n\nGame summary\nTexas A&M - Woodard 3 yard touchdown run (Franklin kick)\nTexas A&M - Mosley 44 yard touchdown run (Franklin kick)\nUSC - Sweeney 29 yard touchdown pass from Hertel (Jordan kick)\nUSC - White 25 yard touchdown pass from Hertel (Jordan kick)\nUSC - Jordan 22 yard field goal\nUSC - Jordan 29 yard field goal\nUSC - Sweeney 40 yard touchdown pass from Hertel (Burns pass from Hertel)\nUSC - Simmrin 14 yard touchdown pass from Hertel (kick failed)\nTexas A&M - Woodard 1 yard touchdown run (Franklin kick)\nUSC - Ford 94 yard touchdown run (run failed)\nUSC - Tatupu 8 yard touchdown run (Jordan kick)\nTexas A&M - Armstrong 4 yard touchdown run (Franklin kick)\n\nRob Hertel threw for four touchdown passes for the Trojans, while Charles White and Dwight Ford both had 100 yards rushing. The Aggies turned it over five times.\n\nAftermath\nThis was the only Bluebonnet Bowl appearance for either team. USC went to two more bowl games in the decade, while Texas A&M went to one more.\n\nReferences\n\nAstro-Bluebonnet Bowl\nBluebonnet Bowl\nTexas A&M Aggies football bowl games\nUSC Trojans football bowl games\nAstro-Bluebonnet Bowl\nAstro-Bluebonnet Bowl" ]
[ "Jess Neely", "Football", "What year did he start paying football?", "I don't know.", "Who did he play for?", "the Commodores", "Did he ever get injured?", "I don't know.", "Did he win any notable games?", "Vanderbilt faced the defending Southern Intercollegiate Athletic Association (SIAA) champion Georgia Bulldogs at home.", "Did they win this game?", "Hek Wakefield later scored a touchdown for a 9-0 Vanderbilt win." ]
C_a36fe6cc1eb0413aaf649b01daf9b705_0
Did he have any other wins?
6
Did Jess Neely have any other wins other than the one against Georgia Bulldogs?
Jess Neely
In the second week of the 1921 season the Commodores shut out the Mercer Baptists, 42-0. Neely helped score one of four second-quarter touchdowns with a 55-yard pass to end Tot McCullough, and had a 25-yard punt return in the second half. In the next game, a 21-14 victory over the Kentucky Wildcats, the Wildcats scored against the Commodores for the first time in their history. Kentucky's second possession began with Bob Lavin fumbling the return, which was recovered by Neely on the 10-yard line. On third down, after little gain on first and second, Frank Godchaux ran an end-around touchdown. Rupe Smith scored the other two touchdowns, his first on a drive begun with a 22-yard pass from Neely to captain Pink Wade (father of later Vanderbilt quarterback Bill Wade). One Kentucky touchdown followed a blocked Neely punt. The Wildcats threatened to score late and tie the game, but they turned the ball over on downs at the two-yard line; Neely ran 34 yards, to the 36-yard line. In the season's sixth week, Vanderbilt defeated Alabama 14-0 at Birmingham in line with predictions. Neely played a role in both touchdowns. Early in the first quarter, Vanderbilt had the ball at midfield after an Alabama punt. Two line bucks preceded Neely's connection with Tot McCullough for a 30-yard pass play. Neely ran for about 17 yards more through left tackle, putting the ball on the nine-yard line. After a run by Frank Godchaux, Lynn Bomar bucked over the line for the touchdown and Rupe Smith made the field goal. The second scoring drive began with a pass interception by Paul Stumb. In the second half, quarterback Doc Kuhn invigorated the Commodores after he sat out the first half due to injuries; Neely ran for 21 yards around the right end, and Kuhn passed 25 yards to Tot McCullough. Rupe Smith (or Kuhn) then ran the remaining few yards for the touchdown. For its seventh game, Vanderbilt faced the defending Southern Intercollegiate Athletic Association (SIAA) champion Georgia Bulldogs at home. The game, the highlight of Vanderbilt's season, was described by The New York Times as an "important clash" and would determine the SIAA champion. Georgia scored during the first half; early in the fourth quarter Neely intercepted a pass, weaving for 25 yards to Georgia's 40-yard line before he was tackled by Jim Reynolds. Two long pass attempts failed, and Thomas Ryan lined up to punt. Rupert Smith sneaked behind Ryan; he rushed to recover the 25-yard onside kick, jumping up to get the ball off a bounce from the Bulldogs and racing for a 15-yard touchdown. The game ended in a tie, and the teams shared the SIAA championship. Vanderbilt finished its season against Sewanee in "the muddiest game in its history"; the Commodores were reportedly knee-deep in mud and water, with the players unrecognizable. The game was scoreless until the fourth quarter, when Sewanee fumbled the snap on a punt; the punter was smothered by the Commodores' Neely, Godchaux and Wade for a safety. Hek Wakefield later scored a touchdown for a 9-0 Vanderbilt win. CANNOTANSWER
Vanderbilt defeated Alabama 14-0 at Birmingham
Jesse Claiborne Neely (January 4, 1898 – April 9, 1983) was an American football player and a baseball and football coach. He was head football coach at Southwestern University (now Rhodes College) from 1924 to 1927, at Clemson University from 1931 to 1939 and at Rice University from 1940 to 1966, compiling a career college football record of 207–176–19. He was inducted into the College Football Hall of Fame as a coach in 1971. Neely was also the head baseball coach at the University of Alabama (1929–1930), at Clemson (1932–1938) and at Rice (1945 and 1948), tallying a career college baseball mark of 109–108–5. Early years and ancestry Neely was born on January 4, 1898 in Smyrna, Tennessee to William Daniel Neely, Sr. and Mary Elizabeth Gooch. His father died of sunstroke in 1900. His mother's father was John Gooch, a farmer and breeder of thoroughbred horses in Goochland. John, known as "Colonel Jack", organized the Company E of the 20th Tennessee Regiment during the American Civil War. His brother, Bill Neely, Jr., was a captain and All-Southern end on the undefeated 1910 Vanderbilt football team. Jess attended Branham and Hughes Military Academy. Playing career Middle Tennessee State The First Fifty Years: A History of Middle Tennessee State College recounts Neely's days playing for Middle Tennessee State Normal School: Jess Neely, a brilliant half-back and a handsome man on the campus, is remembered for his popularity among members of the opposite sex and for an incident that occurred just prior to a football game with Southern Presbyterian in Clarksville. Miles had done an exceptionally good job in mentally preparing his team for the game. He climaxed the pre-game, locker-room exhortation with a soaring call for courage and deathless allegiance to "dear Ol' Normal." Neely was greatly affected by the words of his coach for he leaped to his feet and, roaring like an angry bull, led the team in a rush to the doorway opening to the field. He misjudged the extremely low entrance, and his head received the full impact of the strip of wall above the doorway. He was revived shortly before the kickoff, but he never quite knew where he was, frequently huddling and aligning himself with the enemy. That team included Preston Vaughn Overall and Rupert Smith, who rejoined Neely on the 1921 Vanderbilt team. Vanderbilt Neely played football at Vanderbilt University from 1920 to 1922 under head coach Dan McGugin. He was captain and halfback of the undefeated 1922 team, and its best passer. Neely belonged to the Delta Tau Delta fraternity. 1920 Although the Commodores expected a "hard game against the university rivals", Vanderbilt shut out Tennessee 20–0. All three Commodore touchdowns came from passes by Neely to Gink Hendrick. Neely's long first-quarter pass hit Hendrick, who ran 25 yards for the touchdown. In the second quarter Hendrick ran to the 4-yard line on a pass from Neely, and the first half ended with Vanderbilt in possession at the Tennessee one-foot line. Hendrick caught another 30-yard touchdown pass from Neely in the fourth quarter. Two weeks later the Commodores lost 56–6 to one of Auburn's greatest teams, Vanderbilt's worst defeat since its 83–0 loss to Georgia Tech in 1917. The Commodores had only one first down, and never moved the ball beyond their 40-yard line. Neely was one of Vanderbilt's few stars, blocking well and passing Vanderbilt's only touchdown to Hendrick in the end zone. In a "thriller from the start," the Alabama Crimson Tide defeated Vanderbilt for the first time on November 6, 1920 by a score of 14–7. A forward pass from Doc Kuhn to Neely gave the Commodores their sole touchdown. The following week, "expecting one of the greatest football games of the year", Vanderbilt had a difficult practice schedule before its game with the Virginia Cavaliers; Virginia and Vanderbilt tied, 7–7. Early in the game, Vanderbilt mounted a swift offense, with Neely throwing Hendrick a touchdown pass. That season, Vanderbilt opponents gained less on punt returns than they did against any other team in the South because of coverage by Percy Conyers and Neely. 1921 Football In the second week of the 1921 season the Commodores shut out the Mercer Baptists, 42–0. Neely helped score one of four second-quarter touchdowns with a 55-yard pass to end Tot McCullough, and had a 25-yard punt return in the second half. In the next game, a 21–14 victory over the Kentucky Wildcats, the Wildcats scored against the Commodores for the first time in their history. Kentucky's second possession began with Bob Lavin fumbling the return, which was recovered by Neely on the 10-yard line. On third down, after little gain on first and second, Frank Godchaux ran an end-around touchdown. Rupe Smith scored the other two touchdowns, his first on a drive begun with a 22-yard pass from Neely to captain Pink Wade (father of later Vanderbilt quarterback Bill Wade). One Kentucky touchdown followed a blocked Neely punt. The Wildcats threatened to score late and tie the game, but they turned the ball over on downs at the two-yard line; Neely ran 34 yards, to the 36-yard line. In the season's sixth week, Vanderbilt defeated Alabama 14–0 at Birmingham in line with predictions. Neely played a role in both touchdowns. Early in the first quarter, Vanderbilt had the ball at midfield after an Alabama punt. Two line bucks preceded Neely's connection with Tot McCullough for a 30-yard pass play. Neely ran for about 17 yards more through left tackle, putting the ball on the nine-yard line. After a run by Frank Godchaux, Lynn Bomar bucked over the line for the touchdown and Rupe Smith made the field goal. The second scoring drive began with a pass interception by Paul Stumb. In the second half, quarterback Doc Kuhn invigorated the Commodores after he sat out the first half due to injuries; Neely ran for 21 yards around the right end, and Kuhn passed 25 yards to Tot McCullough. Rupe Smith (or Kuhn) then ran the remaining few yards for the touchdown. For its seventh game, Vanderbilt faced the defending Southern Intercollegiate Athletic Association (SIAA) champion Georgia Bulldogs at home. The game, the highlight of Vanderbilt's season, was described by The New York Times as an "important clash" and would determine the SIAA champion. Georgia scored during the first half; early in the fourth quarter Neely intercepted a pass, weaving for 25 yards to Georgia's 40-yard line before he was tackled by Jim Reynolds. Two long pass attempts failed, and Thomas Ryan lined up to punt. Rupert Smith sneaked behind Ryan; he rushed to recover the 25-yard onside kick, jumping up to get the ball off a bounce from the Bulldogs and racing for a 15-yard touchdown. The game ended in a tie, and the teams shared the SIAA championship. Vanderbilt finished its season against Sewanee in "the muddiest game in its history"; the Commodores were reportedly knee-deep in mud and water, with the players unrecognizable. The game was scoreless until the fourth quarter, when Sewanee fumbled the snap on a punt; the punter was smothered by the Commodores' Neely, Godchaux and Wade for a safety. Hek Wakefield later scored a touchdown for a 9–0 Vanderbilt win. Baseball Neely was a member of the 1921 SIAA champion Vanderbilt baseball team. According to The Commodore, the school yearbook, in a 1921 game against Southwestern Presbyterian University the team scored a world record 13 runs in one inning with two out. The Tennessean reported: Neely singled as did Kuhn; Neil fanned but Thomas got his third straight hit and both tallied. Big Tot got hit by a pitched ball and Smith was safe on a fielder's choice with one out. Woodruf flied out to right. Tyner slammed one to center which Jetty juggled and everybody advanced a pair of sacks. Ryan was safe on another error and two runs came over. Neely beat out his second hit of the inning and Kuhn walked. Neil walked. Thomas was safe on an error and Big Tot McCullough picked one over the right field fence, clearing the sacks--but oh, what's the use? Why continue? 1922 Neely was captain of the undefeated 1922 team. In the second week of play Vanderbilt shut out Henderson-Brown 33–0, with Neely scoring a third-quarter touchdown. Despite an injured left arm, he started in the scoreless tie with Michigan at the dedication at Dudley Field. Vanderbilt was forced to punt from its seven-yard line early in the first quarter. The Wolverines completed their first pass (from Doug Roby to Paul Goebel), setting in motion a change in field position which placed them inside the five-yard line. The Commodore punt was partially blocked, giving Michigan the ball at Vanderbilt's 25-yard line. Two end runs, two line bucks and a forward pass brought them to first and goal after six minutes. The Commodore defense stiffened, repelling four touchdown tries; three runs up the middle were stopped before the goal line. Franklin Cappon gained a yard, Harry Kipke lost one and Cappon drove to within a foot of the goal; Neely was heard shouting, "Stop 'em!" On fourth down, Michigan faked a field goal and ran with Harry Kipke off tackle to the right. Kipke was tackled inches from the end zone. A Vanderbilt player pushed himself off the goal post to generate a greater backwards push as the crowd cheered. Vanderbilt's only noteworthy offensive play occurred soon afterwards. The Commodores punted out of the shadow of their goalpost after a goal line stand; Neely tackled Kipke (or Irwin Uteritz) hard on the punt return, causing a fumble which he recovered. He then connected on a 20–plus-yard pass to Tot McCullough. This gave Vanderbilt the ball at Michigan's 20-yard line, but subsequent Vanderbilt plays saw runs stopped with little gain and a pass intercepted by Uteritz. The tie was reportedly preserved when Neely recovered a fumble near the Commodore goal. He and Lynn Bomar were acknowledged as Vanderbilt's players of the game, and Neely wept tears of joy by the game's end. Bomar spent much of his day tackling Michigan runners, and Neely was a battered, bruised captain playing hard despite his injuries. Franklin Cappon said after the game, "What sort of a crazy man is this Neely? He played like a fiend and when he tackled me I thought I was broken in two. When I got up he was crying and cussed me out. I was the one who should have been crying". At the Texas State Fair game in Dallas against the Texas Longhorns, an early surge saw Texas at Vanderbilt's 18-yard line. McGugin sent in Neely, his injured captain. It worked to some extent, with Texas losing yards and ending up at the 17-yard line; Franklin Stacy then kicked a field goal. After a Vanderbilt touchdown, the offenses exchanged punts before Neely ran back a 30-yard punt return. The 60-yard drive which followed was capped by a 46-yard touchdown run by Gil Reese. In the fourth quarter, Neely hit Bomar with a 23-yard pass and Bomar ran for 20 yards more, close to the goal. Reese ran it in on the next play and the field goal was good, giving the Commodores a 20–10 victory. Vanderbilt defeated the Tennessee Volunteers 14–6, with both touchdowns on passes from Neely. The first was in the second quarter, on a 31-yard pass to Doc Kuhn; in the fourth quarter, a five-yard pass to Lynn Bomar also scored a touchdown. Neely-to-Bomar is considered one of the best pass-receiver combinations in Vanderbilt history. In the game against the Georgia Bulldogs, Neely connected with Bomar on a long pass thrown from a few yards behind the line of scrimmage at the 45-yard line. Bomar caught it around the seven-yard line before being tackled by Georgia halfback Loren Chester (Teany) Randall at about the three-yard line. The next series of downs produced a touchdown by Gil Reese on his second run at the left tackle. Although Neely was sidelined by injury in the second quarter, Vanderbilt won 12–0. At the end of the season, he was on Walter Camp's list of players worthy of mention, and Vanderbilt compiled an 8–0–1 record. The season was among the best in school and Southern football history; according to a number of publications, Vanderbilt's season was the best in the South. One of the highest honors a student could receive at Vanderbilt was Bachelor of Ugliness, created by William H. Dodd in 1885 and given to the male undergraduate student considered most representative of ideal young manhood. In 1923, Neely received the award. Coaching career After Neely graduated from Vanderbilt with a law degree in 1924, he began his coaching career at Murfreesboro High School in Tennessee and ran a farm-loan business. His college-football coaching career began at Rhodes College (then known as Southwestern University), a job he got thanks to former coach McGugin's recommendation, where he had a 20–17–2 record from 1924 to 1927. Neely was assistant baseball coach at Princeton in the spring of 1928 before going to Alabama. From 1928 to 1930, Neely was assistant football coach under former Vanderbilt assistant Wallace Wade, and compiled a 28–15–2 record as the school's head baseball coach from 1929 to 1930. From 1931 to 1939 he coached football at Clemson, compiling a 43–35–7 record. Neely coached at Rice from 1940 to 1966 with a 144–124–10 record, the most wins by a Rice coach. He won the first four bowl games he coached: the 1940 Cotton Bowl (with Clemson), the 1946 Orange Bowl and the 1949 and 1953 Cotton Bowls (with Rice). However, at Rice, he also lost the last three bowl games he coached: the 1957 Cotton Bowl, the 1960 Sugar Bowl and 1961 Bluebonnet Bowl. Clemson Neely coached the Tigers during what is known as the "Seven Lean Years", and helped start the first booster club. The 1939 team lost only to Tulane. In the 1940 Cotton Bowl, Neely's Tigers upset Frank Leahy's Boston College Eagles. Banks McFadden led the Tigers. Rice Neely was hired by Rice in 1940 and led the team to a six-win turnaround. Neely's 1946 team won the Southwest Conference and the Orange Bowl. Weldon Humble starred for the Owls The 1949 team won the Southwest Conference and the Cotton Bowl, and Neely was named the conference's coach of the year. Hall of Fame end Froggy Williams was "the most important cog" in Neely's "gridiron machine". The 1949 team won the Cotton Bowl. In 1953 Neely's Rice team again won the Cotton Bowl. The game featured one of college football's most famous plays. Dicky Moegle had broken free on a run when he was tackled by Tommy Lewis, who had come off the sidelines from Alabama's bench. Moegle was awarded a touchdown for the illegal play. Buddy Dial tied Williams's records in 1958. Rice lost the 1960 Sugar Bowl to national champion Ole Miss. Neely's last road win was a 20–17 upset over the Texas Longhorns in 1965. Athletic director at Vanderbilt After the 1966 season he returned to Vanderbilt as athletic director, and received the Amos Alonzo Stagg Award the following year. Neely brought the football program out of a dire financial situation. Jess convinced Sam Fleming, who was involved at that time in a $30 million campus fundraising project, that he could get the McGugin Center built and called on his friends among those the late Alf Sharpe, to help him. This actually started all the improvements of the football facilities at the university. Jess had a very special way with people. Legacy In 1999, he was ranked 39th on Sports Illustrated list of the 50 greatest Tennessee sports figures of the 20th century. Head coaching record Football See also List of college football coaches with 200 wins References Bibliography External links The Coach: Jess Neely's last game and interview 1898 births 1983 deaths American football halfbacks Alabama Crimson Tide baseball coaches Alabama Crimson Tide football coaches Clemson Tigers athletic directors Clemson Tigers baseball coaches Clemson Tigers football coaches Middle Tennessee Blue Raiders football players Rhodes Lynx football coaches Rice Owls athletic directors Rice Owls baseball coaches Rice Owls football coaches Vanderbilt Commodores athletic directors Vanderbilt Commodores football players College Football Hall of Fame inductees People from Smyrna, Tennessee Coaches of American football from Tennessee Players of American football from Tennessee Baseball coaches from Tennessee
false
[ "Through the end of the 2020 season in professional football, only twelve coaches have won 200 career regular season victories.\n\nKey\n\nCoaches with 200 regular season wins\n\nOther Facts\nEach coach has won at least one NFL Championship, Grey Cups, or Super Bowl, except Marty Schottenheimer, who had not won any. Despite not winning any championships in the NFL, Schottenheimer did win the UFL Championship in 2011, coaching the Virginia Destroyers; he also won an AFL Championship (pre-merger) in 1965 as a player with the Buffalo Bills. Schottenheimer also remains the only non-active coach to not be inducted into any Hall of Fames. The only other exception is Kurtiss Riggs who has only coached indoor American football, but between the Indoor Football League, United Indoor Football (which merged with another league to form the IFL), and National Indoor Football League with the Sioux Falls Storm he has won eleven championships and appeared in fifteen. This includes a six season championship win streak and ten season appearance streak. The Storm achieved a 40 consecutive game wins streak with Riggs as the head coach, including four undefeated seasons. Riggs also had five wins officially fortified from the team's record due to insurance violations in 2009. Since 2021, he has been inducted into the Indoor Football League Hall of Fame while still actively coaching. \n\nThere have been nine NFL coaches who have won 200 total games, this excludes Bud Grant and Paul Brown due to their total wins included from other professional leagues. The two coaches who have won 200 total games, but not 200 regular season games, are Chuck Noll and Dan Reeves. Noll only coached the Pittsburgh Steelers (1969–1991), winning four Super Bowls and having a prolific Hall of Fame career. He had 193 total wins in the regular season with 209 wins, 156 losses, and one tie overall (.572). Reeves coached the Denver Broncos (1981–1992), New York Giants (1993–1996), and Atlanta Falcons (1997–2003). In the regular season he had 190 wins; however, in total he had 201 wins, 174 losses, and two ties (.535). Despite not having 200 career regular season wins as a head coach, Reeves coached in four Super Bowls, losing all of them. He did, however, play and coach as an assistant for the Dallas Cowboys, winning two Super Bowls at each position. Along with Marty Schottenheimer, Reeves is the only other coach to have over 200 total wins and not be inducted into the Pro Football Hall of Fame. Several other NFL coaches had a little less than 190 total wins, but the only coach with more than 189 wins and less than 200 wins is Chuck Knox. Knox had 186 regular season wins with 193 total wins. He coached the Los Angeles Rams (1973–1977), Buffalo Bills (1978–1982), Seattle Seahawks (1983–1991), and Los Angeles Rams (1992–1994) again, with no Super Bowl appearances or Hall of Fame nomination despite three AP NFL Coach of the Year Awards.\n\nBud Grant and Marv Levy are the only coaches to lead teams to both the Grey Cup Finals and the Super Bowl, both have been inducted into the Pro Football Hall of Fame and Canadian Football Hall of Fame.\n\nTim Marcum is the winningest and most successful coach in Arena Football League history. During the regular season, Marcum resulted in a 184–87 (.679) record and 28–12 (.700) in the post-season, which totals to 212–99 (.682) overall. He coached the Denver Dynamite (1987), Detroit Drive (1988–1989, 1991–1993), and the Tampa Bay Storm (1995–2010). Marcum has been inducted into the Arena Football Hall of Fame. During his time as a head coach, Marcum coached in eleven ArenaBowls, winning seven of them. Other AFL coaches who came close to 200 wins were Darren Arbet with 188 overall wins (169 regular season wins) and Mike Hohensee with 170 overall wins (158 regular season wins), both are also in the AFL Hall of Fame.\n\nSee also\n List of National Football League head coach wins leaders\n List of Canadian Football League head coaches by wins\n\nReferences\n\nAmerican football-related lists", "Airil Rizman, also known as Airil Rizman Zahari, (born 22 April 1978) is a Malaysian professional golfer.\n\nRizman was born in Kuala Lumpur. He was the Malaysian national amateur champion in 1998, 1999 and 2001 and a team gold medalist at the 2001 Southeast Asian Games. He was won several titles on the Malaysian PGA Tour, where he topped the order of merit in 2005. He first played on the Asian Tour in 2003, but did not have any top ten finishes through 2006. However, in 2007, he won the first event of the Asian Tour season, the Pakistan Open.\n\nProfessional wins (9)\n\nAsian Tour wins (1)\n\nOther wins (8)\n8 Malaysian PGA wins\n\nTeam appearances\nAmateur\nEisenhower Trophy (representing Malaysia): 1998, 2000\nBonallack Trophy (representing Asia/Pacific): 2000\n\nExternal links\n\nAsian Tour golfers\nMalaysian male golfers\nSoutheast Asian Games medalists in golf\nSoutheast Asian Games gold medalists for Malaysia\nSoutheast Asian Games silver medalists for Malaysia\nCompetitors at the 2001 Southeast Asian Games\nMalaysian people of Malay descent\nMalaysian Muslims\nSportspeople from Kuala Lumpur\n1978 births\nLiving people" ]
[ "Jess Neely", "Football", "What year did he start paying football?", "I don't know.", "Who did he play for?", "the Commodores", "Did he ever get injured?", "I don't know.", "Did he win any notable games?", "Vanderbilt faced the defending Southern Intercollegiate Athletic Association (SIAA) champion Georgia Bulldogs at home.", "Did they win this game?", "Hek Wakefield later scored a touchdown for a 9-0 Vanderbilt win.", "Did he have any other wins?", "Vanderbilt defeated Alabama 14-0 at Birmingham" ]
C_a36fe6cc1eb0413aaf649b01daf9b705_0
Did they suffer any losses?
7
Did Vanderbilt suffer any losses?
Jess Neely
In the second week of the 1921 season the Commodores shut out the Mercer Baptists, 42-0. Neely helped score one of four second-quarter touchdowns with a 55-yard pass to end Tot McCullough, and had a 25-yard punt return in the second half. In the next game, a 21-14 victory over the Kentucky Wildcats, the Wildcats scored against the Commodores for the first time in their history. Kentucky's second possession began with Bob Lavin fumbling the return, which was recovered by Neely on the 10-yard line. On third down, after little gain on first and second, Frank Godchaux ran an end-around touchdown. Rupe Smith scored the other two touchdowns, his first on a drive begun with a 22-yard pass from Neely to captain Pink Wade (father of later Vanderbilt quarterback Bill Wade). One Kentucky touchdown followed a blocked Neely punt. The Wildcats threatened to score late and tie the game, but they turned the ball over on downs at the two-yard line; Neely ran 34 yards, to the 36-yard line. In the season's sixth week, Vanderbilt defeated Alabama 14-0 at Birmingham in line with predictions. Neely played a role in both touchdowns. Early in the first quarter, Vanderbilt had the ball at midfield after an Alabama punt. Two line bucks preceded Neely's connection with Tot McCullough for a 30-yard pass play. Neely ran for about 17 yards more through left tackle, putting the ball on the nine-yard line. After a run by Frank Godchaux, Lynn Bomar bucked over the line for the touchdown and Rupe Smith made the field goal. The second scoring drive began with a pass interception by Paul Stumb. In the second half, quarterback Doc Kuhn invigorated the Commodores after he sat out the first half due to injuries; Neely ran for 21 yards around the right end, and Kuhn passed 25 yards to Tot McCullough. Rupe Smith (or Kuhn) then ran the remaining few yards for the touchdown. For its seventh game, Vanderbilt faced the defending Southern Intercollegiate Athletic Association (SIAA) champion Georgia Bulldogs at home. The game, the highlight of Vanderbilt's season, was described by The New York Times as an "important clash" and would determine the SIAA champion. Georgia scored during the first half; early in the fourth quarter Neely intercepted a pass, weaving for 25 yards to Georgia's 40-yard line before he was tackled by Jim Reynolds. Two long pass attempts failed, and Thomas Ryan lined up to punt. Rupert Smith sneaked behind Ryan; he rushed to recover the 25-yard onside kick, jumping up to get the ball off a bounce from the Bulldogs and racing for a 15-yard touchdown. The game ended in a tie, and the teams shared the SIAA championship. Vanderbilt finished its season against Sewanee in "the muddiest game in its history"; the Commodores were reportedly knee-deep in mud and water, with the players unrecognizable. The game was scoreless until the fourth quarter, when Sewanee fumbled the snap on a punt; the punter was smothered by the Commodores' Neely, Godchaux and Wade for a safety. Hek Wakefield later scored a touchdown for a 9-0 Vanderbilt win. CANNOTANSWER
CANNOTANSWER
Jesse Claiborne Neely (January 4, 1898 – April 9, 1983) was an American football player and a baseball and football coach. He was head football coach at Southwestern University (now Rhodes College) from 1924 to 1927, at Clemson University from 1931 to 1939 and at Rice University from 1940 to 1966, compiling a career college football record of 207–176–19. He was inducted into the College Football Hall of Fame as a coach in 1971. Neely was also the head baseball coach at the University of Alabama (1929–1930), at Clemson (1932–1938) and at Rice (1945 and 1948), tallying a career college baseball mark of 109–108–5. Early years and ancestry Neely was born on January 4, 1898 in Smyrna, Tennessee to William Daniel Neely, Sr. and Mary Elizabeth Gooch. His father died of sunstroke in 1900. His mother's father was John Gooch, a farmer and breeder of thoroughbred horses in Goochland. John, known as "Colonel Jack", organized the Company E of the 20th Tennessee Regiment during the American Civil War. His brother, Bill Neely, Jr., was a captain and All-Southern end on the undefeated 1910 Vanderbilt football team. Jess attended Branham and Hughes Military Academy. Playing career Middle Tennessee State The First Fifty Years: A History of Middle Tennessee State College recounts Neely's days playing for Middle Tennessee State Normal School: Jess Neely, a brilliant half-back and a handsome man on the campus, is remembered for his popularity among members of the opposite sex and for an incident that occurred just prior to a football game with Southern Presbyterian in Clarksville. Miles had done an exceptionally good job in mentally preparing his team for the game. He climaxed the pre-game, locker-room exhortation with a soaring call for courage and deathless allegiance to "dear Ol' Normal." Neely was greatly affected by the words of his coach for he leaped to his feet and, roaring like an angry bull, led the team in a rush to the doorway opening to the field. He misjudged the extremely low entrance, and his head received the full impact of the strip of wall above the doorway. He was revived shortly before the kickoff, but he never quite knew where he was, frequently huddling and aligning himself with the enemy. That team included Preston Vaughn Overall and Rupert Smith, who rejoined Neely on the 1921 Vanderbilt team. Vanderbilt Neely played football at Vanderbilt University from 1920 to 1922 under head coach Dan McGugin. He was captain and halfback of the undefeated 1922 team, and its best passer. Neely belonged to the Delta Tau Delta fraternity. 1920 Although the Commodores expected a "hard game against the university rivals", Vanderbilt shut out Tennessee 20–0. All three Commodore touchdowns came from passes by Neely to Gink Hendrick. Neely's long first-quarter pass hit Hendrick, who ran 25 yards for the touchdown. In the second quarter Hendrick ran to the 4-yard line on a pass from Neely, and the first half ended with Vanderbilt in possession at the Tennessee one-foot line. Hendrick caught another 30-yard touchdown pass from Neely in the fourth quarter. Two weeks later the Commodores lost 56–6 to one of Auburn's greatest teams, Vanderbilt's worst defeat since its 83–0 loss to Georgia Tech in 1917. The Commodores had only one first down, and never moved the ball beyond their 40-yard line. Neely was one of Vanderbilt's few stars, blocking well and passing Vanderbilt's only touchdown to Hendrick in the end zone. In a "thriller from the start," the Alabama Crimson Tide defeated Vanderbilt for the first time on November 6, 1920 by a score of 14–7. A forward pass from Doc Kuhn to Neely gave the Commodores their sole touchdown. The following week, "expecting one of the greatest football games of the year", Vanderbilt had a difficult practice schedule before its game with the Virginia Cavaliers; Virginia and Vanderbilt tied, 7–7. Early in the game, Vanderbilt mounted a swift offense, with Neely throwing Hendrick a touchdown pass. That season, Vanderbilt opponents gained less on punt returns than they did against any other team in the South because of coverage by Percy Conyers and Neely. 1921 Football In the second week of the 1921 season the Commodores shut out the Mercer Baptists, 42–0. Neely helped score one of four second-quarter touchdowns with a 55-yard pass to end Tot McCullough, and had a 25-yard punt return in the second half. In the next game, a 21–14 victory over the Kentucky Wildcats, the Wildcats scored against the Commodores for the first time in their history. Kentucky's second possession began with Bob Lavin fumbling the return, which was recovered by Neely on the 10-yard line. On third down, after little gain on first and second, Frank Godchaux ran an end-around touchdown. Rupe Smith scored the other two touchdowns, his first on a drive begun with a 22-yard pass from Neely to captain Pink Wade (father of later Vanderbilt quarterback Bill Wade). One Kentucky touchdown followed a blocked Neely punt. The Wildcats threatened to score late and tie the game, but they turned the ball over on downs at the two-yard line; Neely ran 34 yards, to the 36-yard line. In the season's sixth week, Vanderbilt defeated Alabama 14–0 at Birmingham in line with predictions. Neely played a role in both touchdowns. Early in the first quarter, Vanderbilt had the ball at midfield after an Alabama punt. Two line bucks preceded Neely's connection with Tot McCullough for a 30-yard pass play. Neely ran for about 17 yards more through left tackle, putting the ball on the nine-yard line. After a run by Frank Godchaux, Lynn Bomar bucked over the line for the touchdown and Rupe Smith made the field goal. The second scoring drive began with a pass interception by Paul Stumb. In the second half, quarterback Doc Kuhn invigorated the Commodores after he sat out the first half due to injuries; Neely ran for 21 yards around the right end, and Kuhn passed 25 yards to Tot McCullough. Rupe Smith (or Kuhn) then ran the remaining few yards for the touchdown. For its seventh game, Vanderbilt faced the defending Southern Intercollegiate Athletic Association (SIAA) champion Georgia Bulldogs at home. The game, the highlight of Vanderbilt's season, was described by The New York Times as an "important clash" and would determine the SIAA champion. Georgia scored during the first half; early in the fourth quarter Neely intercepted a pass, weaving for 25 yards to Georgia's 40-yard line before he was tackled by Jim Reynolds. Two long pass attempts failed, and Thomas Ryan lined up to punt. Rupert Smith sneaked behind Ryan; he rushed to recover the 25-yard onside kick, jumping up to get the ball off a bounce from the Bulldogs and racing for a 15-yard touchdown. The game ended in a tie, and the teams shared the SIAA championship. Vanderbilt finished its season against Sewanee in "the muddiest game in its history"; the Commodores were reportedly knee-deep in mud and water, with the players unrecognizable. The game was scoreless until the fourth quarter, when Sewanee fumbled the snap on a punt; the punter was smothered by the Commodores' Neely, Godchaux and Wade for a safety. Hek Wakefield later scored a touchdown for a 9–0 Vanderbilt win. Baseball Neely was a member of the 1921 SIAA champion Vanderbilt baseball team. According to The Commodore, the school yearbook, in a 1921 game against Southwestern Presbyterian University the team scored a world record 13 runs in one inning with two out. The Tennessean reported: Neely singled as did Kuhn; Neil fanned but Thomas got his third straight hit and both tallied. Big Tot got hit by a pitched ball and Smith was safe on a fielder's choice with one out. Woodruf flied out to right. Tyner slammed one to center which Jetty juggled and everybody advanced a pair of sacks. Ryan was safe on another error and two runs came over. Neely beat out his second hit of the inning and Kuhn walked. Neil walked. Thomas was safe on an error and Big Tot McCullough picked one over the right field fence, clearing the sacks--but oh, what's the use? Why continue? 1922 Neely was captain of the undefeated 1922 team. In the second week of play Vanderbilt shut out Henderson-Brown 33–0, with Neely scoring a third-quarter touchdown. Despite an injured left arm, he started in the scoreless tie with Michigan at the dedication at Dudley Field. Vanderbilt was forced to punt from its seven-yard line early in the first quarter. The Wolverines completed their first pass (from Doug Roby to Paul Goebel), setting in motion a change in field position which placed them inside the five-yard line. The Commodore punt was partially blocked, giving Michigan the ball at Vanderbilt's 25-yard line. Two end runs, two line bucks and a forward pass brought them to first and goal after six minutes. The Commodore defense stiffened, repelling four touchdown tries; three runs up the middle were stopped before the goal line. Franklin Cappon gained a yard, Harry Kipke lost one and Cappon drove to within a foot of the goal; Neely was heard shouting, "Stop 'em!" On fourth down, Michigan faked a field goal and ran with Harry Kipke off tackle to the right. Kipke was tackled inches from the end zone. A Vanderbilt player pushed himself off the goal post to generate a greater backwards push as the crowd cheered. Vanderbilt's only noteworthy offensive play occurred soon afterwards. The Commodores punted out of the shadow of their goalpost after a goal line stand; Neely tackled Kipke (or Irwin Uteritz) hard on the punt return, causing a fumble which he recovered. He then connected on a 20–plus-yard pass to Tot McCullough. This gave Vanderbilt the ball at Michigan's 20-yard line, but subsequent Vanderbilt plays saw runs stopped with little gain and a pass intercepted by Uteritz. The tie was reportedly preserved when Neely recovered a fumble near the Commodore goal. He and Lynn Bomar were acknowledged as Vanderbilt's players of the game, and Neely wept tears of joy by the game's end. Bomar spent much of his day tackling Michigan runners, and Neely was a battered, bruised captain playing hard despite his injuries. Franklin Cappon said after the game, "What sort of a crazy man is this Neely? He played like a fiend and when he tackled me I thought I was broken in two. When I got up he was crying and cussed me out. I was the one who should have been crying". At the Texas State Fair game in Dallas against the Texas Longhorns, an early surge saw Texas at Vanderbilt's 18-yard line. McGugin sent in Neely, his injured captain. It worked to some extent, with Texas losing yards and ending up at the 17-yard line; Franklin Stacy then kicked a field goal. After a Vanderbilt touchdown, the offenses exchanged punts before Neely ran back a 30-yard punt return. The 60-yard drive which followed was capped by a 46-yard touchdown run by Gil Reese. In the fourth quarter, Neely hit Bomar with a 23-yard pass and Bomar ran for 20 yards more, close to the goal. Reese ran it in on the next play and the field goal was good, giving the Commodores a 20–10 victory. Vanderbilt defeated the Tennessee Volunteers 14–6, with both touchdowns on passes from Neely. The first was in the second quarter, on a 31-yard pass to Doc Kuhn; in the fourth quarter, a five-yard pass to Lynn Bomar also scored a touchdown. Neely-to-Bomar is considered one of the best pass-receiver combinations in Vanderbilt history. In the game against the Georgia Bulldogs, Neely connected with Bomar on a long pass thrown from a few yards behind the line of scrimmage at the 45-yard line. Bomar caught it around the seven-yard line before being tackled by Georgia halfback Loren Chester (Teany) Randall at about the three-yard line. The next series of downs produced a touchdown by Gil Reese on his second run at the left tackle. Although Neely was sidelined by injury in the second quarter, Vanderbilt won 12–0. At the end of the season, he was on Walter Camp's list of players worthy of mention, and Vanderbilt compiled an 8–0–1 record. The season was among the best in school and Southern football history; according to a number of publications, Vanderbilt's season was the best in the South. One of the highest honors a student could receive at Vanderbilt was Bachelor of Ugliness, created by William H. Dodd in 1885 and given to the male undergraduate student considered most representative of ideal young manhood. In 1923, Neely received the award. Coaching career After Neely graduated from Vanderbilt with a law degree in 1924, he began his coaching career at Murfreesboro High School in Tennessee and ran a farm-loan business. His college-football coaching career began at Rhodes College (then known as Southwestern University), a job he got thanks to former coach McGugin's recommendation, where he had a 20–17–2 record from 1924 to 1927. Neely was assistant baseball coach at Princeton in the spring of 1928 before going to Alabama. From 1928 to 1930, Neely was assistant football coach under former Vanderbilt assistant Wallace Wade, and compiled a 28–15–2 record as the school's head baseball coach from 1929 to 1930. From 1931 to 1939 he coached football at Clemson, compiling a 43–35–7 record. Neely coached at Rice from 1940 to 1966 with a 144–124–10 record, the most wins by a Rice coach. He won the first four bowl games he coached: the 1940 Cotton Bowl (with Clemson), the 1946 Orange Bowl and the 1949 and 1953 Cotton Bowls (with Rice). However, at Rice, he also lost the last three bowl games he coached: the 1957 Cotton Bowl, the 1960 Sugar Bowl and 1961 Bluebonnet Bowl. Clemson Neely coached the Tigers during what is known as the "Seven Lean Years", and helped start the first booster club. The 1939 team lost only to Tulane. In the 1940 Cotton Bowl, Neely's Tigers upset Frank Leahy's Boston College Eagles. Banks McFadden led the Tigers. Rice Neely was hired by Rice in 1940 and led the team to a six-win turnaround. Neely's 1946 team won the Southwest Conference and the Orange Bowl. Weldon Humble starred for the Owls The 1949 team won the Southwest Conference and the Cotton Bowl, and Neely was named the conference's coach of the year. Hall of Fame end Froggy Williams was "the most important cog" in Neely's "gridiron machine". The 1949 team won the Cotton Bowl. In 1953 Neely's Rice team again won the Cotton Bowl. The game featured one of college football's most famous plays. Dicky Moegle had broken free on a run when he was tackled by Tommy Lewis, who had come off the sidelines from Alabama's bench. Moegle was awarded a touchdown for the illegal play. Buddy Dial tied Williams's records in 1958. Rice lost the 1960 Sugar Bowl to national champion Ole Miss. Neely's last road win was a 20–17 upset over the Texas Longhorns in 1965. Athletic director at Vanderbilt After the 1966 season he returned to Vanderbilt as athletic director, and received the Amos Alonzo Stagg Award the following year. Neely brought the football program out of a dire financial situation. Jess convinced Sam Fleming, who was involved at that time in a $30 million campus fundraising project, that he could get the McGugin Center built and called on his friends among those the late Alf Sharpe, to help him. This actually started all the improvements of the football facilities at the university. Jess had a very special way with people. Legacy In 1999, he was ranked 39th on Sports Illustrated list of the 50 greatest Tennessee sports figures of the 20th century. Head coaching record Football See also List of college football coaches with 200 wins References Bibliography External links The Coach: Jess Neely's last game and interview 1898 births 1983 deaths American football halfbacks Alabama Crimson Tide baseball coaches Alabama Crimson Tide football coaches Clemson Tigers athletic directors Clemson Tigers baseball coaches Clemson Tigers football coaches Middle Tennessee Blue Raiders football players Rhodes Lynx football coaches Rice Owls athletic directors Rice Owls baseball coaches Rice Owls football coaches Vanderbilt Commodores athletic directors Vanderbilt Commodores football players College Football Hall of Fame inductees People from Smyrna, Tennessee Coaches of American football from Tennessee Players of American football from Tennessee Baseball coaches from Tennessee
false
[ "During the 2005–06 season, the Guildford Flames played their inaugural season in the EPIHL. It was the 14th year of Ice Hockey played by the Guildford Flames.\n\nThe Flames had a 20-game winning streak to start of the season. The club did not suffer their first league loss until 19 November 2005, when the Swindon Wildcats beat the Flames 7–4.\n\nThe Flames would end up finishing the regular league season with 39 wins, 6 losses and 3 ties to claim the EPL league title.\n\nPlayer statistics\n\nNetminders\n\nResults\n\nRegular season\n\nPlay-offs\n\nExternal links \n Official Guildford Flames website\n\nReferences \n\nGuildford Flames seasons\nGui", "In the 2000s, the Belgium national football team played at Euro 2000 (which Belgium co-hosted with The Netherlands) and at the 2002 World Cup. They did not qualify for any other major tournaments.\n\nThe overall match balance is positive with 39 wins versus 34 losses (and 25 draws).\n\nResults\n\n98 official matches were played.\n\nNotes\n\nReferences\n\nExternal links\n\nfootball\n2000s\n2000–01 in Belgian football" ]
[ "PJ Harvey", "To Bring You My Love and Is This Desire?: 1993-1999" ]
C_4b99c8aa48a040e787e54447b64885ad_0
What is To Bring You My Love?
1
What is To Bring You My Love?
PJ Harvey
As Harvey embarked on her solo career, she explored collaborations with other musicians. In 1995 she released her third studio album, To Bring You My Love, featuring former bandmate John Parish, Bad Seeds multi-instrumentalist Mick Harvey and French drummer Jean-Marc Butty, all of whom would continue to perform and record with Harvey throughout her career. The album was also her first material to be produced by Flood. Simultaneously a more blues-influenced and more futuristic record than its predecessors, To Bring You My Love showcased Harvey broadening her musical style to include strings, organs and synthesisers. Rolling Stone said in its review that "Harvey sings the blues like Nick Cave sings gospel: with more distortion, sex and murder than you remember. To Bring You My Love was a towering goth version of grunge." During the successive tours for the album, Harvey also experimented with her image and stage persona. The record generated a surprise modern rock radio hit in the United States with its lead single, "Down by the Water." Three consecutive singles -- "C'mon Billy", "Send His Love to Me" and "Long Snake Moan" -- were also moderately successful. The album was a commercial success selling one million copies worldwide including 370,000 in the United States. It was also certified Silver in the United Kingdom within seven months of its release, having sold over 60,000 copies. In the United States, the album was voted Album of the Year by The Village Voice, Rolling Stone, USA Today, People, The New York Times and the Los Angeles Times. Rolling Stone also named Harvey 1995's Artist of the Year and Spin ranked the album third in The 90 Greatest Albums of the '90s, behind Nirvana's Nevermind (1991) and Public Enemy's Fear of a Black Planet (1990). In 1996, following the international success of To Bring You My Love and other collaborations, Harvey began composing material that would end up on her fourth studio album, during what she referred to as "an incredibly low patch." The material diverged significantly from her former work and introduced electronica elements into her song-writing. During recording sessions in 1997 original PJ Harvey Trio drummer Rob Ellis rejoined Harvey's band, and Flood was hired again as producer. The sessions, which continued into April the following year, resulted in Is This Desire? (1998). Though originally released to mixed reviews in September 1998, the album was a success and received a Grammy Award nomination for Best Alternative Music Performance. The album's lead single, "A Perfect Day Elise," was moderately successful in the United Kingdom, peaking at number 25 on the UK Singles Chart, her most successful single to date. CANNOTANSWER
In 1995 she released her third studio album, To Bring You My Love,
Polly Jean Harvey (born 9 October 1969) is an English singer, songwriter and musician. Primarily known as a vocalist and guitarist, she is also proficient with a wide range of instruments. Harvey began her career in 1988 when she joined local band Automatic Dlamini as a vocalist, guitarist and saxophonist. The band's frontman, John Parish, became her long-term collaborator. In 1991, she formed an eponymous trio called PJ Harvey and subsequently began her career as PJ Harvey. The trio released two studio albums called Dry (1992) and Rid of Me (1993) before disbanding, after which Harvey continued as a solo artist. Since 1995, she has released a further nine studio albums with collaborations from various musicians including Parish, former bandmate Rob Ellis, Mick Harvey, and Eric Drew Feldman, and has also worked extensively with record producer Flood. Among the accolades Harvey has received are both the 2001 and 2011 Mercury Prize for Stories from the City, Stories from the Sea (2000) and Let England Shake (2011), respectively, making her the only artist to have been awarded the prize twice. She has also garnered eight Brit Award nominations, seven Grammy Award nominations and two further Mercury Prize nominations. Rolling Stone awarded her three accolades: 1992's Best New Artist and Best Singer Songwriter, and 1995's Artist of the Year. Rolling Stone also listed Rid of Me, To Bring You My Love, and Stories from the City, Stories from the Sea on its list of their 500 Greatest Albums of All Time. In 2011, she was awarded for Outstanding Contribution To Music at the NME Awards. In June 2013, she was awarded an MBE for services to music. Early life Polly Jean Harvey was born on 9 October 1969 in Bridport, Dorset, the second child of Ray and Eva Harvey. Her parents owned a quarrying business, and she grew up on the family farm in Corscombe. During her childhood, she attended school in nearby Beaminster, where she received guitar lessons from folk singer-songwriter Steve Knightley. Her parents introduced her to music that would later influence her work, including blues, Captain Beefheart and Bob Dylan. Her parents were avid music fans and regularly arranged get-togethers and small gigs, counting Ian Stewart among their oldest friends. As a teenager, Harvey began learning saxophone and joined an eight-piece instrumental group Bologne, run by composer Andrew Dickson. She was also a guitarist with folk duo the Polekats, with whom she wrote some of her earliest material. After finishing school, she joined Yeovil College and attended a visual arts foundation course. Career Automatic Dlamini: 1988–1991 In July 1988, Harvey became a member of Automatic Dlamini, a band based in Bristol with whom she gained extensive ensemble-playing experience. Formed by John Parish in 1983, the band consisted of a rotating line-up that at various times included Rob Ellis and Ian Oliver. Harvey had met Parish in 1987 through mutual friend Jeremy Hogg, the band's slide guitarist. Providing saxophone, guitars and background vocals, she travelled extensively during the band's early days, including performances in East and West Germany, Spain and Poland to support the band's debut studio album, The D is for Drum. A second European tour took place throughout June and July 1989. Following the tour, the band recorded Here Catch, Shouted His Father, their second studio album, between late 1989 and early 1990. This is the only Automatic Dlamini material to feature Harvey, but remains unreleased, although bootleg versions of the album are in circulation. In January 1991, Harvey left to form her own band with former bandmates Ellis and Oliver; yet she had formed lasting personal and professional relationships with certain members, especially Parish, whom she has referred to as her "musical soulmate". Parish would subsequently contribute to, and sometimes co-produce, Harvey's solo studio albums and has toured with her a number of times. As a duo, Parish and Harvey have recorded two collaborative albums where Parish composed the music and Harvey wrote the lyrics. Additionally, Parish's girlfriend in the late 1980s was photographer Maria Mochnacz. She and Harvey became close friends and Mochnacz went on to shoot and design most of Harvey's album artwork and music videos, contributing significantly to her public image. Harvey has said of her time with Automatic Dlamini: "I ended up not singing very much but I was just happy to learn how to play the guitar. I wrote a lot during the time I was with them but my first songs were crap. I was listening to a lot of Irish folk music at the time, so the songs were folky and full of penny whistles and stuff. It was ages before I felt ready to perform my own songs in front of other people." She also credits Parish for teaching her how to perform in front of audiences, saying "after the experience with John's band and seeing him perform I found it was enormously helpful to me as a performer to engage with people in the audience, and I probably did learn that from him, amongst other things." PJ Harvey Trio; Dry and Rid of Me: 1991–1993 In January 1991, following her departure from Automatic Dlamini, Harvey formed her own band with former bandmates Rob Ellis and Ian Oliver. Harvey decided to name the trio PJ Harvey after rejecting other names as "nothing felt right at all or just suggested the wrong type of sound", and also to allow her to continue music as a solo artist. The trio consisted of Harvey on vocals and guitar, Ellis on drums and backing vocals, and Oliver on bass. Oliver later departed to rejoin the still-active Automatic Dlamini. He was subsequently replaced with Steve Vaughan. The trio's "disastrous" debut performance was held at a skittle alley in Charmouth Village Hall in April 1991. Harvey later recounted the event saying: "we started playing and I suppose there was about fifty people there, and during the first song we cleared the hall. There was only about two people left. And a woman came up to us, came up to my drummer, it was only a three piece, while we were playing and shouted at him 'Don't you realise nobody likes you! We'll pay you, you can stop playing, we'll still pay you!'" The group relocated to London in June 1991 when Harvey applied to study sculpture, still undecided as to her future career. During this time, the group recorded a set of demo songs and distributed them to record labels. Independent label Too Pure agreed to release the band's debut single "Dress" in October 1991, and later signed PJ Harvey. "Dress" received mass critical acclaim upon its release and was voted Single of the Week in Melody Maker by guest reviewer John Peel, who admired "the way Polly Jean seems crushed by the weight of her own songs and arrangements, as if the air is literally being sucked out of them ... admirable if not always enjoyable." However, Too Pure provided little promotion for the single and critics claim that "Melody Maker had more to do with the success of the "Dress" single than Too Pure Records." A week after its release, the band recorded a live radio session for Peel on BBC Radio 1 on 29 October featuring "Oh, My Lover", "Victory", "Sheela-Na-Gig" and "Water". The following February, the trio released "Sheela-Na-Gig" as their equally-acclaimed second single and their debut studio album, Dry (1992), followed in March. Like the singles preceding it, Dry received an overwhelming international critical response. The album was cited by Kurt Cobain of Nirvana as his sixteenth-favourite album ever in his posthumously published Journals. Rolling Stone also named Harvey as Songwriter of the Year and Best New Female Singer. A limited edition double LP version of Dry was released alongside the regular version of the album, containing both the original and demo versions of each track, called Dry Demonstration, and the band also received significant coverage at the Reading Festival in 1992. Island (PolyGram) signed the trio amid a major label bidding war in mid-1992, and in December 1992 the trio travelled to Cannon Falls, Minnesota in the United States to record the follow-up to Dry with producer Steve Albini. Prior to recording with Albini, the band recorded a second session with John Peel on 22 September and recorded a version of Bob Dylan's "Highway 61 Revisited," and two new songs "Me Jane" and "Ecstasy." The recording sessions with Albini took place at Pachyderm Recording Studio and resulted in the band's major label debut Rid of Me in May 1993. Rolling Stone wrote that it "is charged with aggressive eroticism and rock fury. It careens from blues to goth to grunge, often in the space of a single song." The album was promoted by two singles, "50ft Queenie" and "Man-Size", as well as tours of the United Kingdom in May and of the United States in June, continuing there during the summer. However, during the American leg of the tour, internal friction started to form between the members of the trio. Deborah Frost, writing for Rolling Stone, noticed "an ever widening personal gulf" between the band members, and quoted Harvey as saying "It makes me sad. I wouldn't have got here without them. I needed them back then – badly. But I don't need them anymore. We all changed as people." Despite the tour's personal downsides, footage from live performances was compiled and released on the long-form video Reeling with PJ Harvey (1993). The band's final tour was to support U2 in August 1993, after which the trio officially disbanded. In her final appearance on American television in September 1993 on The Tonight Show with Jay Leno, Harvey performed a solo version of "Rid of Me." As Rid of Me sold substantially more copies than Dry, 4-Track Demos, a compilation album of demos for the album was released in October and inaugurated her career as a solo artist. In early 1994, it was announced that U2's manager, Paul McGuinness, had become her manager. To Bring You My Love and Is This Desire?: 1993–1999 As Harvey embarked on her solo career, she explored collaborations with other musicians. In 1995 she released her third studio album, To Bring You My Love, featuring former bandmate John Parish, Bad Seeds multi-instrumentalist Mick Harvey and French drummer Jean-Marc Butty, all of whom would continue to perform and record with Harvey throughout her career. The album was also her first material to be produced by Flood. Simultaneously a more blues-influenced and more futuristic record than its predecessors, To Bring You My Love showcased Harvey broadening her musical style to include strings, organs and synthesisers. Rolling Stone said in its review that "Harvey sings the blues like Nick Cave sings gospel: with more distortion, sex and murder than you remember. To Bring You My Love was a towering goth version of grunge." During the successive tours for the album, Harvey also experimented with her image and stage persona. The record generated a surprise modern rock radio hit in the United States with its lead single, "Down by the Water." Three consecutive singles—"C'mon Billy", "Send His Love to Me" and "Long Snake Moan"—were also moderately successful. The album was a commercial success selling one million copies worldwide including 370,000 in the United States. It was also certified Silver in the United Kingdom within seven months of its release, having sold over 60,000 copies. In the United States, the album was voted Album of the Year by The Village Voice, Rolling Stone, USA Today, People, The New York Times and the Los Angeles Times. Rolling Stone also named Harvey 1995's Artist of the Year and Spin ranked the album third in The 90 Greatest Albums of the 1990s, behind Nirvana's Nevermind (1991) and Public Enemy's Fear of a Black Planet (1990). In July 2020, a vinyl reissue of To Bring You My Love was announced, including unreleased demos. In 1996, following the international success of To Bring You My Love and other collaborations, Harvey began composing material that would end up on her fourth studio album, during what she referred to as "an incredibly low patch". The material diverged significantly from her previous work and introduced electronica elements into her song-writing. During recording sessions in 1997 original PJ Harvey Trio drummer Rob Ellis rejoined Harvey's band, and Flood was hired again as producer. The sessions, which continued into April the following year, resulted in Is This Desire? (1998). Though originally released to mixed reviews in September 1998, the album was a success and received a Grammy Award nomination for Best Alternative Music Performance. The album's lead single, "A Perfect Day Elise," was moderately successful in the United Kingdom, peaking at number 25 on the UK Singles Chart, her most successful single to date. Stories from the City, Stories from the Sea and Uh Huh Her: 2000–2006 In early 2000, Harvey began work on her fifth studio album Stories from the City, Stories from the Sea with Rob Ellis and Mick Harvey. Written in her native Dorset, Paris and New York, the album showcased a more mainstream indie rock and pop rock sound to her previous albums and the lyrics followed themes of love that tied into Harvey's affection for New York City. The album also featured Radiohead frontman Thom Yorke on three tracks, including his lead vocals on "This Mess We're in." Upon its release in October 2000 the album was a critical and commercial success, selling over one million copies worldwide and charting in both the United Kingdom and the United States. The album's three singles—"Good Fortune", "A Place Called Home" and "This Is Love"—were moderately successful. The album also received a number of accolades including a BRIT Award nomination for Best Female Artist and two Grammy Award nominations for Best Rock Album and Best Female Rock Performance for the album's third single, "This Is Love". However, most notably, Harvey was nominated for, and won, the 2001 Mercury Music Prize. The awards ceremony was held on the same day as the September 11 attacks on the United States and Harvey was on tour in Washington, D.C., one of the affected cities, when she won the prize. Reflecting on the win in 2011, she said: "quite naturally I look back at that and only remember the events that were taking place across the world and to win the prize on that day—it didn't have much importance in the grand scheme of things", noting "it was a very surreal day". The same year, Harvey also topped a readers' poll conducted by Q Magazine of the 100 Greatest Women in Rock Music. During three years of various collaborations with other artists, Harvey was also working on her sixth studio album, Uh Huh Her, which was released in May 2004. For the first time since 4-Track Demos (1993), Harvey played every instrument—with the exception of drums provided by Rob Ellis—and was the sole producer. The album received "generally favourable reviews" by critics, though its production was often criticised. It was also a commercial success, debuting and peaking at number 12 in the UK Albums Chart and being certified Silver by the BPI within a month of its release. Harvey also did an extensive world tour in promotion of the album, lasting seven months in total. Selected recordings from the tour were included on Harvey's first live DVD, On Tour: Please Leave Quietly, directed by Maria Mochnacz and released in 2006. White Chalk and Let England Shake: 2007–2014 During her first performance since the Uh Huh Her tour at the Hay Festival of Literature & Arts on 26 May 2006, Harvey revealed that her next studio album would be almost entirely piano-based. Following the October release of The Peel Sessions 1991–2004, a compilation of songs recorded from 1991 to 2000 during her radio sessions with John Peel, she began recording her seventh studio album White Chalk in November, together with Flood, John Parish and Eric Drew Feldman and drummer Jim White in a studio in West London. White Chalk was released in September 2007 and marked a radical departure from her usual alternative rock style, consisting mainly of piano ballads. The album received favourable reviews, its style being described by one critic as containing "pseudo-Victorian elements—drama, restraint, and antiquated instruments and sounds." Harvey herself said of the album: "when I listen to the record I feel in a different universe, really, and I'm not sure whether it's in the past or in the future. The record confuses me, that's what I like—it doesn't feel of this time right now, but I'm not sure whether it's 100 years ago or 100 years in the future", summing up the album's sound as "really weird." During the tour for the album Harvey performed without a backing band, and also began performing on an autoharp, which continues to be her primary instrument after guitar and has influenced her material since White Chalk. In April 2010, Harvey appeared on The Andrew Marr Show to perform a new song titled "Let England Shake." In a pre-performance interview with Marr, she stated that the new material she had written had been "formed out of the landscape that I've grown up in and the history of this nation" and as "a human being affected by politics." Her eighth studio album Let England Shake was released in February 2011, and received universal critical acclaim. NMEs 10/10 review summarised the album as "a record that ventures deep into the heart of darkness of war itself and its resonance throughout England's past, present and future" and other reviews also noted its themes and writing style as "bloody and forceful," mixing "ethereal form with brutal content," and "her most powerful." Dealing with the ongoing conflict in Afghanistan and other episodes from English history, the album featured John Parish, Mick Harvey and Jean-Marc Butty as Harvey's backing band and the quartet toured extensively in its promotion. Following the release of the album's two well-received singles—"The Words That Maketh Murder" and "The Glorious Land"—and the collection of short films by Seamus Murphy to accompany the album, Harvey won her second Mercury Music Prize on 6 September. The award marked her as the first artist to receive the award twice, entering her into The Guinness Book of Records as the only artist to have achieved this., and sales of Let England Shake increased 1,190% overnight following her win. On 23 September, Let England Shake was certified Gold in the United Kingdom and was listed as album of the year by MOJO and Uncut. On 3 August 2013, Harvey released a song Shaker Aamer in support of the Guantanamo Bay detention camp detainee by the same name who was the last British citizen to be held there. The song describes in detail what Aamer endured during his four-month hunger strike. The Hope Six Demolition Project: 2015–present On 16 January 2015, PJ Harvey began recording her ninth studio album, The Hope Six Demolition Project, in front of a live audience. A custom built recording studio was made in London's Somerset House. Uncut magazine noted that much like her previous album Let England Shake, many of the lyrics were politically charged, but this time it was more globally focused. While recording she was shown to be using saxophones, an autoharp and a bouzouki. Flood was confirmed to be the producer of the album. On 18 December 2015, Harvey released a 20-second teaser for the album, which contained a release date of spring 2016. On 21 January 2016, the debut single, "The Wheel", was played on Steve Lamacq's show on BBC Radio 6 Music. The album was released on 15 April. A new video, "The Orange Monkey", was shared on 2 June 2016. Directed by Irish filmmaker Seamus Murphy, it was made from footage of Murphy's and Harvey's trips to Afghanistan. The album reached #1 on the UK Albums Chart and was nominated for a Grammy Award in the Best Alternative Music Album category. Harvey spent much of 2016 and 2017 touring the world with her nine-piece band, taking her critically lauded live show around North America, South America, Europe and Australasia. Collaborations and projects Besides her own work, Harvey has also collaborated with a number of other artists. In 1995, she recorded a duet of American folk song "Henry Lee" with partner Nick Cave and also featured on the Bob Dylan cover "Death is Not the End," both released on Nick Cave and the Bad Seeds' Murder Ballads (1996). In the same year she sang the theme song "Who Will Love Me Now?" on Philip Ridley's film The Passion of Darkly Noon. After her 1995 tour, she met Pascal Comelade and decided to collaborate with him, singing on several tracks including "Love too Soon" on his album L'Argot du Bruit. In May 1998, before the release of Is This Desire?, she featured on Tricky's Angels with Dirty Faces, performing lead vocals on "Broken Homes", and also contributed to Sparklehorse's 2001 album It's a Wonderful Life performing guitar, piano and background vocals on two songs, "Eyepennies" and "Piano Fire." Following the tour in promotion of Stories from the City, Stories from the Sea, she contributed vocals to eight tracks on Volume 9: I See You Hearin' Me and Volume 10: I Heart Disco by Josh Homme's side project The Desert Sessions, also appearing in the music video for "Crawl Home." Throughout 2004, Harvey produced Tiffany Anders' album Funny Cry Happy Gift, and also produced, performed on and wrote five songs for Marianne Faithfull's album Before the Poison, and contributed background vocals on "Hit the City," "Methamphetamine Blues" and "Come to Me" on Mark Lanegan's album Bubblegum. Harvey contributed the song "Slow-Motion Movie-Star", an outtake from Stories from the City, Stories from the Sea, to Mick Harvey's fourth studio album, Two of Diamonds, released in 2007. Harvey has also recorded two studio albums with long-time collaborator John Parish. Dance Hall at Louse Point (1996) was written collectively with Parish with the exception of the song "Is That All There Is?", written by Jerry Leiber and Mike Stoller. The album also listed her as Polly Jean Harvey, which may have impacted album sales. Harvey has also reflected on how the album was "an enormous turning point" and "lyrically, it moved me into areas I'd never been to before." In 1998, she also performed lead vocals on "Airplane Blues," as a soundtrack accompaniment to the Wingwalkers art exhibition by Rebecca Goddard and Parish's wife, Michelle Henning, which was released as the closing song on Parish's second solo album How Animals Move in 2002. Following the release of White Chalk, Harvey reunited with Parish to record A Woman a Man Walked By, released in March 2009. Like Dance Hall at Louse Point, the album received positive reviews and was a moderate commercial success, peaking at number 25 in the UK Albums Chart. She collaborated with Egyptian artist Ramy Essam on "The Camp", a charity single released in June 2017 to benefit displaced children in the Lebanese Bekaa Valley fleeing the Syrian Civil War. Aside from collaborations, Harvey has also embarked on a number of projects as a composer. In January 2009, a new stage production of Henrik Ibsen's Hedda Gabler opened on Broadway. Directed by Ian Rickson and starring Mary-Louise Parker in the title role, the play featured an original score of incidental music written by Harvey. In November 2011, Harvey also composed part of the score for the Young Vic's long-running production of Hamlet in London. In May 2012, Harvey composed two songs, "Horse" and "Bobby Don't Steal", for Mark Cousins' film What is This Film Called Love?, which also features "To Bring You My Love". In 2014, a number of Harvey's songs were featured in the second season of Peaky Blinders. In March 2018, Harvey and Parish released a song called "Sorry For Your Loss" as tribute to singer-songwriter Mark Linkous, who committed suicide in 2010. In 2019, Harvey composed the score for Shane Meadows' miniseries, The Virtues, broadcast on Channel 4. Musical style and influences Harvey possesses an expansive contralto vocal range. Harvey dislikes repeating herself in her music, resulting in very different-sounding albums. In an October 2004 interview with Rolling Stone, she said: "when I'm working on a new record, the most important thing is to not repeat myself ... that's always my aim: to try and cover new ground and really to challenge myself. Because I'm in this for learning." While her musical style has been described as alternative rock, punk blues, art rock, and avant-rock, she has experimented with various other genres including electronica, indie rock and folk music. She is also known for changing her physical appearance for each album by altering her mode of dress or hairstyle, creating a unique aesthetic that extends to all aspects of the album, from the album art to the live performances. She works closely with friend and photographer Maria Mochnacz to develop the visual style of each album. Around the time of To Bring You My Love, for example, Harvey began experimenting with her image and adopting a theatrical aspect to her live performances. Her former fashion style, which consisted of simple black leggings, turtleneck sweaters and Doc Martens boots, was replaced by ballgowns, catsuits, wigs and excessive make-up. She also began using stage props like a Ziggy Stardust-style flashlight microphone. She denied the influence of drag, Kabuki or performance art on her new image, a look she affectionately dubbed "Joan Crawford on acid" in an interview with Spin in 1996, but admitted that "it's that combination of being quite elegant and funny and revolting, all at the same time, that appeals to me. I actually find wearing make-up like that, sort of smeared around, as extremely beautiful. Maybe that's just my twisted sense of beauty." However, she later told Dazed & Confused magazine, "that was kind of a mask. It was much more of a mask than I've ever had. I was very lost as a person, at that point. I had no sense of self left at all", and has never repeated the overt theatricality of the To Bring You My Love tour. At an early age, she was introduced by her parents to blues music, jazz and art rock, which would later influence her: "I was brought up listening to John Lee Hooker, to Howlin' Wolf, to Robert Johnson, and a lot of Jimi Hendrix and Captain Beefheart. So I was exposed to all these very compassionate musicians at a very young age, and that's always remained in me and seems to surface more as I get older. I think the way we are as we get older is a result of what we knew when we were children." Other influential artists were "Nina Simone, the Rolling Stones, people like that I grew up listening to but find I returned to". During her teenage years, she began listening to new wave and synthpop bands such as Soft Cell, Duran Duran and Spandau Ballet, although later stated that it was a phase when she was "having a bit of a rebellion against my parents' record collection." In her later teenage years, she became a fan of Pixies, and she then listened to Slint. She has named Bob Dylan, and Neil Young, when talking about her influences. Many critics have compared Harvey to Patti Smith, which Harvey dismisses as "lazy journalism". However, recently Harvey has said that Smith is "so energising to see and so passionate with what she's doing". Harvey has also cited Siouxsie Sioux in terms of live performance, stating : "She is so exciting to watch, so full of energy and human raw quality". She has also drawn inspiration from Russian folk music, Italian soundtrack composer Ennio Morricone, classical composers like Arvo Pärt, Erik Satie, Samuel Barber, and Henryk Górecki. As a lyricist, Harvey has cited numerous poets, authors and lyricists as influences on her work including Harold Pinter, T. S. Eliot, William Butler Yeats, James Joyce, Ted Hughes and contemporaries such as Shane MacGowan and Jez Butterworth. Other ventures Outside her better-known music career, Harvey is also an occasional artist and actress. In 1998, she appeared in Hal Hartley's film The Book of Life as Magdalena—a modern-day character based on the Biblical Mary Magdalene—and had a cameo role as a Playboy Bunny in A Bunny Girl's Tale, a short film directed by Sarah Miles, in which she also performs "Nina in Ecstasy", an outtake from Is This Desire? (1998). Harvey also collaborated with Miles on another film, Amaeru Fallout 1972, which includes Harvey performing a cover of "When Will I See You Again." Harvey is also an accomplished sculptor who has had several pieces exhibited at the Lamont Gallery and the Bridport Arts Centre. In 2010, she was invited to be the guest designer for the summer issue of Francis Ford Coppola's literary magazine Zoetrope: All-Story. The issue featured Harvey's paintings and drawings alongside short stories by Woody Allen. Speaking of her artistic contributions to the magazine in 2011, Harvey said: "the first opportunity I ever had to show any work was in this magazine. They were drawn while I was writing and recording the record (Let England Shake). It does relate to the record in the way the cycle keeps happening." In December 2013, Harvey gave her debut public poetry reading at the British Library. On 2 January 2014, she guest-edited BBC Radio 4's Today programme. In October 2015, Harvey published her first collection of poetry, a collaboration with photographer Seamus Murphy, entitled The Hollow of The Hand. To create the book, PJ Harvey and Seamus Murphy made several journeys to Kosovo, Afghanistan and Washington, D.C. Their experiences were documented in Murphy's film A Dog Called Money, which was released in UK cinemas and online on 8 November 2019. Seamus Murphy had previously worked with PJ Harvey to create 12 Short Films for Let England Shake. Personal life Harvey rejects the notion that her song lyrics are autobiographical, telling The Times in 1998: "the tortured artist myth is rampant. People paint me as some kind of black witchcraft-practising devil from hell, that I have to be twisted and dark to do what I am doing. It's a load of rubbish". What is more, she later told Spin: "some critics have taken my writing so literally to the point that they'll listen to 'Down by the Water' and believe I have actually given birth to a child and drowned her." In the early 1990s, Harvey was romantically involved with drummer and photographer Joe Dilworth. From 1996 to 1997, following their musical collaborations, Harvey had a relationship with Nick Cave, and their subsequent break-up influenced Cave's follow-up studio album The Boatman's Call (1997), with songs such as "Into My Arms", "West Country Girl" and "Black Hair" being written specifically about her. Harvey has one older brother, Saul, and four nephews through him. She expressed a fondness for children in 1995 and stated that she would love to have them, saying: "I wouldn't consider it unless I was married. I would have to meet someone that I wanted to spend the rest of my life with. That's the only person who I would want to be the father of my children. Maybe that will never happen. I obviously see it in a very rational way but I'd love to have children." Harvey has encountered widespread opposition to a comment made in favour of fox hunting in a 1998 NME magazine feature, which reported Harvey saying she was not opposed to fox hunting and that, "Seeing the hunt out on the fields is just so natural to me." Harvey was appointed Member of the Order of the British Empire (MBE) by Queen Elizabeth II in the 2013 Birthday Honours for services to music. Discography Dry (1992) Rid of Me (1993) To Bring You My Love (1995) Is This Desire? (1998) Stories from the City, Stories from the Sea (2000) Uh Huh Her (2004) White Chalk (2007) Let England Shake (2011) The Hope Six Demolition Project (2016) Personnel Current members Polly Harvey – vocals, saxophone, guitar, autoharp, piano, organ, keyboards, violin, cello, vibraphone, marimba, bells & chimes, percussion, djembe, bass, e-bow, melodica, zither, harmonica, harp, cigfiddle (1991–present) Terry Edwards – backing vocals, saxophones, percussion, keyboards, guitar, flute, bass harmonica, melodica, trumpet (1993 live performance guest, 1997 studio guest, 2014–2017) James Johnston – backing vocals, keyboards, violin, guitar, organ (1993 live performance guest, 2014–2017) John Parish – backing vocals, guitar, drums, keyboards, bass, banjo, organ, ukulele, trombone, rhodes, mellotron, xylophone, percussion (1994–1998, 2006–present) Mick Harvey – backing vocals, bass, keyboards, organ, guitar, drums, harmonium, accordion, bass harmonica, piano, rhodes, xylophone, percussion (1994–2001, 2009–present) Jean-Marc Butty – backing vocals, drums, percussion (1994–1996, 2006–present) Alain Johannes – backing vocals, guitars, keyboards, percussion, saxophone (2014–2017) Kenrick Rowe – backing vocals, percussion (2014–2017) Enrico Gabrielli – backing vocals, percussion, bass clarinet, swanee whistle, basset clarinet (2014–2017) Alessandro Stefana – backing vocals, guitars (2014–2017) Former collaborators Rob Ellis – drums & percussion, vocals, harmonium, piano, electric piano, tambourine,synthesizer, keyboards, bells, harpsichord, vibraphone (1991–1993, 1996–2005) Ian Oliver – bass (1991, 2003) Steve Vaughan – bass (1991–1993) Nick Bagnall – bass, keyboards (1994–1995) Joe Gore – guitar, e-bow (1994–1996) Eric Drew Feldman – piano, keyboards, bass, optigan, mellotron, minimoog, backing vocals (1994–2001, 2006–2009) Jeremy Hogg – guitar (1996–1998) Margaret Fiedler – guitar, cello (2000–2001) Tim Farthing – guitar (2000–2001) Simon "Dingo" Archer – bass (2004) Josh Klinghoffer – guitar, drums, percussion (2004) Jim White – drums (2006–2007) Carla Azar – drums (2006–2008, studio guest) Giovanni Ferrario – guitar (2006–2009) Awards and nominations List of awards and nominations received by PJ Harvey References Further reading External links – official site 1969 births Living people 20th-century British guitarists 20th-century English women singers 20th-century English singers 21st-century British guitarists 21st-century English women singers 21st-century English singers 21st-century multi-instrumentalists Alternative rock guitarists Alternative rock pianists Alternative rock singers Alumni of Central Saint Martins Autoharp players British alternative rock musicians English contraltos English women guitarists English multi-instrumentalists English rock guitarists English rock musicians English women singer-songwriters Women rock singers Island Records artists Ivor Novello Award winners Members of the Order of the British Empire NME Awards winners People from Beaminster People from Bridport People from Dorset Vagrant Records artists Women punk rock singers
true
[ "Saint John Vianney, the patron saint of parish priests, composed his prayer to Jesus in the 19th century. The prayer reflects Vianney's deep religious feelings, which were praised by Pope John XXIII in his encyclical Sacerdotii nostri primordia in 1959: \"The thing that keeps us priests from gaining sanctity\"—the Cure of Ars used to say— \"is thoughtlessness. It annoys us to turn our minds away from external affairs; we don't know what we really ought to do. What we need is deep reflection, together with prayer and an intimate union with God.\" The testimony of his life makes it clear that he always remained devoted to his prayers and that not even the duty of hearing confessions or any other pastoral office could cause him to neglect them. \"Even in the midst of tremendous labors, he never let up on his conversation with God.\" \n\nThe prayer is quoted in the Catechism of the Catholic Church.\n\nWords of the prayer\nI love You, O my God, and my only desire is to love You until the last breath of my life.\nI love You, O my infinitely lovable God, and I would rather die loving You, than live without loving You.\nI love You, Lord and the only grace I ask is to love You eternally...\nMy God, if my tongue cannot say in every moment that I love You, I want my heart to repeat it to You as often as I draw breath.\n\nNotes\n\nReferences\n Catholic online prayers to Christ\n\nRoman Catholic prayers", "Read My Lips is the 1989 debut solo album by Jimmy Somerville, former lead singer of the successful synthpop groups Bronski Beat and The Communards. The album was released through London Records and peaked at number 29 on the UK Albums Chart. It has been certified Gold by the British Phonographic Industry for sales in excess of 100,000 copies.\n\nIn July 2012, Read My Lips was released as a two disc CD set including the original album plus bonus tracks of B-sides and remixes.\n\nTrack listing\n\nOriginal 1989 album\nLP\n\nAll LP tracks by Jimmy Somerville unless otherwise indicated\n\n\"Comment te dire adieu\" featuring June Miles-Kingston (Jack Gold, Arnold Goland, Serge Gainsbourg) - 3:37 \t\n\"You Make Me Feel (Mighty Real)\" (Dip Warrick, Sylvester James) - 5:22 \t\n\"Perfect Day\" - 4:08 \t\n\"Heaven Here On Earth (With Your Love)\" - 5:02 \t\n\"Don't Know What to Do (Without You)\" - 6:10 \n\"Read My Lips (Enough Is Enough)\" - 4:59 \t\n\"My Heart Is in Your Hands\" - 4:33 \t\n\"Control\" - 4:36 \t\n\"And You Never Thought That This Could Happen to You\" - 4:58 \t\n\"Rain\" - 5:49\n\nCD\n\"Comment te dire adieu\" (featuring June Miles-Kingston) - 3:39 \t\n\"You Make Me Feel (Mighty Real)\" - 5:14 \t\n\"Perfect Day\" - 4:09 \t\n\"Heaven Here On Earth (With Your Love)\" - 5:04 \t\n\"Don't Know What to Do (Without You)\" - 6:12 \n\"Adieu !\" (Madame Tata Mix) - 7:31\n\"Read My Lips (Enough Is Enough)\" - 5:00 \t\n\"My Heart Is In Your Hands\" - 4:24\t\n\"Control\" - 4:37 \t\n\"And You Never Thought That This Could Happen to You\" - 5:00 \t\n\"Rain\" - 5:48\n\n2012 2-CD reissue\nCD 1\n\"Comment te dire adieu\" (featuring June Miles-Kingston)\n\"You Make Me Feel (Mighty Real)\"\n\"Perfect Day\"\n\"Heaven Here On Earth (With Your Love)\"\n\"Don’t Know What to Do (Without You)\"\n\"Comment te dire adieu\" [June et Jim présentent Madame Tata Mix]\n\"Read My Lips (Enough Is Enough)\"\n\"My Heart Is In Your Hands\"\n\"Control\"\n\"And You Never Thought This Could Happen to You\"\n\"Rain\"\n\"Run From Love\"\n\"To Love Somebody\" [The Definitive Mix]\n\"Comment te dire adieu\" [Kevin Saunderson Mix] (Part 1)\n\"Smalltown Boy\" [1991 remix]\n\nCD 2\t\n\"To Love Somebody\" [Dub Mix]\n\"Comment te dire adieu\" [Kevin Saunderson Mix] (Part 2)\n\"Read My Lips\" (Enough Is Enough) [JZJ remix]\n\"Tell the World\"\n\"Not So God Almighty\"\n\"Rain\" [Pascal Gabriel] remix]\n\"To Love Somebody\" [instrumental]\n\"Run From Love\" [extended]\n\"Desire\"\n\"Stranger\"\n\"Why\" [Pascal Gabriel remix] Bronski Beat\n\"Read My Lips\" [JZJ remix dub]\n\"To Love Somebody\" [Unplugged live]\n\nCharts\nAlbum\n\nSingles\n\nCertifications\n\nReferences \n\n1989 debut albums\nJimmy Somerville albums\nAlbums produced by Stephen Hague\nLondon Records albums" ]
[ "PJ Harvey", "To Bring You My Love and Is This Desire?: 1993-1999", "What is To Bring You My Love?", "In 1995 she released her third studio album, To Bring You My Love," ]
C_4b99c8aa48a040e787e54447b64885ad_0
Did she have any successful singles on this album?
2
Did PJ Harvey have any successful singles on To Bring You My Love?
PJ Harvey
As Harvey embarked on her solo career, she explored collaborations with other musicians. In 1995 she released her third studio album, To Bring You My Love, featuring former bandmate John Parish, Bad Seeds multi-instrumentalist Mick Harvey and French drummer Jean-Marc Butty, all of whom would continue to perform and record with Harvey throughout her career. The album was also her first material to be produced by Flood. Simultaneously a more blues-influenced and more futuristic record than its predecessors, To Bring You My Love showcased Harvey broadening her musical style to include strings, organs and synthesisers. Rolling Stone said in its review that "Harvey sings the blues like Nick Cave sings gospel: with more distortion, sex and murder than you remember. To Bring You My Love was a towering goth version of grunge." During the successive tours for the album, Harvey also experimented with her image and stage persona. The record generated a surprise modern rock radio hit in the United States with its lead single, "Down by the Water." Three consecutive singles -- "C'mon Billy", "Send His Love to Me" and "Long Snake Moan" -- were also moderately successful. The album was a commercial success selling one million copies worldwide including 370,000 in the United States. It was also certified Silver in the United Kingdom within seven months of its release, having sold over 60,000 copies. In the United States, the album was voted Album of the Year by The Village Voice, Rolling Stone, USA Today, People, The New York Times and the Los Angeles Times. Rolling Stone also named Harvey 1995's Artist of the Year and Spin ranked the album third in The 90 Greatest Albums of the '90s, behind Nirvana's Nevermind (1991) and Public Enemy's Fear of a Black Planet (1990). In 1996, following the international success of To Bring You My Love and other collaborations, Harvey began composing material that would end up on her fourth studio album, during what she referred to as "an incredibly low patch." The material diverged significantly from her former work and introduced electronica elements into her song-writing. During recording sessions in 1997 original PJ Harvey Trio drummer Rob Ellis rejoined Harvey's band, and Flood was hired again as producer. The sessions, which continued into April the following year, resulted in Is This Desire? (1998). Though originally released to mixed reviews in September 1998, the album was a success and received a Grammy Award nomination for Best Alternative Music Performance. The album's lead single, "A Perfect Day Elise," was moderately successful in the United Kingdom, peaking at number 25 on the UK Singles Chart, her most successful single to date. CANNOTANSWER
its lead single, "Down by the Water."
Polly Jean Harvey (born 9 October 1969) is an English singer, songwriter and musician. Primarily known as a vocalist and guitarist, she is also proficient with a wide range of instruments. Harvey began her career in 1988 when she joined local band Automatic Dlamini as a vocalist, guitarist and saxophonist. The band's frontman, John Parish, became her long-term collaborator. In 1991, she formed an eponymous trio called PJ Harvey and subsequently began her career as PJ Harvey. The trio released two studio albums called Dry (1992) and Rid of Me (1993) before disbanding, after which Harvey continued as a solo artist. Since 1995, she has released a further nine studio albums with collaborations from various musicians including Parish, former bandmate Rob Ellis, Mick Harvey, and Eric Drew Feldman, and has also worked extensively with record producer Flood. Among the accolades Harvey has received are both the 2001 and 2011 Mercury Prize for Stories from the City, Stories from the Sea (2000) and Let England Shake (2011), respectively, making her the only artist to have been awarded the prize twice. She has also garnered eight Brit Award nominations, seven Grammy Award nominations and two further Mercury Prize nominations. Rolling Stone awarded her three accolades: 1992's Best New Artist and Best Singer Songwriter, and 1995's Artist of the Year. Rolling Stone also listed Rid of Me, To Bring You My Love, and Stories from the City, Stories from the Sea on its list of their 500 Greatest Albums of All Time. In 2011, she was awarded for Outstanding Contribution To Music at the NME Awards. In June 2013, she was awarded an MBE for services to music. Early life Polly Jean Harvey was born on 9 October 1969 in Bridport, Dorset, the second child of Ray and Eva Harvey. Her parents owned a quarrying business, and she grew up on the family farm in Corscombe. During her childhood, she attended school in nearby Beaminster, where she received guitar lessons from folk singer-songwriter Steve Knightley. Her parents introduced her to music that would later influence her work, including blues, Captain Beefheart and Bob Dylan. Her parents were avid music fans and regularly arranged get-togethers and small gigs, counting Ian Stewart among their oldest friends. As a teenager, Harvey began learning saxophone and joined an eight-piece instrumental group Bologne, run by composer Andrew Dickson. She was also a guitarist with folk duo the Polekats, with whom she wrote some of her earliest material. After finishing school, she joined Yeovil College and attended a visual arts foundation course. Career Automatic Dlamini: 1988–1991 In July 1988, Harvey became a member of Automatic Dlamini, a band based in Bristol with whom she gained extensive ensemble-playing experience. Formed by John Parish in 1983, the band consisted of a rotating line-up that at various times included Rob Ellis and Ian Oliver. Harvey had met Parish in 1987 through mutual friend Jeremy Hogg, the band's slide guitarist. Providing saxophone, guitars and background vocals, she travelled extensively during the band's early days, including performances in East and West Germany, Spain and Poland to support the band's debut studio album, The D is for Drum. A second European tour took place throughout June and July 1989. Following the tour, the band recorded Here Catch, Shouted His Father, their second studio album, between late 1989 and early 1990. This is the only Automatic Dlamini material to feature Harvey, but remains unreleased, although bootleg versions of the album are in circulation. In January 1991, Harvey left to form her own band with former bandmates Ellis and Oliver; yet she had formed lasting personal and professional relationships with certain members, especially Parish, whom she has referred to as her "musical soulmate". Parish would subsequently contribute to, and sometimes co-produce, Harvey's solo studio albums and has toured with her a number of times. As a duo, Parish and Harvey have recorded two collaborative albums where Parish composed the music and Harvey wrote the lyrics. Additionally, Parish's girlfriend in the late 1980s was photographer Maria Mochnacz. She and Harvey became close friends and Mochnacz went on to shoot and design most of Harvey's album artwork and music videos, contributing significantly to her public image. Harvey has said of her time with Automatic Dlamini: "I ended up not singing very much but I was just happy to learn how to play the guitar. I wrote a lot during the time I was with them but my first songs were crap. I was listening to a lot of Irish folk music at the time, so the songs were folky and full of penny whistles and stuff. It was ages before I felt ready to perform my own songs in front of other people." She also credits Parish for teaching her how to perform in front of audiences, saying "after the experience with John's band and seeing him perform I found it was enormously helpful to me as a performer to engage with people in the audience, and I probably did learn that from him, amongst other things." PJ Harvey Trio; Dry and Rid of Me: 1991–1993 In January 1991, following her departure from Automatic Dlamini, Harvey formed her own band with former bandmates Rob Ellis and Ian Oliver. Harvey decided to name the trio PJ Harvey after rejecting other names as "nothing felt right at all or just suggested the wrong type of sound", and also to allow her to continue music as a solo artist. The trio consisted of Harvey on vocals and guitar, Ellis on drums and backing vocals, and Oliver on bass. Oliver later departed to rejoin the still-active Automatic Dlamini. He was subsequently replaced with Steve Vaughan. The trio's "disastrous" debut performance was held at a skittle alley in Charmouth Village Hall in April 1991. Harvey later recounted the event saying: "we started playing and I suppose there was about fifty people there, and during the first song we cleared the hall. There was only about two people left. And a woman came up to us, came up to my drummer, it was only a three piece, while we were playing and shouted at him 'Don't you realise nobody likes you! We'll pay you, you can stop playing, we'll still pay you!'" The group relocated to London in June 1991 when Harvey applied to study sculpture, still undecided as to her future career. During this time, the group recorded a set of demo songs and distributed them to record labels. Independent label Too Pure agreed to release the band's debut single "Dress" in October 1991, and later signed PJ Harvey. "Dress" received mass critical acclaim upon its release and was voted Single of the Week in Melody Maker by guest reviewer John Peel, who admired "the way Polly Jean seems crushed by the weight of her own songs and arrangements, as if the air is literally being sucked out of them ... admirable if not always enjoyable." However, Too Pure provided little promotion for the single and critics claim that "Melody Maker had more to do with the success of the "Dress" single than Too Pure Records." A week after its release, the band recorded a live radio session for Peel on BBC Radio 1 on 29 October featuring "Oh, My Lover", "Victory", "Sheela-Na-Gig" and "Water". The following February, the trio released "Sheela-Na-Gig" as their equally-acclaimed second single and their debut studio album, Dry (1992), followed in March. Like the singles preceding it, Dry received an overwhelming international critical response. The album was cited by Kurt Cobain of Nirvana as his sixteenth-favourite album ever in his posthumously published Journals. Rolling Stone also named Harvey as Songwriter of the Year and Best New Female Singer. A limited edition double LP version of Dry was released alongside the regular version of the album, containing both the original and demo versions of each track, called Dry Demonstration, and the band also received significant coverage at the Reading Festival in 1992. Island (PolyGram) signed the trio amid a major label bidding war in mid-1992, and in December 1992 the trio travelled to Cannon Falls, Minnesota in the United States to record the follow-up to Dry with producer Steve Albini. Prior to recording with Albini, the band recorded a second session with John Peel on 22 September and recorded a version of Bob Dylan's "Highway 61 Revisited," and two new songs "Me Jane" and "Ecstasy." The recording sessions with Albini took place at Pachyderm Recording Studio and resulted in the band's major label debut Rid of Me in May 1993. Rolling Stone wrote that it "is charged with aggressive eroticism and rock fury. It careens from blues to goth to grunge, often in the space of a single song." The album was promoted by two singles, "50ft Queenie" and "Man-Size", as well as tours of the United Kingdom in May and of the United States in June, continuing there during the summer. However, during the American leg of the tour, internal friction started to form between the members of the trio. Deborah Frost, writing for Rolling Stone, noticed "an ever widening personal gulf" between the band members, and quoted Harvey as saying "It makes me sad. I wouldn't have got here without them. I needed them back then – badly. But I don't need them anymore. We all changed as people." Despite the tour's personal downsides, footage from live performances was compiled and released on the long-form video Reeling with PJ Harvey (1993). The band's final tour was to support U2 in August 1993, after which the trio officially disbanded. In her final appearance on American television in September 1993 on The Tonight Show with Jay Leno, Harvey performed a solo version of "Rid of Me." As Rid of Me sold substantially more copies than Dry, 4-Track Demos, a compilation album of demos for the album was released in October and inaugurated her career as a solo artist. In early 1994, it was announced that U2's manager, Paul McGuinness, had become her manager. To Bring You My Love and Is This Desire?: 1993–1999 As Harvey embarked on her solo career, she explored collaborations with other musicians. In 1995 she released her third studio album, To Bring You My Love, featuring former bandmate John Parish, Bad Seeds multi-instrumentalist Mick Harvey and French drummer Jean-Marc Butty, all of whom would continue to perform and record with Harvey throughout her career. The album was also her first material to be produced by Flood. Simultaneously a more blues-influenced and more futuristic record than its predecessors, To Bring You My Love showcased Harvey broadening her musical style to include strings, organs and synthesisers. Rolling Stone said in its review that "Harvey sings the blues like Nick Cave sings gospel: with more distortion, sex and murder than you remember. To Bring You My Love was a towering goth version of grunge." During the successive tours for the album, Harvey also experimented with her image and stage persona. The record generated a surprise modern rock radio hit in the United States with its lead single, "Down by the Water." Three consecutive singles—"C'mon Billy", "Send His Love to Me" and "Long Snake Moan"—were also moderately successful. The album was a commercial success selling one million copies worldwide including 370,000 in the United States. It was also certified Silver in the United Kingdom within seven months of its release, having sold over 60,000 copies. In the United States, the album was voted Album of the Year by The Village Voice, Rolling Stone, USA Today, People, The New York Times and the Los Angeles Times. Rolling Stone also named Harvey 1995's Artist of the Year and Spin ranked the album third in The 90 Greatest Albums of the 1990s, behind Nirvana's Nevermind (1991) and Public Enemy's Fear of a Black Planet (1990). In July 2020, a vinyl reissue of To Bring You My Love was announced, including unreleased demos. In 1996, following the international success of To Bring You My Love and other collaborations, Harvey began composing material that would end up on her fourth studio album, during what she referred to as "an incredibly low patch". The material diverged significantly from her previous work and introduced electronica elements into her song-writing. During recording sessions in 1997 original PJ Harvey Trio drummer Rob Ellis rejoined Harvey's band, and Flood was hired again as producer. The sessions, which continued into April the following year, resulted in Is This Desire? (1998). Though originally released to mixed reviews in September 1998, the album was a success and received a Grammy Award nomination for Best Alternative Music Performance. The album's lead single, "A Perfect Day Elise," was moderately successful in the United Kingdom, peaking at number 25 on the UK Singles Chart, her most successful single to date. Stories from the City, Stories from the Sea and Uh Huh Her: 2000–2006 In early 2000, Harvey began work on her fifth studio album Stories from the City, Stories from the Sea with Rob Ellis and Mick Harvey. Written in her native Dorset, Paris and New York, the album showcased a more mainstream indie rock and pop rock sound to her previous albums and the lyrics followed themes of love that tied into Harvey's affection for New York City. The album also featured Radiohead frontman Thom Yorke on three tracks, including his lead vocals on "This Mess We're in." Upon its release in October 2000 the album was a critical and commercial success, selling over one million copies worldwide and charting in both the United Kingdom and the United States. The album's three singles—"Good Fortune", "A Place Called Home" and "This Is Love"—were moderately successful. The album also received a number of accolades including a BRIT Award nomination for Best Female Artist and two Grammy Award nominations for Best Rock Album and Best Female Rock Performance for the album's third single, "This Is Love". However, most notably, Harvey was nominated for, and won, the 2001 Mercury Music Prize. The awards ceremony was held on the same day as the September 11 attacks on the United States and Harvey was on tour in Washington, D.C., one of the affected cities, when she won the prize. Reflecting on the win in 2011, she said: "quite naturally I look back at that and only remember the events that were taking place across the world and to win the prize on that day—it didn't have much importance in the grand scheme of things", noting "it was a very surreal day". The same year, Harvey also topped a readers' poll conducted by Q Magazine of the 100 Greatest Women in Rock Music. During three years of various collaborations with other artists, Harvey was also working on her sixth studio album, Uh Huh Her, which was released in May 2004. For the first time since 4-Track Demos (1993), Harvey played every instrument—with the exception of drums provided by Rob Ellis—and was the sole producer. The album received "generally favourable reviews" by critics, though its production was often criticised. It was also a commercial success, debuting and peaking at number 12 in the UK Albums Chart and being certified Silver by the BPI within a month of its release. Harvey also did an extensive world tour in promotion of the album, lasting seven months in total. Selected recordings from the tour were included on Harvey's first live DVD, On Tour: Please Leave Quietly, directed by Maria Mochnacz and released in 2006. White Chalk and Let England Shake: 2007–2014 During her first performance since the Uh Huh Her tour at the Hay Festival of Literature & Arts on 26 May 2006, Harvey revealed that her next studio album would be almost entirely piano-based. Following the October release of The Peel Sessions 1991–2004, a compilation of songs recorded from 1991 to 2000 during her radio sessions with John Peel, she began recording her seventh studio album White Chalk in November, together with Flood, John Parish and Eric Drew Feldman and drummer Jim White in a studio in West London. White Chalk was released in September 2007 and marked a radical departure from her usual alternative rock style, consisting mainly of piano ballads. The album received favourable reviews, its style being described by one critic as containing "pseudo-Victorian elements—drama, restraint, and antiquated instruments and sounds." Harvey herself said of the album: "when I listen to the record I feel in a different universe, really, and I'm not sure whether it's in the past or in the future. The record confuses me, that's what I like—it doesn't feel of this time right now, but I'm not sure whether it's 100 years ago or 100 years in the future", summing up the album's sound as "really weird." During the tour for the album Harvey performed without a backing band, and also began performing on an autoharp, which continues to be her primary instrument after guitar and has influenced her material since White Chalk. In April 2010, Harvey appeared on The Andrew Marr Show to perform a new song titled "Let England Shake." In a pre-performance interview with Marr, she stated that the new material she had written had been "formed out of the landscape that I've grown up in and the history of this nation" and as "a human being affected by politics." Her eighth studio album Let England Shake was released in February 2011, and received universal critical acclaim. NMEs 10/10 review summarised the album as "a record that ventures deep into the heart of darkness of war itself and its resonance throughout England's past, present and future" and other reviews also noted its themes and writing style as "bloody and forceful," mixing "ethereal form with brutal content," and "her most powerful." Dealing with the ongoing conflict in Afghanistan and other episodes from English history, the album featured John Parish, Mick Harvey and Jean-Marc Butty as Harvey's backing band and the quartet toured extensively in its promotion. Following the release of the album's two well-received singles—"The Words That Maketh Murder" and "The Glorious Land"—and the collection of short films by Seamus Murphy to accompany the album, Harvey won her second Mercury Music Prize on 6 September. The award marked her as the first artist to receive the award twice, entering her into The Guinness Book of Records as the only artist to have achieved this., and sales of Let England Shake increased 1,190% overnight following her win. On 23 September, Let England Shake was certified Gold in the United Kingdom and was listed as album of the year by MOJO and Uncut. On 3 August 2013, Harvey released a song Shaker Aamer in support of the Guantanamo Bay detention camp detainee by the same name who was the last British citizen to be held there. The song describes in detail what Aamer endured during his four-month hunger strike. The Hope Six Demolition Project: 2015–present On 16 January 2015, PJ Harvey began recording her ninth studio album, The Hope Six Demolition Project, in front of a live audience. A custom built recording studio was made in London's Somerset House. Uncut magazine noted that much like her previous album Let England Shake, many of the lyrics were politically charged, but this time it was more globally focused. While recording she was shown to be using saxophones, an autoharp and a bouzouki. Flood was confirmed to be the producer of the album. On 18 December 2015, Harvey released a 20-second teaser for the album, which contained a release date of spring 2016. On 21 January 2016, the debut single, "The Wheel", was played on Steve Lamacq's show on BBC Radio 6 Music. The album was released on 15 April. A new video, "The Orange Monkey", was shared on 2 June 2016. Directed by Irish filmmaker Seamus Murphy, it was made from footage of Murphy's and Harvey's trips to Afghanistan. The album reached #1 on the UK Albums Chart and was nominated for a Grammy Award in the Best Alternative Music Album category. Harvey spent much of 2016 and 2017 touring the world with her nine-piece band, taking her critically lauded live show around North America, South America, Europe and Australasia. Collaborations and projects Besides her own work, Harvey has also collaborated with a number of other artists. In 1995, she recorded a duet of American folk song "Henry Lee" with partner Nick Cave and also featured on the Bob Dylan cover "Death is Not the End," both released on Nick Cave and the Bad Seeds' Murder Ballads (1996). In the same year she sang the theme song "Who Will Love Me Now?" on Philip Ridley's film The Passion of Darkly Noon. After her 1995 tour, she met Pascal Comelade and decided to collaborate with him, singing on several tracks including "Love too Soon" on his album L'Argot du Bruit. In May 1998, before the release of Is This Desire?, she featured on Tricky's Angels with Dirty Faces, performing lead vocals on "Broken Homes", and also contributed to Sparklehorse's 2001 album It's a Wonderful Life performing guitar, piano and background vocals on two songs, "Eyepennies" and "Piano Fire." Following the tour in promotion of Stories from the City, Stories from the Sea, she contributed vocals to eight tracks on Volume 9: I See You Hearin' Me and Volume 10: I Heart Disco by Josh Homme's side project The Desert Sessions, also appearing in the music video for "Crawl Home." Throughout 2004, Harvey produced Tiffany Anders' album Funny Cry Happy Gift, and also produced, performed on and wrote five songs for Marianne Faithfull's album Before the Poison, and contributed background vocals on "Hit the City," "Methamphetamine Blues" and "Come to Me" on Mark Lanegan's album Bubblegum. Harvey contributed the song "Slow-Motion Movie-Star", an outtake from Stories from the City, Stories from the Sea, to Mick Harvey's fourth studio album, Two of Diamonds, released in 2007. Harvey has also recorded two studio albums with long-time collaborator John Parish. Dance Hall at Louse Point (1996) was written collectively with Parish with the exception of the song "Is That All There Is?", written by Jerry Leiber and Mike Stoller. The album also listed her as Polly Jean Harvey, which may have impacted album sales. Harvey has also reflected on how the album was "an enormous turning point" and "lyrically, it moved me into areas I'd never been to before." In 1998, she also performed lead vocals on "Airplane Blues," as a soundtrack accompaniment to the Wingwalkers art exhibition by Rebecca Goddard and Parish's wife, Michelle Henning, which was released as the closing song on Parish's second solo album How Animals Move in 2002. Following the release of White Chalk, Harvey reunited with Parish to record A Woman a Man Walked By, released in March 2009. Like Dance Hall at Louse Point, the album received positive reviews and was a moderate commercial success, peaking at number 25 in the UK Albums Chart. She collaborated with Egyptian artist Ramy Essam on "The Camp", a charity single released in June 2017 to benefit displaced children in the Lebanese Bekaa Valley fleeing the Syrian Civil War. Aside from collaborations, Harvey has also embarked on a number of projects as a composer. In January 2009, a new stage production of Henrik Ibsen's Hedda Gabler opened on Broadway. Directed by Ian Rickson and starring Mary-Louise Parker in the title role, the play featured an original score of incidental music written by Harvey. In November 2011, Harvey also composed part of the score for the Young Vic's long-running production of Hamlet in London. In May 2012, Harvey composed two songs, "Horse" and "Bobby Don't Steal", for Mark Cousins' film What is This Film Called Love?, which also features "To Bring You My Love". In 2014, a number of Harvey's songs were featured in the second season of Peaky Blinders. In March 2018, Harvey and Parish released a song called "Sorry For Your Loss" as tribute to singer-songwriter Mark Linkous, who committed suicide in 2010. In 2019, Harvey composed the score for Shane Meadows' miniseries, The Virtues, broadcast on Channel 4. Musical style and influences Harvey possesses an expansive contralto vocal range. Harvey dislikes repeating herself in her music, resulting in very different-sounding albums. In an October 2004 interview with Rolling Stone, she said: "when I'm working on a new record, the most important thing is to not repeat myself ... that's always my aim: to try and cover new ground and really to challenge myself. Because I'm in this for learning." While her musical style has been described as alternative rock, punk blues, art rock, and avant-rock, she has experimented with various other genres including electronica, indie rock and folk music. She is also known for changing her physical appearance for each album by altering her mode of dress or hairstyle, creating a unique aesthetic that extends to all aspects of the album, from the album art to the live performances. She works closely with friend and photographer Maria Mochnacz to develop the visual style of each album. Around the time of To Bring You My Love, for example, Harvey began experimenting with her image and adopting a theatrical aspect to her live performances. Her former fashion style, which consisted of simple black leggings, turtleneck sweaters and Doc Martens boots, was replaced by ballgowns, catsuits, wigs and excessive make-up. She also began using stage props like a Ziggy Stardust-style flashlight microphone. She denied the influence of drag, Kabuki or performance art on her new image, a look she affectionately dubbed "Joan Crawford on acid" in an interview with Spin in 1996, but admitted that "it's that combination of being quite elegant and funny and revolting, all at the same time, that appeals to me. I actually find wearing make-up like that, sort of smeared around, as extremely beautiful. Maybe that's just my twisted sense of beauty." However, she later told Dazed & Confused magazine, "that was kind of a mask. It was much more of a mask than I've ever had. I was very lost as a person, at that point. I had no sense of self left at all", and has never repeated the overt theatricality of the To Bring You My Love tour. At an early age, she was introduced by her parents to blues music, jazz and art rock, which would later influence her: "I was brought up listening to John Lee Hooker, to Howlin' Wolf, to Robert Johnson, and a lot of Jimi Hendrix and Captain Beefheart. So I was exposed to all these very compassionate musicians at a very young age, and that's always remained in me and seems to surface more as I get older. I think the way we are as we get older is a result of what we knew when we were children." Other influential artists were "Nina Simone, the Rolling Stones, people like that I grew up listening to but find I returned to". During her teenage years, she began listening to new wave and synthpop bands such as Soft Cell, Duran Duran and Spandau Ballet, although later stated that it was a phase when she was "having a bit of a rebellion against my parents' record collection." In her later teenage years, she became a fan of Pixies, and she then listened to Slint. She has named Bob Dylan, and Neil Young, when talking about her influences. Many critics have compared Harvey to Patti Smith, which Harvey dismisses as "lazy journalism". However, recently Harvey has said that Smith is "so energising to see and so passionate with what she's doing". Harvey has also cited Siouxsie Sioux in terms of live performance, stating : "She is so exciting to watch, so full of energy and human raw quality". She has also drawn inspiration from Russian folk music, Italian soundtrack composer Ennio Morricone, classical composers like Arvo Pärt, Erik Satie, Samuel Barber, and Henryk Górecki. As a lyricist, Harvey has cited numerous poets, authors and lyricists as influences on her work including Harold Pinter, T. S. Eliot, William Butler Yeats, James Joyce, Ted Hughes and contemporaries such as Shane MacGowan and Jez Butterworth. Other ventures Outside her better-known music career, Harvey is also an occasional artist and actress. In 1998, she appeared in Hal Hartley's film The Book of Life as Magdalena—a modern-day character based on the Biblical Mary Magdalene—and had a cameo role as a Playboy Bunny in A Bunny Girl's Tale, a short film directed by Sarah Miles, in which she also performs "Nina in Ecstasy", an outtake from Is This Desire? (1998). Harvey also collaborated with Miles on another film, Amaeru Fallout 1972, which includes Harvey performing a cover of "When Will I See You Again." Harvey is also an accomplished sculptor who has had several pieces exhibited at the Lamont Gallery and the Bridport Arts Centre. In 2010, she was invited to be the guest designer for the summer issue of Francis Ford Coppola's literary magazine Zoetrope: All-Story. The issue featured Harvey's paintings and drawings alongside short stories by Woody Allen. Speaking of her artistic contributions to the magazine in 2011, Harvey said: "the first opportunity I ever had to show any work was in this magazine. They were drawn while I was writing and recording the record (Let England Shake). It does relate to the record in the way the cycle keeps happening." In December 2013, Harvey gave her debut public poetry reading at the British Library. On 2 January 2014, she guest-edited BBC Radio 4's Today programme. In October 2015, Harvey published her first collection of poetry, a collaboration with photographer Seamus Murphy, entitled The Hollow of The Hand. To create the book, PJ Harvey and Seamus Murphy made several journeys to Kosovo, Afghanistan and Washington, D.C. Their experiences were documented in Murphy's film A Dog Called Money, which was released in UK cinemas and online on 8 November 2019. Seamus Murphy had previously worked with PJ Harvey to create 12 Short Films for Let England Shake. Personal life Harvey rejects the notion that her song lyrics are autobiographical, telling The Times in 1998: "the tortured artist myth is rampant. People paint me as some kind of black witchcraft-practising devil from hell, that I have to be twisted and dark to do what I am doing. It's a load of rubbish". What is more, she later told Spin: "some critics have taken my writing so literally to the point that they'll listen to 'Down by the Water' and believe I have actually given birth to a child and drowned her." In the early 1990s, Harvey was romantically involved with drummer and photographer Joe Dilworth. From 1996 to 1997, following their musical collaborations, Harvey had a relationship with Nick Cave, and their subsequent break-up influenced Cave's follow-up studio album The Boatman's Call (1997), with songs such as "Into My Arms", "West Country Girl" and "Black Hair" being written specifically about her. Harvey has one older brother, Saul, and four nephews through him. She expressed a fondness for children in 1995 and stated that she would love to have them, saying: "I wouldn't consider it unless I was married. I would have to meet someone that I wanted to spend the rest of my life with. That's the only person who I would want to be the father of my children. Maybe that will never happen. I obviously see it in a very rational way but I'd love to have children." Harvey has encountered widespread opposition to a comment made in favour of fox hunting in a 1998 NME magazine feature, which reported Harvey saying she was not opposed to fox hunting and that, "Seeing the hunt out on the fields is just so natural to me." Harvey was appointed Member of the Order of the British Empire (MBE) by Queen Elizabeth II in the 2013 Birthday Honours for services to music. Discography Dry (1992) Rid of Me (1993) To Bring You My Love (1995) Is This Desire? (1998) Stories from the City, Stories from the Sea (2000) Uh Huh Her (2004) White Chalk (2007) Let England Shake (2011) The Hope Six Demolition Project (2016) Personnel Current members Polly Harvey – vocals, saxophone, guitar, autoharp, piano, organ, keyboards, violin, cello, vibraphone, marimba, bells & chimes, percussion, djembe, bass, e-bow, melodica, zither, harmonica, harp, cigfiddle (1991–present) Terry Edwards – backing vocals, saxophones, percussion, keyboards, guitar, flute, bass harmonica, melodica, trumpet (1993 live performance guest, 1997 studio guest, 2014–2017) James Johnston – backing vocals, keyboards, violin, guitar, organ (1993 live performance guest, 2014–2017) John Parish – backing vocals, guitar, drums, keyboards, bass, banjo, organ, ukulele, trombone, rhodes, mellotron, xylophone, percussion (1994–1998, 2006–present) Mick Harvey – backing vocals, bass, keyboards, organ, guitar, drums, harmonium, accordion, bass harmonica, piano, rhodes, xylophone, percussion (1994–2001, 2009–present) Jean-Marc Butty – backing vocals, drums, percussion (1994–1996, 2006–present) Alain Johannes – backing vocals, guitars, keyboards, percussion, saxophone (2014–2017) Kenrick Rowe – backing vocals, percussion (2014–2017) Enrico Gabrielli – backing vocals, percussion, bass clarinet, swanee whistle, basset clarinet (2014–2017) Alessandro Stefana – backing vocals, guitars (2014–2017) Former collaborators Rob Ellis – drums & percussion, vocals, harmonium, piano, electric piano, tambourine,synthesizer, keyboards, bells, harpsichord, vibraphone (1991–1993, 1996–2005) Ian Oliver – bass (1991, 2003) Steve Vaughan – bass (1991–1993) Nick Bagnall – bass, keyboards (1994–1995) Joe Gore – guitar, e-bow (1994–1996) Eric Drew Feldman – piano, keyboards, bass, optigan, mellotron, minimoog, backing vocals (1994–2001, 2006–2009) Jeremy Hogg – guitar (1996–1998) Margaret Fiedler – guitar, cello (2000–2001) Tim Farthing – guitar (2000–2001) Simon "Dingo" Archer – bass (2004) Josh Klinghoffer – guitar, drums, percussion (2004) Jim White – drums (2006–2007) Carla Azar – drums (2006–2008, studio guest) Giovanni Ferrario – guitar (2006–2009) Awards and nominations List of awards and nominations received by PJ Harvey References Further reading External links – official site 1969 births Living people 20th-century British guitarists 20th-century English women singers 20th-century English singers 21st-century British guitarists 21st-century English women singers 21st-century English singers 21st-century multi-instrumentalists Alternative rock guitarists Alternative rock pianists Alternative rock singers Alumni of Central Saint Martins Autoharp players British alternative rock musicians English contraltos English women guitarists English multi-instrumentalists English rock guitarists English rock musicians English women singer-songwriters Women rock singers Island Records artists Ivor Novello Award winners Members of the Order of the British Empire NME Awards winners People from Beaminster People from Bridport People from Dorset Vagrant Records artists Women punk rock singers
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[ "What You Need is the tenth studio album by American contemporary R&B singer Stacy Lattisaw, released October 17, 1989 via Motown Records. It did not chart on the Billboard 200, but it peaked at #16 on the Billboard R&B chart. It was also Lattisaw's final album before she retired from the music industry.\n\nFour singles were released from the album: \"What You Need\", \"Where Do We Go from Here\", \"Dance for You\" and \"I Don't Have the Heart\". \"Where Do We Go from Here\" was the most successful single from the album, peaking at #1 on the Billboard R&B singles chart in 1990.\n\nTrack listing\n\nCharts\n\nWeekly charts\n\nYear-end charts\n\nNotes\n\nReferences\n\nExternal links\n \n \n\n1989 albums\nStacy Lattisaw albums\nAlbums produced by Timmy Regisford\nMotown albums", "American singer Kelly Rowland has released four studio albums, two compilation albums and a box set, four extended plays, three video albums and DVDs, 45 official, featuring, charity and promotional singles, and 55 music videos. She began her career in 1997 with one of the best-selling girl groups, Destiny's Child, who have sold around 60 million records worldwide. As a solo artist, Rowland has sold 40 million records worldwide.\n\nDuring the hiatus of Destiny's Child, Rowland released her debut solo album, Simply Deep (2002), on Columbia Records. It included her worldwide number-one single \"Dilemma\" with rapper Nelly, which spent ten consecutive weeks atop the US Billboard Hot 100. The album's other singles include \"Stole\", \"Can't Nobody\" and \"Train on a Track\". \"Stole\" peaked in the top 30 of the Billboard Hot 100, and the top five in most other regions, including the United Kingdom, where it reached number two. More than 2.5 million copies of the album were sold worldwide. It was subsequently certified platinum in the UK and gold in Australia, Ireland, New Zealand and the United States.\n\nAfter the disbandment of Destiny's Child in 2006, Rowland was featured on Trina's top-twenty single, \"Here We Go\". Her second studio album, Ms. Kelly, was released in 2007 and debuted at number six on the US Billboard 200. It featured the singles \"Like This\", \"Work\", \"Ghetto\" and \"Daylight\". \"Like This\" peaked in the top thirty of the Billboard Hot 100 and top five in Ireland and the UK. \"Work\" reached the top ten in several countries including Australia, Italy, New Zealand, Switzerland and the UK. Ms. Kelly was considerably less successful than its predecessor, failing to earn any chart certificates, and Columbia subsequently ended their contract with Rowland.\n\nBetween 2009 and 2011, Rowland was featured on a number of commercially successful singles by European artists Tiziano Ferro, David Guetta, Tinie Tempah and Alex Gaudino. Her collaboration with Guetta, \"When Love Takes Over\", became a worldwide number-one hit. She later signed a new record deal with Universal Motown Records, and released her third studio album, Here I Am (2011). It debuted at number three on the Billboard 200 and produced the singles \"Commander\", \"Rose Colored Glasses\", \"Forever and a Day\", \"Motivation\", \"Lay It on Me\" and \"Down for Whatever\". \"Commander\" reached the top ten in several charts worldwide, and \"Motivation\" topped the US Hot R&B/Hip-Hop Songs chart for seven weeks. Rowland's fourth studio album, Talk a Good Game, was released in 2013 through Republic Records. It debuted at number four on the Billboard 200 and included the singles \"Kisses Down Low\", which was certified gold in the US, and \"Dirty Laundry\".\n\nAlbums\n\nStudio albums\n\nBox sets and compilations\n\nExtended plays\n\nSingles\n\nAs a lead artist\n\nAs a featured artist\n\nCharity single\n\nPromotional singles\n\nOther charted songs\n\nSee also\n Destiny's Child discography\n Kelly Rowland videography\n List of songs recorded by Kelly Rowland\n List of artists by number of UK Singles Chart number ones\n\nReferences\n\nNotes\n\nATalk a Good Game did not enter the Australian ARIA Albums Chart but peaked at position 16 on the ARIA Urban Albums Chart. \nB Although \"Train on a Track\", \"Like This\", \"Daylight\", \"Invincible\", and \"One Life\" did not enter the Dutch Top 40, they charted on the Dutch Top 40 Tipparade, which acts as a 30-song extension to the Top 40.\nC Not released in the United States and Canada, but released elsewhere.\nD Only released in the United States and Canada.\nE Although \"Rose Colored Glasses\" did not chart on the Billboard Hot 100 or Hot R&B/Hip-Hop Songs charts, it peaked at number 39 on the Mediabase US Top 40 Airplay chart.\nF Although \"Lay It on Me\" did not chart on the Billboard Hot 100, it peaked at number nine on the US Bubbling Under Hot 100 Singles chart.\nG Although \"Dirty Laundry\" did not chart on the Billboard Hot 100, it peaked at number 13 on the US Bubbling Under Hot 100 Singles chart.\nH Although \"Gone\" did not chart on the Billboard Hot 100, it peaked at number 13 on the US Bubbling Under Hot 100 Singles chart.\nI Although \"Say Yes\" did not chart on the Billboard Hot 100, it peaked at number nine on the US Bubbling Under Hot 100 Singles chart.\n\nCitations\n\nExternal links\n \n \n\nDiscographies of American artists\nRhythm and blues discographies\nDiscography\nSoul music discographies" ]
[ "PJ Harvey", "To Bring You My Love and Is This Desire?: 1993-1999", "What is To Bring You My Love?", "In 1995 she released her third studio album, To Bring You My Love,", "Did she have any successful singles on this album?", "its lead single, \"Down by the Water.\"" ]
C_4b99c8aa48a040e787e54447b64885ad_0
What was another big single on that album?
3
What was another big single on To Bring You My Love other than "Down by the Water?"
PJ Harvey
As Harvey embarked on her solo career, she explored collaborations with other musicians. In 1995 she released her third studio album, To Bring You My Love, featuring former bandmate John Parish, Bad Seeds multi-instrumentalist Mick Harvey and French drummer Jean-Marc Butty, all of whom would continue to perform and record with Harvey throughout her career. The album was also her first material to be produced by Flood. Simultaneously a more blues-influenced and more futuristic record than its predecessors, To Bring You My Love showcased Harvey broadening her musical style to include strings, organs and synthesisers. Rolling Stone said in its review that "Harvey sings the blues like Nick Cave sings gospel: with more distortion, sex and murder than you remember. To Bring You My Love was a towering goth version of grunge." During the successive tours for the album, Harvey also experimented with her image and stage persona. The record generated a surprise modern rock radio hit in the United States with its lead single, "Down by the Water." Three consecutive singles -- "C'mon Billy", "Send His Love to Me" and "Long Snake Moan" -- were also moderately successful. The album was a commercial success selling one million copies worldwide including 370,000 in the United States. It was also certified Silver in the United Kingdom within seven months of its release, having sold over 60,000 copies. In the United States, the album was voted Album of the Year by The Village Voice, Rolling Stone, USA Today, People, The New York Times and the Los Angeles Times. Rolling Stone also named Harvey 1995's Artist of the Year and Spin ranked the album third in The 90 Greatest Albums of the '90s, behind Nirvana's Nevermind (1991) and Public Enemy's Fear of a Black Planet (1990). In 1996, following the international success of To Bring You My Love and other collaborations, Harvey began composing material that would end up on her fourth studio album, during what she referred to as "an incredibly low patch." The material diverged significantly from her former work and introduced electronica elements into her song-writing. During recording sessions in 1997 original PJ Harvey Trio drummer Rob Ellis rejoined Harvey's band, and Flood was hired again as producer. The sessions, which continued into April the following year, resulted in Is This Desire? (1998). Though originally released to mixed reviews in September 1998, the album was a success and received a Grammy Award nomination for Best Alternative Music Performance. The album's lead single, "A Perfect Day Elise," was moderately successful in the United Kingdom, peaking at number 25 on the UK Singles Chart, her most successful single to date. CANNOTANSWER
-- "C'mon Billy", "Send His Love to Me" and "Long Snake Moan" -- were also moderately successful.
Polly Jean Harvey (born 9 October 1969) is an English singer, songwriter and musician. Primarily known as a vocalist and guitarist, she is also proficient with a wide range of instruments. Harvey began her career in 1988 when she joined local band Automatic Dlamini as a vocalist, guitarist and saxophonist. The band's frontman, John Parish, became her long-term collaborator. In 1991, she formed an eponymous trio called PJ Harvey and subsequently began her career as PJ Harvey. The trio released two studio albums called Dry (1992) and Rid of Me (1993) before disbanding, after which Harvey continued as a solo artist. Since 1995, she has released a further nine studio albums with collaborations from various musicians including Parish, former bandmate Rob Ellis, Mick Harvey, and Eric Drew Feldman, and has also worked extensively with record producer Flood. Among the accolades Harvey has received are both the 2001 and 2011 Mercury Prize for Stories from the City, Stories from the Sea (2000) and Let England Shake (2011), respectively, making her the only artist to have been awarded the prize twice. She has also garnered eight Brit Award nominations, seven Grammy Award nominations and two further Mercury Prize nominations. Rolling Stone awarded her three accolades: 1992's Best New Artist and Best Singer Songwriter, and 1995's Artist of the Year. Rolling Stone also listed Rid of Me, To Bring You My Love, and Stories from the City, Stories from the Sea on its list of their 500 Greatest Albums of All Time. In 2011, she was awarded for Outstanding Contribution To Music at the NME Awards. In June 2013, she was awarded an MBE for services to music. Early life Polly Jean Harvey was born on 9 October 1969 in Bridport, Dorset, the second child of Ray and Eva Harvey. Her parents owned a quarrying business, and she grew up on the family farm in Corscombe. During her childhood, she attended school in nearby Beaminster, where she received guitar lessons from folk singer-songwriter Steve Knightley. Her parents introduced her to music that would later influence her work, including blues, Captain Beefheart and Bob Dylan. Her parents were avid music fans and regularly arranged get-togethers and small gigs, counting Ian Stewart among their oldest friends. As a teenager, Harvey began learning saxophone and joined an eight-piece instrumental group Bologne, run by composer Andrew Dickson. She was also a guitarist with folk duo the Polekats, with whom she wrote some of her earliest material. After finishing school, she joined Yeovil College and attended a visual arts foundation course. Career Automatic Dlamini: 1988–1991 In July 1988, Harvey became a member of Automatic Dlamini, a band based in Bristol with whom she gained extensive ensemble-playing experience. Formed by John Parish in 1983, the band consisted of a rotating line-up that at various times included Rob Ellis and Ian Oliver. Harvey had met Parish in 1987 through mutual friend Jeremy Hogg, the band's slide guitarist. Providing saxophone, guitars and background vocals, she travelled extensively during the band's early days, including performances in East and West Germany, Spain and Poland to support the band's debut studio album, The D is for Drum. A second European tour took place throughout June and July 1989. Following the tour, the band recorded Here Catch, Shouted His Father, their second studio album, between late 1989 and early 1990. This is the only Automatic Dlamini material to feature Harvey, but remains unreleased, although bootleg versions of the album are in circulation. In January 1991, Harvey left to form her own band with former bandmates Ellis and Oliver; yet she had formed lasting personal and professional relationships with certain members, especially Parish, whom she has referred to as her "musical soulmate". Parish would subsequently contribute to, and sometimes co-produce, Harvey's solo studio albums and has toured with her a number of times. As a duo, Parish and Harvey have recorded two collaborative albums where Parish composed the music and Harvey wrote the lyrics. Additionally, Parish's girlfriend in the late 1980s was photographer Maria Mochnacz. She and Harvey became close friends and Mochnacz went on to shoot and design most of Harvey's album artwork and music videos, contributing significantly to her public image. Harvey has said of her time with Automatic Dlamini: "I ended up not singing very much but I was just happy to learn how to play the guitar. I wrote a lot during the time I was with them but my first songs were crap. I was listening to a lot of Irish folk music at the time, so the songs were folky and full of penny whistles and stuff. It was ages before I felt ready to perform my own songs in front of other people." She also credits Parish for teaching her how to perform in front of audiences, saying "after the experience with John's band and seeing him perform I found it was enormously helpful to me as a performer to engage with people in the audience, and I probably did learn that from him, amongst other things." PJ Harvey Trio; Dry and Rid of Me: 1991–1993 In January 1991, following her departure from Automatic Dlamini, Harvey formed her own band with former bandmates Rob Ellis and Ian Oliver. Harvey decided to name the trio PJ Harvey after rejecting other names as "nothing felt right at all or just suggested the wrong type of sound", and also to allow her to continue music as a solo artist. The trio consisted of Harvey on vocals and guitar, Ellis on drums and backing vocals, and Oliver on bass. Oliver later departed to rejoin the still-active Automatic Dlamini. He was subsequently replaced with Steve Vaughan. The trio's "disastrous" debut performance was held at a skittle alley in Charmouth Village Hall in April 1991. Harvey later recounted the event saying: "we started playing and I suppose there was about fifty people there, and during the first song we cleared the hall. There was only about two people left. And a woman came up to us, came up to my drummer, it was only a three piece, while we were playing and shouted at him 'Don't you realise nobody likes you! We'll pay you, you can stop playing, we'll still pay you!'" The group relocated to London in June 1991 when Harvey applied to study sculpture, still undecided as to her future career. During this time, the group recorded a set of demo songs and distributed them to record labels. Independent label Too Pure agreed to release the band's debut single "Dress" in October 1991, and later signed PJ Harvey. "Dress" received mass critical acclaim upon its release and was voted Single of the Week in Melody Maker by guest reviewer John Peel, who admired "the way Polly Jean seems crushed by the weight of her own songs and arrangements, as if the air is literally being sucked out of them ... admirable if not always enjoyable." However, Too Pure provided little promotion for the single and critics claim that "Melody Maker had more to do with the success of the "Dress" single than Too Pure Records." A week after its release, the band recorded a live radio session for Peel on BBC Radio 1 on 29 October featuring "Oh, My Lover", "Victory", "Sheela-Na-Gig" and "Water". The following February, the trio released "Sheela-Na-Gig" as their equally-acclaimed second single and their debut studio album, Dry (1992), followed in March. Like the singles preceding it, Dry received an overwhelming international critical response. The album was cited by Kurt Cobain of Nirvana as his sixteenth-favourite album ever in his posthumously published Journals. Rolling Stone also named Harvey as Songwriter of the Year and Best New Female Singer. A limited edition double LP version of Dry was released alongside the regular version of the album, containing both the original and demo versions of each track, called Dry Demonstration, and the band also received significant coverage at the Reading Festival in 1992. Island (PolyGram) signed the trio amid a major label bidding war in mid-1992, and in December 1992 the trio travelled to Cannon Falls, Minnesota in the United States to record the follow-up to Dry with producer Steve Albini. Prior to recording with Albini, the band recorded a second session with John Peel on 22 September and recorded a version of Bob Dylan's "Highway 61 Revisited," and two new songs "Me Jane" and "Ecstasy." The recording sessions with Albini took place at Pachyderm Recording Studio and resulted in the band's major label debut Rid of Me in May 1993. Rolling Stone wrote that it "is charged with aggressive eroticism and rock fury. It careens from blues to goth to grunge, often in the space of a single song." The album was promoted by two singles, "50ft Queenie" and "Man-Size", as well as tours of the United Kingdom in May and of the United States in June, continuing there during the summer. However, during the American leg of the tour, internal friction started to form between the members of the trio. Deborah Frost, writing for Rolling Stone, noticed "an ever widening personal gulf" between the band members, and quoted Harvey as saying "It makes me sad. I wouldn't have got here without them. I needed them back then – badly. But I don't need them anymore. We all changed as people." Despite the tour's personal downsides, footage from live performances was compiled and released on the long-form video Reeling with PJ Harvey (1993). The band's final tour was to support U2 in August 1993, after which the trio officially disbanded. In her final appearance on American television in September 1993 on The Tonight Show with Jay Leno, Harvey performed a solo version of "Rid of Me." As Rid of Me sold substantially more copies than Dry, 4-Track Demos, a compilation album of demos for the album was released in October and inaugurated her career as a solo artist. In early 1994, it was announced that U2's manager, Paul McGuinness, had become her manager. To Bring You My Love and Is This Desire?: 1993–1999 As Harvey embarked on her solo career, she explored collaborations with other musicians. In 1995 she released her third studio album, To Bring You My Love, featuring former bandmate John Parish, Bad Seeds multi-instrumentalist Mick Harvey and French drummer Jean-Marc Butty, all of whom would continue to perform and record with Harvey throughout her career. The album was also her first material to be produced by Flood. Simultaneously a more blues-influenced and more futuristic record than its predecessors, To Bring You My Love showcased Harvey broadening her musical style to include strings, organs and synthesisers. Rolling Stone said in its review that "Harvey sings the blues like Nick Cave sings gospel: with more distortion, sex and murder than you remember. To Bring You My Love was a towering goth version of grunge." During the successive tours for the album, Harvey also experimented with her image and stage persona. The record generated a surprise modern rock radio hit in the United States with its lead single, "Down by the Water." Three consecutive singles—"C'mon Billy", "Send His Love to Me" and "Long Snake Moan"—were also moderately successful. The album was a commercial success selling one million copies worldwide including 370,000 in the United States. It was also certified Silver in the United Kingdom within seven months of its release, having sold over 60,000 copies. In the United States, the album was voted Album of the Year by The Village Voice, Rolling Stone, USA Today, People, The New York Times and the Los Angeles Times. Rolling Stone also named Harvey 1995's Artist of the Year and Spin ranked the album third in The 90 Greatest Albums of the 1990s, behind Nirvana's Nevermind (1991) and Public Enemy's Fear of a Black Planet (1990). In July 2020, a vinyl reissue of To Bring You My Love was announced, including unreleased demos. In 1996, following the international success of To Bring You My Love and other collaborations, Harvey began composing material that would end up on her fourth studio album, during what she referred to as "an incredibly low patch". The material diverged significantly from her previous work and introduced electronica elements into her song-writing. During recording sessions in 1997 original PJ Harvey Trio drummer Rob Ellis rejoined Harvey's band, and Flood was hired again as producer. The sessions, which continued into April the following year, resulted in Is This Desire? (1998). Though originally released to mixed reviews in September 1998, the album was a success and received a Grammy Award nomination for Best Alternative Music Performance. The album's lead single, "A Perfect Day Elise," was moderately successful in the United Kingdom, peaking at number 25 on the UK Singles Chart, her most successful single to date. Stories from the City, Stories from the Sea and Uh Huh Her: 2000–2006 In early 2000, Harvey began work on her fifth studio album Stories from the City, Stories from the Sea with Rob Ellis and Mick Harvey. Written in her native Dorset, Paris and New York, the album showcased a more mainstream indie rock and pop rock sound to her previous albums and the lyrics followed themes of love that tied into Harvey's affection for New York City. The album also featured Radiohead frontman Thom Yorke on three tracks, including his lead vocals on "This Mess We're in." Upon its release in October 2000 the album was a critical and commercial success, selling over one million copies worldwide and charting in both the United Kingdom and the United States. The album's three singles—"Good Fortune", "A Place Called Home" and "This Is Love"—were moderately successful. The album also received a number of accolades including a BRIT Award nomination for Best Female Artist and two Grammy Award nominations for Best Rock Album and Best Female Rock Performance for the album's third single, "This Is Love". However, most notably, Harvey was nominated for, and won, the 2001 Mercury Music Prize. The awards ceremony was held on the same day as the September 11 attacks on the United States and Harvey was on tour in Washington, D.C., one of the affected cities, when she won the prize. Reflecting on the win in 2011, she said: "quite naturally I look back at that and only remember the events that were taking place across the world and to win the prize on that day—it didn't have much importance in the grand scheme of things", noting "it was a very surreal day". The same year, Harvey also topped a readers' poll conducted by Q Magazine of the 100 Greatest Women in Rock Music. During three years of various collaborations with other artists, Harvey was also working on her sixth studio album, Uh Huh Her, which was released in May 2004. For the first time since 4-Track Demos (1993), Harvey played every instrument—with the exception of drums provided by Rob Ellis—and was the sole producer. The album received "generally favourable reviews" by critics, though its production was often criticised. It was also a commercial success, debuting and peaking at number 12 in the UK Albums Chart and being certified Silver by the BPI within a month of its release. Harvey also did an extensive world tour in promotion of the album, lasting seven months in total. Selected recordings from the tour were included on Harvey's first live DVD, On Tour: Please Leave Quietly, directed by Maria Mochnacz and released in 2006. White Chalk and Let England Shake: 2007–2014 During her first performance since the Uh Huh Her tour at the Hay Festival of Literature & Arts on 26 May 2006, Harvey revealed that her next studio album would be almost entirely piano-based. Following the October release of The Peel Sessions 1991–2004, a compilation of songs recorded from 1991 to 2000 during her radio sessions with John Peel, she began recording her seventh studio album White Chalk in November, together with Flood, John Parish and Eric Drew Feldman and drummer Jim White in a studio in West London. White Chalk was released in September 2007 and marked a radical departure from her usual alternative rock style, consisting mainly of piano ballads. The album received favourable reviews, its style being described by one critic as containing "pseudo-Victorian elements—drama, restraint, and antiquated instruments and sounds." Harvey herself said of the album: "when I listen to the record I feel in a different universe, really, and I'm not sure whether it's in the past or in the future. The record confuses me, that's what I like—it doesn't feel of this time right now, but I'm not sure whether it's 100 years ago or 100 years in the future", summing up the album's sound as "really weird." During the tour for the album Harvey performed without a backing band, and also began performing on an autoharp, which continues to be her primary instrument after guitar and has influenced her material since White Chalk. In April 2010, Harvey appeared on The Andrew Marr Show to perform a new song titled "Let England Shake." In a pre-performance interview with Marr, she stated that the new material she had written had been "formed out of the landscape that I've grown up in and the history of this nation" and as "a human being affected by politics." Her eighth studio album Let England Shake was released in February 2011, and received universal critical acclaim. NMEs 10/10 review summarised the album as "a record that ventures deep into the heart of darkness of war itself and its resonance throughout England's past, present and future" and other reviews also noted its themes and writing style as "bloody and forceful," mixing "ethereal form with brutal content," and "her most powerful." Dealing with the ongoing conflict in Afghanistan and other episodes from English history, the album featured John Parish, Mick Harvey and Jean-Marc Butty as Harvey's backing band and the quartet toured extensively in its promotion. Following the release of the album's two well-received singles—"The Words That Maketh Murder" and "The Glorious Land"—and the collection of short films by Seamus Murphy to accompany the album, Harvey won her second Mercury Music Prize on 6 September. The award marked her as the first artist to receive the award twice, entering her into The Guinness Book of Records as the only artist to have achieved this., and sales of Let England Shake increased 1,190% overnight following her win. On 23 September, Let England Shake was certified Gold in the United Kingdom and was listed as album of the year by MOJO and Uncut. On 3 August 2013, Harvey released a song Shaker Aamer in support of the Guantanamo Bay detention camp detainee by the same name who was the last British citizen to be held there. The song describes in detail what Aamer endured during his four-month hunger strike. The Hope Six Demolition Project: 2015–present On 16 January 2015, PJ Harvey began recording her ninth studio album, The Hope Six Demolition Project, in front of a live audience. A custom built recording studio was made in London's Somerset House. Uncut magazine noted that much like her previous album Let England Shake, many of the lyrics were politically charged, but this time it was more globally focused. While recording she was shown to be using saxophones, an autoharp and a bouzouki. Flood was confirmed to be the producer of the album. On 18 December 2015, Harvey released a 20-second teaser for the album, which contained a release date of spring 2016. On 21 January 2016, the debut single, "The Wheel", was played on Steve Lamacq's show on BBC Radio 6 Music. The album was released on 15 April. A new video, "The Orange Monkey", was shared on 2 June 2016. Directed by Irish filmmaker Seamus Murphy, it was made from footage of Murphy's and Harvey's trips to Afghanistan. The album reached #1 on the UK Albums Chart and was nominated for a Grammy Award in the Best Alternative Music Album category. Harvey spent much of 2016 and 2017 touring the world with her nine-piece band, taking her critically lauded live show around North America, South America, Europe and Australasia. Collaborations and projects Besides her own work, Harvey has also collaborated with a number of other artists. In 1995, she recorded a duet of American folk song "Henry Lee" with partner Nick Cave and also featured on the Bob Dylan cover "Death is Not the End," both released on Nick Cave and the Bad Seeds' Murder Ballads (1996). In the same year she sang the theme song "Who Will Love Me Now?" on Philip Ridley's film The Passion of Darkly Noon. After her 1995 tour, she met Pascal Comelade and decided to collaborate with him, singing on several tracks including "Love too Soon" on his album L'Argot du Bruit. In May 1998, before the release of Is This Desire?, she featured on Tricky's Angels with Dirty Faces, performing lead vocals on "Broken Homes", and also contributed to Sparklehorse's 2001 album It's a Wonderful Life performing guitar, piano and background vocals on two songs, "Eyepennies" and "Piano Fire." Following the tour in promotion of Stories from the City, Stories from the Sea, she contributed vocals to eight tracks on Volume 9: I See You Hearin' Me and Volume 10: I Heart Disco by Josh Homme's side project The Desert Sessions, also appearing in the music video for "Crawl Home." Throughout 2004, Harvey produced Tiffany Anders' album Funny Cry Happy Gift, and also produced, performed on and wrote five songs for Marianne Faithfull's album Before the Poison, and contributed background vocals on "Hit the City," "Methamphetamine Blues" and "Come to Me" on Mark Lanegan's album Bubblegum. Harvey contributed the song "Slow-Motion Movie-Star", an outtake from Stories from the City, Stories from the Sea, to Mick Harvey's fourth studio album, Two of Diamonds, released in 2007. Harvey has also recorded two studio albums with long-time collaborator John Parish. Dance Hall at Louse Point (1996) was written collectively with Parish with the exception of the song "Is That All There Is?", written by Jerry Leiber and Mike Stoller. The album also listed her as Polly Jean Harvey, which may have impacted album sales. Harvey has also reflected on how the album was "an enormous turning point" and "lyrically, it moved me into areas I'd never been to before." In 1998, she also performed lead vocals on "Airplane Blues," as a soundtrack accompaniment to the Wingwalkers art exhibition by Rebecca Goddard and Parish's wife, Michelle Henning, which was released as the closing song on Parish's second solo album How Animals Move in 2002. Following the release of White Chalk, Harvey reunited with Parish to record A Woman a Man Walked By, released in March 2009. Like Dance Hall at Louse Point, the album received positive reviews and was a moderate commercial success, peaking at number 25 in the UK Albums Chart. She collaborated with Egyptian artist Ramy Essam on "The Camp", a charity single released in June 2017 to benefit displaced children in the Lebanese Bekaa Valley fleeing the Syrian Civil War. Aside from collaborations, Harvey has also embarked on a number of projects as a composer. In January 2009, a new stage production of Henrik Ibsen's Hedda Gabler opened on Broadway. Directed by Ian Rickson and starring Mary-Louise Parker in the title role, the play featured an original score of incidental music written by Harvey. In November 2011, Harvey also composed part of the score for the Young Vic's long-running production of Hamlet in London. In May 2012, Harvey composed two songs, "Horse" and "Bobby Don't Steal", for Mark Cousins' film What is This Film Called Love?, which also features "To Bring You My Love". In 2014, a number of Harvey's songs were featured in the second season of Peaky Blinders. In March 2018, Harvey and Parish released a song called "Sorry For Your Loss" as tribute to singer-songwriter Mark Linkous, who committed suicide in 2010. In 2019, Harvey composed the score for Shane Meadows' miniseries, The Virtues, broadcast on Channel 4. Musical style and influences Harvey possesses an expansive contralto vocal range. Harvey dislikes repeating herself in her music, resulting in very different-sounding albums. In an October 2004 interview with Rolling Stone, she said: "when I'm working on a new record, the most important thing is to not repeat myself ... that's always my aim: to try and cover new ground and really to challenge myself. Because I'm in this for learning." While her musical style has been described as alternative rock, punk blues, art rock, and avant-rock, she has experimented with various other genres including electronica, indie rock and folk music. She is also known for changing her physical appearance for each album by altering her mode of dress or hairstyle, creating a unique aesthetic that extends to all aspects of the album, from the album art to the live performances. She works closely with friend and photographer Maria Mochnacz to develop the visual style of each album. Around the time of To Bring You My Love, for example, Harvey began experimenting with her image and adopting a theatrical aspect to her live performances. Her former fashion style, which consisted of simple black leggings, turtleneck sweaters and Doc Martens boots, was replaced by ballgowns, catsuits, wigs and excessive make-up. She also began using stage props like a Ziggy Stardust-style flashlight microphone. She denied the influence of drag, Kabuki or performance art on her new image, a look she affectionately dubbed "Joan Crawford on acid" in an interview with Spin in 1996, but admitted that "it's that combination of being quite elegant and funny and revolting, all at the same time, that appeals to me. I actually find wearing make-up like that, sort of smeared around, as extremely beautiful. Maybe that's just my twisted sense of beauty." However, she later told Dazed & Confused magazine, "that was kind of a mask. It was much more of a mask than I've ever had. I was very lost as a person, at that point. I had no sense of self left at all", and has never repeated the overt theatricality of the To Bring You My Love tour. At an early age, she was introduced by her parents to blues music, jazz and art rock, which would later influence her: "I was brought up listening to John Lee Hooker, to Howlin' Wolf, to Robert Johnson, and a lot of Jimi Hendrix and Captain Beefheart. So I was exposed to all these very compassionate musicians at a very young age, and that's always remained in me and seems to surface more as I get older. I think the way we are as we get older is a result of what we knew when we were children." Other influential artists were "Nina Simone, the Rolling Stones, people like that I grew up listening to but find I returned to". During her teenage years, she began listening to new wave and synthpop bands such as Soft Cell, Duran Duran and Spandau Ballet, although later stated that it was a phase when she was "having a bit of a rebellion against my parents' record collection." In her later teenage years, she became a fan of Pixies, and she then listened to Slint. She has named Bob Dylan, and Neil Young, when talking about her influences. Many critics have compared Harvey to Patti Smith, which Harvey dismisses as "lazy journalism". However, recently Harvey has said that Smith is "so energising to see and so passionate with what she's doing". Harvey has also cited Siouxsie Sioux in terms of live performance, stating : "She is so exciting to watch, so full of energy and human raw quality". She has also drawn inspiration from Russian folk music, Italian soundtrack composer Ennio Morricone, classical composers like Arvo Pärt, Erik Satie, Samuel Barber, and Henryk Górecki. As a lyricist, Harvey has cited numerous poets, authors and lyricists as influences on her work including Harold Pinter, T. S. Eliot, William Butler Yeats, James Joyce, Ted Hughes and contemporaries such as Shane MacGowan and Jez Butterworth. Other ventures Outside her better-known music career, Harvey is also an occasional artist and actress. In 1998, she appeared in Hal Hartley's film The Book of Life as Magdalena—a modern-day character based on the Biblical Mary Magdalene—and had a cameo role as a Playboy Bunny in A Bunny Girl's Tale, a short film directed by Sarah Miles, in which she also performs "Nina in Ecstasy", an outtake from Is This Desire? (1998). Harvey also collaborated with Miles on another film, Amaeru Fallout 1972, which includes Harvey performing a cover of "When Will I See You Again." Harvey is also an accomplished sculptor who has had several pieces exhibited at the Lamont Gallery and the Bridport Arts Centre. In 2010, she was invited to be the guest designer for the summer issue of Francis Ford Coppola's literary magazine Zoetrope: All-Story. The issue featured Harvey's paintings and drawings alongside short stories by Woody Allen. Speaking of her artistic contributions to the magazine in 2011, Harvey said: "the first opportunity I ever had to show any work was in this magazine. They were drawn while I was writing and recording the record (Let England Shake). It does relate to the record in the way the cycle keeps happening." In December 2013, Harvey gave her debut public poetry reading at the British Library. On 2 January 2014, she guest-edited BBC Radio 4's Today programme. In October 2015, Harvey published her first collection of poetry, a collaboration with photographer Seamus Murphy, entitled The Hollow of The Hand. To create the book, PJ Harvey and Seamus Murphy made several journeys to Kosovo, Afghanistan and Washington, D.C. Their experiences were documented in Murphy's film A Dog Called Money, which was released in UK cinemas and online on 8 November 2019. Seamus Murphy had previously worked with PJ Harvey to create 12 Short Films for Let England Shake. Personal life Harvey rejects the notion that her song lyrics are autobiographical, telling The Times in 1998: "the tortured artist myth is rampant. People paint me as some kind of black witchcraft-practising devil from hell, that I have to be twisted and dark to do what I am doing. It's a load of rubbish". What is more, she later told Spin: "some critics have taken my writing so literally to the point that they'll listen to 'Down by the Water' and believe I have actually given birth to a child and drowned her." In the early 1990s, Harvey was romantically involved with drummer and photographer Joe Dilworth. From 1996 to 1997, following their musical collaborations, Harvey had a relationship with Nick Cave, and their subsequent break-up influenced Cave's follow-up studio album The Boatman's Call (1997), with songs such as "Into My Arms", "West Country Girl" and "Black Hair" being written specifically about her. Harvey has one older brother, Saul, and four nephews through him. She expressed a fondness for children in 1995 and stated that she would love to have them, saying: "I wouldn't consider it unless I was married. I would have to meet someone that I wanted to spend the rest of my life with. That's the only person who I would want to be the father of my children. Maybe that will never happen. I obviously see it in a very rational way but I'd love to have children." Harvey has encountered widespread opposition to a comment made in favour of fox hunting in a 1998 NME magazine feature, which reported Harvey saying she was not opposed to fox hunting and that, "Seeing the hunt out on the fields is just so natural to me." Harvey was appointed Member of the Order of the British Empire (MBE) by Queen Elizabeth II in the 2013 Birthday Honours for services to music. Discography Dry (1992) Rid of Me (1993) To Bring You My Love (1995) Is This Desire? (1998) Stories from the City, Stories from the Sea (2000) Uh Huh Her (2004) White Chalk (2007) Let England Shake (2011) The Hope Six Demolition Project (2016) Personnel Current members Polly Harvey – vocals, saxophone, guitar, autoharp, piano, organ, keyboards, violin, cello, vibraphone, marimba, bells & chimes, percussion, djembe, bass, e-bow, melodica, zither, harmonica, harp, cigfiddle (1991–present) Terry Edwards – backing vocals, saxophones, percussion, keyboards, guitar, flute, bass harmonica, melodica, trumpet (1993 live performance guest, 1997 studio guest, 2014–2017) James Johnston – backing vocals, keyboards, violin, guitar, organ (1993 live performance guest, 2014–2017) John Parish – backing vocals, guitar, drums, keyboards, bass, banjo, organ, ukulele, trombone, rhodes, mellotron, xylophone, percussion (1994–1998, 2006–present) Mick Harvey – backing vocals, bass, keyboards, organ, guitar, drums, harmonium, accordion, bass harmonica, piano, rhodes, xylophone, percussion (1994–2001, 2009–present) Jean-Marc Butty – backing vocals, drums, percussion (1994–1996, 2006–present) Alain Johannes – backing vocals, guitars, keyboards, percussion, saxophone (2014–2017) Kenrick Rowe – backing vocals, percussion (2014–2017) Enrico Gabrielli – backing vocals, percussion, bass clarinet, swanee whistle, basset clarinet (2014–2017) Alessandro Stefana – backing vocals, guitars (2014–2017) Former collaborators Rob Ellis – drums & percussion, vocals, harmonium, piano, electric piano, tambourine,synthesizer, keyboards, bells, harpsichord, vibraphone (1991–1993, 1996–2005) Ian Oliver – bass (1991, 2003) Steve Vaughan – bass (1991–1993) Nick Bagnall – bass, keyboards (1994–1995) Joe Gore – guitar, e-bow (1994–1996) Eric Drew Feldman – piano, keyboards, bass, optigan, mellotron, minimoog, backing vocals (1994–2001, 2006–2009) Jeremy Hogg – guitar (1996–1998) Margaret Fiedler – guitar, cello (2000–2001) Tim Farthing – guitar (2000–2001) Simon "Dingo" Archer – bass (2004) Josh Klinghoffer – guitar, drums, percussion (2004) Jim White – drums (2006–2007) Carla Azar – drums (2006–2008, studio guest) Giovanni Ferrario – guitar (2006–2009) Awards and nominations List of awards and nominations received by PJ Harvey References Further reading External links – official site 1969 births Living people 20th-century British guitarists 20th-century English women singers 20th-century English singers 21st-century British guitarists 21st-century English women singers 21st-century English singers 21st-century multi-instrumentalists Alternative rock guitarists Alternative rock pianists Alternative rock singers Alumni of Central Saint Martins Autoharp players British alternative rock musicians English contraltos English women guitarists English multi-instrumentalists English rock guitarists English rock musicians English women singer-songwriters Women rock singers Island Records artists Ivor Novello Award winners Members of the Order of the British Empire NME Awards winners People from Beaminster People from Bridport People from Dorset Vagrant Records artists Women punk rock singers
false
[ "Nasti Muzik is the third studio album from American rap artist\nKhia. The album was released on July 22, 2008 on Thug Misses Entertainment/Big Cat Records. One of the feature producers on the album is DJ Craze, with Gucci Mane and Maceo being the featured guest artists on the album.\n\n\"What They Do\" was the first single off the album but did not chart but had a successful underground and streets impact. The second single, \"Be Your Lady\", was produced by Tampa's Push-a-Key Productions.\n\nTrack listing\n\nReferences \n\n2008 albums\nKhia albums\nBig Cat Records (U.S. record label) albums", "That's What Friends Are For is a song by the British rock band Slade, released in 1987 as the second single from their fourteenth studio album You Boyz Make Big Noize. The song was written by lead vocalist Noddy Holder and bassist Jim Lea, and produced by Roy Thomas Baker. It reached No. 95 in the UK, remaining in the charts for the one week.\n\nBackground\nSlade began writing and recording material for their You Boyz Make Big Noize album in 1986. Hoping to record a hit album that would put them back in the public eye, the lead single \"Still the Same\" was released in February 1987 but stalled just inside the UK Top 75. In choosing the next single, RCA selected \"That's What Friends Are For\",. which was released in April 1987, a week prior to the release of You Boyz Make Big Noize. It reached No. 95 in the UK, and would be the band's last UK release under RCA.\n\n\"That's What Friends Are For\" was one of two tracks from the album to be produced by Roy Thomas Baker. Initially it was planned for Baker to produce the entire album, but Slade felt his working methods were too lengthy and expensive. Prior to the single's release, in a 1987 fan club interview, guitarist Dave Hill said: \"\"That's What Friends Are For\" looks to be the next single, mainly because there's a certain person up at RCA who is going wally over it.\" Describing the song, Hill said: \"This is a 'scarf waver' type of number\".\n\nRelease\n\"That's What Friends Are For\" was released on 7\" and 12\" vinyl by RCA Records in the UK only. In Europe, it was given a 12\" vinyl release, and a 7\" vinyl release in Australia and New Zealand. The B-side, \"Wild Wild Party\", had first appeared on the soundtrack of the 1986 British film Knights & Emeralds, along with \"We Won't Give In\". It would later appear on the band's 2007 compilation B-Sides.\n\nOn the 12\" single, three B-sides were included: \"Hi Ho Silver Lining,\" \"Wild Wild Party\" and \"Lock Up Your Daughters (Live)\". The band's cover of \"Hi Ho Silver Lining\" was taken from the band's 1985 album Crackers: The Christmas Party Album, while \"Lock Up Your Daughters\" was taken from the band's 1982 live album Slade on Stage.\n\nPromotion\nNo music video was filmed to promote the single. In the UK, the band performed the song on the BBC children's show The Krankies Elektronik Komik.\n\nCritical reception\nUpon release, \"That's What Friends Are For\" was a single reviewed on BBC Radio One's Singles Out programme on 18 April. The single received a thumbs up by Welsh singer/presenter Aled Jones, Dominica calypso musician The Wizzard and English radio broadcaster Janice Long. In a review of You Boyz Make Big Noize, Kerrang! felt the song, as with the rest of the album, bore the \"unmistakable Slade stamp\" with \"stomp-along, shout-it-out choruses\", but also commented that it \"leans heavily on the sentimental\".\n\nFormats\n7\" Single\n\"That's What Friends Are For\" - 3:17\n\"Wild Wild Party\" - 2:55\n\n12\" Single\n\"That's What Friends Are For\" - 3:17\n\"Hi Ho Silver Lining\" - 3:24\n\"Wild Wild Party\" - 2:55\n\"Lock Up Your Daughters (Live)\" - 4:03\n\nChart performance\n\nPersonnel\nSlade\nNoddy Holder - lead vocals\nJim Lea - synthesizer, bass, backing vocals, producer of all B-Sides\nDave Hill - lead guitar, backing vocals\nDon Powell - drums\n\nAdditional personnel\nRoy Thomas Baker - producer of \"That's What Friends Are For\"\nQuick On The Draw Ltd. - design\n\nReferences\n\n1987 singles\n1987 songs\nSlade songs\nRCA Records singles\nSongs written by Noddy Holder\nSongs written by Jim Lea\nSong recordings produced by Roy Thomas Baker" ]
[ "PJ Harvey", "To Bring You My Love and Is This Desire?: 1993-1999", "What is To Bring You My Love?", "In 1995 she released her third studio album, To Bring You My Love,", "Did she have any successful singles on this album?", "its lead single, \"Down by the Water.\"", "What was another big single on that album?", "-- \"C'mon Billy\", \"Send His Love to Me\" and \"Long Snake Moan\" -- were also moderately successful." ]
C_4b99c8aa48a040e787e54447b64885ad_0
How well did this album sell?
4
How well did To Bring You My Love sell?
PJ Harvey
As Harvey embarked on her solo career, she explored collaborations with other musicians. In 1995 she released her third studio album, To Bring You My Love, featuring former bandmate John Parish, Bad Seeds multi-instrumentalist Mick Harvey and French drummer Jean-Marc Butty, all of whom would continue to perform and record with Harvey throughout her career. The album was also her first material to be produced by Flood. Simultaneously a more blues-influenced and more futuristic record than its predecessors, To Bring You My Love showcased Harvey broadening her musical style to include strings, organs and synthesisers. Rolling Stone said in its review that "Harvey sings the blues like Nick Cave sings gospel: with more distortion, sex and murder than you remember. To Bring You My Love was a towering goth version of grunge." During the successive tours for the album, Harvey also experimented with her image and stage persona. The record generated a surprise modern rock radio hit in the United States with its lead single, "Down by the Water." Three consecutive singles -- "C'mon Billy", "Send His Love to Me" and "Long Snake Moan" -- were also moderately successful. The album was a commercial success selling one million copies worldwide including 370,000 in the United States. It was also certified Silver in the United Kingdom within seven months of its release, having sold over 60,000 copies. In the United States, the album was voted Album of the Year by The Village Voice, Rolling Stone, USA Today, People, The New York Times and the Los Angeles Times. Rolling Stone also named Harvey 1995's Artist of the Year and Spin ranked the album third in The 90 Greatest Albums of the '90s, behind Nirvana's Nevermind (1991) and Public Enemy's Fear of a Black Planet (1990). In 1996, following the international success of To Bring You My Love and other collaborations, Harvey began composing material that would end up on her fourth studio album, during what she referred to as "an incredibly low patch." The material diverged significantly from her former work and introduced electronica elements into her song-writing. During recording sessions in 1997 original PJ Harvey Trio drummer Rob Ellis rejoined Harvey's band, and Flood was hired again as producer. The sessions, which continued into April the following year, resulted in Is This Desire? (1998). Though originally released to mixed reviews in September 1998, the album was a success and received a Grammy Award nomination for Best Alternative Music Performance. The album's lead single, "A Perfect Day Elise," was moderately successful in the United Kingdom, peaking at number 25 on the UK Singles Chart, her most successful single to date. CANNOTANSWER
The album was a commercial success selling one million copies worldwide
Polly Jean Harvey (born 9 October 1969) is an English singer, songwriter and musician. Primarily known as a vocalist and guitarist, she is also proficient with a wide range of instruments. Harvey began her career in 1988 when she joined local band Automatic Dlamini as a vocalist, guitarist and saxophonist. The band's frontman, John Parish, became her long-term collaborator. In 1991, she formed an eponymous trio called PJ Harvey and subsequently began her career as PJ Harvey. The trio released two studio albums called Dry (1992) and Rid of Me (1993) before disbanding, after which Harvey continued as a solo artist. Since 1995, she has released a further nine studio albums with collaborations from various musicians including Parish, former bandmate Rob Ellis, Mick Harvey, and Eric Drew Feldman, and has also worked extensively with record producer Flood. Among the accolades Harvey has received are both the 2001 and 2011 Mercury Prize for Stories from the City, Stories from the Sea (2000) and Let England Shake (2011), respectively, making her the only artist to have been awarded the prize twice. She has also garnered eight Brit Award nominations, seven Grammy Award nominations and two further Mercury Prize nominations. Rolling Stone awarded her three accolades: 1992's Best New Artist and Best Singer Songwriter, and 1995's Artist of the Year. Rolling Stone also listed Rid of Me, To Bring You My Love, and Stories from the City, Stories from the Sea on its list of their 500 Greatest Albums of All Time. In 2011, she was awarded for Outstanding Contribution To Music at the NME Awards. In June 2013, she was awarded an MBE for services to music. Early life Polly Jean Harvey was born on 9 October 1969 in Bridport, Dorset, the second child of Ray and Eva Harvey. Her parents owned a quarrying business, and she grew up on the family farm in Corscombe. During her childhood, she attended school in nearby Beaminster, where she received guitar lessons from folk singer-songwriter Steve Knightley. Her parents introduced her to music that would later influence her work, including blues, Captain Beefheart and Bob Dylan. Her parents were avid music fans and regularly arranged get-togethers and small gigs, counting Ian Stewart among their oldest friends. As a teenager, Harvey began learning saxophone and joined an eight-piece instrumental group Bologne, run by composer Andrew Dickson. She was also a guitarist with folk duo the Polekats, with whom she wrote some of her earliest material. After finishing school, she joined Yeovil College and attended a visual arts foundation course. Career Automatic Dlamini: 1988–1991 In July 1988, Harvey became a member of Automatic Dlamini, a band based in Bristol with whom she gained extensive ensemble-playing experience. Formed by John Parish in 1983, the band consisted of a rotating line-up that at various times included Rob Ellis and Ian Oliver. Harvey had met Parish in 1987 through mutual friend Jeremy Hogg, the band's slide guitarist. Providing saxophone, guitars and background vocals, she travelled extensively during the band's early days, including performances in East and West Germany, Spain and Poland to support the band's debut studio album, The D is for Drum. A second European tour took place throughout June and July 1989. Following the tour, the band recorded Here Catch, Shouted His Father, their second studio album, between late 1989 and early 1990. This is the only Automatic Dlamini material to feature Harvey, but remains unreleased, although bootleg versions of the album are in circulation. In January 1991, Harvey left to form her own band with former bandmates Ellis and Oliver; yet she had formed lasting personal and professional relationships with certain members, especially Parish, whom she has referred to as her "musical soulmate". Parish would subsequently contribute to, and sometimes co-produce, Harvey's solo studio albums and has toured with her a number of times. As a duo, Parish and Harvey have recorded two collaborative albums where Parish composed the music and Harvey wrote the lyrics. Additionally, Parish's girlfriend in the late 1980s was photographer Maria Mochnacz. She and Harvey became close friends and Mochnacz went on to shoot and design most of Harvey's album artwork and music videos, contributing significantly to her public image. Harvey has said of her time with Automatic Dlamini: "I ended up not singing very much but I was just happy to learn how to play the guitar. I wrote a lot during the time I was with them but my first songs were crap. I was listening to a lot of Irish folk music at the time, so the songs were folky and full of penny whistles and stuff. It was ages before I felt ready to perform my own songs in front of other people." She also credits Parish for teaching her how to perform in front of audiences, saying "after the experience with John's band and seeing him perform I found it was enormously helpful to me as a performer to engage with people in the audience, and I probably did learn that from him, amongst other things." PJ Harvey Trio; Dry and Rid of Me: 1991–1993 In January 1991, following her departure from Automatic Dlamini, Harvey formed her own band with former bandmates Rob Ellis and Ian Oliver. Harvey decided to name the trio PJ Harvey after rejecting other names as "nothing felt right at all or just suggested the wrong type of sound", and also to allow her to continue music as a solo artist. The trio consisted of Harvey on vocals and guitar, Ellis on drums and backing vocals, and Oliver on bass. Oliver later departed to rejoin the still-active Automatic Dlamini. He was subsequently replaced with Steve Vaughan. The trio's "disastrous" debut performance was held at a skittle alley in Charmouth Village Hall in April 1991. Harvey later recounted the event saying: "we started playing and I suppose there was about fifty people there, and during the first song we cleared the hall. There was only about two people left. And a woman came up to us, came up to my drummer, it was only a three piece, while we were playing and shouted at him 'Don't you realise nobody likes you! We'll pay you, you can stop playing, we'll still pay you!'" The group relocated to London in June 1991 when Harvey applied to study sculpture, still undecided as to her future career. During this time, the group recorded a set of demo songs and distributed them to record labels. Independent label Too Pure agreed to release the band's debut single "Dress" in October 1991, and later signed PJ Harvey. "Dress" received mass critical acclaim upon its release and was voted Single of the Week in Melody Maker by guest reviewer John Peel, who admired "the way Polly Jean seems crushed by the weight of her own songs and arrangements, as if the air is literally being sucked out of them ... admirable if not always enjoyable." However, Too Pure provided little promotion for the single and critics claim that "Melody Maker had more to do with the success of the "Dress" single than Too Pure Records." A week after its release, the band recorded a live radio session for Peel on BBC Radio 1 on 29 October featuring "Oh, My Lover", "Victory", "Sheela-Na-Gig" and "Water". The following February, the trio released "Sheela-Na-Gig" as their equally-acclaimed second single and their debut studio album, Dry (1992), followed in March. Like the singles preceding it, Dry received an overwhelming international critical response. The album was cited by Kurt Cobain of Nirvana as his sixteenth-favourite album ever in his posthumously published Journals. Rolling Stone also named Harvey as Songwriter of the Year and Best New Female Singer. A limited edition double LP version of Dry was released alongside the regular version of the album, containing both the original and demo versions of each track, called Dry Demonstration, and the band also received significant coverage at the Reading Festival in 1992. Island (PolyGram) signed the trio amid a major label bidding war in mid-1992, and in December 1992 the trio travelled to Cannon Falls, Minnesota in the United States to record the follow-up to Dry with producer Steve Albini. Prior to recording with Albini, the band recorded a second session with John Peel on 22 September and recorded a version of Bob Dylan's "Highway 61 Revisited," and two new songs "Me Jane" and "Ecstasy." The recording sessions with Albini took place at Pachyderm Recording Studio and resulted in the band's major label debut Rid of Me in May 1993. Rolling Stone wrote that it "is charged with aggressive eroticism and rock fury. It careens from blues to goth to grunge, often in the space of a single song." The album was promoted by two singles, "50ft Queenie" and "Man-Size", as well as tours of the United Kingdom in May and of the United States in June, continuing there during the summer. However, during the American leg of the tour, internal friction started to form between the members of the trio. Deborah Frost, writing for Rolling Stone, noticed "an ever widening personal gulf" between the band members, and quoted Harvey as saying "It makes me sad. I wouldn't have got here without them. I needed them back then – badly. But I don't need them anymore. We all changed as people." Despite the tour's personal downsides, footage from live performances was compiled and released on the long-form video Reeling with PJ Harvey (1993). The band's final tour was to support U2 in August 1993, after which the trio officially disbanded. In her final appearance on American television in September 1993 on The Tonight Show with Jay Leno, Harvey performed a solo version of "Rid of Me." As Rid of Me sold substantially more copies than Dry, 4-Track Demos, a compilation album of demos for the album was released in October and inaugurated her career as a solo artist. In early 1994, it was announced that U2's manager, Paul McGuinness, had become her manager. To Bring You My Love and Is This Desire?: 1993–1999 As Harvey embarked on her solo career, she explored collaborations with other musicians. In 1995 she released her third studio album, To Bring You My Love, featuring former bandmate John Parish, Bad Seeds multi-instrumentalist Mick Harvey and French drummer Jean-Marc Butty, all of whom would continue to perform and record with Harvey throughout her career. The album was also her first material to be produced by Flood. Simultaneously a more blues-influenced and more futuristic record than its predecessors, To Bring You My Love showcased Harvey broadening her musical style to include strings, organs and synthesisers. Rolling Stone said in its review that "Harvey sings the blues like Nick Cave sings gospel: with more distortion, sex and murder than you remember. To Bring You My Love was a towering goth version of grunge." During the successive tours for the album, Harvey also experimented with her image and stage persona. The record generated a surprise modern rock radio hit in the United States with its lead single, "Down by the Water." Three consecutive singles—"C'mon Billy", "Send His Love to Me" and "Long Snake Moan"—were also moderately successful. The album was a commercial success selling one million copies worldwide including 370,000 in the United States. It was also certified Silver in the United Kingdom within seven months of its release, having sold over 60,000 copies. In the United States, the album was voted Album of the Year by The Village Voice, Rolling Stone, USA Today, People, The New York Times and the Los Angeles Times. Rolling Stone also named Harvey 1995's Artist of the Year and Spin ranked the album third in The 90 Greatest Albums of the 1990s, behind Nirvana's Nevermind (1991) and Public Enemy's Fear of a Black Planet (1990). In July 2020, a vinyl reissue of To Bring You My Love was announced, including unreleased demos. In 1996, following the international success of To Bring You My Love and other collaborations, Harvey began composing material that would end up on her fourth studio album, during what she referred to as "an incredibly low patch". The material diverged significantly from her previous work and introduced electronica elements into her song-writing. During recording sessions in 1997 original PJ Harvey Trio drummer Rob Ellis rejoined Harvey's band, and Flood was hired again as producer. The sessions, which continued into April the following year, resulted in Is This Desire? (1998). Though originally released to mixed reviews in September 1998, the album was a success and received a Grammy Award nomination for Best Alternative Music Performance. The album's lead single, "A Perfect Day Elise," was moderately successful in the United Kingdom, peaking at number 25 on the UK Singles Chart, her most successful single to date. Stories from the City, Stories from the Sea and Uh Huh Her: 2000–2006 In early 2000, Harvey began work on her fifth studio album Stories from the City, Stories from the Sea with Rob Ellis and Mick Harvey. Written in her native Dorset, Paris and New York, the album showcased a more mainstream indie rock and pop rock sound to her previous albums and the lyrics followed themes of love that tied into Harvey's affection for New York City. The album also featured Radiohead frontman Thom Yorke on three tracks, including his lead vocals on "This Mess We're in." Upon its release in October 2000 the album was a critical and commercial success, selling over one million copies worldwide and charting in both the United Kingdom and the United States. The album's three singles—"Good Fortune", "A Place Called Home" and "This Is Love"—were moderately successful. The album also received a number of accolades including a BRIT Award nomination for Best Female Artist and two Grammy Award nominations for Best Rock Album and Best Female Rock Performance for the album's third single, "This Is Love". However, most notably, Harvey was nominated for, and won, the 2001 Mercury Music Prize. The awards ceremony was held on the same day as the September 11 attacks on the United States and Harvey was on tour in Washington, D.C., one of the affected cities, when she won the prize. Reflecting on the win in 2011, she said: "quite naturally I look back at that and only remember the events that were taking place across the world and to win the prize on that day—it didn't have much importance in the grand scheme of things", noting "it was a very surreal day". The same year, Harvey also topped a readers' poll conducted by Q Magazine of the 100 Greatest Women in Rock Music. During three years of various collaborations with other artists, Harvey was also working on her sixth studio album, Uh Huh Her, which was released in May 2004. For the first time since 4-Track Demos (1993), Harvey played every instrument—with the exception of drums provided by Rob Ellis—and was the sole producer. The album received "generally favourable reviews" by critics, though its production was often criticised. It was also a commercial success, debuting and peaking at number 12 in the UK Albums Chart and being certified Silver by the BPI within a month of its release. Harvey also did an extensive world tour in promotion of the album, lasting seven months in total. Selected recordings from the tour were included on Harvey's first live DVD, On Tour: Please Leave Quietly, directed by Maria Mochnacz and released in 2006. White Chalk and Let England Shake: 2007–2014 During her first performance since the Uh Huh Her tour at the Hay Festival of Literature & Arts on 26 May 2006, Harvey revealed that her next studio album would be almost entirely piano-based. Following the October release of The Peel Sessions 1991–2004, a compilation of songs recorded from 1991 to 2000 during her radio sessions with John Peel, she began recording her seventh studio album White Chalk in November, together with Flood, John Parish and Eric Drew Feldman and drummer Jim White in a studio in West London. White Chalk was released in September 2007 and marked a radical departure from her usual alternative rock style, consisting mainly of piano ballads. The album received favourable reviews, its style being described by one critic as containing "pseudo-Victorian elements—drama, restraint, and antiquated instruments and sounds." Harvey herself said of the album: "when I listen to the record I feel in a different universe, really, and I'm not sure whether it's in the past or in the future. The record confuses me, that's what I like—it doesn't feel of this time right now, but I'm not sure whether it's 100 years ago or 100 years in the future", summing up the album's sound as "really weird." During the tour for the album Harvey performed without a backing band, and also began performing on an autoharp, which continues to be her primary instrument after guitar and has influenced her material since White Chalk. In April 2010, Harvey appeared on The Andrew Marr Show to perform a new song titled "Let England Shake." In a pre-performance interview with Marr, she stated that the new material she had written had been "formed out of the landscape that I've grown up in and the history of this nation" and as "a human being affected by politics." Her eighth studio album Let England Shake was released in February 2011, and received universal critical acclaim. NMEs 10/10 review summarised the album as "a record that ventures deep into the heart of darkness of war itself and its resonance throughout England's past, present and future" and other reviews also noted its themes and writing style as "bloody and forceful," mixing "ethereal form with brutal content," and "her most powerful." Dealing with the ongoing conflict in Afghanistan and other episodes from English history, the album featured John Parish, Mick Harvey and Jean-Marc Butty as Harvey's backing band and the quartet toured extensively in its promotion. Following the release of the album's two well-received singles—"The Words That Maketh Murder" and "The Glorious Land"—and the collection of short films by Seamus Murphy to accompany the album, Harvey won her second Mercury Music Prize on 6 September. The award marked her as the first artist to receive the award twice, entering her into The Guinness Book of Records as the only artist to have achieved this., and sales of Let England Shake increased 1,190% overnight following her win. On 23 September, Let England Shake was certified Gold in the United Kingdom and was listed as album of the year by MOJO and Uncut. On 3 August 2013, Harvey released a song Shaker Aamer in support of the Guantanamo Bay detention camp detainee by the same name who was the last British citizen to be held there. The song describes in detail what Aamer endured during his four-month hunger strike. The Hope Six Demolition Project: 2015–present On 16 January 2015, PJ Harvey began recording her ninth studio album, The Hope Six Demolition Project, in front of a live audience. A custom built recording studio was made in London's Somerset House. Uncut magazine noted that much like her previous album Let England Shake, many of the lyrics were politically charged, but this time it was more globally focused. While recording she was shown to be using saxophones, an autoharp and a bouzouki. Flood was confirmed to be the producer of the album. On 18 December 2015, Harvey released a 20-second teaser for the album, which contained a release date of spring 2016. On 21 January 2016, the debut single, "The Wheel", was played on Steve Lamacq's show on BBC Radio 6 Music. The album was released on 15 April. A new video, "The Orange Monkey", was shared on 2 June 2016. Directed by Irish filmmaker Seamus Murphy, it was made from footage of Murphy's and Harvey's trips to Afghanistan. The album reached #1 on the UK Albums Chart and was nominated for a Grammy Award in the Best Alternative Music Album category. Harvey spent much of 2016 and 2017 touring the world with her nine-piece band, taking her critically lauded live show around North America, South America, Europe and Australasia. Collaborations and projects Besides her own work, Harvey has also collaborated with a number of other artists. In 1995, she recorded a duet of American folk song "Henry Lee" with partner Nick Cave and also featured on the Bob Dylan cover "Death is Not the End," both released on Nick Cave and the Bad Seeds' Murder Ballads (1996). In the same year she sang the theme song "Who Will Love Me Now?" on Philip Ridley's film The Passion of Darkly Noon. After her 1995 tour, she met Pascal Comelade and decided to collaborate with him, singing on several tracks including "Love too Soon" on his album L'Argot du Bruit. In May 1998, before the release of Is This Desire?, she featured on Tricky's Angels with Dirty Faces, performing lead vocals on "Broken Homes", and also contributed to Sparklehorse's 2001 album It's a Wonderful Life performing guitar, piano and background vocals on two songs, "Eyepennies" and "Piano Fire." Following the tour in promotion of Stories from the City, Stories from the Sea, she contributed vocals to eight tracks on Volume 9: I See You Hearin' Me and Volume 10: I Heart Disco by Josh Homme's side project The Desert Sessions, also appearing in the music video for "Crawl Home." Throughout 2004, Harvey produced Tiffany Anders' album Funny Cry Happy Gift, and also produced, performed on and wrote five songs for Marianne Faithfull's album Before the Poison, and contributed background vocals on "Hit the City," "Methamphetamine Blues" and "Come to Me" on Mark Lanegan's album Bubblegum. Harvey contributed the song "Slow-Motion Movie-Star", an outtake from Stories from the City, Stories from the Sea, to Mick Harvey's fourth studio album, Two of Diamonds, released in 2007. Harvey has also recorded two studio albums with long-time collaborator John Parish. Dance Hall at Louse Point (1996) was written collectively with Parish with the exception of the song "Is That All There Is?", written by Jerry Leiber and Mike Stoller. The album also listed her as Polly Jean Harvey, which may have impacted album sales. Harvey has also reflected on how the album was "an enormous turning point" and "lyrically, it moved me into areas I'd never been to before." In 1998, she also performed lead vocals on "Airplane Blues," as a soundtrack accompaniment to the Wingwalkers art exhibition by Rebecca Goddard and Parish's wife, Michelle Henning, which was released as the closing song on Parish's second solo album How Animals Move in 2002. Following the release of White Chalk, Harvey reunited with Parish to record A Woman a Man Walked By, released in March 2009. Like Dance Hall at Louse Point, the album received positive reviews and was a moderate commercial success, peaking at number 25 in the UK Albums Chart. She collaborated with Egyptian artist Ramy Essam on "The Camp", a charity single released in June 2017 to benefit displaced children in the Lebanese Bekaa Valley fleeing the Syrian Civil War. Aside from collaborations, Harvey has also embarked on a number of projects as a composer. In January 2009, a new stage production of Henrik Ibsen's Hedda Gabler opened on Broadway. Directed by Ian Rickson and starring Mary-Louise Parker in the title role, the play featured an original score of incidental music written by Harvey. In November 2011, Harvey also composed part of the score for the Young Vic's long-running production of Hamlet in London. In May 2012, Harvey composed two songs, "Horse" and "Bobby Don't Steal", for Mark Cousins' film What is This Film Called Love?, which also features "To Bring You My Love". In 2014, a number of Harvey's songs were featured in the second season of Peaky Blinders. In March 2018, Harvey and Parish released a song called "Sorry For Your Loss" as tribute to singer-songwriter Mark Linkous, who committed suicide in 2010. In 2019, Harvey composed the score for Shane Meadows' miniseries, The Virtues, broadcast on Channel 4. Musical style and influences Harvey possesses an expansive contralto vocal range. Harvey dislikes repeating herself in her music, resulting in very different-sounding albums. In an October 2004 interview with Rolling Stone, she said: "when I'm working on a new record, the most important thing is to not repeat myself ... that's always my aim: to try and cover new ground and really to challenge myself. Because I'm in this for learning." While her musical style has been described as alternative rock, punk blues, art rock, and avant-rock, she has experimented with various other genres including electronica, indie rock and folk music. She is also known for changing her physical appearance for each album by altering her mode of dress or hairstyle, creating a unique aesthetic that extends to all aspects of the album, from the album art to the live performances. She works closely with friend and photographer Maria Mochnacz to develop the visual style of each album. Around the time of To Bring You My Love, for example, Harvey began experimenting with her image and adopting a theatrical aspect to her live performances. Her former fashion style, which consisted of simple black leggings, turtleneck sweaters and Doc Martens boots, was replaced by ballgowns, catsuits, wigs and excessive make-up. She also began using stage props like a Ziggy Stardust-style flashlight microphone. She denied the influence of drag, Kabuki or performance art on her new image, a look she affectionately dubbed "Joan Crawford on acid" in an interview with Spin in 1996, but admitted that "it's that combination of being quite elegant and funny and revolting, all at the same time, that appeals to me. I actually find wearing make-up like that, sort of smeared around, as extremely beautiful. Maybe that's just my twisted sense of beauty." However, she later told Dazed & Confused magazine, "that was kind of a mask. It was much more of a mask than I've ever had. I was very lost as a person, at that point. I had no sense of self left at all", and has never repeated the overt theatricality of the To Bring You My Love tour. At an early age, she was introduced by her parents to blues music, jazz and art rock, which would later influence her: "I was brought up listening to John Lee Hooker, to Howlin' Wolf, to Robert Johnson, and a lot of Jimi Hendrix and Captain Beefheart. So I was exposed to all these very compassionate musicians at a very young age, and that's always remained in me and seems to surface more as I get older. I think the way we are as we get older is a result of what we knew when we were children." Other influential artists were "Nina Simone, the Rolling Stones, people like that I grew up listening to but find I returned to". During her teenage years, she began listening to new wave and synthpop bands such as Soft Cell, Duran Duran and Spandau Ballet, although later stated that it was a phase when she was "having a bit of a rebellion against my parents' record collection." In her later teenage years, she became a fan of Pixies, and she then listened to Slint. She has named Bob Dylan, and Neil Young, when talking about her influences. Many critics have compared Harvey to Patti Smith, which Harvey dismisses as "lazy journalism". However, recently Harvey has said that Smith is "so energising to see and so passionate with what she's doing". Harvey has also cited Siouxsie Sioux in terms of live performance, stating : "She is so exciting to watch, so full of energy and human raw quality". She has also drawn inspiration from Russian folk music, Italian soundtrack composer Ennio Morricone, classical composers like Arvo Pärt, Erik Satie, Samuel Barber, and Henryk Górecki. As a lyricist, Harvey has cited numerous poets, authors and lyricists as influences on her work including Harold Pinter, T. S. Eliot, William Butler Yeats, James Joyce, Ted Hughes and contemporaries such as Shane MacGowan and Jez Butterworth. Other ventures Outside her better-known music career, Harvey is also an occasional artist and actress. In 1998, she appeared in Hal Hartley's film The Book of Life as Magdalena—a modern-day character based on the Biblical Mary Magdalene—and had a cameo role as a Playboy Bunny in A Bunny Girl's Tale, a short film directed by Sarah Miles, in which she also performs "Nina in Ecstasy", an outtake from Is This Desire? (1998). Harvey also collaborated with Miles on another film, Amaeru Fallout 1972, which includes Harvey performing a cover of "When Will I See You Again." Harvey is also an accomplished sculptor who has had several pieces exhibited at the Lamont Gallery and the Bridport Arts Centre. In 2010, she was invited to be the guest designer for the summer issue of Francis Ford Coppola's literary magazine Zoetrope: All-Story. The issue featured Harvey's paintings and drawings alongside short stories by Woody Allen. Speaking of her artistic contributions to the magazine in 2011, Harvey said: "the first opportunity I ever had to show any work was in this magazine. They were drawn while I was writing and recording the record (Let England Shake). It does relate to the record in the way the cycle keeps happening." In December 2013, Harvey gave her debut public poetry reading at the British Library. On 2 January 2014, she guest-edited BBC Radio 4's Today programme. In October 2015, Harvey published her first collection of poetry, a collaboration with photographer Seamus Murphy, entitled The Hollow of The Hand. To create the book, PJ Harvey and Seamus Murphy made several journeys to Kosovo, Afghanistan and Washington, D.C. Their experiences were documented in Murphy's film A Dog Called Money, which was released in UK cinemas and online on 8 November 2019. Seamus Murphy had previously worked with PJ Harvey to create 12 Short Films for Let England Shake. Personal life Harvey rejects the notion that her song lyrics are autobiographical, telling The Times in 1998: "the tortured artist myth is rampant. People paint me as some kind of black witchcraft-practising devil from hell, that I have to be twisted and dark to do what I am doing. It's a load of rubbish". What is more, she later told Spin: "some critics have taken my writing so literally to the point that they'll listen to 'Down by the Water' and believe I have actually given birth to a child and drowned her." In the early 1990s, Harvey was romantically involved with drummer and photographer Joe Dilworth. From 1996 to 1997, following their musical collaborations, Harvey had a relationship with Nick Cave, and their subsequent break-up influenced Cave's follow-up studio album The Boatman's Call (1997), with songs such as "Into My Arms", "West Country Girl" and "Black Hair" being written specifically about her. Harvey has one older brother, Saul, and four nephews through him. She expressed a fondness for children in 1995 and stated that she would love to have them, saying: "I wouldn't consider it unless I was married. I would have to meet someone that I wanted to spend the rest of my life with. That's the only person who I would want to be the father of my children. Maybe that will never happen. I obviously see it in a very rational way but I'd love to have children." Harvey has encountered widespread opposition to a comment made in favour of fox hunting in a 1998 NME magazine feature, which reported Harvey saying she was not opposed to fox hunting and that, "Seeing the hunt out on the fields is just so natural to me." Harvey was appointed Member of the Order of the British Empire (MBE) by Queen Elizabeth II in the 2013 Birthday Honours for services to music. Discography Dry (1992) Rid of Me (1993) To Bring You My Love (1995) Is This Desire? (1998) Stories from the City, Stories from the Sea (2000) Uh Huh Her (2004) White Chalk (2007) Let England Shake (2011) The Hope Six Demolition Project (2016) Personnel Current members Polly Harvey – vocals, saxophone, guitar, autoharp, piano, organ, keyboards, violin, cello, vibraphone, marimba, bells & chimes, percussion, djembe, bass, e-bow, melodica, zither, harmonica, harp, cigfiddle (1991–present) Terry Edwards – backing vocals, saxophones, percussion, keyboards, guitar, flute, bass harmonica, melodica, trumpet (1993 live performance guest, 1997 studio guest, 2014–2017) James Johnston – backing vocals, keyboards, violin, guitar, organ (1993 live performance guest, 2014–2017) John Parish – backing vocals, guitar, drums, keyboards, bass, banjo, organ, ukulele, trombone, rhodes, mellotron, xylophone, percussion (1994–1998, 2006–present) Mick Harvey – backing vocals, bass, keyboards, organ, guitar, drums, harmonium, accordion, bass harmonica, piano, rhodes, xylophone, percussion (1994–2001, 2009–present) Jean-Marc Butty – backing vocals, drums, percussion (1994–1996, 2006–present) Alain Johannes – backing vocals, guitars, keyboards, percussion, saxophone (2014–2017) Kenrick Rowe – backing vocals, percussion (2014–2017) Enrico Gabrielli – backing vocals, percussion, bass clarinet, swanee whistle, basset clarinet (2014–2017) Alessandro Stefana – backing vocals, guitars (2014–2017) Former collaborators Rob Ellis – drums & percussion, vocals, harmonium, piano, electric piano, tambourine,synthesizer, keyboards, bells, harpsichord, vibraphone (1991–1993, 1996–2005) Ian Oliver – bass (1991, 2003) Steve Vaughan – bass (1991–1993) Nick Bagnall – bass, keyboards (1994–1995) Joe Gore – guitar, e-bow (1994–1996) Eric Drew Feldman – piano, keyboards, bass, optigan, mellotron, minimoog, backing vocals (1994–2001, 2006–2009) Jeremy Hogg – guitar (1996–1998) Margaret Fiedler – guitar, cello (2000–2001) Tim Farthing – guitar (2000–2001) Simon "Dingo" Archer – bass (2004) Josh Klinghoffer – guitar, drums, percussion (2004) Jim White – drums (2006–2007) Carla Azar – drums (2006–2008, studio guest) Giovanni Ferrario – guitar (2006–2009) Awards and nominations List of awards and nominations received by PJ Harvey References Further reading External links – official site 1969 births Living people 20th-century British guitarists 20th-century English women singers 20th-century English singers 21st-century British guitarists 21st-century English women singers 21st-century English singers 21st-century multi-instrumentalists Alternative rock guitarists Alternative rock pianists Alternative rock singers Alumni of Central Saint Martins Autoharp players British alternative rock musicians English contraltos English women guitarists English multi-instrumentalists English rock guitarists English rock musicians English women singer-songwriters Women rock singers Island Records artists Ivor Novello Award winners Members of the Order of the British Empire NME Awards winners People from Beaminster People from Bridport People from Dorset Vagrant Records artists Women punk rock singers
true
[ "Politics of the Business is the third album by American hip hop producer Prince Paul. This album is considered to be a concept album similar to A Prince Among Thieves. The concept for this album, however, is the concept of following-up a concept album that did not sell too well (that album being A Prince Among Thieves). The album features guest appearances from Ice-T, DJ Jazzy Jeff, MF Doom, Biz Markie, Chuck D, Dave Chappelle, Chris Rock, and more.\n\nTrack listing\n\nPersonnel\n\nReferences\n\n2003 albums\nPrince Paul (producer) albums\nAlbums produced by Prince Paul (producer)\nConcept albums", "Destination Universe is the second studio album by Material Issue, released on Mercury Records in 1992. The new album was not as well received by critics as the debut album, nor did it sell as well. The album included the single \"What Girls Want\" and was, like their debut album, produced by Jeff Murphy.\n\nTrack listing\nAll songs written by Jim Ellison \n\"What Girls Want\" - 3:55\n\"When I Get This Way (Over You)\" - 4:09\n\"Next Big Thing\" - 3:12\n\"Who Needs Love\" - 2:52\n\"Destination You\" - 2:49\n\"Everything\" - 3:48\n\"Ballad of a Lonely Man\" - 3:27\n\"Girl from Out of This World\" - 3:56\n\"So Easy to Love Somebody\" - 2:49\n\"Don't You Think I Know\" - 3:47\n\"The Loneliest Heart\" - 2:38\n\"Whole Lotta You\" - 2:52\n\"If Ever You Should Fall\" 2:41\n\nReferences\n\n1992 albums\nMercury Records albums\nMaterial Issue albums" ]
[ "PJ Harvey", "To Bring You My Love and Is This Desire?: 1993-1999", "What is To Bring You My Love?", "In 1995 she released her third studio album, To Bring You My Love,", "Did she have any successful singles on this album?", "its lead single, \"Down by the Water.\"", "What was another big single on that album?", "-- \"C'mon Billy\", \"Send His Love to Me\" and \"Long Snake Moan\" -- were also moderately successful.", "How well did this album sell?", "The album was a commercial success selling one million copies worldwide" ]
C_4b99c8aa48a040e787e54447b64885ad_0
What was her next album?
5
What was PJ Harvey's next album?
PJ Harvey
As Harvey embarked on her solo career, she explored collaborations with other musicians. In 1995 she released her third studio album, To Bring You My Love, featuring former bandmate John Parish, Bad Seeds multi-instrumentalist Mick Harvey and French drummer Jean-Marc Butty, all of whom would continue to perform and record with Harvey throughout her career. The album was also her first material to be produced by Flood. Simultaneously a more blues-influenced and more futuristic record than its predecessors, To Bring You My Love showcased Harvey broadening her musical style to include strings, organs and synthesisers. Rolling Stone said in its review that "Harvey sings the blues like Nick Cave sings gospel: with more distortion, sex and murder than you remember. To Bring You My Love was a towering goth version of grunge." During the successive tours for the album, Harvey also experimented with her image and stage persona. The record generated a surprise modern rock radio hit in the United States with its lead single, "Down by the Water." Three consecutive singles -- "C'mon Billy", "Send His Love to Me" and "Long Snake Moan" -- were also moderately successful. The album was a commercial success selling one million copies worldwide including 370,000 in the United States. It was also certified Silver in the United Kingdom within seven months of its release, having sold over 60,000 copies. In the United States, the album was voted Album of the Year by The Village Voice, Rolling Stone, USA Today, People, The New York Times and the Los Angeles Times. Rolling Stone also named Harvey 1995's Artist of the Year and Spin ranked the album third in The 90 Greatest Albums of the '90s, behind Nirvana's Nevermind (1991) and Public Enemy's Fear of a Black Planet (1990). In 1996, following the international success of To Bring You My Love and other collaborations, Harvey began composing material that would end up on her fourth studio album, during what she referred to as "an incredibly low patch." The material diverged significantly from her former work and introduced electronica elements into her song-writing. During recording sessions in 1997 original PJ Harvey Trio drummer Rob Ellis rejoined Harvey's band, and Flood was hired again as producer. The sessions, which continued into April the following year, resulted in Is This Desire? (1998). Though originally released to mixed reviews in September 1998, the album was a success and received a Grammy Award nomination for Best Alternative Music Performance. The album's lead single, "A Perfect Day Elise," was moderately successful in the United Kingdom, peaking at number 25 on the UK Singles Chart, her most successful single to date. CANNOTANSWER
Harvey began composing material that would end up on her fourth studio album,
Polly Jean Harvey (born 9 October 1969) is an English singer, songwriter and musician. Primarily known as a vocalist and guitarist, she is also proficient with a wide range of instruments. Harvey began her career in 1988 when she joined local band Automatic Dlamini as a vocalist, guitarist and saxophonist. The band's frontman, John Parish, became her long-term collaborator. In 1991, she formed an eponymous trio called PJ Harvey and subsequently began her career as PJ Harvey. The trio released two studio albums called Dry (1992) and Rid of Me (1993) before disbanding, after which Harvey continued as a solo artist. Since 1995, she has released a further nine studio albums with collaborations from various musicians including Parish, former bandmate Rob Ellis, Mick Harvey, and Eric Drew Feldman, and has also worked extensively with record producer Flood. Among the accolades Harvey has received are both the 2001 and 2011 Mercury Prize for Stories from the City, Stories from the Sea (2000) and Let England Shake (2011), respectively, making her the only artist to have been awarded the prize twice. She has also garnered eight Brit Award nominations, seven Grammy Award nominations and two further Mercury Prize nominations. Rolling Stone awarded her three accolades: 1992's Best New Artist and Best Singer Songwriter, and 1995's Artist of the Year. Rolling Stone also listed Rid of Me, To Bring You My Love, and Stories from the City, Stories from the Sea on its list of their 500 Greatest Albums of All Time. In 2011, she was awarded for Outstanding Contribution To Music at the NME Awards. In June 2013, she was awarded an MBE for services to music. Early life Polly Jean Harvey was born on 9 October 1969 in Bridport, Dorset, the second child of Ray and Eva Harvey. Her parents owned a quarrying business, and she grew up on the family farm in Corscombe. During her childhood, she attended school in nearby Beaminster, where she received guitar lessons from folk singer-songwriter Steve Knightley. Her parents introduced her to music that would later influence her work, including blues, Captain Beefheart and Bob Dylan. Her parents were avid music fans and regularly arranged get-togethers and small gigs, counting Ian Stewart among their oldest friends. As a teenager, Harvey began learning saxophone and joined an eight-piece instrumental group Bologne, run by composer Andrew Dickson. She was also a guitarist with folk duo the Polekats, with whom she wrote some of her earliest material. After finishing school, she joined Yeovil College and attended a visual arts foundation course. Career Automatic Dlamini: 1988–1991 In July 1988, Harvey became a member of Automatic Dlamini, a band based in Bristol with whom she gained extensive ensemble-playing experience. Formed by John Parish in 1983, the band consisted of a rotating line-up that at various times included Rob Ellis and Ian Oliver. Harvey had met Parish in 1987 through mutual friend Jeremy Hogg, the band's slide guitarist. Providing saxophone, guitars and background vocals, she travelled extensively during the band's early days, including performances in East and West Germany, Spain and Poland to support the band's debut studio album, The D is for Drum. A second European tour took place throughout June and July 1989. Following the tour, the band recorded Here Catch, Shouted His Father, their second studio album, between late 1989 and early 1990. This is the only Automatic Dlamini material to feature Harvey, but remains unreleased, although bootleg versions of the album are in circulation. In January 1991, Harvey left to form her own band with former bandmates Ellis and Oliver; yet she had formed lasting personal and professional relationships with certain members, especially Parish, whom she has referred to as her "musical soulmate". Parish would subsequently contribute to, and sometimes co-produce, Harvey's solo studio albums and has toured with her a number of times. As a duo, Parish and Harvey have recorded two collaborative albums where Parish composed the music and Harvey wrote the lyrics. Additionally, Parish's girlfriend in the late 1980s was photographer Maria Mochnacz. She and Harvey became close friends and Mochnacz went on to shoot and design most of Harvey's album artwork and music videos, contributing significantly to her public image. Harvey has said of her time with Automatic Dlamini: "I ended up not singing very much but I was just happy to learn how to play the guitar. I wrote a lot during the time I was with them but my first songs were crap. I was listening to a lot of Irish folk music at the time, so the songs were folky and full of penny whistles and stuff. It was ages before I felt ready to perform my own songs in front of other people." She also credits Parish for teaching her how to perform in front of audiences, saying "after the experience with John's band and seeing him perform I found it was enormously helpful to me as a performer to engage with people in the audience, and I probably did learn that from him, amongst other things." PJ Harvey Trio; Dry and Rid of Me: 1991–1993 In January 1991, following her departure from Automatic Dlamini, Harvey formed her own band with former bandmates Rob Ellis and Ian Oliver. Harvey decided to name the trio PJ Harvey after rejecting other names as "nothing felt right at all or just suggested the wrong type of sound", and also to allow her to continue music as a solo artist. The trio consisted of Harvey on vocals and guitar, Ellis on drums and backing vocals, and Oliver on bass. Oliver later departed to rejoin the still-active Automatic Dlamini. He was subsequently replaced with Steve Vaughan. The trio's "disastrous" debut performance was held at a skittle alley in Charmouth Village Hall in April 1991. Harvey later recounted the event saying: "we started playing and I suppose there was about fifty people there, and during the first song we cleared the hall. There was only about two people left. And a woman came up to us, came up to my drummer, it was only a three piece, while we were playing and shouted at him 'Don't you realise nobody likes you! We'll pay you, you can stop playing, we'll still pay you!'" The group relocated to London in June 1991 when Harvey applied to study sculpture, still undecided as to her future career. During this time, the group recorded a set of demo songs and distributed them to record labels. Independent label Too Pure agreed to release the band's debut single "Dress" in October 1991, and later signed PJ Harvey. "Dress" received mass critical acclaim upon its release and was voted Single of the Week in Melody Maker by guest reviewer John Peel, who admired "the way Polly Jean seems crushed by the weight of her own songs and arrangements, as if the air is literally being sucked out of them ... admirable if not always enjoyable." However, Too Pure provided little promotion for the single and critics claim that "Melody Maker had more to do with the success of the "Dress" single than Too Pure Records." A week after its release, the band recorded a live radio session for Peel on BBC Radio 1 on 29 October featuring "Oh, My Lover", "Victory", "Sheela-Na-Gig" and "Water". The following February, the trio released "Sheela-Na-Gig" as their equally-acclaimed second single and their debut studio album, Dry (1992), followed in March. Like the singles preceding it, Dry received an overwhelming international critical response. The album was cited by Kurt Cobain of Nirvana as his sixteenth-favourite album ever in his posthumously published Journals. Rolling Stone also named Harvey as Songwriter of the Year and Best New Female Singer. A limited edition double LP version of Dry was released alongside the regular version of the album, containing both the original and demo versions of each track, called Dry Demonstration, and the band also received significant coverage at the Reading Festival in 1992. Island (PolyGram) signed the trio amid a major label bidding war in mid-1992, and in December 1992 the trio travelled to Cannon Falls, Minnesota in the United States to record the follow-up to Dry with producer Steve Albini. Prior to recording with Albini, the band recorded a second session with John Peel on 22 September and recorded a version of Bob Dylan's "Highway 61 Revisited," and two new songs "Me Jane" and "Ecstasy." The recording sessions with Albini took place at Pachyderm Recording Studio and resulted in the band's major label debut Rid of Me in May 1993. Rolling Stone wrote that it "is charged with aggressive eroticism and rock fury. It careens from blues to goth to grunge, often in the space of a single song." The album was promoted by two singles, "50ft Queenie" and "Man-Size", as well as tours of the United Kingdom in May and of the United States in June, continuing there during the summer. However, during the American leg of the tour, internal friction started to form between the members of the trio. Deborah Frost, writing for Rolling Stone, noticed "an ever widening personal gulf" between the band members, and quoted Harvey as saying "It makes me sad. I wouldn't have got here without them. I needed them back then – badly. But I don't need them anymore. We all changed as people." Despite the tour's personal downsides, footage from live performances was compiled and released on the long-form video Reeling with PJ Harvey (1993). The band's final tour was to support U2 in August 1993, after which the trio officially disbanded. In her final appearance on American television in September 1993 on The Tonight Show with Jay Leno, Harvey performed a solo version of "Rid of Me." As Rid of Me sold substantially more copies than Dry, 4-Track Demos, a compilation album of demos for the album was released in October and inaugurated her career as a solo artist. In early 1994, it was announced that U2's manager, Paul McGuinness, had become her manager. To Bring You My Love and Is This Desire?: 1993–1999 As Harvey embarked on her solo career, she explored collaborations with other musicians. In 1995 she released her third studio album, To Bring You My Love, featuring former bandmate John Parish, Bad Seeds multi-instrumentalist Mick Harvey and French drummer Jean-Marc Butty, all of whom would continue to perform and record with Harvey throughout her career. The album was also her first material to be produced by Flood. Simultaneously a more blues-influenced and more futuristic record than its predecessors, To Bring You My Love showcased Harvey broadening her musical style to include strings, organs and synthesisers. Rolling Stone said in its review that "Harvey sings the blues like Nick Cave sings gospel: with more distortion, sex and murder than you remember. To Bring You My Love was a towering goth version of grunge." During the successive tours for the album, Harvey also experimented with her image and stage persona. The record generated a surprise modern rock radio hit in the United States with its lead single, "Down by the Water." Three consecutive singles—"C'mon Billy", "Send His Love to Me" and "Long Snake Moan"—were also moderately successful. The album was a commercial success selling one million copies worldwide including 370,000 in the United States. It was also certified Silver in the United Kingdom within seven months of its release, having sold over 60,000 copies. In the United States, the album was voted Album of the Year by The Village Voice, Rolling Stone, USA Today, People, The New York Times and the Los Angeles Times. Rolling Stone also named Harvey 1995's Artist of the Year and Spin ranked the album third in The 90 Greatest Albums of the 1990s, behind Nirvana's Nevermind (1991) and Public Enemy's Fear of a Black Planet (1990). In July 2020, a vinyl reissue of To Bring You My Love was announced, including unreleased demos. In 1996, following the international success of To Bring You My Love and other collaborations, Harvey began composing material that would end up on her fourth studio album, during what she referred to as "an incredibly low patch". The material diverged significantly from her previous work and introduced electronica elements into her song-writing. During recording sessions in 1997 original PJ Harvey Trio drummer Rob Ellis rejoined Harvey's band, and Flood was hired again as producer. The sessions, which continued into April the following year, resulted in Is This Desire? (1998). Though originally released to mixed reviews in September 1998, the album was a success and received a Grammy Award nomination for Best Alternative Music Performance. The album's lead single, "A Perfect Day Elise," was moderately successful in the United Kingdom, peaking at number 25 on the UK Singles Chart, her most successful single to date. Stories from the City, Stories from the Sea and Uh Huh Her: 2000–2006 In early 2000, Harvey began work on her fifth studio album Stories from the City, Stories from the Sea with Rob Ellis and Mick Harvey. Written in her native Dorset, Paris and New York, the album showcased a more mainstream indie rock and pop rock sound to her previous albums and the lyrics followed themes of love that tied into Harvey's affection for New York City. The album also featured Radiohead frontman Thom Yorke on three tracks, including his lead vocals on "This Mess We're in." Upon its release in October 2000 the album was a critical and commercial success, selling over one million copies worldwide and charting in both the United Kingdom and the United States. The album's three singles—"Good Fortune", "A Place Called Home" and "This Is Love"—were moderately successful. The album also received a number of accolades including a BRIT Award nomination for Best Female Artist and two Grammy Award nominations for Best Rock Album and Best Female Rock Performance for the album's third single, "This Is Love". However, most notably, Harvey was nominated for, and won, the 2001 Mercury Music Prize. The awards ceremony was held on the same day as the September 11 attacks on the United States and Harvey was on tour in Washington, D.C., one of the affected cities, when she won the prize. Reflecting on the win in 2011, she said: "quite naturally I look back at that and only remember the events that were taking place across the world and to win the prize on that day—it didn't have much importance in the grand scheme of things", noting "it was a very surreal day". The same year, Harvey also topped a readers' poll conducted by Q Magazine of the 100 Greatest Women in Rock Music. During three years of various collaborations with other artists, Harvey was also working on her sixth studio album, Uh Huh Her, which was released in May 2004. For the first time since 4-Track Demos (1993), Harvey played every instrument—with the exception of drums provided by Rob Ellis—and was the sole producer. The album received "generally favourable reviews" by critics, though its production was often criticised. It was also a commercial success, debuting and peaking at number 12 in the UK Albums Chart and being certified Silver by the BPI within a month of its release. Harvey also did an extensive world tour in promotion of the album, lasting seven months in total. Selected recordings from the tour were included on Harvey's first live DVD, On Tour: Please Leave Quietly, directed by Maria Mochnacz and released in 2006. White Chalk and Let England Shake: 2007–2014 During her first performance since the Uh Huh Her tour at the Hay Festival of Literature & Arts on 26 May 2006, Harvey revealed that her next studio album would be almost entirely piano-based. Following the October release of The Peel Sessions 1991–2004, a compilation of songs recorded from 1991 to 2000 during her radio sessions with John Peel, she began recording her seventh studio album White Chalk in November, together with Flood, John Parish and Eric Drew Feldman and drummer Jim White in a studio in West London. White Chalk was released in September 2007 and marked a radical departure from her usual alternative rock style, consisting mainly of piano ballads. The album received favourable reviews, its style being described by one critic as containing "pseudo-Victorian elements—drama, restraint, and antiquated instruments and sounds." Harvey herself said of the album: "when I listen to the record I feel in a different universe, really, and I'm not sure whether it's in the past or in the future. The record confuses me, that's what I like—it doesn't feel of this time right now, but I'm not sure whether it's 100 years ago or 100 years in the future", summing up the album's sound as "really weird." During the tour for the album Harvey performed without a backing band, and also began performing on an autoharp, which continues to be her primary instrument after guitar and has influenced her material since White Chalk. In April 2010, Harvey appeared on The Andrew Marr Show to perform a new song titled "Let England Shake." In a pre-performance interview with Marr, she stated that the new material she had written had been "formed out of the landscape that I've grown up in and the history of this nation" and as "a human being affected by politics." Her eighth studio album Let England Shake was released in February 2011, and received universal critical acclaim. NMEs 10/10 review summarised the album as "a record that ventures deep into the heart of darkness of war itself and its resonance throughout England's past, present and future" and other reviews also noted its themes and writing style as "bloody and forceful," mixing "ethereal form with brutal content," and "her most powerful." Dealing with the ongoing conflict in Afghanistan and other episodes from English history, the album featured John Parish, Mick Harvey and Jean-Marc Butty as Harvey's backing band and the quartet toured extensively in its promotion. Following the release of the album's two well-received singles—"The Words That Maketh Murder" and "The Glorious Land"—and the collection of short films by Seamus Murphy to accompany the album, Harvey won her second Mercury Music Prize on 6 September. The award marked her as the first artist to receive the award twice, entering her into The Guinness Book of Records as the only artist to have achieved this., and sales of Let England Shake increased 1,190% overnight following her win. On 23 September, Let England Shake was certified Gold in the United Kingdom and was listed as album of the year by MOJO and Uncut. On 3 August 2013, Harvey released a song Shaker Aamer in support of the Guantanamo Bay detention camp detainee by the same name who was the last British citizen to be held there. The song describes in detail what Aamer endured during his four-month hunger strike. The Hope Six Demolition Project: 2015–present On 16 January 2015, PJ Harvey began recording her ninth studio album, The Hope Six Demolition Project, in front of a live audience. A custom built recording studio was made in London's Somerset House. Uncut magazine noted that much like her previous album Let England Shake, many of the lyrics were politically charged, but this time it was more globally focused. While recording she was shown to be using saxophones, an autoharp and a bouzouki. Flood was confirmed to be the producer of the album. On 18 December 2015, Harvey released a 20-second teaser for the album, which contained a release date of spring 2016. On 21 January 2016, the debut single, "The Wheel", was played on Steve Lamacq's show on BBC Radio 6 Music. The album was released on 15 April. A new video, "The Orange Monkey", was shared on 2 June 2016. Directed by Irish filmmaker Seamus Murphy, it was made from footage of Murphy's and Harvey's trips to Afghanistan. The album reached #1 on the UK Albums Chart and was nominated for a Grammy Award in the Best Alternative Music Album category. Harvey spent much of 2016 and 2017 touring the world with her nine-piece band, taking her critically lauded live show around North America, South America, Europe and Australasia. Collaborations and projects Besides her own work, Harvey has also collaborated with a number of other artists. In 1995, she recorded a duet of American folk song "Henry Lee" with partner Nick Cave and also featured on the Bob Dylan cover "Death is Not the End," both released on Nick Cave and the Bad Seeds' Murder Ballads (1996). In the same year she sang the theme song "Who Will Love Me Now?" on Philip Ridley's film The Passion of Darkly Noon. After her 1995 tour, she met Pascal Comelade and decided to collaborate with him, singing on several tracks including "Love too Soon" on his album L'Argot du Bruit. In May 1998, before the release of Is This Desire?, she featured on Tricky's Angels with Dirty Faces, performing lead vocals on "Broken Homes", and also contributed to Sparklehorse's 2001 album It's a Wonderful Life performing guitar, piano and background vocals on two songs, "Eyepennies" and "Piano Fire." Following the tour in promotion of Stories from the City, Stories from the Sea, she contributed vocals to eight tracks on Volume 9: I See You Hearin' Me and Volume 10: I Heart Disco by Josh Homme's side project The Desert Sessions, also appearing in the music video for "Crawl Home." Throughout 2004, Harvey produced Tiffany Anders' album Funny Cry Happy Gift, and also produced, performed on and wrote five songs for Marianne Faithfull's album Before the Poison, and contributed background vocals on "Hit the City," "Methamphetamine Blues" and "Come to Me" on Mark Lanegan's album Bubblegum. Harvey contributed the song "Slow-Motion Movie-Star", an outtake from Stories from the City, Stories from the Sea, to Mick Harvey's fourth studio album, Two of Diamonds, released in 2007. Harvey has also recorded two studio albums with long-time collaborator John Parish. Dance Hall at Louse Point (1996) was written collectively with Parish with the exception of the song "Is That All There Is?", written by Jerry Leiber and Mike Stoller. The album also listed her as Polly Jean Harvey, which may have impacted album sales. Harvey has also reflected on how the album was "an enormous turning point" and "lyrically, it moved me into areas I'd never been to before." In 1998, she also performed lead vocals on "Airplane Blues," as a soundtrack accompaniment to the Wingwalkers art exhibition by Rebecca Goddard and Parish's wife, Michelle Henning, which was released as the closing song on Parish's second solo album How Animals Move in 2002. Following the release of White Chalk, Harvey reunited with Parish to record A Woman a Man Walked By, released in March 2009. Like Dance Hall at Louse Point, the album received positive reviews and was a moderate commercial success, peaking at number 25 in the UK Albums Chart. She collaborated with Egyptian artist Ramy Essam on "The Camp", a charity single released in June 2017 to benefit displaced children in the Lebanese Bekaa Valley fleeing the Syrian Civil War. Aside from collaborations, Harvey has also embarked on a number of projects as a composer. In January 2009, a new stage production of Henrik Ibsen's Hedda Gabler opened on Broadway. Directed by Ian Rickson and starring Mary-Louise Parker in the title role, the play featured an original score of incidental music written by Harvey. In November 2011, Harvey also composed part of the score for the Young Vic's long-running production of Hamlet in London. In May 2012, Harvey composed two songs, "Horse" and "Bobby Don't Steal", for Mark Cousins' film What is This Film Called Love?, which also features "To Bring You My Love". In 2014, a number of Harvey's songs were featured in the second season of Peaky Blinders. In March 2018, Harvey and Parish released a song called "Sorry For Your Loss" as tribute to singer-songwriter Mark Linkous, who committed suicide in 2010. In 2019, Harvey composed the score for Shane Meadows' miniseries, The Virtues, broadcast on Channel 4. Musical style and influences Harvey possesses an expansive contralto vocal range. Harvey dislikes repeating herself in her music, resulting in very different-sounding albums. In an October 2004 interview with Rolling Stone, she said: "when I'm working on a new record, the most important thing is to not repeat myself ... that's always my aim: to try and cover new ground and really to challenge myself. Because I'm in this for learning." While her musical style has been described as alternative rock, punk blues, art rock, and avant-rock, she has experimented with various other genres including electronica, indie rock and folk music. She is also known for changing her physical appearance for each album by altering her mode of dress or hairstyle, creating a unique aesthetic that extends to all aspects of the album, from the album art to the live performances. She works closely with friend and photographer Maria Mochnacz to develop the visual style of each album. Around the time of To Bring You My Love, for example, Harvey began experimenting with her image and adopting a theatrical aspect to her live performances. Her former fashion style, which consisted of simple black leggings, turtleneck sweaters and Doc Martens boots, was replaced by ballgowns, catsuits, wigs and excessive make-up. She also began using stage props like a Ziggy Stardust-style flashlight microphone. She denied the influence of drag, Kabuki or performance art on her new image, a look she affectionately dubbed "Joan Crawford on acid" in an interview with Spin in 1996, but admitted that "it's that combination of being quite elegant and funny and revolting, all at the same time, that appeals to me. I actually find wearing make-up like that, sort of smeared around, as extremely beautiful. Maybe that's just my twisted sense of beauty." However, she later told Dazed & Confused magazine, "that was kind of a mask. It was much more of a mask than I've ever had. I was very lost as a person, at that point. I had no sense of self left at all", and has never repeated the overt theatricality of the To Bring You My Love tour. At an early age, she was introduced by her parents to blues music, jazz and art rock, which would later influence her: "I was brought up listening to John Lee Hooker, to Howlin' Wolf, to Robert Johnson, and a lot of Jimi Hendrix and Captain Beefheart. So I was exposed to all these very compassionate musicians at a very young age, and that's always remained in me and seems to surface more as I get older. I think the way we are as we get older is a result of what we knew when we were children." Other influential artists were "Nina Simone, the Rolling Stones, people like that I grew up listening to but find I returned to". During her teenage years, she began listening to new wave and synthpop bands such as Soft Cell, Duran Duran and Spandau Ballet, although later stated that it was a phase when she was "having a bit of a rebellion against my parents' record collection." In her later teenage years, she became a fan of Pixies, and she then listened to Slint. She has named Bob Dylan, and Neil Young, when talking about her influences. Many critics have compared Harvey to Patti Smith, which Harvey dismisses as "lazy journalism". However, recently Harvey has said that Smith is "so energising to see and so passionate with what she's doing". Harvey has also cited Siouxsie Sioux in terms of live performance, stating : "She is so exciting to watch, so full of energy and human raw quality". She has also drawn inspiration from Russian folk music, Italian soundtrack composer Ennio Morricone, classical composers like Arvo Pärt, Erik Satie, Samuel Barber, and Henryk Górecki. As a lyricist, Harvey has cited numerous poets, authors and lyricists as influences on her work including Harold Pinter, T. S. Eliot, William Butler Yeats, James Joyce, Ted Hughes and contemporaries such as Shane MacGowan and Jez Butterworth. Other ventures Outside her better-known music career, Harvey is also an occasional artist and actress. In 1998, she appeared in Hal Hartley's film The Book of Life as Magdalena—a modern-day character based on the Biblical Mary Magdalene—and had a cameo role as a Playboy Bunny in A Bunny Girl's Tale, a short film directed by Sarah Miles, in which she also performs "Nina in Ecstasy", an outtake from Is This Desire? (1998). Harvey also collaborated with Miles on another film, Amaeru Fallout 1972, which includes Harvey performing a cover of "When Will I See You Again." Harvey is also an accomplished sculptor who has had several pieces exhibited at the Lamont Gallery and the Bridport Arts Centre. In 2010, she was invited to be the guest designer for the summer issue of Francis Ford Coppola's literary magazine Zoetrope: All-Story. The issue featured Harvey's paintings and drawings alongside short stories by Woody Allen. Speaking of her artistic contributions to the magazine in 2011, Harvey said: "the first opportunity I ever had to show any work was in this magazine. They were drawn while I was writing and recording the record (Let England Shake). It does relate to the record in the way the cycle keeps happening." In December 2013, Harvey gave her debut public poetry reading at the British Library. On 2 January 2014, she guest-edited BBC Radio 4's Today programme. In October 2015, Harvey published her first collection of poetry, a collaboration with photographer Seamus Murphy, entitled The Hollow of The Hand. To create the book, PJ Harvey and Seamus Murphy made several journeys to Kosovo, Afghanistan and Washington, D.C. Their experiences were documented in Murphy's film A Dog Called Money, which was released in UK cinemas and online on 8 November 2019. Seamus Murphy had previously worked with PJ Harvey to create 12 Short Films for Let England Shake. Personal life Harvey rejects the notion that her song lyrics are autobiographical, telling The Times in 1998: "the tortured artist myth is rampant. People paint me as some kind of black witchcraft-practising devil from hell, that I have to be twisted and dark to do what I am doing. It's a load of rubbish". What is more, she later told Spin: "some critics have taken my writing so literally to the point that they'll listen to 'Down by the Water' and believe I have actually given birth to a child and drowned her." In the early 1990s, Harvey was romantically involved with drummer and photographer Joe Dilworth. From 1996 to 1997, following their musical collaborations, Harvey had a relationship with Nick Cave, and their subsequent break-up influenced Cave's follow-up studio album The Boatman's Call (1997), with songs such as "Into My Arms", "West Country Girl" and "Black Hair" being written specifically about her. Harvey has one older brother, Saul, and four nephews through him. She expressed a fondness for children in 1995 and stated that she would love to have them, saying: "I wouldn't consider it unless I was married. I would have to meet someone that I wanted to spend the rest of my life with. That's the only person who I would want to be the father of my children. Maybe that will never happen. I obviously see it in a very rational way but I'd love to have children." Harvey has encountered widespread opposition to a comment made in favour of fox hunting in a 1998 NME magazine feature, which reported Harvey saying she was not opposed to fox hunting and that, "Seeing the hunt out on the fields is just so natural to me." Harvey was appointed Member of the Order of the British Empire (MBE) by Queen Elizabeth II in the 2013 Birthday Honours for services to music. Discography Dry (1992) Rid of Me (1993) To Bring You My Love (1995) Is This Desire? (1998) Stories from the City, Stories from the Sea (2000) Uh Huh Her (2004) White Chalk (2007) Let England Shake (2011) The Hope Six Demolition Project (2016) Personnel Current members Polly Harvey – vocals, saxophone, guitar, autoharp, piano, organ, keyboards, violin, cello, vibraphone, marimba, bells & chimes, percussion, djembe, bass, e-bow, melodica, zither, harmonica, harp, cigfiddle (1991–present) Terry Edwards – backing vocals, saxophones, percussion, keyboards, guitar, flute, bass harmonica, melodica, trumpet (1993 live performance guest, 1997 studio guest, 2014–2017) James Johnston – backing vocals, keyboards, violin, guitar, organ (1993 live performance guest, 2014–2017) John Parish – backing vocals, guitar, drums, keyboards, bass, banjo, organ, ukulele, trombone, rhodes, mellotron, xylophone, percussion (1994–1998, 2006–present) Mick Harvey – backing vocals, bass, keyboards, organ, guitar, drums, harmonium, accordion, bass harmonica, piano, rhodes, xylophone, percussion (1994–2001, 2009–present) Jean-Marc Butty – backing vocals, drums, percussion (1994–1996, 2006–present) Alain Johannes – backing vocals, guitars, keyboards, percussion, saxophone (2014–2017) Kenrick Rowe – backing vocals, percussion (2014–2017) Enrico Gabrielli – backing vocals, percussion, bass clarinet, swanee whistle, basset clarinet (2014–2017) Alessandro Stefana – backing vocals, guitars (2014–2017) Former collaborators Rob Ellis – drums & percussion, vocals, harmonium, piano, electric piano, tambourine,synthesizer, keyboards, bells, harpsichord, vibraphone (1991–1993, 1996–2005) Ian Oliver – bass (1991, 2003) Steve Vaughan – bass (1991–1993) Nick Bagnall – bass, keyboards (1994–1995) Joe Gore – guitar, e-bow (1994–1996) Eric Drew Feldman – piano, keyboards, bass, optigan, mellotron, minimoog, backing vocals (1994–2001, 2006–2009) Jeremy Hogg – guitar (1996–1998) Margaret Fiedler – guitar, cello (2000–2001) Tim Farthing – guitar (2000–2001) Simon "Dingo" Archer – bass (2004) Josh Klinghoffer – guitar, drums, percussion (2004) Jim White – drums (2006–2007) Carla Azar – drums (2006–2008, studio guest) Giovanni Ferrario – guitar (2006–2009) Awards and nominations List of awards and nominations received by PJ Harvey References Further reading External links – official site 1969 births Living people 20th-century British guitarists 20th-century English women singers 20th-century English singers 21st-century British guitarists 21st-century English women singers 21st-century English singers 21st-century multi-instrumentalists Alternative rock guitarists Alternative rock pianists Alternative rock singers Alumni of Central Saint Martins Autoharp players British alternative rock musicians English contraltos English women guitarists English multi-instrumentalists English rock guitarists English rock musicians English women singer-songwriters Women rock singers Island Records artists Ivor Novello Award winners Members of the Order of the British Empire NME Awards winners People from Beaminster People from Bridport People from Dorset Vagrant Records artists Women punk rock singers
true
[ "Before the Dawn was the second album by jazz/R&B singer Patrice Rushen. While 1974's Prelusion was essentially a straight-ahead record with fusion references, 1975's Before the Dawn album was essentially a fusion album. With this album Rushen brings a fusion of R&B, pop, and rock elements to her jazz foundation.\n\nThe album included the song \"What's the Story,\" which was \t\t\nthe only song that did not have a jazz artist's sound; it has a more funk tune which features singer Josie James. This would later be compared with songs from her follow-up albums as it showed great resemblance to her work as an R&B singer with Elektra Records. Everything else on the album, however, is instrumental jazz — although instrumental jazz that is mindful of R&B, pop, and rock. The album was a clear step for Rushen as it showed her entrance to R&B music and exit from jazz music.\n\nHer next album was Shout It Out, which would be her last with Prestige Records.\n\nTrack listing\nAll tracks composed and arranged by Patrice Rushen.\n\n \"Kickin' Back\" - 7:27\n \"Jubilation\" - 6:05\n \"What's the Story\" – 5:15\n \"Before the Dawn\" - 8:30\n \"Razzia\" - 9:41\n\nPersonnel \n Patrice Rushen – acoustic piano, electric piano, clavinet, synthesizers, tambourine, cabasa\n Lee Ritenour – guitars\n Charles Meeks – bass (1, 2, 4, 5)\n Tony Dumas – bass (3)\n Leon \"Ndugu\" Chancler – drums (1, 2)\n Harvey Mason – drums (3, 4, 5)\n Nate Alfred – percussion (1, 2, 5)\n Kenneth Nash – percussion (3, 4)\n Hadley Caliman – tenor saxophone (1, 2)\n George Bohanon – trombone (1, 2, 4)\n Oscar Brashear – trumpet, flugelhorn (1, 2, 4)\n Hubert Laws – flute, alto flute (3, 4)\n Josie James – vocals (3)\n Handclaps on \"What's the Story\" – Nate Alfred, Reggie Andrews, Thelette Bennett, Josie James, Charles Meeks, Charles Mims, Patrice Rushen, Evelyn Wesley, Jimmie Lee Wesley, Brenda White and Martha Young\n\nProduction \n Reggie Andrews – producer, remixing\n Charles Mims – special production assistance\n Skip Shimmin – engineer, remixing\n Patrice Rushen – remixing\n David Turner – mastering \n Phil Carroll – art direction, design\n Phil Bray – photography\n\nReferences\n\n1975 albums\nPatrice Rushen albums\nPrestige Records albums", "Songs of Her's is the debut compilation album by English indie pop band Her's. The nine-track album was released on 12 May 2017 through Heist or Hit Records. The compilation album consists of all of the band's recorded material up to that point, along with four new songs.\n\nBackground\nIn April 2016, Her's released their debut single \"Dorothy\". It was well received: Jamie Milton of DIY compared them to Wild Nothing, Beach Fossils and Ariel Pink. The next single, \"What Once Was\", was released the following month. In October, they released the single \"Marcel\", inspired by a lost ID card found in a wallet from a vintage shop. A review in The Line of Best Fit described the sound as a combination of British indie, tropical beach wave, and slacker rock. The next single, released in February 2017, was also reviewed in DIY. \"I'll Try\", the final single to be included on the album, was released in April 2017, and positively received in an NME review.\n\nRelease and reception\n\nSongs of Her's was officially released on 12 May 2017 to positive reviews from critics. In a four-star review, Will Fitzpatrick of The Skinny compared the album's sound positively to that of Mac DeMarco. Hassan Anderson of London in Stereo also compared the group's sound to DeMarco and to Frank Ocean, singling out new tracks \"You Don't Know This Guy\", \"Medieval\", and \"Cool With You\" as standouts.\n\nTrack listing\nAll music and lyrics by Her's.\n\nPersonnel\n Stephen Fitzpatrick – guitars, vocals, drum programming\n Audun Laading – bass guitar, backing vocals, drum programming\n\nReferences\n\n2017 albums" ]
[ "PJ Harvey", "To Bring You My Love and Is This Desire?: 1993-1999", "What is To Bring You My Love?", "In 1995 she released her third studio album, To Bring You My Love,", "Did she have any successful singles on this album?", "its lead single, \"Down by the Water.\"", "What was another big single on that album?", "-- \"C'mon Billy\", \"Send His Love to Me\" and \"Long Snake Moan\" -- were also moderately successful.", "How well did this album sell?", "The album was a commercial success selling one million copies worldwide", "What was her next album?", "Harvey began composing material that would end up on her fourth studio album," ]
C_4b99c8aa48a040e787e54447b64885ad_0
What was her fourth studio album?
6
What was PJ Harvey's fourth studio album?
PJ Harvey
As Harvey embarked on her solo career, she explored collaborations with other musicians. In 1995 she released her third studio album, To Bring You My Love, featuring former bandmate John Parish, Bad Seeds multi-instrumentalist Mick Harvey and French drummer Jean-Marc Butty, all of whom would continue to perform and record with Harvey throughout her career. The album was also her first material to be produced by Flood. Simultaneously a more blues-influenced and more futuristic record than its predecessors, To Bring You My Love showcased Harvey broadening her musical style to include strings, organs and synthesisers. Rolling Stone said in its review that "Harvey sings the blues like Nick Cave sings gospel: with more distortion, sex and murder than you remember. To Bring You My Love was a towering goth version of grunge." During the successive tours for the album, Harvey also experimented with her image and stage persona. The record generated a surprise modern rock radio hit in the United States with its lead single, "Down by the Water." Three consecutive singles -- "C'mon Billy", "Send His Love to Me" and "Long Snake Moan" -- were also moderately successful. The album was a commercial success selling one million copies worldwide including 370,000 in the United States. It was also certified Silver in the United Kingdom within seven months of its release, having sold over 60,000 copies. In the United States, the album was voted Album of the Year by The Village Voice, Rolling Stone, USA Today, People, The New York Times and the Los Angeles Times. Rolling Stone also named Harvey 1995's Artist of the Year and Spin ranked the album third in The 90 Greatest Albums of the '90s, behind Nirvana's Nevermind (1991) and Public Enemy's Fear of a Black Planet (1990). In 1996, following the international success of To Bring You My Love and other collaborations, Harvey began composing material that would end up on her fourth studio album, during what she referred to as "an incredibly low patch." The material diverged significantly from her former work and introduced electronica elements into her song-writing. During recording sessions in 1997 original PJ Harvey Trio drummer Rob Ellis rejoined Harvey's band, and Flood was hired again as producer. The sessions, which continued into April the following year, resulted in Is This Desire? (1998). Though originally released to mixed reviews in September 1998, the album was a success and received a Grammy Award nomination for Best Alternative Music Performance. The album's lead single, "A Perfect Day Elise," was moderately successful in the United Kingdom, peaking at number 25 on the UK Singles Chart, her most successful single to date. CANNOTANSWER
Is This Desire? (
Polly Jean Harvey (born 9 October 1969) is an English singer, songwriter and musician. Primarily known as a vocalist and guitarist, she is also proficient with a wide range of instruments. Harvey began her career in 1988 when she joined local band Automatic Dlamini as a vocalist, guitarist and saxophonist. The band's frontman, John Parish, became her long-term collaborator. In 1991, she formed an eponymous trio called PJ Harvey and subsequently began her career as PJ Harvey. The trio released two studio albums called Dry (1992) and Rid of Me (1993) before disbanding, after which Harvey continued as a solo artist. Since 1995, she has released a further nine studio albums with collaborations from various musicians including Parish, former bandmate Rob Ellis, Mick Harvey, and Eric Drew Feldman, and has also worked extensively with record producer Flood. Among the accolades Harvey has received are both the 2001 and 2011 Mercury Prize for Stories from the City, Stories from the Sea (2000) and Let England Shake (2011), respectively, making her the only artist to have been awarded the prize twice. She has also garnered eight Brit Award nominations, seven Grammy Award nominations and two further Mercury Prize nominations. Rolling Stone awarded her three accolades: 1992's Best New Artist and Best Singer Songwriter, and 1995's Artist of the Year. Rolling Stone also listed Rid of Me, To Bring You My Love, and Stories from the City, Stories from the Sea on its list of their 500 Greatest Albums of All Time. In 2011, she was awarded for Outstanding Contribution To Music at the NME Awards. In June 2013, she was awarded an MBE for services to music. Early life Polly Jean Harvey was born on 9 October 1969 in Bridport, Dorset, the second child of Ray and Eva Harvey. Her parents owned a quarrying business, and she grew up on the family farm in Corscombe. During her childhood, she attended school in nearby Beaminster, where she received guitar lessons from folk singer-songwriter Steve Knightley. Her parents introduced her to music that would later influence her work, including blues, Captain Beefheart and Bob Dylan. Her parents were avid music fans and regularly arranged get-togethers and small gigs, counting Ian Stewart among their oldest friends. As a teenager, Harvey began learning saxophone and joined an eight-piece instrumental group Bologne, run by composer Andrew Dickson. She was also a guitarist with folk duo the Polekats, with whom she wrote some of her earliest material. After finishing school, she joined Yeovil College and attended a visual arts foundation course. Career Automatic Dlamini: 1988–1991 In July 1988, Harvey became a member of Automatic Dlamini, a band based in Bristol with whom she gained extensive ensemble-playing experience. Formed by John Parish in 1983, the band consisted of a rotating line-up that at various times included Rob Ellis and Ian Oliver. Harvey had met Parish in 1987 through mutual friend Jeremy Hogg, the band's slide guitarist. Providing saxophone, guitars and background vocals, she travelled extensively during the band's early days, including performances in East and West Germany, Spain and Poland to support the band's debut studio album, The D is for Drum. A second European tour took place throughout June and July 1989. Following the tour, the band recorded Here Catch, Shouted His Father, their second studio album, between late 1989 and early 1990. This is the only Automatic Dlamini material to feature Harvey, but remains unreleased, although bootleg versions of the album are in circulation. In January 1991, Harvey left to form her own band with former bandmates Ellis and Oliver; yet she had formed lasting personal and professional relationships with certain members, especially Parish, whom she has referred to as her "musical soulmate". Parish would subsequently contribute to, and sometimes co-produce, Harvey's solo studio albums and has toured with her a number of times. As a duo, Parish and Harvey have recorded two collaborative albums where Parish composed the music and Harvey wrote the lyrics. Additionally, Parish's girlfriend in the late 1980s was photographer Maria Mochnacz. She and Harvey became close friends and Mochnacz went on to shoot and design most of Harvey's album artwork and music videos, contributing significantly to her public image. Harvey has said of her time with Automatic Dlamini: "I ended up not singing very much but I was just happy to learn how to play the guitar. I wrote a lot during the time I was with them but my first songs were crap. I was listening to a lot of Irish folk music at the time, so the songs were folky and full of penny whistles and stuff. It was ages before I felt ready to perform my own songs in front of other people." She also credits Parish for teaching her how to perform in front of audiences, saying "after the experience with John's band and seeing him perform I found it was enormously helpful to me as a performer to engage with people in the audience, and I probably did learn that from him, amongst other things." PJ Harvey Trio; Dry and Rid of Me: 1991–1993 In January 1991, following her departure from Automatic Dlamini, Harvey formed her own band with former bandmates Rob Ellis and Ian Oliver. Harvey decided to name the trio PJ Harvey after rejecting other names as "nothing felt right at all or just suggested the wrong type of sound", and also to allow her to continue music as a solo artist. The trio consisted of Harvey on vocals and guitar, Ellis on drums and backing vocals, and Oliver on bass. Oliver later departed to rejoin the still-active Automatic Dlamini. He was subsequently replaced with Steve Vaughan. The trio's "disastrous" debut performance was held at a skittle alley in Charmouth Village Hall in April 1991. Harvey later recounted the event saying: "we started playing and I suppose there was about fifty people there, and during the first song we cleared the hall. There was only about two people left. And a woman came up to us, came up to my drummer, it was only a three piece, while we were playing and shouted at him 'Don't you realise nobody likes you! We'll pay you, you can stop playing, we'll still pay you!'" The group relocated to London in June 1991 when Harvey applied to study sculpture, still undecided as to her future career. During this time, the group recorded a set of demo songs and distributed them to record labels. Independent label Too Pure agreed to release the band's debut single "Dress" in October 1991, and later signed PJ Harvey. "Dress" received mass critical acclaim upon its release and was voted Single of the Week in Melody Maker by guest reviewer John Peel, who admired "the way Polly Jean seems crushed by the weight of her own songs and arrangements, as if the air is literally being sucked out of them ... admirable if not always enjoyable." However, Too Pure provided little promotion for the single and critics claim that "Melody Maker had more to do with the success of the "Dress" single than Too Pure Records." A week after its release, the band recorded a live radio session for Peel on BBC Radio 1 on 29 October featuring "Oh, My Lover", "Victory", "Sheela-Na-Gig" and "Water". The following February, the trio released "Sheela-Na-Gig" as their equally-acclaimed second single and their debut studio album, Dry (1992), followed in March. Like the singles preceding it, Dry received an overwhelming international critical response. The album was cited by Kurt Cobain of Nirvana as his sixteenth-favourite album ever in his posthumously published Journals. Rolling Stone also named Harvey as Songwriter of the Year and Best New Female Singer. A limited edition double LP version of Dry was released alongside the regular version of the album, containing both the original and demo versions of each track, called Dry Demonstration, and the band also received significant coverage at the Reading Festival in 1992. Island (PolyGram) signed the trio amid a major label bidding war in mid-1992, and in December 1992 the trio travelled to Cannon Falls, Minnesota in the United States to record the follow-up to Dry with producer Steve Albini. Prior to recording with Albini, the band recorded a second session with John Peel on 22 September and recorded a version of Bob Dylan's "Highway 61 Revisited," and two new songs "Me Jane" and "Ecstasy." The recording sessions with Albini took place at Pachyderm Recording Studio and resulted in the band's major label debut Rid of Me in May 1993. Rolling Stone wrote that it "is charged with aggressive eroticism and rock fury. It careens from blues to goth to grunge, often in the space of a single song." The album was promoted by two singles, "50ft Queenie" and "Man-Size", as well as tours of the United Kingdom in May and of the United States in June, continuing there during the summer. However, during the American leg of the tour, internal friction started to form between the members of the trio. Deborah Frost, writing for Rolling Stone, noticed "an ever widening personal gulf" between the band members, and quoted Harvey as saying "It makes me sad. I wouldn't have got here without them. I needed them back then – badly. But I don't need them anymore. We all changed as people." Despite the tour's personal downsides, footage from live performances was compiled and released on the long-form video Reeling with PJ Harvey (1993). The band's final tour was to support U2 in August 1993, after which the trio officially disbanded. In her final appearance on American television in September 1993 on The Tonight Show with Jay Leno, Harvey performed a solo version of "Rid of Me." As Rid of Me sold substantially more copies than Dry, 4-Track Demos, a compilation album of demos for the album was released in October and inaugurated her career as a solo artist. In early 1994, it was announced that U2's manager, Paul McGuinness, had become her manager. To Bring You My Love and Is This Desire?: 1993–1999 As Harvey embarked on her solo career, she explored collaborations with other musicians. In 1995 she released her third studio album, To Bring You My Love, featuring former bandmate John Parish, Bad Seeds multi-instrumentalist Mick Harvey and French drummer Jean-Marc Butty, all of whom would continue to perform and record with Harvey throughout her career. The album was also her first material to be produced by Flood. Simultaneously a more blues-influenced and more futuristic record than its predecessors, To Bring You My Love showcased Harvey broadening her musical style to include strings, organs and synthesisers. Rolling Stone said in its review that "Harvey sings the blues like Nick Cave sings gospel: with more distortion, sex and murder than you remember. To Bring You My Love was a towering goth version of grunge." During the successive tours for the album, Harvey also experimented with her image and stage persona. The record generated a surprise modern rock radio hit in the United States with its lead single, "Down by the Water." Three consecutive singles—"C'mon Billy", "Send His Love to Me" and "Long Snake Moan"—were also moderately successful. The album was a commercial success selling one million copies worldwide including 370,000 in the United States. It was also certified Silver in the United Kingdom within seven months of its release, having sold over 60,000 copies. In the United States, the album was voted Album of the Year by The Village Voice, Rolling Stone, USA Today, People, The New York Times and the Los Angeles Times. Rolling Stone also named Harvey 1995's Artist of the Year and Spin ranked the album third in The 90 Greatest Albums of the 1990s, behind Nirvana's Nevermind (1991) and Public Enemy's Fear of a Black Planet (1990). In July 2020, a vinyl reissue of To Bring You My Love was announced, including unreleased demos. In 1996, following the international success of To Bring You My Love and other collaborations, Harvey began composing material that would end up on her fourth studio album, during what she referred to as "an incredibly low patch". The material diverged significantly from her previous work and introduced electronica elements into her song-writing. During recording sessions in 1997 original PJ Harvey Trio drummer Rob Ellis rejoined Harvey's band, and Flood was hired again as producer. The sessions, which continued into April the following year, resulted in Is This Desire? (1998). Though originally released to mixed reviews in September 1998, the album was a success and received a Grammy Award nomination for Best Alternative Music Performance. The album's lead single, "A Perfect Day Elise," was moderately successful in the United Kingdom, peaking at number 25 on the UK Singles Chart, her most successful single to date. Stories from the City, Stories from the Sea and Uh Huh Her: 2000–2006 In early 2000, Harvey began work on her fifth studio album Stories from the City, Stories from the Sea with Rob Ellis and Mick Harvey. Written in her native Dorset, Paris and New York, the album showcased a more mainstream indie rock and pop rock sound to her previous albums and the lyrics followed themes of love that tied into Harvey's affection for New York City. The album also featured Radiohead frontman Thom Yorke on three tracks, including his lead vocals on "This Mess We're in." Upon its release in October 2000 the album was a critical and commercial success, selling over one million copies worldwide and charting in both the United Kingdom and the United States. The album's three singles—"Good Fortune", "A Place Called Home" and "This Is Love"—were moderately successful. The album also received a number of accolades including a BRIT Award nomination for Best Female Artist and two Grammy Award nominations for Best Rock Album and Best Female Rock Performance for the album's third single, "This Is Love". However, most notably, Harvey was nominated for, and won, the 2001 Mercury Music Prize. The awards ceremony was held on the same day as the September 11 attacks on the United States and Harvey was on tour in Washington, D.C., one of the affected cities, when she won the prize. Reflecting on the win in 2011, she said: "quite naturally I look back at that and only remember the events that were taking place across the world and to win the prize on that day—it didn't have much importance in the grand scheme of things", noting "it was a very surreal day". The same year, Harvey also topped a readers' poll conducted by Q Magazine of the 100 Greatest Women in Rock Music. During three years of various collaborations with other artists, Harvey was also working on her sixth studio album, Uh Huh Her, which was released in May 2004. For the first time since 4-Track Demos (1993), Harvey played every instrument—with the exception of drums provided by Rob Ellis—and was the sole producer. The album received "generally favourable reviews" by critics, though its production was often criticised. It was also a commercial success, debuting and peaking at number 12 in the UK Albums Chart and being certified Silver by the BPI within a month of its release. Harvey also did an extensive world tour in promotion of the album, lasting seven months in total. Selected recordings from the tour were included on Harvey's first live DVD, On Tour: Please Leave Quietly, directed by Maria Mochnacz and released in 2006. White Chalk and Let England Shake: 2007–2014 During her first performance since the Uh Huh Her tour at the Hay Festival of Literature & Arts on 26 May 2006, Harvey revealed that her next studio album would be almost entirely piano-based. Following the October release of The Peel Sessions 1991–2004, a compilation of songs recorded from 1991 to 2000 during her radio sessions with John Peel, she began recording her seventh studio album White Chalk in November, together with Flood, John Parish and Eric Drew Feldman and drummer Jim White in a studio in West London. White Chalk was released in September 2007 and marked a radical departure from her usual alternative rock style, consisting mainly of piano ballads. The album received favourable reviews, its style being described by one critic as containing "pseudo-Victorian elements—drama, restraint, and antiquated instruments and sounds." Harvey herself said of the album: "when I listen to the record I feel in a different universe, really, and I'm not sure whether it's in the past or in the future. The record confuses me, that's what I like—it doesn't feel of this time right now, but I'm not sure whether it's 100 years ago or 100 years in the future", summing up the album's sound as "really weird." During the tour for the album Harvey performed without a backing band, and also began performing on an autoharp, which continues to be her primary instrument after guitar and has influenced her material since White Chalk. In April 2010, Harvey appeared on The Andrew Marr Show to perform a new song titled "Let England Shake." In a pre-performance interview with Marr, she stated that the new material she had written had been "formed out of the landscape that I've grown up in and the history of this nation" and as "a human being affected by politics." Her eighth studio album Let England Shake was released in February 2011, and received universal critical acclaim. NMEs 10/10 review summarised the album as "a record that ventures deep into the heart of darkness of war itself and its resonance throughout England's past, present and future" and other reviews also noted its themes and writing style as "bloody and forceful," mixing "ethereal form with brutal content," and "her most powerful." Dealing with the ongoing conflict in Afghanistan and other episodes from English history, the album featured John Parish, Mick Harvey and Jean-Marc Butty as Harvey's backing band and the quartet toured extensively in its promotion. Following the release of the album's two well-received singles—"The Words That Maketh Murder" and "The Glorious Land"—and the collection of short films by Seamus Murphy to accompany the album, Harvey won her second Mercury Music Prize on 6 September. The award marked her as the first artist to receive the award twice, entering her into The Guinness Book of Records as the only artist to have achieved this., and sales of Let England Shake increased 1,190% overnight following her win. On 23 September, Let England Shake was certified Gold in the United Kingdom and was listed as album of the year by MOJO and Uncut. On 3 August 2013, Harvey released a song Shaker Aamer in support of the Guantanamo Bay detention camp detainee by the same name who was the last British citizen to be held there. The song describes in detail what Aamer endured during his four-month hunger strike. The Hope Six Demolition Project: 2015–present On 16 January 2015, PJ Harvey began recording her ninth studio album, The Hope Six Demolition Project, in front of a live audience. A custom built recording studio was made in London's Somerset House. Uncut magazine noted that much like her previous album Let England Shake, many of the lyrics were politically charged, but this time it was more globally focused. While recording she was shown to be using saxophones, an autoharp and a bouzouki. Flood was confirmed to be the producer of the album. On 18 December 2015, Harvey released a 20-second teaser for the album, which contained a release date of spring 2016. On 21 January 2016, the debut single, "The Wheel", was played on Steve Lamacq's show on BBC Radio 6 Music. The album was released on 15 April. A new video, "The Orange Monkey", was shared on 2 June 2016. Directed by Irish filmmaker Seamus Murphy, it was made from footage of Murphy's and Harvey's trips to Afghanistan. The album reached #1 on the UK Albums Chart and was nominated for a Grammy Award in the Best Alternative Music Album category. Harvey spent much of 2016 and 2017 touring the world with her nine-piece band, taking her critically lauded live show around North America, South America, Europe and Australasia. Collaborations and projects Besides her own work, Harvey has also collaborated with a number of other artists. In 1995, she recorded a duet of American folk song "Henry Lee" with partner Nick Cave and also featured on the Bob Dylan cover "Death is Not the End," both released on Nick Cave and the Bad Seeds' Murder Ballads (1996). In the same year she sang the theme song "Who Will Love Me Now?" on Philip Ridley's film The Passion of Darkly Noon. After her 1995 tour, she met Pascal Comelade and decided to collaborate with him, singing on several tracks including "Love too Soon" on his album L'Argot du Bruit. In May 1998, before the release of Is This Desire?, she featured on Tricky's Angels with Dirty Faces, performing lead vocals on "Broken Homes", and also contributed to Sparklehorse's 2001 album It's a Wonderful Life performing guitar, piano and background vocals on two songs, "Eyepennies" and "Piano Fire." Following the tour in promotion of Stories from the City, Stories from the Sea, she contributed vocals to eight tracks on Volume 9: I See You Hearin' Me and Volume 10: I Heart Disco by Josh Homme's side project The Desert Sessions, also appearing in the music video for "Crawl Home." Throughout 2004, Harvey produced Tiffany Anders' album Funny Cry Happy Gift, and also produced, performed on and wrote five songs for Marianne Faithfull's album Before the Poison, and contributed background vocals on "Hit the City," "Methamphetamine Blues" and "Come to Me" on Mark Lanegan's album Bubblegum. Harvey contributed the song "Slow-Motion Movie-Star", an outtake from Stories from the City, Stories from the Sea, to Mick Harvey's fourth studio album, Two of Diamonds, released in 2007. Harvey has also recorded two studio albums with long-time collaborator John Parish. Dance Hall at Louse Point (1996) was written collectively with Parish with the exception of the song "Is That All There Is?", written by Jerry Leiber and Mike Stoller. The album also listed her as Polly Jean Harvey, which may have impacted album sales. Harvey has also reflected on how the album was "an enormous turning point" and "lyrically, it moved me into areas I'd never been to before." In 1998, she also performed lead vocals on "Airplane Blues," as a soundtrack accompaniment to the Wingwalkers art exhibition by Rebecca Goddard and Parish's wife, Michelle Henning, which was released as the closing song on Parish's second solo album How Animals Move in 2002. Following the release of White Chalk, Harvey reunited with Parish to record A Woman a Man Walked By, released in March 2009. Like Dance Hall at Louse Point, the album received positive reviews and was a moderate commercial success, peaking at number 25 in the UK Albums Chart. She collaborated with Egyptian artist Ramy Essam on "The Camp", a charity single released in June 2017 to benefit displaced children in the Lebanese Bekaa Valley fleeing the Syrian Civil War. Aside from collaborations, Harvey has also embarked on a number of projects as a composer. In January 2009, a new stage production of Henrik Ibsen's Hedda Gabler opened on Broadway. Directed by Ian Rickson and starring Mary-Louise Parker in the title role, the play featured an original score of incidental music written by Harvey. In November 2011, Harvey also composed part of the score for the Young Vic's long-running production of Hamlet in London. In May 2012, Harvey composed two songs, "Horse" and "Bobby Don't Steal", for Mark Cousins' film What is This Film Called Love?, which also features "To Bring You My Love". In 2014, a number of Harvey's songs were featured in the second season of Peaky Blinders. In March 2018, Harvey and Parish released a song called "Sorry For Your Loss" as tribute to singer-songwriter Mark Linkous, who committed suicide in 2010. In 2019, Harvey composed the score for Shane Meadows' miniseries, The Virtues, broadcast on Channel 4. Musical style and influences Harvey possesses an expansive contralto vocal range. Harvey dislikes repeating herself in her music, resulting in very different-sounding albums. In an October 2004 interview with Rolling Stone, she said: "when I'm working on a new record, the most important thing is to not repeat myself ... that's always my aim: to try and cover new ground and really to challenge myself. Because I'm in this for learning." While her musical style has been described as alternative rock, punk blues, art rock, and avant-rock, she has experimented with various other genres including electronica, indie rock and folk music. She is also known for changing her physical appearance for each album by altering her mode of dress or hairstyle, creating a unique aesthetic that extends to all aspects of the album, from the album art to the live performances. She works closely with friend and photographer Maria Mochnacz to develop the visual style of each album. Around the time of To Bring You My Love, for example, Harvey began experimenting with her image and adopting a theatrical aspect to her live performances. Her former fashion style, which consisted of simple black leggings, turtleneck sweaters and Doc Martens boots, was replaced by ballgowns, catsuits, wigs and excessive make-up. She also began using stage props like a Ziggy Stardust-style flashlight microphone. She denied the influence of drag, Kabuki or performance art on her new image, a look she affectionately dubbed "Joan Crawford on acid" in an interview with Spin in 1996, but admitted that "it's that combination of being quite elegant and funny and revolting, all at the same time, that appeals to me. I actually find wearing make-up like that, sort of smeared around, as extremely beautiful. Maybe that's just my twisted sense of beauty." However, she later told Dazed & Confused magazine, "that was kind of a mask. It was much more of a mask than I've ever had. I was very lost as a person, at that point. I had no sense of self left at all", and has never repeated the overt theatricality of the To Bring You My Love tour. At an early age, she was introduced by her parents to blues music, jazz and art rock, which would later influence her: "I was brought up listening to John Lee Hooker, to Howlin' Wolf, to Robert Johnson, and a lot of Jimi Hendrix and Captain Beefheart. So I was exposed to all these very compassionate musicians at a very young age, and that's always remained in me and seems to surface more as I get older. I think the way we are as we get older is a result of what we knew when we were children." Other influential artists were "Nina Simone, the Rolling Stones, people like that I grew up listening to but find I returned to". During her teenage years, she began listening to new wave and synthpop bands such as Soft Cell, Duran Duran and Spandau Ballet, although later stated that it was a phase when she was "having a bit of a rebellion against my parents' record collection." In her later teenage years, she became a fan of Pixies, and she then listened to Slint. She has named Bob Dylan, and Neil Young, when talking about her influences. Many critics have compared Harvey to Patti Smith, which Harvey dismisses as "lazy journalism". However, recently Harvey has said that Smith is "so energising to see and so passionate with what she's doing". Harvey has also cited Siouxsie Sioux in terms of live performance, stating : "She is so exciting to watch, so full of energy and human raw quality". She has also drawn inspiration from Russian folk music, Italian soundtrack composer Ennio Morricone, classical composers like Arvo Pärt, Erik Satie, Samuel Barber, and Henryk Górecki. As a lyricist, Harvey has cited numerous poets, authors and lyricists as influences on her work including Harold Pinter, T. S. Eliot, William Butler Yeats, James Joyce, Ted Hughes and contemporaries such as Shane MacGowan and Jez Butterworth. Other ventures Outside her better-known music career, Harvey is also an occasional artist and actress. In 1998, she appeared in Hal Hartley's film The Book of Life as Magdalena—a modern-day character based on the Biblical Mary Magdalene—and had a cameo role as a Playboy Bunny in A Bunny Girl's Tale, a short film directed by Sarah Miles, in which she also performs "Nina in Ecstasy", an outtake from Is This Desire? (1998). Harvey also collaborated with Miles on another film, Amaeru Fallout 1972, which includes Harvey performing a cover of "When Will I See You Again." Harvey is also an accomplished sculptor who has had several pieces exhibited at the Lamont Gallery and the Bridport Arts Centre. In 2010, she was invited to be the guest designer for the summer issue of Francis Ford Coppola's literary magazine Zoetrope: All-Story. The issue featured Harvey's paintings and drawings alongside short stories by Woody Allen. Speaking of her artistic contributions to the magazine in 2011, Harvey said: "the first opportunity I ever had to show any work was in this magazine. They were drawn while I was writing and recording the record (Let England Shake). It does relate to the record in the way the cycle keeps happening." In December 2013, Harvey gave her debut public poetry reading at the British Library. On 2 January 2014, she guest-edited BBC Radio 4's Today programme. In October 2015, Harvey published her first collection of poetry, a collaboration with photographer Seamus Murphy, entitled The Hollow of The Hand. To create the book, PJ Harvey and Seamus Murphy made several journeys to Kosovo, Afghanistan and Washington, D.C. Their experiences were documented in Murphy's film A Dog Called Money, which was released in UK cinemas and online on 8 November 2019. Seamus Murphy had previously worked with PJ Harvey to create 12 Short Films for Let England Shake. Personal life Harvey rejects the notion that her song lyrics are autobiographical, telling The Times in 1998: "the tortured artist myth is rampant. People paint me as some kind of black witchcraft-practising devil from hell, that I have to be twisted and dark to do what I am doing. It's a load of rubbish". What is more, she later told Spin: "some critics have taken my writing so literally to the point that they'll listen to 'Down by the Water' and believe I have actually given birth to a child and drowned her." In the early 1990s, Harvey was romantically involved with drummer and photographer Joe Dilworth. From 1996 to 1997, following their musical collaborations, Harvey had a relationship with Nick Cave, and their subsequent break-up influenced Cave's follow-up studio album The Boatman's Call (1997), with songs such as "Into My Arms", "West Country Girl" and "Black Hair" being written specifically about her. Harvey has one older brother, Saul, and four nephews through him. She expressed a fondness for children in 1995 and stated that she would love to have them, saying: "I wouldn't consider it unless I was married. I would have to meet someone that I wanted to spend the rest of my life with. That's the only person who I would want to be the father of my children. Maybe that will never happen. I obviously see it in a very rational way but I'd love to have children." Harvey has encountered widespread opposition to a comment made in favour of fox hunting in a 1998 NME magazine feature, which reported Harvey saying she was not opposed to fox hunting and that, "Seeing the hunt out on the fields is just so natural to me." Harvey was appointed Member of the Order of the British Empire (MBE) by Queen Elizabeth II in the 2013 Birthday Honours for services to music. Discography Dry (1992) Rid of Me (1993) To Bring You My Love (1995) Is This Desire? (1998) Stories from the City, Stories from the Sea (2000) Uh Huh Her (2004) White Chalk (2007) Let England Shake (2011) The Hope Six Demolition Project (2016) Personnel Current members Polly Harvey – vocals, saxophone, guitar, autoharp, piano, organ, keyboards, violin, cello, vibraphone, marimba, bells & chimes, percussion, djembe, bass, e-bow, melodica, zither, harmonica, harp, cigfiddle (1991–present) Terry Edwards – backing vocals, saxophones, percussion, keyboards, guitar, flute, bass harmonica, melodica, trumpet (1993 live performance guest, 1997 studio guest, 2014–2017) James Johnston – backing vocals, keyboards, violin, guitar, organ (1993 live performance guest, 2014–2017) John Parish – backing vocals, guitar, drums, keyboards, bass, banjo, organ, ukulele, trombone, rhodes, mellotron, xylophone, percussion (1994–1998, 2006–present) Mick Harvey – backing vocals, bass, keyboards, organ, guitar, drums, harmonium, accordion, bass harmonica, piano, rhodes, xylophone, percussion (1994–2001, 2009–present) Jean-Marc Butty – backing vocals, drums, percussion (1994–1996, 2006–present) Alain Johannes – backing vocals, guitars, keyboards, percussion, saxophone (2014–2017) Kenrick Rowe – backing vocals, percussion (2014–2017) Enrico Gabrielli – backing vocals, percussion, bass clarinet, swanee whistle, basset clarinet (2014–2017) Alessandro Stefana – backing vocals, guitars (2014–2017) Former collaborators Rob Ellis – drums & percussion, vocals, harmonium, piano, electric piano, tambourine,synthesizer, keyboards, bells, harpsichord, vibraphone (1991–1993, 1996–2005) Ian Oliver – bass (1991, 2003) Steve Vaughan – bass (1991–1993) Nick Bagnall – bass, keyboards (1994–1995) Joe Gore – guitar, e-bow (1994–1996) Eric Drew Feldman – piano, keyboards, bass, optigan, mellotron, minimoog, backing vocals (1994–2001, 2006–2009) Jeremy Hogg – guitar (1996–1998) Margaret Fiedler – guitar, cello (2000–2001) Tim Farthing – guitar (2000–2001) Simon "Dingo" Archer – bass (2004) Josh Klinghoffer – guitar, drums, percussion (2004) Jim White – drums (2006–2007) Carla Azar – drums (2006–2008, studio guest) Giovanni Ferrario – guitar (2006–2009) Awards and nominations List of awards and nominations received by PJ Harvey References Further reading External links – official site 1969 births Living people 20th-century British guitarists 20th-century English women singers 20th-century English singers 21st-century British guitarists 21st-century English women singers 21st-century English singers 21st-century multi-instrumentalists Alternative rock guitarists Alternative rock pianists Alternative rock singers Alumni of Central Saint Martins Autoharp players British alternative rock musicians English contraltos English women guitarists English multi-instrumentalists English rock guitarists English rock musicians English women singer-songwriters Women rock singers Island Records artists Ivor Novello Award winners Members of the Order of the British Empire NME Awards winners People from Beaminster People from Bridport People from Dorset Vagrant Records artists Women punk rock singers
true
[ "The discography of Ira Losco, a Maltese singer, contains five studio albums and forty-three singles. She represented Malta at the Eurovision Song Contest 2002 in Tallinn, Estonia with the song \"7th Wonder\", the song went on to finish second in the Final which was won by Marie N from Latvia with the song \"I Wanna\". She represented her country for the second time at Eurovision Song Contest 2016 in Stockholm, Sweden with the song \"Walk on Water\" and finished 11th (Ties with The Netherlands) in the grand final.\n\nHer debut studio album, Someone Else, was released in April 2004. The album includes the singles \"Love Me Or Hate Me\", \"Who I Am\", \"Someone Else\", \"Say Hey\", \"I'm In Love Again\" and \"Must've Been Good\". Her first Remix album, Blends & Remixes of Someone Else, was released in January 2005. Her second studio album, Accident Prone, was released in November 2005. The album includes the singles \"Everyday\", \"Get Out\", \"Don't Wanna Talk About It\", \"Driving One Of Your Cars\", \"Accident Prone\", \"Uh-Oh\" and \"Waking Up To The Light\". Her third studio album, Unmasked, was released in December 2006. The album includes the singles \"Winter Day\" and \"Arms Of The Ones...\". Her fourth studio album, Fortune Teller, was released in June 2008. The album includes the singles \"Something To Talk About\", \"Don't Look Down\", \"Idle Motion\", \"Promises\", \"Elvis Can You Hear Me?\", \"Shoulders of Giants\", \"What's The Matter With You?\" and \"Fortune Teller\". Her second Remix album, Mixed Beats, was released in August 2009. The album includes the singles \"What's The Matter With Your Cabrio\", \"Shoulders of Giants\" and \"Love Song\". Her fifth studio album, The Fire, was released in March 2013. The album includes the singles \"What I'd Give\", \"The Person I Am\", \"Me Luv U Long Time\" and \"The Way It's Meant To Be\".\n\nAlbums\n\nStudio albums\n\nRemix albums\n\nCompilation albums\n\nSingles\n\nAs lead artist\n\nOther appearances\n\nCovers & Re-Makes\n Ira re-made the track \"Say Hey\" featuring aspiring singer Caroline Stapley in 2004. The track was just a radio hit and is not featured in any album or single.\n Michelle Hunziker covered the tracks \"Get Out\", \"Love Me Or Hate Me\" and \"Someone Else\" for her debut album \"Lole\" in 2006.\n \"Accident Prone\" was remixed by DJ Ruby, Thomas Penton & Alex Armes, but wasn't featured in any album.\n Riffs from \"Uh Oh\" were sampled on Kelly Clarkson's track \"Don't Waste Your Time\".\n\nReferences\n\nExternal links\n Official Website\n\nDiscographies of Maltese artists\nPop music discographies", "The discography of English singer-songwriter Lucy Spraggan consists of 6 studio albums, 1 EP, 12 singles and 14 music videos. Her debut studio album, Top Room at the Zoo, was released in October 2011. The album peaked at number twenty-two on the UK Albums Chart. Her second studio album, Join the Club, was released in October 2013. The album peaked at number seven on the UK Albums Chart. The album includes the singles \"Tea and Toast\", \"Lighthouse\" and \"Last Night (Beer Fear)\". Her third studio album, We Are, was released in May 2015. The album peaked at number seventeen on the UK Albums Chart. The album includes the single \"Unsinkable\". Her fourth studio album, I Hope You Don't Mind Me Writing, was released in January 2017. The album peaked at number twelve on the UK Albums Chart. The album includes the singles \"Dear You\" and \"Modern Day Frankenstein\". Her fifth studio album, Today Was a Good Day, was released in May 2019. The album peaked at number twelve on the UK Albums Chart. The album includes the singles \"Stick the Kettle On\" and \"Lucky Stars\". Her sixth studio album, Choices, was released in February 2021. The album was preceded by singles \"Flowers\", \"Sober\" and \"Roots\".\n\nAlbums\n\nExtended plays\n\nSingles\n\nAs lead artist\n\nAs featured artist\n\nPromotional singles\n\nOther charted songs\n\nMusic videos\n\nNotes\n\nReferences\n\nDiscographies of British artists" ]
[ "PJ Harvey", "To Bring You My Love and Is This Desire?: 1993-1999", "What is To Bring You My Love?", "In 1995 she released her third studio album, To Bring You My Love,", "Did she have any successful singles on this album?", "its lead single, \"Down by the Water.\"", "What was another big single on that album?", "-- \"C'mon Billy\", \"Send His Love to Me\" and \"Long Snake Moan\" -- were also moderately successful.", "How well did this album sell?", "The album was a commercial success selling one million copies worldwide", "What was her next album?", "Harvey began composing material that would end up on her fourth studio album,", "What was her fourth studio album?", "Is This Desire? (" ]
C_4b99c8aa48a040e787e54447b64885ad_0
How well did this album sell?
7
How well did Is This Desire sell?
PJ Harvey
As Harvey embarked on her solo career, she explored collaborations with other musicians. In 1995 she released her third studio album, To Bring You My Love, featuring former bandmate John Parish, Bad Seeds multi-instrumentalist Mick Harvey and French drummer Jean-Marc Butty, all of whom would continue to perform and record with Harvey throughout her career. The album was also her first material to be produced by Flood. Simultaneously a more blues-influenced and more futuristic record than its predecessors, To Bring You My Love showcased Harvey broadening her musical style to include strings, organs and synthesisers. Rolling Stone said in its review that "Harvey sings the blues like Nick Cave sings gospel: with more distortion, sex and murder than you remember. To Bring You My Love was a towering goth version of grunge." During the successive tours for the album, Harvey also experimented with her image and stage persona. The record generated a surprise modern rock radio hit in the United States with its lead single, "Down by the Water." Three consecutive singles -- "C'mon Billy", "Send His Love to Me" and "Long Snake Moan" -- were also moderately successful. The album was a commercial success selling one million copies worldwide including 370,000 in the United States. It was also certified Silver in the United Kingdom within seven months of its release, having sold over 60,000 copies. In the United States, the album was voted Album of the Year by The Village Voice, Rolling Stone, USA Today, People, The New York Times and the Los Angeles Times. Rolling Stone also named Harvey 1995's Artist of the Year and Spin ranked the album third in The 90 Greatest Albums of the '90s, behind Nirvana's Nevermind (1991) and Public Enemy's Fear of a Black Planet (1990). In 1996, following the international success of To Bring You My Love and other collaborations, Harvey began composing material that would end up on her fourth studio album, during what she referred to as "an incredibly low patch." The material diverged significantly from her former work and introduced electronica elements into her song-writing. During recording sessions in 1997 original PJ Harvey Trio drummer Rob Ellis rejoined Harvey's band, and Flood was hired again as producer. The sessions, which continued into April the following year, resulted in Is This Desire? (1998). Though originally released to mixed reviews in September 1998, the album was a success and received a Grammy Award nomination for Best Alternative Music Performance. The album's lead single, "A Perfect Day Elise," was moderately successful in the United Kingdom, peaking at number 25 on the UK Singles Chart, her most successful single to date. CANNOTANSWER
The album was a commercial success selling one million copies worldwide
Polly Jean Harvey (born 9 October 1969) is an English singer, songwriter and musician. Primarily known as a vocalist and guitarist, she is also proficient with a wide range of instruments. Harvey began her career in 1988 when she joined local band Automatic Dlamini as a vocalist, guitarist and saxophonist. The band's frontman, John Parish, became her long-term collaborator. In 1991, she formed an eponymous trio called PJ Harvey and subsequently began her career as PJ Harvey. The trio released two studio albums called Dry (1992) and Rid of Me (1993) before disbanding, after which Harvey continued as a solo artist. Since 1995, she has released a further nine studio albums with collaborations from various musicians including Parish, former bandmate Rob Ellis, Mick Harvey, and Eric Drew Feldman, and has also worked extensively with record producer Flood. Among the accolades Harvey has received are both the 2001 and 2011 Mercury Prize for Stories from the City, Stories from the Sea (2000) and Let England Shake (2011), respectively, making her the only artist to have been awarded the prize twice. She has also garnered eight Brit Award nominations, seven Grammy Award nominations and two further Mercury Prize nominations. Rolling Stone awarded her three accolades: 1992's Best New Artist and Best Singer Songwriter, and 1995's Artist of the Year. Rolling Stone also listed Rid of Me, To Bring You My Love, and Stories from the City, Stories from the Sea on its list of their 500 Greatest Albums of All Time. In 2011, she was awarded for Outstanding Contribution To Music at the NME Awards. In June 2013, she was awarded an MBE for services to music. Early life Polly Jean Harvey was born on 9 October 1969 in Bridport, Dorset, the second child of Ray and Eva Harvey. Her parents owned a quarrying business, and she grew up on the family farm in Corscombe. During her childhood, she attended school in nearby Beaminster, where she received guitar lessons from folk singer-songwriter Steve Knightley. Her parents introduced her to music that would later influence her work, including blues, Captain Beefheart and Bob Dylan. Her parents were avid music fans and regularly arranged get-togethers and small gigs, counting Ian Stewart among their oldest friends. As a teenager, Harvey began learning saxophone and joined an eight-piece instrumental group Bologne, run by composer Andrew Dickson. She was also a guitarist with folk duo the Polekats, with whom she wrote some of her earliest material. After finishing school, she joined Yeovil College and attended a visual arts foundation course. Career Automatic Dlamini: 1988–1991 In July 1988, Harvey became a member of Automatic Dlamini, a band based in Bristol with whom she gained extensive ensemble-playing experience. Formed by John Parish in 1983, the band consisted of a rotating line-up that at various times included Rob Ellis and Ian Oliver. Harvey had met Parish in 1987 through mutual friend Jeremy Hogg, the band's slide guitarist. Providing saxophone, guitars and background vocals, she travelled extensively during the band's early days, including performances in East and West Germany, Spain and Poland to support the band's debut studio album, The D is for Drum. A second European tour took place throughout June and July 1989. Following the tour, the band recorded Here Catch, Shouted His Father, their second studio album, between late 1989 and early 1990. This is the only Automatic Dlamini material to feature Harvey, but remains unreleased, although bootleg versions of the album are in circulation. In January 1991, Harvey left to form her own band with former bandmates Ellis and Oliver; yet she had formed lasting personal and professional relationships with certain members, especially Parish, whom she has referred to as her "musical soulmate". Parish would subsequently contribute to, and sometimes co-produce, Harvey's solo studio albums and has toured with her a number of times. As a duo, Parish and Harvey have recorded two collaborative albums where Parish composed the music and Harvey wrote the lyrics. Additionally, Parish's girlfriend in the late 1980s was photographer Maria Mochnacz. She and Harvey became close friends and Mochnacz went on to shoot and design most of Harvey's album artwork and music videos, contributing significantly to her public image. Harvey has said of her time with Automatic Dlamini: "I ended up not singing very much but I was just happy to learn how to play the guitar. I wrote a lot during the time I was with them but my first songs were crap. I was listening to a lot of Irish folk music at the time, so the songs were folky and full of penny whistles and stuff. It was ages before I felt ready to perform my own songs in front of other people." She also credits Parish for teaching her how to perform in front of audiences, saying "after the experience with John's band and seeing him perform I found it was enormously helpful to me as a performer to engage with people in the audience, and I probably did learn that from him, amongst other things." PJ Harvey Trio; Dry and Rid of Me: 1991–1993 In January 1991, following her departure from Automatic Dlamini, Harvey formed her own band with former bandmates Rob Ellis and Ian Oliver. Harvey decided to name the trio PJ Harvey after rejecting other names as "nothing felt right at all or just suggested the wrong type of sound", and also to allow her to continue music as a solo artist. The trio consisted of Harvey on vocals and guitar, Ellis on drums and backing vocals, and Oliver on bass. Oliver later departed to rejoin the still-active Automatic Dlamini. He was subsequently replaced with Steve Vaughan. The trio's "disastrous" debut performance was held at a skittle alley in Charmouth Village Hall in April 1991. Harvey later recounted the event saying: "we started playing and I suppose there was about fifty people there, and during the first song we cleared the hall. There was only about two people left. And a woman came up to us, came up to my drummer, it was only a three piece, while we were playing and shouted at him 'Don't you realise nobody likes you! We'll pay you, you can stop playing, we'll still pay you!'" The group relocated to London in June 1991 when Harvey applied to study sculpture, still undecided as to her future career. During this time, the group recorded a set of demo songs and distributed them to record labels. Independent label Too Pure agreed to release the band's debut single "Dress" in October 1991, and later signed PJ Harvey. "Dress" received mass critical acclaim upon its release and was voted Single of the Week in Melody Maker by guest reviewer John Peel, who admired "the way Polly Jean seems crushed by the weight of her own songs and arrangements, as if the air is literally being sucked out of them ... admirable if not always enjoyable." However, Too Pure provided little promotion for the single and critics claim that "Melody Maker had more to do with the success of the "Dress" single than Too Pure Records." A week after its release, the band recorded a live radio session for Peel on BBC Radio 1 on 29 October featuring "Oh, My Lover", "Victory", "Sheela-Na-Gig" and "Water". The following February, the trio released "Sheela-Na-Gig" as their equally-acclaimed second single and their debut studio album, Dry (1992), followed in March. Like the singles preceding it, Dry received an overwhelming international critical response. The album was cited by Kurt Cobain of Nirvana as his sixteenth-favourite album ever in his posthumously published Journals. Rolling Stone also named Harvey as Songwriter of the Year and Best New Female Singer. A limited edition double LP version of Dry was released alongside the regular version of the album, containing both the original and demo versions of each track, called Dry Demonstration, and the band also received significant coverage at the Reading Festival in 1992. Island (PolyGram) signed the trio amid a major label bidding war in mid-1992, and in December 1992 the trio travelled to Cannon Falls, Minnesota in the United States to record the follow-up to Dry with producer Steve Albini. Prior to recording with Albini, the band recorded a second session with John Peel on 22 September and recorded a version of Bob Dylan's "Highway 61 Revisited," and two new songs "Me Jane" and "Ecstasy." The recording sessions with Albini took place at Pachyderm Recording Studio and resulted in the band's major label debut Rid of Me in May 1993. Rolling Stone wrote that it "is charged with aggressive eroticism and rock fury. It careens from blues to goth to grunge, often in the space of a single song." The album was promoted by two singles, "50ft Queenie" and "Man-Size", as well as tours of the United Kingdom in May and of the United States in June, continuing there during the summer. However, during the American leg of the tour, internal friction started to form between the members of the trio. Deborah Frost, writing for Rolling Stone, noticed "an ever widening personal gulf" between the band members, and quoted Harvey as saying "It makes me sad. I wouldn't have got here without them. I needed them back then – badly. But I don't need them anymore. We all changed as people." Despite the tour's personal downsides, footage from live performances was compiled and released on the long-form video Reeling with PJ Harvey (1993). The band's final tour was to support U2 in August 1993, after which the trio officially disbanded. In her final appearance on American television in September 1993 on The Tonight Show with Jay Leno, Harvey performed a solo version of "Rid of Me." As Rid of Me sold substantially more copies than Dry, 4-Track Demos, a compilation album of demos for the album was released in October and inaugurated her career as a solo artist. In early 1994, it was announced that U2's manager, Paul McGuinness, had become her manager. To Bring You My Love and Is This Desire?: 1993–1999 As Harvey embarked on her solo career, she explored collaborations with other musicians. In 1995 she released her third studio album, To Bring You My Love, featuring former bandmate John Parish, Bad Seeds multi-instrumentalist Mick Harvey and French drummer Jean-Marc Butty, all of whom would continue to perform and record with Harvey throughout her career. The album was also her first material to be produced by Flood. Simultaneously a more blues-influenced and more futuristic record than its predecessors, To Bring You My Love showcased Harvey broadening her musical style to include strings, organs and synthesisers. Rolling Stone said in its review that "Harvey sings the blues like Nick Cave sings gospel: with more distortion, sex and murder than you remember. To Bring You My Love was a towering goth version of grunge." During the successive tours for the album, Harvey also experimented with her image and stage persona. The record generated a surprise modern rock radio hit in the United States with its lead single, "Down by the Water." Three consecutive singles—"C'mon Billy", "Send His Love to Me" and "Long Snake Moan"—were also moderately successful. The album was a commercial success selling one million copies worldwide including 370,000 in the United States. It was also certified Silver in the United Kingdom within seven months of its release, having sold over 60,000 copies. In the United States, the album was voted Album of the Year by The Village Voice, Rolling Stone, USA Today, People, The New York Times and the Los Angeles Times. Rolling Stone also named Harvey 1995's Artist of the Year and Spin ranked the album third in The 90 Greatest Albums of the 1990s, behind Nirvana's Nevermind (1991) and Public Enemy's Fear of a Black Planet (1990). In July 2020, a vinyl reissue of To Bring You My Love was announced, including unreleased demos. In 1996, following the international success of To Bring You My Love and other collaborations, Harvey began composing material that would end up on her fourth studio album, during what she referred to as "an incredibly low patch". The material diverged significantly from her previous work and introduced electronica elements into her song-writing. During recording sessions in 1997 original PJ Harvey Trio drummer Rob Ellis rejoined Harvey's band, and Flood was hired again as producer. The sessions, which continued into April the following year, resulted in Is This Desire? (1998). Though originally released to mixed reviews in September 1998, the album was a success and received a Grammy Award nomination for Best Alternative Music Performance. The album's lead single, "A Perfect Day Elise," was moderately successful in the United Kingdom, peaking at number 25 on the UK Singles Chart, her most successful single to date. Stories from the City, Stories from the Sea and Uh Huh Her: 2000–2006 In early 2000, Harvey began work on her fifth studio album Stories from the City, Stories from the Sea with Rob Ellis and Mick Harvey. Written in her native Dorset, Paris and New York, the album showcased a more mainstream indie rock and pop rock sound to her previous albums and the lyrics followed themes of love that tied into Harvey's affection for New York City. The album also featured Radiohead frontman Thom Yorke on three tracks, including his lead vocals on "This Mess We're in." Upon its release in October 2000 the album was a critical and commercial success, selling over one million copies worldwide and charting in both the United Kingdom and the United States. The album's three singles—"Good Fortune", "A Place Called Home" and "This Is Love"—were moderately successful. The album also received a number of accolades including a BRIT Award nomination for Best Female Artist and two Grammy Award nominations for Best Rock Album and Best Female Rock Performance for the album's third single, "This Is Love". However, most notably, Harvey was nominated for, and won, the 2001 Mercury Music Prize. The awards ceremony was held on the same day as the September 11 attacks on the United States and Harvey was on tour in Washington, D.C., one of the affected cities, when she won the prize. Reflecting on the win in 2011, she said: "quite naturally I look back at that and only remember the events that were taking place across the world and to win the prize on that day—it didn't have much importance in the grand scheme of things", noting "it was a very surreal day". The same year, Harvey also topped a readers' poll conducted by Q Magazine of the 100 Greatest Women in Rock Music. During three years of various collaborations with other artists, Harvey was also working on her sixth studio album, Uh Huh Her, which was released in May 2004. For the first time since 4-Track Demos (1993), Harvey played every instrument—with the exception of drums provided by Rob Ellis—and was the sole producer. The album received "generally favourable reviews" by critics, though its production was often criticised. It was also a commercial success, debuting and peaking at number 12 in the UK Albums Chart and being certified Silver by the BPI within a month of its release. Harvey also did an extensive world tour in promotion of the album, lasting seven months in total. Selected recordings from the tour were included on Harvey's first live DVD, On Tour: Please Leave Quietly, directed by Maria Mochnacz and released in 2006. White Chalk and Let England Shake: 2007–2014 During her first performance since the Uh Huh Her tour at the Hay Festival of Literature & Arts on 26 May 2006, Harvey revealed that her next studio album would be almost entirely piano-based. Following the October release of The Peel Sessions 1991–2004, a compilation of songs recorded from 1991 to 2000 during her radio sessions with John Peel, she began recording her seventh studio album White Chalk in November, together with Flood, John Parish and Eric Drew Feldman and drummer Jim White in a studio in West London. White Chalk was released in September 2007 and marked a radical departure from her usual alternative rock style, consisting mainly of piano ballads. The album received favourable reviews, its style being described by one critic as containing "pseudo-Victorian elements—drama, restraint, and antiquated instruments and sounds." Harvey herself said of the album: "when I listen to the record I feel in a different universe, really, and I'm not sure whether it's in the past or in the future. The record confuses me, that's what I like—it doesn't feel of this time right now, but I'm not sure whether it's 100 years ago or 100 years in the future", summing up the album's sound as "really weird." During the tour for the album Harvey performed without a backing band, and also began performing on an autoharp, which continues to be her primary instrument after guitar and has influenced her material since White Chalk. In April 2010, Harvey appeared on The Andrew Marr Show to perform a new song titled "Let England Shake." In a pre-performance interview with Marr, she stated that the new material she had written had been "formed out of the landscape that I've grown up in and the history of this nation" and as "a human being affected by politics." Her eighth studio album Let England Shake was released in February 2011, and received universal critical acclaim. NMEs 10/10 review summarised the album as "a record that ventures deep into the heart of darkness of war itself and its resonance throughout England's past, present and future" and other reviews also noted its themes and writing style as "bloody and forceful," mixing "ethereal form with brutal content," and "her most powerful." Dealing with the ongoing conflict in Afghanistan and other episodes from English history, the album featured John Parish, Mick Harvey and Jean-Marc Butty as Harvey's backing band and the quartet toured extensively in its promotion. Following the release of the album's two well-received singles—"The Words That Maketh Murder" and "The Glorious Land"—and the collection of short films by Seamus Murphy to accompany the album, Harvey won her second Mercury Music Prize on 6 September. The award marked her as the first artist to receive the award twice, entering her into The Guinness Book of Records as the only artist to have achieved this., and sales of Let England Shake increased 1,190% overnight following her win. On 23 September, Let England Shake was certified Gold in the United Kingdom and was listed as album of the year by MOJO and Uncut. On 3 August 2013, Harvey released a song Shaker Aamer in support of the Guantanamo Bay detention camp detainee by the same name who was the last British citizen to be held there. The song describes in detail what Aamer endured during his four-month hunger strike. The Hope Six Demolition Project: 2015–present On 16 January 2015, PJ Harvey began recording her ninth studio album, The Hope Six Demolition Project, in front of a live audience. A custom built recording studio was made in London's Somerset House. Uncut magazine noted that much like her previous album Let England Shake, many of the lyrics were politically charged, but this time it was more globally focused. While recording she was shown to be using saxophones, an autoharp and a bouzouki. Flood was confirmed to be the producer of the album. On 18 December 2015, Harvey released a 20-second teaser for the album, which contained a release date of spring 2016. On 21 January 2016, the debut single, "The Wheel", was played on Steve Lamacq's show on BBC Radio 6 Music. The album was released on 15 April. A new video, "The Orange Monkey", was shared on 2 June 2016. Directed by Irish filmmaker Seamus Murphy, it was made from footage of Murphy's and Harvey's trips to Afghanistan. The album reached #1 on the UK Albums Chart and was nominated for a Grammy Award in the Best Alternative Music Album category. Harvey spent much of 2016 and 2017 touring the world with her nine-piece band, taking her critically lauded live show around North America, South America, Europe and Australasia. Collaborations and projects Besides her own work, Harvey has also collaborated with a number of other artists. In 1995, she recorded a duet of American folk song "Henry Lee" with partner Nick Cave and also featured on the Bob Dylan cover "Death is Not the End," both released on Nick Cave and the Bad Seeds' Murder Ballads (1996). In the same year she sang the theme song "Who Will Love Me Now?" on Philip Ridley's film The Passion of Darkly Noon. After her 1995 tour, she met Pascal Comelade and decided to collaborate with him, singing on several tracks including "Love too Soon" on his album L'Argot du Bruit. In May 1998, before the release of Is This Desire?, she featured on Tricky's Angels with Dirty Faces, performing lead vocals on "Broken Homes", and also contributed to Sparklehorse's 2001 album It's a Wonderful Life performing guitar, piano and background vocals on two songs, "Eyepennies" and "Piano Fire." Following the tour in promotion of Stories from the City, Stories from the Sea, she contributed vocals to eight tracks on Volume 9: I See You Hearin' Me and Volume 10: I Heart Disco by Josh Homme's side project The Desert Sessions, also appearing in the music video for "Crawl Home." Throughout 2004, Harvey produced Tiffany Anders' album Funny Cry Happy Gift, and also produced, performed on and wrote five songs for Marianne Faithfull's album Before the Poison, and contributed background vocals on "Hit the City," "Methamphetamine Blues" and "Come to Me" on Mark Lanegan's album Bubblegum. Harvey contributed the song "Slow-Motion Movie-Star", an outtake from Stories from the City, Stories from the Sea, to Mick Harvey's fourth studio album, Two of Diamonds, released in 2007. Harvey has also recorded two studio albums with long-time collaborator John Parish. Dance Hall at Louse Point (1996) was written collectively with Parish with the exception of the song "Is That All There Is?", written by Jerry Leiber and Mike Stoller. The album also listed her as Polly Jean Harvey, which may have impacted album sales. Harvey has also reflected on how the album was "an enormous turning point" and "lyrically, it moved me into areas I'd never been to before." In 1998, she also performed lead vocals on "Airplane Blues," as a soundtrack accompaniment to the Wingwalkers art exhibition by Rebecca Goddard and Parish's wife, Michelle Henning, which was released as the closing song on Parish's second solo album How Animals Move in 2002. Following the release of White Chalk, Harvey reunited with Parish to record A Woman a Man Walked By, released in March 2009. Like Dance Hall at Louse Point, the album received positive reviews and was a moderate commercial success, peaking at number 25 in the UK Albums Chart. She collaborated with Egyptian artist Ramy Essam on "The Camp", a charity single released in June 2017 to benefit displaced children in the Lebanese Bekaa Valley fleeing the Syrian Civil War. Aside from collaborations, Harvey has also embarked on a number of projects as a composer. In January 2009, a new stage production of Henrik Ibsen's Hedda Gabler opened on Broadway. Directed by Ian Rickson and starring Mary-Louise Parker in the title role, the play featured an original score of incidental music written by Harvey. In November 2011, Harvey also composed part of the score for the Young Vic's long-running production of Hamlet in London. In May 2012, Harvey composed two songs, "Horse" and "Bobby Don't Steal", for Mark Cousins' film What is This Film Called Love?, which also features "To Bring You My Love". In 2014, a number of Harvey's songs were featured in the second season of Peaky Blinders. In March 2018, Harvey and Parish released a song called "Sorry For Your Loss" as tribute to singer-songwriter Mark Linkous, who committed suicide in 2010. In 2019, Harvey composed the score for Shane Meadows' miniseries, The Virtues, broadcast on Channel 4. Musical style and influences Harvey possesses an expansive contralto vocal range. Harvey dislikes repeating herself in her music, resulting in very different-sounding albums. In an October 2004 interview with Rolling Stone, she said: "when I'm working on a new record, the most important thing is to not repeat myself ... that's always my aim: to try and cover new ground and really to challenge myself. Because I'm in this for learning." While her musical style has been described as alternative rock, punk blues, art rock, and avant-rock, she has experimented with various other genres including electronica, indie rock and folk music. She is also known for changing her physical appearance for each album by altering her mode of dress or hairstyle, creating a unique aesthetic that extends to all aspects of the album, from the album art to the live performances. She works closely with friend and photographer Maria Mochnacz to develop the visual style of each album. Around the time of To Bring You My Love, for example, Harvey began experimenting with her image and adopting a theatrical aspect to her live performances. Her former fashion style, which consisted of simple black leggings, turtleneck sweaters and Doc Martens boots, was replaced by ballgowns, catsuits, wigs and excessive make-up. She also began using stage props like a Ziggy Stardust-style flashlight microphone. She denied the influence of drag, Kabuki or performance art on her new image, a look she affectionately dubbed "Joan Crawford on acid" in an interview with Spin in 1996, but admitted that "it's that combination of being quite elegant and funny and revolting, all at the same time, that appeals to me. I actually find wearing make-up like that, sort of smeared around, as extremely beautiful. Maybe that's just my twisted sense of beauty." However, she later told Dazed & Confused magazine, "that was kind of a mask. It was much more of a mask than I've ever had. I was very lost as a person, at that point. I had no sense of self left at all", and has never repeated the overt theatricality of the To Bring You My Love tour. At an early age, she was introduced by her parents to blues music, jazz and art rock, which would later influence her: "I was brought up listening to John Lee Hooker, to Howlin' Wolf, to Robert Johnson, and a lot of Jimi Hendrix and Captain Beefheart. So I was exposed to all these very compassionate musicians at a very young age, and that's always remained in me and seems to surface more as I get older. I think the way we are as we get older is a result of what we knew when we were children." Other influential artists were "Nina Simone, the Rolling Stones, people like that I grew up listening to but find I returned to". During her teenage years, she began listening to new wave and synthpop bands such as Soft Cell, Duran Duran and Spandau Ballet, although later stated that it was a phase when she was "having a bit of a rebellion against my parents' record collection." In her later teenage years, she became a fan of Pixies, and she then listened to Slint. She has named Bob Dylan, and Neil Young, when talking about her influences. Many critics have compared Harvey to Patti Smith, which Harvey dismisses as "lazy journalism". However, recently Harvey has said that Smith is "so energising to see and so passionate with what she's doing". Harvey has also cited Siouxsie Sioux in terms of live performance, stating : "She is so exciting to watch, so full of energy and human raw quality". She has also drawn inspiration from Russian folk music, Italian soundtrack composer Ennio Morricone, classical composers like Arvo Pärt, Erik Satie, Samuel Barber, and Henryk Górecki. As a lyricist, Harvey has cited numerous poets, authors and lyricists as influences on her work including Harold Pinter, T. S. Eliot, William Butler Yeats, James Joyce, Ted Hughes and contemporaries such as Shane MacGowan and Jez Butterworth. Other ventures Outside her better-known music career, Harvey is also an occasional artist and actress. In 1998, she appeared in Hal Hartley's film The Book of Life as Magdalena—a modern-day character based on the Biblical Mary Magdalene—and had a cameo role as a Playboy Bunny in A Bunny Girl's Tale, a short film directed by Sarah Miles, in which she also performs "Nina in Ecstasy", an outtake from Is This Desire? (1998). Harvey also collaborated with Miles on another film, Amaeru Fallout 1972, which includes Harvey performing a cover of "When Will I See You Again." Harvey is also an accomplished sculptor who has had several pieces exhibited at the Lamont Gallery and the Bridport Arts Centre. In 2010, she was invited to be the guest designer for the summer issue of Francis Ford Coppola's literary magazine Zoetrope: All-Story. The issue featured Harvey's paintings and drawings alongside short stories by Woody Allen. Speaking of her artistic contributions to the magazine in 2011, Harvey said: "the first opportunity I ever had to show any work was in this magazine. They were drawn while I was writing and recording the record (Let England Shake). It does relate to the record in the way the cycle keeps happening." In December 2013, Harvey gave her debut public poetry reading at the British Library. On 2 January 2014, she guest-edited BBC Radio 4's Today programme. In October 2015, Harvey published her first collection of poetry, a collaboration with photographer Seamus Murphy, entitled The Hollow of The Hand. To create the book, PJ Harvey and Seamus Murphy made several journeys to Kosovo, Afghanistan and Washington, D.C. Their experiences were documented in Murphy's film A Dog Called Money, which was released in UK cinemas and online on 8 November 2019. Seamus Murphy had previously worked with PJ Harvey to create 12 Short Films for Let England Shake. Personal life Harvey rejects the notion that her song lyrics are autobiographical, telling The Times in 1998: "the tortured artist myth is rampant. People paint me as some kind of black witchcraft-practising devil from hell, that I have to be twisted and dark to do what I am doing. It's a load of rubbish". What is more, she later told Spin: "some critics have taken my writing so literally to the point that they'll listen to 'Down by the Water' and believe I have actually given birth to a child and drowned her." In the early 1990s, Harvey was romantically involved with drummer and photographer Joe Dilworth. From 1996 to 1997, following their musical collaborations, Harvey had a relationship with Nick Cave, and their subsequent break-up influenced Cave's follow-up studio album The Boatman's Call (1997), with songs such as "Into My Arms", "West Country Girl" and "Black Hair" being written specifically about her. Harvey has one older brother, Saul, and four nephews through him. She expressed a fondness for children in 1995 and stated that she would love to have them, saying: "I wouldn't consider it unless I was married. I would have to meet someone that I wanted to spend the rest of my life with. That's the only person who I would want to be the father of my children. Maybe that will never happen. I obviously see it in a very rational way but I'd love to have children." Harvey has encountered widespread opposition to a comment made in favour of fox hunting in a 1998 NME magazine feature, which reported Harvey saying she was not opposed to fox hunting and that, "Seeing the hunt out on the fields is just so natural to me." Harvey was appointed Member of the Order of the British Empire (MBE) by Queen Elizabeth II in the 2013 Birthday Honours for services to music. Discography Dry (1992) Rid of Me (1993) To Bring You My Love (1995) Is This Desire? (1998) Stories from the City, Stories from the Sea (2000) Uh Huh Her (2004) White Chalk (2007) Let England Shake (2011) The Hope Six Demolition Project (2016) Personnel Current members Polly Harvey – vocals, saxophone, guitar, autoharp, piano, organ, keyboards, violin, cello, vibraphone, marimba, bells & chimes, percussion, djembe, bass, e-bow, melodica, zither, harmonica, harp, cigfiddle (1991–present) Terry Edwards – backing vocals, saxophones, percussion, keyboards, guitar, flute, bass harmonica, melodica, trumpet (1993 live performance guest, 1997 studio guest, 2014–2017) James Johnston – backing vocals, keyboards, violin, guitar, organ (1993 live performance guest, 2014–2017) John Parish – backing vocals, guitar, drums, keyboards, bass, banjo, organ, ukulele, trombone, rhodes, mellotron, xylophone, percussion (1994–1998, 2006–present) Mick Harvey – backing vocals, bass, keyboards, organ, guitar, drums, harmonium, accordion, bass harmonica, piano, rhodes, xylophone, percussion (1994–2001, 2009–present) Jean-Marc Butty – backing vocals, drums, percussion (1994–1996, 2006–present) Alain Johannes – backing vocals, guitars, keyboards, percussion, saxophone (2014–2017) Kenrick Rowe – backing vocals, percussion (2014–2017) Enrico Gabrielli – backing vocals, percussion, bass clarinet, swanee whistle, basset clarinet (2014–2017) Alessandro Stefana – backing vocals, guitars (2014–2017) Former collaborators Rob Ellis – drums & percussion, vocals, harmonium, piano, electric piano, tambourine,synthesizer, keyboards, bells, harpsichord, vibraphone (1991–1993, 1996–2005) Ian Oliver – bass (1991, 2003) Steve Vaughan – bass (1991–1993) Nick Bagnall – bass, keyboards (1994–1995) Joe Gore – guitar, e-bow (1994–1996) Eric Drew Feldman – piano, keyboards, bass, optigan, mellotron, minimoog, backing vocals (1994–2001, 2006–2009) Jeremy Hogg – guitar (1996–1998) Margaret Fiedler – guitar, cello (2000–2001) Tim Farthing – guitar (2000–2001) Simon "Dingo" Archer – bass (2004) Josh Klinghoffer – guitar, drums, percussion (2004) Jim White – drums (2006–2007) Carla Azar – drums (2006–2008, studio guest) Giovanni Ferrario – guitar (2006–2009) Awards and nominations List of awards and nominations received by PJ Harvey References Further reading External links – official site 1969 births Living people 20th-century British guitarists 20th-century English women singers 20th-century English singers 21st-century British guitarists 21st-century English women singers 21st-century English singers 21st-century multi-instrumentalists Alternative rock guitarists Alternative rock pianists Alternative rock singers Alumni of Central Saint Martins Autoharp players British alternative rock musicians English contraltos English women guitarists English multi-instrumentalists English rock guitarists English rock musicians English women singer-songwriters Women rock singers Island Records artists Ivor Novello Award winners Members of the Order of the British Empire NME Awards winners People from Beaminster People from Bridport People from Dorset Vagrant Records artists Women punk rock singers
true
[ "Politics of the Business is the third album by American hip hop producer Prince Paul. This album is considered to be a concept album similar to A Prince Among Thieves. The concept for this album, however, is the concept of following-up a concept album that did not sell too well (that album being A Prince Among Thieves). The album features guest appearances from Ice-T, DJ Jazzy Jeff, MF Doom, Biz Markie, Chuck D, Dave Chappelle, Chris Rock, and more.\n\nTrack listing\n\nPersonnel\n\nReferences\n\n2003 albums\nPrince Paul (producer) albums\nAlbums produced by Prince Paul (producer)\nConcept albums", "Destination Universe is the second studio album by Material Issue, released on Mercury Records in 1992. The new album was not as well received by critics as the debut album, nor did it sell as well. The album included the single \"What Girls Want\" and was, like their debut album, produced by Jeff Murphy.\n\nTrack listing\nAll songs written by Jim Ellison \n\"What Girls Want\" - 3:55\n\"When I Get This Way (Over You)\" - 4:09\n\"Next Big Thing\" - 3:12\n\"Who Needs Love\" - 2:52\n\"Destination You\" - 2:49\n\"Everything\" - 3:48\n\"Ballad of a Lonely Man\" - 3:27\n\"Girl from Out of This World\" - 3:56\n\"So Easy to Love Somebody\" - 2:49\n\"Don't You Think I Know\" - 3:47\n\"The Loneliest Heart\" - 2:38\n\"Whole Lotta You\" - 2:52\n\"If Ever You Should Fall\" 2:41\n\nReferences\n\n1992 albums\nMercury Records albums\nMaterial Issue albums" ]
[ "Alfred Rosenberg", "Trial and execution" ]
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Are there any other interesting aspects about this article?
1
Besides Alfred Rosenberg, Trail and execution are there any other interesting aspects about this article?
Alfred Rosenberg
Rosenberg was captured by Allied troops at the end of the war in Flensburg-Murwik. He was tried at Nuremberg and found guilty of all four counts: conspiracy to commit crimes against peace; planning, initiating and waging wars of aggression; war crimes; and crimes against humanity. The final judgment against him named him one of the principal planners of the invasions of Norway and the Soviet Union. It also held him directly responsible for the systematic plunder of the occupied countries of Europe, as well as the brutal conditions in Eastern Europe. During his trial he wrote his memoirs, which were published posthumously and with analytical commentary by Serge Lang and Ernst von Schenck. He was sentenced to death and executed with other condemned co-defendants at Nuremberg Prison on the morning of 16 October 1946. His body, like those of the other nine executed men and that of Hermann Goring, was cremated at Ostfriedhof (Munich) and the ashes were scattered in the river Isar. Throughout the trial, it was agreed that Rosenberg had a decisive role in shaping Nazi philosophy and ideology. Examples include: his book, Myth of the Twentieth Century, which was published in 1930, where he incited hatred against "Liberal Imperialism" and "Bolshevik Marxism"; furthering the influence of the "Lebensraum" idea in Germany during the war; facilitating the persecution of Christian churches and the Jews in particular; and opposition to the Versailles Treaty. According to Joseph Kingsbury-Smith, who covered the executions for the International News Service, Rosenberg was the only condemned man who, when asked at the gallows if he had any last statement to make, replied with only one word: "No". CANNOTANSWER
Rosenberg was captured by Allied troops at the end of the war in Flensburg-Murwik.
Alfred Ernst Rosenberg ( – 16 October 1946) was a Baltic German Nazi theorist and ideologue. Rosenberg was first introduced to Adolf Hitler by Dietrich Eckart and he held several important posts in the Nazi government. He was the head of the NSDAP Office of Foreign Affairs during the entire rule of Nazi Germany (1933–1945), and led Amt Rosenberg ("Rosenberg's bureau"), an official Nazi body for cultural policy and surveillance, between 1934 and 1945. During World War II, Rosenberg was the head of the Reich Ministry for the Occupied Eastern Territories (1941–1945). After the war, he was convicted of crimes against peace; planning, initiating and waging wars of aggression; war crimes; and crimes against humanity at the Nuremberg trials in 1946. He was sentenced to death and executed on 16 October 1946. The author of a seminal work of Nazi ideology, The Myth of the Twentieth Century (1930), Rosenberg is considered one of the main authors of key Nazi ideological creeds, including its racial theory, persecution of the Jews, Lebensraum, abrogation of the Treaty of Versailles, and opposition to what was considered "degenerate" modern art. He is known for his rejection of and hatred for Christianity, having played an important role in the development of German nationalist Positive Christianity. Early life Family Rosenberg was born on 12 January 1893 in Reval, now Tallinn (the capital of modern Estonia), then in the Governorate of Estonia (Russian Empire). His mother Elfriede (née Siré), who had French and German ancestry, was the daughter of Louise Rosalie (née Fabricius), born near Leal (modern Lihula, Estonia) in 1842, and of the railway official Friedrich August Siré, born in Saint-Petersburg (Russian Empire) in 1843. Born in the same city in 1868 and confirmed in Reval at 17 in 1885, Elfriede Siré married Woldemar Wilhelm Rosenberg, a wealthy merchant from Reval, in the Lutheran Church of Saint Peter and Saint Paul (St-Petersburg) in 1886. His paternal grandfather, Martin Rosenberg, was a master shoemaker and elder of his guild. Born in Riga in 1820, and probably partly of Latvian descent, he had moved to Reval in the 1850s, where he met Julie Elisabeth Stramm, born in Jörden (Estonia) in 1835. The two married in the German St. Nicholas parish of Reval in 1856. His mother died two months after his birth. Main difference is she dropped off the radar after Alfred was handed, Gudrun picked up her father left off Great Grandchild Tytus L Rosenberg ( born in 1974 ) in Poland. The Hungarian-Jewish journalist Franz Szell, who was apparently residing in Tilsit, Prussia, Germany, spent a year researching in Latvian and Estonian archives before publishing an open letter in 1936, with copies to Hermann Göring, Joseph Goebbels, Foreign Minister Konstantin von Neurath and others, accusing Rosenberg of having "no drop of German blood" flowing in his veins. Szell wrote that among Rosenberg's ancestors were only "Latvians, Jews, Mongols, and French." As a result of his open letter, Szell was deported by Lithuanian authorities on 15 September 1936. His claims were repeated in the 15 September 1937 issue of the Vatican newspaper L'Osservatore Romano. Alfred Rosenberg was indeed of Baltic German, French, and probably also of Estonian and Latvian descent, but no Jewish ancestry has been discovered. Education and early career The young Rosenberg graduated from the Petri-Realschule (currently Tallinna Reaalkool) and went on to study architecture at the Riga Polytechnical Institute and engineering at Moscow's Imperial Higher Technical School (), completing his PhD studies in 1917. During his stays at home in Reval, he attended the art studio of the famed painter Ants Laikmaa - though he showed promise, there are no records that he ever exhibited. During the German occupation of Estonia in 1918, Rosenberg served as a teacher at the Gustav Adolf Gymnasium. He gave his first speech on Jewish Marxism on 30 November, at the House of the Blackheads, after the 28 November 1918 outbreak of the Estonian War of Independence. He emigrated to Germany with the retreating Imperial German army, along with Max Scheubner-Richter, who served as something of a mentor to Rosenberg and to his ideology. Arriving in Munich, he contributed to Dietrich Eckart's publication, the Völkischer Beobachter (Ethnic/Nationalist Observer). By this time, he was both an antisemite – influenced by Houston Stewart Chamberlain's book The Foundations of the Nineteenth Century, one of the key proto-Nazi books of racial theory – and an anti-Bolshevik. Rosenberg became one of the earliest members of the German Workers' Party – later renamed the National Socialist German Workers' Party, better known as the Nazi Party – joining in January 1919, eight months before Adolf Hitler joined in September. According to some historians, Rosenberg had also been a member of the Thule Society, along with Eckart, although Nicholas Goodrick-Clarke contends that they were only guests. After the Völkischer Beobachter became the Nazi party newspaper in December 1920, Rosenberg became its editor in 1923. Rosenberg was a leading member of Aufbau Vereinigung, Reconstruction Organisation, a conspiratorial organisation of White Russian émigrés which had a critical influence on early Nazi policy. Rosenberg sympathized and identified with Talat Pasha and the Committee of Union and Progress that carried out the Armenian genocide, also claiming that there was "a deliberately Jewish policy which had always protected the Armenians" and that "during the world war, the Armenians have led the espionage against the Turks, similar to the Jews against Germany". Nazi party In 1923, after the failed Beer Hall Putsch, Hitler, who had been imprisoned for treason, appointed Rosenberg as the leader of the Nazi movement. Hitler remarked privately in later years that his choice of Rosenberg, whom he regarded as weak and lazy, was strategic; Hitler did not want the temporary leader of the Nazis to become too popular or hungry for power, because a person with either of those two qualities might not want to cede the party leadership after Hitler's release. However, at the time of the appointment Hitler had no reason to believe that he would soon be released, and Rosenberg had not appeared weak, so this may have been Hitler reading back into history his dissatisfaction with Rosenberg for the job he did. On 1 January 1924, Rosenberg founded the Greater German People's Community, a Nazi front organization. Headquartered in Munich, it was largely limited to Bavaria, the birthplace of National Socialism, had no substantial presence outside that State and became a haven for Nazi Party members from that area. Prominent members included Max Amann, Phillip Bouhler, Hermann Esser, Franz Xaver Schwarz and Julius Streicher. Rosenberg, one of the least charismatic of the Nazi leaders and lacking in leadership qualities, was soon pushed aside by Streicher, a far more ruthless and abrasive personality, who was elected Chairman on 9 July 1924 with Esser, also a coarse, bullying sort, as his Deputy Chairman. In 1929 Rosenberg founded the Militant League for German Culture. He later formed the "Institute for Research on the Jewish Question", the first branch of a projected Advanced School of the NSDAP, dedicated to identifying and attacking Jewish influence in German culture and to recording the history of Judaism from a radical nationalist perspective. He was elected as a Reichstag Deputy in 1930 and would continue to serve in this capacity until the end of the Nazi regime. First elected as a representative of the electoral list, from 1933 on he represented electoral constituency 33, Hesse. In 1930, he also published his book on racial theory The Myth of the Twentieth Century (Der Mythus des 20. Jahrhunderts) which deals with key issues in the Nazi ideology, such as the "Jewish question." Rosenberg intended his book as a sequel to Houston Stewart Chamberlain's above-cited book. Despite selling more than a million copies by 1945, its influence within Nazism remains doubtful. It is often said to have been a book that was officially venerated within Nazism, but one that few had actually read beyond the first chapter or even found comprehensible. Hitler called it "stuff nobody can understand" and disapproved of its pseudo-religious tone. Rosenberg helped convince Hitler, whose early speeches focused on revenge against France and Britain, that communism was a serious threat to Germany. "Jewish-Bolshevism" became an ideological target for Nazism during the early 1920s. In Rome during November 1932 Rosenberg participated in the Volta Conference about Europe. British historian Sir Charles Petrie met him there and regarded him with great distaste; Petrie was a Catholic and strongly objected to Rosenberg's anti-Jewish and anti-Catholic sentiments. The following year, following the Nazi seizure of power, Rosenberg was named leader of the Nazi Party's Foreign Policy Office in April, and on 2 June 1933 he was named a Reichsleiter, the second highest political rank in the Nazi Party. In May 1933 Rosenberg visited Britain, to give the impression that the Nazis would not be a threat and to encourage links between the new regime and the British Empire. It was a notable failure. When Rosenberg laid a wreath bearing a swastika at the Cenotaph, a Labour Party candidate slashed it, later threw it in the Thames and was fined 40 shillings for willful damage at Bow Street magistrate's court. In October 1933, Rosenberg was named as a member of Hans Frank's Academy for German Law. Then on 27 January 1934, Hitler made Rosenberg the "Führer's Representative for the Supervision of Intellectual and Ideological Education of the NSDAP." This was the origin of the Amt Rosenberg. Racial theories As the Nazi Party's chief racial theorist, Rosenberg oversaw the construction of a human racial "ladder" that justified Hitler's racial and ethnic policies. Rosenberg built on the works of Arthur de Gobineau, Houston Stewart Chamberlain, Madison Grant and the Klansman Lothrop Stoddard as well as on the beliefs of Hitler. Rosenberg placed Blacks and Jews at the very bottom of the ladder, while at the very top stood the "Aryan" race. Rosenberg promoted the Nordic theory which considered the Nordic race the "master race", superior to all others, including to other Aryans (Indo-Europeans). He was also influenced by the Judeo-Masonic conspiracy theory promoted by the Catholic counter-revolutionary tradition, such as the book Le Juif, le judaïsme et la judaïsation des peuples chrétiens (1869) by Roger Gougenot des Mousseaux, which he translated into German under the title The Eternal Jew. Rosenberg got the racial term Untermensch from the title of Stoddard's 1922 book The Revolt Against Civilization: The Menace of the Under-man, which had been adopted by the Nazis from that book's German version Der Kulturumsturz: Die Drohung des Untermenschen (1925). Rosenberg reshaped the Nazi racial policy over the years, but it always consisted of Aryan supremacy, extreme German nationalism and rabid antisemitism. Rosenberg also outspokenly opposed homosexuality – notably in his pamphlet "Der Sumpf" ("The Swamp", 1927). He viewed homosexuality as a hindrance to the expansion of the Nordic population. Rosenberg's attitude towards Slavs was flexible because it depended on the particular nation which he referred to. As a result of the ideology of "Drang nach Osten" ("Drive to the East"), Rosenberg saw his mission as the conquest and colonization of the Slavic East. In Der Mythus des 20. Jahrhunderts Rosenberg describes Russian Slavs as being overwhelmed by Bolshevism. Regarding Ukrainians, he favoured setting up a buffer state to ease the pressure on the German eastern frontier, while agreeing with the notion that Russia could be exploited for the benefit of Germany. During the war, Rosenberg was in favour of collaboration with the East Slavs against Bolshevism and offering them national independence unlike other Nazis such as Hitler and Himmler who dismissed such ideas. Religious theories Rosenberg was raised as a Protestant, but he rejected Christianity later in his life. Rosenberg argued for a new "religion of the blood", based on the supposed innate promptings of the Nordic soul to defend its noble character against racial and cultural degeneration. In his 1920 book Immorality in the Talmud, Rosenberg identified Jews with the antichrist. He rejected Christianity for its universality, for its doctrine of original sin (at least for Germans who he declared on one occasion were born noble), and for its teachings on the immortality of the soul, saying, "indeed, absorbing Christianity enfeebled a people." Publicly, Rosenberg affected to deplore Christianity's degeneration owing to Jewish influence. Following Houston Stewart Chamberlain's ideas, he condemned what he called "negative Christianity" (the orthodox beliefs of the Protestant and Catholic churches), arguing for a so-called "positive" Christianity based on Chamberlain's argument that Jesus was a member of an Indo-European, Nordic enclave which was resident in ancient Galilee who struggled against Judaism. Significantly, in his work explicating the Nazi intellectual belief system, The Myth of the Twentieth Century, Rosenberg cryptically alludes to and lauds the early Christian heretic Marcion (who rejected the Old Testament as well as the notion of Christ as the Jewish Messiah) and the Manichaean-inspired, "Aryo-Iranian" Cathari, as being the more authentic interpreters of Christianity versus historically dominant Judaeo-Christianity; moreover these ancient, externally Christian metaphysical forms were more "organically compatible with the Nordic sense of the spiritual and the Nordic 'blood-soul'." For Rosenberg, the anti-intellectual, religious doctrine was inseparable from serving the interests of the Nordic race, connecting the individual to his racial nature. Rosenberg stated that "The general ideas of the Roman and of the Protestant churches are negative Christianity and do not, therefore, accord with our (German) soul." His support for Luther as a great German figure was always ambivalent. In January 1934, Hitler appointed Rosenberg cultural and educational leader of the Reich. The Sanctum Officium in Rome recommended that Rosenberg's Myth of the Twentieth Century be put on the Index Librorum Prohibitorum (list of books forbidden by the Catholic Church) for scorning and rejecting "all dogmas of the Catholic Church, indeed the very fundamentals of the Christian religion". During World War II, Rosenberg outlined the future envisioned by the Hitler government for religion in Germany, with a thirty-point program for the future of the German churches. Among its articles: the National Reich Church of Germany would claim exclusive control over all churches publication of the Bible would cease crucifixes, Bibles and saints were to be removed from altars Mein Kampf would be placed on altars as "to the German nation and therefore to God the most sacred book" the Christian Cross would be removed from all churches and replaced with the swastika. Rosenberg has been described as an atheist by people, including Henry F. Gerecke, the Lutheran chaplain who communed with some of the Nuremberg prisoners, including Joachim von Ribbentrop and Wilhelm Keitel. However, some historians have claimed that Rosenberg was a neo-pagan. Wartime activities In 1940 Rosenberg was made head of the Hohe Schule (literally "high school", but the German phrase refers to a college), the Centre of National Socialist Ideological and Educational Research, out of which the Einsatzstab Reichsleiter Rosenberg (Reichsleiter Rosenberg Taskforce) developed for the purpose of looting art and cultural goods. The ERR were especially active in Paris in looting art stolen from famous Jewish families such as the Rothschilds and that of Paul Rosenberg. Hermann Göring used the ERR to collect art for his own personal gratification. He created a "Special Task Force for Music" (Sonderstab Musik) to collect the best musical instruments and scores for use in a university to be built in Hitler's home town of Linz, Austria. The orders given to the Sonderstab Musik were to loot all forms of Jewish property in Germany and of those found in any country taken over by the German army, and any musical instruments or scores were to be immediately shipped to Berlin. Reich Minister for the Occupied Eastern Territories Following the invasion of the USSR, Rosenberg was appointed head of the Reich Ministry for the Occupied Eastern Territories (Reichsministerium für die besetzten Ostgebiete) on 17 July 1941. Alfred Meyer served as his deputy and represented him at the Wannsee Conference. Another official of the Ministry, Georg Leibbrandt, also attended the conference, at Rosenberg's request. Rosenberg had presented Hitler with his plan for the organization of the conquered Eastern territories, suggesting the establishment of new administrative districts, to replace the previously Soviet-controlled territories with new Reichskommissariats. These would be: Ostland (Baltic countries and Belarus), Ukraine (Ukraine and nearest territories), Kaukasus (Caucasus area), Moskau (Moscow metropolitan area and the rest of nearest Russian European areas) Although Rosenberg believed that all of the peoples of the Soviet Union were subhumans because of their communist beliefs, such suggestions were intended to encourage certain non-Russian forms of nationalism and promote German interests for the benefit of future Aryan generations, in accord with geopolitical "Lebensraum im Osten" plans. They would provide a buffer against Soviet expansion in preparation for the total eradication of Communism and Bolshevism by decisive pre-emptive military action. Following these plans, when Wehrmacht forces invaded Soviet-controlled territory, they immediately implemented the first of the proposed Reichskommissariats of Ostland and Ukraine, under the leadership of Hinrich Lohse and Erich Koch, respectively. The organization of these administrative territories led to conflict between Rosenberg and the SS over the treatment of Slavs under German occupation. As Nazi Germany's chief racial theorist, Rosenberg considered Slavs, though lesser than Germans, to be Aryan. Rosenberg often complained to Hitler and Himmler about the treatment of non-Jewish occupied peoples. He proposed the creation of buffer satellite states made out of Greater Finland, Baltica, Ukraine, and Caucasus. During an 18 November 1941 press conference, he made the following statements about the Jewish question, he stated: At the Nuremberg trials he said he was ignorant of the Holocaust, despite the fact that Leibbrandt and Meyer were present at the Wannsee conference. Wartime propaganda efforts Since the invasion of the Soviet Union intended to impose the New Order, it was essentially a war of conquest. German propaganda efforts designed to win over Russian opinion were, at best, patchy and inconsistent. Alfred Rosenberg was one of the few in the Nazi hierarchy who advocated a policy designed to encourage anti-Communist opinion among the population of the occupied territories. His interest here was mainly in the non-Russian areas such as Ukraine and the Baltic States; however, supporters of the Russian Liberation Army were somewhat able to win him over. Amongst other things, Rosenberg issued a series of posters announcing the end of the Soviet collective farms (kolkhoz). He also issued an Agrarian Law in February 1942, annulling all Soviet legislation on farming and restoring family farms for those willing to collaborate with the occupiers. But decollectivisation conflicted with the wider demands of wartime food production, and Hermann Göring demanded that the collective farms be retained, save for a change of name. Hitler himself denounced the redistribution of land as "stupid". There were numerous German armed forces (Wehrmacht) posters asking for assistance in the Bandenkrieg, the war against the Soviet partisans, though, once again, German policy had the effect of adding to their problems. Posters for "volunteer" labour, with inscriptions such as "Come work with us to shorten the war", hid the appalling realities faced by Russian workers in Germany. Many people joined the partisans rather than risk being sent to an unknown fate in the west. Another of Rosenberg's initiatives, the "Free Caucasus" campaign, was rather more successful, attracting various nationalities into the so-called Eastern Legion (Ostlegionen), though in the end this made little difference in the outcome of the war on the Eastern Front. Trial and execution Rosenberg was captured by Allied troops on 19 May 1945 in Flensburg-Mürwik. He was tried at Nuremberg and found guilty of all four counts: conspiracy to commit crimes against peace; planning, initiating and waging wars of aggression; war crimes; and crimes against humanity. The final judgment against him named him one of the principal planners of the invasions of Norway and the Soviet Union. It also held him directly responsible for the systematic plunder of the occupied countries of Europe, as well as the brutal conditions in Eastern Europe. During his trial he wrote his memoirs, which were published posthumously and with analytical commentary by Serge Lang and Ernst von Schenck. He was sentenced to death and executed with other condemned co-defendants at Nuremberg Prison on the morning of 16 October 1946. His body, like those of the other nine executed men and that of Hermann Göring, was cremated at Ostfriedhof (Munich) and the ashes were scattered in the river Isar. Throughout the trial, it was agreed that Rosenberg had a decisive role in shaping Nazi philosophy and ideology. Examples include: his book Myth of the Twentieth Century, which was published in 1930, where he incited hatred against "Liberal Imperialism" and "Bolshevik Marxism"; furthering the influence of the "Lebensraum" idea in Germany during the war; facilitating the persecution of Christian churches and the Jews in particular; and opposition to the Versailles Treaty. According to Joseph Kingsbury-Smith, who covered the executions for the International News Service, Rosenberg was the only condemned man who, when asked at the gallows if he had any last statement to make, replied with only one word: "No". Nazi policy and Rosenberg's views Hitler was a leader oriented towards practical politics, whereas, for Rosenberg, religion and philosophy were key and he was the most culturally influential within the party. Several accounts of the time before the Nazi ascension to power speak of Hitler as being a mouthpiece for Rosenberg's views, and he clearly exerted a great deal of intellectual influence. The question of Rosenberg's influence in the Nazi Party is controversial. He was perceived as lacking the charisma and political skills of the other Nazi leaders, and was somewhat isolated. In some of his speeches Hitler appeared to be close to Rosenberg's views, rejecting traditional Christianity as a religion based on Jewish culture, preferring an ethnically and culturally pure "Race" whose destiny was supposed to be assigned to the German people by "Providence". In others, he adhered to the Nazi Party line, which advocated a "positive Christianity". After Hitler's assumption of power he moved to reassure the Protestant and Catholic churches that the party was not intending to reinstitute Germanic paganism. He placed himself in the position of being the man to save Positive Christianity from utter destruction at the hands of the atheistic antitheist Communists of the Soviet Union. This was especially true immediately before and after the elections of 1932; Hitler wanted to appear non-threatening to major Christian faiths and consolidate his power. Furthermore, Hitler felt that Catholic–Protestant infighting had been a major factor in weakening the German state and allowing its dominance by foreign powers. Some Nazi leaders, such as Martin Bormann, were anti-Christian and sympathetic to Rosenberg. Once in power, Hitler and most Nazi leaders sought to unify the Christian denominations in favor of "positive Christianity". Hitler privately condemned mystical and pseudoreligious interests as "nonsense". However, he and Joseph Goebbels agreed that after the Endsieg (Final Victory) the Reich Church should be pressed into evolving into a German social evolutionist organisation proclaiming the cult of race, blood and battle, instead of Redemption and the Ten Commandments of Moses, which they deemed outdated and Jewish. Heinrich Himmler's views were among the closest to Rosenberg's, and their estrangement was perhaps created by Himmler's abilities to put into action what Rosenberg had only written. Also, while Rosenberg thought Christianity should be allowed to die out, Himmler actively set out to create countering pagan rituals. Lieutenant Colonel William Harold Dunn (1898–1955) wrote a medical and psychiatric report on him in prison to evaluate him as a suicide risk: He gave the impression of clinging to his own theories in a fanatical and unyielding fashion and to have been little influenced by the unfolding during the trial of the cruelty and crimes of the party. Summarizing the unresolved conflict between the personal views of Rosenberg and the pragmatism of the Nazi elite: The ruthless pursuit of Nazi aims turned out to mean not, as Rosenberg had hoped, the permeation of German life with the new ideology; it meant concentration of the combined resources of party and state on total war. Family life Rosenberg was married twice. In 1915, he married Hilda Leesmann, an ethnic Estonian; they divorced in 1923. Two years later, in 1925 he married Hedwig Kramer, to whom he remained wed until his execution by the Allies. He and Kramer had two children: a son who died in infancy and a daughter, Irene, who was born in 1930. Writings Unmoral im Talmud, 1920, Ernst Boepple's Deutscher Volksverlag, Munich ("Immorality in the Talmud") Das Verbrechen der Freimaurerei: Judentum, Jesuitismus, Deutsches Christentum, 1921 ("The Crime of Freemasonry: Judaism, Jesuitism, German Christianity") Wesen, Grundsätze und Ziele der Nationalsozialistischen Deutschen Arbeiterpartei, 1922, Ernst Boepple's Deutscher Volksverlag, Munich ("Being, principles, and goals of the National Socialist German Worker's Party") Pest in Russland. Der Bolschewismus, seine Häupter, Handlanger und Opfer, 1922, Ernst Boepple's Deutscher Volksverlag, Munich ("The Plague in Russia. Bolshevism, its heads, henchmen, and victims") Bolschewismus, Hunger, Tod, 1922, Ernst Boepple's Deutscher Volksverlag, Munich ("Bolshevism, hunger, death") Der staatsfeindliche Zionismus. ("Zionism, the Enemy of the State"), 1922. Die Protokolle der Weisen von Zion und die jüdische Weltpolitik, 1923 ("The Protocols of the Elders of Zion and the Jewish World Politics") The Jewish Bolshevism, Britons Pub. Society, 1923, together with Ernst Boepple Der Mythus des 20. Jahrhunderts, 1930 ("The Myth of the 20th Century") Dietrich Eckart. Ein Vermächtnis, 1935 ("Dietrich Eckart: A Legacy") An die Dunkelmänner unserer Zeit. Eine Antwort auf die Angriffe gegen den "Mythus des 20. Jahrhunderts", 1937 ("The Obscurantists of Our Time: A Response to the Attacks Against 'The Myth of the 20th Century'") Protestantische Rompilger. Der Verrat an Luther und der "Mythus des 20. Jahrhunderts", 1937 ("Protestant Rome Pilgrims: The Betrayal of Luther and the 'Myth of the 20th Century'") Portrait eines Menschheitsverbrechers, 1949, with analytical commentary by Serge Lang and Ernst von Schenck ("Memoirs of Alfred Rosenberg: With Commentaries") Die Macht der Form, Unknown ("The Power of Form") Diary During the Nuremberg trials, Rosenberg's handwritten diary was translated by Harry Fiss, Chief of Documentation for the American prosecution. After its use in evidence during the Nuremberg trials, the diary went missing, along with other material which had been given to the prosecutor Robert Kempner (1899–1993). It was recovered in Lewiston, N.Y., on 13 June 2013. Written on 425 loose-leaf pages, with entries dating from 1936 through 1944, it is now the property of the United States Holocaust Memorial Museum (USHMM) in Washington. Henry Mayer, the museum's senior archivist, and the son of a Holocaust survivor, was able to access the material and while "not given enough time to read [the] diary entry from beginning to end," he "could see that Rosenberg focused on certain subjects, including brutality against Jews and other ethnic groups and forcing the civilian population of occupied Russia to serve Germany." Meyer also noted Rosenberg's "hostile comments about Nazi leaders," which he described as "unvarnished." While some parts of the manuscript had been previously published, the majority had been lost for decades. Former Federal Bureau of Investigation agent Robert King Wittman, who helped track down the diary, said, "there is no place in the diary where we have Rosenberg or Hitler saying the Jews should be exterminated, all it said was 'move them out of Europe'". The New York Times said of the search for the missing manuscript that "the tangled journey of the diary could itself be the subject of a television mini-series." Since the end of 2013, the USHMM has shown the 425-page document (photos and transcripts) on its homepage. See also Antisemitism Myth of the Twentieth Century Nordische Gesellschaft Racism Kirchenkampf References Informational notes Citations Bibliography External links Personal diary found by ICE 13 June 2013 Alfred Rosenberg Memoirs at Archive.org United States Holocaust Memorial Museum – Alfred Rosenberg Rosenberg on Churchill Alfred Rosenberg - photo Great Grandchild Tytus L Rosenberg Rosenberg on Nuremberg Rally Chapter V, Faith and Thought in National Socialist Germany, The War Against the West, Aurel Kolnai 1893 births 1946 deaths Anti-Masonry Anti-Catholic activists Anti-Catholicism in Germany Antisemitism in Germany Architects in the Nazi Party Baltic-German people Bauman Moscow State Technical University alumni Critics of Christianity Critics of the Catholic Church Estonian architects Executed Estonian people Executed German people Fascist writers Former Protestants German anti-communists German atheists German conspiracy theorists German former Christians German male non-fiction writers German Modern Pagans German propagandists German people convicted of crimes against humanity German people convicted of the international crime of aggression German people of Estonian descent German people of French descent German people of Latvian descent German political philosophers German political writers German Workers Party members Greater German People's Community politicians Holocaust perpetrators Kirchenkampf Members of the Academy for German Law Members of the Reichstag of Nazi Germany Members of the Reichstag of the Weimar Republic Militant League for German Culture members Nazi Germany ministers Nazi Party officials Nazi Party politicians Nazi propagandists Nazis convicted of war crimes Nazis from outside Germany Nazis who participated in the Beer Hall Putsch People executed by the International Military Tribunal in Nuremberg People executed for crimes against humanity People from the Governorate of Estonia Political philosophers Politicians from Tallinn Pseudoarchaeologists Pseudohistorians Reichsleiters Riga Technical University alumni Sturmabteilung officers Thule Society members 20th-century German architects 20th-century German philosophers 20th-century German writers White supremacists
false
[ "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" ]
[ "Alfred Rosenberg", "Trial and execution", "Are there any other interesting aspects about this article?", "Rosenberg was captured by Allied troops at the end of the war in Flensburg-Murwik." ]
C_4304e465dd824cb1837262962a554703_0
What happened after he was captured
2
What happened after Alfred Rosenberg was captured
Alfred Rosenberg
Rosenberg was captured by Allied troops at the end of the war in Flensburg-Murwik. He was tried at Nuremberg and found guilty of all four counts: conspiracy to commit crimes against peace; planning, initiating and waging wars of aggression; war crimes; and crimes against humanity. The final judgment against him named him one of the principal planners of the invasions of Norway and the Soviet Union. It also held him directly responsible for the systematic plunder of the occupied countries of Europe, as well as the brutal conditions in Eastern Europe. During his trial he wrote his memoirs, which were published posthumously and with analytical commentary by Serge Lang and Ernst von Schenck. He was sentenced to death and executed with other condemned co-defendants at Nuremberg Prison on the morning of 16 October 1946. His body, like those of the other nine executed men and that of Hermann Goring, was cremated at Ostfriedhof (Munich) and the ashes were scattered in the river Isar. Throughout the trial, it was agreed that Rosenberg had a decisive role in shaping Nazi philosophy and ideology. Examples include: his book, Myth of the Twentieth Century, which was published in 1930, where he incited hatred against "Liberal Imperialism" and "Bolshevik Marxism"; furthering the influence of the "Lebensraum" idea in Germany during the war; facilitating the persecution of Christian churches and the Jews in particular; and opposition to the Versailles Treaty. According to Joseph Kingsbury-Smith, who covered the executions for the International News Service, Rosenberg was the only condemned man who, when asked at the gallows if he had any last statement to make, replied with only one word: "No". CANNOTANSWER
He was tried at Nuremberg and found guilty of all four counts:
Alfred Ernst Rosenberg ( – 16 October 1946) was a Baltic German Nazi theorist and ideologue. Rosenberg was first introduced to Adolf Hitler by Dietrich Eckart and he held several important posts in the Nazi government. He was the head of the NSDAP Office of Foreign Affairs during the entire rule of Nazi Germany (1933–1945), and led Amt Rosenberg ("Rosenberg's bureau"), an official Nazi body for cultural policy and surveillance, between 1934 and 1945. During World War II, Rosenberg was the head of the Reich Ministry for the Occupied Eastern Territories (1941–1945). After the war, he was convicted of crimes against peace; planning, initiating and waging wars of aggression; war crimes; and crimes against humanity at the Nuremberg trials in 1946. He was sentenced to death and executed on 16 October 1946. The author of a seminal work of Nazi ideology, The Myth of the Twentieth Century (1930), Rosenberg is considered one of the main authors of key Nazi ideological creeds, including its racial theory, persecution of the Jews, Lebensraum, abrogation of the Treaty of Versailles, and opposition to what was considered "degenerate" modern art. He is known for his rejection of and hatred for Christianity, having played an important role in the development of German nationalist Positive Christianity. Early life Family Rosenberg was born on 12 January 1893 in Reval, now Tallinn (the capital of modern Estonia), then in the Governorate of Estonia (Russian Empire). His mother Elfriede (née Siré), who had French and German ancestry, was the daughter of Louise Rosalie (née Fabricius), born near Leal (modern Lihula, Estonia) in 1842, and of the railway official Friedrich August Siré, born in Saint-Petersburg (Russian Empire) in 1843. Born in the same city in 1868 and confirmed in Reval at 17 in 1885, Elfriede Siré married Woldemar Wilhelm Rosenberg, a wealthy merchant from Reval, in the Lutheran Church of Saint Peter and Saint Paul (St-Petersburg) in 1886. His paternal grandfather, Martin Rosenberg, was a master shoemaker and elder of his guild. Born in Riga in 1820, and probably partly of Latvian descent, he had moved to Reval in the 1850s, where he met Julie Elisabeth Stramm, born in Jörden (Estonia) in 1835. The two married in the German St. Nicholas parish of Reval in 1856. His mother died two months after his birth. Main difference is she dropped off the radar after Alfred was handed, Gudrun picked up her father left off Great Grandchild Tytus L Rosenberg ( born in 1974 ) in Poland. The Hungarian-Jewish journalist Franz Szell, who was apparently residing in Tilsit, Prussia, Germany, spent a year researching in Latvian and Estonian archives before publishing an open letter in 1936, with copies to Hermann Göring, Joseph Goebbels, Foreign Minister Konstantin von Neurath and others, accusing Rosenberg of having "no drop of German blood" flowing in his veins. Szell wrote that among Rosenberg's ancestors were only "Latvians, Jews, Mongols, and French." As a result of his open letter, Szell was deported by Lithuanian authorities on 15 September 1936. His claims were repeated in the 15 September 1937 issue of the Vatican newspaper L'Osservatore Romano. Alfred Rosenberg was indeed of Baltic German, French, and probably also of Estonian and Latvian descent, but no Jewish ancestry has been discovered. Education and early career The young Rosenberg graduated from the Petri-Realschule (currently Tallinna Reaalkool) and went on to study architecture at the Riga Polytechnical Institute and engineering at Moscow's Imperial Higher Technical School (), completing his PhD studies in 1917. During his stays at home in Reval, he attended the art studio of the famed painter Ants Laikmaa - though he showed promise, there are no records that he ever exhibited. During the German occupation of Estonia in 1918, Rosenberg served as a teacher at the Gustav Adolf Gymnasium. He gave his first speech on Jewish Marxism on 30 November, at the House of the Blackheads, after the 28 November 1918 outbreak of the Estonian War of Independence. He emigrated to Germany with the retreating Imperial German army, along with Max Scheubner-Richter, who served as something of a mentor to Rosenberg and to his ideology. Arriving in Munich, he contributed to Dietrich Eckart's publication, the Völkischer Beobachter (Ethnic/Nationalist Observer). By this time, he was both an antisemite – influenced by Houston Stewart Chamberlain's book The Foundations of the Nineteenth Century, one of the key proto-Nazi books of racial theory – and an anti-Bolshevik. Rosenberg became one of the earliest members of the German Workers' Party – later renamed the National Socialist German Workers' Party, better known as the Nazi Party – joining in January 1919, eight months before Adolf Hitler joined in September. According to some historians, Rosenberg had also been a member of the Thule Society, along with Eckart, although Nicholas Goodrick-Clarke contends that they were only guests. After the Völkischer Beobachter became the Nazi party newspaper in December 1920, Rosenberg became its editor in 1923. Rosenberg was a leading member of Aufbau Vereinigung, Reconstruction Organisation, a conspiratorial organisation of White Russian émigrés which had a critical influence on early Nazi policy. Rosenberg sympathized and identified with Talat Pasha and the Committee of Union and Progress that carried out the Armenian genocide, also claiming that there was "a deliberately Jewish policy which had always protected the Armenians" and that "during the world war, the Armenians have led the espionage against the Turks, similar to the Jews against Germany". Nazi party In 1923, after the failed Beer Hall Putsch, Hitler, who had been imprisoned for treason, appointed Rosenberg as the leader of the Nazi movement. Hitler remarked privately in later years that his choice of Rosenberg, whom he regarded as weak and lazy, was strategic; Hitler did not want the temporary leader of the Nazis to become too popular or hungry for power, because a person with either of those two qualities might not want to cede the party leadership after Hitler's release. However, at the time of the appointment Hitler had no reason to believe that he would soon be released, and Rosenberg had not appeared weak, so this may have been Hitler reading back into history his dissatisfaction with Rosenberg for the job he did. On 1 January 1924, Rosenberg founded the Greater German People's Community, a Nazi front organization. Headquartered in Munich, it was largely limited to Bavaria, the birthplace of National Socialism, had no substantial presence outside that State and became a haven for Nazi Party members from that area. Prominent members included Max Amann, Phillip Bouhler, Hermann Esser, Franz Xaver Schwarz and Julius Streicher. Rosenberg, one of the least charismatic of the Nazi leaders and lacking in leadership qualities, was soon pushed aside by Streicher, a far more ruthless and abrasive personality, who was elected Chairman on 9 July 1924 with Esser, also a coarse, bullying sort, as his Deputy Chairman. In 1929 Rosenberg founded the Militant League for German Culture. He later formed the "Institute for Research on the Jewish Question", the first branch of a projected Advanced School of the NSDAP, dedicated to identifying and attacking Jewish influence in German culture and to recording the history of Judaism from a radical nationalist perspective. He was elected as a Reichstag Deputy in 1930 and would continue to serve in this capacity until the end of the Nazi regime. First elected as a representative of the electoral list, from 1933 on he represented electoral constituency 33, Hesse. In 1930, he also published his book on racial theory The Myth of the Twentieth Century (Der Mythus des 20. Jahrhunderts) which deals with key issues in the Nazi ideology, such as the "Jewish question." Rosenberg intended his book as a sequel to Houston Stewart Chamberlain's above-cited book. Despite selling more than a million copies by 1945, its influence within Nazism remains doubtful. It is often said to have been a book that was officially venerated within Nazism, but one that few had actually read beyond the first chapter or even found comprehensible. Hitler called it "stuff nobody can understand" and disapproved of its pseudo-religious tone. Rosenberg helped convince Hitler, whose early speeches focused on revenge against France and Britain, that communism was a serious threat to Germany. "Jewish-Bolshevism" became an ideological target for Nazism during the early 1920s. In Rome during November 1932 Rosenberg participated in the Volta Conference about Europe. British historian Sir Charles Petrie met him there and regarded him with great distaste; Petrie was a Catholic and strongly objected to Rosenberg's anti-Jewish and anti-Catholic sentiments. The following year, following the Nazi seizure of power, Rosenberg was named leader of the Nazi Party's Foreign Policy Office in April, and on 2 June 1933 he was named a Reichsleiter, the second highest political rank in the Nazi Party. In May 1933 Rosenberg visited Britain, to give the impression that the Nazis would not be a threat and to encourage links between the new regime and the British Empire. It was a notable failure. When Rosenberg laid a wreath bearing a swastika at the Cenotaph, a Labour Party candidate slashed it, later threw it in the Thames and was fined 40 shillings for willful damage at Bow Street magistrate's court. In October 1933, Rosenberg was named as a member of Hans Frank's Academy for German Law. Then on 27 January 1934, Hitler made Rosenberg the "Führer's Representative for the Supervision of Intellectual and Ideological Education of the NSDAP." This was the origin of the Amt Rosenberg. Racial theories As the Nazi Party's chief racial theorist, Rosenberg oversaw the construction of a human racial "ladder" that justified Hitler's racial and ethnic policies. Rosenberg built on the works of Arthur de Gobineau, Houston Stewart Chamberlain, Madison Grant and the Klansman Lothrop Stoddard as well as on the beliefs of Hitler. Rosenberg placed Blacks and Jews at the very bottom of the ladder, while at the very top stood the "Aryan" race. Rosenberg promoted the Nordic theory which considered the Nordic race the "master race", superior to all others, including to other Aryans (Indo-Europeans). He was also influenced by the Judeo-Masonic conspiracy theory promoted by the Catholic counter-revolutionary tradition, such as the book Le Juif, le judaïsme et la judaïsation des peuples chrétiens (1869) by Roger Gougenot des Mousseaux, which he translated into German under the title The Eternal Jew. Rosenberg got the racial term Untermensch from the title of Stoddard's 1922 book The Revolt Against Civilization: The Menace of the Under-man, which had been adopted by the Nazis from that book's German version Der Kulturumsturz: Die Drohung des Untermenschen (1925). Rosenberg reshaped the Nazi racial policy over the years, but it always consisted of Aryan supremacy, extreme German nationalism and rabid antisemitism. Rosenberg also outspokenly opposed homosexuality – notably in his pamphlet "Der Sumpf" ("The Swamp", 1927). He viewed homosexuality as a hindrance to the expansion of the Nordic population. Rosenberg's attitude towards Slavs was flexible because it depended on the particular nation which he referred to. As a result of the ideology of "Drang nach Osten" ("Drive to the East"), Rosenberg saw his mission as the conquest and colonization of the Slavic East. In Der Mythus des 20. Jahrhunderts Rosenberg describes Russian Slavs as being overwhelmed by Bolshevism. Regarding Ukrainians, he favoured setting up a buffer state to ease the pressure on the German eastern frontier, while agreeing with the notion that Russia could be exploited for the benefit of Germany. During the war, Rosenberg was in favour of collaboration with the East Slavs against Bolshevism and offering them national independence unlike other Nazis such as Hitler and Himmler who dismissed such ideas. Religious theories Rosenberg was raised as a Protestant, but he rejected Christianity later in his life. Rosenberg argued for a new "religion of the blood", based on the supposed innate promptings of the Nordic soul to defend its noble character against racial and cultural degeneration. In his 1920 book Immorality in the Talmud, Rosenberg identified Jews with the antichrist. He rejected Christianity for its universality, for its doctrine of original sin (at least for Germans who he declared on one occasion were born noble), and for its teachings on the immortality of the soul, saying, "indeed, absorbing Christianity enfeebled a people." Publicly, Rosenberg affected to deplore Christianity's degeneration owing to Jewish influence. Following Houston Stewart Chamberlain's ideas, he condemned what he called "negative Christianity" (the orthodox beliefs of the Protestant and Catholic churches), arguing for a so-called "positive" Christianity based on Chamberlain's argument that Jesus was a member of an Indo-European, Nordic enclave which was resident in ancient Galilee who struggled against Judaism. Significantly, in his work explicating the Nazi intellectual belief system, The Myth of the Twentieth Century, Rosenberg cryptically alludes to and lauds the early Christian heretic Marcion (who rejected the Old Testament as well as the notion of Christ as the Jewish Messiah) and the Manichaean-inspired, "Aryo-Iranian" Cathari, as being the more authentic interpreters of Christianity versus historically dominant Judaeo-Christianity; moreover these ancient, externally Christian metaphysical forms were more "organically compatible with the Nordic sense of the spiritual and the Nordic 'blood-soul'." For Rosenberg, the anti-intellectual, religious doctrine was inseparable from serving the interests of the Nordic race, connecting the individual to his racial nature. Rosenberg stated that "The general ideas of the Roman and of the Protestant churches are negative Christianity and do not, therefore, accord with our (German) soul." His support for Luther as a great German figure was always ambivalent. In January 1934, Hitler appointed Rosenberg cultural and educational leader of the Reich. The Sanctum Officium in Rome recommended that Rosenberg's Myth of the Twentieth Century be put on the Index Librorum Prohibitorum (list of books forbidden by the Catholic Church) for scorning and rejecting "all dogmas of the Catholic Church, indeed the very fundamentals of the Christian religion". During World War II, Rosenberg outlined the future envisioned by the Hitler government for religion in Germany, with a thirty-point program for the future of the German churches. Among its articles: the National Reich Church of Germany would claim exclusive control over all churches publication of the Bible would cease crucifixes, Bibles and saints were to be removed from altars Mein Kampf would be placed on altars as "to the German nation and therefore to God the most sacred book" the Christian Cross would be removed from all churches and replaced with the swastika. Rosenberg has been described as an atheist by people, including Henry F. Gerecke, the Lutheran chaplain who communed with some of the Nuremberg prisoners, including Joachim von Ribbentrop and Wilhelm Keitel. However, some historians have claimed that Rosenberg was a neo-pagan. Wartime activities In 1940 Rosenberg was made head of the Hohe Schule (literally "high school", but the German phrase refers to a college), the Centre of National Socialist Ideological and Educational Research, out of which the Einsatzstab Reichsleiter Rosenberg (Reichsleiter Rosenberg Taskforce) developed for the purpose of looting art and cultural goods. The ERR were especially active in Paris in looting art stolen from famous Jewish families such as the Rothschilds and that of Paul Rosenberg. Hermann Göring used the ERR to collect art for his own personal gratification. He created a "Special Task Force for Music" (Sonderstab Musik) to collect the best musical instruments and scores for use in a university to be built in Hitler's home town of Linz, Austria. The orders given to the Sonderstab Musik were to loot all forms of Jewish property in Germany and of those found in any country taken over by the German army, and any musical instruments or scores were to be immediately shipped to Berlin. Reich Minister for the Occupied Eastern Territories Following the invasion of the USSR, Rosenberg was appointed head of the Reich Ministry for the Occupied Eastern Territories (Reichsministerium für die besetzten Ostgebiete) on 17 July 1941. Alfred Meyer served as his deputy and represented him at the Wannsee Conference. Another official of the Ministry, Georg Leibbrandt, also attended the conference, at Rosenberg's request. Rosenberg had presented Hitler with his plan for the organization of the conquered Eastern territories, suggesting the establishment of new administrative districts, to replace the previously Soviet-controlled territories with new Reichskommissariats. These would be: Ostland (Baltic countries and Belarus), Ukraine (Ukraine and nearest territories), Kaukasus (Caucasus area), Moskau (Moscow metropolitan area and the rest of nearest Russian European areas) Although Rosenberg believed that all of the peoples of the Soviet Union were subhumans because of their communist beliefs, such suggestions were intended to encourage certain non-Russian forms of nationalism and promote German interests for the benefit of future Aryan generations, in accord with geopolitical "Lebensraum im Osten" plans. They would provide a buffer against Soviet expansion in preparation for the total eradication of Communism and Bolshevism by decisive pre-emptive military action. Following these plans, when Wehrmacht forces invaded Soviet-controlled territory, they immediately implemented the first of the proposed Reichskommissariats of Ostland and Ukraine, under the leadership of Hinrich Lohse and Erich Koch, respectively. The organization of these administrative territories led to conflict between Rosenberg and the SS over the treatment of Slavs under German occupation. As Nazi Germany's chief racial theorist, Rosenberg considered Slavs, though lesser than Germans, to be Aryan. Rosenberg often complained to Hitler and Himmler about the treatment of non-Jewish occupied peoples. He proposed the creation of buffer satellite states made out of Greater Finland, Baltica, Ukraine, and Caucasus. During an 18 November 1941 press conference, he made the following statements about the Jewish question, he stated: At the Nuremberg trials he said he was ignorant of the Holocaust, despite the fact that Leibbrandt and Meyer were present at the Wannsee conference. Wartime propaganda efforts Since the invasion of the Soviet Union intended to impose the New Order, it was essentially a war of conquest. German propaganda efforts designed to win over Russian opinion were, at best, patchy and inconsistent. Alfred Rosenberg was one of the few in the Nazi hierarchy who advocated a policy designed to encourage anti-Communist opinion among the population of the occupied territories. His interest here was mainly in the non-Russian areas such as Ukraine and the Baltic States; however, supporters of the Russian Liberation Army were somewhat able to win him over. Amongst other things, Rosenberg issued a series of posters announcing the end of the Soviet collective farms (kolkhoz). He also issued an Agrarian Law in February 1942, annulling all Soviet legislation on farming and restoring family farms for those willing to collaborate with the occupiers. But decollectivisation conflicted with the wider demands of wartime food production, and Hermann Göring demanded that the collective farms be retained, save for a change of name. Hitler himself denounced the redistribution of land as "stupid". There were numerous German armed forces (Wehrmacht) posters asking for assistance in the Bandenkrieg, the war against the Soviet partisans, though, once again, German policy had the effect of adding to their problems. Posters for "volunteer" labour, with inscriptions such as "Come work with us to shorten the war", hid the appalling realities faced by Russian workers in Germany. Many people joined the partisans rather than risk being sent to an unknown fate in the west. Another of Rosenberg's initiatives, the "Free Caucasus" campaign, was rather more successful, attracting various nationalities into the so-called Eastern Legion (Ostlegionen), though in the end this made little difference in the outcome of the war on the Eastern Front. Trial and execution Rosenberg was captured by Allied troops on 19 May 1945 in Flensburg-Mürwik. He was tried at Nuremberg and found guilty of all four counts: conspiracy to commit crimes against peace; planning, initiating and waging wars of aggression; war crimes; and crimes against humanity. The final judgment against him named him one of the principal planners of the invasions of Norway and the Soviet Union. It also held him directly responsible for the systematic plunder of the occupied countries of Europe, as well as the brutal conditions in Eastern Europe. During his trial he wrote his memoirs, which were published posthumously and with analytical commentary by Serge Lang and Ernst von Schenck. He was sentenced to death and executed with other condemned co-defendants at Nuremberg Prison on the morning of 16 October 1946. His body, like those of the other nine executed men and that of Hermann Göring, was cremated at Ostfriedhof (Munich) and the ashes were scattered in the river Isar. Throughout the trial, it was agreed that Rosenberg had a decisive role in shaping Nazi philosophy and ideology. Examples include: his book Myth of the Twentieth Century, which was published in 1930, where he incited hatred against "Liberal Imperialism" and "Bolshevik Marxism"; furthering the influence of the "Lebensraum" idea in Germany during the war; facilitating the persecution of Christian churches and the Jews in particular; and opposition to the Versailles Treaty. According to Joseph Kingsbury-Smith, who covered the executions for the International News Service, Rosenberg was the only condemned man who, when asked at the gallows if he had any last statement to make, replied with only one word: "No". Nazi policy and Rosenberg's views Hitler was a leader oriented towards practical politics, whereas, for Rosenberg, religion and philosophy were key and he was the most culturally influential within the party. Several accounts of the time before the Nazi ascension to power speak of Hitler as being a mouthpiece for Rosenberg's views, and he clearly exerted a great deal of intellectual influence. The question of Rosenberg's influence in the Nazi Party is controversial. He was perceived as lacking the charisma and political skills of the other Nazi leaders, and was somewhat isolated. In some of his speeches Hitler appeared to be close to Rosenberg's views, rejecting traditional Christianity as a religion based on Jewish culture, preferring an ethnically and culturally pure "Race" whose destiny was supposed to be assigned to the German people by "Providence". In others, he adhered to the Nazi Party line, which advocated a "positive Christianity". After Hitler's assumption of power he moved to reassure the Protestant and Catholic churches that the party was not intending to reinstitute Germanic paganism. He placed himself in the position of being the man to save Positive Christianity from utter destruction at the hands of the atheistic antitheist Communists of the Soviet Union. This was especially true immediately before and after the elections of 1932; Hitler wanted to appear non-threatening to major Christian faiths and consolidate his power. Furthermore, Hitler felt that Catholic–Protestant infighting had been a major factor in weakening the German state and allowing its dominance by foreign powers. Some Nazi leaders, such as Martin Bormann, were anti-Christian and sympathetic to Rosenberg. Once in power, Hitler and most Nazi leaders sought to unify the Christian denominations in favor of "positive Christianity". Hitler privately condemned mystical and pseudoreligious interests as "nonsense". However, he and Joseph Goebbels agreed that after the Endsieg (Final Victory) the Reich Church should be pressed into evolving into a German social evolutionist organisation proclaiming the cult of race, blood and battle, instead of Redemption and the Ten Commandments of Moses, which they deemed outdated and Jewish. Heinrich Himmler's views were among the closest to Rosenberg's, and their estrangement was perhaps created by Himmler's abilities to put into action what Rosenberg had only written. Also, while Rosenberg thought Christianity should be allowed to die out, Himmler actively set out to create countering pagan rituals. Lieutenant Colonel William Harold Dunn (1898–1955) wrote a medical and psychiatric report on him in prison to evaluate him as a suicide risk: He gave the impression of clinging to his own theories in a fanatical and unyielding fashion and to have been little influenced by the unfolding during the trial of the cruelty and crimes of the party. Summarizing the unresolved conflict between the personal views of Rosenberg and the pragmatism of the Nazi elite: The ruthless pursuit of Nazi aims turned out to mean not, as Rosenberg had hoped, the permeation of German life with the new ideology; it meant concentration of the combined resources of party and state on total war. Family life Rosenberg was married twice. In 1915, he married Hilda Leesmann, an ethnic Estonian; they divorced in 1923. Two years later, in 1925 he married Hedwig Kramer, to whom he remained wed until his execution by the Allies. He and Kramer had two children: a son who died in infancy and a daughter, Irene, who was born in 1930. Writings Unmoral im Talmud, 1920, Ernst Boepple's Deutscher Volksverlag, Munich ("Immorality in the Talmud") Das Verbrechen der Freimaurerei: Judentum, Jesuitismus, Deutsches Christentum, 1921 ("The Crime of Freemasonry: Judaism, Jesuitism, German Christianity") Wesen, Grundsätze und Ziele der Nationalsozialistischen Deutschen Arbeiterpartei, 1922, Ernst Boepple's Deutscher Volksverlag, Munich ("Being, principles, and goals of the National Socialist German Worker's Party") Pest in Russland. Der Bolschewismus, seine Häupter, Handlanger und Opfer, 1922, Ernst Boepple's Deutscher Volksverlag, Munich ("The Plague in Russia. Bolshevism, its heads, henchmen, and victims") Bolschewismus, Hunger, Tod, 1922, Ernst Boepple's Deutscher Volksverlag, Munich ("Bolshevism, hunger, death") Der staatsfeindliche Zionismus. ("Zionism, the Enemy of the State"), 1922. Die Protokolle der Weisen von Zion und die jüdische Weltpolitik, 1923 ("The Protocols of the Elders of Zion and the Jewish World Politics") The Jewish Bolshevism, Britons Pub. Society, 1923, together with Ernst Boepple Der Mythus des 20. Jahrhunderts, 1930 ("The Myth of the 20th Century") Dietrich Eckart. Ein Vermächtnis, 1935 ("Dietrich Eckart: A Legacy") An die Dunkelmänner unserer Zeit. Eine Antwort auf die Angriffe gegen den "Mythus des 20. Jahrhunderts", 1937 ("The Obscurantists of Our Time: A Response to the Attacks Against 'The Myth of the 20th Century'") Protestantische Rompilger. Der Verrat an Luther und der "Mythus des 20. Jahrhunderts", 1937 ("Protestant Rome Pilgrims: The Betrayal of Luther and the 'Myth of the 20th Century'") Portrait eines Menschheitsverbrechers, 1949, with analytical commentary by Serge Lang and Ernst von Schenck ("Memoirs of Alfred Rosenberg: With Commentaries") Die Macht der Form, Unknown ("The Power of Form") Diary During the Nuremberg trials, Rosenberg's handwritten diary was translated by Harry Fiss, Chief of Documentation for the American prosecution. After its use in evidence during the Nuremberg trials, the diary went missing, along with other material which had been given to the prosecutor Robert Kempner (1899–1993). It was recovered in Lewiston, N.Y., on 13 June 2013. Written on 425 loose-leaf pages, with entries dating from 1936 through 1944, it is now the property of the United States Holocaust Memorial Museum (USHMM) in Washington. Henry Mayer, the museum's senior archivist, and the son of a Holocaust survivor, was able to access the material and while "not given enough time to read [the] diary entry from beginning to end," he "could see that Rosenberg focused on certain subjects, including brutality against Jews and other ethnic groups and forcing the civilian population of occupied Russia to serve Germany." Meyer also noted Rosenberg's "hostile comments about Nazi leaders," which he described as "unvarnished." While some parts of the manuscript had been previously published, the majority had been lost for decades. Former Federal Bureau of Investigation agent Robert King Wittman, who helped track down the diary, said, "there is no place in the diary where we have Rosenberg or Hitler saying the Jews should be exterminated, all it said was 'move them out of Europe'". The New York Times said of the search for the missing manuscript that "the tangled journey of the diary could itself be the subject of a television mini-series." Since the end of 2013, the USHMM has shown the 425-page document (photos and transcripts) on its homepage. See also Antisemitism Myth of the Twentieth Century Nordische Gesellschaft Racism Kirchenkampf References Informational notes Citations Bibliography External links Personal diary found by ICE 13 June 2013 Alfred Rosenberg Memoirs at Archive.org United States Holocaust Memorial Museum – Alfred Rosenberg Rosenberg on Churchill Alfred Rosenberg - photo Great Grandchild Tytus L Rosenberg Rosenberg on Nuremberg Rally Chapter V, Faith and Thought in National Socialist Germany, The War Against the West, Aurel Kolnai 1893 births 1946 deaths Anti-Masonry Anti-Catholic activists Anti-Catholicism in Germany Antisemitism in Germany Architects in the Nazi Party Baltic-German people Bauman Moscow State Technical University alumni Critics of Christianity Critics of the Catholic Church Estonian architects Executed Estonian people Executed German people Fascist writers Former Protestants German anti-communists German atheists German conspiracy theorists German former Christians German male non-fiction writers German Modern Pagans German propagandists German people convicted of crimes against humanity German people convicted of the international crime of aggression German people of Estonian descent German people of French descent German people of Latvian descent German political philosophers German political writers German Workers Party members Greater German People's Community politicians Holocaust perpetrators Kirchenkampf Members of the Academy for German Law Members of the Reichstag of Nazi Germany Members of the Reichstag of the Weimar Republic Militant League for German Culture members Nazi Germany ministers Nazi Party officials Nazi Party politicians Nazi propagandists Nazis convicted of war crimes Nazis from outside Germany Nazis who participated in the Beer Hall Putsch People executed by the International Military Tribunal in Nuremberg People executed for crimes against humanity People from the Governorate of Estonia Political philosophers Politicians from Tallinn Pseudoarchaeologists Pseudohistorians Reichsleiters Riga Technical University alumni Sturmabteilung officers Thule Society members 20th-century German architects 20th-century German philosophers 20th-century German writers White supremacists
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[ "Queen Liang (梁王后, personal name unknown) was a queen of the Chinese state Western Qin. Her husband was the final king, Qifu Mumo.\n\nVery little is known about Queen Liang. Qifu Mumo created her queen in 429, after he had succeeded his father Qifu Chipan (King Wenzhao) in 428. It is not known whether his son Qifu Wanzai (乞伏萬載), whom he created crown prince in 429 as well, was her son. It is not known what happened to her when Qifu Mumo was captured and executed by the Xia emperor Helian Ding in 431, ending Western Qin, although Helian Ding executed a large number of Western Qin nobles and officials, so it was likely she was executed as well.\n\nWestern Qin queens\n5th-century Chinese people\n5th-century Chinese women", "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" ]
[ "Alfred Rosenberg", "Trial and execution", "Are there any other interesting aspects about this article?", "Rosenberg was captured by Allied troops at the end of the war in Flensburg-Murwik.", "What happened after he was captured", "He was tried at Nuremberg and found guilty of all four counts:" ]
C_4304e465dd824cb1837262962a554703_0
How long was his sentence?
3
How long was Alfred Rosenberg sentence?
Alfred Rosenberg
Rosenberg was captured by Allied troops at the end of the war in Flensburg-Murwik. He was tried at Nuremberg and found guilty of all four counts: conspiracy to commit crimes against peace; planning, initiating and waging wars of aggression; war crimes; and crimes against humanity. The final judgment against him named him one of the principal planners of the invasions of Norway and the Soviet Union. It also held him directly responsible for the systematic plunder of the occupied countries of Europe, as well as the brutal conditions in Eastern Europe. During his trial he wrote his memoirs, which were published posthumously and with analytical commentary by Serge Lang and Ernst von Schenck. He was sentenced to death and executed with other condemned co-defendants at Nuremberg Prison on the morning of 16 October 1946. His body, like those of the other nine executed men and that of Hermann Goring, was cremated at Ostfriedhof (Munich) and the ashes were scattered in the river Isar. Throughout the trial, it was agreed that Rosenberg had a decisive role in shaping Nazi philosophy and ideology. Examples include: his book, Myth of the Twentieth Century, which was published in 1930, where he incited hatred against "Liberal Imperialism" and "Bolshevik Marxism"; furthering the influence of the "Lebensraum" idea in Germany during the war; facilitating the persecution of Christian churches and the Jews in particular; and opposition to the Versailles Treaty. According to Joseph Kingsbury-Smith, who covered the executions for the International News Service, Rosenberg was the only condemned man who, when asked at the gallows if he had any last statement to make, replied with only one word: "No". CANNOTANSWER
He was sentenced to death and executed with other condemned co-defendants at Nuremberg Prison
Alfred Ernst Rosenberg ( – 16 October 1946) was a Baltic German Nazi theorist and ideologue. Rosenberg was first introduced to Adolf Hitler by Dietrich Eckart and he held several important posts in the Nazi government. He was the head of the NSDAP Office of Foreign Affairs during the entire rule of Nazi Germany (1933–1945), and led Amt Rosenberg ("Rosenberg's bureau"), an official Nazi body for cultural policy and surveillance, between 1934 and 1945. During World War II, Rosenberg was the head of the Reich Ministry for the Occupied Eastern Territories (1941–1945). After the war, he was convicted of crimes against peace; planning, initiating and waging wars of aggression; war crimes; and crimes against humanity at the Nuremberg trials in 1946. He was sentenced to death and executed on 16 October 1946. The author of a seminal work of Nazi ideology, The Myth of the Twentieth Century (1930), Rosenberg is considered one of the main authors of key Nazi ideological creeds, including its racial theory, persecution of the Jews, Lebensraum, abrogation of the Treaty of Versailles, and opposition to what was considered "degenerate" modern art. He is known for his rejection of and hatred for Christianity, having played an important role in the development of German nationalist Positive Christianity. Early life Family Rosenberg was born on 12 January 1893 in Reval, now Tallinn (the capital of modern Estonia), then in the Governorate of Estonia (Russian Empire). His mother Elfriede (née Siré), who had French and German ancestry, was the daughter of Louise Rosalie (née Fabricius), born near Leal (modern Lihula, Estonia) in 1842, and of the railway official Friedrich August Siré, born in Saint-Petersburg (Russian Empire) in 1843. Born in the same city in 1868 and confirmed in Reval at 17 in 1885, Elfriede Siré married Woldemar Wilhelm Rosenberg, a wealthy merchant from Reval, in the Lutheran Church of Saint Peter and Saint Paul (St-Petersburg) in 1886. His paternal grandfather, Martin Rosenberg, was a master shoemaker and elder of his guild. Born in Riga in 1820, and probably partly of Latvian descent, he had moved to Reval in the 1850s, where he met Julie Elisabeth Stramm, born in Jörden (Estonia) in 1835. The two married in the German St. Nicholas parish of Reval in 1856. His mother died two months after his birth. Main difference is she dropped off the radar after Alfred was handed, Gudrun picked up her father left off Great Grandchild Tytus L Rosenberg ( born in 1974 ) in Poland. The Hungarian-Jewish journalist Franz Szell, who was apparently residing in Tilsit, Prussia, Germany, spent a year researching in Latvian and Estonian archives before publishing an open letter in 1936, with copies to Hermann Göring, Joseph Goebbels, Foreign Minister Konstantin von Neurath and others, accusing Rosenberg of having "no drop of German blood" flowing in his veins. Szell wrote that among Rosenberg's ancestors were only "Latvians, Jews, Mongols, and French." As a result of his open letter, Szell was deported by Lithuanian authorities on 15 September 1936. His claims were repeated in the 15 September 1937 issue of the Vatican newspaper L'Osservatore Romano. Alfred Rosenberg was indeed of Baltic German, French, and probably also of Estonian and Latvian descent, but no Jewish ancestry has been discovered. Education and early career The young Rosenberg graduated from the Petri-Realschule (currently Tallinna Reaalkool) and went on to study architecture at the Riga Polytechnical Institute and engineering at Moscow's Imperial Higher Technical School (), completing his PhD studies in 1917. During his stays at home in Reval, he attended the art studio of the famed painter Ants Laikmaa - though he showed promise, there are no records that he ever exhibited. During the German occupation of Estonia in 1918, Rosenberg served as a teacher at the Gustav Adolf Gymnasium. He gave his first speech on Jewish Marxism on 30 November, at the House of the Blackheads, after the 28 November 1918 outbreak of the Estonian War of Independence. He emigrated to Germany with the retreating Imperial German army, along with Max Scheubner-Richter, who served as something of a mentor to Rosenberg and to his ideology. Arriving in Munich, he contributed to Dietrich Eckart's publication, the Völkischer Beobachter (Ethnic/Nationalist Observer). By this time, he was both an antisemite – influenced by Houston Stewart Chamberlain's book The Foundations of the Nineteenth Century, one of the key proto-Nazi books of racial theory – and an anti-Bolshevik. Rosenberg became one of the earliest members of the German Workers' Party – later renamed the National Socialist German Workers' Party, better known as the Nazi Party – joining in January 1919, eight months before Adolf Hitler joined in September. According to some historians, Rosenberg had also been a member of the Thule Society, along with Eckart, although Nicholas Goodrick-Clarke contends that they were only guests. After the Völkischer Beobachter became the Nazi party newspaper in December 1920, Rosenberg became its editor in 1923. Rosenberg was a leading member of Aufbau Vereinigung, Reconstruction Organisation, a conspiratorial organisation of White Russian émigrés which had a critical influence on early Nazi policy. Rosenberg sympathized and identified with Talat Pasha and the Committee of Union and Progress that carried out the Armenian genocide, also claiming that there was "a deliberately Jewish policy which had always protected the Armenians" and that "during the world war, the Armenians have led the espionage against the Turks, similar to the Jews against Germany". Nazi party In 1923, after the failed Beer Hall Putsch, Hitler, who had been imprisoned for treason, appointed Rosenberg as the leader of the Nazi movement. Hitler remarked privately in later years that his choice of Rosenberg, whom he regarded as weak and lazy, was strategic; Hitler did not want the temporary leader of the Nazis to become too popular or hungry for power, because a person with either of those two qualities might not want to cede the party leadership after Hitler's release. However, at the time of the appointment Hitler had no reason to believe that he would soon be released, and Rosenberg had not appeared weak, so this may have been Hitler reading back into history his dissatisfaction with Rosenberg for the job he did. On 1 January 1924, Rosenberg founded the Greater German People's Community, a Nazi front organization. Headquartered in Munich, it was largely limited to Bavaria, the birthplace of National Socialism, had no substantial presence outside that State and became a haven for Nazi Party members from that area. Prominent members included Max Amann, Phillip Bouhler, Hermann Esser, Franz Xaver Schwarz and Julius Streicher. Rosenberg, one of the least charismatic of the Nazi leaders and lacking in leadership qualities, was soon pushed aside by Streicher, a far more ruthless and abrasive personality, who was elected Chairman on 9 July 1924 with Esser, also a coarse, bullying sort, as his Deputy Chairman. In 1929 Rosenberg founded the Militant League for German Culture. He later formed the "Institute for Research on the Jewish Question", the first branch of a projected Advanced School of the NSDAP, dedicated to identifying and attacking Jewish influence in German culture and to recording the history of Judaism from a radical nationalist perspective. He was elected as a Reichstag Deputy in 1930 and would continue to serve in this capacity until the end of the Nazi regime. First elected as a representative of the electoral list, from 1933 on he represented electoral constituency 33, Hesse. In 1930, he also published his book on racial theory The Myth of the Twentieth Century (Der Mythus des 20. Jahrhunderts) which deals with key issues in the Nazi ideology, such as the "Jewish question." Rosenberg intended his book as a sequel to Houston Stewart Chamberlain's above-cited book. Despite selling more than a million copies by 1945, its influence within Nazism remains doubtful. It is often said to have been a book that was officially venerated within Nazism, but one that few had actually read beyond the first chapter or even found comprehensible. Hitler called it "stuff nobody can understand" and disapproved of its pseudo-religious tone. Rosenberg helped convince Hitler, whose early speeches focused on revenge against France and Britain, that communism was a serious threat to Germany. "Jewish-Bolshevism" became an ideological target for Nazism during the early 1920s. In Rome during November 1932 Rosenberg participated in the Volta Conference about Europe. British historian Sir Charles Petrie met him there and regarded him with great distaste; Petrie was a Catholic and strongly objected to Rosenberg's anti-Jewish and anti-Catholic sentiments. The following year, following the Nazi seizure of power, Rosenberg was named leader of the Nazi Party's Foreign Policy Office in April, and on 2 June 1933 he was named a Reichsleiter, the second highest political rank in the Nazi Party. In May 1933 Rosenberg visited Britain, to give the impression that the Nazis would not be a threat and to encourage links between the new regime and the British Empire. It was a notable failure. When Rosenberg laid a wreath bearing a swastika at the Cenotaph, a Labour Party candidate slashed it, later threw it in the Thames and was fined 40 shillings for willful damage at Bow Street magistrate's court. In October 1933, Rosenberg was named as a member of Hans Frank's Academy for German Law. Then on 27 January 1934, Hitler made Rosenberg the "Führer's Representative for the Supervision of Intellectual and Ideological Education of the NSDAP." This was the origin of the Amt Rosenberg. Racial theories As the Nazi Party's chief racial theorist, Rosenberg oversaw the construction of a human racial "ladder" that justified Hitler's racial and ethnic policies. Rosenberg built on the works of Arthur de Gobineau, Houston Stewart Chamberlain, Madison Grant and the Klansman Lothrop Stoddard as well as on the beliefs of Hitler. Rosenberg placed Blacks and Jews at the very bottom of the ladder, while at the very top stood the "Aryan" race. Rosenberg promoted the Nordic theory which considered the Nordic race the "master race", superior to all others, including to other Aryans (Indo-Europeans). He was also influenced by the Judeo-Masonic conspiracy theory promoted by the Catholic counter-revolutionary tradition, such as the book Le Juif, le judaïsme et la judaïsation des peuples chrétiens (1869) by Roger Gougenot des Mousseaux, which he translated into German under the title The Eternal Jew. Rosenberg got the racial term Untermensch from the title of Stoddard's 1922 book The Revolt Against Civilization: The Menace of the Under-man, which had been adopted by the Nazis from that book's German version Der Kulturumsturz: Die Drohung des Untermenschen (1925). Rosenberg reshaped the Nazi racial policy over the years, but it always consisted of Aryan supremacy, extreme German nationalism and rabid antisemitism. Rosenberg also outspokenly opposed homosexuality – notably in his pamphlet "Der Sumpf" ("The Swamp", 1927). He viewed homosexuality as a hindrance to the expansion of the Nordic population. Rosenberg's attitude towards Slavs was flexible because it depended on the particular nation which he referred to. As a result of the ideology of "Drang nach Osten" ("Drive to the East"), Rosenberg saw his mission as the conquest and colonization of the Slavic East. In Der Mythus des 20. Jahrhunderts Rosenberg describes Russian Slavs as being overwhelmed by Bolshevism. Regarding Ukrainians, he favoured setting up a buffer state to ease the pressure on the German eastern frontier, while agreeing with the notion that Russia could be exploited for the benefit of Germany. During the war, Rosenberg was in favour of collaboration with the East Slavs against Bolshevism and offering them national independence unlike other Nazis such as Hitler and Himmler who dismissed such ideas. Religious theories Rosenberg was raised as a Protestant, but he rejected Christianity later in his life. Rosenberg argued for a new "religion of the blood", based on the supposed innate promptings of the Nordic soul to defend its noble character against racial and cultural degeneration. In his 1920 book Immorality in the Talmud, Rosenberg identified Jews with the antichrist. He rejected Christianity for its universality, for its doctrine of original sin (at least for Germans who he declared on one occasion were born noble), and for its teachings on the immortality of the soul, saying, "indeed, absorbing Christianity enfeebled a people." Publicly, Rosenberg affected to deplore Christianity's degeneration owing to Jewish influence. Following Houston Stewart Chamberlain's ideas, he condemned what he called "negative Christianity" (the orthodox beliefs of the Protestant and Catholic churches), arguing for a so-called "positive" Christianity based on Chamberlain's argument that Jesus was a member of an Indo-European, Nordic enclave which was resident in ancient Galilee who struggled against Judaism. Significantly, in his work explicating the Nazi intellectual belief system, The Myth of the Twentieth Century, Rosenberg cryptically alludes to and lauds the early Christian heretic Marcion (who rejected the Old Testament as well as the notion of Christ as the Jewish Messiah) and the Manichaean-inspired, "Aryo-Iranian" Cathari, as being the more authentic interpreters of Christianity versus historically dominant Judaeo-Christianity; moreover these ancient, externally Christian metaphysical forms were more "organically compatible with the Nordic sense of the spiritual and the Nordic 'blood-soul'." For Rosenberg, the anti-intellectual, religious doctrine was inseparable from serving the interests of the Nordic race, connecting the individual to his racial nature. Rosenberg stated that "The general ideas of the Roman and of the Protestant churches are negative Christianity and do not, therefore, accord with our (German) soul." His support for Luther as a great German figure was always ambivalent. In January 1934, Hitler appointed Rosenberg cultural and educational leader of the Reich. The Sanctum Officium in Rome recommended that Rosenberg's Myth of the Twentieth Century be put on the Index Librorum Prohibitorum (list of books forbidden by the Catholic Church) for scorning and rejecting "all dogmas of the Catholic Church, indeed the very fundamentals of the Christian religion". During World War II, Rosenberg outlined the future envisioned by the Hitler government for religion in Germany, with a thirty-point program for the future of the German churches. Among its articles: the National Reich Church of Germany would claim exclusive control over all churches publication of the Bible would cease crucifixes, Bibles and saints were to be removed from altars Mein Kampf would be placed on altars as "to the German nation and therefore to God the most sacred book" the Christian Cross would be removed from all churches and replaced with the swastika. Rosenberg has been described as an atheist by people, including Henry F. Gerecke, the Lutheran chaplain who communed with some of the Nuremberg prisoners, including Joachim von Ribbentrop and Wilhelm Keitel. However, some historians have claimed that Rosenberg was a neo-pagan. Wartime activities In 1940 Rosenberg was made head of the Hohe Schule (literally "high school", but the German phrase refers to a college), the Centre of National Socialist Ideological and Educational Research, out of which the Einsatzstab Reichsleiter Rosenberg (Reichsleiter Rosenberg Taskforce) developed for the purpose of looting art and cultural goods. The ERR were especially active in Paris in looting art stolen from famous Jewish families such as the Rothschilds and that of Paul Rosenberg. Hermann Göring used the ERR to collect art for his own personal gratification. He created a "Special Task Force for Music" (Sonderstab Musik) to collect the best musical instruments and scores for use in a university to be built in Hitler's home town of Linz, Austria. The orders given to the Sonderstab Musik were to loot all forms of Jewish property in Germany and of those found in any country taken over by the German army, and any musical instruments or scores were to be immediately shipped to Berlin. Reich Minister for the Occupied Eastern Territories Following the invasion of the USSR, Rosenberg was appointed head of the Reich Ministry for the Occupied Eastern Territories (Reichsministerium für die besetzten Ostgebiete) on 17 July 1941. Alfred Meyer served as his deputy and represented him at the Wannsee Conference. Another official of the Ministry, Georg Leibbrandt, also attended the conference, at Rosenberg's request. Rosenberg had presented Hitler with his plan for the organization of the conquered Eastern territories, suggesting the establishment of new administrative districts, to replace the previously Soviet-controlled territories with new Reichskommissariats. These would be: Ostland (Baltic countries and Belarus), Ukraine (Ukraine and nearest territories), Kaukasus (Caucasus area), Moskau (Moscow metropolitan area and the rest of nearest Russian European areas) Although Rosenberg believed that all of the peoples of the Soviet Union were subhumans because of their communist beliefs, such suggestions were intended to encourage certain non-Russian forms of nationalism and promote German interests for the benefit of future Aryan generations, in accord with geopolitical "Lebensraum im Osten" plans. They would provide a buffer against Soviet expansion in preparation for the total eradication of Communism and Bolshevism by decisive pre-emptive military action. Following these plans, when Wehrmacht forces invaded Soviet-controlled territory, they immediately implemented the first of the proposed Reichskommissariats of Ostland and Ukraine, under the leadership of Hinrich Lohse and Erich Koch, respectively. The organization of these administrative territories led to conflict between Rosenberg and the SS over the treatment of Slavs under German occupation. As Nazi Germany's chief racial theorist, Rosenberg considered Slavs, though lesser than Germans, to be Aryan. Rosenberg often complained to Hitler and Himmler about the treatment of non-Jewish occupied peoples. He proposed the creation of buffer satellite states made out of Greater Finland, Baltica, Ukraine, and Caucasus. During an 18 November 1941 press conference, he made the following statements about the Jewish question, he stated: At the Nuremberg trials he said he was ignorant of the Holocaust, despite the fact that Leibbrandt and Meyer were present at the Wannsee conference. Wartime propaganda efforts Since the invasion of the Soviet Union intended to impose the New Order, it was essentially a war of conquest. German propaganda efforts designed to win over Russian opinion were, at best, patchy and inconsistent. Alfred Rosenberg was one of the few in the Nazi hierarchy who advocated a policy designed to encourage anti-Communist opinion among the population of the occupied territories. His interest here was mainly in the non-Russian areas such as Ukraine and the Baltic States; however, supporters of the Russian Liberation Army were somewhat able to win him over. Amongst other things, Rosenberg issued a series of posters announcing the end of the Soviet collective farms (kolkhoz). He also issued an Agrarian Law in February 1942, annulling all Soviet legislation on farming and restoring family farms for those willing to collaborate with the occupiers. But decollectivisation conflicted with the wider demands of wartime food production, and Hermann Göring demanded that the collective farms be retained, save for a change of name. Hitler himself denounced the redistribution of land as "stupid". There were numerous German armed forces (Wehrmacht) posters asking for assistance in the Bandenkrieg, the war against the Soviet partisans, though, once again, German policy had the effect of adding to their problems. Posters for "volunteer" labour, with inscriptions such as "Come work with us to shorten the war", hid the appalling realities faced by Russian workers in Germany. Many people joined the partisans rather than risk being sent to an unknown fate in the west. Another of Rosenberg's initiatives, the "Free Caucasus" campaign, was rather more successful, attracting various nationalities into the so-called Eastern Legion (Ostlegionen), though in the end this made little difference in the outcome of the war on the Eastern Front. Trial and execution Rosenberg was captured by Allied troops on 19 May 1945 in Flensburg-Mürwik. He was tried at Nuremberg and found guilty of all four counts: conspiracy to commit crimes against peace; planning, initiating and waging wars of aggression; war crimes; and crimes against humanity. The final judgment against him named him one of the principal planners of the invasions of Norway and the Soviet Union. It also held him directly responsible for the systematic plunder of the occupied countries of Europe, as well as the brutal conditions in Eastern Europe. During his trial he wrote his memoirs, which were published posthumously and with analytical commentary by Serge Lang and Ernst von Schenck. He was sentenced to death and executed with other condemned co-defendants at Nuremberg Prison on the morning of 16 October 1946. His body, like those of the other nine executed men and that of Hermann Göring, was cremated at Ostfriedhof (Munich) and the ashes were scattered in the river Isar. Throughout the trial, it was agreed that Rosenberg had a decisive role in shaping Nazi philosophy and ideology. Examples include: his book Myth of the Twentieth Century, which was published in 1930, where he incited hatred against "Liberal Imperialism" and "Bolshevik Marxism"; furthering the influence of the "Lebensraum" idea in Germany during the war; facilitating the persecution of Christian churches and the Jews in particular; and opposition to the Versailles Treaty. According to Joseph Kingsbury-Smith, who covered the executions for the International News Service, Rosenberg was the only condemned man who, when asked at the gallows if he had any last statement to make, replied with only one word: "No". Nazi policy and Rosenberg's views Hitler was a leader oriented towards practical politics, whereas, for Rosenberg, religion and philosophy were key and he was the most culturally influential within the party. Several accounts of the time before the Nazi ascension to power speak of Hitler as being a mouthpiece for Rosenberg's views, and he clearly exerted a great deal of intellectual influence. The question of Rosenberg's influence in the Nazi Party is controversial. He was perceived as lacking the charisma and political skills of the other Nazi leaders, and was somewhat isolated. In some of his speeches Hitler appeared to be close to Rosenberg's views, rejecting traditional Christianity as a religion based on Jewish culture, preferring an ethnically and culturally pure "Race" whose destiny was supposed to be assigned to the German people by "Providence". In others, he adhered to the Nazi Party line, which advocated a "positive Christianity". After Hitler's assumption of power he moved to reassure the Protestant and Catholic churches that the party was not intending to reinstitute Germanic paganism. He placed himself in the position of being the man to save Positive Christianity from utter destruction at the hands of the atheistic antitheist Communists of the Soviet Union. This was especially true immediately before and after the elections of 1932; Hitler wanted to appear non-threatening to major Christian faiths and consolidate his power. Furthermore, Hitler felt that Catholic–Protestant infighting had been a major factor in weakening the German state and allowing its dominance by foreign powers. Some Nazi leaders, such as Martin Bormann, were anti-Christian and sympathetic to Rosenberg. Once in power, Hitler and most Nazi leaders sought to unify the Christian denominations in favor of "positive Christianity". Hitler privately condemned mystical and pseudoreligious interests as "nonsense". However, he and Joseph Goebbels agreed that after the Endsieg (Final Victory) the Reich Church should be pressed into evolving into a German social evolutionist organisation proclaiming the cult of race, blood and battle, instead of Redemption and the Ten Commandments of Moses, which they deemed outdated and Jewish. Heinrich Himmler's views were among the closest to Rosenberg's, and their estrangement was perhaps created by Himmler's abilities to put into action what Rosenberg had only written. Also, while Rosenberg thought Christianity should be allowed to die out, Himmler actively set out to create countering pagan rituals. Lieutenant Colonel William Harold Dunn (1898–1955) wrote a medical and psychiatric report on him in prison to evaluate him as a suicide risk: He gave the impression of clinging to his own theories in a fanatical and unyielding fashion and to have been little influenced by the unfolding during the trial of the cruelty and crimes of the party. Summarizing the unresolved conflict between the personal views of Rosenberg and the pragmatism of the Nazi elite: The ruthless pursuit of Nazi aims turned out to mean not, as Rosenberg had hoped, the permeation of German life with the new ideology; it meant concentration of the combined resources of party and state on total war. Family life Rosenberg was married twice. In 1915, he married Hilda Leesmann, an ethnic Estonian; they divorced in 1923. Two years later, in 1925 he married Hedwig Kramer, to whom he remained wed until his execution by the Allies. He and Kramer had two children: a son who died in infancy and a daughter, Irene, who was born in 1930. Writings Unmoral im Talmud, 1920, Ernst Boepple's Deutscher Volksverlag, Munich ("Immorality in the Talmud") Das Verbrechen der Freimaurerei: Judentum, Jesuitismus, Deutsches Christentum, 1921 ("The Crime of Freemasonry: Judaism, Jesuitism, German Christianity") Wesen, Grundsätze und Ziele der Nationalsozialistischen Deutschen Arbeiterpartei, 1922, Ernst Boepple's Deutscher Volksverlag, Munich ("Being, principles, and goals of the National Socialist German Worker's Party") Pest in Russland. Der Bolschewismus, seine Häupter, Handlanger und Opfer, 1922, Ernst Boepple's Deutscher Volksverlag, Munich ("The Plague in Russia. Bolshevism, its heads, henchmen, and victims") Bolschewismus, Hunger, Tod, 1922, Ernst Boepple's Deutscher Volksverlag, Munich ("Bolshevism, hunger, death") Der staatsfeindliche Zionismus. ("Zionism, the Enemy of the State"), 1922. Die Protokolle der Weisen von Zion und die jüdische Weltpolitik, 1923 ("The Protocols of the Elders of Zion and the Jewish World Politics") The Jewish Bolshevism, Britons Pub. Society, 1923, together with Ernst Boepple Der Mythus des 20. Jahrhunderts, 1930 ("The Myth of the 20th Century") Dietrich Eckart. Ein Vermächtnis, 1935 ("Dietrich Eckart: A Legacy") An die Dunkelmänner unserer Zeit. Eine Antwort auf die Angriffe gegen den "Mythus des 20. Jahrhunderts", 1937 ("The Obscurantists of Our Time: A Response to the Attacks Against 'The Myth of the 20th Century'") Protestantische Rompilger. Der Verrat an Luther und der "Mythus des 20. Jahrhunderts", 1937 ("Protestant Rome Pilgrims: The Betrayal of Luther and the 'Myth of the 20th Century'") Portrait eines Menschheitsverbrechers, 1949, with analytical commentary by Serge Lang and Ernst von Schenck ("Memoirs of Alfred Rosenberg: With Commentaries") Die Macht der Form, Unknown ("The Power of Form") Diary During the Nuremberg trials, Rosenberg's handwritten diary was translated by Harry Fiss, Chief of Documentation for the American prosecution. After its use in evidence during the Nuremberg trials, the diary went missing, along with other material which had been given to the prosecutor Robert Kempner (1899–1993). It was recovered in Lewiston, N.Y., on 13 June 2013. Written on 425 loose-leaf pages, with entries dating from 1936 through 1944, it is now the property of the United States Holocaust Memorial Museum (USHMM) in Washington. Henry Mayer, the museum's senior archivist, and the son of a Holocaust survivor, was able to access the material and while "not given enough time to read [the] diary entry from beginning to end," he "could see that Rosenberg focused on certain subjects, including brutality against Jews and other ethnic groups and forcing the civilian population of occupied Russia to serve Germany." Meyer also noted Rosenberg's "hostile comments about Nazi leaders," which he described as "unvarnished." While some parts of the manuscript had been previously published, the majority had been lost for decades. Former Federal Bureau of Investigation agent Robert King Wittman, who helped track down the diary, said, "there is no place in the diary where we have Rosenberg or Hitler saying the Jews should be exterminated, all it said was 'move them out of Europe'". The New York Times said of the search for the missing manuscript that "the tangled journey of the diary could itself be the subject of a television mini-series." Since the end of 2013, the USHMM has shown the 425-page document (photos and transcripts) on its homepage. See also Antisemitism Myth of the Twentieth Century Nordische Gesellschaft Racism Kirchenkampf References Informational notes Citations Bibliography External links Personal diary found by ICE 13 June 2013 Alfred Rosenberg Memoirs at Archive.org United States Holocaust Memorial Museum – Alfred Rosenberg Rosenberg on Churchill Alfred Rosenberg - photo Great Grandchild Tytus L Rosenberg Rosenberg on Nuremberg Rally Chapter V, Faith and Thought in National Socialist Germany, The War Against the West, Aurel Kolnai 1893 births 1946 deaths Anti-Masonry Anti-Catholic activists Anti-Catholicism in Germany Antisemitism in Germany Architects in the Nazi Party Baltic-German people Bauman Moscow State Technical University alumni Critics of Christianity Critics of the Catholic Church Estonian architects Executed Estonian people Executed German people Fascist writers Former Protestants German anti-communists German atheists German conspiracy theorists German former Christians German male non-fiction writers German Modern Pagans German propagandists German people convicted of crimes against humanity German people convicted of the international crime of aggression German people of Estonian descent German people of French descent German people of Latvian descent German political philosophers German political writers German Workers Party members Greater German People's Community politicians Holocaust perpetrators Kirchenkampf Members of the Academy for German Law Members of the Reichstag of Nazi Germany Members of the Reichstag of the Weimar Republic Militant League for German Culture members Nazi Germany ministers Nazi Party officials Nazi Party politicians Nazi propagandists Nazis convicted of war crimes Nazis from outside Germany Nazis who participated in the Beer Hall Putsch People executed by the International Military Tribunal in Nuremberg People executed for crimes against humanity People from the Governorate of Estonia Political philosophers Politicians from Tallinn Pseudoarchaeologists Pseudohistorians Reichsleiters Riga Technical University alumni Sturmabteilung officers Thule Society members 20th-century German architects 20th-century German philosophers 20th-century German writers White supremacists
true
[ "Glover v. United States, 531 U.S. 198 (2001), was a United States Supreme Court case decided in 2001. The case dealt with a technical question of law relating to whether a showing of prejudice in incorrect sentencing decisions is required for a correction of that sentence.\n\nBackground\nPaul Glover was the Vice President and General Counsel of the Chicago Truck Drivers, Helpers, and Warehouse Workers Union. A trial showed that he tried to enrich himself and others through kickbacks. The federal trial court sentenced him to 84 months in prison, denying a request to 'group' consideration of similar offenses on which he was convicted, which would have lowered the sentence range. His attorneys did not raise this issue on his first appeal to the Seventh Circuit, which affirmed his conviction. Glover filed a motion on his own to try to correct his sentence. He argued that the failure of his attorneys to appeal on the grouping question constituted ineffective assistance of counsel. However, because there was no proof that the sentencing alteration was 'significant', the Court of Appeals for the Seventh Circuit affirmed. Glover wanted a lower range (which would have a minimum of 63 months) and so he appealed to the United States Supreme Court which granted the case for consideration in 2000.\n\nOpinion of the Court\nJustice Anthony Kennedy wrote the decision of the Court which was unanimous. He stated that the Strickland test's prejudice prong did not require a showing that a wrongful increase in a sentence met 'a standard of significance'. The Seventh Circuit was thus incorrect because \"there is no obvious dividing line by which to measure how much longer a sentence must be for the increase to constitute substantial prejudice... although the amount by which a defendant's sentence is increased by a particular decision may be a factor to consider in determining whether counsel's performance in failing to argue the point constitutes ineffective assistance, ...it cannot serve as a bar to a showing of prejudice.\" Therefore, Glover's sentence had to be recalculated and the case was remanded for further proceedings in lower courts.\n\nSee also\n Strickland v. Washington\n\nReferences\n\nExternal links\n\nUnited States Supreme Court cases\n2001 in United States case law\nUnited States Sixth Amendment ineffective assistance of counsel case law\nUnited States Supreme Court cases of the Rehnquist Court", "In England and Wales, the imprisonment for public protection (IPP) sentence was a form of indeterminate sentence introduced by section 225 of the Criminal Justice Act 2003 (with effect from 2005) by the Home Secretary, David Blunkett, and abolished in 2012. It was intended to protect the public against criminals whose crimes were not serious enough to merit a normal life sentence but who were regarded as too dangerous to be released when the term of their original sentence had expired. It is composed of a punitive \"tariff\" intended to be proportionate to the gravity of the crime committed, and an indeterminate period which commences after the expiration of the tariff and lasts until the Parole Board judges the prisoner no longer poses a risk to the public and is fit to be released. The equivalent for under-18s was called detention for public protection, introduced by s. 226 of the 2003 Act. The sentences came into effect on 4 April 2005.\n\nAlthough there is no limit to how long prisoners can be detained under IPPs, and some may never be released, they may be released on review; an IPP sentence is not a sentence of life imprisonment with a whole-life tariff.\n\nIn 2007, the Queen's Bench Division of the High Court ruled that the continued incarceration of prisoners serving IPPs after tariff expiry where the prisons lack the facilities and courses required to assess their suitability for release was unlawful, bringing up concern that many dangerous offenders would be freed. In 2010 a joint report by the chief inspectors of prisons and probation concluded that IPP sentences were unsustainable with UK prison overcrowding.\n\nIn 2012, the IPP sentence for new cases was abolished by the Legal Aid, Sentencing and Punishment of Offenders Act, although over 6,000 prison inmates remained imprisoned for public protection; over 4,600 remained as of June 2015, and over 3,000 remained as of 2017. Three-quarters of them had completed their minimum term, and hundreds had served five times the minimum. The government's policy was that IPP prisoners should remain in prison until it is deemed that the risks they pose if released are manageable. Some of the alleged victims of John Worboys whose cases were not taken up by the Crown Prosecution Service were assured that the IPP sentence in effect meant a life sentence.\n\nSee also\nInvoluntary commitment\nIncapacitation (penology)\n\nReferences\n\nExternal links\nChapter 5 of Part 12 of the Criminal Justice Act 2003, as amended\n\nPenal system in the United Kingdom" ]
[ "Alfred Rosenberg", "Trial and execution", "Are there any other interesting aspects about this article?", "Rosenberg was captured by Allied troops at the end of the war in Flensburg-Murwik.", "What happened after he was captured", "He was tried at Nuremberg and found guilty of all four counts:", "How long was his sentence?", "He was sentenced to death and executed with other condemned co-defendants at Nuremberg Prison" ]
C_4304e465dd824cb1837262962a554703_0
When was he executed?
4
When was Alfred Rosenberg executed?
Alfred Rosenberg
Rosenberg was captured by Allied troops at the end of the war in Flensburg-Murwik. He was tried at Nuremberg and found guilty of all four counts: conspiracy to commit crimes against peace; planning, initiating and waging wars of aggression; war crimes; and crimes against humanity. The final judgment against him named him one of the principal planners of the invasions of Norway and the Soviet Union. It also held him directly responsible for the systematic plunder of the occupied countries of Europe, as well as the brutal conditions in Eastern Europe. During his trial he wrote his memoirs, which were published posthumously and with analytical commentary by Serge Lang and Ernst von Schenck. He was sentenced to death and executed with other condemned co-defendants at Nuremberg Prison on the morning of 16 October 1946. His body, like those of the other nine executed men and that of Hermann Goring, was cremated at Ostfriedhof (Munich) and the ashes were scattered in the river Isar. Throughout the trial, it was agreed that Rosenberg had a decisive role in shaping Nazi philosophy and ideology. Examples include: his book, Myth of the Twentieth Century, which was published in 1930, where he incited hatred against "Liberal Imperialism" and "Bolshevik Marxism"; furthering the influence of the "Lebensraum" idea in Germany during the war; facilitating the persecution of Christian churches and the Jews in particular; and opposition to the Versailles Treaty. According to Joseph Kingsbury-Smith, who covered the executions for the International News Service, Rosenberg was the only condemned man who, when asked at the gallows if he had any last statement to make, replied with only one word: "No". CANNOTANSWER
on the morning of 16 October 1946.
Alfred Ernst Rosenberg ( – 16 October 1946) was a Baltic German Nazi theorist and ideologue. Rosenberg was first introduced to Adolf Hitler by Dietrich Eckart and he held several important posts in the Nazi government. He was the head of the NSDAP Office of Foreign Affairs during the entire rule of Nazi Germany (1933–1945), and led Amt Rosenberg ("Rosenberg's bureau"), an official Nazi body for cultural policy and surveillance, between 1934 and 1945. During World War II, Rosenberg was the head of the Reich Ministry for the Occupied Eastern Territories (1941–1945). After the war, he was convicted of crimes against peace; planning, initiating and waging wars of aggression; war crimes; and crimes against humanity at the Nuremberg trials in 1946. He was sentenced to death and executed on 16 October 1946. The author of a seminal work of Nazi ideology, The Myth of the Twentieth Century (1930), Rosenberg is considered one of the main authors of key Nazi ideological creeds, including its racial theory, persecution of the Jews, Lebensraum, abrogation of the Treaty of Versailles, and opposition to what was considered "degenerate" modern art. He is known for his rejection of and hatred for Christianity, having played an important role in the development of German nationalist Positive Christianity. Early life Family Rosenberg was born on 12 January 1893 in Reval, now Tallinn (the capital of modern Estonia), then in the Governorate of Estonia (Russian Empire). His mother Elfriede (née Siré), who had French and German ancestry, was the daughter of Louise Rosalie (née Fabricius), born near Leal (modern Lihula, Estonia) in 1842, and of the railway official Friedrich August Siré, born in Saint-Petersburg (Russian Empire) in 1843. Born in the same city in 1868 and confirmed in Reval at 17 in 1885, Elfriede Siré married Woldemar Wilhelm Rosenberg, a wealthy merchant from Reval, in the Lutheran Church of Saint Peter and Saint Paul (St-Petersburg) in 1886. His paternal grandfather, Martin Rosenberg, was a master shoemaker and elder of his guild. Born in Riga in 1820, and probably partly of Latvian descent, he had moved to Reval in the 1850s, where he met Julie Elisabeth Stramm, born in Jörden (Estonia) in 1835. The two married in the German St. Nicholas parish of Reval in 1856. His mother died two months after his birth. Main difference is she dropped off the radar after Alfred was handed, Gudrun picked up her father left off Great Grandchild Tytus L Rosenberg ( born in 1974 ) in Poland. The Hungarian-Jewish journalist Franz Szell, who was apparently residing in Tilsit, Prussia, Germany, spent a year researching in Latvian and Estonian archives before publishing an open letter in 1936, with copies to Hermann Göring, Joseph Goebbels, Foreign Minister Konstantin von Neurath and others, accusing Rosenberg of having "no drop of German blood" flowing in his veins. Szell wrote that among Rosenberg's ancestors were only "Latvians, Jews, Mongols, and French." As a result of his open letter, Szell was deported by Lithuanian authorities on 15 September 1936. His claims were repeated in the 15 September 1937 issue of the Vatican newspaper L'Osservatore Romano. Alfred Rosenberg was indeed of Baltic German, French, and probably also of Estonian and Latvian descent, but no Jewish ancestry has been discovered. Education and early career The young Rosenberg graduated from the Petri-Realschule (currently Tallinna Reaalkool) and went on to study architecture at the Riga Polytechnical Institute and engineering at Moscow's Imperial Higher Technical School (), completing his PhD studies in 1917. During his stays at home in Reval, he attended the art studio of the famed painter Ants Laikmaa - though he showed promise, there are no records that he ever exhibited. During the German occupation of Estonia in 1918, Rosenberg served as a teacher at the Gustav Adolf Gymnasium. He gave his first speech on Jewish Marxism on 30 November, at the House of the Blackheads, after the 28 November 1918 outbreak of the Estonian War of Independence. He emigrated to Germany with the retreating Imperial German army, along with Max Scheubner-Richter, who served as something of a mentor to Rosenberg and to his ideology. Arriving in Munich, he contributed to Dietrich Eckart's publication, the Völkischer Beobachter (Ethnic/Nationalist Observer). By this time, he was both an antisemite – influenced by Houston Stewart Chamberlain's book The Foundations of the Nineteenth Century, one of the key proto-Nazi books of racial theory – and an anti-Bolshevik. Rosenberg became one of the earliest members of the German Workers' Party – later renamed the National Socialist German Workers' Party, better known as the Nazi Party – joining in January 1919, eight months before Adolf Hitler joined in September. According to some historians, Rosenberg had also been a member of the Thule Society, along with Eckart, although Nicholas Goodrick-Clarke contends that they were only guests. After the Völkischer Beobachter became the Nazi party newspaper in December 1920, Rosenberg became its editor in 1923. Rosenberg was a leading member of Aufbau Vereinigung, Reconstruction Organisation, a conspiratorial organisation of White Russian émigrés which had a critical influence on early Nazi policy. Rosenberg sympathized and identified with Talat Pasha and the Committee of Union and Progress that carried out the Armenian genocide, also claiming that there was "a deliberately Jewish policy which had always protected the Armenians" and that "during the world war, the Armenians have led the espionage against the Turks, similar to the Jews against Germany". Nazi party In 1923, after the failed Beer Hall Putsch, Hitler, who had been imprisoned for treason, appointed Rosenberg as the leader of the Nazi movement. Hitler remarked privately in later years that his choice of Rosenberg, whom he regarded as weak and lazy, was strategic; Hitler did not want the temporary leader of the Nazis to become too popular or hungry for power, because a person with either of those two qualities might not want to cede the party leadership after Hitler's release. However, at the time of the appointment Hitler had no reason to believe that he would soon be released, and Rosenberg had not appeared weak, so this may have been Hitler reading back into history his dissatisfaction with Rosenberg for the job he did. On 1 January 1924, Rosenberg founded the Greater German People's Community, a Nazi front organization. Headquartered in Munich, it was largely limited to Bavaria, the birthplace of National Socialism, had no substantial presence outside that State and became a haven for Nazi Party members from that area. Prominent members included Max Amann, Phillip Bouhler, Hermann Esser, Franz Xaver Schwarz and Julius Streicher. Rosenberg, one of the least charismatic of the Nazi leaders and lacking in leadership qualities, was soon pushed aside by Streicher, a far more ruthless and abrasive personality, who was elected Chairman on 9 July 1924 with Esser, also a coarse, bullying sort, as his Deputy Chairman. In 1929 Rosenberg founded the Militant League for German Culture. He later formed the "Institute for Research on the Jewish Question", the first branch of a projected Advanced School of the NSDAP, dedicated to identifying and attacking Jewish influence in German culture and to recording the history of Judaism from a radical nationalist perspective. He was elected as a Reichstag Deputy in 1930 and would continue to serve in this capacity until the end of the Nazi regime. First elected as a representative of the electoral list, from 1933 on he represented electoral constituency 33, Hesse. In 1930, he also published his book on racial theory The Myth of the Twentieth Century (Der Mythus des 20. Jahrhunderts) which deals with key issues in the Nazi ideology, such as the "Jewish question." Rosenberg intended his book as a sequel to Houston Stewart Chamberlain's above-cited book. Despite selling more than a million copies by 1945, its influence within Nazism remains doubtful. It is often said to have been a book that was officially venerated within Nazism, but one that few had actually read beyond the first chapter or even found comprehensible. Hitler called it "stuff nobody can understand" and disapproved of its pseudo-religious tone. Rosenberg helped convince Hitler, whose early speeches focused on revenge against France and Britain, that communism was a serious threat to Germany. "Jewish-Bolshevism" became an ideological target for Nazism during the early 1920s. In Rome during November 1932 Rosenberg participated in the Volta Conference about Europe. British historian Sir Charles Petrie met him there and regarded him with great distaste; Petrie was a Catholic and strongly objected to Rosenberg's anti-Jewish and anti-Catholic sentiments. The following year, following the Nazi seizure of power, Rosenberg was named leader of the Nazi Party's Foreign Policy Office in April, and on 2 June 1933 he was named a Reichsleiter, the second highest political rank in the Nazi Party. In May 1933 Rosenberg visited Britain, to give the impression that the Nazis would not be a threat and to encourage links between the new regime and the British Empire. It was a notable failure. When Rosenberg laid a wreath bearing a swastika at the Cenotaph, a Labour Party candidate slashed it, later threw it in the Thames and was fined 40 shillings for willful damage at Bow Street magistrate's court. In October 1933, Rosenberg was named as a member of Hans Frank's Academy for German Law. Then on 27 January 1934, Hitler made Rosenberg the "Führer's Representative for the Supervision of Intellectual and Ideological Education of the NSDAP." This was the origin of the Amt Rosenberg. Racial theories As the Nazi Party's chief racial theorist, Rosenberg oversaw the construction of a human racial "ladder" that justified Hitler's racial and ethnic policies. Rosenberg built on the works of Arthur de Gobineau, Houston Stewart Chamberlain, Madison Grant and the Klansman Lothrop Stoddard as well as on the beliefs of Hitler. Rosenberg placed Blacks and Jews at the very bottom of the ladder, while at the very top stood the "Aryan" race. Rosenberg promoted the Nordic theory which considered the Nordic race the "master race", superior to all others, including to other Aryans (Indo-Europeans). He was also influenced by the Judeo-Masonic conspiracy theory promoted by the Catholic counter-revolutionary tradition, such as the book Le Juif, le judaïsme et la judaïsation des peuples chrétiens (1869) by Roger Gougenot des Mousseaux, which he translated into German under the title The Eternal Jew. Rosenberg got the racial term Untermensch from the title of Stoddard's 1922 book The Revolt Against Civilization: The Menace of the Under-man, which had been adopted by the Nazis from that book's German version Der Kulturumsturz: Die Drohung des Untermenschen (1925). Rosenberg reshaped the Nazi racial policy over the years, but it always consisted of Aryan supremacy, extreme German nationalism and rabid antisemitism. Rosenberg also outspokenly opposed homosexuality – notably in his pamphlet "Der Sumpf" ("The Swamp", 1927). He viewed homosexuality as a hindrance to the expansion of the Nordic population. Rosenberg's attitude towards Slavs was flexible because it depended on the particular nation which he referred to. As a result of the ideology of "Drang nach Osten" ("Drive to the East"), Rosenberg saw his mission as the conquest and colonization of the Slavic East. In Der Mythus des 20. Jahrhunderts Rosenberg describes Russian Slavs as being overwhelmed by Bolshevism. Regarding Ukrainians, he favoured setting up a buffer state to ease the pressure on the German eastern frontier, while agreeing with the notion that Russia could be exploited for the benefit of Germany. During the war, Rosenberg was in favour of collaboration with the East Slavs against Bolshevism and offering them national independence unlike other Nazis such as Hitler and Himmler who dismissed such ideas. Religious theories Rosenberg was raised as a Protestant, but he rejected Christianity later in his life. Rosenberg argued for a new "religion of the blood", based on the supposed innate promptings of the Nordic soul to defend its noble character against racial and cultural degeneration. In his 1920 book Immorality in the Talmud, Rosenberg identified Jews with the antichrist. He rejected Christianity for its universality, for its doctrine of original sin (at least for Germans who he declared on one occasion were born noble), and for its teachings on the immortality of the soul, saying, "indeed, absorbing Christianity enfeebled a people." Publicly, Rosenberg affected to deplore Christianity's degeneration owing to Jewish influence. Following Houston Stewart Chamberlain's ideas, he condemned what he called "negative Christianity" (the orthodox beliefs of the Protestant and Catholic churches), arguing for a so-called "positive" Christianity based on Chamberlain's argument that Jesus was a member of an Indo-European, Nordic enclave which was resident in ancient Galilee who struggled against Judaism. Significantly, in his work explicating the Nazi intellectual belief system, The Myth of the Twentieth Century, Rosenberg cryptically alludes to and lauds the early Christian heretic Marcion (who rejected the Old Testament as well as the notion of Christ as the Jewish Messiah) and the Manichaean-inspired, "Aryo-Iranian" Cathari, as being the more authentic interpreters of Christianity versus historically dominant Judaeo-Christianity; moreover these ancient, externally Christian metaphysical forms were more "organically compatible with the Nordic sense of the spiritual and the Nordic 'blood-soul'." For Rosenberg, the anti-intellectual, religious doctrine was inseparable from serving the interests of the Nordic race, connecting the individual to his racial nature. Rosenberg stated that "The general ideas of the Roman and of the Protestant churches are negative Christianity and do not, therefore, accord with our (German) soul." His support for Luther as a great German figure was always ambivalent. In January 1934, Hitler appointed Rosenberg cultural and educational leader of the Reich. The Sanctum Officium in Rome recommended that Rosenberg's Myth of the Twentieth Century be put on the Index Librorum Prohibitorum (list of books forbidden by the Catholic Church) for scorning and rejecting "all dogmas of the Catholic Church, indeed the very fundamentals of the Christian religion". During World War II, Rosenberg outlined the future envisioned by the Hitler government for religion in Germany, with a thirty-point program for the future of the German churches. Among its articles: the National Reich Church of Germany would claim exclusive control over all churches publication of the Bible would cease crucifixes, Bibles and saints were to be removed from altars Mein Kampf would be placed on altars as "to the German nation and therefore to God the most sacred book" the Christian Cross would be removed from all churches and replaced with the swastika. Rosenberg has been described as an atheist by people, including Henry F. Gerecke, the Lutheran chaplain who communed with some of the Nuremberg prisoners, including Joachim von Ribbentrop and Wilhelm Keitel. However, some historians have claimed that Rosenberg was a neo-pagan. Wartime activities In 1940 Rosenberg was made head of the Hohe Schule (literally "high school", but the German phrase refers to a college), the Centre of National Socialist Ideological and Educational Research, out of which the Einsatzstab Reichsleiter Rosenberg (Reichsleiter Rosenberg Taskforce) developed for the purpose of looting art and cultural goods. The ERR were especially active in Paris in looting art stolen from famous Jewish families such as the Rothschilds and that of Paul Rosenberg. Hermann Göring used the ERR to collect art for his own personal gratification. He created a "Special Task Force for Music" (Sonderstab Musik) to collect the best musical instruments and scores for use in a university to be built in Hitler's home town of Linz, Austria. The orders given to the Sonderstab Musik were to loot all forms of Jewish property in Germany and of those found in any country taken over by the German army, and any musical instruments or scores were to be immediately shipped to Berlin. Reich Minister for the Occupied Eastern Territories Following the invasion of the USSR, Rosenberg was appointed head of the Reich Ministry for the Occupied Eastern Territories (Reichsministerium für die besetzten Ostgebiete) on 17 July 1941. Alfred Meyer served as his deputy and represented him at the Wannsee Conference. Another official of the Ministry, Georg Leibbrandt, also attended the conference, at Rosenberg's request. Rosenberg had presented Hitler with his plan for the organization of the conquered Eastern territories, suggesting the establishment of new administrative districts, to replace the previously Soviet-controlled territories with new Reichskommissariats. These would be: Ostland (Baltic countries and Belarus), Ukraine (Ukraine and nearest territories), Kaukasus (Caucasus area), Moskau (Moscow metropolitan area and the rest of nearest Russian European areas) Although Rosenberg believed that all of the peoples of the Soviet Union were subhumans because of their communist beliefs, such suggestions were intended to encourage certain non-Russian forms of nationalism and promote German interests for the benefit of future Aryan generations, in accord with geopolitical "Lebensraum im Osten" plans. They would provide a buffer against Soviet expansion in preparation for the total eradication of Communism and Bolshevism by decisive pre-emptive military action. Following these plans, when Wehrmacht forces invaded Soviet-controlled territory, they immediately implemented the first of the proposed Reichskommissariats of Ostland and Ukraine, under the leadership of Hinrich Lohse and Erich Koch, respectively. The organization of these administrative territories led to conflict between Rosenberg and the SS over the treatment of Slavs under German occupation. As Nazi Germany's chief racial theorist, Rosenberg considered Slavs, though lesser than Germans, to be Aryan. Rosenberg often complained to Hitler and Himmler about the treatment of non-Jewish occupied peoples. He proposed the creation of buffer satellite states made out of Greater Finland, Baltica, Ukraine, and Caucasus. During an 18 November 1941 press conference, he made the following statements about the Jewish question, he stated: At the Nuremberg trials he said he was ignorant of the Holocaust, despite the fact that Leibbrandt and Meyer were present at the Wannsee conference. Wartime propaganda efforts Since the invasion of the Soviet Union intended to impose the New Order, it was essentially a war of conquest. German propaganda efforts designed to win over Russian opinion were, at best, patchy and inconsistent. Alfred Rosenberg was one of the few in the Nazi hierarchy who advocated a policy designed to encourage anti-Communist opinion among the population of the occupied territories. His interest here was mainly in the non-Russian areas such as Ukraine and the Baltic States; however, supporters of the Russian Liberation Army were somewhat able to win him over. Amongst other things, Rosenberg issued a series of posters announcing the end of the Soviet collective farms (kolkhoz). He also issued an Agrarian Law in February 1942, annulling all Soviet legislation on farming and restoring family farms for those willing to collaborate with the occupiers. But decollectivisation conflicted with the wider demands of wartime food production, and Hermann Göring demanded that the collective farms be retained, save for a change of name. Hitler himself denounced the redistribution of land as "stupid". There were numerous German armed forces (Wehrmacht) posters asking for assistance in the Bandenkrieg, the war against the Soviet partisans, though, once again, German policy had the effect of adding to their problems. Posters for "volunteer" labour, with inscriptions such as "Come work with us to shorten the war", hid the appalling realities faced by Russian workers in Germany. Many people joined the partisans rather than risk being sent to an unknown fate in the west. Another of Rosenberg's initiatives, the "Free Caucasus" campaign, was rather more successful, attracting various nationalities into the so-called Eastern Legion (Ostlegionen), though in the end this made little difference in the outcome of the war on the Eastern Front. Trial and execution Rosenberg was captured by Allied troops on 19 May 1945 in Flensburg-Mürwik. He was tried at Nuremberg and found guilty of all four counts: conspiracy to commit crimes against peace; planning, initiating and waging wars of aggression; war crimes; and crimes against humanity. The final judgment against him named him one of the principal planners of the invasions of Norway and the Soviet Union. It also held him directly responsible for the systematic plunder of the occupied countries of Europe, as well as the brutal conditions in Eastern Europe. During his trial he wrote his memoirs, which were published posthumously and with analytical commentary by Serge Lang and Ernst von Schenck. He was sentenced to death and executed with other condemned co-defendants at Nuremberg Prison on the morning of 16 October 1946. His body, like those of the other nine executed men and that of Hermann Göring, was cremated at Ostfriedhof (Munich) and the ashes were scattered in the river Isar. Throughout the trial, it was agreed that Rosenberg had a decisive role in shaping Nazi philosophy and ideology. Examples include: his book Myth of the Twentieth Century, which was published in 1930, where he incited hatred against "Liberal Imperialism" and "Bolshevik Marxism"; furthering the influence of the "Lebensraum" idea in Germany during the war; facilitating the persecution of Christian churches and the Jews in particular; and opposition to the Versailles Treaty. According to Joseph Kingsbury-Smith, who covered the executions for the International News Service, Rosenberg was the only condemned man who, when asked at the gallows if he had any last statement to make, replied with only one word: "No". Nazi policy and Rosenberg's views Hitler was a leader oriented towards practical politics, whereas, for Rosenberg, religion and philosophy were key and he was the most culturally influential within the party. Several accounts of the time before the Nazi ascension to power speak of Hitler as being a mouthpiece for Rosenberg's views, and he clearly exerted a great deal of intellectual influence. The question of Rosenberg's influence in the Nazi Party is controversial. He was perceived as lacking the charisma and political skills of the other Nazi leaders, and was somewhat isolated. In some of his speeches Hitler appeared to be close to Rosenberg's views, rejecting traditional Christianity as a religion based on Jewish culture, preferring an ethnically and culturally pure "Race" whose destiny was supposed to be assigned to the German people by "Providence". In others, he adhered to the Nazi Party line, which advocated a "positive Christianity". After Hitler's assumption of power he moved to reassure the Protestant and Catholic churches that the party was not intending to reinstitute Germanic paganism. He placed himself in the position of being the man to save Positive Christianity from utter destruction at the hands of the atheistic antitheist Communists of the Soviet Union. This was especially true immediately before and after the elections of 1932; Hitler wanted to appear non-threatening to major Christian faiths and consolidate his power. Furthermore, Hitler felt that Catholic–Protestant infighting had been a major factor in weakening the German state and allowing its dominance by foreign powers. Some Nazi leaders, such as Martin Bormann, were anti-Christian and sympathetic to Rosenberg. Once in power, Hitler and most Nazi leaders sought to unify the Christian denominations in favor of "positive Christianity". Hitler privately condemned mystical and pseudoreligious interests as "nonsense". However, he and Joseph Goebbels agreed that after the Endsieg (Final Victory) the Reich Church should be pressed into evolving into a German social evolutionist organisation proclaiming the cult of race, blood and battle, instead of Redemption and the Ten Commandments of Moses, which they deemed outdated and Jewish. Heinrich Himmler's views were among the closest to Rosenberg's, and their estrangement was perhaps created by Himmler's abilities to put into action what Rosenberg had only written. Also, while Rosenberg thought Christianity should be allowed to die out, Himmler actively set out to create countering pagan rituals. Lieutenant Colonel William Harold Dunn (1898–1955) wrote a medical and psychiatric report on him in prison to evaluate him as a suicide risk: He gave the impression of clinging to his own theories in a fanatical and unyielding fashion and to have been little influenced by the unfolding during the trial of the cruelty and crimes of the party. Summarizing the unresolved conflict between the personal views of Rosenberg and the pragmatism of the Nazi elite: The ruthless pursuit of Nazi aims turned out to mean not, as Rosenberg had hoped, the permeation of German life with the new ideology; it meant concentration of the combined resources of party and state on total war. Family life Rosenberg was married twice. In 1915, he married Hilda Leesmann, an ethnic Estonian; they divorced in 1923. Two years later, in 1925 he married Hedwig Kramer, to whom he remained wed until his execution by the Allies. He and Kramer had two children: a son who died in infancy and a daughter, Irene, who was born in 1930. Writings Unmoral im Talmud, 1920, Ernst Boepple's Deutscher Volksverlag, Munich ("Immorality in the Talmud") Das Verbrechen der Freimaurerei: Judentum, Jesuitismus, Deutsches Christentum, 1921 ("The Crime of Freemasonry: Judaism, Jesuitism, German Christianity") Wesen, Grundsätze und Ziele der Nationalsozialistischen Deutschen Arbeiterpartei, 1922, Ernst Boepple's Deutscher Volksverlag, Munich ("Being, principles, and goals of the National Socialist German Worker's Party") Pest in Russland. Der Bolschewismus, seine Häupter, Handlanger und Opfer, 1922, Ernst Boepple's Deutscher Volksverlag, Munich ("The Plague in Russia. Bolshevism, its heads, henchmen, and victims") Bolschewismus, Hunger, Tod, 1922, Ernst Boepple's Deutscher Volksverlag, Munich ("Bolshevism, hunger, death") Der staatsfeindliche Zionismus. ("Zionism, the Enemy of the State"), 1922. Die Protokolle der Weisen von Zion und die jüdische Weltpolitik, 1923 ("The Protocols of the Elders of Zion and the Jewish World Politics") The Jewish Bolshevism, Britons Pub. Society, 1923, together with Ernst Boepple Der Mythus des 20. Jahrhunderts, 1930 ("The Myth of the 20th Century") Dietrich Eckart. Ein Vermächtnis, 1935 ("Dietrich Eckart: A Legacy") An die Dunkelmänner unserer Zeit. Eine Antwort auf die Angriffe gegen den "Mythus des 20. Jahrhunderts", 1937 ("The Obscurantists of Our Time: A Response to the Attacks Against 'The Myth of the 20th Century'") Protestantische Rompilger. Der Verrat an Luther und der "Mythus des 20. Jahrhunderts", 1937 ("Protestant Rome Pilgrims: The Betrayal of Luther and the 'Myth of the 20th Century'") Portrait eines Menschheitsverbrechers, 1949, with analytical commentary by Serge Lang and Ernst von Schenck ("Memoirs of Alfred Rosenberg: With Commentaries") Die Macht der Form, Unknown ("The Power of Form") Diary During the Nuremberg trials, Rosenberg's handwritten diary was translated by Harry Fiss, Chief of Documentation for the American prosecution. After its use in evidence during the Nuremberg trials, the diary went missing, along with other material which had been given to the prosecutor Robert Kempner (1899–1993). It was recovered in Lewiston, N.Y., on 13 June 2013. Written on 425 loose-leaf pages, with entries dating from 1936 through 1944, it is now the property of the United States Holocaust Memorial Museum (USHMM) in Washington. Henry Mayer, the museum's senior archivist, and the son of a Holocaust survivor, was able to access the material and while "not given enough time to read [the] diary entry from beginning to end," he "could see that Rosenberg focused on certain subjects, including brutality against Jews and other ethnic groups and forcing the civilian population of occupied Russia to serve Germany." Meyer also noted Rosenberg's "hostile comments about Nazi leaders," which he described as "unvarnished." While some parts of the manuscript had been previously published, the majority had been lost for decades. Former Federal Bureau of Investigation agent Robert King Wittman, who helped track down the diary, said, "there is no place in the diary where we have Rosenberg or Hitler saying the Jews should be exterminated, all it said was 'move them out of Europe'". The New York Times said of the search for the missing manuscript that "the tangled journey of the diary could itself be the subject of a television mini-series." Since the end of 2013, the USHMM has shown the 425-page document (photos and transcripts) on its homepage. See also Antisemitism Myth of the Twentieth Century Nordische Gesellschaft Racism Kirchenkampf References Informational notes Citations Bibliography External links Personal diary found by ICE 13 June 2013 Alfred Rosenberg Memoirs at Archive.org United States Holocaust Memorial Museum – Alfred Rosenberg Rosenberg on Churchill Alfred Rosenberg - photo Great Grandchild Tytus L Rosenberg Rosenberg on Nuremberg Rally Chapter V, Faith and Thought in National Socialist Germany, The War Against the West, Aurel Kolnai 1893 births 1946 deaths Anti-Masonry Anti-Catholic activists Anti-Catholicism in Germany Antisemitism in Germany Architects in the Nazi Party Baltic-German people Bauman Moscow State Technical University alumni Critics of Christianity Critics of the Catholic Church Estonian architects Executed Estonian people Executed German people Fascist writers Former Protestants German anti-communists German atheists German conspiracy theorists German former Christians German male non-fiction writers German Modern Pagans German propagandists German people convicted of crimes against humanity German people convicted of the international crime of aggression German people of Estonian descent German people of French descent German people of Latvian descent German political philosophers German political writers German Workers Party members Greater German People's Community politicians Holocaust perpetrators Kirchenkampf Members of the Academy for German Law Members of the Reichstag of Nazi Germany Members of the Reichstag of the Weimar Republic Militant League for German Culture members Nazi Germany ministers Nazi Party officials Nazi Party politicians Nazi propagandists Nazis convicted of war crimes Nazis from outside Germany Nazis who participated in the Beer Hall Putsch People executed by the International Military Tribunal in Nuremberg People executed for crimes against humanity People from the Governorate of Estonia Political philosophers Politicians from Tallinn Pseudoarchaeologists Pseudohistorians Reichsleiters Riga Technical University alumni Sturmabteilung officers Thule Society members 20th-century German architects 20th-century German philosophers 20th-century German writers White supremacists
true
[ "Ambrosio Kibuuka (1868 – June 3, 1886) was a Ugandan Catholic martyr killed for his faith. He was born in Buganda. He was one of many Christians put to death by King Mwanga II between 1885 and 1887. His day of martyrdom was June 3, when he was burned alive, and when he is remembered as one of the Martyrs of Uganda's feast day.\n\nReferences\n\nExternal links\n Ambrosio Kibuuka bio\nThe Uganda Martyrs from the August 2008 issue of The Word Among Us magazine\nAmbrosio Kibuuka's profile from UgandaMartyrsShrine.org\n\n1868 births\n1886 deaths\n19th-century Christian saints\n19th-century executions by Uganda\n19th-century Roman Catholic martyrs\nRoman Catholic child saints\nCanonizations by Pope Paul VI\nConverts to Roman Catholicism from pagan religions\nConverts to Roman Catholicism\nExecuted children\nExecuted Ugandan people\nPeople executed by Buganda\nPeople executed by Uganda by burning\nUgandan Roman Catholic saints", "Einar Hærland (3 January 1909 – 12 June 1944) was a Norwegian military officer who was executed during the occupation of Norway by Nazi Germany.\n\nHe was born in Solum as the son of Ole Hærland and his wife Marie, née Knudsen. Einar Hærland married and had two children, and the family settled in Oslo.\n\nHærland had embarked on a military career, and was promoted to Captain following the battles in Northern Norway during the Norwegian Campaign. When the fighting subsided, and Germany occupied Norway, he was hired in the police, while at the same time conducting illegal resistance work. When the Nazi police leader Gunnar Lindvig was assassinated by the Norwegian resistance in May 1944, Hærland was executed by Sicherheitspolizei officer Ernst Weiner as a reprisal. His execution marked the start of a broader retaliation operation called Operation Blumenpflücken. Hærland was buried at Vestre gravlund.\n\nComedian Anne-Kat Hærland is Einar Hærlands granddaughter\n\nReferences\n\n1909 births\n1944 deaths\nExecuted Norwegian people\nExecuted military personnel\nNorwegian Army personnel of World War II\nNorwegian military personnel killed in World War II\nNorwegian police officers\nResistance members killed by Nazi Germany\nBurials at Vestre gravlund\nDeaths by firearm in Norway\nPeople executed by Germany by firearm\nNorwegian people executed by Nazi Germany" ]
[ "Alfred Rosenberg", "Trial and execution", "Are there any other interesting aspects about this article?", "Rosenberg was captured by Allied troops at the end of the war in Flensburg-Murwik.", "What happened after he was captured", "He was tried at Nuremberg and found guilty of all four counts:", "How long was his sentence?", "He was sentenced to death and executed with other condemned co-defendants at Nuremberg Prison", "When was he executed?", "on the morning of 16 October 1946." ]
C_4304e465dd824cb1837262962a554703_0
Who else was executed with him?
5
Besides other condemned co-defendants who else was executed with Alfred Rosenberg
Alfred Rosenberg
Rosenberg was captured by Allied troops at the end of the war in Flensburg-Murwik. He was tried at Nuremberg and found guilty of all four counts: conspiracy to commit crimes against peace; planning, initiating and waging wars of aggression; war crimes; and crimes against humanity. The final judgment against him named him one of the principal planners of the invasions of Norway and the Soviet Union. It also held him directly responsible for the systematic plunder of the occupied countries of Europe, as well as the brutal conditions in Eastern Europe. During his trial he wrote his memoirs, which were published posthumously and with analytical commentary by Serge Lang and Ernst von Schenck. He was sentenced to death and executed with other condemned co-defendants at Nuremberg Prison on the morning of 16 October 1946. His body, like those of the other nine executed men and that of Hermann Goring, was cremated at Ostfriedhof (Munich) and the ashes were scattered in the river Isar. Throughout the trial, it was agreed that Rosenberg had a decisive role in shaping Nazi philosophy and ideology. Examples include: his book, Myth of the Twentieth Century, which was published in 1930, where he incited hatred against "Liberal Imperialism" and "Bolshevik Marxism"; furthering the influence of the "Lebensraum" idea in Germany during the war; facilitating the persecution of Christian churches and the Jews in particular; and opposition to the Versailles Treaty. According to Joseph Kingsbury-Smith, who covered the executions for the International News Service, Rosenberg was the only condemned man who, when asked at the gallows if he had any last statement to make, replied with only one word: "No". CANNOTANSWER
other condemned co-defendants at Nuremberg Prison
Alfred Ernst Rosenberg ( – 16 October 1946) was a Baltic German Nazi theorist and ideologue. Rosenberg was first introduced to Adolf Hitler by Dietrich Eckart and he held several important posts in the Nazi government. He was the head of the NSDAP Office of Foreign Affairs during the entire rule of Nazi Germany (1933–1945), and led Amt Rosenberg ("Rosenberg's bureau"), an official Nazi body for cultural policy and surveillance, between 1934 and 1945. During World War II, Rosenberg was the head of the Reich Ministry for the Occupied Eastern Territories (1941–1945). After the war, he was convicted of crimes against peace; planning, initiating and waging wars of aggression; war crimes; and crimes against humanity at the Nuremberg trials in 1946. He was sentenced to death and executed on 16 October 1946. The author of a seminal work of Nazi ideology, The Myth of the Twentieth Century (1930), Rosenberg is considered one of the main authors of key Nazi ideological creeds, including its racial theory, persecution of the Jews, Lebensraum, abrogation of the Treaty of Versailles, and opposition to what was considered "degenerate" modern art. He is known for his rejection of and hatred for Christianity, having played an important role in the development of German nationalist Positive Christianity. Early life Family Rosenberg was born on 12 January 1893 in Reval, now Tallinn (the capital of modern Estonia), then in the Governorate of Estonia (Russian Empire). His mother Elfriede (née Siré), who had French and German ancestry, was the daughter of Louise Rosalie (née Fabricius), born near Leal (modern Lihula, Estonia) in 1842, and of the railway official Friedrich August Siré, born in Saint-Petersburg (Russian Empire) in 1843. Born in the same city in 1868 and confirmed in Reval at 17 in 1885, Elfriede Siré married Woldemar Wilhelm Rosenberg, a wealthy merchant from Reval, in the Lutheran Church of Saint Peter and Saint Paul (St-Petersburg) in 1886. His paternal grandfather, Martin Rosenberg, was a master shoemaker and elder of his guild. Born in Riga in 1820, and probably partly of Latvian descent, he had moved to Reval in the 1850s, where he met Julie Elisabeth Stramm, born in Jörden (Estonia) in 1835. The two married in the German St. Nicholas parish of Reval in 1856. His mother died two months after his birth. Main difference is she dropped off the radar after Alfred was handed, Gudrun picked up her father left off Great Grandchild Tytus L Rosenberg ( born in 1974 ) in Poland. The Hungarian-Jewish journalist Franz Szell, who was apparently residing in Tilsit, Prussia, Germany, spent a year researching in Latvian and Estonian archives before publishing an open letter in 1936, with copies to Hermann Göring, Joseph Goebbels, Foreign Minister Konstantin von Neurath and others, accusing Rosenberg of having "no drop of German blood" flowing in his veins. Szell wrote that among Rosenberg's ancestors were only "Latvians, Jews, Mongols, and French." As a result of his open letter, Szell was deported by Lithuanian authorities on 15 September 1936. His claims were repeated in the 15 September 1937 issue of the Vatican newspaper L'Osservatore Romano. Alfred Rosenberg was indeed of Baltic German, French, and probably also of Estonian and Latvian descent, but no Jewish ancestry has been discovered. Education and early career The young Rosenberg graduated from the Petri-Realschule (currently Tallinna Reaalkool) and went on to study architecture at the Riga Polytechnical Institute and engineering at Moscow's Imperial Higher Technical School (), completing his PhD studies in 1917. During his stays at home in Reval, he attended the art studio of the famed painter Ants Laikmaa - though he showed promise, there are no records that he ever exhibited. During the German occupation of Estonia in 1918, Rosenberg served as a teacher at the Gustav Adolf Gymnasium. He gave his first speech on Jewish Marxism on 30 November, at the House of the Blackheads, after the 28 November 1918 outbreak of the Estonian War of Independence. He emigrated to Germany with the retreating Imperial German army, along with Max Scheubner-Richter, who served as something of a mentor to Rosenberg and to his ideology. Arriving in Munich, he contributed to Dietrich Eckart's publication, the Völkischer Beobachter (Ethnic/Nationalist Observer). By this time, he was both an antisemite – influenced by Houston Stewart Chamberlain's book The Foundations of the Nineteenth Century, one of the key proto-Nazi books of racial theory – and an anti-Bolshevik. Rosenberg became one of the earliest members of the German Workers' Party – later renamed the National Socialist German Workers' Party, better known as the Nazi Party – joining in January 1919, eight months before Adolf Hitler joined in September. According to some historians, Rosenberg had also been a member of the Thule Society, along with Eckart, although Nicholas Goodrick-Clarke contends that they were only guests. After the Völkischer Beobachter became the Nazi party newspaper in December 1920, Rosenberg became its editor in 1923. Rosenberg was a leading member of Aufbau Vereinigung, Reconstruction Organisation, a conspiratorial organisation of White Russian émigrés which had a critical influence on early Nazi policy. Rosenberg sympathized and identified with Talat Pasha and the Committee of Union and Progress that carried out the Armenian genocide, also claiming that there was "a deliberately Jewish policy which had always protected the Armenians" and that "during the world war, the Armenians have led the espionage against the Turks, similar to the Jews against Germany". Nazi party In 1923, after the failed Beer Hall Putsch, Hitler, who had been imprisoned for treason, appointed Rosenberg as the leader of the Nazi movement. Hitler remarked privately in later years that his choice of Rosenberg, whom he regarded as weak and lazy, was strategic; Hitler did not want the temporary leader of the Nazis to become too popular or hungry for power, because a person with either of those two qualities might not want to cede the party leadership after Hitler's release. However, at the time of the appointment Hitler had no reason to believe that he would soon be released, and Rosenberg had not appeared weak, so this may have been Hitler reading back into history his dissatisfaction with Rosenberg for the job he did. On 1 January 1924, Rosenberg founded the Greater German People's Community, a Nazi front organization. Headquartered in Munich, it was largely limited to Bavaria, the birthplace of National Socialism, had no substantial presence outside that State and became a haven for Nazi Party members from that area. Prominent members included Max Amann, Phillip Bouhler, Hermann Esser, Franz Xaver Schwarz and Julius Streicher. Rosenberg, one of the least charismatic of the Nazi leaders and lacking in leadership qualities, was soon pushed aside by Streicher, a far more ruthless and abrasive personality, who was elected Chairman on 9 July 1924 with Esser, also a coarse, bullying sort, as his Deputy Chairman. In 1929 Rosenberg founded the Militant League for German Culture. He later formed the "Institute for Research on the Jewish Question", the first branch of a projected Advanced School of the NSDAP, dedicated to identifying and attacking Jewish influence in German culture and to recording the history of Judaism from a radical nationalist perspective. He was elected as a Reichstag Deputy in 1930 and would continue to serve in this capacity until the end of the Nazi regime. First elected as a representative of the electoral list, from 1933 on he represented electoral constituency 33, Hesse. In 1930, he also published his book on racial theory The Myth of the Twentieth Century (Der Mythus des 20. Jahrhunderts) which deals with key issues in the Nazi ideology, such as the "Jewish question." Rosenberg intended his book as a sequel to Houston Stewart Chamberlain's above-cited book. Despite selling more than a million copies by 1945, its influence within Nazism remains doubtful. It is often said to have been a book that was officially venerated within Nazism, but one that few had actually read beyond the first chapter or even found comprehensible. Hitler called it "stuff nobody can understand" and disapproved of its pseudo-religious tone. Rosenberg helped convince Hitler, whose early speeches focused on revenge against France and Britain, that communism was a serious threat to Germany. "Jewish-Bolshevism" became an ideological target for Nazism during the early 1920s. In Rome during November 1932 Rosenberg participated in the Volta Conference about Europe. British historian Sir Charles Petrie met him there and regarded him with great distaste; Petrie was a Catholic and strongly objected to Rosenberg's anti-Jewish and anti-Catholic sentiments. The following year, following the Nazi seizure of power, Rosenberg was named leader of the Nazi Party's Foreign Policy Office in April, and on 2 June 1933 he was named a Reichsleiter, the second highest political rank in the Nazi Party. In May 1933 Rosenberg visited Britain, to give the impression that the Nazis would not be a threat and to encourage links between the new regime and the British Empire. It was a notable failure. When Rosenberg laid a wreath bearing a swastika at the Cenotaph, a Labour Party candidate slashed it, later threw it in the Thames and was fined 40 shillings for willful damage at Bow Street magistrate's court. In October 1933, Rosenberg was named as a member of Hans Frank's Academy for German Law. Then on 27 January 1934, Hitler made Rosenberg the "Führer's Representative for the Supervision of Intellectual and Ideological Education of the NSDAP." This was the origin of the Amt Rosenberg. Racial theories As the Nazi Party's chief racial theorist, Rosenberg oversaw the construction of a human racial "ladder" that justified Hitler's racial and ethnic policies. Rosenberg built on the works of Arthur de Gobineau, Houston Stewart Chamberlain, Madison Grant and the Klansman Lothrop Stoddard as well as on the beliefs of Hitler. Rosenberg placed Blacks and Jews at the very bottom of the ladder, while at the very top stood the "Aryan" race. Rosenberg promoted the Nordic theory which considered the Nordic race the "master race", superior to all others, including to other Aryans (Indo-Europeans). He was also influenced by the Judeo-Masonic conspiracy theory promoted by the Catholic counter-revolutionary tradition, such as the book Le Juif, le judaïsme et la judaïsation des peuples chrétiens (1869) by Roger Gougenot des Mousseaux, which he translated into German under the title The Eternal Jew. Rosenberg got the racial term Untermensch from the title of Stoddard's 1922 book The Revolt Against Civilization: The Menace of the Under-man, which had been adopted by the Nazis from that book's German version Der Kulturumsturz: Die Drohung des Untermenschen (1925). Rosenberg reshaped the Nazi racial policy over the years, but it always consisted of Aryan supremacy, extreme German nationalism and rabid antisemitism. Rosenberg also outspokenly opposed homosexuality – notably in his pamphlet "Der Sumpf" ("The Swamp", 1927). He viewed homosexuality as a hindrance to the expansion of the Nordic population. Rosenberg's attitude towards Slavs was flexible because it depended on the particular nation which he referred to. As a result of the ideology of "Drang nach Osten" ("Drive to the East"), Rosenberg saw his mission as the conquest and colonization of the Slavic East. In Der Mythus des 20. Jahrhunderts Rosenberg describes Russian Slavs as being overwhelmed by Bolshevism. Regarding Ukrainians, he favoured setting up a buffer state to ease the pressure on the German eastern frontier, while agreeing with the notion that Russia could be exploited for the benefit of Germany. During the war, Rosenberg was in favour of collaboration with the East Slavs against Bolshevism and offering them national independence unlike other Nazis such as Hitler and Himmler who dismissed such ideas. Religious theories Rosenberg was raised as a Protestant, but he rejected Christianity later in his life. Rosenberg argued for a new "religion of the blood", based on the supposed innate promptings of the Nordic soul to defend its noble character against racial and cultural degeneration. In his 1920 book Immorality in the Talmud, Rosenberg identified Jews with the antichrist. He rejected Christianity for its universality, for its doctrine of original sin (at least for Germans who he declared on one occasion were born noble), and for its teachings on the immortality of the soul, saying, "indeed, absorbing Christianity enfeebled a people." Publicly, Rosenberg affected to deplore Christianity's degeneration owing to Jewish influence. Following Houston Stewart Chamberlain's ideas, he condemned what he called "negative Christianity" (the orthodox beliefs of the Protestant and Catholic churches), arguing for a so-called "positive" Christianity based on Chamberlain's argument that Jesus was a member of an Indo-European, Nordic enclave which was resident in ancient Galilee who struggled against Judaism. Significantly, in his work explicating the Nazi intellectual belief system, The Myth of the Twentieth Century, Rosenberg cryptically alludes to and lauds the early Christian heretic Marcion (who rejected the Old Testament as well as the notion of Christ as the Jewish Messiah) and the Manichaean-inspired, "Aryo-Iranian" Cathari, as being the more authentic interpreters of Christianity versus historically dominant Judaeo-Christianity; moreover these ancient, externally Christian metaphysical forms were more "organically compatible with the Nordic sense of the spiritual and the Nordic 'blood-soul'." For Rosenberg, the anti-intellectual, religious doctrine was inseparable from serving the interests of the Nordic race, connecting the individual to his racial nature. Rosenberg stated that "The general ideas of the Roman and of the Protestant churches are negative Christianity and do not, therefore, accord with our (German) soul." His support for Luther as a great German figure was always ambivalent. In January 1934, Hitler appointed Rosenberg cultural and educational leader of the Reich. The Sanctum Officium in Rome recommended that Rosenberg's Myth of the Twentieth Century be put on the Index Librorum Prohibitorum (list of books forbidden by the Catholic Church) for scorning and rejecting "all dogmas of the Catholic Church, indeed the very fundamentals of the Christian religion". During World War II, Rosenberg outlined the future envisioned by the Hitler government for religion in Germany, with a thirty-point program for the future of the German churches. Among its articles: the National Reich Church of Germany would claim exclusive control over all churches publication of the Bible would cease crucifixes, Bibles and saints were to be removed from altars Mein Kampf would be placed on altars as "to the German nation and therefore to God the most sacred book" the Christian Cross would be removed from all churches and replaced with the swastika. Rosenberg has been described as an atheist by people, including Henry F. Gerecke, the Lutheran chaplain who communed with some of the Nuremberg prisoners, including Joachim von Ribbentrop and Wilhelm Keitel. However, some historians have claimed that Rosenberg was a neo-pagan. Wartime activities In 1940 Rosenberg was made head of the Hohe Schule (literally "high school", but the German phrase refers to a college), the Centre of National Socialist Ideological and Educational Research, out of which the Einsatzstab Reichsleiter Rosenberg (Reichsleiter Rosenberg Taskforce) developed for the purpose of looting art and cultural goods. The ERR were especially active in Paris in looting art stolen from famous Jewish families such as the Rothschilds and that of Paul Rosenberg. Hermann Göring used the ERR to collect art for his own personal gratification. He created a "Special Task Force for Music" (Sonderstab Musik) to collect the best musical instruments and scores for use in a university to be built in Hitler's home town of Linz, Austria. The orders given to the Sonderstab Musik were to loot all forms of Jewish property in Germany and of those found in any country taken over by the German army, and any musical instruments or scores were to be immediately shipped to Berlin. Reich Minister for the Occupied Eastern Territories Following the invasion of the USSR, Rosenberg was appointed head of the Reich Ministry for the Occupied Eastern Territories (Reichsministerium für die besetzten Ostgebiete) on 17 July 1941. Alfred Meyer served as his deputy and represented him at the Wannsee Conference. Another official of the Ministry, Georg Leibbrandt, also attended the conference, at Rosenberg's request. Rosenberg had presented Hitler with his plan for the organization of the conquered Eastern territories, suggesting the establishment of new administrative districts, to replace the previously Soviet-controlled territories with new Reichskommissariats. These would be: Ostland (Baltic countries and Belarus), Ukraine (Ukraine and nearest territories), Kaukasus (Caucasus area), Moskau (Moscow metropolitan area and the rest of nearest Russian European areas) Although Rosenberg believed that all of the peoples of the Soviet Union were subhumans because of their communist beliefs, such suggestions were intended to encourage certain non-Russian forms of nationalism and promote German interests for the benefit of future Aryan generations, in accord with geopolitical "Lebensraum im Osten" plans. They would provide a buffer against Soviet expansion in preparation for the total eradication of Communism and Bolshevism by decisive pre-emptive military action. Following these plans, when Wehrmacht forces invaded Soviet-controlled territory, they immediately implemented the first of the proposed Reichskommissariats of Ostland and Ukraine, under the leadership of Hinrich Lohse and Erich Koch, respectively. The organization of these administrative territories led to conflict between Rosenberg and the SS over the treatment of Slavs under German occupation. As Nazi Germany's chief racial theorist, Rosenberg considered Slavs, though lesser than Germans, to be Aryan. Rosenberg often complained to Hitler and Himmler about the treatment of non-Jewish occupied peoples. He proposed the creation of buffer satellite states made out of Greater Finland, Baltica, Ukraine, and Caucasus. During an 18 November 1941 press conference, he made the following statements about the Jewish question, he stated: At the Nuremberg trials he said he was ignorant of the Holocaust, despite the fact that Leibbrandt and Meyer were present at the Wannsee conference. Wartime propaganda efforts Since the invasion of the Soviet Union intended to impose the New Order, it was essentially a war of conquest. German propaganda efforts designed to win over Russian opinion were, at best, patchy and inconsistent. Alfred Rosenberg was one of the few in the Nazi hierarchy who advocated a policy designed to encourage anti-Communist opinion among the population of the occupied territories. His interest here was mainly in the non-Russian areas such as Ukraine and the Baltic States; however, supporters of the Russian Liberation Army were somewhat able to win him over. Amongst other things, Rosenberg issued a series of posters announcing the end of the Soviet collective farms (kolkhoz). He also issued an Agrarian Law in February 1942, annulling all Soviet legislation on farming and restoring family farms for those willing to collaborate with the occupiers. But decollectivisation conflicted with the wider demands of wartime food production, and Hermann Göring demanded that the collective farms be retained, save for a change of name. Hitler himself denounced the redistribution of land as "stupid". There were numerous German armed forces (Wehrmacht) posters asking for assistance in the Bandenkrieg, the war against the Soviet partisans, though, once again, German policy had the effect of adding to their problems. Posters for "volunteer" labour, with inscriptions such as "Come work with us to shorten the war", hid the appalling realities faced by Russian workers in Germany. Many people joined the partisans rather than risk being sent to an unknown fate in the west. Another of Rosenberg's initiatives, the "Free Caucasus" campaign, was rather more successful, attracting various nationalities into the so-called Eastern Legion (Ostlegionen), though in the end this made little difference in the outcome of the war on the Eastern Front. Trial and execution Rosenberg was captured by Allied troops on 19 May 1945 in Flensburg-Mürwik. He was tried at Nuremberg and found guilty of all four counts: conspiracy to commit crimes against peace; planning, initiating and waging wars of aggression; war crimes; and crimes against humanity. The final judgment against him named him one of the principal planners of the invasions of Norway and the Soviet Union. It also held him directly responsible for the systematic plunder of the occupied countries of Europe, as well as the brutal conditions in Eastern Europe. During his trial he wrote his memoirs, which were published posthumously and with analytical commentary by Serge Lang and Ernst von Schenck. He was sentenced to death and executed with other condemned co-defendants at Nuremberg Prison on the morning of 16 October 1946. His body, like those of the other nine executed men and that of Hermann Göring, was cremated at Ostfriedhof (Munich) and the ashes were scattered in the river Isar. Throughout the trial, it was agreed that Rosenberg had a decisive role in shaping Nazi philosophy and ideology. Examples include: his book Myth of the Twentieth Century, which was published in 1930, where he incited hatred against "Liberal Imperialism" and "Bolshevik Marxism"; furthering the influence of the "Lebensraum" idea in Germany during the war; facilitating the persecution of Christian churches and the Jews in particular; and opposition to the Versailles Treaty. According to Joseph Kingsbury-Smith, who covered the executions for the International News Service, Rosenberg was the only condemned man who, when asked at the gallows if he had any last statement to make, replied with only one word: "No". Nazi policy and Rosenberg's views Hitler was a leader oriented towards practical politics, whereas, for Rosenberg, religion and philosophy were key and he was the most culturally influential within the party. Several accounts of the time before the Nazi ascension to power speak of Hitler as being a mouthpiece for Rosenberg's views, and he clearly exerted a great deal of intellectual influence. The question of Rosenberg's influence in the Nazi Party is controversial. He was perceived as lacking the charisma and political skills of the other Nazi leaders, and was somewhat isolated. In some of his speeches Hitler appeared to be close to Rosenberg's views, rejecting traditional Christianity as a religion based on Jewish culture, preferring an ethnically and culturally pure "Race" whose destiny was supposed to be assigned to the German people by "Providence". In others, he adhered to the Nazi Party line, which advocated a "positive Christianity". After Hitler's assumption of power he moved to reassure the Protestant and Catholic churches that the party was not intending to reinstitute Germanic paganism. He placed himself in the position of being the man to save Positive Christianity from utter destruction at the hands of the atheistic antitheist Communists of the Soviet Union. This was especially true immediately before and after the elections of 1932; Hitler wanted to appear non-threatening to major Christian faiths and consolidate his power. Furthermore, Hitler felt that Catholic–Protestant infighting had been a major factor in weakening the German state and allowing its dominance by foreign powers. Some Nazi leaders, such as Martin Bormann, were anti-Christian and sympathetic to Rosenberg. Once in power, Hitler and most Nazi leaders sought to unify the Christian denominations in favor of "positive Christianity". Hitler privately condemned mystical and pseudoreligious interests as "nonsense". However, he and Joseph Goebbels agreed that after the Endsieg (Final Victory) the Reich Church should be pressed into evolving into a German social evolutionist organisation proclaiming the cult of race, blood and battle, instead of Redemption and the Ten Commandments of Moses, which they deemed outdated and Jewish. Heinrich Himmler's views were among the closest to Rosenberg's, and their estrangement was perhaps created by Himmler's abilities to put into action what Rosenberg had only written. Also, while Rosenberg thought Christianity should be allowed to die out, Himmler actively set out to create countering pagan rituals. Lieutenant Colonel William Harold Dunn (1898–1955) wrote a medical and psychiatric report on him in prison to evaluate him as a suicide risk: He gave the impression of clinging to his own theories in a fanatical and unyielding fashion and to have been little influenced by the unfolding during the trial of the cruelty and crimes of the party. Summarizing the unresolved conflict between the personal views of Rosenberg and the pragmatism of the Nazi elite: The ruthless pursuit of Nazi aims turned out to mean not, as Rosenberg had hoped, the permeation of German life with the new ideology; it meant concentration of the combined resources of party and state on total war. Family life Rosenberg was married twice. In 1915, he married Hilda Leesmann, an ethnic Estonian; they divorced in 1923. Two years later, in 1925 he married Hedwig Kramer, to whom he remained wed until his execution by the Allies. He and Kramer had two children: a son who died in infancy and a daughter, Irene, who was born in 1930. Writings Unmoral im Talmud, 1920, Ernst Boepple's Deutscher Volksverlag, Munich ("Immorality in the Talmud") Das Verbrechen der Freimaurerei: Judentum, Jesuitismus, Deutsches Christentum, 1921 ("The Crime of Freemasonry: Judaism, Jesuitism, German Christianity") Wesen, Grundsätze und Ziele der Nationalsozialistischen Deutschen Arbeiterpartei, 1922, Ernst Boepple's Deutscher Volksverlag, Munich ("Being, principles, and goals of the National Socialist German Worker's Party") Pest in Russland. Der Bolschewismus, seine Häupter, Handlanger und Opfer, 1922, Ernst Boepple's Deutscher Volksverlag, Munich ("The Plague in Russia. Bolshevism, its heads, henchmen, and victims") Bolschewismus, Hunger, Tod, 1922, Ernst Boepple's Deutscher Volksverlag, Munich ("Bolshevism, hunger, death") Der staatsfeindliche Zionismus. ("Zionism, the Enemy of the State"), 1922. Die Protokolle der Weisen von Zion und die jüdische Weltpolitik, 1923 ("The Protocols of the Elders of Zion and the Jewish World Politics") The Jewish Bolshevism, Britons Pub. Society, 1923, together with Ernst Boepple Der Mythus des 20. Jahrhunderts, 1930 ("The Myth of the 20th Century") Dietrich Eckart. Ein Vermächtnis, 1935 ("Dietrich Eckart: A Legacy") An die Dunkelmänner unserer Zeit. Eine Antwort auf die Angriffe gegen den "Mythus des 20. Jahrhunderts", 1937 ("The Obscurantists of Our Time: A Response to the Attacks Against 'The Myth of the 20th Century'") Protestantische Rompilger. Der Verrat an Luther und der "Mythus des 20. Jahrhunderts", 1937 ("Protestant Rome Pilgrims: The Betrayal of Luther and the 'Myth of the 20th Century'") Portrait eines Menschheitsverbrechers, 1949, with analytical commentary by Serge Lang and Ernst von Schenck ("Memoirs of Alfred Rosenberg: With Commentaries") Die Macht der Form, Unknown ("The Power of Form") Diary During the Nuremberg trials, Rosenberg's handwritten diary was translated by Harry Fiss, Chief of Documentation for the American prosecution. After its use in evidence during the Nuremberg trials, the diary went missing, along with other material which had been given to the prosecutor Robert Kempner (1899–1993). It was recovered in Lewiston, N.Y., on 13 June 2013. Written on 425 loose-leaf pages, with entries dating from 1936 through 1944, it is now the property of the United States Holocaust Memorial Museum (USHMM) in Washington. Henry Mayer, the museum's senior archivist, and the son of a Holocaust survivor, was able to access the material and while "not given enough time to read [the] diary entry from beginning to end," he "could see that Rosenberg focused on certain subjects, including brutality against Jews and other ethnic groups and forcing the civilian population of occupied Russia to serve Germany." Meyer also noted Rosenberg's "hostile comments about Nazi leaders," which he described as "unvarnished." While some parts of the manuscript had been previously published, the majority had been lost for decades. Former Federal Bureau of Investigation agent Robert King Wittman, who helped track down the diary, said, "there is no place in the diary where we have Rosenberg or Hitler saying the Jews should be exterminated, all it said was 'move them out of Europe'". The New York Times said of the search for the missing manuscript that "the tangled journey of the diary could itself be the subject of a television mini-series." Since the end of 2013, the USHMM has shown the 425-page document (photos and transcripts) on its homepage. See also Antisemitism Myth of the Twentieth Century Nordische Gesellschaft Racism Kirchenkampf References Informational notes Citations Bibliography External links Personal diary found by ICE 13 June 2013 Alfred Rosenberg Memoirs at Archive.org United States Holocaust Memorial Museum – Alfred Rosenberg Rosenberg on Churchill Alfred Rosenberg - photo Great Grandchild Tytus L Rosenberg Rosenberg on Nuremberg Rally Chapter V, Faith and Thought in National Socialist Germany, The War Against the West, Aurel Kolnai 1893 births 1946 deaths Anti-Masonry Anti-Catholic activists Anti-Catholicism in Germany Antisemitism in Germany Architects in the Nazi Party Baltic-German people Bauman Moscow State Technical University alumni Critics of Christianity Critics of the Catholic Church Estonian architects Executed Estonian people Executed German people Fascist writers Former Protestants German anti-communists German atheists German conspiracy theorists German former Christians German male non-fiction writers German Modern Pagans German propagandists German people convicted of crimes against humanity German people convicted of the international crime of aggression German people of Estonian descent German people of French descent German people of Latvian descent German political philosophers German political writers German Workers Party members Greater German People's Community politicians Holocaust perpetrators Kirchenkampf Members of the Academy for German Law Members of the Reichstag of Nazi Germany Members of the Reichstag of the Weimar Republic Militant League for German Culture members Nazi Germany ministers Nazi Party officials Nazi Party politicians Nazi propagandists Nazis convicted of war crimes Nazis from outside Germany Nazis who participated in the Beer Hall Putsch People executed by the International Military Tribunal in Nuremberg People executed for crimes against humanity People from the Governorate of Estonia Political philosophers Politicians from Tallinn Pseudoarchaeologists Pseudohistorians Reichsleiters Riga Technical University alumni Sturmabteilung officers Thule Society members 20th-century German architects 20th-century German philosophers 20th-century German writers White supremacists
true
[ "Peter Poole (c. 1932 – 18 August 1960 in Nairobi, Kenya) was a British-born Kenyan engineer and shop owner. He was the only white in Kenya to be executed for killing an indigenous African person.\n\nOn 12 October 1959, he was charged with killing Kamawe Musunge, his houseboy, in Gordon Road, Nairobi. Musunge had been riding a bicycle when Poole's two dogs stopped him. Musunge threw stones at one dog, for which Poole shot him dead with a Luger pistol. Poole was executed on 18 August 1960. At the time Kenya was still under British rule, and the verdict was received negatively by some white settlers in the region.\n\nPoole had emigrated to Kenya from Essex. He owned an electrical shop on Nairobi's Government Road (now Moi Avenue). Poole served in the British Army during the Mau Mau Uprising. He was married with two children.\n\nSee also \nThomas Cholmondeley, white Kenyan found guilty of manslaughter\n\nReferences \n\nBritish military personnel of the Mau Mau Uprising\n20th-century British Army personnel\nExecuted Kenyan people\nPeople executed by British Kenya by hanging\nExecuted English people\nKenyan murderers\nEnglish people convicted of murder\n1932 births\n1960 deaths\nBritish people executed abroad", "Jean Châtel (1575 – 29 December 1594) attempted to assassinate King Henry IV of France on 27 December 1594. He was the son of a cloth merchant and was aged 19 when executed on 29 December.\n\nOn 27 December 1594, Châtel managed to gain entry to the King's chamber. When Henry stooped to help two officials rise who had knelt before him, Châtel attacked him with a knife, striking his lip. He was at once arrested (prevented from leaving the room by the court jester Mathurine de Vallois) and condemned for the crime of lèse majesté. As the law prescribed, first Châtel's hand, with which he had struck the King, was burned with molten sulfur, lead and wax. He was then executed by dismemberment. \n\nUnder questioning Châtel revealed that he had been educated by the Jesuits of the Collège de Clermont (now the Lycée Louis-le-Grand). In the atmosphere of the day, with the wars of Religion still in progress, it was inevitable that the Jesuits would be accused of inspiring Châtel's attack. His former teachers, Fathers Hay and Guéret, were fortunate to be exiled; a third teacher, Father Guignard, was hanged and burned at the stake for his presumed part in the affair. The Collège de Clermont was closed, and the building was confiscated. The Jesuit Order was banned from France, although this ban was quickly lifted.\n\nReferences\n\n Charlier, Philippe (14 December 2010). \"Multidisciplinary medical identification of a French king's head (Henri IV)\". BMJ.\n\n1575 births\n1594 crimes\n1594 deaths\n16th-century executions by France\nExecuted French people\nFailed regicides\nPeople executed by dismemberment\nPeople executed for attempted murder" ]
[ "Alfred Rosenberg", "Trial and execution", "Are there any other interesting aspects about this article?", "Rosenberg was captured by Allied troops at the end of the war in Flensburg-Murwik.", "What happened after he was captured", "He was tried at Nuremberg and found guilty of all four counts:", "How long was his sentence?", "He was sentenced to death and executed with other condemned co-defendants at Nuremberg Prison", "When was he executed?", "on the morning of 16 October 1946.", "Who else was executed with him?", "other condemned co-defendants at Nuremberg Prison" ]
C_4304e465dd824cb1837262962a554703_0
What was he tried for?
6
What was Alfred Rosenberg tried for?
Alfred Rosenberg
Rosenberg was captured by Allied troops at the end of the war in Flensburg-Murwik. He was tried at Nuremberg and found guilty of all four counts: conspiracy to commit crimes against peace; planning, initiating and waging wars of aggression; war crimes; and crimes against humanity. The final judgment against him named him one of the principal planners of the invasions of Norway and the Soviet Union. It also held him directly responsible for the systematic plunder of the occupied countries of Europe, as well as the brutal conditions in Eastern Europe. During his trial he wrote his memoirs, which were published posthumously and with analytical commentary by Serge Lang and Ernst von Schenck. He was sentenced to death and executed with other condemned co-defendants at Nuremberg Prison on the morning of 16 October 1946. His body, like those of the other nine executed men and that of Hermann Goring, was cremated at Ostfriedhof (Munich) and the ashes were scattered in the river Isar. Throughout the trial, it was agreed that Rosenberg had a decisive role in shaping Nazi philosophy and ideology. Examples include: his book, Myth of the Twentieth Century, which was published in 1930, where he incited hatred against "Liberal Imperialism" and "Bolshevik Marxism"; furthering the influence of the "Lebensraum" idea in Germany during the war; facilitating the persecution of Christian churches and the Jews in particular; and opposition to the Versailles Treaty. According to Joseph Kingsbury-Smith, who covered the executions for the International News Service, Rosenberg was the only condemned man who, when asked at the gallows if he had any last statement to make, replied with only one word: "No". CANNOTANSWER
The final judgment against him named him one of the principal planners of the invasions of Norway and the Soviet Union.
Alfred Ernst Rosenberg ( – 16 October 1946) was a Baltic German Nazi theorist and ideologue. Rosenberg was first introduced to Adolf Hitler by Dietrich Eckart and he held several important posts in the Nazi government. He was the head of the NSDAP Office of Foreign Affairs during the entire rule of Nazi Germany (1933–1945), and led Amt Rosenberg ("Rosenberg's bureau"), an official Nazi body for cultural policy and surveillance, between 1934 and 1945. During World War II, Rosenberg was the head of the Reich Ministry for the Occupied Eastern Territories (1941–1945). After the war, he was convicted of crimes against peace; planning, initiating and waging wars of aggression; war crimes; and crimes against humanity at the Nuremberg trials in 1946. He was sentenced to death and executed on 16 October 1946. The author of a seminal work of Nazi ideology, The Myth of the Twentieth Century (1930), Rosenberg is considered one of the main authors of key Nazi ideological creeds, including its racial theory, persecution of the Jews, Lebensraum, abrogation of the Treaty of Versailles, and opposition to what was considered "degenerate" modern art. He is known for his rejection of and hatred for Christianity, having played an important role in the development of German nationalist Positive Christianity. Early life Family Rosenberg was born on 12 January 1893 in Reval, now Tallinn (the capital of modern Estonia), then in the Governorate of Estonia (Russian Empire). His mother Elfriede (née Siré), who had French and German ancestry, was the daughter of Louise Rosalie (née Fabricius), born near Leal (modern Lihula, Estonia) in 1842, and of the railway official Friedrich August Siré, born in Saint-Petersburg (Russian Empire) in 1843. Born in the same city in 1868 and confirmed in Reval at 17 in 1885, Elfriede Siré married Woldemar Wilhelm Rosenberg, a wealthy merchant from Reval, in the Lutheran Church of Saint Peter and Saint Paul (St-Petersburg) in 1886. His paternal grandfather, Martin Rosenberg, was a master shoemaker and elder of his guild. Born in Riga in 1820, and probably partly of Latvian descent, he had moved to Reval in the 1850s, where he met Julie Elisabeth Stramm, born in Jörden (Estonia) in 1835. The two married in the German St. Nicholas parish of Reval in 1856. His mother died two months after his birth. Main difference is she dropped off the radar after Alfred was handed, Gudrun picked up her father left off Great Grandchild Tytus L Rosenberg ( born in 1974 ) in Poland. The Hungarian-Jewish journalist Franz Szell, who was apparently residing in Tilsit, Prussia, Germany, spent a year researching in Latvian and Estonian archives before publishing an open letter in 1936, with copies to Hermann Göring, Joseph Goebbels, Foreign Minister Konstantin von Neurath and others, accusing Rosenberg of having "no drop of German blood" flowing in his veins. Szell wrote that among Rosenberg's ancestors were only "Latvians, Jews, Mongols, and French." As a result of his open letter, Szell was deported by Lithuanian authorities on 15 September 1936. His claims were repeated in the 15 September 1937 issue of the Vatican newspaper L'Osservatore Romano. Alfred Rosenberg was indeed of Baltic German, French, and probably also of Estonian and Latvian descent, but no Jewish ancestry has been discovered. Education and early career The young Rosenberg graduated from the Petri-Realschule (currently Tallinna Reaalkool) and went on to study architecture at the Riga Polytechnical Institute and engineering at Moscow's Imperial Higher Technical School (), completing his PhD studies in 1917. During his stays at home in Reval, he attended the art studio of the famed painter Ants Laikmaa - though he showed promise, there are no records that he ever exhibited. During the German occupation of Estonia in 1918, Rosenberg served as a teacher at the Gustav Adolf Gymnasium. He gave his first speech on Jewish Marxism on 30 November, at the House of the Blackheads, after the 28 November 1918 outbreak of the Estonian War of Independence. He emigrated to Germany with the retreating Imperial German army, along with Max Scheubner-Richter, who served as something of a mentor to Rosenberg and to his ideology. Arriving in Munich, he contributed to Dietrich Eckart's publication, the Völkischer Beobachter (Ethnic/Nationalist Observer). By this time, he was both an antisemite – influenced by Houston Stewart Chamberlain's book The Foundations of the Nineteenth Century, one of the key proto-Nazi books of racial theory – and an anti-Bolshevik. Rosenberg became one of the earliest members of the German Workers' Party – later renamed the National Socialist German Workers' Party, better known as the Nazi Party – joining in January 1919, eight months before Adolf Hitler joined in September. According to some historians, Rosenberg had also been a member of the Thule Society, along with Eckart, although Nicholas Goodrick-Clarke contends that they were only guests. After the Völkischer Beobachter became the Nazi party newspaper in December 1920, Rosenberg became its editor in 1923. Rosenberg was a leading member of Aufbau Vereinigung, Reconstruction Organisation, a conspiratorial organisation of White Russian émigrés which had a critical influence on early Nazi policy. Rosenberg sympathized and identified with Talat Pasha and the Committee of Union and Progress that carried out the Armenian genocide, also claiming that there was "a deliberately Jewish policy which had always protected the Armenians" and that "during the world war, the Armenians have led the espionage against the Turks, similar to the Jews against Germany". Nazi party In 1923, after the failed Beer Hall Putsch, Hitler, who had been imprisoned for treason, appointed Rosenberg as the leader of the Nazi movement. Hitler remarked privately in later years that his choice of Rosenberg, whom he regarded as weak and lazy, was strategic; Hitler did not want the temporary leader of the Nazis to become too popular or hungry for power, because a person with either of those two qualities might not want to cede the party leadership after Hitler's release. However, at the time of the appointment Hitler had no reason to believe that he would soon be released, and Rosenberg had not appeared weak, so this may have been Hitler reading back into history his dissatisfaction with Rosenberg for the job he did. On 1 January 1924, Rosenberg founded the Greater German People's Community, a Nazi front organization. Headquartered in Munich, it was largely limited to Bavaria, the birthplace of National Socialism, had no substantial presence outside that State and became a haven for Nazi Party members from that area. Prominent members included Max Amann, Phillip Bouhler, Hermann Esser, Franz Xaver Schwarz and Julius Streicher. Rosenberg, one of the least charismatic of the Nazi leaders and lacking in leadership qualities, was soon pushed aside by Streicher, a far more ruthless and abrasive personality, who was elected Chairman on 9 July 1924 with Esser, also a coarse, bullying sort, as his Deputy Chairman. In 1929 Rosenberg founded the Militant League for German Culture. He later formed the "Institute for Research on the Jewish Question", the first branch of a projected Advanced School of the NSDAP, dedicated to identifying and attacking Jewish influence in German culture and to recording the history of Judaism from a radical nationalist perspective. He was elected as a Reichstag Deputy in 1930 and would continue to serve in this capacity until the end of the Nazi regime. First elected as a representative of the electoral list, from 1933 on he represented electoral constituency 33, Hesse. In 1930, he also published his book on racial theory The Myth of the Twentieth Century (Der Mythus des 20. Jahrhunderts) which deals with key issues in the Nazi ideology, such as the "Jewish question." Rosenberg intended his book as a sequel to Houston Stewart Chamberlain's above-cited book. Despite selling more than a million copies by 1945, its influence within Nazism remains doubtful. It is often said to have been a book that was officially venerated within Nazism, but one that few had actually read beyond the first chapter or even found comprehensible. Hitler called it "stuff nobody can understand" and disapproved of its pseudo-religious tone. Rosenberg helped convince Hitler, whose early speeches focused on revenge against France and Britain, that communism was a serious threat to Germany. "Jewish-Bolshevism" became an ideological target for Nazism during the early 1920s. In Rome during November 1932 Rosenberg participated in the Volta Conference about Europe. British historian Sir Charles Petrie met him there and regarded him with great distaste; Petrie was a Catholic and strongly objected to Rosenberg's anti-Jewish and anti-Catholic sentiments. The following year, following the Nazi seizure of power, Rosenberg was named leader of the Nazi Party's Foreign Policy Office in April, and on 2 June 1933 he was named a Reichsleiter, the second highest political rank in the Nazi Party. In May 1933 Rosenberg visited Britain, to give the impression that the Nazis would not be a threat and to encourage links between the new regime and the British Empire. It was a notable failure. When Rosenberg laid a wreath bearing a swastika at the Cenotaph, a Labour Party candidate slashed it, later threw it in the Thames and was fined 40 shillings for willful damage at Bow Street magistrate's court. In October 1933, Rosenberg was named as a member of Hans Frank's Academy for German Law. Then on 27 January 1934, Hitler made Rosenberg the "Führer's Representative for the Supervision of Intellectual and Ideological Education of the NSDAP." This was the origin of the Amt Rosenberg. Racial theories As the Nazi Party's chief racial theorist, Rosenberg oversaw the construction of a human racial "ladder" that justified Hitler's racial and ethnic policies. Rosenberg built on the works of Arthur de Gobineau, Houston Stewart Chamberlain, Madison Grant and the Klansman Lothrop Stoddard as well as on the beliefs of Hitler. Rosenberg placed Blacks and Jews at the very bottom of the ladder, while at the very top stood the "Aryan" race. Rosenberg promoted the Nordic theory which considered the Nordic race the "master race", superior to all others, including to other Aryans (Indo-Europeans). He was also influenced by the Judeo-Masonic conspiracy theory promoted by the Catholic counter-revolutionary tradition, such as the book Le Juif, le judaïsme et la judaïsation des peuples chrétiens (1869) by Roger Gougenot des Mousseaux, which he translated into German under the title The Eternal Jew. Rosenberg got the racial term Untermensch from the title of Stoddard's 1922 book The Revolt Against Civilization: The Menace of the Under-man, which had been adopted by the Nazis from that book's German version Der Kulturumsturz: Die Drohung des Untermenschen (1925). Rosenberg reshaped the Nazi racial policy over the years, but it always consisted of Aryan supremacy, extreme German nationalism and rabid antisemitism. Rosenberg also outspokenly opposed homosexuality – notably in his pamphlet "Der Sumpf" ("The Swamp", 1927). He viewed homosexuality as a hindrance to the expansion of the Nordic population. Rosenberg's attitude towards Slavs was flexible because it depended on the particular nation which he referred to. As a result of the ideology of "Drang nach Osten" ("Drive to the East"), Rosenberg saw his mission as the conquest and colonization of the Slavic East. In Der Mythus des 20. Jahrhunderts Rosenberg describes Russian Slavs as being overwhelmed by Bolshevism. Regarding Ukrainians, he favoured setting up a buffer state to ease the pressure on the German eastern frontier, while agreeing with the notion that Russia could be exploited for the benefit of Germany. During the war, Rosenberg was in favour of collaboration with the East Slavs against Bolshevism and offering them national independence unlike other Nazis such as Hitler and Himmler who dismissed such ideas. Religious theories Rosenberg was raised as a Protestant, but he rejected Christianity later in his life. Rosenberg argued for a new "religion of the blood", based on the supposed innate promptings of the Nordic soul to defend its noble character against racial and cultural degeneration. In his 1920 book Immorality in the Talmud, Rosenberg identified Jews with the antichrist. He rejected Christianity for its universality, for its doctrine of original sin (at least for Germans who he declared on one occasion were born noble), and for its teachings on the immortality of the soul, saying, "indeed, absorbing Christianity enfeebled a people." Publicly, Rosenberg affected to deplore Christianity's degeneration owing to Jewish influence. Following Houston Stewart Chamberlain's ideas, he condemned what he called "negative Christianity" (the orthodox beliefs of the Protestant and Catholic churches), arguing for a so-called "positive" Christianity based on Chamberlain's argument that Jesus was a member of an Indo-European, Nordic enclave which was resident in ancient Galilee who struggled against Judaism. Significantly, in his work explicating the Nazi intellectual belief system, The Myth of the Twentieth Century, Rosenberg cryptically alludes to and lauds the early Christian heretic Marcion (who rejected the Old Testament as well as the notion of Christ as the Jewish Messiah) and the Manichaean-inspired, "Aryo-Iranian" Cathari, as being the more authentic interpreters of Christianity versus historically dominant Judaeo-Christianity; moreover these ancient, externally Christian metaphysical forms were more "organically compatible with the Nordic sense of the spiritual and the Nordic 'blood-soul'." For Rosenberg, the anti-intellectual, religious doctrine was inseparable from serving the interests of the Nordic race, connecting the individual to his racial nature. Rosenberg stated that "The general ideas of the Roman and of the Protestant churches are negative Christianity and do not, therefore, accord with our (German) soul." His support for Luther as a great German figure was always ambivalent. In January 1934, Hitler appointed Rosenberg cultural and educational leader of the Reich. The Sanctum Officium in Rome recommended that Rosenberg's Myth of the Twentieth Century be put on the Index Librorum Prohibitorum (list of books forbidden by the Catholic Church) for scorning and rejecting "all dogmas of the Catholic Church, indeed the very fundamentals of the Christian religion". During World War II, Rosenberg outlined the future envisioned by the Hitler government for religion in Germany, with a thirty-point program for the future of the German churches. Among its articles: the National Reich Church of Germany would claim exclusive control over all churches publication of the Bible would cease crucifixes, Bibles and saints were to be removed from altars Mein Kampf would be placed on altars as "to the German nation and therefore to God the most sacred book" the Christian Cross would be removed from all churches and replaced with the swastika. Rosenberg has been described as an atheist by people, including Henry F. Gerecke, the Lutheran chaplain who communed with some of the Nuremberg prisoners, including Joachim von Ribbentrop and Wilhelm Keitel. However, some historians have claimed that Rosenberg was a neo-pagan. Wartime activities In 1940 Rosenberg was made head of the Hohe Schule (literally "high school", but the German phrase refers to a college), the Centre of National Socialist Ideological and Educational Research, out of which the Einsatzstab Reichsleiter Rosenberg (Reichsleiter Rosenberg Taskforce) developed for the purpose of looting art and cultural goods. The ERR were especially active in Paris in looting art stolen from famous Jewish families such as the Rothschilds and that of Paul Rosenberg. Hermann Göring used the ERR to collect art for his own personal gratification. He created a "Special Task Force for Music" (Sonderstab Musik) to collect the best musical instruments and scores for use in a university to be built in Hitler's home town of Linz, Austria. The orders given to the Sonderstab Musik were to loot all forms of Jewish property in Germany and of those found in any country taken over by the German army, and any musical instruments or scores were to be immediately shipped to Berlin. Reich Minister for the Occupied Eastern Territories Following the invasion of the USSR, Rosenberg was appointed head of the Reich Ministry for the Occupied Eastern Territories (Reichsministerium für die besetzten Ostgebiete) on 17 July 1941. Alfred Meyer served as his deputy and represented him at the Wannsee Conference. Another official of the Ministry, Georg Leibbrandt, also attended the conference, at Rosenberg's request. Rosenberg had presented Hitler with his plan for the organization of the conquered Eastern territories, suggesting the establishment of new administrative districts, to replace the previously Soviet-controlled territories with new Reichskommissariats. These would be: Ostland (Baltic countries and Belarus), Ukraine (Ukraine and nearest territories), Kaukasus (Caucasus area), Moskau (Moscow metropolitan area and the rest of nearest Russian European areas) Although Rosenberg believed that all of the peoples of the Soviet Union were subhumans because of their communist beliefs, such suggestions were intended to encourage certain non-Russian forms of nationalism and promote German interests for the benefit of future Aryan generations, in accord with geopolitical "Lebensraum im Osten" plans. They would provide a buffer against Soviet expansion in preparation for the total eradication of Communism and Bolshevism by decisive pre-emptive military action. Following these plans, when Wehrmacht forces invaded Soviet-controlled territory, they immediately implemented the first of the proposed Reichskommissariats of Ostland and Ukraine, under the leadership of Hinrich Lohse and Erich Koch, respectively. The organization of these administrative territories led to conflict between Rosenberg and the SS over the treatment of Slavs under German occupation. As Nazi Germany's chief racial theorist, Rosenberg considered Slavs, though lesser than Germans, to be Aryan. Rosenberg often complained to Hitler and Himmler about the treatment of non-Jewish occupied peoples. He proposed the creation of buffer satellite states made out of Greater Finland, Baltica, Ukraine, and Caucasus. During an 18 November 1941 press conference, he made the following statements about the Jewish question, he stated: At the Nuremberg trials he said he was ignorant of the Holocaust, despite the fact that Leibbrandt and Meyer were present at the Wannsee conference. Wartime propaganda efforts Since the invasion of the Soviet Union intended to impose the New Order, it was essentially a war of conquest. German propaganda efforts designed to win over Russian opinion were, at best, patchy and inconsistent. Alfred Rosenberg was one of the few in the Nazi hierarchy who advocated a policy designed to encourage anti-Communist opinion among the population of the occupied territories. His interest here was mainly in the non-Russian areas such as Ukraine and the Baltic States; however, supporters of the Russian Liberation Army were somewhat able to win him over. Amongst other things, Rosenberg issued a series of posters announcing the end of the Soviet collective farms (kolkhoz). He also issued an Agrarian Law in February 1942, annulling all Soviet legislation on farming and restoring family farms for those willing to collaborate with the occupiers. But decollectivisation conflicted with the wider demands of wartime food production, and Hermann Göring demanded that the collective farms be retained, save for a change of name. Hitler himself denounced the redistribution of land as "stupid". There were numerous German armed forces (Wehrmacht) posters asking for assistance in the Bandenkrieg, the war against the Soviet partisans, though, once again, German policy had the effect of adding to their problems. Posters for "volunteer" labour, with inscriptions such as "Come work with us to shorten the war", hid the appalling realities faced by Russian workers in Germany. Many people joined the partisans rather than risk being sent to an unknown fate in the west. Another of Rosenberg's initiatives, the "Free Caucasus" campaign, was rather more successful, attracting various nationalities into the so-called Eastern Legion (Ostlegionen), though in the end this made little difference in the outcome of the war on the Eastern Front. Trial and execution Rosenberg was captured by Allied troops on 19 May 1945 in Flensburg-Mürwik. He was tried at Nuremberg and found guilty of all four counts: conspiracy to commit crimes against peace; planning, initiating and waging wars of aggression; war crimes; and crimes against humanity. The final judgment against him named him one of the principal planners of the invasions of Norway and the Soviet Union. It also held him directly responsible for the systematic plunder of the occupied countries of Europe, as well as the brutal conditions in Eastern Europe. During his trial he wrote his memoirs, which were published posthumously and with analytical commentary by Serge Lang and Ernst von Schenck. He was sentenced to death and executed with other condemned co-defendants at Nuremberg Prison on the morning of 16 October 1946. His body, like those of the other nine executed men and that of Hermann Göring, was cremated at Ostfriedhof (Munich) and the ashes were scattered in the river Isar. Throughout the trial, it was agreed that Rosenberg had a decisive role in shaping Nazi philosophy and ideology. Examples include: his book Myth of the Twentieth Century, which was published in 1930, where he incited hatred against "Liberal Imperialism" and "Bolshevik Marxism"; furthering the influence of the "Lebensraum" idea in Germany during the war; facilitating the persecution of Christian churches and the Jews in particular; and opposition to the Versailles Treaty. According to Joseph Kingsbury-Smith, who covered the executions for the International News Service, Rosenberg was the only condemned man who, when asked at the gallows if he had any last statement to make, replied with only one word: "No". Nazi policy and Rosenberg's views Hitler was a leader oriented towards practical politics, whereas, for Rosenberg, religion and philosophy were key and he was the most culturally influential within the party. Several accounts of the time before the Nazi ascension to power speak of Hitler as being a mouthpiece for Rosenberg's views, and he clearly exerted a great deal of intellectual influence. The question of Rosenberg's influence in the Nazi Party is controversial. He was perceived as lacking the charisma and political skills of the other Nazi leaders, and was somewhat isolated. In some of his speeches Hitler appeared to be close to Rosenberg's views, rejecting traditional Christianity as a religion based on Jewish culture, preferring an ethnically and culturally pure "Race" whose destiny was supposed to be assigned to the German people by "Providence". In others, he adhered to the Nazi Party line, which advocated a "positive Christianity". After Hitler's assumption of power he moved to reassure the Protestant and Catholic churches that the party was not intending to reinstitute Germanic paganism. He placed himself in the position of being the man to save Positive Christianity from utter destruction at the hands of the atheistic antitheist Communists of the Soviet Union. This was especially true immediately before and after the elections of 1932; Hitler wanted to appear non-threatening to major Christian faiths and consolidate his power. Furthermore, Hitler felt that Catholic–Protestant infighting had been a major factor in weakening the German state and allowing its dominance by foreign powers. Some Nazi leaders, such as Martin Bormann, were anti-Christian and sympathetic to Rosenberg. Once in power, Hitler and most Nazi leaders sought to unify the Christian denominations in favor of "positive Christianity". Hitler privately condemned mystical and pseudoreligious interests as "nonsense". However, he and Joseph Goebbels agreed that after the Endsieg (Final Victory) the Reich Church should be pressed into evolving into a German social evolutionist organisation proclaiming the cult of race, blood and battle, instead of Redemption and the Ten Commandments of Moses, which they deemed outdated and Jewish. Heinrich Himmler's views were among the closest to Rosenberg's, and their estrangement was perhaps created by Himmler's abilities to put into action what Rosenberg had only written. Also, while Rosenberg thought Christianity should be allowed to die out, Himmler actively set out to create countering pagan rituals. Lieutenant Colonel William Harold Dunn (1898–1955) wrote a medical and psychiatric report on him in prison to evaluate him as a suicide risk: He gave the impression of clinging to his own theories in a fanatical and unyielding fashion and to have been little influenced by the unfolding during the trial of the cruelty and crimes of the party. Summarizing the unresolved conflict between the personal views of Rosenberg and the pragmatism of the Nazi elite: The ruthless pursuit of Nazi aims turned out to mean not, as Rosenberg had hoped, the permeation of German life with the new ideology; it meant concentration of the combined resources of party and state on total war. Family life Rosenberg was married twice. In 1915, he married Hilda Leesmann, an ethnic Estonian; they divorced in 1923. Two years later, in 1925 he married Hedwig Kramer, to whom he remained wed until his execution by the Allies. He and Kramer had two children: a son who died in infancy and a daughter, Irene, who was born in 1930. Writings Unmoral im Talmud, 1920, Ernst Boepple's Deutscher Volksverlag, Munich ("Immorality in the Talmud") Das Verbrechen der Freimaurerei: Judentum, Jesuitismus, Deutsches Christentum, 1921 ("The Crime of Freemasonry: Judaism, Jesuitism, German Christianity") Wesen, Grundsätze und Ziele der Nationalsozialistischen Deutschen Arbeiterpartei, 1922, Ernst Boepple's Deutscher Volksverlag, Munich ("Being, principles, and goals of the National Socialist German Worker's Party") Pest in Russland. Der Bolschewismus, seine Häupter, Handlanger und Opfer, 1922, Ernst Boepple's Deutscher Volksverlag, Munich ("The Plague in Russia. Bolshevism, its heads, henchmen, and victims") Bolschewismus, Hunger, Tod, 1922, Ernst Boepple's Deutscher Volksverlag, Munich ("Bolshevism, hunger, death") Der staatsfeindliche Zionismus. ("Zionism, the Enemy of the State"), 1922. Die Protokolle der Weisen von Zion und die jüdische Weltpolitik, 1923 ("The Protocols of the Elders of Zion and the Jewish World Politics") The Jewish Bolshevism, Britons Pub. Society, 1923, together with Ernst Boepple Der Mythus des 20. Jahrhunderts, 1930 ("The Myth of the 20th Century") Dietrich Eckart. Ein Vermächtnis, 1935 ("Dietrich Eckart: A Legacy") An die Dunkelmänner unserer Zeit. Eine Antwort auf die Angriffe gegen den "Mythus des 20. Jahrhunderts", 1937 ("The Obscurantists of Our Time: A Response to the Attacks Against 'The Myth of the 20th Century'") Protestantische Rompilger. Der Verrat an Luther und der "Mythus des 20. Jahrhunderts", 1937 ("Protestant Rome Pilgrims: The Betrayal of Luther and the 'Myth of the 20th Century'") Portrait eines Menschheitsverbrechers, 1949, with analytical commentary by Serge Lang and Ernst von Schenck ("Memoirs of Alfred Rosenberg: With Commentaries") Die Macht der Form, Unknown ("The Power of Form") Diary During the Nuremberg trials, Rosenberg's handwritten diary was translated by Harry Fiss, Chief of Documentation for the American prosecution. After its use in evidence during the Nuremberg trials, the diary went missing, along with other material which had been given to the prosecutor Robert Kempner (1899–1993). It was recovered in Lewiston, N.Y., on 13 June 2013. Written on 425 loose-leaf pages, with entries dating from 1936 through 1944, it is now the property of the United States Holocaust Memorial Museum (USHMM) in Washington. Henry Mayer, the museum's senior archivist, and the son of a Holocaust survivor, was able to access the material and while "not given enough time to read [the] diary entry from beginning to end," he "could see that Rosenberg focused on certain subjects, including brutality against Jews and other ethnic groups and forcing the civilian population of occupied Russia to serve Germany." Meyer also noted Rosenberg's "hostile comments about Nazi leaders," which he described as "unvarnished." While some parts of the manuscript had been previously published, the majority had been lost for decades. Former Federal Bureau of Investigation agent Robert King Wittman, who helped track down the diary, said, "there is no place in the diary where we have Rosenberg or Hitler saying the Jews should be exterminated, all it said was 'move them out of Europe'". The New York Times said of the search for the missing manuscript that "the tangled journey of the diary could itself be the subject of a television mini-series." Since the end of 2013, the USHMM has shown the 425-page document (photos and transcripts) on its homepage. See also Antisemitism Myth of the Twentieth Century Nordische Gesellschaft Racism Kirchenkampf References Informational notes Citations Bibliography External links Personal diary found by ICE 13 June 2013 Alfred Rosenberg Memoirs at Archive.org United States Holocaust Memorial Museum – Alfred Rosenberg Rosenberg on Churchill Alfred Rosenberg - photo Great Grandchild Tytus L Rosenberg Rosenberg on Nuremberg Rally Chapter V, Faith and Thought in National Socialist Germany, The War Against the West, Aurel Kolnai 1893 births 1946 deaths Anti-Masonry Anti-Catholic activists Anti-Catholicism in Germany Antisemitism in Germany Architects in the Nazi Party Baltic-German people Bauman Moscow State Technical University alumni Critics of Christianity Critics of the Catholic Church Estonian architects Executed Estonian people Executed German people Fascist writers Former Protestants German anti-communists German atheists German conspiracy theorists German former Christians German male non-fiction writers German Modern Pagans German propagandists German people convicted of crimes against humanity German people convicted of the international crime of aggression German people of Estonian descent German people of French descent German people of Latvian descent German political philosophers German political writers German Workers Party members Greater German People's Community politicians Holocaust perpetrators Kirchenkampf Members of the Academy for German Law Members of the Reichstag of Nazi Germany Members of the Reichstag of the Weimar Republic Militant League for German Culture members Nazi Germany ministers Nazi Party officials Nazi Party politicians Nazi propagandists Nazis convicted of war crimes Nazis from outside Germany Nazis who participated in the Beer Hall Putsch People executed by the International Military Tribunal in Nuremberg People executed for crimes against humanity People from the Governorate of Estonia Political philosophers Politicians from Tallinn Pseudoarchaeologists Pseudohistorians Reichsleiters Riga Technical University alumni Sturmabteilung officers Thule Society members 20th-century German architects 20th-century German philosophers 20th-century German writers White supremacists
true
[ "Athol Kennedy Chase (1936-2020) was an Australian anthropologist and ethnographer who undertook extensive fieldwork in Cape York Peninsula, recording and especially making a cultural record of the traditions, cultural change, and cultural continuities of the Aboriginal Peoples living at Lockhart River, Queensland including cultural mapping for the Umpila, Koko Yao, Wuthathi and Kaantju.\n\nFollowing almost 50 years from first doing fieldwork in Lockhart River, his life's works and contribution to Lockhart River was summarized by Lockhart River community as follows:\nWhen Killoran tried to do the wrong thing, he was there for us; when Farndale tried to build a big resort on Line Hill, he was there for us; when the mining companies tried to make us let them mine at Rocky Point and Wuthathi country, he was there for us; when government wanted to build a spaceport on Kuuku Ya’u country, he was there for us; and when we needed him to stand up for our Native Title with the information our old people gave him, he was there for us. Without his work with our old people, it would have been much harder to get our land back. He has been a warrior for us all.\n\nReferences\n\nAustralian anthropologists\n1936 births\n2020 deaths\nDate of death missing\nPeople from Rockhampton", "Bookmarks is the sixth studio album by American singer Five for Fighting. It was released on September 17, 2013, by Wind-up Records. The album's first single, \"What If\", was released on June 11, 2013.\n\nBackground\nAfter his previous album Slice was released in 2009, Ondrasik was uncertain about his future music career. He decided to record Bookmarks after restoring his passion for music while training for a marathon.\n\nRecording\nBookmarks was produced by Derek Fuhrmann and Gregg Wattenberg. Wattenberg previously worked with American rock band Train and American Idol season 11 winner Phillip Phillips. Ondrasik and Wattenberg previously worked together for Ondrasik's 2000 album America Town. While recording, both of them tried out various genres and drum rhythms. Almost 60 songs were recorded for Bookmarks including six versions of \"You'll Never Change\".\n\nComposition\nOndrasik based the songs off of Bookmarks on his life experiences that occurred in the three years after Slice.\n\nReception\nStephen Thomas Erlewine of AllMusic said that while Bookmarks sounded like early 2000s adult contemporary, he praised the positive lyrics and believed Bookmarks was the most put together album by Five for Fighting.\n\nTrack listing\n\nCharts\n\nReferences\n\n2013 albums\nFive for Fighting albums\nWind-up Records albums\nAlbums produced by Gregg Wattenberg" ]
[ "Mastodon (band)", "Emperor of Sand and Cold Dark Place (2015-present)" ]
C_3a27ada9bf724cdda3d7ab551d613979_0
What was Emperor of Sand and Cold Dark Place?
1
What was Emperor of Sand and Cold Dark Place?
Mastodon (band)
On January 18, 2015, it was reported that Brent Hinds is working on new Mastodon album, showing a picture with him playing the 13 string pedal steel. The same report was later confirmed by Troy Sanders, who stated: "Every record that we do is gonna sound different, because we always want to evolve and create our own musical path. And every record will be different. We do not wanna write the same record twice." On March 12, 2015, Mastodon released a new track called "White Walker", which will appear on the upcoming Game of Thrones: Catch the Throne Vol. 2 mixtape to promote the fifth season of the HBO TV series Game of Thrones. Dailor, Hinds, and Kelliher also appeared in episode 8 of the season as wildlings. This mixtape will also feature songs by various other acts, ranging from Killswitch Engage to Snoop Dogg. Hinds and Kelliher once again returned to Game of Thrones as wights among the White Walker army for the season 7 finale episode, "The Dragon and the Wolf". The band's seventh studio album Emperor of Sand was released on March 31, 2017. The theme for the album was cancer, inspired by Troy's wife who was diagnosed with cancer, and Bill's mother who lost her life to cancer. It details the story of a traveller banished to the desert by an emperor, in effect giving him a death sentence. The story is a metaphor for someone diagnosed with terminal cancer. The first single, "Show Yourself", was released in February, and had peaked at number 4 on the US Billboard Mainstream Rock Songs chart in June, making it the band's highest charting song to date. The second single, "Steambreather", peaked at number 18 on the same chart in October. Mastodon also released an EP titled Cold Dark Place on September 22 of the same year. It was a four-song EP, featuring three songs recorded during the Once More 'Round the Sun sessions, and one track recorded during the Emperor of Sand sessions. The first single for the EP, "Toe to Toes" was released on September 1, 2017. Brent Hinds stated that the inspiration behind some of the songs recorded for Cold Dark Place, which he wrote, were inspired by a nasty breakup that he had endured. Describing the sound of the record, Hinds stated that "I wrote some pretty dark, beautiful, spooky, funky, ethereal, melancholy music, which also sounds like the Bee Gees a little bit." On December 1st, the band released a revised version of the 12 part "The Making of Emperor of Sand" documentary via their official YouTube channel. Mastodon were announced to be on a co-headlining Summer 2018 Tour with Primus spanning across North America lasting from May to July CANNOTANSWER
The band's seventh studio album Emperor of Sand was released on March 31,
Mastodon is an American heavy metal band from Atlanta, Georgia, formed in 2000. The group is composed of Troy Sanders (bass/vocals), Brent Hinds (lead guitar/vocals), Bill Kelliher (rhythm guitar/backing vocals), and Brann Dailor (drums/vocals). Mastodon has released eight studio albums, as well as a number of other releases. The band's 2002 debut album, Remission, garnered significant critical acclaim for its unique sound. Mastodon's second full-length release, Leviathan, is a concept album based on the novel Moby-Dick by Herman Melville. Three magazines awarded the record Album of the Year in 2004: Revolver, Kerrang! and Terrorizer. The song "Colony of Birchmen" from the band's third album (released in 2006), Blood Mountain, was nominated for a Grammy Award for Best Metal Performance in 2007. Blood Mountain was followed in 2009 by Crack the Skye, and in 2011 by The Hunter, which debuted at No. 10 on the Billboard 200 chart and achieved major commercial success in the United States. The Hunter features the song "Curl of the Burl", which was nominated for a Grammy for Best Hard Rock/Metal Performance in 2012. Mastodon's 2014 album, Once More 'Round the Sun, peaked at No. 6 on the Billboard 200 chart and features the band's third Grammy-nominated song, "High Road". The band's seventh album, Emperor of Sand, was released on March 31, 2017, and features the band's most commercially successful song to date, "Show Yourself", which peaked at No. 4 on the US Billboard Mainstream Rock Songs chart in June 2017. The followup single, "Steambreather", peaked at number 18 on the same chart in October 2017. The album's opening track, "Sultan's Curse", earned the band their first Grammy award. Emperor of Sand was the band's first album to receive a Grammy nomination; it was nominated for Best Rock Album. Mastodon's eighth album Hushed and Grim was released on October 29, 2021. History Formation, early years and Remission (2000–2003) Mastodon was formed on January 13, 2000, after drummer Brann Dailor and guitarist Bill Kelliher moved to Atlanta from Victor, New York, and met bassist/singer Troy Sanders and guitarist/singer Brent Hinds at a High on Fire show. They discovered they had a mutual appreciation of sludge metal bands Melvins and Neurosis, heavy metal legends Iron Maiden, and 1970s hard rockers Thin Lizzy, and shortly thereafter formed Mastodon. In an interview in 2009, Kelliher revealed that the first time Hinds attended a practice with the band, he "showed up so wasted he couldn't play". The band recorded a demo in 2000, which featured Eric Saner on vocals. Saner left the band for personal reasons after just a couple of months. After recording a four-song demo and a 7-inch picture disc through Reptilian Records, Mastodon landed a record deal with Relapse Records in 2001. Mastodon released the EP Lifesblood in 2001, and its first full-length album, Remission, in 2002, with the singles "March of the Fire Ants" and "Crusher/Destroyer" (which was also featured on Tony Hawk's Underground). On each of Mastodon's first three full-length albums, the last track was an instrumental composition with a title that related to the Elephant Man. Leviathan and Call of the Mastodon (2004–2005) The band's second full-length album, Leviathan, was released in 2004. It is a concept album loosely based on Herman Melville's novel Moby-Dick. The band received critical acclaim for Leviathan and the record was named album of the year by Kerrang! and Terrorizer. "Blood and Thunder", which featured Clutch vocalist Neil Fallon, was chosen as one of the most important recordings of the decade by National Public Radio in November 2009, and that the entire album epitomizes " a phenomenal decade for metal". Leviathan also ranked second in a list by Metal Hammer of the best albums of 2004. The band went on tour in support of the album, playing throughout North America and Europe in The Unholy Alliance tour along with Slayer and Lamb of God and later on with Slipknot. "Iron Tusk", the fifth track on the album, can be found on the soundtrack of the skateboarding video game Tony Hawk's American Wasteland and in 2K Sports video game NHL 2K9. "Blood and Thunder" is featured in the video games Need for Speed: Most Wanted, Project Gotham Racing 3, and Saints Row. "Blood and Thunder" was added as a playable track on all instruments in Guitar Hero: Metallica and was featured in Japanese music games Drummania V2 and Guitarfreaks V2. It has also been released as downloadable content for Rock Band 3, with Pro Guitar support also available at extra cost. Leviathan was followed by the 2006 release of Call of the Mastodon, a remastered collection of the band's first nine songs, and a DVD of interviews and concert footage called The Workhorse Chronicles that includes material from the band's early days as a five-piece. The band has stated that they consider "Call of the Mastodon" to be their first studio album even though it was the third to be released. These two releases were the band's last for Relapse Records, as they would later go on to sign with Warner Bros. Mastodon also recorded a cover version of Metallica's "Orion" for a 2006 Kerrang! tribute album marking the twentieth anniversary of the release of Master of Puppets. Blood Mountain (2006–2008) Their third studio album, Blood Mountain, was released on September 12, 2006, followed by a tour to support the album along with Tool in Europe and Slayer in Australia and New Zealand. The Mars Volta frontman Cedric Bixler-Zavala lent his vocals to the track "Siberian Divide". Queens of the Stone Age frontman Josh Homme contributed vocals for the song "Colony of Birchmen". The band performed the song "Colony of Birchmen" on NBC's Late Night with Conan O'Brien on November 1, their first appearance on network television, to a viewing audience of around 2.4 million people. This song was also featured in the video games Saints Row 2 and Rock Band 2. The band's first single off Blood Mountain, "Capillarian Crest", was ranked number 27 in Rolling Stone Magazine's Top 100 Songs of 2006. The album itself was ranked 9th in the magazine's best albums of the year chart. The UK's Metal Hammer voted it the best album of 2006 in its end of year critic's poll. The album was voted in at No. 5 by Kerrang! in their end of year list, No. 6 on PopMatters' Best Albums of 2006, and No. 1 on The Best Metal Albums of 2006. About.com rated it the top metal album of 2006. Blood Mountain was also named best album of 2006 in the 10th anniversary birthday edition (issue 119) of Bizarre. It also came in at No. 2 on Revolver magazine's list of the top albums of 2006. The band was named Artist Of The Month for March 2007 at Gametap.com. The band had been touring and playing numerous shows during this time. Mastodon joined Against Me!, and Cursive for a North American tour, with Planes Mistaken for Stars opening for one leg and These Arms Are Snakes the other. A performance in Milwaukee had to be canceled due to illness on the part of Brent Hinds. Mastodon would play the Hove Festival in Norway as well as on the Main Stage of the Download Festival and then the Pitchfork Music Festival. During this time the band opened for Metallica on the Sick of the Studio tour. The band also played at the 2007 Dubai Desert Rock, the 2008 Bonnaroo Music festivals, and the inaugural Mayhem Festival. Mastodon then toured with Slayer, Trivium, Lamb of God and several other metal bands in 2008 for The Unholy Alliance tour 2008. The band performed "Colony of Birchmen" at the 2007 MTV Video Music Awards live with Josh Homme. After the televised performance, Brent Hinds was reported to have sustained a severe head injury. Blabbermouth.net initially reported that it was the result of a brutal assault, but the police report later suggested that an inebriated Hinds had started a fight with System of a Down bassist Shavo Odadjian and vocalist William Hudson, also known as Reverend William Burke of Achozen. "Sleeping Giant" was made available as a downloadable song for Guitar Hero III: Legends of Rock, "Colony of Birchmen" was included on Harmonix's Rock Band 2 and also volition's Saints row 2, and "Divinations" was featured in Madden NFL 10 and Saints Row: The Third. Mastodon contributed a cover version of Harry Nilsson's "One" to the video game Army of Twos advertisement campaign. The band members are fans of Aqua Teen Hunger Force and in 2007, Mastodon performed the opening song of Aqua Teen Hunger Force Colon Movie Film for Theaters, "Cut You Up with a Linoleum Knife". Crack the Skye and Live at the Aragon (2009–2010) Crack the Skye was released on March 24, 2009, as a normal version and a deluxe version (which includes all songs in instrumental versions as well as their normal versions) and entered the Billboard 200 at number 11 a week later. The album is produced by Brendan O'Brien and Scott Kelly of Neurosis returns as a guest musician on the title-track. In a MusicRadar interview, guitarist Bill Kelliher confirmed the album is about an "out-of-body experience", and looks at the concepts of astral travel, wormholes, Stephen Hawking's theories and the spiritual realm. The album follows a quadriplegic who learns astral projection. On his journey he flies too close to the sun, burning his umbilical cord which connects him to his body, and flies into oblivion. At the same time in Czarist Russia, Rasputin and his cult were channeling spirits and brought the quadriplegic to their time. He explains his situation and foretells the assassination of Rasputin. Inevitably Rasputin is assassinated and Rasputin guides him back to his body. The band had debuted three new tracks at the Bonnaroo Music Festival, but did not play any more live shows before the album's release, due to fears of internet distribution and wanting to play the songs to the right audience. Drummer Brann Dailor sings lead vocals for the verses of the song "Oblivion". Mastodon was a headliner at the Scion Rock Fest on February 28, 2009, performing a set containing three tracks from Crack the Skye, the first time these songs were played since being finalized and recorded. On May 15, 2009, Mastodon performed a shortened version of "Oblivion" on the Late Show with David Letterman. In order to support their new album, Mastodon toured with Metallica on the latter part of the 2009 European leg of their World Magnetic Tour. In Fall of 2009, they embarked with Dethklok on the "Adult Swim Presents" tour along with Converge and High on Fire. On October 17, 2009, they recorded a DVD documenting the tour at the Aragon Ballroom in Chicago. Mastodon played the alternative music festival Big Day Out, touring across Australia and New Zealand in January and February 2010. On October 29, 2009, they performed "Divinations" on Late Night with Jimmy Fallon. On November 4, 2009, Mastodon released their second EP, entitled Oblivion. Teaming up with bands Deftones and Alice in Chains, Mastodon went on tour in September 2010 in the United States and Canada. The tour was called Blackdiamondskye, a portmanteau of the three bands' latest albums (Black Gives Way to Blue, Diamond Eyes, and Crack the Skye). Film director Jimmy Hayward contacted the band during their 2009 tour of Europe and expressed how much listening to Blood Mountain had helped his creative process while finishing a screenplay, and he offered Mastodon a chance to score the film he had been working on - Jonah Hex. In an interview with Paste magazine, bassist Troy Sanders said that Hayward "called us out of the blue as a fan. It was the most beautiful, authentic way to collaborate." Mastodon used scenes from the film as inspiration during the writing and recording process, and the instrumental soundtrack, Jonah Hex: Revenge Gets Ugly EP, was released on June 29, 2010, through Reprise Records. In 2010, the band was confirmed as being part of the soundtrack for Namco Bandai Games' 2010 remake of Splatterhouse. The game's protagonist can also be seen wearing a Mastodon T-shirt in certain flashback cutscenes. On March 15, 2011, Mastodon released their first live DVD/CD entitled Live at the Aragon through Reprise. The recording features the entire performance of their fourth studio album, Crack the Skye, along with songs from their previous records. The Hunter (2011–2012) The Hunter, Mastodon's fifth studio album, was recorded at Doppler Studios in Atlanta with producer Mike Elizondo. The first hints of the new album were given by the band via Facebook in January 2011. Drummer Brann Dailor revealed during interviews the title of the band's new album and described the new material as not so much proggy as riff-oriented and "a little more stripped down". Meanwhile, the band performed in many major summer festivals. On June 28, 2011, Mastodon released through Adultswim.com a leftover track from the Crack the Skye sessions called "Deathbound". The first taste of The Hunter came in July 2011 where Mastodon released via YouTube the song "Black Tongue", set to a video of AJ Fosik creating the sculpture used for the album cover. By August 12, the band had revealed the track listing from The Hunter and debuted "Curl Of The Burl", the first official single from the new album. Mike Elizondo was chosen to produce the album which marks his first time working with the band. It was also announced that a deluxe edition would be released. It featured the two bonus tracks "The Ruiner" and "Deathbound" and a different cover. On September 6, Mastodon released a third song from The Hunter, "Spectrelight", featuring Scott Kelly of Neurosis. On September 16, the band released a 53-minute custom visualizer with all of the album tracks, 11 days prior to the release of The Hunter. In support of the album a North American headline tour was announced. The album was very well received by fans and the media. It also performed strongly on the official charts, rising to number ten on the Billboard 200. On October 5, 2011, they performed "Curl of the Burl" on the Late Show with David Letterman. On October 12, a UK tour was announced that will run through February 2012 with fellow bands The Dillinger Escape Plan and Red Fang as support acts. They were at Later... with Jools Holland, where they performed "Black Tongue" and "Curl of the Burl". A seventeen-date European tour was announced that featured dates in Scandinavia, Germany, France, Spain, Belgium, Portugal, Italy, the Netherlands and Latvia. On December 1, "Curl of the Burl" was nominated for a Grammy Award in the category Best Metal/Hard Rock performance. It is the band's second nomination with the first being for "Colony of Birchmen" in 2007. The record was named "Album of the Year" by Metal Hammer, Classic Rock and Rock Sound. In January 2012 it was announced that Mastodon and Swedish prog metal band Opeth will tour together in a joint tour across North America. It was named the "Heritage Hunter Tour" after both bands latest releases, The Hunter and Heritage. The bands took turns in the headlining spot. Support came from the Swedish heavy metal band Ghost. On February 11, 2012, the band performed a sold-out show at the Brixton Academy in London, it was the band's biggest headline show ever. Dry Bone Valley" was released on February 13 as the third single of the album. A music video for the song was also released. On April 21, 2012, to commemorate Record Store Day, Mastodon released two separate vinyls. The first was a split 7" with Feist titled Feistodon. Mastodon covered Feist's "A Commotion" and Feist covered Mastodon's "Black Tongue". The pair also released a one of a kind interactive, crossfading music video for the song 'A Commotion'. The second release was a cover of The Flaming Lips' "A Spoonful Weighs a Ton". The band spent the summer performing at festivals across Europe and South America. It was the last tour in support of The Hunter. Once More 'Round the Sun (2014–2015) Mastodon began recording again in early 2013. Guitarist Brent Hinds described the new music as "really eerie" and "very spooky-sounding", and stated that he has written three new songs. On December 3, 2012, the band announced via their Twitter page that they were writing a song for the film Monsters University. However, the song used in the film was the previously released "Island". They were also part of the 2013 Rockstar Energy Mayhem Festival. On May 6, 2013, the band stated that they are "...Very busy writing and putting songs together for the next studio Mastodon album..." In an interview on July 26, Brann Dailor was reported as saying that the band would "probably [go into the studio] end of September". The band also played at the 2014 Bonnaroo Music and Arts Festival. On February 27, Brann Dailor told in the interview that their sixth album would be released in summer of 2014, and he also stated that the band would release an EP in winter of 2014. Some of the confirmed tracks were: "Tread Lightly", "Buzzard's Guts", "Scent of Bitter Almonds", "High Road" and "Aunt Lisa". In an interview with Troy Sanders in Paste magazine released on April 3, he revealed the album was called Once More 'Round the Sun and had 15 tracks. He also confirmed that Mastodon recorded 90 minutes of material, but only 60 minutes of it will be present on the album; the unreleased material possibly might be released on an EP later in 2014. A few more tracks that have been confirmed are: "Diamonds in the Witch House" (which has Scott Kelly from Neurosis on a guest vocal appearance), and "Ember City". In an interview on April 11, Dailor revealed the album will be released in June. On April 17, the first single "High Road" was made available for streaming. On April 26, Bill Kelliher revealed the title of the second single "Chimes at Midnight". As of June 16, 2014, the entire album is streaming on iTunes. The album was released on June 24, 2014 through Reprise Records. The album sold around 34,000 copies in the United States in its first week of release to land at position No. 6 on The Billboard 200 chart making it the band's first consecutive top 10 debut, with their previous album, The Hunter, peaking at No.10 after opening with 39,000 copies in 2011. Emperor of Sand and Cold Dark Place (2015–2018) On January 18, 2015, it was reported that Brent Hinds was working on a new Mastodon album, showing a picture with him playing the 13 string pedal steel. The same report was later confirmed by Troy Sanders, who stated: "Every record that we do is gonna sound different, because we always want to evolve and create our own musical path. And every record will be different. We do not wanna write the same record twice." On March 12, 2015, Mastodon released a new track called "White Walker", which appears on the Game of Thrones: Catch the Throne Vol. 2 mixtape to promote the fifth season of the HBO TV series Game of Thrones. Dailor, Hinds, and Kelliher also appeared in episode 8 of the season as wildlings. This mixtape will also feature songs by various other acts, ranging from Killswitch Engage to Snoop Dogg. Hinds and Kelliher once again returned to Game of Thrones as wights among the White Walker army for the season 7 finale episode, "The Dragon and the Wolf". The band's seventh studio album, Emperor of Sand, was released on March 31, 2017. The theme for the album was cancer, inspired by Troy's wife who was diagnosed with cancer, and Bill's mother who lost her life to cancer. It details the story of a traveller banished to the desert by an emperor, in effect giving him a death sentence. The story is a metaphor for someone diagnosed with terminal cancer. The first single, "Show Yourself", was released in February, and had peaked at number 4 on the US Billboard Mainstream Rock Songs chart in June, making it the band's highest charting song to date. The second single, "Steambreather", peaked at number 18 on the same chart in October. Mastodon also released an EP titled Cold Dark Place on September 22 of the same year. It was a four-song EP, featuring three songs recorded during the Once More 'Round the Sun sessions, and one track recorded during the Emperor of Sand sessions. The first single for the EP, "Toe to Toes" was released on September 1, 2017. Brent Hinds stated that the inspiration behind some of the songs recorded for Cold Dark Place, which he wrote, were inspired by a nasty breakup that he had endured. Describing the sound of the record, Hinds stated that "I wrote some pretty dark, beautiful, spooky, funky, ethereal, melancholy music, which also sounds like the Bee Gees a little bit." On December 1, the band released a revised version of the 12-part "The Making of Emperor of Sand" documentary via their official YouTube channel. Mastodon were announced to be on a co-headlining Summer 2018 Tour with Primus spanning across North America lasting from May to July. Medium Rarities and Hushed and Grim (2020-present) On July 31, 2020, Mastodon released a new song titled "Fallen Torches" and announced a compilation album of rare material titled Medium Rarities, which was released on September 11, 2020. On June 17, 2021 the band announced a partnership with livestreaming company Dreamstage to present a live acoustic set in their hometown of Atlanta at the Georgia Aquarium on July 15, with $1 from each sale of a ticket/merchandise package going toward supporting the aquarium. Mastodon released their eighth studio album Hushed and Grim on October 29, 2021. The album is produced by David Bottrill, who has worked previously with such artists as Muse, Tool, and Rush. Characteristics Musical style Mastodon has been described as a heavy metal band, along with more specific genres such as progressive metal, sludge metal, alternative metal, stoner rock, psychedelic metal, experimental metal, and groove metal. James Christopher Monger of AllMusic describes Mastodon as "one of the more notable new wave of American heavy metal acts, a genre spawned in the mid-'90s" and says that "Mastodon's innovative, lyrically astute blend of progressive metal, grindcore, and hardcore helped position the band as one of the preeminent metal acts of the early 21st century." Bassist Troy Sanders stated about their musical style: Scott Kelly of Neurosis has appeared to perform guest vocals on a track on every Mastodon album excluding Remission and Hushed and Grim. Mastodon's musical style has evolved much from their earliest pre-Remission releases to The Hunter. Their early work is significantly heavier and more abrasive than their later work, primarily or exclusively using harsh vocals, more distorted instruments, and more atypical song structures. The release of Mastodon's third studio album, Blood Mountain, which incorporates both clean and harsh vocals, marked a shift in the vocal styles used, with subsequent albums favouring clean vocals almost exclusively. Lyrical themes Over its first four albums, Mastodon had specific concepts in mind, specifically the classical elements of fire, water, earth, and aether. Remission does not deal with a particular theme but it is loosely based on the theme of fire. Songs like "Crusher Destroyer", "Where Strides the Behemoth" and "Ol'e Nessie" deal with the theme of fictional creatures. Leviathan is about the novel Moby-Dick. It centers around the main characters and their thoughts during the story. Blood Mountain is about a man who is searching for the "Crystal Skull", which is on top of the "Blood Mountain". According to bassist Troy Sanders, "It's about climbing up a mountain and the different things that can happen to you when you're stranded on a mountain, in the woods, and you're lost. You're starving, hallucinating, running into strange creatures. You're being hunted. It's about that whole struggle." Crack the Skye deals with many different themes. The title, as well as some lyrical content, is a tribute to Skye, the younger sister of drummer Brann Dailor, who committed suicide at the age of fourteen. Themes touched on within the album include "dark magic(k), astral travelling and the role of Rasputin in the downfall of Czarist Russia". The Hunter does not deal with an entire concept like their earlier work. The title is a tribute to Hinds' brother, Brad Hinds, who died of a heart attack on December 4, 2010 while hunting. Once More 'Round the Sun, like its predecessor, is not a concept album. It features themes such as relationships, struggles and hardships. The album was based on the various events that took place in each band member's lives the year before the album release. Emperor of Sand mainly deals with the themes of death and survival and is about a desert wanderer faced with a death sentence. The lyrics were inspired by the friends and family members of the band who were diagnosed with cancer. Hushed and Grim has to do with grief, guilt, and the afterlife. Mastodon pays tribute to the memory of longtime friend and manager Nick John with their first ever double-album and a surrounding death mythology. According to drummer and co-vocalist Brann Dailor, in this mythology “When you die, your soul inhabits the heart of a living tree. You have to experience the seasons the way that a tree does through a whole calendar year. That’s the way you have to say goodbye to the natural world. And in that time, you reflect on the pillars of the life that you lived. You get to atone for things that you’ve done.” Visual art Artwork Artist Paul Romano was responsible for all of the band's album art and backdrops up to 2011. The artwork for the band's fifth studio album The Hunter was made by AJ Fosik, a woodcarver who was also responsible for the backdrop the band used live at the time. Oakland-based artist Skinner, who, in his own words, specializes in "psychedelic nightmare paintings", has taken the reins on Once More 'Round the Sun. "It's going to be a work of art for sure. It's going to be very eye-opening", said bassist Troy Sanders before the album's release. "Very striking. It's from another dimension, and a lot of our music is geared toward that idea—taking you to another planet on songs. It's out there, and I think it's incredible." Live presentation Following their first tours in the early 2000s, Mastodon have performed at many major festivals such as Download, Roskilde, Coachella, Bonnaroo, Big Day Out, Rock Werchter, Pinkpop, Metaltown, Ottawa Bluesfest, Sonisphere and Soundwave. When performing the band has traditionally had a fairly lo-fi visual presentation. However, during the band's "Crack The Skye Tour" (2009–2010), they used a large screen behind the drumkit showing a visual show. Legacy and reception The "sludge/stoner/alternative metal outfit" Mastodon, as labelled by AllMusic, is "one of the preeminent metal acts of the early 21st century". The BBC stated about Mastodon: "They might be bonkers of lyric, full of fantasy mumbo jumbo, but the band is unashamedly committed to its complex-of-composition craft, and the results have frequently stunned ever since their 2002 debut, Remission. They are the most ambitious, most fearless, most fun heavy metal band to have breached the mainstream since the genre oozed its way out of The Midlands in the 1970s." Alternative Press has stated: "Mastodon are one of the all-time great hard rock groups." Rolling Stone stated: "Mastodon are a bunch of doom-haunted, myth-obsessed, meat-and-potatoes Southern badasses who have become the most important new band in metal." Playboy wrote: "one of Mastodon’s greatest talents: the ability to take traditional metal fans along with them into other musical realms, and also appeal to more mainstream rock fans but give them some doses of metal." Members Current Brann Dailor – drums, percussion (2000–present), backing vocals (2005–present), lead vocals (2008–present) Brent Hinds – lead guitar, backing vocals (2000–present), lead vocals (2001–present) Bill Kelliher – rhythm guitar, backing vocals (2000–present) Troy Sanders – bass, keyboards, backing vocals (2000–present), lead vocals (2001–present) Former Eric Saner – lead vocals (2000–2001) Former touring musicians Derek Mitchka – keyboards (2011) Timeline Discography Studio albums Remission (2002) Leviathan (2004)Blood Mountain (2006)Crack the Skye (2009) The Hunter (2011) Once More 'Round the Sun (2014) Emperor of Sand (2017) Hushed and Grim (2021) Awards and nominations Danish Metal Awards |- | 2009 || Crack the Skye || Best International Metal Album || |- Grammy Awards |- | || "Colony of Birchmen" || Grammy Award for Best Metal Performance || |- | || "Curl of the Burl" || Grammy Award for Best Hard Rock/Metal Performance || |- | || "High Road" || Grammy Award for Best Metal Performance || |- | rowspan="2"| || Emperor of Sand || Grammy Award for Best Rock Album || |- | "Sultan's Curse" || Grammy Award for Best Metal Performance || |- | || "Pushing the Tides" || Grammy Award for Best Metal Performance || Kerrang! Awards |- | 2009 || "Oblivion" || Best Video || |- | 2012 || The Hunter || Best Album || Metal Hammer Golden Gods Awards |- | rowspan="2" | 2007 || Blood Mountain || Album of the Year || |- | Brent Hinds & Bill Kelliher || Golden Gods Award for Best Shredder || |- | 2012 || The Hunter || Golden Gods Award for Best Album || |- | 2017 || Mastodon || Best Live Band || Metal Storm Awards |- | 2004 || Leviathan || Best Alternative Metal Album || |- | rowspan="2" | 2009 || Crack the Skye || Best Alternative Metal Album || |- | "Divinations" || Best Video || |- | 2011 || The Hunter || Best Sludge/Stoner Metal Album || |- | 2014 || Once More 'Round the Sun || Best Sludge/Stoner Metal Album || |- | 2017 || Emperor of Sand || Best Progressive Metal Album || ''Revolver'' Golden Gods |- | 2012 || Brann Dailor || Golden Gods Award for Best Drummer || References External links Official website American sludge metal musical groups American progressive metal musical groups Stoner rock musical groups American alternative metal musical groups American avant-garde metal musical groups American groove metal musical groups Heavy metal musical groups from Georgia (U.S. state) Musical groups from Atlanta 2000 establishments in Georgia (U.S. state) Musical groups established in 2000 Relapse Records artists Reprise Records artists Roadrunner Records artists Kerrang! Awards winners Grammy Award winners Musical quartets
false
[ "Cold Dark Place is an EP by American metal band Mastodon. It was released digitally and on CD on September 22, 2017 via Reprise Records, and a limited-edition ten-inch vinyl followed on October 27. Three of the tracks were recorded during the recording sessions of 2014's Once More 'Round the Sun, while \"Toe to Toes\" was recorded during the recording sessions of 2017's Emperor of Sand.\n\nTrack listing\n\nPersonnel\n Brann Dailor − drums, percussion, vocals, claps (track 3)\n Brent Hinds − guitars, vocals, lap-steel, claps (track 3)\n Bill Kelliher − guitar & claps (track 3)\n Troy Sanders − bass, vocals, claps (track 3)\n Nick Raskulinecz − production (tracks 1, 2, and 4)\n Brendan O'Brien − production (track 3)\n\nCharts\n\nReferences\n\nMastodon (band) albums\n2017 EPs", "\"Steambreather\" is a song by American heavy metal band Mastodon. It was the second single off of their album Emperor of Sand, the follow-up to first single \"Show Yourself\". As of October 2017, it had peaked at number 18 on the Billboard US Mainstream Rock Songs chart.\n\nBackground\nThe song was released as the second single from band's studio album Emperor of Sand on August 25, 2017, despite the fact that the band \nhad a new EP, Cold Dark Place, scheduled to release less than a month later. The music video for the song was released on the same day. The video involves two men who go to an event thinking it's a self-help seminar, only to find out its really an occult gathering. The two witness bizarre rituals that end up leaving people dead. Music journalists commonly took note of the video's weirdness, and compared the approach to that of their prior single, \"Show Yourself\", where the band pairs heavy, dark lyrical themes with more light-hearted, silly visuals. The video was created by Essy May and Stevie Gee and produced by Hugo Donkin from Blink Art.\n\nThemes and composition\nSpin described the song as a \"intricate metal mini-symphony\".\n\nPersonnel\n Brann Dailor − vocals, drums, percussion\n Troy Sanders − vocals, bass\n Brent Hinds − vocals, lead guitar\n Bill Kelliher − guitars\n\nCharts\n\nReferences\n\n2017 songs\n2017 singles\nMastodon (band) songs\nReprise Records singles" ]
[ "Mastodon (band)", "Emperor of Sand and Cold Dark Place (2015-present)", "What was Emperor of Sand and Cold Dark Place?", "The band's seventh studio album Emperor of Sand was released on March 31," ]
C_3a27ada9bf724cdda3d7ab551d613979_0
Did it have any singles?
2
Did Emperor of Sand have any singles?
Mastodon (band)
On January 18, 2015, it was reported that Brent Hinds is working on new Mastodon album, showing a picture with him playing the 13 string pedal steel. The same report was later confirmed by Troy Sanders, who stated: "Every record that we do is gonna sound different, because we always want to evolve and create our own musical path. And every record will be different. We do not wanna write the same record twice." On March 12, 2015, Mastodon released a new track called "White Walker", which will appear on the upcoming Game of Thrones: Catch the Throne Vol. 2 mixtape to promote the fifth season of the HBO TV series Game of Thrones. Dailor, Hinds, and Kelliher also appeared in episode 8 of the season as wildlings. This mixtape will also feature songs by various other acts, ranging from Killswitch Engage to Snoop Dogg. Hinds and Kelliher once again returned to Game of Thrones as wights among the White Walker army for the season 7 finale episode, "The Dragon and the Wolf". The band's seventh studio album Emperor of Sand was released on March 31, 2017. The theme for the album was cancer, inspired by Troy's wife who was diagnosed with cancer, and Bill's mother who lost her life to cancer. It details the story of a traveller banished to the desert by an emperor, in effect giving him a death sentence. The story is a metaphor for someone diagnosed with terminal cancer. The first single, "Show Yourself", was released in February, and had peaked at number 4 on the US Billboard Mainstream Rock Songs chart in June, making it the band's highest charting song to date. The second single, "Steambreather", peaked at number 18 on the same chart in October. Mastodon also released an EP titled Cold Dark Place on September 22 of the same year. It was a four-song EP, featuring three songs recorded during the Once More 'Round the Sun sessions, and one track recorded during the Emperor of Sand sessions. The first single for the EP, "Toe to Toes" was released on September 1, 2017. Brent Hinds stated that the inspiration behind some of the songs recorded for Cold Dark Place, which he wrote, were inspired by a nasty breakup that he had endured. Describing the sound of the record, Hinds stated that "I wrote some pretty dark, beautiful, spooky, funky, ethereal, melancholy music, which also sounds like the Bee Gees a little bit." On December 1st, the band released a revised version of the 12 part "The Making of Emperor of Sand" documentary via their official YouTube channel. Mastodon were announced to be on a co-headlining Summer 2018 Tour with Primus spanning across North America lasting from May to July CANNOTANSWER
The first single, "Show Yourself", was released in February, and had peaked at number 4
Mastodon is an American heavy metal band from Atlanta, Georgia, formed in 2000. The group is composed of Troy Sanders (bass/vocals), Brent Hinds (lead guitar/vocals), Bill Kelliher (rhythm guitar/backing vocals), and Brann Dailor (drums/vocals). Mastodon has released eight studio albums, as well as a number of other releases. The band's 2002 debut album, Remission, garnered significant critical acclaim for its unique sound. Mastodon's second full-length release, Leviathan, is a concept album based on the novel Moby-Dick by Herman Melville. Three magazines awarded the record Album of the Year in 2004: Revolver, Kerrang! and Terrorizer. The song "Colony of Birchmen" from the band's third album (released in 2006), Blood Mountain, was nominated for a Grammy Award for Best Metal Performance in 2007. Blood Mountain was followed in 2009 by Crack the Skye, and in 2011 by The Hunter, which debuted at No. 10 on the Billboard 200 chart and achieved major commercial success in the United States. The Hunter features the song "Curl of the Burl", which was nominated for a Grammy for Best Hard Rock/Metal Performance in 2012. Mastodon's 2014 album, Once More 'Round the Sun, peaked at No. 6 on the Billboard 200 chart and features the band's third Grammy-nominated song, "High Road". The band's seventh album, Emperor of Sand, was released on March 31, 2017, and features the band's most commercially successful song to date, "Show Yourself", which peaked at No. 4 on the US Billboard Mainstream Rock Songs chart in June 2017. The followup single, "Steambreather", peaked at number 18 on the same chart in October 2017. The album's opening track, "Sultan's Curse", earned the band their first Grammy award. Emperor of Sand was the band's first album to receive a Grammy nomination; it was nominated for Best Rock Album. Mastodon's eighth album Hushed and Grim was released on October 29, 2021. History Formation, early years and Remission (2000–2003) Mastodon was formed on January 13, 2000, after drummer Brann Dailor and guitarist Bill Kelliher moved to Atlanta from Victor, New York, and met bassist/singer Troy Sanders and guitarist/singer Brent Hinds at a High on Fire show. They discovered they had a mutual appreciation of sludge metal bands Melvins and Neurosis, heavy metal legends Iron Maiden, and 1970s hard rockers Thin Lizzy, and shortly thereafter formed Mastodon. In an interview in 2009, Kelliher revealed that the first time Hinds attended a practice with the band, he "showed up so wasted he couldn't play". The band recorded a demo in 2000, which featured Eric Saner on vocals. Saner left the band for personal reasons after just a couple of months. After recording a four-song demo and a 7-inch picture disc through Reptilian Records, Mastodon landed a record deal with Relapse Records in 2001. Mastodon released the EP Lifesblood in 2001, and its first full-length album, Remission, in 2002, with the singles "March of the Fire Ants" and "Crusher/Destroyer" (which was also featured on Tony Hawk's Underground). On each of Mastodon's first three full-length albums, the last track was an instrumental composition with a title that related to the Elephant Man. Leviathan and Call of the Mastodon (2004–2005) The band's second full-length album, Leviathan, was released in 2004. It is a concept album loosely based on Herman Melville's novel Moby-Dick. The band received critical acclaim for Leviathan and the record was named album of the year by Kerrang! and Terrorizer. "Blood and Thunder", which featured Clutch vocalist Neil Fallon, was chosen as one of the most important recordings of the decade by National Public Radio in November 2009, and that the entire album epitomizes " a phenomenal decade for metal". Leviathan also ranked second in a list by Metal Hammer of the best albums of 2004. The band went on tour in support of the album, playing throughout North America and Europe in The Unholy Alliance tour along with Slayer and Lamb of God and later on with Slipknot. "Iron Tusk", the fifth track on the album, can be found on the soundtrack of the skateboarding video game Tony Hawk's American Wasteland and in 2K Sports video game NHL 2K9. "Blood and Thunder" is featured in the video games Need for Speed: Most Wanted, Project Gotham Racing 3, and Saints Row. "Blood and Thunder" was added as a playable track on all instruments in Guitar Hero: Metallica and was featured in Japanese music games Drummania V2 and Guitarfreaks V2. It has also been released as downloadable content for Rock Band 3, with Pro Guitar support also available at extra cost. Leviathan was followed by the 2006 release of Call of the Mastodon, a remastered collection of the band's first nine songs, and a DVD of interviews and concert footage called The Workhorse Chronicles that includes material from the band's early days as a five-piece. The band has stated that they consider "Call of the Mastodon" to be their first studio album even though it was the third to be released. These two releases were the band's last for Relapse Records, as they would later go on to sign with Warner Bros. Mastodon also recorded a cover version of Metallica's "Orion" for a 2006 Kerrang! tribute album marking the twentieth anniversary of the release of Master of Puppets. Blood Mountain (2006–2008) Their third studio album, Blood Mountain, was released on September 12, 2006, followed by a tour to support the album along with Tool in Europe and Slayer in Australia and New Zealand. The Mars Volta frontman Cedric Bixler-Zavala lent his vocals to the track "Siberian Divide". Queens of the Stone Age frontman Josh Homme contributed vocals for the song "Colony of Birchmen". The band performed the song "Colony of Birchmen" on NBC's Late Night with Conan O'Brien on November 1, their first appearance on network television, to a viewing audience of around 2.4 million people. This song was also featured in the video games Saints Row 2 and Rock Band 2. The band's first single off Blood Mountain, "Capillarian Crest", was ranked number 27 in Rolling Stone Magazine's Top 100 Songs of 2006. The album itself was ranked 9th in the magazine's best albums of the year chart. The UK's Metal Hammer voted it the best album of 2006 in its end of year critic's poll. The album was voted in at No. 5 by Kerrang! in their end of year list, No. 6 on PopMatters' Best Albums of 2006, and No. 1 on The Best Metal Albums of 2006. About.com rated it the top metal album of 2006. Blood Mountain was also named best album of 2006 in the 10th anniversary birthday edition (issue 119) of Bizarre. It also came in at No. 2 on Revolver magazine's list of the top albums of 2006. The band was named Artist Of The Month for March 2007 at Gametap.com. The band had been touring and playing numerous shows during this time. Mastodon joined Against Me!, and Cursive for a North American tour, with Planes Mistaken for Stars opening for one leg and These Arms Are Snakes the other. A performance in Milwaukee had to be canceled due to illness on the part of Brent Hinds. Mastodon would play the Hove Festival in Norway as well as on the Main Stage of the Download Festival and then the Pitchfork Music Festival. During this time the band opened for Metallica on the Sick of the Studio tour. The band also played at the 2007 Dubai Desert Rock, the 2008 Bonnaroo Music festivals, and the inaugural Mayhem Festival. Mastodon then toured with Slayer, Trivium, Lamb of God and several other metal bands in 2008 for The Unholy Alliance tour 2008. The band performed "Colony of Birchmen" at the 2007 MTV Video Music Awards live with Josh Homme. After the televised performance, Brent Hinds was reported to have sustained a severe head injury. Blabbermouth.net initially reported that it was the result of a brutal assault, but the police report later suggested that an inebriated Hinds had started a fight with System of a Down bassist Shavo Odadjian and vocalist William Hudson, also known as Reverend William Burke of Achozen. "Sleeping Giant" was made available as a downloadable song for Guitar Hero III: Legends of Rock, "Colony of Birchmen" was included on Harmonix's Rock Band 2 and also volition's Saints row 2, and "Divinations" was featured in Madden NFL 10 and Saints Row: The Third. Mastodon contributed a cover version of Harry Nilsson's "One" to the video game Army of Twos advertisement campaign. The band members are fans of Aqua Teen Hunger Force and in 2007, Mastodon performed the opening song of Aqua Teen Hunger Force Colon Movie Film for Theaters, "Cut You Up with a Linoleum Knife". Crack the Skye and Live at the Aragon (2009–2010) Crack the Skye was released on March 24, 2009, as a normal version and a deluxe version (which includes all songs in instrumental versions as well as their normal versions) and entered the Billboard 200 at number 11 a week later. The album is produced by Brendan O'Brien and Scott Kelly of Neurosis returns as a guest musician on the title-track. In a MusicRadar interview, guitarist Bill Kelliher confirmed the album is about an "out-of-body experience", and looks at the concepts of astral travel, wormholes, Stephen Hawking's theories and the spiritual realm. The album follows a quadriplegic who learns astral projection. On his journey he flies too close to the sun, burning his umbilical cord which connects him to his body, and flies into oblivion. At the same time in Czarist Russia, Rasputin and his cult were channeling spirits and brought the quadriplegic to their time. He explains his situation and foretells the assassination of Rasputin. Inevitably Rasputin is assassinated and Rasputin guides him back to his body. The band had debuted three new tracks at the Bonnaroo Music Festival, but did not play any more live shows before the album's release, due to fears of internet distribution and wanting to play the songs to the right audience. Drummer Brann Dailor sings lead vocals for the verses of the song "Oblivion". Mastodon was a headliner at the Scion Rock Fest on February 28, 2009, performing a set containing three tracks from Crack the Skye, the first time these songs were played since being finalized and recorded. On May 15, 2009, Mastodon performed a shortened version of "Oblivion" on the Late Show with David Letterman. In order to support their new album, Mastodon toured with Metallica on the latter part of the 2009 European leg of their World Magnetic Tour. In Fall of 2009, they embarked with Dethklok on the "Adult Swim Presents" tour along with Converge and High on Fire. On October 17, 2009, they recorded a DVD documenting the tour at the Aragon Ballroom in Chicago. Mastodon played the alternative music festival Big Day Out, touring across Australia and New Zealand in January and February 2010. On October 29, 2009, they performed "Divinations" on Late Night with Jimmy Fallon. On November 4, 2009, Mastodon released their second EP, entitled Oblivion. Teaming up with bands Deftones and Alice in Chains, Mastodon went on tour in September 2010 in the United States and Canada. The tour was called Blackdiamondskye, a portmanteau of the three bands' latest albums (Black Gives Way to Blue, Diamond Eyes, and Crack the Skye). Film director Jimmy Hayward contacted the band during their 2009 tour of Europe and expressed how much listening to Blood Mountain had helped his creative process while finishing a screenplay, and he offered Mastodon a chance to score the film he had been working on - Jonah Hex. In an interview with Paste magazine, bassist Troy Sanders said that Hayward "called us out of the blue as a fan. It was the most beautiful, authentic way to collaborate." Mastodon used scenes from the film as inspiration during the writing and recording process, and the instrumental soundtrack, Jonah Hex: Revenge Gets Ugly EP, was released on June 29, 2010, through Reprise Records. In 2010, the band was confirmed as being part of the soundtrack for Namco Bandai Games' 2010 remake of Splatterhouse. The game's protagonist can also be seen wearing a Mastodon T-shirt in certain flashback cutscenes. On March 15, 2011, Mastodon released their first live DVD/CD entitled Live at the Aragon through Reprise. The recording features the entire performance of their fourth studio album, Crack the Skye, along with songs from their previous records. The Hunter (2011–2012) The Hunter, Mastodon's fifth studio album, was recorded at Doppler Studios in Atlanta with producer Mike Elizondo. The first hints of the new album were given by the band via Facebook in January 2011. Drummer Brann Dailor revealed during interviews the title of the band's new album and described the new material as not so much proggy as riff-oriented and "a little more stripped down". Meanwhile, the band performed in many major summer festivals. On June 28, 2011, Mastodon released through Adultswim.com a leftover track from the Crack the Skye sessions called "Deathbound". The first taste of The Hunter came in July 2011 where Mastodon released via YouTube the song "Black Tongue", set to a video of AJ Fosik creating the sculpture used for the album cover. By August 12, the band had revealed the track listing from The Hunter and debuted "Curl Of The Burl", the first official single from the new album. Mike Elizondo was chosen to produce the album which marks his first time working with the band. It was also announced that a deluxe edition would be released. It featured the two bonus tracks "The Ruiner" and "Deathbound" and a different cover. On September 6, Mastodon released a third song from The Hunter, "Spectrelight", featuring Scott Kelly of Neurosis. On September 16, the band released a 53-minute custom visualizer with all of the album tracks, 11 days prior to the release of The Hunter. In support of the album a North American headline tour was announced. The album was very well received by fans and the media. It also performed strongly on the official charts, rising to number ten on the Billboard 200. On October 5, 2011, they performed "Curl of the Burl" on the Late Show with David Letterman. On October 12, a UK tour was announced that will run through February 2012 with fellow bands The Dillinger Escape Plan and Red Fang as support acts. They were at Later... with Jools Holland, where they performed "Black Tongue" and "Curl of the Burl". A seventeen-date European tour was announced that featured dates in Scandinavia, Germany, France, Spain, Belgium, Portugal, Italy, the Netherlands and Latvia. On December 1, "Curl of the Burl" was nominated for a Grammy Award in the category Best Metal/Hard Rock performance. It is the band's second nomination with the first being for "Colony of Birchmen" in 2007. The record was named "Album of the Year" by Metal Hammer, Classic Rock and Rock Sound. In January 2012 it was announced that Mastodon and Swedish prog metal band Opeth will tour together in a joint tour across North America. It was named the "Heritage Hunter Tour" after both bands latest releases, The Hunter and Heritage. The bands took turns in the headlining spot. Support came from the Swedish heavy metal band Ghost. On February 11, 2012, the band performed a sold-out show at the Brixton Academy in London, it was the band's biggest headline show ever. Dry Bone Valley" was released on February 13 as the third single of the album. A music video for the song was also released. On April 21, 2012, to commemorate Record Store Day, Mastodon released two separate vinyls. The first was a split 7" with Feist titled Feistodon. Mastodon covered Feist's "A Commotion" and Feist covered Mastodon's "Black Tongue". The pair also released a one of a kind interactive, crossfading music video for the song 'A Commotion'. The second release was a cover of The Flaming Lips' "A Spoonful Weighs a Ton". The band spent the summer performing at festivals across Europe and South America. It was the last tour in support of The Hunter. Once More 'Round the Sun (2014–2015) Mastodon began recording again in early 2013. Guitarist Brent Hinds described the new music as "really eerie" and "very spooky-sounding", and stated that he has written three new songs. On December 3, 2012, the band announced via their Twitter page that they were writing a song for the film Monsters University. However, the song used in the film was the previously released "Island". They were also part of the 2013 Rockstar Energy Mayhem Festival. On May 6, 2013, the band stated that they are "...Very busy writing and putting songs together for the next studio Mastodon album..." In an interview on July 26, Brann Dailor was reported as saying that the band would "probably [go into the studio] end of September". The band also played at the 2014 Bonnaroo Music and Arts Festival. On February 27, Brann Dailor told in the interview that their sixth album would be released in summer of 2014, and he also stated that the band would release an EP in winter of 2014. Some of the confirmed tracks were: "Tread Lightly", "Buzzard's Guts", "Scent of Bitter Almonds", "High Road" and "Aunt Lisa". In an interview with Troy Sanders in Paste magazine released on April 3, he revealed the album was called Once More 'Round the Sun and had 15 tracks. He also confirmed that Mastodon recorded 90 minutes of material, but only 60 minutes of it will be present on the album; the unreleased material possibly might be released on an EP later in 2014. A few more tracks that have been confirmed are: "Diamonds in the Witch House" (which has Scott Kelly from Neurosis on a guest vocal appearance), and "Ember City". In an interview on April 11, Dailor revealed the album will be released in June. On April 17, the first single "High Road" was made available for streaming. On April 26, Bill Kelliher revealed the title of the second single "Chimes at Midnight". As of June 16, 2014, the entire album is streaming on iTunes. The album was released on June 24, 2014 through Reprise Records. The album sold around 34,000 copies in the United States in its first week of release to land at position No. 6 on The Billboard 200 chart making it the band's first consecutive top 10 debut, with their previous album, The Hunter, peaking at No.10 after opening with 39,000 copies in 2011. Emperor of Sand and Cold Dark Place (2015–2018) On January 18, 2015, it was reported that Brent Hinds was working on a new Mastodon album, showing a picture with him playing the 13 string pedal steel. The same report was later confirmed by Troy Sanders, who stated: "Every record that we do is gonna sound different, because we always want to evolve and create our own musical path. And every record will be different. We do not wanna write the same record twice." On March 12, 2015, Mastodon released a new track called "White Walker", which appears on the Game of Thrones: Catch the Throne Vol. 2 mixtape to promote the fifth season of the HBO TV series Game of Thrones. Dailor, Hinds, and Kelliher also appeared in episode 8 of the season as wildlings. This mixtape will also feature songs by various other acts, ranging from Killswitch Engage to Snoop Dogg. Hinds and Kelliher once again returned to Game of Thrones as wights among the White Walker army for the season 7 finale episode, "The Dragon and the Wolf". The band's seventh studio album, Emperor of Sand, was released on March 31, 2017. The theme for the album was cancer, inspired by Troy's wife who was diagnosed with cancer, and Bill's mother who lost her life to cancer. It details the story of a traveller banished to the desert by an emperor, in effect giving him a death sentence. The story is a metaphor for someone diagnosed with terminal cancer. The first single, "Show Yourself", was released in February, and had peaked at number 4 on the US Billboard Mainstream Rock Songs chart in June, making it the band's highest charting song to date. The second single, "Steambreather", peaked at number 18 on the same chart in October. Mastodon also released an EP titled Cold Dark Place on September 22 of the same year. It was a four-song EP, featuring three songs recorded during the Once More 'Round the Sun sessions, and one track recorded during the Emperor of Sand sessions. The first single for the EP, "Toe to Toes" was released on September 1, 2017. Brent Hinds stated that the inspiration behind some of the songs recorded for Cold Dark Place, which he wrote, were inspired by a nasty breakup that he had endured. Describing the sound of the record, Hinds stated that "I wrote some pretty dark, beautiful, spooky, funky, ethereal, melancholy music, which also sounds like the Bee Gees a little bit." On December 1, the band released a revised version of the 12-part "The Making of Emperor of Sand" documentary via their official YouTube channel. Mastodon were announced to be on a co-headlining Summer 2018 Tour with Primus spanning across North America lasting from May to July. Medium Rarities and Hushed and Grim (2020-present) On July 31, 2020, Mastodon released a new song titled "Fallen Torches" and announced a compilation album of rare material titled Medium Rarities, which was released on September 11, 2020. On June 17, 2021 the band announced a partnership with livestreaming company Dreamstage to present a live acoustic set in their hometown of Atlanta at the Georgia Aquarium on July 15, with $1 from each sale of a ticket/merchandise package going toward supporting the aquarium. Mastodon released their eighth studio album Hushed and Grim on October 29, 2021. The album is produced by David Bottrill, who has worked previously with such artists as Muse, Tool, and Rush. Characteristics Musical style Mastodon has been described as a heavy metal band, along with more specific genres such as progressive metal, sludge metal, alternative metal, stoner rock, psychedelic metal, experimental metal, and groove metal. James Christopher Monger of AllMusic describes Mastodon as "one of the more notable new wave of American heavy metal acts, a genre spawned in the mid-'90s" and says that "Mastodon's innovative, lyrically astute blend of progressive metal, grindcore, and hardcore helped position the band as one of the preeminent metal acts of the early 21st century." Bassist Troy Sanders stated about their musical style: Scott Kelly of Neurosis has appeared to perform guest vocals on a track on every Mastodon album excluding Remission and Hushed and Grim. Mastodon's musical style has evolved much from their earliest pre-Remission releases to The Hunter. Their early work is significantly heavier and more abrasive than their later work, primarily or exclusively using harsh vocals, more distorted instruments, and more atypical song structures. The release of Mastodon's third studio album, Blood Mountain, which incorporates both clean and harsh vocals, marked a shift in the vocal styles used, with subsequent albums favouring clean vocals almost exclusively. Lyrical themes Over its first four albums, Mastodon had specific concepts in mind, specifically the classical elements of fire, water, earth, and aether. Remission does not deal with a particular theme but it is loosely based on the theme of fire. Songs like "Crusher Destroyer", "Where Strides the Behemoth" and "Ol'e Nessie" deal with the theme of fictional creatures. Leviathan is about the novel Moby-Dick. It centers around the main characters and their thoughts during the story. Blood Mountain is about a man who is searching for the "Crystal Skull", which is on top of the "Blood Mountain". According to bassist Troy Sanders, "It's about climbing up a mountain and the different things that can happen to you when you're stranded on a mountain, in the woods, and you're lost. You're starving, hallucinating, running into strange creatures. You're being hunted. It's about that whole struggle." Crack the Skye deals with many different themes. The title, as well as some lyrical content, is a tribute to Skye, the younger sister of drummer Brann Dailor, who committed suicide at the age of fourteen. Themes touched on within the album include "dark magic(k), astral travelling and the role of Rasputin in the downfall of Czarist Russia". The Hunter does not deal with an entire concept like their earlier work. The title is a tribute to Hinds' brother, Brad Hinds, who died of a heart attack on December 4, 2010 while hunting. Once More 'Round the Sun, like its predecessor, is not a concept album. It features themes such as relationships, struggles and hardships. The album was based on the various events that took place in each band member's lives the year before the album release. Emperor of Sand mainly deals with the themes of death and survival and is about a desert wanderer faced with a death sentence. The lyrics were inspired by the friends and family members of the band who were diagnosed with cancer. Hushed and Grim has to do with grief, guilt, and the afterlife. Mastodon pays tribute to the memory of longtime friend and manager Nick John with their first ever double-album and a surrounding death mythology. According to drummer and co-vocalist Brann Dailor, in this mythology “When you die, your soul inhabits the heart of a living tree. You have to experience the seasons the way that a tree does through a whole calendar year. That’s the way you have to say goodbye to the natural world. And in that time, you reflect on the pillars of the life that you lived. You get to atone for things that you’ve done.” Visual art Artwork Artist Paul Romano was responsible for all of the band's album art and backdrops up to 2011. The artwork for the band's fifth studio album The Hunter was made by AJ Fosik, a woodcarver who was also responsible for the backdrop the band used live at the time. Oakland-based artist Skinner, who, in his own words, specializes in "psychedelic nightmare paintings", has taken the reins on Once More 'Round the Sun. "It's going to be a work of art for sure. It's going to be very eye-opening", said bassist Troy Sanders before the album's release. "Very striking. It's from another dimension, and a lot of our music is geared toward that idea—taking you to another planet on songs. It's out there, and I think it's incredible." Live presentation Following their first tours in the early 2000s, Mastodon have performed at many major festivals such as Download, Roskilde, Coachella, Bonnaroo, Big Day Out, Rock Werchter, Pinkpop, Metaltown, Ottawa Bluesfest, Sonisphere and Soundwave. When performing the band has traditionally had a fairly lo-fi visual presentation. However, during the band's "Crack The Skye Tour" (2009–2010), they used a large screen behind the drumkit showing a visual show. Legacy and reception The "sludge/stoner/alternative metal outfit" Mastodon, as labelled by AllMusic, is "one of the preeminent metal acts of the early 21st century". The BBC stated about Mastodon: "They might be bonkers of lyric, full of fantasy mumbo jumbo, but the band is unashamedly committed to its complex-of-composition craft, and the results have frequently stunned ever since their 2002 debut, Remission. They are the most ambitious, most fearless, most fun heavy metal band to have breached the mainstream since the genre oozed its way out of The Midlands in the 1970s." Alternative Press has stated: "Mastodon are one of the all-time great hard rock groups." Rolling Stone stated: "Mastodon are a bunch of doom-haunted, myth-obsessed, meat-and-potatoes Southern badasses who have become the most important new band in metal." Playboy wrote: "one of Mastodon’s greatest talents: the ability to take traditional metal fans along with them into other musical realms, and also appeal to more mainstream rock fans but give them some doses of metal." Members Current Brann Dailor – drums, percussion (2000–present), backing vocals (2005–present), lead vocals (2008–present) Brent Hinds – lead guitar, backing vocals (2000–present), lead vocals (2001–present) Bill Kelliher – rhythm guitar, backing vocals (2000–present) Troy Sanders – bass, keyboards, backing vocals (2000–present), lead vocals (2001–present) Former Eric Saner – lead vocals (2000–2001) Former touring musicians Derek Mitchka – keyboards (2011) Timeline Discography Studio albums Remission (2002) Leviathan (2004)Blood Mountain (2006)Crack the Skye (2009) The Hunter (2011) Once More 'Round the Sun (2014) Emperor of Sand (2017) Hushed and Grim (2021) Awards and nominations Danish Metal Awards |- | 2009 || Crack the Skye || Best International Metal Album || |- Grammy Awards |- | || "Colony of Birchmen" || Grammy Award for Best Metal Performance || |- | || "Curl of the Burl" || Grammy Award for Best Hard Rock/Metal Performance || |- | || "High Road" || Grammy Award for Best Metal Performance || |- | rowspan="2"| || Emperor of Sand || Grammy Award for Best Rock Album || |- | "Sultan's Curse" || Grammy Award for Best Metal Performance || |- | || "Pushing the Tides" || Grammy Award for Best Metal Performance || Kerrang! Awards |- | 2009 || "Oblivion" || Best Video || |- | 2012 || The Hunter || Best Album || Metal Hammer Golden Gods Awards |- | rowspan="2" | 2007 || Blood Mountain || Album of the Year || |- | Brent Hinds & Bill Kelliher || Golden Gods Award for Best Shredder || |- | 2012 || The Hunter || Golden Gods Award for Best Album || |- | 2017 || Mastodon || Best Live Band || Metal Storm Awards |- | 2004 || Leviathan || Best Alternative Metal Album || |- | rowspan="2" | 2009 || Crack the Skye || Best Alternative Metal Album || |- | "Divinations" || Best Video || |- | 2011 || The Hunter || Best Sludge/Stoner Metal Album || |- | 2014 || Once More 'Round the Sun || Best Sludge/Stoner Metal Album || |- | 2017 || Emperor of Sand || Best Progressive Metal Album || ''Revolver'' Golden Gods |- | 2012 || Brann Dailor || Golden Gods Award for Best Drummer || References External links Official website American sludge metal musical groups American progressive metal musical groups Stoner rock musical groups American alternative metal musical groups American avant-garde metal musical groups American groove metal musical groups Heavy metal musical groups from Georgia (U.S. state) Musical groups from Atlanta 2000 establishments in Georgia (U.S. state) Musical groups established in 2000 Relapse Records artists Reprise Records artists Roadrunner Records artists Kerrang! Awards winners Grammy Award winners Musical quartets
true
[ "\"Under Any Moon\" is a single by Glenn Medeiros and The Jets, released in 1989. \n\nWritten by Diane Warren, the song was released as a single only in the United Kingdom. It was included on the soundtrack for The Karate Kid Part III (1989), on the Mercury label, and was also included on The Jets' album, Believe (1989), on the MCA label. \n\nThe song failed to have any chart impact in the UK, while it did have minor airplay in the United States, it did not chart either. It was never performed live by The Jets.\n\nReferences\n\n1989 singles\n1989 songs\nThe Jets (band) songs\nGlenn Medeiros songs\nMercury Records singles\nSongs written by Diane Warren", "Miriam Oremans (born 9 September 1972) is a former professional female tennis player from the Netherlands. On 26 July 1993 she reached her career-high singles ranking of number 25.\n\nShe did not win any singles titles (Oremans did have two Satellite tournament wins in 1989), but did win three titles in doubles. In 1992 she was runner-up together with Jacco Eltingh in the Mixed Doubles finals of Wimbledon.\n\nHer biggest achievement came during the 2000 Summer Olympics in Sydney where she won the silver medal in doubles, partnering Kristie Boogert, losing the final match to Venus and Serena Williams.\n\nMajor finals\n\nOlympic finals\n\nDoubles: 1 (0–1)\n\nWTA Tour finals\n\nSingles 5\n\nDoubles 12 (3–9)\n\nITF finals\n\nSingles Finals: (2-2)\n\nDoubles Finals: (1-2)\n\nReferences\n ITF site\n\nExternal links\n \n \n\n1972 births\nLiving people\nDutch female tennis players\nOlympic tennis players of the Netherlands\nOlympic silver medalists for the Netherlands\nPeople from Sint-Michielsgestel\nTennis players at the 2000 Summer Olympics\nOlympic medalists in tennis\nHopman Cup competitors\nMedalists at the 2000 Summer Olympics" ]
[ "Mastodon (band)", "Emperor of Sand and Cold Dark Place (2015-present)", "What was Emperor of Sand and Cold Dark Place?", "The band's seventh studio album Emperor of Sand was released on March 31,", "Did it have any singles?", "The first single, \"Show Yourself\", was released in February, and had peaked at number 4" ]
C_3a27ada9bf724cdda3d7ab551d613979_0
Did the album win any awards?
3
Did the album Emperor of Sand win any awards?
Mastodon (band)
On January 18, 2015, it was reported that Brent Hinds is working on new Mastodon album, showing a picture with him playing the 13 string pedal steel. The same report was later confirmed by Troy Sanders, who stated: "Every record that we do is gonna sound different, because we always want to evolve and create our own musical path. And every record will be different. We do not wanna write the same record twice." On March 12, 2015, Mastodon released a new track called "White Walker", which will appear on the upcoming Game of Thrones: Catch the Throne Vol. 2 mixtape to promote the fifth season of the HBO TV series Game of Thrones. Dailor, Hinds, and Kelliher also appeared in episode 8 of the season as wildlings. This mixtape will also feature songs by various other acts, ranging from Killswitch Engage to Snoop Dogg. Hinds and Kelliher once again returned to Game of Thrones as wights among the White Walker army for the season 7 finale episode, "The Dragon and the Wolf". The band's seventh studio album Emperor of Sand was released on March 31, 2017. The theme for the album was cancer, inspired by Troy's wife who was diagnosed with cancer, and Bill's mother who lost her life to cancer. It details the story of a traveller banished to the desert by an emperor, in effect giving him a death sentence. The story is a metaphor for someone diagnosed with terminal cancer. The first single, "Show Yourself", was released in February, and had peaked at number 4 on the US Billboard Mainstream Rock Songs chart in June, making it the band's highest charting song to date. The second single, "Steambreather", peaked at number 18 on the same chart in October. Mastodon also released an EP titled Cold Dark Place on September 22 of the same year. It was a four-song EP, featuring three songs recorded during the Once More 'Round the Sun sessions, and one track recorded during the Emperor of Sand sessions. The first single for the EP, "Toe to Toes" was released on September 1, 2017. Brent Hinds stated that the inspiration behind some of the songs recorded for Cold Dark Place, which he wrote, were inspired by a nasty breakup that he had endured. Describing the sound of the record, Hinds stated that "I wrote some pretty dark, beautiful, spooky, funky, ethereal, melancholy music, which also sounds like the Bee Gees a little bit." On December 1st, the band released a revised version of the 12 part "The Making of Emperor of Sand" documentary via their official YouTube channel. Mastodon were announced to be on a co-headlining Summer 2018 Tour with Primus spanning across North America lasting from May to July CANNOTANSWER
CANNOTANSWER
Mastodon is an American heavy metal band from Atlanta, Georgia, formed in 2000. The group is composed of Troy Sanders (bass/vocals), Brent Hinds (lead guitar/vocals), Bill Kelliher (rhythm guitar/backing vocals), and Brann Dailor (drums/vocals). Mastodon has released eight studio albums, as well as a number of other releases. The band's 2002 debut album, Remission, garnered significant critical acclaim for its unique sound. Mastodon's second full-length release, Leviathan, is a concept album based on the novel Moby-Dick by Herman Melville. Three magazines awarded the record Album of the Year in 2004: Revolver, Kerrang! and Terrorizer. The song "Colony of Birchmen" from the band's third album (released in 2006), Blood Mountain, was nominated for a Grammy Award for Best Metal Performance in 2007. Blood Mountain was followed in 2009 by Crack the Skye, and in 2011 by The Hunter, which debuted at No. 10 on the Billboard 200 chart and achieved major commercial success in the United States. The Hunter features the song "Curl of the Burl", which was nominated for a Grammy for Best Hard Rock/Metal Performance in 2012. Mastodon's 2014 album, Once More 'Round the Sun, peaked at No. 6 on the Billboard 200 chart and features the band's third Grammy-nominated song, "High Road". The band's seventh album, Emperor of Sand, was released on March 31, 2017, and features the band's most commercially successful song to date, "Show Yourself", which peaked at No. 4 on the US Billboard Mainstream Rock Songs chart in June 2017. The followup single, "Steambreather", peaked at number 18 on the same chart in October 2017. The album's opening track, "Sultan's Curse", earned the band their first Grammy award. Emperor of Sand was the band's first album to receive a Grammy nomination; it was nominated for Best Rock Album. Mastodon's eighth album Hushed and Grim was released on October 29, 2021. History Formation, early years and Remission (2000–2003) Mastodon was formed on January 13, 2000, after drummer Brann Dailor and guitarist Bill Kelliher moved to Atlanta from Victor, New York, and met bassist/singer Troy Sanders and guitarist/singer Brent Hinds at a High on Fire show. They discovered they had a mutual appreciation of sludge metal bands Melvins and Neurosis, heavy metal legends Iron Maiden, and 1970s hard rockers Thin Lizzy, and shortly thereafter formed Mastodon. In an interview in 2009, Kelliher revealed that the first time Hinds attended a practice with the band, he "showed up so wasted he couldn't play". The band recorded a demo in 2000, which featured Eric Saner on vocals. Saner left the band for personal reasons after just a couple of months. After recording a four-song demo and a 7-inch picture disc through Reptilian Records, Mastodon landed a record deal with Relapse Records in 2001. Mastodon released the EP Lifesblood in 2001, and its first full-length album, Remission, in 2002, with the singles "March of the Fire Ants" and "Crusher/Destroyer" (which was also featured on Tony Hawk's Underground). On each of Mastodon's first three full-length albums, the last track was an instrumental composition with a title that related to the Elephant Man. Leviathan and Call of the Mastodon (2004–2005) The band's second full-length album, Leviathan, was released in 2004. It is a concept album loosely based on Herman Melville's novel Moby-Dick. The band received critical acclaim for Leviathan and the record was named album of the year by Kerrang! and Terrorizer. "Blood and Thunder", which featured Clutch vocalist Neil Fallon, was chosen as one of the most important recordings of the decade by National Public Radio in November 2009, and that the entire album epitomizes " a phenomenal decade for metal". Leviathan also ranked second in a list by Metal Hammer of the best albums of 2004. The band went on tour in support of the album, playing throughout North America and Europe in The Unholy Alliance tour along with Slayer and Lamb of God and later on with Slipknot. "Iron Tusk", the fifth track on the album, can be found on the soundtrack of the skateboarding video game Tony Hawk's American Wasteland and in 2K Sports video game NHL 2K9. "Blood and Thunder" is featured in the video games Need for Speed: Most Wanted, Project Gotham Racing 3, and Saints Row. "Blood and Thunder" was added as a playable track on all instruments in Guitar Hero: Metallica and was featured in Japanese music games Drummania V2 and Guitarfreaks V2. It has also been released as downloadable content for Rock Band 3, with Pro Guitar support also available at extra cost. Leviathan was followed by the 2006 release of Call of the Mastodon, a remastered collection of the band's first nine songs, and a DVD of interviews and concert footage called The Workhorse Chronicles that includes material from the band's early days as a five-piece. The band has stated that they consider "Call of the Mastodon" to be their first studio album even though it was the third to be released. These two releases were the band's last for Relapse Records, as they would later go on to sign with Warner Bros. Mastodon also recorded a cover version of Metallica's "Orion" for a 2006 Kerrang! tribute album marking the twentieth anniversary of the release of Master of Puppets. Blood Mountain (2006–2008) Their third studio album, Blood Mountain, was released on September 12, 2006, followed by a tour to support the album along with Tool in Europe and Slayer in Australia and New Zealand. The Mars Volta frontman Cedric Bixler-Zavala lent his vocals to the track "Siberian Divide". Queens of the Stone Age frontman Josh Homme contributed vocals for the song "Colony of Birchmen". The band performed the song "Colony of Birchmen" on NBC's Late Night with Conan O'Brien on November 1, their first appearance on network television, to a viewing audience of around 2.4 million people. This song was also featured in the video games Saints Row 2 and Rock Band 2. The band's first single off Blood Mountain, "Capillarian Crest", was ranked number 27 in Rolling Stone Magazine's Top 100 Songs of 2006. The album itself was ranked 9th in the magazine's best albums of the year chart. The UK's Metal Hammer voted it the best album of 2006 in its end of year critic's poll. The album was voted in at No. 5 by Kerrang! in their end of year list, No. 6 on PopMatters' Best Albums of 2006, and No. 1 on The Best Metal Albums of 2006. About.com rated it the top metal album of 2006. Blood Mountain was also named best album of 2006 in the 10th anniversary birthday edition (issue 119) of Bizarre. It also came in at No. 2 on Revolver magazine's list of the top albums of 2006. The band was named Artist Of The Month for March 2007 at Gametap.com. The band had been touring and playing numerous shows during this time. Mastodon joined Against Me!, and Cursive for a North American tour, with Planes Mistaken for Stars opening for one leg and These Arms Are Snakes the other. A performance in Milwaukee had to be canceled due to illness on the part of Brent Hinds. Mastodon would play the Hove Festival in Norway as well as on the Main Stage of the Download Festival and then the Pitchfork Music Festival. During this time the band opened for Metallica on the Sick of the Studio tour. The band also played at the 2007 Dubai Desert Rock, the 2008 Bonnaroo Music festivals, and the inaugural Mayhem Festival. Mastodon then toured with Slayer, Trivium, Lamb of God and several other metal bands in 2008 for The Unholy Alliance tour 2008. The band performed "Colony of Birchmen" at the 2007 MTV Video Music Awards live with Josh Homme. After the televised performance, Brent Hinds was reported to have sustained a severe head injury. Blabbermouth.net initially reported that it was the result of a brutal assault, but the police report later suggested that an inebriated Hinds had started a fight with System of a Down bassist Shavo Odadjian and vocalist William Hudson, also known as Reverend William Burke of Achozen. "Sleeping Giant" was made available as a downloadable song for Guitar Hero III: Legends of Rock, "Colony of Birchmen" was included on Harmonix's Rock Band 2 and also volition's Saints row 2, and "Divinations" was featured in Madden NFL 10 and Saints Row: The Third. Mastodon contributed a cover version of Harry Nilsson's "One" to the video game Army of Twos advertisement campaign. The band members are fans of Aqua Teen Hunger Force and in 2007, Mastodon performed the opening song of Aqua Teen Hunger Force Colon Movie Film for Theaters, "Cut You Up with a Linoleum Knife". Crack the Skye and Live at the Aragon (2009–2010) Crack the Skye was released on March 24, 2009, as a normal version and a deluxe version (which includes all songs in instrumental versions as well as their normal versions) and entered the Billboard 200 at number 11 a week later. The album is produced by Brendan O'Brien and Scott Kelly of Neurosis returns as a guest musician on the title-track. In a MusicRadar interview, guitarist Bill Kelliher confirmed the album is about an "out-of-body experience", and looks at the concepts of astral travel, wormholes, Stephen Hawking's theories and the spiritual realm. The album follows a quadriplegic who learns astral projection. On his journey he flies too close to the sun, burning his umbilical cord which connects him to his body, and flies into oblivion. At the same time in Czarist Russia, Rasputin and his cult were channeling spirits and brought the quadriplegic to their time. He explains his situation and foretells the assassination of Rasputin. Inevitably Rasputin is assassinated and Rasputin guides him back to his body. The band had debuted three new tracks at the Bonnaroo Music Festival, but did not play any more live shows before the album's release, due to fears of internet distribution and wanting to play the songs to the right audience. Drummer Brann Dailor sings lead vocals for the verses of the song "Oblivion". Mastodon was a headliner at the Scion Rock Fest on February 28, 2009, performing a set containing three tracks from Crack the Skye, the first time these songs were played since being finalized and recorded. On May 15, 2009, Mastodon performed a shortened version of "Oblivion" on the Late Show with David Letterman. In order to support their new album, Mastodon toured with Metallica on the latter part of the 2009 European leg of their World Magnetic Tour. In Fall of 2009, they embarked with Dethklok on the "Adult Swim Presents" tour along with Converge and High on Fire. On October 17, 2009, they recorded a DVD documenting the tour at the Aragon Ballroom in Chicago. Mastodon played the alternative music festival Big Day Out, touring across Australia and New Zealand in January and February 2010. On October 29, 2009, they performed "Divinations" on Late Night with Jimmy Fallon. On November 4, 2009, Mastodon released their second EP, entitled Oblivion. Teaming up with bands Deftones and Alice in Chains, Mastodon went on tour in September 2010 in the United States and Canada. The tour was called Blackdiamondskye, a portmanteau of the three bands' latest albums (Black Gives Way to Blue, Diamond Eyes, and Crack the Skye). Film director Jimmy Hayward contacted the band during their 2009 tour of Europe and expressed how much listening to Blood Mountain had helped his creative process while finishing a screenplay, and he offered Mastodon a chance to score the film he had been working on - Jonah Hex. In an interview with Paste magazine, bassist Troy Sanders said that Hayward "called us out of the blue as a fan. It was the most beautiful, authentic way to collaborate." Mastodon used scenes from the film as inspiration during the writing and recording process, and the instrumental soundtrack, Jonah Hex: Revenge Gets Ugly EP, was released on June 29, 2010, through Reprise Records. In 2010, the band was confirmed as being part of the soundtrack for Namco Bandai Games' 2010 remake of Splatterhouse. The game's protagonist can also be seen wearing a Mastodon T-shirt in certain flashback cutscenes. On March 15, 2011, Mastodon released their first live DVD/CD entitled Live at the Aragon through Reprise. The recording features the entire performance of their fourth studio album, Crack the Skye, along with songs from their previous records. The Hunter (2011–2012) The Hunter, Mastodon's fifth studio album, was recorded at Doppler Studios in Atlanta with producer Mike Elizondo. The first hints of the new album were given by the band via Facebook in January 2011. Drummer Brann Dailor revealed during interviews the title of the band's new album and described the new material as not so much proggy as riff-oriented and "a little more stripped down". Meanwhile, the band performed in many major summer festivals. On June 28, 2011, Mastodon released through Adultswim.com a leftover track from the Crack the Skye sessions called "Deathbound". The first taste of The Hunter came in July 2011 where Mastodon released via YouTube the song "Black Tongue", set to a video of AJ Fosik creating the sculpture used for the album cover. By August 12, the band had revealed the track listing from The Hunter and debuted "Curl Of The Burl", the first official single from the new album. Mike Elizondo was chosen to produce the album which marks his first time working with the band. It was also announced that a deluxe edition would be released. It featured the two bonus tracks "The Ruiner" and "Deathbound" and a different cover. On September 6, Mastodon released a third song from The Hunter, "Spectrelight", featuring Scott Kelly of Neurosis. On September 16, the band released a 53-minute custom visualizer with all of the album tracks, 11 days prior to the release of The Hunter. In support of the album a North American headline tour was announced. The album was very well received by fans and the media. It also performed strongly on the official charts, rising to number ten on the Billboard 200. On October 5, 2011, they performed "Curl of the Burl" on the Late Show with David Letterman. On October 12, a UK tour was announced that will run through February 2012 with fellow bands The Dillinger Escape Plan and Red Fang as support acts. They were at Later... with Jools Holland, where they performed "Black Tongue" and "Curl of the Burl". A seventeen-date European tour was announced that featured dates in Scandinavia, Germany, France, Spain, Belgium, Portugal, Italy, the Netherlands and Latvia. On December 1, "Curl of the Burl" was nominated for a Grammy Award in the category Best Metal/Hard Rock performance. It is the band's second nomination with the first being for "Colony of Birchmen" in 2007. The record was named "Album of the Year" by Metal Hammer, Classic Rock and Rock Sound. In January 2012 it was announced that Mastodon and Swedish prog metal band Opeth will tour together in a joint tour across North America. It was named the "Heritage Hunter Tour" after both bands latest releases, The Hunter and Heritage. The bands took turns in the headlining spot. Support came from the Swedish heavy metal band Ghost. On February 11, 2012, the band performed a sold-out show at the Brixton Academy in London, it was the band's biggest headline show ever. Dry Bone Valley" was released on February 13 as the third single of the album. A music video for the song was also released. On April 21, 2012, to commemorate Record Store Day, Mastodon released two separate vinyls. The first was a split 7" with Feist titled Feistodon. Mastodon covered Feist's "A Commotion" and Feist covered Mastodon's "Black Tongue". The pair also released a one of a kind interactive, crossfading music video for the song 'A Commotion'. The second release was a cover of The Flaming Lips' "A Spoonful Weighs a Ton". The band spent the summer performing at festivals across Europe and South America. It was the last tour in support of The Hunter. Once More 'Round the Sun (2014–2015) Mastodon began recording again in early 2013. Guitarist Brent Hinds described the new music as "really eerie" and "very spooky-sounding", and stated that he has written three new songs. On December 3, 2012, the band announced via their Twitter page that they were writing a song for the film Monsters University. However, the song used in the film was the previously released "Island". They were also part of the 2013 Rockstar Energy Mayhem Festival. On May 6, 2013, the band stated that they are "...Very busy writing and putting songs together for the next studio Mastodon album..." In an interview on July 26, Brann Dailor was reported as saying that the band would "probably [go into the studio] end of September". The band also played at the 2014 Bonnaroo Music and Arts Festival. On February 27, Brann Dailor told in the interview that their sixth album would be released in summer of 2014, and he also stated that the band would release an EP in winter of 2014. Some of the confirmed tracks were: "Tread Lightly", "Buzzard's Guts", "Scent of Bitter Almonds", "High Road" and "Aunt Lisa". In an interview with Troy Sanders in Paste magazine released on April 3, he revealed the album was called Once More 'Round the Sun and had 15 tracks. He also confirmed that Mastodon recorded 90 minutes of material, but only 60 minutes of it will be present on the album; the unreleased material possibly might be released on an EP later in 2014. A few more tracks that have been confirmed are: "Diamonds in the Witch House" (which has Scott Kelly from Neurosis on a guest vocal appearance), and "Ember City". In an interview on April 11, Dailor revealed the album will be released in June. On April 17, the first single "High Road" was made available for streaming. On April 26, Bill Kelliher revealed the title of the second single "Chimes at Midnight". As of June 16, 2014, the entire album is streaming on iTunes. The album was released on June 24, 2014 through Reprise Records. The album sold around 34,000 copies in the United States in its first week of release to land at position No. 6 on The Billboard 200 chart making it the band's first consecutive top 10 debut, with their previous album, The Hunter, peaking at No.10 after opening with 39,000 copies in 2011. Emperor of Sand and Cold Dark Place (2015–2018) On January 18, 2015, it was reported that Brent Hinds was working on a new Mastodon album, showing a picture with him playing the 13 string pedal steel. The same report was later confirmed by Troy Sanders, who stated: "Every record that we do is gonna sound different, because we always want to evolve and create our own musical path. And every record will be different. We do not wanna write the same record twice." On March 12, 2015, Mastodon released a new track called "White Walker", which appears on the Game of Thrones: Catch the Throne Vol. 2 mixtape to promote the fifth season of the HBO TV series Game of Thrones. Dailor, Hinds, and Kelliher also appeared in episode 8 of the season as wildlings. This mixtape will also feature songs by various other acts, ranging from Killswitch Engage to Snoop Dogg. Hinds and Kelliher once again returned to Game of Thrones as wights among the White Walker army for the season 7 finale episode, "The Dragon and the Wolf". The band's seventh studio album, Emperor of Sand, was released on March 31, 2017. The theme for the album was cancer, inspired by Troy's wife who was diagnosed with cancer, and Bill's mother who lost her life to cancer. It details the story of a traveller banished to the desert by an emperor, in effect giving him a death sentence. The story is a metaphor for someone diagnosed with terminal cancer. The first single, "Show Yourself", was released in February, and had peaked at number 4 on the US Billboard Mainstream Rock Songs chart in June, making it the band's highest charting song to date. The second single, "Steambreather", peaked at number 18 on the same chart in October. Mastodon also released an EP titled Cold Dark Place on September 22 of the same year. It was a four-song EP, featuring three songs recorded during the Once More 'Round the Sun sessions, and one track recorded during the Emperor of Sand sessions. The first single for the EP, "Toe to Toes" was released on September 1, 2017. Brent Hinds stated that the inspiration behind some of the songs recorded for Cold Dark Place, which he wrote, were inspired by a nasty breakup that he had endured. Describing the sound of the record, Hinds stated that "I wrote some pretty dark, beautiful, spooky, funky, ethereal, melancholy music, which also sounds like the Bee Gees a little bit." On December 1, the band released a revised version of the 12-part "The Making of Emperor of Sand" documentary via their official YouTube channel. Mastodon were announced to be on a co-headlining Summer 2018 Tour with Primus spanning across North America lasting from May to July. Medium Rarities and Hushed and Grim (2020-present) On July 31, 2020, Mastodon released a new song titled "Fallen Torches" and announced a compilation album of rare material titled Medium Rarities, which was released on September 11, 2020. On June 17, 2021 the band announced a partnership with livestreaming company Dreamstage to present a live acoustic set in their hometown of Atlanta at the Georgia Aquarium on July 15, with $1 from each sale of a ticket/merchandise package going toward supporting the aquarium. Mastodon released their eighth studio album Hushed and Grim on October 29, 2021. The album is produced by David Bottrill, who has worked previously with such artists as Muse, Tool, and Rush. Characteristics Musical style Mastodon has been described as a heavy metal band, along with more specific genres such as progressive metal, sludge metal, alternative metal, stoner rock, psychedelic metal, experimental metal, and groove metal. James Christopher Monger of AllMusic describes Mastodon as "one of the more notable new wave of American heavy metal acts, a genre spawned in the mid-'90s" and says that "Mastodon's innovative, lyrically astute blend of progressive metal, grindcore, and hardcore helped position the band as one of the preeminent metal acts of the early 21st century." Bassist Troy Sanders stated about their musical style: Scott Kelly of Neurosis has appeared to perform guest vocals on a track on every Mastodon album excluding Remission and Hushed and Grim. Mastodon's musical style has evolved much from their earliest pre-Remission releases to The Hunter. Their early work is significantly heavier and more abrasive than their later work, primarily or exclusively using harsh vocals, more distorted instruments, and more atypical song structures. The release of Mastodon's third studio album, Blood Mountain, which incorporates both clean and harsh vocals, marked a shift in the vocal styles used, with subsequent albums favouring clean vocals almost exclusively. Lyrical themes Over its first four albums, Mastodon had specific concepts in mind, specifically the classical elements of fire, water, earth, and aether. Remission does not deal with a particular theme but it is loosely based on the theme of fire. Songs like "Crusher Destroyer", "Where Strides the Behemoth" and "Ol'e Nessie" deal with the theme of fictional creatures. Leviathan is about the novel Moby-Dick. It centers around the main characters and their thoughts during the story. Blood Mountain is about a man who is searching for the "Crystal Skull", which is on top of the "Blood Mountain". According to bassist Troy Sanders, "It's about climbing up a mountain and the different things that can happen to you when you're stranded on a mountain, in the woods, and you're lost. You're starving, hallucinating, running into strange creatures. You're being hunted. It's about that whole struggle." Crack the Skye deals with many different themes. The title, as well as some lyrical content, is a tribute to Skye, the younger sister of drummer Brann Dailor, who committed suicide at the age of fourteen. Themes touched on within the album include "dark magic(k), astral travelling and the role of Rasputin in the downfall of Czarist Russia". The Hunter does not deal with an entire concept like their earlier work. The title is a tribute to Hinds' brother, Brad Hinds, who died of a heart attack on December 4, 2010 while hunting. Once More 'Round the Sun, like its predecessor, is not a concept album. It features themes such as relationships, struggles and hardships. The album was based on the various events that took place in each band member's lives the year before the album release. Emperor of Sand mainly deals with the themes of death and survival and is about a desert wanderer faced with a death sentence. The lyrics were inspired by the friends and family members of the band who were diagnosed with cancer. Hushed and Grim has to do with grief, guilt, and the afterlife. Mastodon pays tribute to the memory of longtime friend and manager Nick John with their first ever double-album and a surrounding death mythology. According to drummer and co-vocalist Brann Dailor, in this mythology “When you die, your soul inhabits the heart of a living tree. You have to experience the seasons the way that a tree does through a whole calendar year. That’s the way you have to say goodbye to the natural world. And in that time, you reflect on the pillars of the life that you lived. You get to atone for things that you’ve done.” Visual art Artwork Artist Paul Romano was responsible for all of the band's album art and backdrops up to 2011. The artwork for the band's fifth studio album The Hunter was made by AJ Fosik, a woodcarver who was also responsible for the backdrop the band used live at the time. Oakland-based artist Skinner, who, in his own words, specializes in "psychedelic nightmare paintings", has taken the reins on Once More 'Round the Sun. "It's going to be a work of art for sure. It's going to be very eye-opening", said bassist Troy Sanders before the album's release. "Very striking. It's from another dimension, and a lot of our music is geared toward that idea—taking you to another planet on songs. It's out there, and I think it's incredible." Live presentation Following their first tours in the early 2000s, Mastodon have performed at many major festivals such as Download, Roskilde, Coachella, Bonnaroo, Big Day Out, Rock Werchter, Pinkpop, Metaltown, Ottawa Bluesfest, Sonisphere and Soundwave. When performing the band has traditionally had a fairly lo-fi visual presentation. However, during the band's "Crack The Skye Tour" (2009–2010), they used a large screen behind the drumkit showing a visual show. Legacy and reception The "sludge/stoner/alternative metal outfit" Mastodon, as labelled by AllMusic, is "one of the preeminent metal acts of the early 21st century". The BBC stated about Mastodon: "They might be bonkers of lyric, full of fantasy mumbo jumbo, but the band is unashamedly committed to its complex-of-composition craft, and the results have frequently stunned ever since their 2002 debut, Remission. They are the most ambitious, most fearless, most fun heavy metal band to have breached the mainstream since the genre oozed its way out of The Midlands in the 1970s." Alternative Press has stated: "Mastodon are one of the all-time great hard rock groups." Rolling Stone stated: "Mastodon are a bunch of doom-haunted, myth-obsessed, meat-and-potatoes Southern badasses who have become the most important new band in metal." Playboy wrote: "one of Mastodon’s greatest talents: the ability to take traditional metal fans along with them into other musical realms, and also appeal to more mainstream rock fans but give them some doses of metal." Members Current Brann Dailor – drums, percussion (2000–present), backing vocals (2005–present), lead vocals (2008–present) Brent Hinds – lead guitar, backing vocals (2000–present), lead vocals (2001–present) Bill Kelliher – rhythm guitar, backing vocals (2000–present) Troy Sanders – bass, keyboards, backing vocals (2000–present), lead vocals (2001–present) Former Eric Saner – lead vocals (2000–2001) Former touring musicians Derek Mitchka – keyboards (2011) Timeline Discography Studio albums Remission (2002) Leviathan (2004)Blood Mountain (2006)Crack the Skye (2009) The Hunter (2011) Once More 'Round the Sun (2014) Emperor of Sand (2017) Hushed and Grim (2021) Awards and nominations Danish Metal Awards |- | 2009 || Crack the Skye || Best International Metal Album || |- Grammy Awards |- | || "Colony of Birchmen" || Grammy Award for Best Metal Performance || |- | || "Curl of the Burl" || Grammy Award for Best Hard Rock/Metal Performance || |- | || "High Road" || Grammy Award for Best Metal Performance || |- | rowspan="2"| || Emperor of Sand || Grammy Award for Best Rock Album || |- | "Sultan's Curse" || Grammy Award for Best Metal Performance || |- | || "Pushing the Tides" || Grammy Award for Best Metal Performance || Kerrang! Awards |- | 2009 || "Oblivion" || Best Video || |- | 2012 || The Hunter || Best Album || Metal Hammer Golden Gods Awards |- | rowspan="2" | 2007 || Blood Mountain || Album of the Year || |- | Brent Hinds & Bill Kelliher || Golden Gods Award for Best Shredder || |- | 2012 || The Hunter || Golden Gods Award for Best Album || |- | 2017 || Mastodon || Best Live Band || Metal Storm Awards |- | 2004 || Leviathan || Best Alternative Metal Album || |- | rowspan="2" | 2009 || Crack the Skye || Best Alternative Metal Album || |- | "Divinations" || Best Video || |- | 2011 || The Hunter || Best Sludge/Stoner Metal Album || |- | 2014 || Once More 'Round the Sun || Best Sludge/Stoner Metal Album || |- | 2017 || Emperor of Sand || Best Progressive Metal Album || ''Revolver'' Golden Gods |- | 2012 || Brann Dailor || Golden Gods Award for Best Drummer || References External links Official website American sludge metal musical groups American progressive metal musical groups Stoner rock musical groups American alternative metal musical groups American avant-garde metal musical groups American groove metal musical groups Heavy metal musical groups from Georgia (U.S. state) Musical groups from Atlanta 2000 establishments in Georgia (U.S. state) Musical groups established in 2000 Relapse Records artists Reprise Records artists Roadrunner Records artists Kerrang! Awards winners Grammy Award winners Musical quartets
false
[ "Iz*One was a twelve-member South Korean and Japanese girl group formed in 2018 through Produce 48, a music competition reality show. The group achieved significant commercial success with its debut extended play Color*Iz (2018), released under Off the Record Entertainment, and won several new artist awards, including Best New Artist at the 20th Mnet Asian Music Awards, Rookie of the Year at the 33rd Golden Disc Awards, and the New Artist Award at the 28th Seoul Music Awards. The group's second EP, Heart*Iz (2019), was released to greater commercial success than its predecessor, and received Disc Bonsang nominations at the 34th Golden Disc Awards and the 29th Seoul Music Awards respectively. The EP's lead single, \"Violeta\", received a nomination for Song of the Year at the 21st Mnet Asian Music Awards.\n\nThe group earned its first ever daesang award nominations for its first studio album Bloom*Iz, released in February 2020. The album was nominated for Album of the Year at both the 12th Melon Music Awards and the 10th Gaon Chart Music Awards, while its lead single \"Fiesta\" was also nominated at both ceremonies for Best Dance – Female and Song of the Year – February respectively. Iz*One did not win any of the nominations but the group received its second Artist of the Year bonsang at the Melon Music Awards. Bloom*Iz garnered an additional Bonsang Award nomination at the 30th Seoul Music Awards. The group's follow-up EP, Oneiric Diary, released in June 2020, was also nominated alongside its predecessor at the Gaon Awards, for Album of the Year – 3rd Quarter. The group won its third Artist of the Year bonsang at the 3rd Fact Music Awards in December 2020.\n\nAwards and nominations\n\nNotes\n\nReferences \n\nIz*One\nAwards", "The 54th Academy of Country Music Awards was held at the MGM Grand Garden Arena in Las Vegas, Nevada on April 7, 2019. Nominations were announced on February 20, 2019 by Reba McEntire during CBS This Morning, with Chris Stapleton and Dan + Shay leading with six nominations each. McEntire returned to host the awards for the sixteenth time.\n\nJason Aldean was presented with the ACM's rare honor \"Artist of the Decade\" by previous holder George Strait.\n\nWinners and Nominees \nThe winners are shown in bold.\n\nPerformances\n\nPresenters\n\nReception \nIn its review of the event, Rolling Stone Country praised that the ACMs took the opportunity to bring seasoned musicians Amanda Shires and Charlie Worsham \"into the fold\" by having them appear alongside Luke Combs and Keith Urban respectively but criticised that the ACMs did not introduce either of them or even feature them on screen. Worsham, who the reviewer believed should have been nominated for his own awards, performed \"mostly in the shadows\" and Shires, who \"helped transform [Combs' performance] with her lyrical playing\" was barely seen. Rolling Stone also praised Reba McEntire's hosting and the performances by Dierks Bentley and Brandi Carlile, Little Big Town, Miranda Lambert and Ashley McBryde but stated that it was \"baffling\" that Kacey Musgraves, who had five nominations and won the CMA Award for Album of the Year and four Grammy Awards including Best Country Album and the all-genre Album of the Year for Golden Hour, did not perform. Musgraves' win made her only the third artist (after Taylor Swift and the artists that appeared on Oh Brother, Where Art Thou?) to win the ACM, CMA and Grammy Awards for Best Country Album as well as the all-genre Grammy for Album of the Year.\n\nSee also\nAcademy of Country Music Awards\n\nReferences\n\nAcademy of Country Music Awards\nAcademy of Country Music Awards\nAcademy of Country Music Awards\nAcademy of Country Music Awards\nAcademy of Country Music Awards\nAcademy of Country Music Awards\nAcademy of Country Music Awards" ]
[ "Mastodon (band)", "Emperor of Sand and Cold Dark Place (2015-present)", "What was Emperor of Sand and Cold Dark Place?", "The band's seventh studio album Emperor of Sand was released on March 31,", "Did it have any singles?", "The first single, \"Show Yourself\", was released in February, and had peaked at number 4", "Did the album win any awards?", "I don't know." ]
C_3a27ada9bf724cdda3d7ab551d613979_0
Did they have any other albums?
4
Did Mastodon have any albums other than Emperor of Sand?
Mastodon (band)
On January 18, 2015, it was reported that Brent Hinds is working on new Mastodon album, showing a picture with him playing the 13 string pedal steel. The same report was later confirmed by Troy Sanders, who stated: "Every record that we do is gonna sound different, because we always want to evolve and create our own musical path. And every record will be different. We do not wanna write the same record twice." On March 12, 2015, Mastodon released a new track called "White Walker", which will appear on the upcoming Game of Thrones: Catch the Throne Vol. 2 mixtape to promote the fifth season of the HBO TV series Game of Thrones. Dailor, Hinds, and Kelliher also appeared in episode 8 of the season as wildlings. This mixtape will also feature songs by various other acts, ranging from Killswitch Engage to Snoop Dogg. Hinds and Kelliher once again returned to Game of Thrones as wights among the White Walker army for the season 7 finale episode, "The Dragon and the Wolf". The band's seventh studio album Emperor of Sand was released on March 31, 2017. The theme for the album was cancer, inspired by Troy's wife who was diagnosed with cancer, and Bill's mother who lost her life to cancer. It details the story of a traveller banished to the desert by an emperor, in effect giving him a death sentence. The story is a metaphor for someone diagnosed with terminal cancer. The first single, "Show Yourself", was released in February, and had peaked at number 4 on the US Billboard Mainstream Rock Songs chart in June, making it the band's highest charting song to date. The second single, "Steambreather", peaked at number 18 on the same chart in October. Mastodon also released an EP titled Cold Dark Place on September 22 of the same year. It was a four-song EP, featuring three songs recorded during the Once More 'Round the Sun sessions, and one track recorded during the Emperor of Sand sessions. The first single for the EP, "Toe to Toes" was released on September 1, 2017. Brent Hinds stated that the inspiration behind some of the songs recorded for Cold Dark Place, which he wrote, were inspired by a nasty breakup that he had endured. Describing the sound of the record, Hinds stated that "I wrote some pretty dark, beautiful, spooky, funky, ethereal, melancholy music, which also sounds like the Bee Gees a little bit." On December 1st, the band released a revised version of the 12 part "The Making of Emperor of Sand" documentary via their official YouTube channel. Mastodon were announced to be on a co-headlining Summer 2018 Tour with Primus spanning across North America lasting from May to July CANNOTANSWER
Mastodon also released an EP titled Cold Dark Place on September 22 of the same year.
Mastodon is an American heavy metal band from Atlanta, Georgia, formed in 2000. The group is composed of Troy Sanders (bass/vocals), Brent Hinds (lead guitar/vocals), Bill Kelliher (rhythm guitar/backing vocals), and Brann Dailor (drums/vocals). Mastodon has released eight studio albums, as well as a number of other releases. The band's 2002 debut album, Remission, garnered significant critical acclaim for its unique sound. Mastodon's second full-length release, Leviathan, is a concept album based on the novel Moby-Dick by Herman Melville. Three magazines awarded the record Album of the Year in 2004: Revolver, Kerrang! and Terrorizer. The song "Colony of Birchmen" from the band's third album (released in 2006), Blood Mountain, was nominated for a Grammy Award for Best Metal Performance in 2007. Blood Mountain was followed in 2009 by Crack the Skye, and in 2011 by The Hunter, which debuted at No. 10 on the Billboard 200 chart and achieved major commercial success in the United States. The Hunter features the song "Curl of the Burl", which was nominated for a Grammy for Best Hard Rock/Metal Performance in 2012. Mastodon's 2014 album, Once More 'Round the Sun, peaked at No. 6 on the Billboard 200 chart and features the band's third Grammy-nominated song, "High Road". The band's seventh album, Emperor of Sand, was released on March 31, 2017, and features the band's most commercially successful song to date, "Show Yourself", which peaked at No. 4 on the US Billboard Mainstream Rock Songs chart in June 2017. The followup single, "Steambreather", peaked at number 18 on the same chart in October 2017. The album's opening track, "Sultan's Curse", earned the band their first Grammy award. Emperor of Sand was the band's first album to receive a Grammy nomination; it was nominated for Best Rock Album. Mastodon's eighth album Hushed and Grim was released on October 29, 2021. History Formation, early years and Remission (2000–2003) Mastodon was formed on January 13, 2000, after drummer Brann Dailor and guitarist Bill Kelliher moved to Atlanta from Victor, New York, and met bassist/singer Troy Sanders and guitarist/singer Brent Hinds at a High on Fire show. They discovered they had a mutual appreciation of sludge metal bands Melvins and Neurosis, heavy metal legends Iron Maiden, and 1970s hard rockers Thin Lizzy, and shortly thereafter formed Mastodon. In an interview in 2009, Kelliher revealed that the first time Hinds attended a practice with the band, he "showed up so wasted he couldn't play". The band recorded a demo in 2000, which featured Eric Saner on vocals. Saner left the band for personal reasons after just a couple of months. After recording a four-song demo and a 7-inch picture disc through Reptilian Records, Mastodon landed a record deal with Relapse Records in 2001. Mastodon released the EP Lifesblood in 2001, and its first full-length album, Remission, in 2002, with the singles "March of the Fire Ants" and "Crusher/Destroyer" (which was also featured on Tony Hawk's Underground). On each of Mastodon's first three full-length albums, the last track was an instrumental composition with a title that related to the Elephant Man. Leviathan and Call of the Mastodon (2004–2005) The band's second full-length album, Leviathan, was released in 2004. It is a concept album loosely based on Herman Melville's novel Moby-Dick. The band received critical acclaim for Leviathan and the record was named album of the year by Kerrang! and Terrorizer. "Blood and Thunder", which featured Clutch vocalist Neil Fallon, was chosen as one of the most important recordings of the decade by National Public Radio in November 2009, and that the entire album epitomizes " a phenomenal decade for metal". Leviathan also ranked second in a list by Metal Hammer of the best albums of 2004. The band went on tour in support of the album, playing throughout North America and Europe in The Unholy Alliance tour along with Slayer and Lamb of God and later on with Slipknot. "Iron Tusk", the fifth track on the album, can be found on the soundtrack of the skateboarding video game Tony Hawk's American Wasteland and in 2K Sports video game NHL 2K9. "Blood and Thunder" is featured in the video games Need for Speed: Most Wanted, Project Gotham Racing 3, and Saints Row. "Blood and Thunder" was added as a playable track on all instruments in Guitar Hero: Metallica and was featured in Japanese music games Drummania V2 and Guitarfreaks V2. It has also been released as downloadable content for Rock Band 3, with Pro Guitar support also available at extra cost. Leviathan was followed by the 2006 release of Call of the Mastodon, a remastered collection of the band's first nine songs, and a DVD of interviews and concert footage called The Workhorse Chronicles that includes material from the band's early days as a five-piece. The band has stated that they consider "Call of the Mastodon" to be their first studio album even though it was the third to be released. These two releases were the band's last for Relapse Records, as they would later go on to sign with Warner Bros. Mastodon also recorded a cover version of Metallica's "Orion" for a 2006 Kerrang! tribute album marking the twentieth anniversary of the release of Master of Puppets. Blood Mountain (2006–2008) Their third studio album, Blood Mountain, was released on September 12, 2006, followed by a tour to support the album along with Tool in Europe and Slayer in Australia and New Zealand. The Mars Volta frontman Cedric Bixler-Zavala lent his vocals to the track "Siberian Divide". Queens of the Stone Age frontman Josh Homme contributed vocals for the song "Colony of Birchmen". The band performed the song "Colony of Birchmen" on NBC's Late Night with Conan O'Brien on November 1, their first appearance on network television, to a viewing audience of around 2.4 million people. This song was also featured in the video games Saints Row 2 and Rock Band 2. The band's first single off Blood Mountain, "Capillarian Crest", was ranked number 27 in Rolling Stone Magazine's Top 100 Songs of 2006. The album itself was ranked 9th in the magazine's best albums of the year chart. The UK's Metal Hammer voted it the best album of 2006 in its end of year critic's poll. The album was voted in at No. 5 by Kerrang! in their end of year list, No. 6 on PopMatters' Best Albums of 2006, and No. 1 on The Best Metal Albums of 2006. About.com rated it the top metal album of 2006. Blood Mountain was also named best album of 2006 in the 10th anniversary birthday edition (issue 119) of Bizarre. It also came in at No. 2 on Revolver magazine's list of the top albums of 2006. The band was named Artist Of The Month for March 2007 at Gametap.com. The band had been touring and playing numerous shows during this time. Mastodon joined Against Me!, and Cursive for a North American tour, with Planes Mistaken for Stars opening for one leg and These Arms Are Snakes the other. A performance in Milwaukee had to be canceled due to illness on the part of Brent Hinds. Mastodon would play the Hove Festival in Norway as well as on the Main Stage of the Download Festival and then the Pitchfork Music Festival. During this time the band opened for Metallica on the Sick of the Studio tour. The band also played at the 2007 Dubai Desert Rock, the 2008 Bonnaroo Music festivals, and the inaugural Mayhem Festival. Mastodon then toured with Slayer, Trivium, Lamb of God and several other metal bands in 2008 for The Unholy Alliance tour 2008. The band performed "Colony of Birchmen" at the 2007 MTV Video Music Awards live with Josh Homme. After the televised performance, Brent Hinds was reported to have sustained a severe head injury. Blabbermouth.net initially reported that it was the result of a brutal assault, but the police report later suggested that an inebriated Hinds had started a fight with System of a Down bassist Shavo Odadjian and vocalist William Hudson, also known as Reverend William Burke of Achozen. "Sleeping Giant" was made available as a downloadable song for Guitar Hero III: Legends of Rock, "Colony of Birchmen" was included on Harmonix's Rock Band 2 and also volition's Saints row 2, and "Divinations" was featured in Madden NFL 10 and Saints Row: The Third. Mastodon contributed a cover version of Harry Nilsson's "One" to the video game Army of Twos advertisement campaign. The band members are fans of Aqua Teen Hunger Force and in 2007, Mastodon performed the opening song of Aqua Teen Hunger Force Colon Movie Film for Theaters, "Cut You Up with a Linoleum Knife". Crack the Skye and Live at the Aragon (2009–2010) Crack the Skye was released on March 24, 2009, as a normal version and a deluxe version (which includes all songs in instrumental versions as well as their normal versions) and entered the Billboard 200 at number 11 a week later. The album is produced by Brendan O'Brien and Scott Kelly of Neurosis returns as a guest musician on the title-track. In a MusicRadar interview, guitarist Bill Kelliher confirmed the album is about an "out-of-body experience", and looks at the concepts of astral travel, wormholes, Stephen Hawking's theories and the spiritual realm. The album follows a quadriplegic who learns astral projection. On his journey he flies too close to the sun, burning his umbilical cord which connects him to his body, and flies into oblivion. At the same time in Czarist Russia, Rasputin and his cult were channeling spirits and brought the quadriplegic to their time. He explains his situation and foretells the assassination of Rasputin. Inevitably Rasputin is assassinated and Rasputin guides him back to his body. The band had debuted three new tracks at the Bonnaroo Music Festival, but did not play any more live shows before the album's release, due to fears of internet distribution and wanting to play the songs to the right audience. Drummer Brann Dailor sings lead vocals for the verses of the song "Oblivion". Mastodon was a headliner at the Scion Rock Fest on February 28, 2009, performing a set containing three tracks from Crack the Skye, the first time these songs were played since being finalized and recorded. On May 15, 2009, Mastodon performed a shortened version of "Oblivion" on the Late Show with David Letterman. In order to support their new album, Mastodon toured with Metallica on the latter part of the 2009 European leg of their World Magnetic Tour. In Fall of 2009, they embarked with Dethklok on the "Adult Swim Presents" tour along with Converge and High on Fire. On October 17, 2009, they recorded a DVD documenting the tour at the Aragon Ballroom in Chicago. Mastodon played the alternative music festival Big Day Out, touring across Australia and New Zealand in January and February 2010. On October 29, 2009, they performed "Divinations" on Late Night with Jimmy Fallon. On November 4, 2009, Mastodon released their second EP, entitled Oblivion. Teaming up with bands Deftones and Alice in Chains, Mastodon went on tour in September 2010 in the United States and Canada. The tour was called Blackdiamondskye, a portmanteau of the three bands' latest albums (Black Gives Way to Blue, Diamond Eyes, and Crack the Skye). Film director Jimmy Hayward contacted the band during their 2009 tour of Europe and expressed how much listening to Blood Mountain had helped his creative process while finishing a screenplay, and he offered Mastodon a chance to score the film he had been working on - Jonah Hex. In an interview with Paste magazine, bassist Troy Sanders said that Hayward "called us out of the blue as a fan. It was the most beautiful, authentic way to collaborate." Mastodon used scenes from the film as inspiration during the writing and recording process, and the instrumental soundtrack, Jonah Hex: Revenge Gets Ugly EP, was released on June 29, 2010, through Reprise Records. In 2010, the band was confirmed as being part of the soundtrack for Namco Bandai Games' 2010 remake of Splatterhouse. The game's protagonist can also be seen wearing a Mastodon T-shirt in certain flashback cutscenes. On March 15, 2011, Mastodon released their first live DVD/CD entitled Live at the Aragon through Reprise. The recording features the entire performance of their fourth studio album, Crack the Skye, along with songs from their previous records. The Hunter (2011–2012) The Hunter, Mastodon's fifth studio album, was recorded at Doppler Studios in Atlanta with producer Mike Elizondo. The first hints of the new album were given by the band via Facebook in January 2011. Drummer Brann Dailor revealed during interviews the title of the band's new album and described the new material as not so much proggy as riff-oriented and "a little more stripped down". Meanwhile, the band performed in many major summer festivals. On June 28, 2011, Mastodon released through Adultswim.com a leftover track from the Crack the Skye sessions called "Deathbound". The first taste of The Hunter came in July 2011 where Mastodon released via YouTube the song "Black Tongue", set to a video of AJ Fosik creating the sculpture used for the album cover. By August 12, the band had revealed the track listing from The Hunter and debuted "Curl Of The Burl", the first official single from the new album. Mike Elizondo was chosen to produce the album which marks his first time working with the band. It was also announced that a deluxe edition would be released. It featured the two bonus tracks "The Ruiner" and "Deathbound" and a different cover. On September 6, Mastodon released a third song from The Hunter, "Spectrelight", featuring Scott Kelly of Neurosis. On September 16, the band released a 53-minute custom visualizer with all of the album tracks, 11 days prior to the release of The Hunter. In support of the album a North American headline tour was announced. The album was very well received by fans and the media. It also performed strongly on the official charts, rising to number ten on the Billboard 200. On October 5, 2011, they performed "Curl of the Burl" on the Late Show with David Letterman. On October 12, a UK tour was announced that will run through February 2012 with fellow bands The Dillinger Escape Plan and Red Fang as support acts. They were at Later... with Jools Holland, where they performed "Black Tongue" and "Curl of the Burl". A seventeen-date European tour was announced that featured dates in Scandinavia, Germany, France, Spain, Belgium, Portugal, Italy, the Netherlands and Latvia. On December 1, "Curl of the Burl" was nominated for a Grammy Award in the category Best Metal/Hard Rock performance. It is the band's second nomination with the first being for "Colony of Birchmen" in 2007. The record was named "Album of the Year" by Metal Hammer, Classic Rock and Rock Sound. In January 2012 it was announced that Mastodon and Swedish prog metal band Opeth will tour together in a joint tour across North America. It was named the "Heritage Hunter Tour" after both bands latest releases, The Hunter and Heritage. The bands took turns in the headlining spot. Support came from the Swedish heavy metal band Ghost. On February 11, 2012, the band performed a sold-out show at the Brixton Academy in London, it was the band's biggest headline show ever. Dry Bone Valley" was released on February 13 as the third single of the album. A music video for the song was also released. On April 21, 2012, to commemorate Record Store Day, Mastodon released two separate vinyls. The first was a split 7" with Feist titled Feistodon. Mastodon covered Feist's "A Commotion" and Feist covered Mastodon's "Black Tongue". The pair also released a one of a kind interactive, crossfading music video for the song 'A Commotion'. The second release was a cover of The Flaming Lips' "A Spoonful Weighs a Ton". The band spent the summer performing at festivals across Europe and South America. It was the last tour in support of The Hunter. Once More 'Round the Sun (2014–2015) Mastodon began recording again in early 2013. Guitarist Brent Hinds described the new music as "really eerie" and "very spooky-sounding", and stated that he has written three new songs. On December 3, 2012, the band announced via their Twitter page that they were writing a song for the film Monsters University. However, the song used in the film was the previously released "Island". They were also part of the 2013 Rockstar Energy Mayhem Festival. On May 6, 2013, the band stated that they are "...Very busy writing and putting songs together for the next studio Mastodon album..." In an interview on July 26, Brann Dailor was reported as saying that the band would "probably [go into the studio] end of September". The band also played at the 2014 Bonnaroo Music and Arts Festival. On February 27, Brann Dailor told in the interview that their sixth album would be released in summer of 2014, and he also stated that the band would release an EP in winter of 2014. Some of the confirmed tracks were: "Tread Lightly", "Buzzard's Guts", "Scent of Bitter Almonds", "High Road" and "Aunt Lisa". In an interview with Troy Sanders in Paste magazine released on April 3, he revealed the album was called Once More 'Round the Sun and had 15 tracks. He also confirmed that Mastodon recorded 90 minutes of material, but only 60 minutes of it will be present on the album; the unreleased material possibly might be released on an EP later in 2014. A few more tracks that have been confirmed are: "Diamonds in the Witch House" (which has Scott Kelly from Neurosis on a guest vocal appearance), and "Ember City". In an interview on April 11, Dailor revealed the album will be released in June. On April 17, the first single "High Road" was made available for streaming. On April 26, Bill Kelliher revealed the title of the second single "Chimes at Midnight". As of June 16, 2014, the entire album is streaming on iTunes. The album was released on June 24, 2014 through Reprise Records. The album sold around 34,000 copies in the United States in its first week of release to land at position No. 6 on The Billboard 200 chart making it the band's first consecutive top 10 debut, with their previous album, The Hunter, peaking at No.10 after opening with 39,000 copies in 2011. Emperor of Sand and Cold Dark Place (2015–2018) On January 18, 2015, it was reported that Brent Hinds was working on a new Mastodon album, showing a picture with him playing the 13 string pedal steel. The same report was later confirmed by Troy Sanders, who stated: "Every record that we do is gonna sound different, because we always want to evolve and create our own musical path. And every record will be different. We do not wanna write the same record twice." On March 12, 2015, Mastodon released a new track called "White Walker", which appears on the Game of Thrones: Catch the Throne Vol. 2 mixtape to promote the fifth season of the HBO TV series Game of Thrones. Dailor, Hinds, and Kelliher also appeared in episode 8 of the season as wildlings. This mixtape will also feature songs by various other acts, ranging from Killswitch Engage to Snoop Dogg. Hinds and Kelliher once again returned to Game of Thrones as wights among the White Walker army for the season 7 finale episode, "The Dragon and the Wolf". The band's seventh studio album, Emperor of Sand, was released on March 31, 2017. The theme for the album was cancer, inspired by Troy's wife who was diagnosed with cancer, and Bill's mother who lost her life to cancer. It details the story of a traveller banished to the desert by an emperor, in effect giving him a death sentence. The story is a metaphor for someone diagnosed with terminal cancer. The first single, "Show Yourself", was released in February, and had peaked at number 4 on the US Billboard Mainstream Rock Songs chart in June, making it the band's highest charting song to date. The second single, "Steambreather", peaked at number 18 on the same chart in October. Mastodon also released an EP titled Cold Dark Place on September 22 of the same year. It was a four-song EP, featuring three songs recorded during the Once More 'Round the Sun sessions, and one track recorded during the Emperor of Sand sessions. The first single for the EP, "Toe to Toes" was released on September 1, 2017. Brent Hinds stated that the inspiration behind some of the songs recorded for Cold Dark Place, which he wrote, were inspired by a nasty breakup that he had endured. Describing the sound of the record, Hinds stated that "I wrote some pretty dark, beautiful, spooky, funky, ethereal, melancholy music, which also sounds like the Bee Gees a little bit." On December 1, the band released a revised version of the 12-part "The Making of Emperor of Sand" documentary via their official YouTube channel. Mastodon were announced to be on a co-headlining Summer 2018 Tour with Primus spanning across North America lasting from May to July. Medium Rarities and Hushed and Grim (2020-present) On July 31, 2020, Mastodon released a new song titled "Fallen Torches" and announced a compilation album of rare material titled Medium Rarities, which was released on September 11, 2020. On June 17, 2021 the band announced a partnership with livestreaming company Dreamstage to present a live acoustic set in their hometown of Atlanta at the Georgia Aquarium on July 15, with $1 from each sale of a ticket/merchandise package going toward supporting the aquarium. Mastodon released their eighth studio album Hushed and Grim on October 29, 2021. The album is produced by David Bottrill, who has worked previously with such artists as Muse, Tool, and Rush. Characteristics Musical style Mastodon has been described as a heavy metal band, along with more specific genres such as progressive metal, sludge metal, alternative metal, stoner rock, psychedelic metal, experimental metal, and groove metal. James Christopher Monger of AllMusic describes Mastodon as "one of the more notable new wave of American heavy metal acts, a genre spawned in the mid-'90s" and says that "Mastodon's innovative, lyrically astute blend of progressive metal, grindcore, and hardcore helped position the band as one of the preeminent metal acts of the early 21st century." Bassist Troy Sanders stated about their musical style: Scott Kelly of Neurosis has appeared to perform guest vocals on a track on every Mastodon album excluding Remission and Hushed and Grim. Mastodon's musical style has evolved much from their earliest pre-Remission releases to The Hunter. Their early work is significantly heavier and more abrasive than their later work, primarily or exclusively using harsh vocals, more distorted instruments, and more atypical song structures. The release of Mastodon's third studio album, Blood Mountain, which incorporates both clean and harsh vocals, marked a shift in the vocal styles used, with subsequent albums favouring clean vocals almost exclusively. Lyrical themes Over its first four albums, Mastodon had specific concepts in mind, specifically the classical elements of fire, water, earth, and aether. Remission does not deal with a particular theme but it is loosely based on the theme of fire. Songs like "Crusher Destroyer", "Where Strides the Behemoth" and "Ol'e Nessie" deal with the theme of fictional creatures. Leviathan is about the novel Moby-Dick. It centers around the main characters and their thoughts during the story. Blood Mountain is about a man who is searching for the "Crystal Skull", which is on top of the "Blood Mountain". According to bassist Troy Sanders, "It's about climbing up a mountain and the different things that can happen to you when you're stranded on a mountain, in the woods, and you're lost. You're starving, hallucinating, running into strange creatures. You're being hunted. It's about that whole struggle." Crack the Skye deals with many different themes. The title, as well as some lyrical content, is a tribute to Skye, the younger sister of drummer Brann Dailor, who committed suicide at the age of fourteen. Themes touched on within the album include "dark magic(k), astral travelling and the role of Rasputin in the downfall of Czarist Russia". The Hunter does not deal with an entire concept like their earlier work. The title is a tribute to Hinds' brother, Brad Hinds, who died of a heart attack on December 4, 2010 while hunting. Once More 'Round the Sun, like its predecessor, is not a concept album. It features themes such as relationships, struggles and hardships. The album was based on the various events that took place in each band member's lives the year before the album release. Emperor of Sand mainly deals with the themes of death and survival and is about a desert wanderer faced with a death sentence. The lyrics were inspired by the friends and family members of the band who were diagnosed with cancer. Hushed and Grim has to do with grief, guilt, and the afterlife. Mastodon pays tribute to the memory of longtime friend and manager Nick John with their first ever double-album and a surrounding death mythology. According to drummer and co-vocalist Brann Dailor, in this mythology “When you die, your soul inhabits the heart of a living tree. You have to experience the seasons the way that a tree does through a whole calendar year. That’s the way you have to say goodbye to the natural world. And in that time, you reflect on the pillars of the life that you lived. You get to atone for things that you’ve done.” Visual art Artwork Artist Paul Romano was responsible for all of the band's album art and backdrops up to 2011. The artwork for the band's fifth studio album The Hunter was made by AJ Fosik, a woodcarver who was also responsible for the backdrop the band used live at the time. Oakland-based artist Skinner, who, in his own words, specializes in "psychedelic nightmare paintings", has taken the reins on Once More 'Round the Sun. "It's going to be a work of art for sure. It's going to be very eye-opening", said bassist Troy Sanders before the album's release. "Very striking. It's from another dimension, and a lot of our music is geared toward that idea—taking you to another planet on songs. It's out there, and I think it's incredible." Live presentation Following their first tours in the early 2000s, Mastodon have performed at many major festivals such as Download, Roskilde, Coachella, Bonnaroo, Big Day Out, Rock Werchter, Pinkpop, Metaltown, Ottawa Bluesfest, Sonisphere and Soundwave. When performing the band has traditionally had a fairly lo-fi visual presentation. However, during the band's "Crack The Skye Tour" (2009–2010), they used a large screen behind the drumkit showing a visual show. Legacy and reception The "sludge/stoner/alternative metal outfit" Mastodon, as labelled by AllMusic, is "one of the preeminent metal acts of the early 21st century". The BBC stated about Mastodon: "They might be bonkers of lyric, full of fantasy mumbo jumbo, but the band is unashamedly committed to its complex-of-composition craft, and the results have frequently stunned ever since their 2002 debut, Remission. They are the most ambitious, most fearless, most fun heavy metal band to have breached the mainstream since the genre oozed its way out of The Midlands in the 1970s." Alternative Press has stated: "Mastodon are one of the all-time great hard rock groups." Rolling Stone stated: "Mastodon are a bunch of doom-haunted, myth-obsessed, meat-and-potatoes Southern badasses who have become the most important new band in metal." Playboy wrote: "one of Mastodon’s greatest talents: the ability to take traditional metal fans along with them into other musical realms, and also appeal to more mainstream rock fans but give them some doses of metal." Members Current Brann Dailor – drums, percussion (2000–present), backing vocals (2005–present), lead vocals (2008–present) Brent Hinds – lead guitar, backing vocals (2000–present), lead vocals (2001–present) Bill Kelliher – rhythm guitar, backing vocals (2000–present) Troy Sanders – bass, keyboards, backing vocals (2000–present), lead vocals (2001–present) Former Eric Saner – lead vocals (2000–2001) Former touring musicians Derek Mitchka – keyboards (2011) Timeline Discography Studio albums Remission (2002) Leviathan (2004)Blood Mountain (2006)Crack the Skye (2009) The Hunter (2011) Once More 'Round the Sun (2014) Emperor of Sand (2017) Hushed and Grim (2021) Awards and nominations Danish Metal Awards |- | 2009 || Crack the Skye || Best International Metal Album || |- Grammy Awards |- | || "Colony of Birchmen" || Grammy Award for Best Metal Performance || |- | || "Curl of the Burl" || Grammy Award for Best Hard Rock/Metal Performance || |- | || "High Road" || Grammy Award for Best Metal Performance || |- | rowspan="2"| || Emperor of Sand || Grammy Award for Best Rock Album || |- | "Sultan's Curse" || Grammy Award for Best Metal Performance || |- | || "Pushing the Tides" || Grammy Award for Best Metal Performance || Kerrang! Awards |- | 2009 || "Oblivion" || Best Video || |- | 2012 || The Hunter || Best Album || Metal Hammer Golden Gods Awards |- | rowspan="2" | 2007 || Blood Mountain || Album of the Year || |- | Brent Hinds & Bill Kelliher || Golden Gods Award for Best Shredder || |- | 2012 || The Hunter || Golden Gods Award for Best Album || |- | 2017 || Mastodon || Best Live Band || Metal Storm Awards |- | 2004 || Leviathan || Best Alternative Metal Album || |- | rowspan="2" | 2009 || Crack the Skye || Best Alternative Metal Album || |- | "Divinations" || Best Video || |- | 2011 || The Hunter || Best Sludge/Stoner Metal Album || |- | 2014 || Once More 'Round the Sun || Best Sludge/Stoner Metal Album || |- | 2017 || Emperor of Sand || Best Progressive Metal Album || ''Revolver'' Golden Gods |- | 2012 || Brann Dailor || Golden Gods Award for Best Drummer || References External links Official website American sludge metal musical groups American progressive metal musical groups Stoner rock musical groups American alternative metal musical groups American avant-garde metal musical groups American groove metal musical groups Heavy metal musical groups from Georgia (U.S. state) Musical groups from Atlanta 2000 establishments in Georgia (U.S. state) Musical groups established in 2000 Relapse Records artists Reprise Records artists Roadrunner Records artists Kerrang! Awards winners Grammy Award winners Musical quartets
true
[ "The discography of Mallu Magalhães, a Brazilian Folk singer, consists of two studio albums, one live albums, five singles as a lead artist, one collaborations with Marcelo Camelo and one video albums.\n\nIn 2008 she released her first eponymous album and in 2009 she released her second album, also self-titled.\n\nShe already has five singles released, and the most famous is Tchubaruba.\n\nAlbums\n\nStudio albums\n\nCompilations\n\nVideo albums\n\nNotes\n These albums did not reach any of the charts in Brazil.\n\nSingles\n\nAs lead artist\n\nOther appearances\n\nNotes\n These albums did not reach any of the charts in Brazil.\n\nMusic videos \n J1 (2008)\n Tchubaruba (2008)\n O Preço da Flor (2009)\n Vanguart (2009)\n Shine Yellow (2009)\n\nReferences\n\nExternal links\nMallu Magalhães's official website\nMallu Magalhães's official MySpace\n\nFolk music discographies\nDiscography\nDiscographies of Brazilian artists\nLatin music discographies", "This is the discography of the hard rock band Magnum, which is headed by vocalist Bob Catley and guitarist/songwriter Tony Clarkin. Originally formed around 1972 they released their first single in 1975 (a cover of Sweets for My Sweet that did not chart) and their first album Kingdom of Madness in 1978. They continued recording and releasing albums until 1995 when they split. However, they re-formed in 2001 and have released albums every few years since. Many compilations and live albums were released in the gap, as well as Bob and Tony forming Hard Rain before re-forming Magnum with long-time keyboard player Mark Stanway.\n\nStudio albums\n\nLive albums\n\nCompilation albums\n\nThere have also been many other compilations across various labels.\n\nCharted singles\n\nVideos and DVDs\n\nReferences\n\nDiscographies of British artists\nRock music group discographies" ]
[ "Mastodon (band)", "Emperor of Sand and Cold Dark Place (2015-present)", "What was Emperor of Sand and Cold Dark Place?", "The band's seventh studio album Emperor of Sand was released on March 31,", "Did it have any singles?", "The first single, \"Show Yourself\", was released in February, and had peaked at number 4", "Did the album win any awards?", "I don't know.", "Did they have any other albums?", "Mastodon also released an EP titled Cold Dark Place on September 22 of the same year." ]
C_3a27ada9bf724cdda3d7ab551d613979_0
Did it have any singles?
5
Did Cold Dark Place have any singles?
Mastodon (band)
On January 18, 2015, it was reported that Brent Hinds is working on new Mastodon album, showing a picture with him playing the 13 string pedal steel. The same report was later confirmed by Troy Sanders, who stated: "Every record that we do is gonna sound different, because we always want to evolve and create our own musical path. And every record will be different. We do not wanna write the same record twice." On March 12, 2015, Mastodon released a new track called "White Walker", which will appear on the upcoming Game of Thrones: Catch the Throne Vol. 2 mixtape to promote the fifth season of the HBO TV series Game of Thrones. Dailor, Hinds, and Kelliher also appeared in episode 8 of the season as wildlings. This mixtape will also feature songs by various other acts, ranging from Killswitch Engage to Snoop Dogg. Hinds and Kelliher once again returned to Game of Thrones as wights among the White Walker army for the season 7 finale episode, "The Dragon and the Wolf". The band's seventh studio album Emperor of Sand was released on March 31, 2017. The theme for the album was cancer, inspired by Troy's wife who was diagnosed with cancer, and Bill's mother who lost her life to cancer. It details the story of a traveller banished to the desert by an emperor, in effect giving him a death sentence. The story is a metaphor for someone diagnosed with terminal cancer. The first single, "Show Yourself", was released in February, and had peaked at number 4 on the US Billboard Mainstream Rock Songs chart in June, making it the band's highest charting song to date. The second single, "Steambreather", peaked at number 18 on the same chart in October. Mastodon also released an EP titled Cold Dark Place on September 22 of the same year. It was a four-song EP, featuring three songs recorded during the Once More 'Round the Sun sessions, and one track recorded during the Emperor of Sand sessions. The first single for the EP, "Toe to Toes" was released on September 1, 2017. Brent Hinds stated that the inspiration behind some of the songs recorded for Cold Dark Place, which he wrote, were inspired by a nasty breakup that he had endured. Describing the sound of the record, Hinds stated that "I wrote some pretty dark, beautiful, spooky, funky, ethereal, melancholy music, which also sounds like the Bee Gees a little bit." On December 1st, the band released a revised version of the 12 part "The Making of Emperor of Sand" documentary via their official YouTube channel. Mastodon were announced to be on a co-headlining Summer 2018 Tour with Primus spanning across North America lasting from May to July CANNOTANSWER
The first single, "Show Yourself", was released in February, and had peaked at number 4
Mastodon is an American heavy metal band from Atlanta, Georgia, formed in 2000. The group is composed of Troy Sanders (bass/vocals), Brent Hinds (lead guitar/vocals), Bill Kelliher (rhythm guitar/backing vocals), and Brann Dailor (drums/vocals). Mastodon has released eight studio albums, as well as a number of other releases. The band's 2002 debut album, Remission, garnered significant critical acclaim for its unique sound. Mastodon's second full-length release, Leviathan, is a concept album based on the novel Moby-Dick by Herman Melville. Three magazines awarded the record Album of the Year in 2004: Revolver, Kerrang! and Terrorizer. The song "Colony of Birchmen" from the band's third album (released in 2006), Blood Mountain, was nominated for a Grammy Award for Best Metal Performance in 2007. Blood Mountain was followed in 2009 by Crack the Skye, and in 2011 by The Hunter, which debuted at No. 10 on the Billboard 200 chart and achieved major commercial success in the United States. The Hunter features the song "Curl of the Burl", which was nominated for a Grammy for Best Hard Rock/Metal Performance in 2012. Mastodon's 2014 album, Once More 'Round the Sun, peaked at No. 6 on the Billboard 200 chart and features the band's third Grammy-nominated song, "High Road". The band's seventh album, Emperor of Sand, was released on March 31, 2017, and features the band's most commercially successful song to date, "Show Yourself", which peaked at No. 4 on the US Billboard Mainstream Rock Songs chart in June 2017. The followup single, "Steambreather", peaked at number 18 on the same chart in October 2017. The album's opening track, "Sultan's Curse", earned the band their first Grammy award. Emperor of Sand was the band's first album to receive a Grammy nomination; it was nominated for Best Rock Album. Mastodon's eighth album Hushed and Grim was released on October 29, 2021. History Formation, early years and Remission (2000–2003) Mastodon was formed on January 13, 2000, after drummer Brann Dailor and guitarist Bill Kelliher moved to Atlanta from Victor, New York, and met bassist/singer Troy Sanders and guitarist/singer Brent Hinds at a High on Fire show. They discovered they had a mutual appreciation of sludge metal bands Melvins and Neurosis, heavy metal legends Iron Maiden, and 1970s hard rockers Thin Lizzy, and shortly thereafter formed Mastodon. In an interview in 2009, Kelliher revealed that the first time Hinds attended a practice with the band, he "showed up so wasted he couldn't play". The band recorded a demo in 2000, which featured Eric Saner on vocals. Saner left the band for personal reasons after just a couple of months. After recording a four-song demo and a 7-inch picture disc through Reptilian Records, Mastodon landed a record deal with Relapse Records in 2001. Mastodon released the EP Lifesblood in 2001, and its first full-length album, Remission, in 2002, with the singles "March of the Fire Ants" and "Crusher/Destroyer" (which was also featured on Tony Hawk's Underground). On each of Mastodon's first three full-length albums, the last track was an instrumental composition with a title that related to the Elephant Man. Leviathan and Call of the Mastodon (2004–2005) The band's second full-length album, Leviathan, was released in 2004. It is a concept album loosely based on Herman Melville's novel Moby-Dick. The band received critical acclaim for Leviathan and the record was named album of the year by Kerrang! and Terrorizer. "Blood and Thunder", which featured Clutch vocalist Neil Fallon, was chosen as one of the most important recordings of the decade by National Public Radio in November 2009, and that the entire album epitomizes " a phenomenal decade for metal". Leviathan also ranked second in a list by Metal Hammer of the best albums of 2004. The band went on tour in support of the album, playing throughout North America and Europe in The Unholy Alliance tour along with Slayer and Lamb of God and later on with Slipknot. "Iron Tusk", the fifth track on the album, can be found on the soundtrack of the skateboarding video game Tony Hawk's American Wasteland and in 2K Sports video game NHL 2K9. "Blood and Thunder" is featured in the video games Need for Speed: Most Wanted, Project Gotham Racing 3, and Saints Row. "Blood and Thunder" was added as a playable track on all instruments in Guitar Hero: Metallica and was featured in Japanese music games Drummania V2 and Guitarfreaks V2. It has also been released as downloadable content for Rock Band 3, with Pro Guitar support also available at extra cost. Leviathan was followed by the 2006 release of Call of the Mastodon, a remastered collection of the band's first nine songs, and a DVD of interviews and concert footage called The Workhorse Chronicles that includes material from the band's early days as a five-piece. The band has stated that they consider "Call of the Mastodon" to be their first studio album even though it was the third to be released. These two releases were the band's last for Relapse Records, as they would later go on to sign with Warner Bros. Mastodon also recorded a cover version of Metallica's "Orion" for a 2006 Kerrang! tribute album marking the twentieth anniversary of the release of Master of Puppets. Blood Mountain (2006–2008) Their third studio album, Blood Mountain, was released on September 12, 2006, followed by a tour to support the album along with Tool in Europe and Slayer in Australia and New Zealand. The Mars Volta frontman Cedric Bixler-Zavala lent his vocals to the track "Siberian Divide". Queens of the Stone Age frontman Josh Homme contributed vocals for the song "Colony of Birchmen". The band performed the song "Colony of Birchmen" on NBC's Late Night with Conan O'Brien on November 1, their first appearance on network television, to a viewing audience of around 2.4 million people. This song was also featured in the video games Saints Row 2 and Rock Band 2. The band's first single off Blood Mountain, "Capillarian Crest", was ranked number 27 in Rolling Stone Magazine's Top 100 Songs of 2006. The album itself was ranked 9th in the magazine's best albums of the year chart. The UK's Metal Hammer voted it the best album of 2006 in its end of year critic's poll. The album was voted in at No. 5 by Kerrang! in their end of year list, No. 6 on PopMatters' Best Albums of 2006, and No. 1 on The Best Metal Albums of 2006. About.com rated it the top metal album of 2006. Blood Mountain was also named best album of 2006 in the 10th anniversary birthday edition (issue 119) of Bizarre. It also came in at No. 2 on Revolver magazine's list of the top albums of 2006. The band was named Artist Of The Month for March 2007 at Gametap.com. The band had been touring and playing numerous shows during this time. Mastodon joined Against Me!, and Cursive for a North American tour, with Planes Mistaken for Stars opening for one leg and These Arms Are Snakes the other. A performance in Milwaukee had to be canceled due to illness on the part of Brent Hinds. Mastodon would play the Hove Festival in Norway as well as on the Main Stage of the Download Festival and then the Pitchfork Music Festival. During this time the band opened for Metallica on the Sick of the Studio tour. The band also played at the 2007 Dubai Desert Rock, the 2008 Bonnaroo Music festivals, and the inaugural Mayhem Festival. Mastodon then toured with Slayer, Trivium, Lamb of God and several other metal bands in 2008 for The Unholy Alliance tour 2008. The band performed "Colony of Birchmen" at the 2007 MTV Video Music Awards live with Josh Homme. After the televised performance, Brent Hinds was reported to have sustained a severe head injury. Blabbermouth.net initially reported that it was the result of a brutal assault, but the police report later suggested that an inebriated Hinds had started a fight with System of a Down bassist Shavo Odadjian and vocalist William Hudson, also known as Reverend William Burke of Achozen. "Sleeping Giant" was made available as a downloadable song for Guitar Hero III: Legends of Rock, "Colony of Birchmen" was included on Harmonix's Rock Band 2 and also volition's Saints row 2, and "Divinations" was featured in Madden NFL 10 and Saints Row: The Third. Mastodon contributed a cover version of Harry Nilsson's "One" to the video game Army of Twos advertisement campaign. The band members are fans of Aqua Teen Hunger Force and in 2007, Mastodon performed the opening song of Aqua Teen Hunger Force Colon Movie Film for Theaters, "Cut You Up with a Linoleum Knife". Crack the Skye and Live at the Aragon (2009–2010) Crack the Skye was released on March 24, 2009, as a normal version and a deluxe version (which includes all songs in instrumental versions as well as their normal versions) and entered the Billboard 200 at number 11 a week later. The album is produced by Brendan O'Brien and Scott Kelly of Neurosis returns as a guest musician on the title-track. In a MusicRadar interview, guitarist Bill Kelliher confirmed the album is about an "out-of-body experience", and looks at the concepts of astral travel, wormholes, Stephen Hawking's theories and the spiritual realm. The album follows a quadriplegic who learns astral projection. On his journey he flies too close to the sun, burning his umbilical cord which connects him to his body, and flies into oblivion. At the same time in Czarist Russia, Rasputin and his cult were channeling spirits and brought the quadriplegic to their time. He explains his situation and foretells the assassination of Rasputin. Inevitably Rasputin is assassinated and Rasputin guides him back to his body. The band had debuted three new tracks at the Bonnaroo Music Festival, but did not play any more live shows before the album's release, due to fears of internet distribution and wanting to play the songs to the right audience. Drummer Brann Dailor sings lead vocals for the verses of the song "Oblivion". Mastodon was a headliner at the Scion Rock Fest on February 28, 2009, performing a set containing three tracks from Crack the Skye, the first time these songs were played since being finalized and recorded. On May 15, 2009, Mastodon performed a shortened version of "Oblivion" on the Late Show with David Letterman. In order to support their new album, Mastodon toured with Metallica on the latter part of the 2009 European leg of their World Magnetic Tour. In Fall of 2009, they embarked with Dethklok on the "Adult Swim Presents" tour along with Converge and High on Fire. On October 17, 2009, they recorded a DVD documenting the tour at the Aragon Ballroom in Chicago. Mastodon played the alternative music festival Big Day Out, touring across Australia and New Zealand in January and February 2010. On October 29, 2009, they performed "Divinations" on Late Night with Jimmy Fallon. On November 4, 2009, Mastodon released their second EP, entitled Oblivion. Teaming up with bands Deftones and Alice in Chains, Mastodon went on tour in September 2010 in the United States and Canada. The tour was called Blackdiamondskye, a portmanteau of the three bands' latest albums (Black Gives Way to Blue, Diamond Eyes, and Crack the Skye). Film director Jimmy Hayward contacted the band during their 2009 tour of Europe and expressed how much listening to Blood Mountain had helped his creative process while finishing a screenplay, and he offered Mastodon a chance to score the film he had been working on - Jonah Hex. In an interview with Paste magazine, bassist Troy Sanders said that Hayward "called us out of the blue as a fan. It was the most beautiful, authentic way to collaborate." Mastodon used scenes from the film as inspiration during the writing and recording process, and the instrumental soundtrack, Jonah Hex: Revenge Gets Ugly EP, was released on June 29, 2010, through Reprise Records. In 2010, the band was confirmed as being part of the soundtrack for Namco Bandai Games' 2010 remake of Splatterhouse. The game's protagonist can also be seen wearing a Mastodon T-shirt in certain flashback cutscenes. On March 15, 2011, Mastodon released their first live DVD/CD entitled Live at the Aragon through Reprise. The recording features the entire performance of their fourth studio album, Crack the Skye, along with songs from their previous records. The Hunter (2011–2012) The Hunter, Mastodon's fifth studio album, was recorded at Doppler Studios in Atlanta with producer Mike Elizondo. The first hints of the new album were given by the band via Facebook in January 2011. Drummer Brann Dailor revealed during interviews the title of the band's new album and described the new material as not so much proggy as riff-oriented and "a little more stripped down". Meanwhile, the band performed in many major summer festivals. On June 28, 2011, Mastodon released through Adultswim.com a leftover track from the Crack the Skye sessions called "Deathbound". The first taste of The Hunter came in July 2011 where Mastodon released via YouTube the song "Black Tongue", set to a video of AJ Fosik creating the sculpture used for the album cover. By August 12, the band had revealed the track listing from The Hunter and debuted "Curl Of The Burl", the first official single from the new album. Mike Elizondo was chosen to produce the album which marks his first time working with the band. It was also announced that a deluxe edition would be released. It featured the two bonus tracks "The Ruiner" and "Deathbound" and a different cover. On September 6, Mastodon released a third song from The Hunter, "Spectrelight", featuring Scott Kelly of Neurosis. On September 16, the band released a 53-minute custom visualizer with all of the album tracks, 11 days prior to the release of The Hunter. In support of the album a North American headline tour was announced. The album was very well received by fans and the media. It also performed strongly on the official charts, rising to number ten on the Billboard 200. On October 5, 2011, they performed "Curl of the Burl" on the Late Show with David Letterman. On October 12, a UK tour was announced that will run through February 2012 with fellow bands The Dillinger Escape Plan and Red Fang as support acts. They were at Later... with Jools Holland, where they performed "Black Tongue" and "Curl of the Burl". A seventeen-date European tour was announced that featured dates in Scandinavia, Germany, France, Spain, Belgium, Portugal, Italy, the Netherlands and Latvia. On December 1, "Curl of the Burl" was nominated for a Grammy Award in the category Best Metal/Hard Rock performance. It is the band's second nomination with the first being for "Colony of Birchmen" in 2007. The record was named "Album of the Year" by Metal Hammer, Classic Rock and Rock Sound. In January 2012 it was announced that Mastodon and Swedish prog metal band Opeth will tour together in a joint tour across North America. It was named the "Heritage Hunter Tour" after both bands latest releases, The Hunter and Heritage. The bands took turns in the headlining spot. Support came from the Swedish heavy metal band Ghost. On February 11, 2012, the band performed a sold-out show at the Brixton Academy in London, it was the band's biggest headline show ever. Dry Bone Valley" was released on February 13 as the third single of the album. A music video for the song was also released. On April 21, 2012, to commemorate Record Store Day, Mastodon released two separate vinyls. The first was a split 7" with Feist titled Feistodon. Mastodon covered Feist's "A Commotion" and Feist covered Mastodon's "Black Tongue". The pair also released a one of a kind interactive, crossfading music video for the song 'A Commotion'. The second release was a cover of The Flaming Lips' "A Spoonful Weighs a Ton". The band spent the summer performing at festivals across Europe and South America. It was the last tour in support of The Hunter. Once More 'Round the Sun (2014–2015) Mastodon began recording again in early 2013. Guitarist Brent Hinds described the new music as "really eerie" and "very spooky-sounding", and stated that he has written three new songs. On December 3, 2012, the band announced via their Twitter page that they were writing a song for the film Monsters University. However, the song used in the film was the previously released "Island". They were also part of the 2013 Rockstar Energy Mayhem Festival. On May 6, 2013, the band stated that they are "...Very busy writing and putting songs together for the next studio Mastodon album..." In an interview on July 26, Brann Dailor was reported as saying that the band would "probably [go into the studio] end of September". The band also played at the 2014 Bonnaroo Music and Arts Festival. On February 27, Brann Dailor told in the interview that their sixth album would be released in summer of 2014, and he also stated that the band would release an EP in winter of 2014. Some of the confirmed tracks were: "Tread Lightly", "Buzzard's Guts", "Scent of Bitter Almonds", "High Road" and "Aunt Lisa". In an interview with Troy Sanders in Paste magazine released on April 3, he revealed the album was called Once More 'Round the Sun and had 15 tracks. He also confirmed that Mastodon recorded 90 minutes of material, but only 60 minutes of it will be present on the album; the unreleased material possibly might be released on an EP later in 2014. A few more tracks that have been confirmed are: "Diamonds in the Witch House" (which has Scott Kelly from Neurosis on a guest vocal appearance), and "Ember City". In an interview on April 11, Dailor revealed the album will be released in June. On April 17, the first single "High Road" was made available for streaming. On April 26, Bill Kelliher revealed the title of the second single "Chimes at Midnight". As of June 16, 2014, the entire album is streaming on iTunes. The album was released on June 24, 2014 through Reprise Records. The album sold around 34,000 copies in the United States in its first week of release to land at position No. 6 on The Billboard 200 chart making it the band's first consecutive top 10 debut, with their previous album, The Hunter, peaking at No.10 after opening with 39,000 copies in 2011. Emperor of Sand and Cold Dark Place (2015–2018) On January 18, 2015, it was reported that Brent Hinds was working on a new Mastodon album, showing a picture with him playing the 13 string pedal steel. The same report was later confirmed by Troy Sanders, who stated: "Every record that we do is gonna sound different, because we always want to evolve and create our own musical path. And every record will be different. We do not wanna write the same record twice." On March 12, 2015, Mastodon released a new track called "White Walker", which appears on the Game of Thrones: Catch the Throne Vol. 2 mixtape to promote the fifth season of the HBO TV series Game of Thrones. Dailor, Hinds, and Kelliher also appeared in episode 8 of the season as wildlings. This mixtape will also feature songs by various other acts, ranging from Killswitch Engage to Snoop Dogg. Hinds and Kelliher once again returned to Game of Thrones as wights among the White Walker army for the season 7 finale episode, "The Dragon and the Wolf". The band's seventh studio album, Emperor of Sand, was released on March 31, 2017. The theme for the album was cancer, inspired by Troy's wife who was diagnosed with cancer, and Bill's mother who lost her life to cancer. It details the story of a traveller banished to the desert by an emperor, in effect giving him a death sentence. The story is a metaphor for someone diagnosed with terminal cancer. The first single, "Show Yourself", was released in February, and had peaked at number 4 on the US Billboard Mainstream Rock Songs chart in June, making it the band's highest charting song to date. The second single, "Steambreather", peaked at number 18 on the same chart in October. Mastodon also released an EP titled Cold Dark Place on September 22 of the same year. It was a four-song EP, featuring three songs recorded during the Once More 'Round the Sun sessions, and one track recorded during the Emperor of Sand sessions. The first single for the EP, "Toe to Toes" was released on September 1, 2017. Brent Hinds stated that the inspiration behind some of the songs recorded for Cold Dark Place, which he wrote, were inspired by a nasty breakup that he had endured. Describing the sound of the record, Hinds stated that "I wrote some pretty dark, beautiful, spooky, funky, ethereal, melancholy music, which also sounds like the Bee Gees a little bit." On December 1, the band released a revised version of the 12-part "The Making of Emperor of Sand" documentary via their official YouTube channel. Mastodon were announced to be on a co-headlining Summer 2018 Tour with Primus spanning across North America lasting from May to July. Medium Rarities and Hushed and Grim (2020-present) On July 31, 2020, Mastodon released a new song titled "Fallen Torches" and announced a compilation album of rare material titled Medium Rarities, which was released on September 11, 2020. On June 17, 2021 the band announced a partnership with livestreaming company Dreamstage to present a live acoustic set in their hometown of Atlanta at the Georgia Aquarium on July 15, with $1 from each sale of a ticket/merchandise package going toward supporting the aquarium. Mastodon released their eighth studio album Hushed and Grim on October 29, 2021. The album is produced by David Bottrill, who has worked previously with such artists as Muse, Tool, and Rush. Characteristics Musical style Mastodon has been described as a heavy metal band, along with more specific genres such as progressive metal, sludge metal, alternative metal, stoner rock, psychedelic metal, experimental metal, and groove metal. James Christopher Monger of AllMusic describes Mastodon as "one of the more notable new wave of American heavy metal acts, a genre spawned in the mid-'90s" and says that "Mastodon's innovative, lyrically astute blend of progressive metal, grindcore, and hardcore helped position the band as one of the preeminent metal acts of the early 21st century." Bassist Troy Sanders stated about their musical style: Scott Kelly of Neurosis has appeared to perform guest vocals on a track on every Mastodon album excluding Remission and Hushed and Grim. Mastodon's musical style has evolved much from their earliest pre-Remission releases to The Hunter. Their early work is significantly heavier and more abrasive than their later work, primarily or exclusively using harsh vocals, more distorted instruments, and more atypical song structures. The release of Mastodon's third studio album, Blood Mountain, which incorporates both clean and harsh vocals, marked a shift in the vocal styles used, with subsequent albums favouring clean vocals almost exclusively. Lyrical themes Over its first four albums, Mastodon had specific concepts in mind, specifically the classical elements of fire, water, earth, and aether. Remission does not deal with a particular theme but it is loosely based on the theme of fire. Songs like "Crusher Destroyer", "Where Strides the Behemoth" and "Ol'e Nessie" deal with the theme of fictional creatures. Leviathan is about the novel Moby-Dick. It centers around the main characters and their thoughts during the story. Blood Mountain is about a man who is searching for the "Crystal Skull", which is on top of the "Blood Mountain". According to bassist Troy Sanders, "It's about climbing up a mountain and the different things that can happen to you when you're stranded on a mountain, in the woods, and you're lost. You're starving, hallucinating, running into strange creatures. You're being hunted. It's about that whole struggle." Crack the Skye deals with many different themes. The title, as well as some lyrical content, is a tribute to Skye, the younger sister of drummer Brann Dailor, who committed suicide at the age of fourteen. Themes touched on within the album include "dark magic(k), astral travelling and the role of Rasputin in the downfall of Czarist Russia". The Hunter does not deal with an entire concept like their earlier work. The title is a tribute to Hinds' brother, Brad Hinds, who died of a heart attack on December 4, 2010 while hunting. Once More 'Round the Sun, like its predecessor, is not a concept album. It features themes such as relationships, struggles and hardships. The album was based on the various events that took place in each band member's lives the year before the album release. Emperor of Sand mainly deals with the themes of death and survival and is about a desert wanderer faced with a death sentence. The lyrics were inspired by the friends and family members of the band who were diagnosed with cancer. Hushed and Grim has to do with grief, guilt, and the afterlife. Mastodon pays tribute to the memory of longtime friend and manager Nick John with their first ever double-album and a surrounding death mythology. According to drummer and co-vocalist Brann Dailor, in this mythology “When you die, your soul inhabits the heart of a living tree. You have to experience the seasons the way that a tree does through a whole calendar year. That’s the way you have to say goodbye to the natural world. And in that time, you reflect on the pillars of the life that you lived. You get to atone for things that you’ve done.” Visual art Artwork Artist Paul Romano was responsible for all of the band's album art and backdrops up to 2011. The artwork for the band's fifth studio album The Hunter was made by AJ Fosik, a woodcarver who was also responsible for the backdrop the band used live at the time. Oakland-based artist Skinner, who, in his own words, specializes in "psychedelic nightmare paintings", has taken the reins on Once More 'Round the Sun. "It's going to be a work of art for sure. It's going to be very eye-opening", said bassist Troy Sanders before the album's release. "Very striking. It's from another dimension, and a lot of our music is geared toward that idea—taking you to another planet on songs. It's out there, and I think it's incredible." Live presentation Following their first tours in the early 2000s, Mastodon have performed at many major festivals such as Download, Roskilde, Coachella, Bonnaroo, Big Day Out, Rock Werchter, Pinkpop, Metaltown, Ottawa Bluesfest, Sonisphere and Soundwave. When performing the band has traditionally had a fairly lo-fi visual presentation. However, during the band's "Crack The Skye Tour" (2009–2010), they used a large screen behind the drumkit showing a visual show. Legacy and reception The "sludge/stoner/alternative metal outfit" Mastodon, as labelled by AllMusic, is "one of the preeminent metal acts of the early 21st century". The BBC stated about Mastodon: "They might be bonkers of lyric, full of fantasy mumbo jumbo, but the band is unashamedly committed to its complex-of-composition craft, and the results have frequently stunned ever since their 2002 debut, Remission. They are the most ambitious, most fearless, most fun heavy metal band to have breached the mainstream since the genre oozed its way out of The Midlands in the 1970s." Alternative Press has stated: "Mastodon are one of the all-time great hard rock groups." Rolling Stone stated: "Mastodon are a bunch of doom-haunted, myth-obsessed, meat-and-potatoes Southern badasses who have become the most important new band in metal." Playboy wrote: "one of Mastodon’s greatest talents: the ability to take traditional metal fans along with them into other musical realms, and also appeal to more mainstream rock fans but give them some doses of metal." Members Current Brann Dailor – drums, percussion (2000–present), backing vocals (2005–present), lead vocals (2008–present) Brent Hinds – lead guitar, backing vocals (2000–present), lead vocals (2001–present) Bill Kelliher – rhythm guitar, backing vocals (2000–present) Troy Sanders – bass, keyboards, backing vocals (2000–present), lead vocals (2001–present) Former Eric Saner – lead vocals (2000–2001) Former touring musicians Derek Mitchka – keyboards (2011) Timeline Discography Studio albums Remission (2002) Leviathan (2004)Blood Mountain (2006)Crack the Skye (2009) The Hunter (2011) Once More 'Round the Sun (2014) Emperor of Sand (2017) Hushed and Grim (2021) Awards and nominations Danish Metal Awards |- | 2009 || Crack the Skye || Best International Metal Album || |- Grammy Awards |- | || "Colony of Birchmen" || Grammy Award for Best Metal Performance || |- | || "Curl of the Burl" || Grammy Award for Best Hard Rock/Metal Performance || |- | || "High Road" || Grammy Award for Best Metal Performance || |- | rowspan="2"| || Emperor of Sand || Grammy Award for Best Rock Album || |- | "Sultan's Curse" || Grammy Award for Best Metal Performance || |- | || "Pushing the Tides" || Grammy Award for Best Metal Performance || Kerrang! Awards |- | 2009 || "Oblivion" || Best Video || |- | 2012 || The Hunter || Best Album || Metal Hammer Golden Gods Awards |- | rowspan="2" | 2007 || Blood Mountain || Album of the Year || |- | Brent Hinds & Bill Kelliher || Golden Gods Award for Best Shredder || |- | 2012 || The Hunter || Golden Gods Award for Best Album || |- | 2017 || Mastodon || Best Live Band || Metal Storm Awards |- | 2004 || Leviathan || Best Alternative Metal Album || |- | rowspan="2" | 2009 || Crack the Skye || Best Alternative Metal Album || |- | "Divinations" || Best Video || |- | 2011 || The Hunter || Best Sludge/Stoner Metal Album || |- | 2014 || Once More 'Round the Sun || Best Sludge/Stoner Metal Album || |- | 2017 || Emperor of Sand || Best Progressive Metal Album || ''Revolver'' Golden Gods |- | 2012 || Brann Dailor || Golden Gods Award for Best Drummer || References External links Official website American sludge metal musical groups American progressive metal musical groups Stoner rock musical groups American alternative metal musical groups American avant-garde metal musical groups American groove metal musical groups Heavy metal musical groups from Georgia (U.S. state) Musical groups from Atlanta 2000 establishments in Georgia (U.S. state) Musical groups established in 2000 Relapse Records artists Reprise Records artists Roadrunner Records artists Kerrang! Awards winners Grammy Award winners Musical quartets
true
[ "\"Under Any Moon\" is a single by Glenn Medeiros and The Jets, released in 1989. \n\nWritten by Diane Warren, the song was released as a single only in the United Kingdom. It was included on the soundtrack for The Karate Kid Part III (1989), on the Mercury label, and was also included on The Jets' album, Believe (1989), on the MCA label. \n\nThe song failed to have any chart impact in the UK, while it did have minor airplay in the United States, it did not chart either. It was never performed live by The Jets.\n\nReferences\n\n1989 singles\n1989 songs\nThe Jets (band) songs\nGlenn Medeiros songs\nMercury Records singles\nSongs written by Diane Warren", "Miriam Oremans (born 9 September 1972) is a former professional female tennis player from the Netherlands. On 26 July 1993 she reached her career-high singles ranking of number 25.\n\nShe did not win any singles titles (Oremans did have two Satellite tournament wins in 1989), but did win three titles in doubles. In 1992 she was runner-up together with Jacco Eltingh in the Mixed Doubles finals of Wimbledon.\n\nHer biggest achievement came during the 2000 Summer Olympics in Sydney where she won the silver medal in doubles, partnering Kristie Boogert, losing the final match to Venus and Serena Williams.\n\nMajor finals\n\nOlympic finals\n\nDoubles: 1 (0–1)\n\nWTA Tour finals\n\nSingles 5\n\nDoubles 12 (3–9)\n\nITF finals\n\nSingles Finals: (2-2)\n\nDoubles Finals: (1-2)\n\nReferences\n ITF site\n\nExternal links\n \n \n\n1972 births\nLiving people\nDutch female tennis players\nOlympic tennis players of the Netherlands\nOlympic silver medalists for the Netherlands\nPeople from Sint-Michielsgestel\nTennis players at the 2000 Summer Olympics\nOlympic medalists in tennis\nHopman Cup competitors\nMedalists at the 2000 Summer Olympics" ]
[ "Mastodon (band)", "Emperor of Sand and Cold Dark Place (2015-present)", "What was Emperor of Sand and Cold Dark Place?", "The band's seventh studio album Emperor of Sand was released on March 31,", "Did it have any singles?", "The first single, \"Show Yourself\", was released in February, and had peaked at number 4", "Did the album win any awards?", "I don't know.", "Did they have any other albums?", "Mastodon also released an EP titled Cold Dark Place on September 22 of the same year.", "Did it have any singles?", "It was a four-song EP," ]
C_3a27ada9bf724cdda3d7ab551d613979_0
Did the songs do well?
6
Did the songs on the album Cold Dark Place do well?
Mastodon (band)
On January 18, 2015, it was reported that Brent Hinds is working on new Mastodon album, showing a picture with him playing the 13 string pedal steel. The same report was later confirmed by Troy Sanders, who stated: "Every record that we do is gonna sound different, because we always want to evolve and create our own musical path. And every record will be different. We do not wanna write the same record twice." On March 12, 2015, Mastodon released a new track called "White Walker", which will appear on the upcoming Game of Thrones: Catch the Throne Vol. 2 mixtape to promote the fifth season of the HBO TV series Game of Thrones. Dailor, Hinds, and Kelliher also appeared in episode 8 of the season as wildlings. This mixtape will also feature songs by various other acts, ranging from Killswitch Engage to Snoop Dogg. Hinds and Kelliher once again returned to Game of Thrones as wights among the White Walker army for the season 7 finale episode, "The Dragon and the Wolf". The band's seventh studio album Emperor of Sand was released on March 31, 2017. The theme for the album was cancer, inspired by Troy's wife who was diagnosed with cancer, and Bill's mother who lost her life to cancer. It details the story of a traveller banished to the desert by an emperor, in effect giving him a death sentence. The story is a metaphor for someone diagnosed with terminal cancer. The first single, "Show Yourself", was released in February, and had peaked at number 4 on the US Billboard Mainstream Rock Songs chart in June, making it the band's highest charting song to date. The second single, "Steambreather", peaked at number 18 on the same chart in October. Mastodon also released an EP titled Cold Dark Place on September 22 of the same year. It was a four-song EP, featuring three songs recorded during the Once More 'Round the Sun sessions, and one track recorded during the Emperor of Sand sessions. The first single for the EP, "Toe to Toes" was released on September 1, 2017. Brent Hinds stated that the inspiration behind some of the songs recorded for Cold Dark Place, which he wrote, were inspired by a nasty breakup that he had endured. Describing the sound of the record, Hinds stated that "I wrote some pretty dark, beautiful, spooky, funky, ethereal, melancholy music, which also sounds like the Bee Gees a little bit." On December 1st, the band released a revised version of the 12 part "The Making of Emperor of Sand" documentary via their official YouTube channel. Mastodon were announced to be on a co-headlining Summer 2018 Tour with Primus spanning across North America lasting from May to July CANNOTANSWER
CANNOTANSWER
Mastodon is an American heavy metal band from Atlanta, Georgia, formed in 2000. The group is composed of Troy Sanders (bass/vocals), Brent Hinds (lead guitar/vocals), Bill Kelliher (rhythm guitar/backing vocals), and Brann Dailor (drums/vocals). Mastodon has released eight studio albums, as well as a number of other releases. The band's 2002 debut album, Remission, garnered significant critical acclaim for its unique sound. Mastodon's second full-length release, Leviathan, is a concept album based on the novel Moby-Dick by Herman Melville. Three magazines awarded the record Album of the Year in 2004: Revolver, Kerrang! and Terrorizer. The song "Colony of Birchmen" from the band's third album (released in 2006), Blood Mountain, was nominated for a Grammy Award for Best Metal Performance in 2007. Blood Mountain was followed in 2009 by Crack the Skye, and in 2011 by The Hunter, which debuted at No. 10 on the Billboard 200 chart and achieved major commercial success in the United States. The Hunter features the song "Curl of the Burl", which was nominated for a Grammy for Best Hard Rock/Metal Performance in 2012. Mastodon's 2014 album, Once More 'Round the Sun, peaked at No. 6 on the Billboard 200 chart and features the band's third Grammy-nominated song, "High Road". The band's seventh album, Emperor of Sand, was released on March 31, 2017, and features the band's most commercially successful song to date, "Show Yourself", which peaked at No. 4 on the US Billboard Mainstream Rock Songs chart in June 2017. The followup single, "Steambreather", peaked at number 18 on the same chart in October 2017. The album's opening track, "Sultan's Curse", earned the band their first Grammy award. Emperor of Sand was the band's first album to receive a Grammy nomination; it was nominated for Best Rock Album. Mastodon's eighth album Hushed and Grim was released on October 29, 2021. History Formation, early years and Remission (2000–2003) Mastodon was formed on January 13, 2000, after drummer Brann Dailor and guitarist Bill Kelliher moved to Atlanta from Victor, New York, and met bassist/singer Troy Sanders and guitarist/singer Brent Hinds at a High on Fire show. They discovered they had a mutual appreciation of sludge metal bands Melvins and Neurosis, heavy metal legends Iron Maiden, and 1970s hard rockers Thin Lizzy, and shortly thereafter formed Mastodon. In an interview in 2009, Kelliher revealed that the first time Hinds attended a practice with the band, he "showed up so wasted he couldn't play". The band recorded a demo in 2000, which featured Eric Saner on vocals. Saner left the band for personal reasons after just a couple of months. After recording a four-song demo and a 7-inch picture disc through Reptilian Records, Mastodon landed a record deal with Relapse Records in 2001. Mastodon released the EP Lifesblood in 2001, and its first full-length album, Remission, in 2002, with the singles "March of the Fire Ants" and "Crusher/Destroyer" (which was also featured on Tony Hawk's Underground). On each of Mastodon's first three full-length albums, the last track was an instrumental composition with a title that related to the Elephant Man. Leviathan and Call of the Mastodon (2004–2005) The band's second full-length album, Leviathan, was released in 2004. It is a concept album loosely based on Herman Melville's novel Moby-Dick. The band received critical acclaim for Leviathan and the record was named album of the year by Kerrang! and Terrorizer. "Blood and Thunder", which featured Clutch vocalist Neil Fallon, was chosen as one of the most important recordings of the decade by National Public Radio in November 2009, and that the entire album epitomizes " a phenomenal decade for metal". Leviathan also ranked second in a list by Metal Hammer of the best albums of 2004. The band went on tour in support of the album, playing throughout North America and Europe in The Unholy Alliance tour along with Slayer and Lamb of God and later on with Slipknot. "Iron Tusk", the fifth track on the album, can be found on the soundtrack of the skateboarding video game Tony Hawk's American Wasteland and in 2K Sports video game NHL 2K9. "Blood and Thunder" is featured in the video games Need for Speed: Most Wanted, Project Gotham Racing 3, and Saints Row. "Blood and Thunder" was added as a playable track on all instruments in Guitar Hero: Metallica and was featured in Japanese music games Drummania V2 and Guitarfreaks V2. It has also been released as downloadable content for Rock Band 3, with Pro Guitar support also available at extra cost. Leviathan was followed by the 2006 release of Call of the Mastodon, a remastered collection of the band's first nine songs, and a DVD of interviews and concert footage called The Workhorse Chronicles that includes material from the band's early days as a five-piece. The band has stated that they consider "Call of the Mastodon" to be their first studio album even though it was the third to be released. These two releases were the band's last for Relapse Records, as they would later go on to sign with Warner Bros. Mastodon also recorded a cover version of Metallica's "Orion" for a 2006 Kerrang! tribute album marking the twentieth anniversary of the release of Master of Puppets. Blood Mountain (2006–2008) Their third studio album, Blood Mountain, was released on September 12, 2006, followed by a tour to support the album along with Tool in Europe and Slayer in Australia and New Zealand. The Mars Volta frontman Cedric Bixler-Zavala lent his vocals to the track "Siberian Divide". Queens of the Stone Age frontman Josh Homme contributed vocals for the song "Colony of Birchmen". The band performed the song "Colony of Birchmen" on NBC's Late Night with Conan O'Brien on November 1, their first appearance on network television, to a viewing audience of around 2.4 million people. This song was also featured in the video games Saints Row 2 and Rock Band 2. The band's first single off Blood Mountain, "Capillarian Crest", was ranked number 27 in Rolling Stone Magazine's Top 100 Songs of 2006. The album itself was ranked 9th in the magazine's best albums of the year chart. The UK's Metal Hammer voted it the best album of 2006 in its end of year critic's poll. The album was voted in at No. 5 by Kerrang! in their end of year list, No. 6 on PopMatters' Best Albums of 2006, and No. 1 on The Best Metal Albums of 2006. About.com rated it the top metal album of 2006. Blood Mountain was also named best album of 2006 in the 10th anniversary birthday edition (issue 119) of Bizarre. It also came in at No. 2 on Revolver magazine's list of the top albums of 2006. The band was named Artist Of The Month for March 2007 at Gametap.com. The band had been touring and playing numerous shows during this time. Mastodon joined Against Me!, and Cursive for a North American tour, with Planes Mistaken for Stars opening for one leg and These Arms Are Snakes the other. A performance in Milwaukee had to be canceled due to illness on the part of Brent Hinds. Mastodon would play the Hove Festival in Norway as well as on the Main Stage of the Download Festival and then the Pitchfork Music Festival. During this time the band opened for Metallica on the Sick of the Studio tour. The band also played at the 2007 Dubai Desert Rock, the 2008 Bonnaroo Music festivals, and the inaugural Mayhem Festival. Mastodon then toured with Slayer, Trivium, Lamb of God and several other metal bands in 2008 for The Unholy Alliance tour 2008. The band performed "Colony of Birchmen" at the 2007 MTV Video Music Awards live with Josh Homme. After the televised performance, Brent Hinds was reported to have sustained a severe head injury. Blabbermouth.net initially reported that it was the result of a brutal assault, but the police report later suggested that an inebriated Hinds had started a fight with System of a Down bassist Shavo Odadjian and vocalist William Hudson, also known as Reverend William Burke of Achozen. "Sleeping Giant" was made available as a downloadable song for Guitar Hero III: Legends of Rock, "Colony of Birchmen" was included on Harmonix's Rock Band 2 and also volition's Saints row 2, and "Divinations" was featured in Madden NFL 10 and Saints Row: The Third. Mastodon contributed a cover version of Harry Nilsson's "One" to the video game Army of Twos advertisement campaign. The band members are fans of Aqua Teen Hunger Force and in 2007, Mastodon performed the opening song of Aqua Teen Hunger Force Colon Movie Film for Theaters, "Cut You Up with a Linoleum Knife". Crack the Skye and Live at the Aragon (2009–2010) Crack the Skye was released on March 24, 2009, as a normal version and a deluxe version (which includes all songs in instrumental versions as well as their normal versions) and entered the Billboard 200 at number 11 a week later. The album is produced by Brendan O'Brien and Scott Kelly of Neurosis returns as a guest musician on the title-track. In a MusicRadar interview, guitarist Bill Kelliher confirmed the album is about an "out-of-body experience", and looks at the concepts of astral travel, wormholes, Stephen Hawking's theories and the spiritual realm. The album follows a quadriplegic who learns astral projection. On his journey he flies too close to the sun, burning his umbilical cord which connects him to his body, and flies into oblivion. At the same time in Czarist Russia, Rasputin and his cult were channeling spirits and brought the quadriplegic to their time. He explains his situation and foretells the assassination of Rasputin. Inevitably Rasputin is assassinated and Rasputin guides him back to his body. The band had debuted three new tracks at the Bonnaroo Music Festival, but did not play any more live shows before the album's release, due to fears of internet distribution and wanting to play the songs to the right audience. Drummer Brann Dailor sings lead vocals for the verses of the song "Oblivion". Mastodon was a headliner at the Scion Rock Fest on February 28, 2009, performing a set containing three tracks from Crack the Skye, the first time these songs were played since being finalized and recorded. On May 15, 2009, Mastodon performed a shortened version of "Oblivion" on the Late Show with David Letterman. In order to support their new album, Mastodon toured with Metallica on the latter part of the 2009 European leg of their World Magnetic Tour. In Fall of 2009, they embarked with Dethklok on the "Adult Swim Presents" tour along with Converge and High on Fire. On October 17, 2009, they recorded a DVD documenting the tour at the Aragon Ballroom in Chicago. Mastodon played the alternative music festival Big Day Out, touring across Australia and New Zealand in January and February 2010. On October 29, 2009, they performed "Divinations" on Late Night with Jimmy Fallon. On November 4, 2009, Mastodon released their second EP, entitled Oblivion. Teaming up with bands Deftones and Alice in Chains, Mastodon went on tour in September 2010 in the United States and Canada. The tour was called Blackdiamondskye, a portmanteau of the three bands' latest albums (Black Gives Way to Blue, Diamond Eyes, and Crack the Skye). Film director Jimmy Hayward contacted the band during their 2009 tour of Europe and expressed how much listening to Blood Mountain had helped his creative process while finishing a screenplay, and he offered Mastodon a chance to score the film he had been working on - Jonah Hex. In an interview with Paste magazine, bassist Troy Sanders said that Hayward "called us out of the blue as a fan. It was the most beautiful, authentic way to collaborate." Mastodon used scenes from the film as inspiration during the writing and recording process, and the instrumental soundtrack, Jonah Hex: Revenge Gets Ugly EP, was released on June 29, 2010, through Reprise Records. In 2010, the band was confirmed as being part of the soundtrack for Namco Bandai Games' 2010 remake of Splatterhouse. The game's protagonist can also be seen wearing a Mastodon T-shirt in certain flashback cutscenes. On March 15, 2011, Mastodon released their first live DVD/CD entitled Live at the Aragon through Reprise. The recording features the entire performance of their fourth studio album, Crack the Skye, along with songs from their previous records. The Hunter (2011–2012) The Hunter, Mastodon's fifth studio album, was recorded at Doppler Studios in Atlanta with producer Mike Elizondo. The first hints of the new album were given by the band via Facebook in January 2011. Drummer Brann Dailor revealed during interviews the title of the band's new album and described the new material as not so much proggy as riff-oriented and "a little more stripped down". Meanwhile, the band performed in many major summer festivals. On June 28, 2011, Mastodon released through Adultswim.com a leftover track from the Crack the Skye sessions called "Deathbound". The first taste of The Hunter came in July 2011 where Mastodon released via YouTube the song "Black Tongue", set to a video of AJ Fosik creating the sculpture used for the album cover. By August 12, the band had revealed the track listing from The Hunter and debuted "Curl Of The Burl", the first official single from the new album. Mike Elizondo was chosen to produce the album which marks his first time working with the band. It was also announced that a deluxe edition would be released. It featured the two bonus tracks "The Ruiner" and "Deathbound" and a different cover. On September 6, Mastodon released a third song from The Hunter, "Spectrelight", featuring Scott Kelly of Neurosis. On September 16, the band released a 53-minute custom visualizer with all of the album tracks, 11 days prior to the release of The Hunter. In support of the album a North American headline tour was announced. The album was very well received by fans and the media. It also performed strongly on the official charts, rising to number ten on the Billboard 200. On October 5, 2011, they performed "Curl of the Burl" on the Late Show with David Letterman. On October 12, a UK tour was announced that will run through February 2012 with fellow bands The Dillinger Escape Plan and Red Fang as support acts. They were at Later... with Jools Holland, where they performed "Black Tongue" and "Curl of the Burl". A seventeen-date European tour was announced that featured dates in Scandinavia, Germany, France, Spain, Belgium, Portugal, Italy, the Netherlands and Latvia. On December 1, "Curl of the Burl" was nominated for a Grammy Award in the category Best Metal/Hard Rock performance. It is the band's second nomination with the first being for "Colony of Birchmen" in 2007. The record was named "Album of the Year" by Metal Hammer, Classic Rock and Rock Sound. In January 2012 it was announced that Mastodon and Swedish prog metal band Opeth will tour together in a joint tour across North America. It was named the "Heritage Hunter Tour" after both bands latest releases, The Hunter and Heritage. The bands took turns in the headlining spot. Support came from the Swedish heavy metal band Ghost. On February 11, 2012, the band performed a sold-out show at the Brixton Academy in London, it was the band's biggest headline show ever. Dry Bone Valley" was released on February 13 as the third single of the album. A music video for the song was also released. On April 21, 2012, to commemorate Record Store Day, Mastodon released two separate vinyls. The first was a split 7" with Feist titled Feistodon. Mastodon covered Feist's "A Commotion" and Feist covered Mastodon's "Black Tongue". The pair also released a one of a kind interactive, crossfading music video for the song 'A Commotion'. The second release was a cover of The Flaming Lips' "A Spoonful Weighs a Ton". The band spent the summer performing at festivals across Europe and South America. It was the last tour in support of The Hunter. Once More 'Round the Sun (2014–2015) Mastodon began recording again in early 2013. Guitarist Brent Hinds described the new music as "really eerie" and "very spooky-sounding", and stated that he has written three new songs. On December 3, 2012, the band announced via their Twitter page that they were writing a song for the film Monsters University. However, the song used in the film was the previously released "Island". They were also part of the 2013 Rockstar Energy Mayhem Festival. On May 6, 2013, the band stated that they are "...Very busy writing and putting songs together for the next studio Mastodon album..." In an interview on July 26, Brann Dailor was reported as saying that the band would "probably [go into the studio] end of September". The band also played at the 2014 Bonnaroo Music and Arts Festival. On February 27, Brann Dailor told in the interview that their sixth album would be released in summer of 2014, and he also stated that the band would release an EP in winter of 2014. Some of the confirmed tracks were: "Tread Lightly", "Buzzard's Guts", "Scent of Bitter Almonds", "High Road" and "Aunt Lisa". In an interview with Troy Sanders in Paste magazine released on April 3, he revealed the album was called Once More 'Round the Sun and had 15 tracks. He also confirmed that Mastodon recorded 90 minutes of material, but only 60 minutes of it will be present on the album; the unreleased material possibly might be released on an EP later in 2014. A few more tracks that have been confirmed are: "Diamonds in the Witch House" (which has Scott Kelly from Neurosis on a guest vocal appearance), and "Ember City". In an interview on April 11, Dailor revealed the album will be released in June. On April 17, the first single "High Road" was made available for streaming. On April 26, Bill Kelliher revealed the title of the second single "Chimes at Midnight". As of June 16, 2014, the entire album is streaming on iTunes. The album was released on June 24, 2014 through Reprise Records. The album sold around 34,000 copies in the United States in its first week of release to land at position No. 6 on The Billboard 200 chart making it the band's first consecutive top 10 debut, with their previous album, The Hunter, peaking at No.10 after opening with 39,000 copies in 2011. Emperor of Sand and Cold Dark Place (2015–2018) On January 18, 2015, it was reported that Brent Hinds was working on a new Mastodon album, showing a picture with him playing the 13 string pedal steel. The same report was later confirmed by Troy Sanders, who stated: "Every record that we do is gonna sound different, because we always want to evolve and create our own musical path. And every record will be different. We do not wanna write the same record twice." On March 12, 2015, Mastodon released a new track called "White Walker", which appears on the Game of Thrones: Catch the Throne Vol. 2 mixtape to promote the fifth season of the HBO TV series Game of Thrones. Dailor, Hinds, and Kelliher also appeared in episode 8 of the season as wildlings. This mixtape will also feature songs by various other acts, ranging from Killswitch Engage to Snoop Dogg. Hinds and Kelliher once again returned to Game of Thrones as wights among the White Walker army for the season 7 finale episode, "The Dragon and the Wolf". The band's seventh studio album, Emperor of Sand, was released on March 31, 2017. The theme for the album was cancer, inspired by Troy's wife who was diagnosed with cancer, and Bill's mother who lost her life to cancer. It details the story of a traveller banished to the desert by an emperor, in effect giving him a death sentence. The story is a metaphor for someone diagnosed with terminal cancer. The first single, "Show Yourself", was released in February, and had peaked at number 4 on the US Billboard Mainstream Rock Songs chart in June, making it the band's highest charting song to date. The second single, "Steambreather", peaked at number 18 on the same chart in October. Mastodon also released an EP titled Cold Dark Place on September 22 of the same year. It was a four-song EP, featuring three songs recorded during the Once More 'Round the Sun sessions, and one track recorded during the Emperor of Sand sessions. The first single for the EP, "Toe to Toes" was released on September 1, 2017. Brent Hinds stated that the inspiration behind some of the songs recorded for Cold Dark Place, which he wrote, were inspired by a nasty breakup that he had endured. Describing the sound of the record, Hinds stated that "I wrote some pretty dark, beautiful, spooky, funky, ethereal, melancholy music, which also sounds like the Bee Gees a little bit." On December 1, the band released a revised version of the 12-part "The Making of Emperor of Sand" documentary via their official YouTube channel. Mastodon were announced to be on a co-headlining Summer 2018 Tour with Primus spanning across North America lasting from May to July. Medium Rarities and Hushed and Grim (2020-present) On July 31, 2020, Mastodon released a new song titled "Fallen Torches" and announced a compilation album of rare material titled Medium Rarities, which was released on September 11, 2020. On June 17, 2021 the band announced a partnership with livestreaming company Dreamstage to present a live acoustic set in their hometown of Atlanta at the Georgia Aquarium on July 15, with $1 from each sale of a ticket/merchandise package going toward supporting the aquarium. Mastodon released their eighth studio album Hushed and Grim on October 29, 2021. The album is produced by David Bottrill, who has worked previously with such artists as Muse, Tool, and Rush. Characteristics Musical style Mastodon has been described as a heavy metal band, along with more specific genres such as progressive metal, sludge metal, alternative metal, stoner rock, psychedelic metal, experimental metal, and groove metal. James Christopher Monger of AllMusic describes Mastodon as "one of the more notable new wave of American heavy metal acts, a genre spawned in the mid-'90s" and says that "Mastodon's innovative, lyrically astute blend of progressive metal, grindcore, and hardcore helped position the band as one of the preeminent metal acts of the early 21st century." Bassist Troy Sanders stated about their musical style: Scott Kelly of Neurosis has appeared to perform guest vocals on a track on every Mastodon album excluding Remission and Hushed and Grim. Mastodon's musical style has evolved much from their earliest pre-Remission releases to The Hunter. Their early work is significantly heavier and more abrasive than their later work, primarily or exclusively using harsh vocals, more distorted instruments, and more atypical song structures. The release of Mastodon's third studio album, Blood Mountain, which incorporates both clean and harsh vocals, marked a shift in the vocal styles used, with subsequent albums favouring clean vocals almost exclusively. Lyrical themes Over its first four albums, Mastodon had specific concepts in mind, specifically the classical elements of fire, water, earth, and aether. Remission does not deal with a particular theme but it is loosely based on the theme of fire. Songs like "Crusher Destroyer", "Where Strides the Behemoth" and "Ol'e Nessie" deal with the theme of fictional creatures. Leviathan is about the novel Moby-Dick. It centers around the main characters and their thoughts during the story. Blood Mountain is about a man who is searching for the "Crystal Skull", which is on top of the "Blood Mountain". According to bassist Troy Sanders, "It's about climbing up a mountain and the different things that can happen to you when you're stranded on a mountain, in the woods, and you're lost. You're starving, hallucinating, running into strange creatures. You're being hunted. It's about that whole struggle." Crack the Skye deals with many different themes. The title, as well as some lyrical content, is a tribute to Skye, the younger sister of drummer Brann Dailor, who committed suicide at the age of fourteen. Themes touched on within the album include "dark magic(k), astral travelling and the role of Rasputin in the downfall of Czarist Russia". The Hunter does not deal with an entire concept like their earlier work. The title is a tribute to Hinds' brother, Brad Hinds, who died of a heart attack on December 4, 2010 while hunting. Once More 'Round the Sun, like its predecessor, is not a concept album. It features themes such as relationships, struggles and hardships. The album was based on the various events that took place in each band member's lives the year before the album release. Emperor of Sand mainly deals with the themes of death and survival and is about a desert wanderer faced with a death sentence. The lyrics were inspired by the friends and family members of the band who were diagnosed with cancer. Hushed and Grim has to do with grief, guilt, and the afterlife. Mastodon pays tribute to the memory of longtime friend and manager Nick John with their first ever double-album and a surrounding death mythology. According to drummer and co-vocalist Brann Dailor, in this mythology “When you die, your soul inhabits the heart of a living tree. You have to experience the seasons the way that a tree does through a whole calendar year. That’s the way you have to say goodbye to the natural world. And in that time, you reflect on the pillars of the life that you lived. You get to atone for things that you’ve done.” Visual art Artwork Artist Paul Romano was responsible for all of the band's album art and backdrops up to 2011. The artwork for the band's fifth studio album The Hunter was made by AJ Fosik, a woodcarver who was also responsible for the backdrop the band used live at the time. Oakland-based artist Skinner, who, in his own words, specializes in "psychedelic nightmare paintings", has taken the reins on Once More 'Round the Sun. "It's going to be a work of art for sure. It's going to be very eye-opening", said bassist Troy Sanders before the album's release. "Very striking. It's from another dimension, and a lot of our music is geared toward that idea—taking you to another planet on songs. It's out there, and I think it's incredible." Live presentation Following their first tours in the early 2000s, Mastodon have performed at many major festivals such as Download, Roskilde, Coachella, Bonnaroo, Big Day Out, Rock Werchter, Pinkpop, Metaltown, Ottawa Bluesfest, Sonisphere and Soundwave. When performing the band has traditionally had a fairly lo-fi visual presentation. However, during the band's "Crack The Skye Tour" (2009–2010), they used a large screen behind the drumkit showing a visual show. Legacy and reception The "sludge/stoner/alternative metal outfit" Mastodon, as labelled by AllMusic, is "one of the preeminent metal acts of the early 21st century". The BBC stated about Mastodon: "They might be bonkers of lyric, full of fantasy mumbo jumbo, but the band is unashamedly committed to its complex-of-composition craft, and the results have frequently stunned ever since their 2002 debut, Remission. They are the most ambitious, most fearless, most fun heavy metal band to have breached the mainstream since the genre oozed its way out of The Midlands in the 1970s." Alternative Press has stated: "Mastodon are one of the all-time great hard rock groups." Rolling Stone stated: "Mastodon are a bunch of doom-haunted, myth-obsessed, meat-and-potatoes Southern badasses who have become the most important new band in metal." Playboy wrote: "one of Mastodon’s greatest talents: the ability to take traditional metal fans along with them into other musical realms, and also appeal to more mainstream rock fans but give them some doses of metal." Members Current Brann Dailor – drums, percussion (2000–present), backing vocals (2005–present), lead vocals (2008–present) Brent Hinds – lead guitar, backing vocals (2000–present), lead vocals (2001–present) Bill Kelliher – rhythm guitar, backing vocals (2000–present) Troy Sanders – bass, keyboards, backing vocals (2000–present), lead vocals (2001–present) Former Eric Saner – lead vocals (2000–2001) Former touring musicians Derek Mitchka – keyboards (2011) Timeline Discography Studio albums Remission (2002) Leviathan (2004)Blood Mountain (2006)Crack the Skye (2009) The Hunter (2011) Once More 'Round the Sun (2014) Emperor of Sand (2017) Hushed and Grim (2021) Awards and nominations Danish Metal Awards |- | 2009 || Crack the Skye || Best International Metal Album || |- Grammy Awards |- | || "Colony of Birchmen" || Grammy Award for Best Metal Performance || |- | || "Curl of the Burl" || Grammy Award for Best Hard Rock/Metal Performance || |- | || "High Road" || Grammy Award for Best Metal Performance || |- | rowspan="2"| || Emperor of Sand || Grammy Award for Best Rock Album || |- | "Sultan's Curse" || Grammy Award for Best Metal Performance || |- | || "Pushing the Tides" || Grammy Award for Best Metal Performance || Kerrang! Awards |- | 2009 || "Oblivion" || Best Video || |- | 2012 || The Hunter || Best Album || Metal Hammer Golden Gods Awards |- | rowspan="2" | 2007 || Blood Mountain || Album of the Year || |- | Brent Hinds & Bill Kelliher || Golden Gods Award for Best Shredder || |- | 2012 || The Hunter || Golden Gods Award for Best Album || |- | 2017 || Mastodon || Best Live Band || Metal Storm Awards |- | 2004 || Leviathan || Best Alternative Metal Album || |- | rowspan="2" | 2009 || Crack the Skye || Best Alternative Metal Album || |- | "Divinations" || Best Video || |- | 2011 || The Hunter || Best Sludge/Stoner Metal Album || |- | 2014 || Once More 'Round the Sun || Best Sludge/Stoner Metal Album || |- | 2017 || Emperor of Sand || Best Progressive Metal Album || ''Revolver'' Golden Gods |- | 2012 || Brann Dailor || Golden Gods Award for Best Drummer || References External links Official website American sludge metal musical groups American progressive metal musical groups Stoner rock musical groups American alternative metal musical groups American avant-garde metal musical groups American groove metal musical groups Heavy metal musical groups from Georgia (U.S. state) Musical groups from Atlanta 2000 establishments in Georgia (U.S. state) Musical groups established in 2000 Relapse Records artists Reprise Records artists Roadrunner Records artists Kerrang! Awards winners Grammy Award winners Musical quartets
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)", "Follow Me is the second album of Dutch singer Do.\n\nIt did well in the Netherlands, debuting at #8 in the Mega Top 100 (album chart).\n\nAlbum information\nAfter her successful debut album Do she began working on her second album with her best friend and musical partner Glenn Corneille. They made a basis for the next album but Glenn Corneille died in a car disaster. However, Do needed to go on, so she started again where she left off.\n\nThe album contains 12 songs. Do co-wrote 3 songs; Love Me, Tune Into Me and When Everything is Gone. It features several different music genres, such as Pop, Jazz, Gospel and Country.\n\nTrack listing\n\nChart positions\n\nReferences\n.\n\n2006 albums\nDo (singer) albums\nSony BMG albums" ]
[ "Mastodon (band)", "Emperor of Sand and Cold Dark Place (2015-present)", "What was Emperor of Sand and Cold Dark Place?", "The band's seventh studio album Emperor of Sand was released on March 31,", "Did it have any singles?", "The first single, \"Show Yourself\", was released in February, and had peaked at number 4", "Did the album win any awards?", "I don't know.", "Did they have any other albums?", "Mastodon also released an EP titled Cold Dark Place on September 22 of the same year.", "Did it have any singles?", "It was a four-song EP,", "Did the songs do well?", "I don't know." ]
C_3a27ada9bf724cdda3d7ab551d613979_0
Did they win any awards?
7
Did Mastodon win any awards?
Mastodon (band)
On January 18, 2015, it was reported that Brent Hinds is working on new Mastodon album, showing a picture with him playing the 13 string pedal steel. The same report was later confirmed by Troy Sanders, who stated: "Every record that we do is gonna sound different, because we always want to evolve and create our own musical path. And every record will be different. We do not wanna write the same record twice." On March 12, 2015, Mastodon released a new track called "White Walker", which will appear on the upcoming Game of Thrones: Catch the Throne Vol. 2 mixtape to promote the fifth season of the HBO TV series Game of Thrones. Dailor, Hinds, and Kelliher also appeared in episode 8 of the season as wildlings. This mixtape will also feature songs by various other acts, ranging from Killswitch Engage to Snoop Dogg. Hinds and Kelliher once again returned to Game of Thrones as wights among the White Walker army for the season 7 finale episode, "The Dragon and the Wolf". The band's seventh studio album Emperor of Sand was released on March 31, 2017. The theme for the album was cancer, inspired by Troy's wife who was diagnosed with cancer, and Bill's mother who lost her life to cancer. It details the story of a traveller banished to the desert by an emperor, in effect giving him a death sentence. The story is a metaphor for someone diagnosed with terminal cancer. The first single, "Show Yourself", was released in February, and had peaked at number 4 on the US Billboard Mainstream Rock Songs chart in June, making it the band's highest charting song to date. The second single, "Steambreather", peaked at number 18 on the same chart in October. Mastodon also released an EP titled Cold Dark Place on September 22 of the same year. It was a four-song EP, featuring three songs recorded during the Once More 'Round the Sun sessions, and one track recorded during the Emperor of Sand sessions. The first single for the EP, "Toe to Toes" was released on September 1, 2017. Brent Hinds stated that the inspiration behind some of the songs recorded for Cold Dark Place, which he wrote, were inspired by a nasty breakup that he had endured. Describing the sound of the record, Hinds stated that "I wrote some pretty dark, beautiful, spooky, funky, ethereal, melancholy music, which also sounds like the Bee Gees a little bit." On December 1st, the band released a revised version of the 12 part "The Making of Emperor of Sand" documentary via their official YouTube channel. Mastodon were announced to be on a co-headlining Summer 2018 Tour with Primus spanning across North America lasting from May to July CANNOTANSWER
CANNOTANSWER
Mastodon is an American heavy metal band from Atlanta, Georgia, formed in 2000. The group is composed of Troy Sanders (bass/vocals), Brent Hinds (lead guitar/vocals), Bill Kelliher (rhythm guitar/backing vocals), and Brann Dailor (drums/vocals). Mastodon has released eight studio albums, as well as a number of other releases. The band's 2002 debut album, Remission, garnered significant critical acclaim for its unique sound. Mastodon's second full-length release, Leviathan, is a concept album based on the novel Moby-Dick by Herman Melville. Three magazines awarded the record Album of the Year in 2004: Revolver, Kerrang! and Terrorizer. The song "Colony of Birchmen" from the band's third album (released in 2006), Blood Mountain, was nominated for a Grammy Award for Best Metal Performance in 2007. Blood Mountain was followed in 2009 by Crack the Skye, and in 2011 by The Hunter, which debuted at No. 10 on the Billboard 200 chart and achieved major commercial success in the United States. The Hunter features the song "Curl of the Burl", which was nominated for a Grammy for Best Hard Rock/Metal Performance in 2012. Mastodon's 2014 album, Once More 'Round the Sun, peaked at No. 6 on the Billboard 200 chart and features the band's third Grammy-nominated song, "High Road". The band's seventh album, Emperor of Sand, was released on March 31, 2017, and features the band's most commercially successful song to date, "Show Yourself", which peaked at No. 4 on the US Billboard Mainstream Rock Songs chart in June 2017. The followup single, "Steambreather", peaked at number 18 on the same chart in October 2017. The album's opening track, "Sultan's Curse", earned the band their first Grammy award. Emperor of Sand was the band's first album to receive a Grammy nomination; it was nominated for Best Rock Album. Mastodon's eighth album Hushed and Grim was released on October 29, 2021. History Formation, early years and Remission (2000–2003) Mastodon was formed on January 13, 2000, after drummer Brann Dailor and guitarist Bill Kelliher moved to Atlanta from Victor, New York, and met bassist/singer Troy Sanders and guitarist/singer Brent Hinds at a High on Fire show. They discovered they had a mutual appreciation of sludge metal bands Melvins and Neurosis, heavy metal legends Iron Maiden, and 1970s hard rockers Thin Lizzy, and shortly thereafter formed Mastodon. In an interview in 2009, Kelliher revealed that the first time Hinds attended a practice with the band, he "showed up so wasted he couldn't play". The band recorded a demo in 2000, which featured Eric Saner on vocals. Saner left the band for personal reasons after just a couple of months. After recording a four-song demo and a 7-inch picture disc through Reptilian Records, Mastodon landed a record deal with Relapse Records in 2001. Mastodon released the EP Lifesblood in 2001, and its first full-length album, Remission, in 2002, with the singles "March of the Fire Ants" and "Crusher/Destroyer" (which was also featured on Tony Hawk's Underground). On each of Mastodon's first three full-length albums, the last track was an instrumental composition with a title that related to the Elephant Man. Leviathan and Call of the Mastodon (2004–2005) The band's second full-length album, Leviathan, was released in 2004. It is a concept album loosely based on Herman Melville's novel Moby-Dick. The band received critical acclaim for Leviathan and the record was named album of the year by Kerrang! and Terrorizer. "Blood and Thunder", which featured Clutch vocalist Neil Fallon, was chosen as one of the most important recordings of the decade by National Public Radio in November 2009, and that the entire album epitomizes " a phenomenal decade for metal". Leviathan also ranked second in a list by Metal Hammer of the best albums of 2004. The band went on tour in support of the album, playing throughout North America and Europe in The Unholy Alliance tour along with Slayer and Lamb of God and later on with Slipknot. "Iron Tusk", the fifth track on the album, can be found on the soundtrack of the skateboarding video game Tony Hawk's American Wasteland and in 2K Sports video game NHL 2K9. "Blood and Thunder" is featured in the video games Need for Speed: Most Wanted, Project Gotham Racing 3, and Saints Row. "Blood and Thunder" was added as a playable track on all instruments in Guitar Hero: Metallica and was featured in Japanese music games Drummania V2 and Guitarfreaks V2. It has also been released as downloadable content for Rock Band 3, with Pro Guitar support also available at extra cost. Leviathan was followed by the 2006 release of Call of the Mastodon, a remastered collection of the band's first nine songs, and a DVD of interviews and concert footage called The Workhorse Chronicles that includes material from the band's early days as a five-piece. The band has stated that they consider "Call of the Mastodon" to be their first studio album even though it was the third to be released. These two releases were the band's last for Relapse Records, as they would later go on to sign with Warner Bros. Mastodon also recorded a cover version of Metallica's "Orion" for a 2006 Kerrang! tribute album marking the twentieth anniversary of the release of Master of Puppets. Blood Mountain (2006–2008) Their third studio album, Blood Mountain, was released on September 12, 2006, followed by a tour to support the album along with Tool in Europe and Slayer in Australia and New Zealand. The Mars Volta frontman Cedric Bixler-Zavala lent his vocals to the track "Siberian Divide". Queens of the Stone Age frontman Josh Homme contributed vocals for the song "Colony of Birchmen". The band performed the song "Colony of Birchmen" on NBC's Late Night with Conan O'Brien on November 1, their first appearance on network television, to a viewing audience of around 2.4 million people. This song was also featured in the video games Saints Row 2 and Rock Band 2. The band's first single off Blood Mountain, "Capillarian Crest", was ranked number 27 in Rolling Stone Magazine's Top 100 Songs of 2006. The album itself was ranked 9th in the magazine's best albums of the year chart. The UK's Metal Hammer voted it the best album of 2006 in its end of year critic's poll. The album was voted in at No. 5 by Kerrang! in their end of year list, No. 6 on PopMatters' Best Albums of 2006, and No. 1 on The Best Metal Albums of 2006. About.com rated it the top metal album of 2006. Blood Mountain was also named best album of 2006 in the 10th anniversary birthday edition (issue 119) of Bizarre. It also came in at No. 2 on Revolver magazine's list of the top albums of 2006. The band was named Artist Of The Month for March 2007 at Gametap.com. The band had been touring and playing numerous shows during this time. Mastodon joined Against Me!, and Cursive for a North American tour, with Planes Mistaken for Stars opening for one leg and These Arms Are Snakes the other. A performance in Milwaukee had to be canceled due to illness on the part of Brent Hinds. Mastodon would play the Hove Festival in Norway as well as on the Main Stage of the Download Festival and then the Pitchfork Music Festival. During this time the band opened for Metallica on the Sick of the Studio tour. The band also played at the 2007 Dubai Desert Rock, the 2008 Bonnaroo Music festivals, and the inaugural Mayhem Festival. Mastodon then toured with Slayer, Trivium, Lamb of God and several other metal bands in 2008 for The Unholy Alliance tour 2008. The band performed "Colony of Birchmen" at the 2007 MTV Video Music Awards live with Josh Homme. After the televised performance, Brent Hinds was reported to have sustained a severe head injury. Blabbermouth.net initially reported that it was the result of a brutal assault, but the police report later suggested that an inebriated Hinds had started a fight with System of a Down bassist Shavo Odadjian and vocalist William Hudson, also known as Reverend William Burke of Achozen. "Sleeping Giant" was made available as a downloadable song for Guitar Hero III: Legends of Rock, "Colony of Birchmen" was included on Harmonix's Rock Band 2 and also volition's Saints row 2, and "Divinations" was featured in Madden NFL 10 and Saints Row: The Third. Mastodon contributed a cover version of Harry Nilsson's "One" to the video game Army of Twos advertisement campaign. The band members are fans of Aqua Teen Hunger Force and in 2007, Mastodon performed the opening song of Aqua Teen Hunger Force Colon Movie Film for Theaters, "Cut You Up with a Linoleum Knife". Crack the Skye and Live at the Aragon (2009–2010) Crack the Skye was released on March 24, 2009, as a normal version and a deluxe version (which includes all songs in instrumental versions as well as their normal versions) and entered the Billboard 200 at number 11 a week later. The album is produced by Brendan O'Brien and Scott Kelly of Neurosis returns as a guest musician on the title-track. In a MusicRadar interview, guitarist Bill Kelliher confirmed the album is about an "out-of-body experience", and looks at the concepts of astral travel, wormholes, Stephen Hawking's theories and the spiritual realm. The album follows a quadriplegic who learns astral projection. On his journey he flies too close to the sun, burning his umbilical cord which connects him to his body, and flies into oblivion. At the same time in Czarist Russia, Rasputin and his cult were channeling spirits and brought the quadriplegic to their time. He explains his situation and foretells the assassination of Rasputin. Inevitably Rasputin is assassinated and Rasputin guides him back to his body. The band had debuted three new tracks at the Bonnaroo Music Festival, but did not play any more live shows before the album's release, due to fears of internet distribution and wanting to play the songs to the right audience. Drummer Brann Dailor sings lead vocals for the verses of the song "Oblivion". Mastodon was a headliner at the Scion Rock Fest on February 28, 2009, performing a set containing three tracks from Crack the Skye, the first time these songs were played since being finalized and recorded. On May 15, 2009, Mastodon performed a shortened version of "Oblivion" on the Late Show with David Letterman. In order to support their new album, Mastodon toured with Metallica on the latter part of the 2009 European leg of their World Magnetic Tour. In Fall of 2009, they embarked with Dethklok on the "Adult Swim Presents" tour along with Converge and High on Fire. On October 17, 2009, they recorded a DVD documenting the tour at the Aragon Ballroom in Chicago. Mastodon played the alternative music festival Big Day Out, touring across Australia and New Zealand in January and February 2010. On October 29, 2009, they performed "Divinations" on Late Night with Jimmy Fallon. On November 4, 2009, Mastodon released their second EP, entitled Oblivion. Teaming up with bands Deftones and Alice in Chains, Mastodon went on tour in September 2010 in the United States and Canada. The tour was called Blackdiamondskye, a portmanteau of the three bands' latest albums (Black Gives Way to Blue, Diamond Eyes, and Crack the Skye). Film director Jimmy Hayward contacted the band during their 2009 tour of Europe and expressed how much listening to Blood Mountain had helped his creative process while finishing a screenplay, and he offered Mastodon a chance to score the film he had been working on - Jonah Hex. In an interview with Paste magazine, bassist Troy Sanders said that Hayward "called us out of the blue as a fan. It was the most beautiful, authentic way to collaborate." Mastodon used scenes from the film as inspiration during the writing and recording process, and the instrumental soundtrack, Jonah Hex: Revenge Gets Ugly EP, was released on June 29, 2010, through Reprise Records. In 2010, the band was confirmed as being part of the soundtrack for Namco Bandai Games' 2010 remake of Splatterhouse. The game's protagonist can also be seen wearing a Mastodon T-shirt in certain flashback cutscenes. On March 15, 2011, Mastodon released their first live DVD/CD entitled Live at the Aragon through Reprise. The recording features the entire performance of their fourth studio album, Crack the Skye, along with songs from their previous records. The Hunter (2011–2012) The Hunter, Mastodon's fifth studio album, was recorded at Doppler Studios in Atlanta with producer Mike Elizondo. The first hints of the new album were given by the band via Facebook in January 2011. Drummer Brann Dailor revealed during interviews the title of the band's new album and described the new material as not so much proggy as riff-oriented and "a little more stripped down". Meanwhile, the band performed in many major summer festivals. On June 28, 2011, Mastodon released through Adultswim.com a leftover track from the Crack the Skye sessions called "Deathbound". The first taste of The Hunter came in July 2011 where Mastodon released via YouTube the song "Black Tongue", set to a video of AJ Fosik creating the sculpture used for the album cover. By August 12, the band had revealed the track listing from The Hunter and debuted "Curl Of The Burl", the first official single from the new album. Mike Elizondo was chosen to produce the album which marks his first time working with the band. It was also announced that a deluxe edition would be released. It featured the two bonus tracks "The Ruiner" and "Deathbound" and a different cover. On September 6, Mastodon released a third song from The Hunter, "Spectrelight", featuring Scott Kelly of Neurosis. On September 16, the band released a 53-minute custom visualizer with all of the album tracks, 11 days prior to the release of The Hunter. In support of the album a North American headline tour was announced. The album was very well received by fans and the media. It also performed strongly on the official charts, rising to number ten on the Billboard 200. On October 5, 2011, they performed "Curl of the Burl" on the Late Show with David Letterman. On October 12, a UK tour was announced that will run through February 2012 with fellow bands The Dillinger Escape Plan and Red Fang as support acts. They were at Later... with Jools Holland, where they performed "Black Tongue" and "Curl of the Burl". A seventeen-date European tour was announced that featured dates in Scandinavia, Germany, France, Spain, Belgium, Portugal, Italy, the Netherlands and Latvia. On December 1, "Curl of the Burl" was nominated for a Grammy Award in the category Best Metal/Hard Rock performance. It is the band's second nomination with the first being for "Colony of Birchmen" in 2007. The record was named "Album of the Year" by Metal Hammer, Classic Rock and Rock Sound. In January 2012 it was announced that Mastodon and Swedish prog metal band Opeth will tour together in a joint tour across North America. It was named the "Heritage Hunter Tour" after both bands latest releases, The Hunter and Heritage. The bands took turns in the headlining spot. Support came from the Swedish heavy metal band Ghost. On February 11, 2012, the band performed a sold-out show at the Brixton Academy in London, it was the band's biggest headline show ever. Dry Bone Valley" was released on February 13 as the third single of the album. A music video for the song was also released. On April 21, 2012, to commemorate Record Store Day, Mastodon released two separate vinyls. The first was a split 7" with Feist titled Feistodon. Mastodon covered Feist's "A Commotion" and Feist covered Mastodon's "Black Tongue". The pair also released a one of a kind interactive, crossfading music video for the song 'A Commotion'. The second release was a cover of The Flaming Lips' "A Spoonful Weighs a Ton". The band spent the summer performing at festivals across Europe and South America. It was the last tour in support of The Hunter. Once More 'Round the Sun (2014–2015) Mastodon began recording again in early 2013. Guitarist Brent Hinds described the new music as "really eerie" and "very spooky-sounding", and stated that he has written three new songs. On December 3, 2012, the band announced via their Twitter page that they were writing a song for the film Monsters University. However, the song used in the film was the previously released "Island". They were also part of the 2013 Rockstar Energy Mayhem Festival. On May 6, 2013, the band stated that they are "...Very busy writing and putting songs together for the next studio Mastodon album..." In an interview on July 26, Brann Dailor was reported as saying that the band would "probably [go into the studio] end of September". The band also played at the 2014 Bonnaroo Music and Arts Festival. On February 27, Brann Dailor told in the interview that their sixth album would be released in summer of 2014, and he also stated that the band would release an EP in winter of 2014. Some of the confirmed tracks were: "Tread Lightly", "Buzzard's Guts", "Scent of Bitter Almonds", "High Road" and "Aunt Lisa". In an interview with Troy Sanders in Paste magazine released on April 3, he revealed the album was called Once More 'Round the Sun and had 15 tracks. He also confirmed that Mastodon recorded 90 minutes of material, but only 60 minutes of it will be present on the album; the unreleased material possibly might be released on an EP later in 2014. A few more tracks that have been confirmed are: "Diamonds in the Witch House" (which has Scott Kelly from Neurosis on a guest vocal appearance), and "Ember City". In an interview on April 11, Dailor revealed the album will be released in June. On April 17, the first single "High Road" was made available for streaming. On April 26, Bill Kelliher revealed the title of the second single "Chimes at Midnight". As of June 16, 2014, the entire album is streaming on iTunes. The album was released on June 24, 2014 through Reprise Records. The album sold around 34,000 copies in the United States in its first week of release to land at position No. 6 on The Billboard 200 chart making it the band's first consecutive top 10 debut, with their previous album, The Hunter, peaking at No.10 after opening with 39,000 copies in 2011. Emperor of Sand and Cold Dark Place (2015–2018) On January 18, 2015, it was reported that Brent Hinds was working on a new Mastodon album, showing a picture with him playing the 13 string pedal steel. The same report was later confirmed by Troy Sanders, who stated: "Every record that we do is gonna sound different, because we always want to evolve and create our own musical path. And every record will be different. We do not wanna write the same record twice." On March 12, 2015, Mastodon released a new track called "White Walker", which appears on the Game of Thrones: Catch the Throne Vol. 2 mixtape to promote the fifth season of the HBO TV series Game of Thrones. Dailor, Hinds, and Kelliher also appeared in episode 8 of the season as wildlings. This mixtape will also feature songs by various other acts, ranging from Killswitch Engage to Snoop Dogg. Hinds and Kelliher once again returned to Game of Thrones as wights among the White Walker army for the season 7 finale episode, "The Dragon and the Wolf". The band's seventh studio album, Emperor of Sand, was released on March 31, 2017. The theme for the album was cancer, inspired by Troy's wife who was diagnosed with cancer, and Bill's mother who lost her life to cancer. It details the story of a traveller banished to the desert by an emperor, in effect giving him a death sentence. The story is a metaphor for someone diagnosed with terminal cancer. The first single, "Show Yourself", was released in February, and had peaked at number 4 on the US Billboard Mainstream Rock Songs chart in June, making it the band's highest charting song to date. The second single, "Steambreather", peaked at number 18 on the same chart in October. Mastodon also released an EP titled Cold Dark Place on September 22 of the same year. It was a four-song EP, featuring three songs recorded during the Once More 'Round the Sun sessions, and one track recorded during the Emperor of Sand sessions. The first single for the EP, "Toe to Toes" was released on September 1, 2017. Brent Hinds stated that the inspiration behind some of the songs recorded for Cold Dark Place, which he wrote, were inspired by a nasty breakup that he had endured. Describing the sound of the record, Hinds stated that "I wrote some pretty dark, beautiful, spooky, funky, ethereal, melancholy music, which also sounds like the Bee Gees a little bit." On December 1, the band released a revised version of the 12-part "The Making of Emperor of Sand" documentary via their official YouTube channel. Mastodon were announced to be on a co-headlining Summer 2018 Tour with Primus spanning across North America lasting from May to July. Medium Rarities and Hushed and Grim (2020-present) On July 31, 2020, Mastodon released a new song titled "Fallen Torches" and announced a compilation album of rare material titled Medium Rarities, which was released on September 11, 2020. On June 17, 2021 the band announced a partnership with livestreaming company Dreamstage to present a live acoustic set in their hometown of Atlanta at the Georgia Aquarium on July 15, with $1 from each sale of a ticket/merchandise package going toward supporting the aquarium. Mastodon released their eighth studio album Hushed and Grim on October 29, 2021. The album is produced by David Bottrill, who has worked previously with such artists as Muse, Tool, and Rush. Characteristics Musical style Mastodon has been described as a heavy metal band, along with more specific genres such as progressive metal, sludge metal, alternative metal, stoner rock, psychedelic metal, experimental metal, and groove metal. James Christopher Monger of AllMusic describes Mastodon as "one of the more notable new wave of American heavy metal acts, a genre spawned in the mid-'90s" and says that "Mastodon's innovative, lyrically astute blend of progressive metal, grindcore, and hardcore helped position the band as one of the preeminent metal acts of the early 21st century." Bassist Troy Sanders stated about their musical style: Scott Kelly of Neurosis has appeared to perform guest vocals on a track on every Mastodon album excluding Remission and Hushed and Grim. Mastodon's musical style has evolved much from their earliest pre-Remission releases to The Hunter. Their early work is significantly heavier and more abrasive than their later work, primarily or exclusively using harsh vocals, more distorted instruments, and more atypical song structures. The release of Mastodon's third studio album, Blood Mountain, which incorporates both clean and harsh vocals, marked a shift in the vocal styles used, with subsequent albums favouring clean vocals almost exclusively. Lyrical themes Over its first four albums, Mastodon had specific concepts in mind, specifically the classical elements of fire, water, earth, and aether. Remission does not deal with a particular theme but it is loosely based on the theme of fire. Songs like "Crusher Destroyer", "Where Strides the Behemoth" and "Ol'e Nessie" deal with the theme of fictional creatures. Leviathan is about the novel Moby-Dick. It centers around the main characters and their thoughts during the story. Blood Mountain is about a man who is searching for the "Crystal Skull", which is on top of the "Blood Mountain". According to bassist Troy Sanders, "It's about climbing up a mountain and the different things that can happen to you when you're stranded on a mountain, in the woods, and you're lost. You're starving, hallucinating, running into strange creatures. You're being hunted. It's about that whole struggle." Crack the Skye deals with many different themes. The title, as well as some lyrical content, is a tribute to Skye, the younger sister of drummer Brann Dailor, who committed suicide at the age of fourteen. Themes touched on within the album include "dark magic(k), astral travelling and the role of Rasputin in the downfall of Czarist Russia". The Hunter does not deal with an entire concept like their earlier work. The title is a tribute to Hinds' brother, Brad Hinds, who died of a heart attack on December 4, 2010 while hunting. Once More 'Round the Sun, like its predecessor, is not a concept album. It features themes such as relationships, struggles and hardships. The album was based on the various events that took place in each band member's lives the year before the album release. Emperor of Sand mainly deals with the themes of death and survival and is about a desert wanderer faced with a death sentence. The lyrics were inspired by the friends and family members of the band who were diagnosed with cancer. Hushed and Grim has to do with grief, guilt, and the afterlife. Mastodon pays tribute to the memory of longtime friend and manager Nick John with their first ever double-album and a surrounding death mythology. According to drummer and co-vocalist Brann Dailor, in this mythology “When you die, your soul inhabits the heart of a living tree. You have to experience the seasons the way that a tree does through a whole calendar year. That’s the way you have to say goodbye to the natural world. And in that time, you reflect on the pillars of the life that you lived. You get to atone for things that you’ve done.” Visual art Artwork Artist Paul Romano was responsible for all of the band's album art and backdrops up to 2011. The artwork for the band's fifth studio album The Hunter was made by AJ Fosik, a woodcarver who was also responsible for the backdrop the band used live at the time. Oakland-based artist Skinner, who, in his own words, specializes in "psychedelic nightmare paintings", has taken the reins on Once More 'Round the Sun. "It's going to be a work of art for sure. It's going to be very eye-opening", said bassist Troy Sanders before the album's release. "Very striking. It's from another dimension, and a lot of our music is geared toward that idea—taking you to another planet on songs. It's out there, and I think it's incredible." Live presentation Following their first tours in the early 2000s, Mastodon have performed at many major festivals such as Download, Roskilde, Coachella, Bonnaroo, Big Day Out, Rock Werchter, Pinkpop, Metaltown, Ottawa Bluesfest, Sonisphere and Soundwave. When performing the band has traditionally had a fairly lo-fi visual presentation. However, during the band's "Crack The Skye Tour" (2009–2010), they used a large screen behind the drumkit showing a visual show. Legacy and reception The "sludge/stoner/alternative metal outfit" Mastodon, as labelled by AllMusic, is "one of the preeminent metal acts of the early 21st century". The BBC stated about Mastodon: "They might be bonkers of lyric, full of fantasy mumbo jumbo, but the band is unashamedly committed to its complex-of-composition craft, and the results have frequently stunned ever since their 2002 debut, Remission. They are the most ambitious, most fearless, most fun heavy metal band to have breached the mainstream since the genre oozed its way out of The Midlands in the 1970s." Alternative Press has stated: "Mastodon are one of the all-time great hard rock groups." Rolling Stone stated: "Mastodon are a bunch of doom-haunted, myth-obsessed, meat-and-potatoes Southern badasses who have become the most important new band in metal." Playboy wrote: "one of Mastodon’s greatest talents: the ability to take traditional metal fans along with them into other musical realms, and also appeal to more mainstream rock fans but give them some doses of metal." Members Current Brann Dailor – drums, percussion (2000–present), backing vocals (2005–present), lead vocals (2008–present) Brent Hinds – lead guitar, backing vocals (2000–present), lead vocals (2001–present) Bill Kelliher – rhythm guitar, backing vocals (2000–present) Troy Sanders – bass, keyboards, backing vocals (2000–present), lead vocals (2001–present) Former Eric Saner – lead vocals (2000–2001) Former touring musicians Derek Mitchka – keyboards (2011) Timeline Discography Studio albums Remission (2002) Leviathan (2004)Blood Mountain (2006)Crack the Skye (2009) The Hunter (2011) Once More 'Round the Sun (2014) Emperor of Sand (2017) Hushed and Grim (2021) Awards and nominations Danish Metal Awards |- | 2009 || Crack the Skye || Best International Metal Album || |- Grammy Awards |- | || "Colony of Birchmen" || Grammy Award for Best Metal Performance || |- | || "Curl of the Burl" || Grammy Award for Best Hard Rock/Metal Performance || |- | || "High Road" || Grammy Award for Best Metal Performance || |- | rowspan="2"| || Emperor of Sand || Grammy Award for Best Rock Album || |- | "Sultan's Curse" || Grammy Award for Best Metal Performance || |- | || "Pushing the Tides" || Grammy Award for Best Metal Performance || Kerrang! Awards |- | 2009 || "Oblivion" || Best Video || |- | 2012 || The Hunter || Best Album || Metal Hammer Golden Gods Awards |- | rowspan="2" | 2007 || Blood Mountain || Album of the Year || |- | Brent Hinds & Bill Kelliher || Golden Gods Award for Best Shredder || |- | 2012 || The Hunter || Golden Gods Award for Best Album || |- | 2017 || Mastodon || Best Live Band || Metal Storm Awards |- | 2004 || Leviathan || Best Alternative Metal Album || |- | rowspan="2" | 2009 || Crack the Skye || Best Alternative Metal Album || |- | "Divinations" || Best Video || |- | 2011 || The Hunter || Best Sludge/Stoner Metal Album || |- | 2014 || Once More 'Round the Sun || Best Sludge/Stoner Metal Album || |- | 2017 || Emperor of Sand || Best Progressive Metal Album || ''Revolver'' Golden Gods |- | 2012 || Brann Dailor || Golden Gods Award for Best Drummer || References External links Official website American sludge metal musical groups American progressive metal musical groups Stoner rock musical groups American alternative metal musical groups American avant-garde metal musical groups American groove metal musical groups Heavy metal musical groups from Georgia (U.S. state) Musical groups from Atlanta 2000 establishments in Georgia (U.S. state) Musical groups established in 2000 Relapse Records artists Reprise Records artists Roadrunner Records artists Kerrang! Awards winners Grammy Award winners Musical quartets
false
[ "Le Cousin is a 1997 French film directed by Alain Corneau.\n\nPlot \nThe film deals with the relationship of the police and an informant in the drug scene.\n\nAwards and nominations\nLe Cousin was nominated for 5 César Awards but did not win in any category.\n\nReferences\n\nExternal links\n\n1997 films\n1997 crime films\nFilms about drugs\nFilms directed by Alain Corneau\nFrench crime films\nFrench films\nFrench-language films", "The African National Congress was a political party in Trinidad and Tobago. The party first contested national elections in 1961, when it received just 0.5% of the vote and failed to win a seat. They did not put forward any candidates for the 1966 elections, but returned for the 1971 elections, in which they received 2.4% of the vote, but again failed to win a seat as the People's National Movement won all 36. The party did not contest any further elections.\n\nReferences\n\nDefunct political parties in Trinidad and Tobago" ]
[ "Vincent Price", "Art" ]
C_9632aada122e45be87f8cc63486a96c7_1
What type of Art did he create?
1
What type of Art did Vincent Price create?
Vincent Price
Price, who studied Art History (along with English) at Yale University, was a noted art lover and collector. He was a commissioner of the Indian Arts and Crafts Board. In 1957, impressed by the spirit of the students and the community's need for the opportunity to experience original art works first hand, Vincent and Mary Grant Price donated 90 pieces from their private collection and a large amount of money to establish the Vincent Price Art Museum at East Los Angeles College in Monterey Park, California, which was the first "teaching art collection" owned by a community college in the United States. They ultimately donated some 2,000 pieces; the collection contains over 9,000 pieces and has been valued in excess of $5 million. Price also spent time working as an art consultant for Sears-Roebuck: From 1962 to 1971, Sears offered the "Vincent Price Collection of Fine Art", selling about 50,000 fine art prints to the general public. Works which Price selected or commissioned for the collection included works by Rembrandt, Pablo Picasso, and Salvador Dali. Public access to fine art was important to Price, who, according to his daughter, Victoria, saw the Sears deal as an "opportunity to put his populist beliefs into practice, to bring art to the American public." Price amassed his own extensive collection of art, and in 2008, a painting bought for $25 by a couple from Dallas, Texas was identified as a piece from Price's collection. Painted by leading Australian modernist Grace Cossington Smith it was given a modern valuation of AU$45,000. CANNOTANSWER
Price, who studied Art History (along with English) at Yale University, was a noted art lover and collector.
Vincent Leonard Price Jr. (May 27, 1911 – October 25, 1993) was an American actor best known for his performances in horror films, although his career spanned other genres. He appeared on stage, television, and radio, and in more than 100 films. Price has two stars on the Hollywood Walk of Fame, one for motion pictures and one for television. Price's first film role was as leading man in the 1938 comedy Service de Luxe. He became well known as a character actor, appearing in films such as The Song of Bernadette (1943), Laura (1944), The Keys of the Kingdom (1944), Leave Her to Heaven (1945), Dragonwyck (1946), and The Ten Commandments (1956). He established himself as a recognizable horror-movie star after his leading role in House of Wax (1953). He subsequently starred in other horror films, including The Fly (1958), House on Haunted Hill (1959), Return of the Fly (1959), The Tingler (1959), The Last Man on Earth (1964), Witchfinder General (1968), The Abominable Dr. Phibes (1971), and Theatre of Blood (1973). He was also known for his collaborations with Roger Corman on Edgar Allan Poe adaptations such as House of Usher (1960), The Pit and the Pendulum (1961), and The Masque of the Red Death (1964). Price occasionally appeared on television series, such as in Batman as Egghead. In his later years, Price voiced the villainous Professor Ratigan in Disney's classic animated film The Great Mouse Detective (1986), then appeared in the drama The Whales of August (1987), which earned him an Independent Spirit Award for Best Supporting Male nomination, and in Tim Burton’s Edward Scissorhands (1990), his last theatrical release. For his contributions to cinema, especially to genre films, he has received lifetime achievement or special tribute awards from Academy of Science Fiction, Fantasy and Horror Films, Fantasporto, Bram Stoker Awards, and Los Angeles Film Critics Association. Price narrated several animation films, radio dramas and documentaries, as well as the monologue on Michael Jackson's song "Thriller". For his voice work in Great American Speeches (1959), Price was nominated for a Grammy Award for Best Spoken Word Album. Price was also an art collector and arts consultant, with a degree in art history, and he lectured and wrote books on the subject. The Vincent Price Art Museum at East Los Angeles College is named in his honor. Price was also a noted gourmet cook. Early life and career Vincent Leonard Price Jr. was born on May 27, 1911, in St. Louis, Missouri, the youngest of the four children of Vincent Leonard Price Sr., president of the National Candy Company, and his wife Marguerite Cobb (née Wilcox) Price. His grandfather was Vincent Clarence Price, who invented "Dr. Price's Baking Powder", the first cream of tartar-based baking powder, and it secured the family's fortune. Price was of Welsh and English descent and was a descendant of Peregrine White, the first white child born in colonial Massachusetts, being born on the Mayflower while it was in Provincetown Harbor. Price attended the St. Louis Country Day School and Milford Academy in Milford, Connecticut. In 1933, he graduated with a degree in English and a minor in art history from Yale University, where he worked on the campus humor magazine The Yale Record. After teaching for a year, he entered the Courtauld Institute of Art in London, intending to study for a master's degree in fine arts. Instead, he was drawn to the theater, first appearing on stage professionally in 1934. His acting career began in London in 1935, performing with Orson Welles's Mercury Theatre. In 1936, Price appeared as Prince Albert in the American production of Laurence Housman's play Victoria Regina, which starred Helen Hayes in the title role of Queen Victoria. Introduction to film roles Price started out in films as a character actor. He made his film debut in Service de Luxe (1938), and established himself in the film Laura (1944), opposite Gene Tierney, directed by Otto Preminger. He played Joseph Smith in the movie Brigham Young (1940) and William Gibbs McAdoo in Wilson (1944), as well as Bernadette's prosecutor, Vital Dutour, in The Song of Bernadette (1943), and as a pretentious priest in The Keys of the Kingdom (1944). Price's first venture into the horror genre, for which he later became best known, was in the Boris Karloff film Tower of London (1939). The following year, Price portrayed the title character in The Invisible Man Returns (a role he reprised in a voice-only cameo in the closing scene of the horror-comedy spoof Abbott and Costello Meet Frankenstein released in 1948). He reunited with Tierney in Leave Her to Heaven (1945) and Dragonwyck (1946). He also had many villainous roles in film noir thrillers such as The Web (1947), The Long Night (1947), Rogues' Regiment (1948), and The Bribe (1949), with Robert Taylor, Ava Gardner, and Charles Laughton. Price's first starring role was as con man James Reavis in the biopic The Baron of Arizona (1950). He did a comedic turn as the tycoon Burnbridge Waters, co-starring with Ronald Colman in Champagne for Caesar (also 1950), one of his favorite film roles. Price was active in radio, portraying the Robin Hood-inspired crime-fighter Simon Templar in The Saint, which ran from 1947 to 1951. In the 1950s, Price moved into more regular horror-film roles with the leading role in House of Wax (1953) as a homicidal sculptor, the first three-dimensional film to land in the year's top 10 at the North American box-office. His next roles were The Mad Magician (1954), the monster movie The Fly (1958), and its sequel Return of the Fly (1959). That same year, Price starred in two thrillers by producer-director William Castle: House on Haunted Hill as eccentric millionaire Fredrick Loren, and The Tingler as Dr. Warren Chapin, who discovered the titular creature. He appeared in the radio drama Three Skeleton Key, the story of an island lighthouse besieged by an army of rats. He had first performed the work in 1950 on Escape and returned to it in 1956 and 1958 for Suspense. Outside the horror realm, Price played Baka in The Ten Commandments, released in 1956. About this time, he also appeared in episodes of television shows such as Science Fiction Theatre, Playhouse 90, and General Electric Theater. In the 1955–56 television season, he was cast three times on the religion anthology series Crossroads. In the 1955 episode "Cleanup", Price portrayed the Reverend Robert Russell. In 1956, he was cast as Rabbi Gershom Mendes Seixas in "The Rebel", and as the Rev. Alfred W. Price in "God's Healing". 1960s In the 1960s, Price achieved a number of low-budget filmmaking successes with Roger Corman and American International Pictures (AIP) starting with the House of Usher (1960), which earned over $2 million at the box office in the United States and led to the subsequent Edgar Allan Poe adaptations of The Pit and the Pendulum (1961), Tales of Terror (1962), The Comedy of Terrors (1963), The Raven (1963), The Masque of the Red Death (1964), and The Tomb of Ligeia (1964). He starred in The Last Man on Earth (1964), the first adaptation of the Richard Matheson novel I Am Legend, and portrayed witch hunter Matthew Hopkins in Witchfinder General (US: The Conqueror Worm, 1968) set during the English Civil War. Price also starred in comedy films such as Dr. Goldfoot and the Bikini Machine (1965) and its sequel Dr. Goldfoot and the Girl Bombs (1966). In 1968, he played the part of an eccentric artist in the musical Darling of the Day, opposite Patricia Routledge. In the 1960s, Price began his role as a guest on the television game show Hollywood Squares, becoming a semiregular in the 1970s, including being one of the guest panelists on the finale in 1980. Price made many guest-star appearances in television shows during the decade, including The Red Skelton Show, Daniel Boone, F Troop, Get Smart, The Man from U.N.C.L.E., and Voyage to the Bottom of the Sea. He had a recurring role in the Batman TV series as the villain Egghead from 1966 to 1967. In 1964, he provided the narration for the Tombstone Historama in Tombstone, Arizona, which was still in operation as of 2016. He also starred as the host of the Australian TV series If These Walls Could Speak, in which a short history of a historical building (supposedly narrated by the building itself) was covered, and as the narrating voice of the building. Later career During the early 1970s, Price hosted and starred in BBC Radio's horror and mystery series The Price of Fear. He accepted a cameo part in the Canadian children's television program The Hilarious House of Frightenstein (1971) in Hamilton, Ontario, on the local television station CHCH-TV. In addition to the opening and closing monologues, his role in the show was to recite poems about various characters, sometimes wearing a cloak or other costumes. He appeared in The Abominable Dr. Phibes (1971), its sequel Dr. Phibes Rises Again (1972), and Theatre of Blood (1973), in which he portrayed one of two serial killers. That same year, he appeared as himself in Mooch Goes to Hollywood, a film written by Jim Backus. Price was an admirer of the works of Edgar Allan Poe, and in 1975 visited the Edgar Allan Poe Museum in Richmond, Virginia, where he had his picture taken with the museum's popular stuffed raven. Price also recorded dramatic readings of Poe's short stories and poems, which were collected together with readings by Basil Rathbone. In 1975, Price and his wife Coral Browne appeared together in an international stage adaptation of Ardèle, which played in the U.S. and in London at the Queen's Theatre. During this run, Browne and Price starred together in the BBC Radio play Night of the Wolf first airing in 1975. Price greatly reduced his film work from around 1975, as horror itself suffered a slump, and he increased his narrative and voice work, as well as advertising Milton Bradley's Shrunken Head Apple Sculpture. Price provided a monologue for the Alice Cooper song "Devil's Food" on the Welcome to My Nightmare album in 1975, and he appeared in the corresponding TV special Alice Cooper: The Nightmare. He starred for a year in the early 1970s in the syndicated daily radio program Tales of the Unexplained. He made guest appearances in a 1970 episode of Here's Lucy, showcasing his art expertise, and in a 1972 episode of ABC's The Brady Bunch, in which he played a deranged archaeologist. In October 1976, he appeared as the featured guest in an episode of The Muppet Show. In 1977, Price began performing as Oscar Wilde in the one-man stage play Diversions and Delights, written by John Gay and directed by Joe Hardy, and set in a Parisian theatre on a night about one year before Wilde's death. The original tour of the play was a success in every city except for New York City. In the summer of 1979, Price performed the role of Wilde at the Tabor Opera House in Leadville, Colorado, on the same stage from which Wilde had spoken to miners about art some 96 years before. He eventually performed the play worldwide. Victoria Price stated in her biography of her father that several members of Price's family and friends thought that this was his best acting performance. In 1979, Price starred with his wife in the short-lived CBS series Time Express. That same year he hosted the hour-long television special America Screams, riding on several roller coasters and recounting their history. During 1979–1980, he hosted the "Mystery Night" segment of the radio series Sears Radio Theater. In 1982, Price provided the narrator's voice in Vincent, Tim Burton's six-minute film about a young boy who flashes from reality into a fantasy where he is Vincent Price. He appeared as Sir Despard Murgatroyd in a 1982 television production of Gilbert and Sullivan's Ruddigore (with Keith Michell as Robin Oakapple). In 1982, Price provided the spoken-word sequence to the end of the Michael Jackson song "Thriller". In 1983, he played the Sinister Man in the British spoof horror film Bloodbath at the House of Death. He appeared in House of the Long Shadows with Christopher Lee, Peter Cushing, and John Carradine; he had worked with each of those actors at least once in previous decades, but this was the first time that all had teamed up. One of his last major roles, and one of his favorites, was as the voice of Professor Ratigan in Walt Disney Pictures' The Great Mouse Detective in 1986. From 1981 to 1989, Price hosted the PBS television series Mystery! In 1985, he provided voice talent on the Hanna-Barbera series The 13 Ghosts of Scooby-Doo as the mysterious "Vincent Van Ghoul", who aided Scooby-Doo, Scrappy-Doo, and the gang in recapturing thirteen demons. He was a lifelong fan of roller coasters, and he narrated a 1987 thirty-minute documentary on the history of roller coasters and amusement parks, including Coney Island. During this time (1985–1989), he appeared in horror-themed commercials for Tilex bathroom cleanser. In 1984, Price appeared in Shelley Duvall's live-action series Faerie Tale Theatre as the Mirror in "Snow White and the Seven Dwarfs", and the narrator for "The Boy Who Left Home to Find Out About the Shivers". In 1987, he starred with Bette Davis, Lillian Gish, and Ann Sothern in The Whales of August, a story of two sisters living in Maine facing the end of their days. His performance in The Whales of August earned the only award nomination of his career, an Independent Spirit Award for Best Supporting Male. In 1989, Price was inducted into the St. Louis Walk of Fame. His last significant film work was as the inventor in Tim Burton's Edward Scissorhands (1990). In 1990, Price recorded the narration as the Phantom for Disneyland Paris's Phantom Manor. After the attraction opened in 1992, though, the narration was shortly removed and replaced with one entirely in French, performed by Gérard Chevalier. Only Price's infamous laughter remained on the soundtrack. In 2018, during Phantom Manor's major renovation, parts of Price's narration were announced to be restored to the soundtrack of the attraction. Since the 2019 reopening, the new tracks are dual-language; Price's original excerpts as well as previously unused material from his 1990 recording comprise the English-speaking portions, while actor Bernard Alane voices the Phantom in French. Art Price, who studied art history at Yale, was an art lover and collector. He was a commissioner of the Indian Arts and Crafts Board. In 1957, impressed by the spirit of the students and the community's need for the opportunity to experience original art works first hand, Vincent and Mary Grant Price donated 90 pieces from their private collection and a large amount of money to establish the Vincent Price Art Museum at East Los Angeles College in Monterey Park, California, which was the first "teaching art collection" owned by a community college in the United States. They ultimately donated some 2,000 pieces; the collection contains over 9,000 pieces and has been valued in excess of $5 million. Price also spent time working as an art consultant for Sears-Roebuck: From 1962 to 1971, Sears offered the "Vincent Price Collection of Fine Art", selling about 50,000 fine-art prints to the general public. Works which Price selected or commissioned for the collection included some by Rembrandt, Pablo Picasso, and Salvador Dalí. Public access to fine art was important to Price, who according to his daughter Victoria, saw the Sears deal as an "opportunity to put his populist beliefs into practice, to bring art to the American public." In the 1960s, portraits painted by Charles Bird King, of Native Americans were secured for Jacqueline Kennedy's White House Restoration. Through the efforts of Vincent Price these five paintings were paid for and donated to the White House Collection by Sears-Roebuck. Price amassed his own extensive collection of art, and in 2008, a painting bought for $25 by a couple from Dallas was identified as a piece from Price's collection. Painted by leading Australian modernist Grace Cossington Smith, it was given a modern valuation of AU$45,000. Cooking Price was a gourmet cook, and he authored several cookbooks with his second wife, Mary. These include: A Treasury of Great Recipes (1965) Mary and Vincent Price present a National Treasury of Cookery (1967) Mary and Vincent Price's Come into the Kitchen Cook Book: A Collector's Treasury of America's Great Recipes (1969) Cooking Price-Wise with Vincent Price (1971) Mary and Vincent Price present a National Treasury of Cookery was a five-volume series, packaged in a boxed set and published by the Heirloom Publishing Company. These five books were combined into a single book two years later and published as Mary and Vincent Price's Come into the Kitchen Cook Book: A Collector's Treasury of America's Great Recipes. Most of the Prices' cookbooks remained in print throughout the 1970s. After being out of print for several decades, two of their books were reprinted; A Treasury of Great Recipes (in August 2015 by Calla Editions) and Mary and Vincent Price's Come into the Kitchen Cook Book (in November 2016 by Calla Editions), both featuring new forewords by their daughter Victoria Price. Cooking Price-Wise with Vincent Price was scheduled to be reprinted by Dover Publishing in October 2017 under the updated title Cooking Price-Wise – The Original Foodie. In 1971, Price hosted his own cooking program on British television, called Cooking Price-Wise produced for the ITV network by Thames Television, which was broadcast in April and May 1971. This show gave its name to Price's fourth and final cookbook later that year. Price promoted his cookbooks on many talk shows, one of the most famous instances being the November 21, 1975, broadcast of The Tonight Show Starring Johnny Carson, when he demonstrated how to poach a fish in a dishwasher. Price recorded a number of audio cooking tutorials titled International Cooking Course. These were titled Bounty of Paradise, Classical Spanish Cuisine, Cuisina Italiana, Delights from the Sultan's Pantry, Dinner at the Casbah, Dining at Versailles, Exotic Delights from the Far East, Food of the Gods, Foods from the Austro-Hungarian Empire, La Cocina Mejicana, The Bard's Board, and The Wok. In addition to those, he recorded an audio wine course titled Wine Is Elegance. These audio recordings were released on 33⅓ LPs by Nelson Industries in 1977, and were also packaged in a 12-cassette boxed set titled Beverly Hills Cookbook – Cookbook of the Rich and Famous, Your Host Mr. Vincent Price. In August 1982, he co-hosted A Taste of China for Thames Television over five episodes. He also prepared a fish recipe on Wolfgang Puck's Cooking with Wolfgang Puck VHS, released in October 1987 by Warner Home Video. Personal life Price married three times. His first marriage was in 1938 to former actress Edith Barrett; they had one son, poet and columnist Vincent Barrett Price. Edith and Price divorced in 1948. Price married Mary Grant in 1949, and they had a daughter, inspirational speaker Victoria Price, on April 27, 1962, naming her after Price's first major success in the play Victoria Regina. The marriage lasted until 1973. He married Australian actress Coral Browne in 1974; she had appeared as one of his victims in Theatre of Blood (1973). The marriage lasted until her death in 1991. Victoria Price's biography Vincent Price: A Daughter's Biography (1999) details Price's early antisemitism and initial admiration for Adolf Hitler. According to his daughter: "When he went to Germany and Austria as a young man, he was struck by a lot of things going on during the Weimar Republic and the disillusion of the empire... So when Hitler came into power, instead of seeing him as a dangerous force, he was sort of swept up in this whole idea that Hitler was going to bring German pride back." However, Price became a liberal after becoming friends with New York intellectuals such as Dorothy Parker and Lillian Hellman in the 1930s, so much so that he was "greylisted" under McCarthyism in the 1950s for having been a prewar "premature anti-Nazi", and after being unable to find work for a year, agreed to requests by the FBI that he sign a "secret oath" to save his career. Victoria said that her father became so liberal that "one of my brother's earliest memories is when Franklin Roosevelt's death was announced, my father fell backwards off the sofa sobbing." Price denounced racial and religious prejudice as a form of poison at the end of an episode of The Saint, which aired on NBC Radio on July 30, 1950, claiming that Americans must actively fight against it because such prejudices within the United States fuels support for the nation's enemies. He was later appointed to the Indian Arts and Crafts Board under the Dwight D. Eisenhower administration; he called the appointment "kind of a surprise, since I am a Democrat". Price was supportive of his daughter when she came out as a lesbian, and he was critical of Anita Bryant's anti-gay-rights campaign in the 1970s. In an interview in 2015, Victoria confirmed that her father confided with her of his intimate relationships with men when she came out to him as a lesbian. Death Price suffered from chronic obstructive pulmonary disease and Parkinson's disease. His symptoms were especially severe during the filming of Edward Scissorhands, making cutting his filming schedule short a necessity. His illness also contributed to his retirement from Mystery! in 1989. He died at age 82 of lung cancer on October 25, 1993, at his home in Los Angeles, California. His remains were cremated and his ashes scattered off Point Dume in Malibu. Legacy The A&E Network aired an episode of Biography the night following Price's death, highlighting his horror-film career, but because of its failure to clear copyrights, the show was never aired again. Four years later, A&E produced its updated episode, titled Vincent Price: The Versatile Villain, which aired on October 12, 1997. The script was by Lucy Chase Williams, author of The Complete Films of Vincent Price. In early 1991, Tim Burton was developing a personal documentary with the working title Conversations with Vincent, in which interviews with Price were shot at the Vincent Price Gallery, but the project was never completed and was eventually shelved. Rhythmeen, the ZZ Top album from 1996, includes a track named "Vincent Price Blues". Price was an honorary board member and strong supporter of the Witch's Dungeon Classic Movie Museum in Bristol, Connecticut, until his death in 1993. The museum features detailed life-sized wax replicas of characters from some of Price's films, including The Fly, The Abominable Dr. Phibes, and The Masque of the Red Death. A black-box theater at Price's alma mater, Mary Institute and St. Louis Country Day School, is named after him. Tim Burton directed a short stop-motion film as a tribute to Vincent Price called Vincent, about a young boy named Vincent Malloy who is obsessed with the grim and macabre; it is narrated by Price. "Vincent Twice, Vincent Twice" was a parody on Sesame Street. He was parodied in an episode of The Simpsons ("Sunday, Cruddy Sunday"). Price had his own Spitting Image puppet, who was always trying to be "sinister" and lure people into his ghoulish traps, only for his victims to point out all the obvious flaws. Starting in November 2005, featured cast member Bill Hader of the NBC sketch comedy/variety show Saturday Night Live has played Price in a recurring sketch in which Price hosts botched holiday specials filled with celebrities of the 1950s/'60s. Other cast members who played Price on SNL include Dan Aykroyd and Michael McKean (who played Price when he hosted a season-10 episode and again when he was hired as a cast member for the 1994–95 season). In 1999, a frank and detailed biography about Price written by his daughter, Victoria, was published by St. Martin's Press. In late May 2011, an event was held by the organization Cinema St. Louis to celebrate what would have been Price's 100th birthday. It included a public event with Victoria at the Missouri History Museum and a showcase of ephemeral and historic items at the gallery inside the Sheldon Concert Hall. In an unusual convergence of widely different generational and cultural backgrounds, the genteel Price was a friend of the English hard rock band Deep Purple and in 1975, he appeared on Roger Glover's live version of The Butterfly Ball and the Grasshopper's Feast as a narrator. Decades later, in 2013, Deep Purple released "Vincent Price", a single the band members dedicated to him. That same year, American director and writer John Waters composed a "heartfelt and appreciative" retrospective on Price for Turner Classic Movies, which recognized the actor as its "Star of the Month" in October 2013 and showcased then a selection of his most popular films. The tribute was repeatedly broadcast on TCM to promote and complement those televised presentations. In sharing with viewers his feelings about Price, Waters at one point describes the actor's screen appeal, especially when he was featured in his darker roles: Filmography Radio appearances Books Introductions to Works by Others Peter Haining (ed). The Ghouls. NY: Stein and Day, 1971. Tom Hutchinson. Horror and Fantasy in the Movies. NY: Crescent Books, 1974. Audio books References External links Vincent Price Official Website Vincent Price Gallery St. Louis Walk of Fame Vincent Price Papers catalog Vincent Price at Virtual History Cooking with Vincent, A Treasury Of Great Recipes Vincent Price Papers (MS 1625). Manuscripts and Archives, Yale University Library. 1911 births 1993 deaths 20th Century Fox contract players 20th-century American male actors 20th-century American essayists Alumni of the Courtauld Institute of Art American art collectors American people of English descent American people of Welsh descent American art writers American autobiographers American cookbook writers American food writers American male film actors American male radio actors American male stage actors American male television actors American male voice actors Audiobook narrators Philanthropists from New York (state) Caedmon Records artists American television hosts California Democrats Deaths from cancer in California Deaths from emphysema Deaths from lung cancer LGBT rights activists from the United States Male actors from Los Angeles Male actors from St. Louis Missouri Democrats People with Parkinson's disease The Yale Record alumni Writers from Los Angeles Writers from Missouri 20th-century American businesspeople 20th-century American male writers American male non-fiction writers Articles containing video clips LGBT writers from the United States Bisexual male actors Bisexual writers American bisexual actors
false
[ "Mikhail Roginsky (; 14 August 1931 – 5 July 2004) was a Russian painter. Roginsky was one of the leaders of Soviet Nonconformist Art and the creator of the modern national visual method, with its laconic means and inner expressiveness.\n\nBiography \nIn 1978, Roginsky moved to Paris. One year before his emigration he had gone back to documentary art and did a series of five or six works with cans. \"I felt (he explained) that I had to go back to what I had begun with, to return to myself\". He left Russia shortly after he had finished that series. Roginsky answer to the question whether the West had any influence on him, was brief: \"Sure\". But he could not say exactly what. \"Everything, (he believes) a different life, a different atmosphere, a different reality. I am generally very much influenced by where I live, what I see around me, what kind of art I behold and the type of people I rub shoulders with'\".\n\nHe died on 5 July 2004 in Paris.\n\nReferences\n\nExternal links \nRussia Info-Centre: Photograph and samples of his work\n\n20th-century Russian painters\nRussian male painters\n21st-century Russian painters\n1931 births\n2004 deaths", "John Type (born c. 1972) is a Zimbabwean sculptor.\n\nType grew up in Chitungwiza, Zimbabwe and began work as an assistant to Kennedy Migeal in 1989. After a year or so he began to work on his own. He has since mentored several artists himself, including Dudzai Mushawepwere and Godfrey Kennedy. Type's works are generally abstract in form.\n\nJohn prefers to sculpt in abstract form and captures the grace and movement of each subject. Each piece will have a story to tell, which comes from experience and inspiration in his surrounding environment.\n\nJohn believes he is gifted by God to create such art forms, as he is the only one in his family that is sculpting. John has an ability to use the natural and spiritual elements of stone to create works of art that are incredibly expressive of movement and formation. Most of Johns works are in private collections around the world, from Germany, Canada, Belgium, Holland, the U.S. and the UK.\n\nGeneral references\nBiographical sketch\nZimSculpt\n\n1972 births\nLiving people\nZimbabwean sculptors\n20th-century sculptors\n21st-century sculptors\nPeople from Mashonaland East Province" ]
[ "Vincent Price", "Art", "What type of Art did he create?", "Price, who studied Art History (along with English) at Yale University, was a noted art lover and collector." ]
C_9632aada122e45be87f8cc63486a96c7_1
Did he create visual artwork?
2
Did Vincent Price create visual artwork?
Vincent Price
Price, who studied Art History (along with English) at Yale University, was a noted art lover and collector. He was a commissioner of the Indian Arts and Crafts Board. In 1957, impressed by the spirit of the students and the community's need for the opportunity to experience original art works first hand, Vincent and Mary Grant Price donated 90 pieces from their private collection and a large amount of money to establish the Vincent Price Art Museum at East Los Angeles College in Monterey Park, California, which was the first "teaching art collection" owned by a community college in the United States. They ultimately donated some 2,000 pieces; the collection contains over 9,000 pieces and has been valued in excess of $5 million. Price also spent time working as an art consultant for Sears-Roebuck: From 1962 to 1971, Sears offered the "Vincent Price Collection of Fine Art", selling about 50,000 fine art prints to the general public. Works which Price selected or commissioned for the collection included works by Rembrandt, Pablo Picasso, and Salvador Dali. Public access to fine art was important to Price, who, according to his daughter, Victoria, saw the Sears deal as an "opportunity to put his populist beliefs into practice, to bring art to the American public." Price amassed his own extensive collection of art, and in 2008, a painting bought for $25 by a couple from Dallas, Texas was identified as a piece from Price's collection. Painted by leading Australian modernist Grace Cossington Smith it was given a modern valuation of AU$45,000. CANNOTANSWER
Price also spent time working as an art consultant for Sears-Roebuck:
Vincent Leonard Price Jr. (May 27, 1911 – October 25, 1993) was an American actor best known for his performances in horror films, although his career spanned other genres. He appeared on stage, television, and radio, and in more than 100 films. Price has two stars on the Hollywood Walk of Fame, one for motion pictures and one for television. Price's first film role was as leading man in the 1938 comedy Service de Luxe. He became well known as a character actor, appearing in films such as The Song of Bernadette (1943), Laura (1944), The Keys of the Kingdom (1944), Leave Her to Heaven (1945), Dragonwyck (1946), and The Ten Commandments (1956). He established himself as a recognizable horror-movie star after his leading role in House of Wax (1953). He subsequently starred in other horror films, including The Fly (1958), House on Haunted Hill (1959), Return of the Fly (1959), The Tingler (1959), The Last Man on Earth (1964), Witchfinder General (1968), The Abominable Dr. Phibes (1971), and Theatre of Blood (1973). He was also known for his collaborations with Roger Corman on Edgar Allan Poe adaptations such as House of Usher (1960), The Pit and the Pendulum (1961), and The Masque of the Red Death (1964). Price occasionally appeared on television series, such as in Batman as Egghead. In his later years, Price voiced the villainous Professor Ratigan in Disney's classic animated film The Great Mouse Detective (1986), then appeared in the drama The Whales of August (1987), which earned him an Independent Spirit Award for Best Supporting Male nomination, and in Tim Burton’s Edward Scissorhands (1990), his last theatrical release. For his contributions to cinema, especially to genre films, he has received lifetime achievement or special tribute awards from Academy of Science Fiction, Fantasy and Horror Films, Fantasporto, Bram Stoker Awards, and Los Angeles Film Critics Association. Price narrated several animation films, radio dramas and documentaries, as well as the monologue on Michael Jackson's song "Thriller". For his voice work in Great American Speeches (1959), Price was nominated for a Grammy Award for Best Spoken Word Album. Price was also an art collector and arts consultant, with a degree in art history, and he lectured and wrote books on the subject. The Vincent Price Art Museum at East Los Angeles College is named in his honor. Price was also a noted gourmet cook. Early life and career Vincent Leonard Price Jr. was born on May 27, 1911, in St. Louis, Missouri, the youngest of the four children of Vincent Leonard Price Sr., president of the National Candy Company, and his wife Marguerite Cobb (née Wilcox) Price. His grandfather was Vincent Clarence Price, who invented "Dr. Price's Baking Powder", the first cream of tartar-based baking powder, and it secured the family's fortune. Price was of Welsh and English descent and was a descendant of Peregrine White, the first white child born in colonial Massachusetts, being born on the Mayflower while it was in Provincetown Harbor. Price attended the St. Louis Country Day School and Milford Academy in Milford, Connecticut. In 1933, he graduated with a degree in English and a minor in art history from Yale University, where he worked on the campus humor magazine The Yale Record. After teaching for a year, he entered the Courtauld Institute of Art in London, intending to study for a master's degree in fine arts. Instead, he was drawn to the theater, first appearing on stage professionally in 1934. His acting career began in London in 1935, performing with Orson Welles's Mercury Theatre. In 1936, Price appeared as Prince Albert in the American production of Laurence Housman's play Victoria Regina, which starred Helen Hayes in the title role of Queen Victoria. Introduction to film roles Price started out in films as a character actor. He made his film debut in Service de Luxe (1938), and established himself in the film Laura (1944), opposite Gene Tierney, directed by Otto Preminger. He played Joseph Smith in the movie Brigham Young (1940) and William Gibbs McAdoo in Wilson (1944), as well as Bernadette's prosecutor, Vital Dutour, in The Song of Bernadette (1943), and as a pretentious priest in The Keys of the Kingdom (1944). Price's first venture into the horror genre, for which he later became best known, was in the Boris Karloff film Tower of London (1939). The following year, Price portrayed the title character in The Invisible Man Returns (a role he reprised in a voice-only cameo in the closing scene of the horror-comedy spoof Abbott and Costello Meet Frankenstein released in 1948). He reunited with Tierney in Leave Her to Heaven (1945) and Dragonwyck (1946). He also had many villainous roles in film noir thrillers such as The Web (1947), The Long Night (1947), Rogues' Regiment (1948), and The Bribe (1949), with Robert Taylor, Ava Gardner, and Charles Laughton. Price's first starring role was as con man James Reavis in the biopic The Baron of Arizona (1950). He did a comedic turn as the tycoon Burnbridge Waters, co-starring with Ronald Colman in Champagne for Caesar (also 1950), one of his favorite film roles. Price was active in radio, portraying the Robin Hood-inspired crime-fighter Simon Templar in The Saint, which ran from 1947 to 1951. In the 1950s, Price moved into more regular horror-film roles with the leading role in House of Wax (1953) as a homicidal sculptor, the first three-dimensional film to land in the year's top 10 at the North American box-office. His next roles were The Mad Magician (1954), the monster movie The Fly (1958), and its sequel Return of the Fly (1959). That same year, Price starred in two thrillers by producer-director William Castle: House on Haunted Hill as eccentric millionaire Fredrick Loren, and The Tingler as Dr. Warren Chapin, who discovered the titular creature. He appeared in the radio drama Three Skeleton Key, the story of an island lighthouse besieged by an army of rats. He had first performed the work in 1950 on Escape and returned to it in 1956 and 1958 for Suspense. Outside the horror realm, Price played Baka in The Ten Commandments, released in 1956. About this time, he also appeared in episodes of television shows such as Science Fiction Theatre, Playhouse 90, and General Electric Theater. In the 1955–56 television season, he was cast three times on the religion anthology series Crossroads. In the 1955 episode "Cleanup", Price portrayed the Reverend Robert Russell. In 1956, he was cast as Rabbi Gershom Mendes Seixas in "The Rebel", and as the Rev. Alfred W. Price in "God's Healing". 1960s In the 1960s, Price achieved a number of low-budget filmmaking successes with Roger Corman and American International Pictures (AIP) starting with the House of Usher (1960), which earned over $2 million at the box office in the United States and led to the subsequent Edgar Allan Poe adaptations of The Pit and the Pendulum (1961), Tales of Terror (1962), The Comedy of Terrors (1963), The Raven (1963), The Masque of the Red Death (1964), and The Tomb of Ligeia (1964). He starred in The Last Man on Earth (1964), the first adaptation of the Richard Matheson novel I Am Legend, and portrayed witch hunter Matthew Hopkins in Witchfinder General (US: The Conqueror Worm, 1968) set during the English Civil War. Price also starred in comedy films such as Dr. Goldfoot and the Bikini Machine (1965) and its sequel Dr. Goldfoot and the Girl Bombs (1966). In 1968, he played the part of an eccentric artist in the musical Darling of the Day, opposite Patricia Routledge. In the 1960s, Price began his role as a guest on the television game show Hollywood Squares, becoming a semiregular in the 1970s, including being one of the guest panelists on the finale in 1980. Price made many guest-star appearances in television shows during the decade, including The Red Skelton Show, Daniel Boone, F Troop, Get Smart, The Man from U.N.C.L.E., and Voyage to the Bottom of the Sea. He had a recurring role in the Batman TV series as the villain Egghead from 1966 to 1967. In 1964, he provided the narration for the Tombstone Historama in Tombstone, Arizona, which was still in operation as of 2016. He also starred as the host of the Australian TV series If These Walls Could Speak, in which a short history of a historical building (supposedly narrated by the building itself) was covered, and as the narrating voice of the building. Later career During the early 1970s, Price hosted and starred in BBC Radio's horror and mystery series The Price of Fear. He accepted a cameo part in the Canadian children's television program The Hilarious House of Frightenstein (1971) in Hamilton, Ontario, on the local television station CHCH-TV. In addition to the opening and closing monologues, his role in the show was to recite poems about various characters, sometimes wearing a cloak or other costumes. He appeared in The Abominable Dr. Phibes (1971), its sequel Dr. Phibes Rises Again (1972), and Theatre of Blood (1973), in which he portrayed one of two serial killers. That same year, he appeared as himself in Mooch Goes to Hollywood, a film written by Jim Backus. Price was an admirer of the works of Edgar Allan Poe, and in 1975 visited the Edgar Allan Poe Museum in Richmond, Virginia, where he had his picture taken with the museum's popular stuffed raven. Price also recorded dramatic readings of Poe's short stories and poems, which were collected together with readings by Basil Rathbone. In 1975, Price and his wife Coral Browne appeared together in an international stage adaptation of Ardèle, which played in the U.S. and in London at the Queen's Theatre. During this run, Browne and Price starred together in the BBC Radio play Night of the Wolf first airing in 1975. Price greatly reduced his film work from around 1975, as horror itself suffered a slump, and he increased his narrative and voice work, as well as advertising Milton Bradley's Shrunken Head Apple Sculpture. Price provided a monologue for the Alice Cooper song "Devil's Food" on the Welcome to My Nightmare album in 1975, and he appeared in the corresponding TV special Alice Cooper: The Nightmare. He starred for a year in the early 1970s in the syndicated daily radio program Tales of the Unexplained. He made guest appearances in a 1970 episode of Here's Lucy, showcasing his art expertise, and in a 1972 episode of ABC's The Brady Bunch, in which he played a deranged archaeologist. In October 1976, he appeared as the featured guest in an episode of The Muppet Show. In 1977, Price began performing as Oscar Wilde in the one-man stage play Diversions and Delights, written by John Gay and directed by Joe Hardy, and set in a Parisian theatre on a night about one year before Wilde's death. The original tour of the play was a success in every city except for New York City. In the summer of 1979, Price performed the role of Wilde at the Tabor Opera House in Leadville, Colorado, on the same stage from which Wilde had spoken to miners about art some 96 years before. He eventually performed the play worldwide. Victoria Price stated in her biography of her father that several members of Price's family and friends thought that this was his best acting performance. In 1979, Price starred with his wife in the short-lived CBS series Time Express. That same year he hosted the hour-long television special America Screams, riding on several roller coasters and recounting their history. During 1979–1980, he hosted the "Mystery Night" segment of the radio series Sears Radio Theater. In 1982, Price provided the narrator's voice in Vincent, Tim Burton's six-minute film about a young boy who flashes from reality into a fantasy where he is Vincent Price. He appeared as Sir Despard Murgatroyd in a 1982 television production of Gilbert and Sullivan's Ruddigore (with Keith Michell as Robin Oakapple). In 1982, Price provided the spoken-word sequence to the end of the Michael Jackson song "Thriller". In 1983, he played the Sinister Man in the British spoof horror film Bloodbath at the House of Death. He appeared in House of the Long Shadows with Christopher Lee, Peter Cushing, and John Carradine; he had worked with each of those actors at least once in previous decades, but this was the first time that all had teamed up. One of his last major roles, and one of his favorites, was as the voice of Professor Ratigan in Walt Disney Pictures' The Great Mouse Detective in 1986. From 1981 to 1989, Price hosted the PBS television series Mystery! In 1985, he provided voice talent on the Hanna-Barbera series The 13 Ghosts of Scooby-Doo as the mysterious "Vincent Van Ghoul", who aided Scooby-Doo, Scrappy-Doo, and the gang in recapturing thirteen demons. He was a lifelong fan of roller coasters, and he narrated a 1987 thirty-minute documentary on the history of roller coasters and amusement parks, including Coney Island. During this time (1985–1989), he appeared in horror-themed commercials for Tilex bathroom cleanser. In 1984, Price appeared in Shelley Duvall's live-action series Faerie Tale Theatre as the Mirror in "Snow White and the Seven Dwarfs", and the narrator for "The Boy Who Left Home to Find Out About the Shivers". In 1987, he starred with Bette Davis, Lillian Gish, and Ann Sothern in The Whales of August, a story of two sisters living in Maine facing the end of their days. His performance in The Whales of August earned the only award nomination of his career, an Independent Spirit Award for Best Supporting Male. In 1989, Price was inducted into the St. Louis Walk of Fame. His last significant film work was as the inventor in Tim Burton's Edward Scissorhands (1990). In 1990, Price recorded the narration as the Phantom for Disneyland Paris's Phantom Manor. After the attraction opened in 1992, though, the narration was shortly removed and replaced with one entirely in French, performed by Gérard Chevalier. Only Price's infamous laughter remained on the soundtrack. In 2018, during Phantom Manor's major renovation, parts of Price's narration were announced to be restored to the soundtrack of the attraction. Since the 2019 reopening, the new tracks are dual-language; Price's original excerpts as well as previously unused material from his 1990 recording comprise the English-speaking portions, while actor Bernard Alane voices the Phantom in French. Art Price, who studied art history at Yale, was an art lover and collector. He was a commissioner of the Indian Arts and Crafts Board. In 1957, impressed by the spirit of the students and the community's need for the opportunity to experience original art works first hand, Vincent and Mary Grant Price donated 90 pieces from their private collection and a large amount of money to establish the Vincent Price Art Museum at East Los Angeles College in Monterey Park, California, which was the first "teaching art collection" owned by a community college in the United States. They ultimately donated some 2,000 pieces; the collection contains over 9,000 pieces and has been valued in excess of $5 million. Price also spent time working as an art consultant for Sears-Roebuck: From 1962 to 1971, Sears offered the "Vincent Price Collection of Fine Art", selling about 50,000 fine-art prints to the general public. Works which Price selected or commissioned for the collection included some by Rembrandt, Pablo Picasso, and Salvador Dalí. Public access to fine art was important to Price, who according to his daughter Victoria, saw the Sears deal as an "opportunity to put his populist beliefs into practice, to bring art to the American public." In the 1960s, portraits painted by Charles Bird King, of Native Americans were secured for Jacqueline Kennedy's White House Restoration. Through the efforts of Vincent Price these five paintings were paid for and donated to the White House Collection by Sears-Roebuck. Price amassed his own extensive collection of art, and in 2008, a painting bought for $25 by a couple from Dallas was identified as a piece from Price's collection. Painted by leading Australian modernist Grace Cossington Smith, it was given a modern valuation of AU$45,000. Cooking Price was a gourmet cook, and he authored several cookbooks with his second wife, Mary. These include: A Treasury of Great Recipes (1965) Mary and Vincent Price present a National Treasury of Cookery (1967) Mary and Vincent Price's Come into the Kitchen Cook Book: A Collector's Treasury of America's Great Recipes (1969) Cooking Price-Wise with Vincent Price (1971) Mary and Vincent Price present a National Treasury of Cookery was a five-volume series, packaged in a boxed set and published by the Heirloom Publishing Company. These five books were combined into a single book two years later and published as Mary and Vincent Price's Come into the Kitchen Cook Book: A Collector's Treasury of America's Great Recipes. Most of the Prices' cookbooks remained in print throughout the 1970s. After being out of print for several decades, two of their books were reprinted; A Treasury of Great Recipes (in August 2015 by Calla Editions) and Mary and Vincent Price's Come into the Kitchen Cook Book (in November 2016 by Calla Editions), both featuring new forewords by their daughter Victoria Price. Cooking Price-Wise with Vincent Price was scheduled to be reprinted by Dover Publishing in October 2017 under the updated title Cooking Price-Wise – The Original Foodie. In 1971, Price hosted his own cooking program on British television, called Cooking Price-Wise produced for the ITV network by Thames Television, which was broadcast in April and May 1971. This show gave its name to Price's fourth and final cookbook later that year. Price promoted his cookbooks on many talk shows, one of the most famous instances being the November 21, 1975, broadcast of The Tonight Show Starring Johnny Carson, when he demonstrated how to poach a fish in a dishwasher. Price recorded a number of audio cooking tutorials titled International Cooking Course. These were titled Bounty of Paradise, Classical Spanish Cuisine, Cuisina Italiana, Delights from the Sultan's Pantry, Dinner at the Casbah, Dining at Versailles, Exotic Delights from the Far East, Food of the Gods, Foods from the Austro-Hungarian Empire, La Cocina Mejicana, The Bard's Board, and The Wok. In addition to those, he recorded an audio wine course titled Wine Is Elegance. These audio recordings were released on 33⅓ LPs by Nelson Industries in 1977, and were also packaged in a 12-cassette boxed set titled Beverly Hills Cookbook – Cookbook of the Rich and Famous, Your Host Mr. Vincent Price. In August 1982, he co-hosted A Taste of China for Thames Television over five episodes. He also prepared a fish recipe on Wolfgang Puck's Cooking with Wolfgang Puck VHS, released in October 1987 by Warner Home Video. Personal life Price married three times. His first marriage was in 1938 to former actress Edith Barrett; they had one son, poet and columnist Vincent Barrett Price. Edith and Price divorced in 1948. Price married Mary Grant in 1949, and they had a daughter, inspirational speaker Victoria Price, on April 27, 1962, naming her after Price's first major success in the play Victoria Regina. The marriage lasted until 1973. He married Australian actress Coral Browne in 1974; she had appeared as one of his victims in Theatre of Blood (1973). The marriage lasted until her death in 1991. Victoria Price's biography Vincent Price: A Daughter's Biography (1999) details Price's early antisemitism and initial admiration for Adolf Hitler. According to his daughter: "When he went to Germany and Austria as a young man, he was struck by a lot of things going on during the Weimar Republic and the disillusion of the empire... So when Hitler came into power, instead of seeing him as a dangerous force, he was sort of swept up in this whole idea that Hitler was going to bring German pride back." However, Price became a liberal after becoming friends with New York intellectuals such as Dorothy Parker and Lillian Hellman in the 1930s, so much so that he was "greylisted" under McCarthyism in the 1950s for having been a prewar "premature anti-Nazi", and after being unable to find work for a year, agreed to requests by the FBI that he sign a "secret oath" to save his career. Victoria said that her father became so liberal that "one of my brother's earliest memories is when Franklin Roosevelt's death was announced, my father fell backwards off the sofa sobbing." Price denounced racial and religious prejudice as a form of poison at the end of an episode of The Saint, which aired on NBC Radio on July 30, 1950, claiming that Americans must actively fight against it because such prejudices within the United States fuels support for the nation's enemies. He was later appointed to the Indian Arts and Crafts Board under the Dwight D. Eisenhower administration; he called the appointment "kind of a surprise, since I am a Democrat". Price was supportive of his daughter when she came out as a lesbian, and he was critical of Anita Bryant's anti-gay-rights campaign in the 1970s. In an interview in 2015, Victoria confirmed that her father confided with her of his intimate relationships with men when she came out to him as a lesbian. Death Price suffered from chronic obstructive pulmonary disease and Parkinson's disease. His symptoms were especially severe during the filming of Edward Scissorhands, making cutting his filming schedule short a necessity. His illness also contributed to his retirement from Mystery! in 1989. He died at age 82 of lung cancer on October 25, 1993, at his home in Los Angeles, California. His remains were cremated and his ashes scattered off Point Dume in Malibu. Legacy The A&E Network aired an episode of Biography the night following Price's death, highlighting his horror-film career, but because of its failure to clear copyrights, the show was never aired again. Four years later, A&E produced its updated episode, titled Vincent Price: The Versatile Villain, which aired on October 12, 1997. The script was by Lucy Chase Williams, author of The Complete Films of Vincent Price. In early 1991, Tim Burton was developing a personal documentary with the working title Conversations with Vincent, in which interviews with Price were shot at the Vincent Price Gallery, but the project was never completed and was eventually shelved. Rhythmeen, the ZZ Top album from 1996, includes a track named "Vincent Price Blues". Price was an honorary board member and strong supporter of the Witch's Dungeon Classic Movie Museum in Bristol, Connecticut, until his death in 1993. The museum features detailed life-sized wax replicas of characters from some of Price's films, including The Fly, The Abominable Dr. Phibes, and The Masque of the Red Death. A black-box theater at Price's alma mater, Mary Institute and St. Louis Country Day School, is named after him. Tim Burton directed a short stop-motion film as a tribute to Vincent Price called Vincent, about a young boy named Vincent Malloy who is obsessed with the grim and macabre; it is narrated by Price. "Vincent Twice, Vincent Twice" was a parody on Sesame Street. He was parodied in an episode of The Simpsons ("Sunday, Cruddy Sunday"). Price had his own Spitting Image puppet, who was always trying to be "sinister" and lure people into his ghoulish traps, only for his victims to point out all the obvious flaws. Starting in November 2005, featured cast member Bill Hader of the NBC sketch comedy/variety show Saturday Night Live has played Price in a recurring sketch in which Price hosts botched holiday specials filled with celebrities of the 1950s/'60s. Other cast members who played Price on SNL include Dan Aykroyd and Michael McKean (who played Price when he hosted a season-10 episode and again when he was hired as a cast member for the 1994–95 season). In 1999, a frank and detailed biography about Price written by his daughter, Victoria, was published by St. Martin's Press. In late May 2011, an event was held by the organization Cinema St. Louis to celebrate what would have been Price's 100th birthday. It included a public event with Victoria at the Missouri History Museum and a showcase of ephemeral and historic items at the gallery inside the Sheldon Concert Hall. In an unusual convergence of widely different generational and cultural backgrounds, the genteel Price was a friend of the English hard rock band Deep Purple and in 1975, he appeared on Roger Glover's live version of The Butterfly Ball and the Grasshopper's Feast as a narrator. Decades later, in 2013, Deep Purple released "Vincent Price", a single the band members dedicated to him. That same year, American director and writer John Waters composed a "heartfelt and appreciative" retrospective on Price for Turner Classic Movies, which recognized the actor as its "Star of the Month" in October 2013 and showcased then a selection of his most popular films. The tribute was repeatedly broadcast on TCM to promote and complement those televised presentations. In sharing with viewers his feelings about Price, Waters at one point describes the actor's screen appeal, especially when he was featured in his darker roles: Filmography Radio appearances Books Introductions to Works by Others Peter Haining (ed). The Ghouls. NY: Stein and Day, 1971. Tom Hutchinson. Horror and Fantasy in the Movies. NY: Crescent Books, 1974. Audio books References External links Vincent Price Official Website Vincent Price Gallery St. Louis Walk of Fame Vincent Price Papers catalog Vincent Price at Virtual History Cooking with Vincent, A Treasury Of Great Recipes Vincent Price Papers (MS 1625). Manuscripts and Archives, Yale University Library. 1911 births 1993 deaths 20th Century Fox contract players 20th-century American male actors 20th-century American essayists Alumni of the Courtauld Institute of Art American art collectors American people of English descent American people of Welsh descent American art writers American autobiographers American cookbook writers American food writers American male film actors American male radio actors American male stage actors American male television actors American male voice actors Audiobook narrators Philanthropists from New York (state) Caedmon Records artists American television hosts California Democrats Deaths from cancer in California Deaths from emphysema Deaths from lung cancer LGBT rights activists from the United States Male actors from Los Angeles Male actors from St. Louis Missouri Democrats People with Parkinson's disease The Yale Record alumni Writers from Los Angeles Writers from Missouri 20th-century American businesspeople 20th-century American male writers American male non-fiction writers Articles containing video clips LGBT writers from the United States Bisexual male actors Bisexual writers American bisexual actors
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[ "Michael Birawer (born April 17, 1971) is an American artist. Born and based in St. Paul, Minnesota, he is known for his surrealist paintings of urban settings and their inhabitants.\n\nArtwork \nBirawer, a graduate of St. Paul's College of Visual Arts, began his career exhibiting his work at art fairs and local galleries. Today, you can see his works at his gallery located in the artist district of Northeast Minneapolis as well as numerous national galleries and retail outlets. His work combines oil and acrylic paints with layers of sculpted wood that he dubbed \"pop outs.\"\n\nBirawer first achieved major notice in 2001 with his series Scenes from the Twin Cities, which consisted of 20 local landmarks including the Hennepin Avenue Bridge, First Avenue, W.A. Frost and the Grandview Theater. In an interview, Birawer dubbed his style \"cat art,\" citing his inspiration from the cartoonish rendering of felines with elongated features and excessively vibrant hues.\n\nIn 2003, Birawer was the winner of the year's poster contest to promote the St. Paul Art Crawl, a citywide celebration of the visual arts. His design \"Chestnut and W. 7th\" was used in the advertising and marketing of the event. In 2007, he was commissioned to create the official poster for the Minnesota State Fair.\n\nIn 2009, Birawer was commissioned to create the artwork \"The Art of Parking\" for Amano McGann's entry into the International Parking Institute Conference and Expo. The booth was recognized by the committee and earned the award as the best at the Expo.\n\nComedian and club owner, Rick Bronson, hired Birawer in early 2010 to create a massive 3-dimensional backdrop for Rick Bronson's House of Comedy at the Mall of America. The work measures 12 feet high, 32 feet wide and has a third dimension of 3 feet.\n\nThe Minnesota Twins commissioned Birawer in 2010 to create his interpretation of the team's new stadium, Target Field. The work, entitled, \"Target Field - Home of the Twins\", is on exhibit in the Minnesota Twins team offices at the ballpark.\n\nIn 2011 the Minnesota Orchestra commissioned Michael to capture Orchestra Hall before an extensive remodel. The artwork was used for all the promotional materials for the 2012 season.\n\nSeafair summer festival in Seattle, Washington selected Birawer as the Official Artist to commemorate the 65th Anniversary of the event. The artwork, \"Seafair - 65th Anniversary\" is on exhibit at the Museum of Flight at King County International Airport, Boeing Field through the end of August, 2014.\n\nMichael was selected to create the commemorative artwork for the Museum of Flight 50th Anniversary in Seattle. The large artwork depicting many of the planes in the museum was auctioned off at the anniversary gala in August 2015.\n\nIn the September 28, 2015 online Forbes.com included an extensive feature on Michael. \"A Conversation with Artist Michael Birawer\", written by Jason Borbet, is a very thorough look into the success and business of making art in today's world.\n\nInfluences \nElizabeth Murray\nEdward Hopper\nRed Grooms\nFrank Stella\nLaurence Stephen Lowry\nLyonel Feininger\n\nReferences\n\nExternal links \nOfficial web site\nOfficial Michael Birawer channel on YouTube\nMichael Birawer on Facebook\nMichael Birawer on Twitter\nDeck the Walls Mall of America (Michael Birawer)\n\n1971 births\nArtists from Saint Paul, Minnesota\nLiving people\n20th-century American painters\nAmerican male painters\n21st-century American painters\n21st-century male artists\nPainters from Minnesota", "In visual art, mixed media describes artwork in which more than one medium or material has been employed.\nAssemblages, collages, and sculpture are three common examples of art using different media. Materials used to create mixed media art include, but are not limited to, paint, cloth, paper, wood and found objects.\n\nMixed media art is distinguished from multimedia art which combines visual art with non-visual elements, such as recorded sound, literature, drama, dance, motion graphics, music, or interactivity.\n\nHistory of mixed media \nThe first modern artwork to be considered mixed media is Pablo Picasso's 1912 collage Still Life with Chair Caning, which used paper, cloth, paint and rope to create a pseudo-3D effect. The influence of movements like Cubism and Dada contributed to the mixed media's growth in popularity throughout the 20th century with artists like Henri Matisse, Joseph Cornell, Jean Dubuffet, and Ellsworth Kelly adopting it. This led to further innovations like installations in the late 20th century. Mixed media continues to be a popular form for artists, with different forms like wet media and markings being explored.\n\nTypes of mixed media art \nMixed media art can be differentiated into distinct types, some of which are:\n\nCollage: This is an art form which involves combining different materials like ribbons, newspaper clippings, photographs etc. to create a new whole. While it was a sporadic practice in antiquity, it became a fundamental part of modern art in the early 20th century, due to the efforts of Braque and Picasso.\n\nAssemblage: This is a 3-dimensional variant of the collage with elements jutting in or out of a defined substrate, or an entirely 3-D arrangement of objects and/or sculptures.\n\nFound object art: These are objects that are found and used by artists and incorporated into artworks because of their perceived artistic value. It was popularized by the conceptual artist Marcel Duchamp.\n\nAltered books: This is a specific form where the artist will reuse a book by modifying/altering it physically for use in the work. This can involve physically cutting and pasting pages to change the contents of the book or using the materials of the book as contents for an art piece.\n\nWet and Dry Media: Wet media consists of materials such as paints and inks that use some sort of liquidity in their usage or composition. Dry materials (such as pencils, charcoal, and crayons) are lacking this inherent liquidity. Using wet and dry media in conjunction is considered mixed media for its combination of inherently differing media to create a finalized piece.\n\nExamples of mixed media artwork \nMixed media artists have been able to take any material they want in the last century and produce artwork with a whole new dimension. The process is just as crucial for these creative minds - because it evolves along with their art mediums. That's the beauty of mixed media artwork - it is constantly changing, and anything goes.\n\nStill Life with Chair Caning: Picasso's piece depicts what can be seen as a table with a cut lemon, a knife, a napkin and a newspaper among other discernible objects. It is elliptical (with speculation that the work itself could be depicting a porthole) and uses a piece of rope to form its edge. Paper and cloth are used for the objects present on the table.\n\nAngel of Anarchy: Eileen Agar's 1937 sculpture is a modified bust of Joseph Bard, which was covered by paper and fur. When this was lost, she made a 1940 variation which shrouded and blinded the figure with feathers, beads and cloth creating an entirely different perspective on the sculpture.\n\nSee also\nAltered book\nArtist trading cards\nCollage\nDécollage\nIntermedia \nList of mixed media artists\nModular art\nMultimedia\nNew media art\nQuilt art\nVisual Focus Depth Art\n\nReferences \n\nVisual arts media\nContemporary art\nPainting" ]
[ "Vincent Price", "Art", "What type of Art did he create?", "Price, who studied Art History (along with English) at Yale University, was a noted art lover and collector.", "Did he create visual artwork?", "Price also spent time working as an art consultant for Sears-Roebuck:" ]
C_9632aada122e45be87f8cc63486a96c7_1
What was he known for?
3
What was Vincent Price known for?
Vincent Price
Price, who studied Art History (along with English) at Yale University, was a noted art lover and collector. He was a commissioner of the Indian Arts and Crafts Board. In 1957, impressed by the spirit of the students and the community's need for the opportunity to experience original art works first hand, Vincent and Mary Grant Price donated 90 pieces from their private collection and a large amount of money to establish the Vincent Price Art Museum at East Los Angeles College in Monterey Park, California, which was the first "teaching art collection" owned by a community college in the United States. They ultimately donated some 2,000 pieces; the collection contains over 9,000 pieces and has been valued in excess of $5 million. Price also spent time working as an art consultant for Sears-Roebuck: From 1962 to 1971, Sears offered the "Vincent Price Collection of Fine Art", selling about 50,000 fine art prints to the general public. Works which Price selected or commissioned for the collection included works by Rembrandt, Pablo Picasso, and Salvador Dali. Public access to fine art was important to Price, who, according to his daughter, Victoria, saw the Sears deal as an "opportunity to put his populist beliefs into practice, to bring art to the American public." Price amassed his own extensive collection of art, and in 2008, a painting bought for $25 by a couple from Dallas, Texas was identified as a piece from Price's collection. Painted by leading Australian modernist Grace Cossington Smith it was given a modern valuation of AU$45,000. CANNOTANSWER
establish the Vincent Price Art Museum at East Los Angeles College in Monterey Park, California, which was the first "teaching art collection" owned by a community college
Vincent Leonard Price Jr. (May 27, 1911 – October 25, 1993) was an American actor best known for his performances in horror films, although his career spanned other genres. He appeared on stage, television, and radio, and in more than 100 films. Price has two stars on the Hollywood Walk of Fame, one for motion pictures and one for television. Price's first film role was as leading man in the 1938 comedy Service de Luxe. He became well known as a character actor, appearing in films such as The Song of Bernadette (1943), Laura (1944), The Keys of the Kingdom (1944), Leave Her to Heaven (1945), Dragonwyck (1946), and The Ten Commandments (1956). He established himself as a recognizable horror-movie star after his leading role in House of Wax (1953). He subsequently starred in other horror films, including The Fly (1958), House on Haunted Hill (1959), Return of the Fly (1959), The Tingler (1959), The Last Man on Earth (1964), Witchfinder General (1968), The Abominable Dr. Phibes (1971), and Theatre of Blood (1973). He was also known for his collaborations with Roger Corman on Edgar Allan Poe adaptations such as House of Usher (1960), The Pit and the Pendulum (1961), and The Masque of the Red Death (1964). Price occasionally appeared on television series, such as in Batman as Egghead. In his later years, Price voiced the villainous Professor Ratigan in Disney's classic animated film The Great Mouse Detective (1986), then appeared in the drama The Whales of August (1987), which earned him an Independent Spirit Award for Best Supporting Male nomination, and in Tim Burton’s Edward Scissorhands (1990), his last theatrical release. For his contributions to cinema, especially to genre films, he has received lifetime achievement or special tribute awards from Academy of Science Fiction, Fantasy and Horror Films, Fantasporto, Bram Stoker Awards, and Los Angeles Film Critics Association. Price narrated several animation films, radio dramas and documentaries, as well as the monologue on Michael Jackson's song "Thriller". For his voice work in Great American Speeches (1959), Price was nominated for a Grammy Award for Best Spoken Word Album. Price was also an art collector and arts consultant, with a degree in art history, and he lectured and wrote books on the subject. The Vincent Price Art Museum at East Los Angeles College is named in his honor. Price was also a noted gourmet cook. Early life and career Vincent Leonard Price Jr. was born on May 27, 1911, in St. Louis, Missouri, the youngest of the four children of Vincent Leonard Price Sr., president of the National Candy Company, and his wife Marguerite Cobb (née Wilcox) Price. His grandfather was Vincent Clarence Price, who invented "Dr. Price's Baking Powder", the first cream of tartar-based baking powder, and it secured the family's fortune. Price was of Welsh and English descent and was a descendant of Peregrine White, the first white child born in colonial Massachusetts, being born on the Mayflower while it was in Provincetown Harbor. Price attended the St. Louis Country Day School and Milford Academy in Milford, Connecticut. In 1933, he graduated with a degree in English and a minor in art history from Yale University, where he worked on the campus humor magazine The Yale Record. After teaching for a year, he entered the Courtauld Institute of Art in London, intending to study for a master's degree in fine arts. Instead, he was drawn to the theater, first appearing on stage professionally in 1934. His acting career began in London in 1935, performing with Orson Welles's Mercury Theatre. In 1936, Price appeared as Prince Albert in the American production of Laurence Housman's play Victoria Regina, which starred Helen Hayes in the title role of Queen Victoria. Introduction to film roles Price started out in films as a character actor. He made his film debut in Service de Luxe (1938), and established himself in the film Laura (1944), opposite Gene Tierney, directed by Otto Preminger. He played Joseph Smith in the movie Brigham Young (1940) and William Gibbs McAdoo in Wilson (1944), as well as Bernadette's prosecutor, Vital Dutour, in The Song of Bernadette (1943), and as a pretentious priest in The Keys of the Kingdom (1944). Price's first venture into the horror genre, for which he later became best known, was in the Boris Karloff film Tower of London (1939). The following year, Price portrayed the title character in The Invisible Man Returns (a role he reprised in a voice-only cameo in the closing scene of the horror-comedy spoof Abbott and Costello Meet Frankenstein released in 1948). He reunited with Tierney in Leave Her to Heaven (1945) and Dragonwyck (1946). He also had many villainous roles in film noir thrillers such as The Web (1947), The Long Night (1947), Rogues' Regiment (1948), and The Bribe (1949), with Robert Taylor, Ava Gardner, and Charles Laughton. Price's first starring role was as con man James Reavis in the biopic The Baron of Arizona (1950). He did a comedic turn as the tycoon Burnbridge Waters, co-starring with Ronald Colman in Champagne for Caesar (also 1950), one of his favorite film roles. Price was active in radio, portraying the Robin Hood-inspired crime-fighter Simon Templar in The Saint, which ran from 1947 to 1951. In the 1950s, Price moved into more regular horror-film roles with the leading role in House of Wax (1953) as a homicidal sculptor, the first three-dimensional film to land in the year's top 10 at the North American box-office. His next roles were The Mad Magician (1954), the monster movie The Fly (1958), and its sequel Return of the Fly (1959). That same year, Price starred in two thrillers by producer-director William Castle: House on Haunted Hill as eccentric millionaire Fredrick Loren, and The Tingler as Dr. Warren Chapin, who discovered the titular creature. He appeared in the radio drama Three Skeleton Key, the story of an island lighthouse besieged by an army of rats. He had first performed the work in 1950 on Escape and returned to it in 1956 and 1958 for Suspense. Outside the horror realm, Price played Baka in The Ten Commandments, released in 1956. About this time, he also appeared in episodes of television shows such as Science Fiction Theatre, Playhouse 90, and General Electric Theater. In the 1955–56 television season, he was cast three times on the religion anthology series Crossroads. In the 1955 episode "Cleanup", Price portrayed the Reverend Robert Russell. In 1956, he was cast as Rabbi Gershom Mendes Seixas in "The Rebel", and as the Rev. Alfred W. Price in "God's Healing". 1960s In the 1960s, Price achieved a number of low-budget filmmaking successes with Roger Corman and American International Pictures (AIP) starting with the House of Usher (1960), which earned over $2 million at the box office in the United States and led to the subsequent Edgar Allan Poe adaptations of The Pit and the Pendulum (1961), Tales of Terror (1962), The Comedy of Terrors (1963), The Raven (1963), The Masque of the Red Death (1964), and The Tomb of Ligeia (1964). He starred in The Last Man on Earth (1964), the first adaptation of the Richard Matheson novel I Am Legend, and portrayed witch hunter Matthew Hopkins in Witchfinder General (US: The Conqueror Worm, 1968) set during the English Civil War. Price also starred in comedy films such as Dr. Goldfoot and the Bikini Machine (1965) and its sequel Dr. Goldfoot and the Girl Bombs (1966). In 1968, he played the part of an eccentric artist in the musical Darling of the Day, opposite Patricia Routledge. In the 1960s, Price began his role as a guest on the television game show Hollywood Squares, becoming a semiregular in the 1970s, including being one of the guest panelists on the finale in 1980. Price made many guest-star appearances in television shows during the decade, including The Red Skelton Show, Daniel Boone, F Troop, Get Smart, The Man from U.N.C.L.E., and Voyage to the Bottom of the Sea. He had a recurring role in the Batman TV series as the villain Egghead from 1966 to 1967. In 1964, he provided the narration for the Tombstone Historama in Tombstone, Arizona, which was still in operation as of 2016. He also starred as the host of the Australian TV series If These Walls Could Speak, in which a short history of a historical building (supposedly narrated by the building itself) was covered, and as the narrating voice of the building. Later career During the early 1970s, Price hosted and starred in BBC Radio's horror and mystery series The Price of Fear. He accepted a cameo part in the Canadian children's television program The Hilarious House of Frightenstein (1971) in Hamilton, Ontario, on the local television station CHCH-TV. In addition to the opening and closing monologues, his role in the show was to recite poems about various characters, sometimes wearing a cloak or other costumes. He appeared in The Abominable Dr. Phibes (1971), its sequel Dr. Phibes Rises Again (1972), and Theatre of Blood (1973), in which he portrayed one of two serial killers. That same year, he appeared as himself in Mooch Goes to Hollywood, a film written by Jim Backus. Price was an admirer of the works of Edgar Allan Poe, and in 1975 visited the Edgar Allan Poe Museum in Richmond, Virginia, where he had his picture taken with the museum's popular stuffed raven. Price also recorded dramatic readings of Poe's short stories and poems, which were collected together with readings by Basil Rathbone. In 1975, Price and his wife Coral Browne appeared together in an international stage adaptation of Ardèle, which played in the U.S. and in London at the Queen's Theatre. During this run, Browne and Price starred together in the BBC Radio play Night of the Wolf first airing in 1975. Price greatly reduced his film work from around 1975, as horror itself suffered a slump, and he increased his narrative and voice work, as well as advertising Milton Bradley's Shrunken Head Apple Sculpture. Price provided a monologue for the Alice Cooper song "Devil's Food" on the Welcome to My Nightmare album in 1975, and he appeared in the corresponding TV special Alice Cooper: The Nightmare. He starred for a year in the early 1970s in the syndicated daily radio program Tales of the Unexplained. He made guest appearances in a 1970 episode of Here's Lucy, showcasing his art expertise, and in a 1972 episode of ABC's The Brady Bunch, in which he played a deranged archaeologist. In October 1976, he appeared as the featured guest in an episode of The Muppet Show. In 1977, Price began performing as Oscar Wilde in the one-man stage play Diversions and Delights, written by John Gay and directed by Joe Hardy, and set in a Parisian theatre on a night about one year before Wilde's death. The original tour of the play was a success in every city except for New York City. In the summer of 1979, Price performed the role of Wilde at the Tabor Opera House in Leadville, Colorado, on the same stage from which Wilde had spoken to miners about art some 96 years before. He eventually performed the play worldwide. Victoria Price stated in her biography of her father that several members of Price's family and friends thought that this was his best acting performance. In 1979, Price starred with his wife in the short-lived CBS series Time Express. That same year he hosted the hour-long television special America Screams, riding on several roller coasters and recounting their history. During 1979–1980, he hosted the "Mystery Night" segment of the radio series Sears Radio Theater. In 1982, Price provided the narrator's voice in Vincent, Tim Burton's six-minute film about a young boy who flashes from reality into a fantasy where he is Vincent Price. He appeared as Sir Despard Murgatroyd in a 1982 television production of Gilbert and Sullivan's Ruddigore (with Keith Michell as Robin Oakapple). In 1982, Price provided the spoken-word sequence to the end of the Michael Jackson song "Thriller". In 1983, he played the Sinister Man in the British spoof horror film Bloodbath at the House of Death. He appeared in House of the Long Shadows with Christopher Lee, Peter Cushing, and John Carradine; he had worked with each of those actors at least once in previous decades, but this was the first time that all had teamed up. One of his last major roles, and one of his favorites, was as the voice of Professor Ratigan in Walt Disney Pictures' The Great Mouse Detective in 1986. From 1981 to 1989, Price hosted the PBS television series Mystery! In 1985, he provided voice talent on the Hanna-Barbera series The 13 Ghosts of Scooby-Doo as the mysterious "Vincent Van Ghoul", who aided Scooby-Doo, Scrappy-Doo, and the gang in recapturing thirteen demons. He was a lifelong fan of roller coasters, and he narrated a 1987 thirty-minute documentary on the history of roller coasters and amusement parks, including Coney Island. During this time (1985–1989), he appeared in horror-themed commercials for Tilex bathroom cleanser. In 1984, Price appeared in Shelley Duvall's live-action series Faerie Tale Theatre as the Mirror in "Snow White and the Seven Dwarfs", and the narrator for "The Boy Who Left Home to Find Out About the Shivers". In 1987, he starred with Bette Davis, Lillian Gish, and Ann Sothern in The Whales of August, a story of two sisters living in Maine facing the end of their days. His performance in The Whales of August earned the only award nomination of his career, an Independent Spirit Award for Best Supporting Male. In 1989, Price was inducted into the St. Louis Walk of Fame. His last significant film work was as the inventor in Tim Burton's Edward Scissorhands (1990). In 1990, Price recorded the narration as the Phantom for Disneyland Paris's Phantom Manor. After the attraction opened in 1992, though, the narration was shortly removed and replaced with one entirely in French, performed by Gérard Chevalier. Only Price's infamous laughter remained on the soundtrack. In 2018, during Phantom Manor's major renovation, parts of Price's narration were announced to be restored to the soundtrack of the attraction. Since the 2019 reopening, the new tracks are dual-language; Price's original excerpts as well as previously unused material from his 1990 recording comprise the English-speaking portions, while actor Bernard Alane voices the Phantom in French. Art Price, who studied art history at Yale, was an art lover and collector. He was a commissioner of the Indian Arts and Crafts Board. In 1957, impressed by the spirit of the students and the community's need for the opportunity to experience original art works first hand, Vincent and Mary Grant Price donated 90 pieces from their private collection and a large amount of money to establish the Vincent Price Art Museum at East Los Angeles College in Monterey Park, California, which was the first "teaching art collection" owned by a community college in the United States. They ultimately donated some 2,000 pieces; the collection contains over 9,000 pieces and has been valued in excess of $5 million. Price also spent time working as an art consultant for Sears-Roebuck: From 1962 to 1971, Sears offered the "Vincent Price Collection of Fine Art", selling about 50,000 fine-art prints to the general public. Works which Price selected or commissioned for the collection included some by Rembrandt, Pablo Picasso, and Salvador Dalí. Public access to fine art was important to Price, who according to his daughter Victoria, saw the Sears deal as an "opportunity to put his populist beliefs into practice, to bring art to the American public." In the 1960s, portraits painted by Charles Bird King, of Native Americans were secured for Jacqueline Kennedy's White House Restoration. Through the efforts of Vincent Price these five paintings were paid for and donated to the White House Collection by Sears-Roebuck. Price amassed his own extensive collection of art, and in 2008, a painting bought for $25 by a couple from Dallas was identified as a piece from Price's collection. Painted by leading Australian modernist Grace Cossington Smith, it was given a modern valuation of AU$45,000. Cooking Price was a gourmet cook, and he authored several cookbooks with his second wife, Mary. These include: A Treasury of Great Recipes (1965) Mary and Vincent Price present a National Treasury of Cookery (1967) Mary and Vincent Price's Come into the Kitchen Cook Book: A Collector's Treasury of America's Great Recipes (1969) Cooking Price-Wise with Vincent Price (1971) Mary and Vincent Price present a National Treasury of Cookery was a five-volume series, packaged in a boxed set and published by the Heirloom Publishing Company. These five books were combined into a single book two years later and published as Mary and Vincent Price's Come into the Kitchen Cook Book: A Collector's Treasury of America's Great Recipes. Most of the Prices' cookbooks remained in print throughout the 1970s. After being out of print for several decades, two of their books were reprinted; A Treasury of Great Recipes (in August 2015 by Calla Editions) and Mary and Vincent Price's Come into the Kitchen Cook Book (in November 2016 by Calla Editions), both featuring new forewords by their daughter Victoria Price. Cooking Price-Wise with Vincent Price was scheduled to be reprinted by Dover Publishing in October 2017 under the updated title Cooking Price-Wise – The Original Foodie. In 1971, Price hosted his own cooking program on British television, called Cooking Price-Wise produced for the ITV network by Thames Television, which was broadcast in April and May 1971. This show gave its name to Price's fourth and final cookbook later that year. Price promoted his cookbooks on many talk shows, one of the most famous instances being the November 21, 1975, broadcast of The Tonight Show Starring Johnny Carson, when he demonstrated how to poach a fish in a dishwasher. Price recorded a number of audio cooking tutorials titled International Cooking Course. These were titled Bounty of Paradise, Classical Spanish Cuisine, Cuisina Italiana, Delights from the Sultan's Pantry, Dinner at the Casbah, Dining at Versailles, Exotic Delights from the Far East, Food of the Gods, Foods from the Austro-Hungarian Empire, La Cocina Mejicana, The Bard's Board, and The Wok. In addition to those, he recorded an audio wine course titled Wine Is Elegance. These audio recordings were released on 33⅓ LPs by Nelson Industries in 1977, and were also packaged in a 12-cassette boxed set titled Beverly Hills Cookbook – Cookbook of the Rich and Famous, Your Host Mr. Vincent Price. In August 1982, he co-hosted A Taste of China for Thames Television over five episodes. He also prepared a fish recipe on Wolfgang Puck's Cooking with Wolfgang Puck VHS, released in October 1987 by Warner Home Video. Personal life Price married three times. His first marriage was in 1938 to former actress Edith Barrett; they had one son, poet and columnist Vincent Barrett Price. Edith and Price divorced in 1948. Price married Mary Grant in 1949, and they had a daughter, inspirational speaker Victoria Price, on April 27, 1962, naming her after Price's first major success in the play Victoria Regina. The marriage lasted until 1973. He married Australian actress Coral Browne in 1974; she had appeared as one of his victims in Theatre of Blood (1973). The marriage lasted until her death in 1991. Victoria Price's biography Vincent Price: A Daughter's Biography (1999) details Price's early antisemitism and initial admiration for Adolf Hitler. According to his daughter: "When he went to Germany and Austria as a young man, he was struck by a lot of things going on during the Weimar Republic and the disillusion of the empire... So when Hitler came into power, instead of seeing him as a dangerous force, he was sort of swept up in this whole idea that Hitler was going to bring German pride back." However, Price became a liberal after becoming friends with New York intellectuals such as Dorothy Parker and Lillian Hellman in the 1930s, so much so that he was "greylisted" under McCarthyism in the 1950s for having been a prewar "premature anti-Nazi", and after being unable to find work for a year, agreed to requests by the FBI that he sign a "secret oath" to save his career. Victoria said that her father became so liberal that "one of my brother's earliest memories is when Franklin Roosevelt's death was announced, my father fell backwards off the sofa sobbing." Price denounced racial and religious prejudice as a form of poison at the end of an episode of The Saint, which aired on NBC Radio on July 30, 1950, claiming that Americans must actively fight against it because such prejudices within the United States fuels support for the nation's enemies. He was later appointed to the Indian Arts and Crafts Board under the Dwight D. Eisenhower administration; he called the appointment "kind of a surprise, since I am a Democrat". Price was supportive of his daughter when she came out as a lesbian, and he was critical of Anita Bryant's anti-gay-rights campaign in the 1970s. In an interview in 2015, Victoria confirmed that her father confided with her of his intimate relationships with men when she came out to him as a lesbian. Death Price suffered from chronic obstructive pulmonary disease and Parkinson's disease. His symptoms were especially severe during the filming of Edward Scissorhands, making cutting his filming schedule short a necessity. His illness also contributed to his retirement from Mystery! in 1989. He died at age 82 of lung cancer on October 25, 1993, at his home in Los Angeles, California. His remains were cremated and his ashes scattered off Point Dume in Malibu. Legacy The A&E Network aired an episode of Biography the night following Price's death, highlighting his horror-film career, but because of its failure to clear copyrights, the show was never aired again. Four years later, A&E produced its updated episode, titled Vincent Price: The Versatile Villain, which aired on October 12, 1997. The script was by Lucy Chase Williams, author of The Complete Films of Vincent Price. In early 1991, Tim Burton was developing a personal documentary with the working title Conversations with Vincent, in which interviews with Price were shot at the Vincent Price Gallery, but the project was never completed and was eventually shelved. Rhythmeen, the ZZ Top album from 1996, includes a track named "Vincent Price Blues". Price was an honorary board member and strong supporter of the Witch's Dungeon Classic Movie Museum in Bristol, Connecticut, until his death in 1993. The museum features detailed life-sized wax replicas of characters from some of Price's films, including The Fly, The Abominable Dr. Phibes, and The Masque of the Red Death. A black-box theater at Price's alma mater, Mary Institute and St. Louis Country Day School, is named after him. Tim Burton directed a short stop-motion film as a tribute to Vincent Price called Vincent, about a young boy named Vincent Malloy who is obsessed with the grim and macabre; it is narrated by Price. "Vincent Twice, Vincent Twice" was a parody on Sesame Street. He was parodied in an episode of The Simpsons ("Sunday, Cruddy Sunday"). Price had his own Spitting Image puppet, who was always trying to be "sinister" and lure people into his ghoulish traps, only for his victims to point out all the obvious flaws. Starting in November 2005, featured cast member Bill Hader of the NBC sketch comedy/variety show Saturday Night Live has played Price in a recurring sketch in which Price hosts botched holiday specials filled with celebrities of the 1950s/'60s. Other cast members who played Price on SNL include Dan Aykroyd and Michael McKean (who played Price when he hosted a season-10 episode and again when he was hired as a cast member for the 1994–95 season). In 1999, a frank and detailed biography about Price written by his daughter, Victoria, was published by St. Martin's Press. In late May 2011, an event was held by the organization Cinema St. Louis to celebrate what would have been Price's 100th birthday. It included a public event with Victoria at the Missouri History Museum and a showcase of ephemeral and historic items at the gallery inside the Sheldon Concert Hall. In an unusual convergence of widely different generational and cultural backgrounds, the genteel Price was a friend of the English hard rock band Deep Purple and in 1975, he appeared on Roger Glover's live version of The Butterfly Ball and the Grasshopper's Feast as a narrator. Decades later, in 2013, Deep Purple released "Vincent Price", a single the band members dedicated to him. That same year, American director and writer John Waters composed a "heartfelt and appreciative" retrospective on Price for Turner Classic Movies, which recognized the actor as its "Star of the Month" in October 2013 and showcased then a selection of his most popular films. The tribute was repeatedly broadcast on TCM to promote and complement those televised presentations. In sharing with viewers his feelings about Price, Waters at one point describes the actor's screen appeal, especially when he was featured in his darker roles: Filmography Radio appearances Books Introductions to Works by Others Peter Haining (ed). The Ghouls. NY: Stein and Day, 1971. Tom Hutchinson. Horror and Fantasy in the Movies. NY: Crescent Books, 1974. Audio books References External links Vincent Price Official Website Vincent Price Gallery St. Louis Walk of Fame Vincent Price Papers catalog Vincent Price at Virtual History Cooking with Vincent, A Treasury Of Great Recipes Vincent Price Papers (MS 1625). Manuscripts and Archives, Yale University Library. 1911 births 1993 deaths 20th Century Fox contract players 20th-century American male actors 20th-century American essayists Alumni of the Courtauld Institute of Art American art collectors American people of English descent American people of Welsh descent American art writers American autobiographers American cookbook writers American food writers American male film actors American male radio actors American male stage actors American male television actors American male voice actors Audiobook narrators Philanthropists from New York (state) Caedmon Records artists American television hosts California Democrats Deaths from cancer in California Deaths from emphysema Deaths from lung cancer LGBT rights activists from the United States Male actors from Los Angeles Male actors from St. Louis Missouri Democrats People with Parkinson's disease The Yale Record alumni Writers from Los Angeles Writers from Missouri 20th-century American businesspeople 20th-century American male writers American male non-fiction writers Articles containing video clips LGBT writers from the United States Bisexual male actors Bisexual writers American bisexual actors
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[ "Cullen Hightower (1923 – November 27, 2008) was a well-known quotation and quip writer from the United States. He is often associated with the American conservative political movement.\n\nHightower served in the U.S. army during World War II before beginning a career in sales. He began to publish his writing upon retirement. A collection of his quotations was published as Cullen Hightower's Wit Kit. One of Hightower's most notable quotations is \"People seldom become famous for what they say until after they are famous for what they've done.\" Ironically, Hightower became famous for what he said rather than for what he did. A number of other quotes are in his obituary.\n\nReferences\n\nAmerican humorists\n1923 births\n2008 deaths\nUnited States Army personnel of World War II", "Igguthappa is a Hindu deity worshipped in Kodagu, India.\n\nMythology\nLegend has it that in ancient times from what is now Kerala arrived seven celestial children. They were siblings, six brothers (including Igguthappa) and one sister. The first 3 brothers stayed back in Kerala in and around what is known as Kanjirath village, in Taliparamba. The eldest brother was known as Kanyaratappa (Kanyarat was a name for Kanjirath), the second was Thiruchembarappa and the third was Bendru kolappa, known by the names of the villages they settled down in and where temples were built for them. The temples built for the three brothers are now famous in Kannur in Kerala. \nThe temple of the first brother is now famous as the Rajarajeshwara Temple in Tali Paramba. \nThe Trichambaram Temple of the second brother is now famous as the Krishna temple in Taliparamba. \nThe third temple is well known as the Vidyanatha temple of Kanjirangad. \nThe remaining three brothers with their sister moved towards Kodagu.\n\nThe fourth brother Igguthappa took base at Malma in Kodagu and a temple was built for him at Paadi naad. \nThe fifth brother moved to Paloor in Kodagu where a temple was built for him. It became known as the Mahalingeshwara temple. \nTheir sister who was called Thangamma settled down in Ponnangala village, near Kakkabe, where a shrine was built for her and so is now known also as Ponnangala Thamme. \nThe last brother Pemmayya moved further south and moved into what is now as Waynad in Kerala. Now known as Bainattappa or Wayanattu kulavan .\n\nReferences\n\nHindu temples in Kodagu district" ]
[ "Vincent Price", "Art", "What type of Art did he create?", "Price, who studied Art History (along with English) at Yale University, was a noted art lover and collector.", "Did he create visual artwork?", "Price also spent time working as an art consultant for Sears-Roebuck:", "What was he known for?", "establish the Vincent Price Art Museum at East Los Angeles College in Monterey Park, California, which was the first \"teaching art collection\" owned by a community college" ]
C_9632aada122e45be87f8cc63486a96c7_1
When was that created?
4
When was the Vincent Price Art Museum created?
Vincent Price
Price, who studied Art History (along with English) at Yale University, was a noted art lover and collector. He was a commissioner of the Indian Arts and Crafts Board. In 1957, impressed by the spirit of the students and the community's need for the opportunity to experience original art works first hand, Vincent and Mary Grant Price donated 90 pieces from their private collection and a large amount of money to establish the Vincent Price Art Museum at East Los Angeles College in Monterey Park, California, which was the first "teaching art collection" owned by a community college in the United States. They ultimately donated some 2,000 pieces; the collection contains over 9,000 pieces and has been valued in excess of $5 million. Price also spent time working as an art consultant for Sears-Roebuck: From 1962 to 1971, Sears offered the "Vincent Price Collection of Fine Art", selling about 50,000 fine art prints to the general public. Works which Price selected or commissioned for the collection included works by Rembrandt, Pablo Picasso, and Salvador Dali. Public access to fine art was important to Price, who, according to his daughter, Victoria, saw the Sears deal as an "opportunity to put his populist beliefs into practice, to bring art to the American public." Price amassed his own extensive collection of art, and in 2008, a painting bought for $25 by a couple from Dallas, Texas was identified as a piece from Price's collection. Painted by leading Australian modernist Grace Cossington Smith it was given a modern valuation of AU$45,000. CANNOTANSWER
In 1957, impressed by the spirit of the students and the community's need for the opportunity
Vincent Leonard Price Jr. (May 27, 1911 – October 25, 1993) was an American actor best known for his performances in horror films, although his career spanned other genres. He appeared on stage, television, and radio, and in more than 100 films. Price has two stars on the Hollywood Walk of Fame, one for motion pictures and one for television. Price's first film role was as leading man in the 1938 comedy Service de Luxe. He became well known as a character actor, appearing in films such as The Song of Bernadette (1943), Laura (1944), The Keys of the Kingdom (1944), Leave Her to Heaven (1945), Dragonwyck (1946), and The Ten Commandments (1956). He established himself as a recognizable horror-movie star after his leading role in House of Wax (1953). He subsequently starred in other horror films, including The Fly (1958), House on Haunted Hill (1959), Return of the Fly (1959), The Tingler (1959), The Last Man on Earth (1964), Witchfinder General (1968), The Abominable Dr. Phibes (1971), and Theatre of Blood (1973). He was also known for his collaborations with Roger Corman on Edgar Allan Poe adaptations such as House of Usher (1960), The Pit and the Pendulum (1961), and The Masque of the Red Death (1964). Price occasionally appeared on television series, such as in Batman as Egghead. In his later years, Price voiced the villainous Professor Ratigan in Disney's classic animated film The Great Mouse Detective (1986), then appeared in the drama The Whales of August (1987), which earned him an Independent Spirit Award for Best Supporting Male nomination, and in Tim Burton’s Edward Scissorhands (1990), his last theatrical release. For his contributions to cinema, especially to genre films, he has received lifetime achievement or special tribute awards from Academy of Science Fiction, Fantasy and Horror Films, Fantasporto, Bram Stoker Awards, and Los Angeles Film Critics Association. Price narrated several animation films, radio dramas and documentaries, as well as the monologue on Michael Jackson's song "Thriller". For his voice work in Great American Speeches (1959), Price was nominated for a Grammy Award for Best Spoken Word Album. Price was also an art collector and arts consultant, with a degree in art history, and he lectured and wrote books on the subject. The Vincent Price Art Museum at East Los Angeles College is named in his honor. Price was also a noted gourmet cook. Early life and career Vincent Leonard Price Jr. was born on May 27, 1911, in St. Louis, Missouri, the youngest of the four children of Vincent Leonard Price Sr., president of the National Candy Company, and his wife Marguerite Cobb (née Wilcox) Price. His grandfather was Vincent Clarence Price, who invented "Dr. Price's Baking Powder", the first cream of tartar-based baking powder, and it secured the family's fortune. Price was of Welsh and English descent and was a descendant of Peregrine White, the first white child born in colonial Massachusetts, being born on the Mayflower while it was in Provincetown Harbor. Price attended the St. Louis Country Day School and Milford Academy in Milford, Connecticut. In 1933, he graduated with a degree in English and a minor in art history from Yale University, where he worked on the campus humor magazine The Yale Record. After teaching for a year, he entered the Courtauld Institute of Art in London, intending to study for a master's degree in fine arts. Instead, he was drawn to the theater, first appearing on stage professionally in 1934. His acting career began in London in 1935, performing with Orson Welles's Mercury Theatre. In 1936, Price appeared as Prince Albert in the American production of Laurence Housman's play Victoria Regina, which starred Helen Hayes in the title role of Queen Victoria. Introduction to film roles Price started out in films as a character actor. He made his film debut in Service de Luxe (1938), and established himself in the film Laura (1944), opposite Gene Tierney, directed by Otto Preminger. He played Joseph Smith in the movie Brigham Young (1940) and William Gibbs McAdoo in Wilson (1944), as well as Bernadette's prosecutor, Vital Dutour, in The Song of Bernadette (1943), and as a pretentious priest in The Keys of the Kingdom (1944). Price's first venture into the horror genre, for which he later became best known, was in the Boris Karloff film Tower of London (1939). The following year, Price portrayed the title character in The Invisible Man Returns (a role he reprised in a voice-only cameo in the closing scene of the horror-comedy spoof Abbott and Costello Meet Frankenstein released in 1948). He reunited with Tierney in Leave Her to Heaven (1945) and Dragonwyck (1946). He also had many villainous roles in film noir thrillers such as The Web (1947), The Long Night (1947), Rogues' Regiment (1948), and The Bribe (1949), with Robert Taylor, Ava Gardner, and Charles Laughton. Price's first starring role was as con man James Reavis in the biopic The Baron of Arizona (1950). He did a comedic turn as the tycoon Burnbridge Waters, co-starring with Ronald Colman in Champagne for Caesar (also 1950), one of his favorite film roles. Price was active in radio, portraying the Robin Hood-inspired crime-fighter Simon Templar in The Saint, which ran from 1947 to 1951. In the 1950s, Price moved into more regular horror-film roles with the leading role in House of Wax (1953) as a homicidal sculptor, the first three-dimensional film to land in the year's top 10 at the North American box-office. His next roles were The Mad Magician (1954), the monster movie The Fly (1958), and its sequel Return of the Fly (1959). That same year, Price starred in two thrillers by producer-director William Castle: House on Haunted Hill as eccentric millionaire Fredrick Loren, and The Tingler as Dr. Warren Chapin, who discovered the titular creature. He appeared in the radio drama Three Skeleton Key, the story of an island lighthouse besieged by an army of rats. He had first performed the work in 1950 on Escape and returned to it in 1956 and 1958 for Suspense. Outside the horror realm, Price played Baka in The Ten Commandments, released in 1956. About this time, he also appeared in episodes of television shows such as Science Fiction Theatre, Playhouse 90, and General Electric Theater. In the 1955–56 television season, he was cast three times on the religion anthology series Crossroads. In the 1955 episode "Cleanup", Price portrayed the Reverend Robert Russell. In 1956, he was cast as Rabbi Gershom Mendes Seixas in "The Rebel", and as the Rev. Alfred W. Price in "God's Healing". 1960s In the 1960s, Price achieved a number of low-budget filmmaking successes with Roger Corman and American International Pictures (AIP) starting with the House of Usher (1960), which earned over $2 million at the box office in the United States and led to the subsequent Edgar Allan Poe adaptations of The Pit and the Pendulum (1961), Tales of Terror (1962), The Comedy of Terrors (1963), The Raven (1963), The Masque of the Red Death (1964), and The Tomb of Ligeia (1964). He starred in The Last Man on Earth (1964), the first adaptation of the Richard Matheson novel I Am Legend, and portrayed witch hunter Matthew Hopkins in Witchfinder General (US: The Conqueror Worm, 1968) set during the English Civil War. Price also starred in comedy films such as Dr. Goldfoot and the Bikini Machine (1965) and its sequel Dr. Goldfoot and the Girl Bombs (1966). In 1968, he played the part of an eccentric artist in the musical Darling of the Day, opposite Patricia Routledge. In the 1960s, Price began his role as a guest on the television game show Hollywood Squares, becoming a semiregular in the 1970s, including being one of the guest panelists on the finale in 1980. Price made many guest-star appearances in television shows during the decade, including The Red Skelton Show, Daniel Boone, F Troop, Get Smart, The Man from U.N.C.L.E., and Voyage to the Bottom of the Sea. He had a recurring role in the Batman TV series as the villain Egghead from 1966 to 1967. In 1964, he provided the narration for the Tombstone Historama in Tombstone, Arizona, which was still in operation as of 2016. He also starred as the host of the Australian TV series If These Walls Could Speak, in which a short history of a historical building (supposedly narrated by the building itself) was covered, and as the narrating voice of the building. Later career During the early 1970s, Price hosted and starred in BBC Radio's horror and mystery series The Price of Fear. He accepted a cameo part in the Canadian children's television program The Hilarious House of Frightenstein (1971) in Hamilton, Ontario, on the local television station CHCH-TV. In addition to the opening and closing monologues, his role in the show was to recite poems about various characters, sometimes wearing a cloak or other costumes. He appeared in The Abominable Dr. Phibes (1971), its sequel Dr. Phibes Rises Again (1972), and Theatre of Blood (1973), in which he portrayed one of two serial killers. That same year, he appeared as himself in Mooch Goes to Hollywood, a film written by Jim Backus. Price was an admirer of the works of Edgar Allan Poe, and in 1975 visited the Edgar Allan Poe Museum in Richmond, Virginia, where he had his picture taken with the museum's popular stuffed raven. Price also recorded dramatic readings of Poe's short stories and poems, which were collected together with readings by Basil Rathbone. In 1975, Price and his wife Coral Browne appeared together in an international stage adaptation of Ardèle, which played in the U.S. and in London at the Queen's Theatre. During this run, Browne and Price starred together in the BBC Radio play Night of the Wolf first airing in 1975. Price greatly reduced his film work from around 1975, as horror itself suffered a slump, and he increased his narrative and voice work, as well as advertising Milton Bradley's Shrunken Head Apple Sculpture. Price provided a monologue for the Alice Cooper song "Devil's Food" on the Welcome to My Nightmare album in 1975, and he appeared in the corresponding TV special Alice Cooper: The Nightmare. He starred for a year in the early 1970s in the syndicated daily radio program Tales of the Unexplained. He made guest appearances in a 1970 episode of Here's Lucy, showcasing his art expertise, and in a 1972 episode of ABC's The Brady Bunch, in which he played a deranged archaeologist. In October 1976, he appeared as the featured guest in an episode of The Muppet Show. In 1977, Price began performing as Oscar Wilde in the one-man stage play Diversions and Delights, written by John Gay and directed by Joe Hardy, and set in a Parisian theatre on a night about one year before Wilde's death. The original tour of the play was a success in every city except for New York City. In the summer of 1979, Price performed the role of Wilde at the Tabor Opera House in Leadville, Colorado, on the same stage from which Wilde had spoken to miners about art some 96 years before. He eventually performed the play worldwide. Victoria Price stated in her biography of her father that several members of Price's family and friends thought that this was his best acting performance. In 1979, Price starred with his wife in the short-lived CBS series Time Express. That same year he hosted the hour-long television special America Screams, riding on several roller coasters and recounting their history. During 1979–1980, he hosted the "Mystery Night" segment of the radio series Sears Radio Theater. In 1982, Price provided the narrator's voice in Vincent, Tim Burton's six-minute film about a young boy who flashes from reality into a fantasy where he is Vincent Price. He appeared as Sir Despard Murgatroyd in a 1982 television production of Gilbert and Sullivan's Ruddigore (with Keith Michell as Robin Oakapple). In 1982, Price provided the spoken-word sequence to the end of the Michael Jackson song "Thriller". In 1983, he played the Sinister Man in the British spoof horror film Bloodbath at the House of Death. He appeared in House of the Long Shadows with Christopher Lee, Peter Cushing, and John Carradine; he had worked with each of those actors at least once in previous decades, but this was the first time that all had teamed up. One of his last major roles, and one of his favorites, was as the voice of Professor Ratigan in Walt Disney Pictures' The Great Mouse Detective in 1986. From 1981 to 1989, Price hosted the PBS television series Mystery! In 1985, he provided voice talent on the Hanna-Barbera series The 13 Ghosts of Scooby-Doo as the mysterious "Vincent Van Ghoul", who aided Scooby-Doo, Scrappy-Doo, and the gang in recapturing thirteen demons. He was a lifelong fan of roller coasters, and he narrated a 1987 thirty-minute documentary on the history of roller coasters and amusement parks, including Coney Island. During this time (1985–1989), he appeared in horror-themed commercials for Tilex bathroom cleanser. In 1984, Price appeared in Shelley Duvall's live-action series Faerie Tale Theatre as the Mirror in "Snow White and the Seven Dwarfs", and the narrator for "The Boy Who Left Home to Find Out About the Shivers". In 1987, he starred with Bette Davis, Lillian Gish, and Ann Sothern in The Whales of August, a story of two sisters living in Maine facing the end of their days. His performance in The Whales of August earned the only award nomination of his career, an Independent Spirit Award for Best Supporting Male. In 1989, Price was inducted into the St. Louis Walk of Fame. His last significant film work was as the inventor in Tim Burton's Edward Scissorhands (1990). In 1990, Price recorded the narration as the Phantom for Disneyland Paris's Phantom Manor. After the attraction opened in 1992, though, the narration was shortly removed and replaced with one entirely in French, performed by Gérard Chevalier. Only Price's infamous laughter remained on the soundtrack. In 2018, during Phantom Manor's major renovation, parts of Price's narration were announced to be restored to the soundtrack of the attraction. Since the 2019 reopening, the new tracks are dual-language; Price's original excerpts as well as previously unused material from his 1990 recording comprise the English-speaking portions, while actor Bernard Alane voices the Phantom in French. Art Price, who studied art history at Yale, was an art lover and collector. He was a commissioner of the Indian Arts and Crafts Board. In 1957, impressed by the spirit of the students and the community's need for the opportunity to experience original art works first hand, Vincent and Mary Grant Price donated 90 pieces from their private collection and a large amount of money to establish the Vincent Price Art Museum at East Los Angeles College in Monterey Park, California, which was the first "teaching art collection" owned by a community college in the United States. They ultimately donated some 2,000 pieces; the collection contains over 9,000 pieces and has been valued in excess of $5 million. Price also spent time working as an art consultant for Sears-Roebuck: From 1962 to 1971, Sears offered the "Vincent Price Collection of Fine Art", selling about 50,000 fine-art prints to the general public. Works which Price selected or commissioned for the collection included some by Rembrandt, Pablo Picasso, and Salvador Dalí. Public access to fine art was important to Price, who according to his daughter Victoria, saw the Sears deal as an "opportunity to put his populist beliefs into practice, to bring art to the American public." In the 1960s, portraits painted by Charles Bird King, of Native Americans were secured for Jacqueline Kennedy's White House Restoration. Through the efforts of Vincent Price these five paintings were paid for and donated to the White House Collection by Sears-Roebuck. Price amassed his own extensive collection of art, and in 2008, a painting bought for $25 by a couple from Dallas was identified as a piece from Price's collection. Painted by leading Australian modernist Grace Cossington Smith, it was given a modern valuation of AU$45,000. Cooking Price was a gourmet cook, and he authored several cookbooks with his second wife, Mary. These include: A Treasury of Great Recipes (1965) Mary and Vincent Price present a National Treasury of Cookery (1967) Mary and Vincent Price's Come into the Kitchen Cook Book: A Collector's Treasury of America's Great Recipes (1969) Cooking Price-Wise with Vincent Price (1971) Mary and Vincent Price present a National Treasury of Cookery was a five-volume series, packaged in a boxed set and published by the Heirloom Publishing Company. These five books were combined into a single book two years later and published as Mary and Vincent Price's Come into the Kitchen Cook Book: A Collector's Treasury of America's Great Recipes. Most of the Prices' cookbooks remained in print throughout the 1970s. After being out of print for several decades, two of their books were reprinted; A Treasury of Great Recipes (in August 2015 by Calla Editions) and Mary and Vincent Price's Come into the Kitchen Cook Book (in November 2016 by Calla Editions), both featuring new forewords by their daughter Victoria Price. Cooking Price-Wise with Vincent Price was scheduled to be reprinted by Dover Publishing in October 2017 under the updated title Cooking Price-Wise – The Original Foodie. In 1971, Price hosted his own cooking program on British television, called Cooking Price-Wise produced for the ITV network by Thames Television, which was broadcast in April and May 1971. This show gave its name to Price's fourth and final cookbook later that year. Price promoted his cookbooks on many talk shows, one of the most famous instances being the November 21, 1975, broadcast of The Tonight Show Starring Johnny Carson, when he demonstrated how to poach a fish in a dishwasher. Price recorded a number of audio cooking tutorials titled International Cooking Course. These were titled Bounty of Paradise, Classical Spanish Cuisine, Cuisina Italiana, Delights from the Sultan's Pantry, Dinner at the Casbah, Dining at Versailles, Exotic Delights from the Far East, Food of the Gods, Foods from the Austro-Hungarian Empire, La Cocina Mejicana, The Bard's Board, and The Wok. In addition to those, he recorded an audio wine course titled Wine Is Elegance. These audio recordings were released on 33⅓ LPs by Nelson Industries in 1977, and were also packaged in a 12-cassette boxed set titled Beverly Hills Cookbook – Cookbook of the Rich and Famous, Your Host Mr. Vincent Price. In August 1982, he co-hosted A Taste of China for Thames Television over five episodes. He also prepared a fish recipe on Wolfgang Puck's Cooking with Wolfgang Puck VHS, released in October 1987 by Warner Home Video. Personal life Price married three times. His first marriage was in 1938 to former actress Edith Barrett; they had one son, poet and columnist Vincent Barrett Price. Edith and Price divorced in 1948. Price married Mary Grant in 1949, and they had a daughter, inspirational speaker Victoria Price, on April 27, 1962, naming her after Price's first major success in the play Victoria Regina. The marriage lasted until 1973. He married Australian actress Coral Browne in 1974; she had appeared as one of his victims in Theatre of Blood (1973). The marriage lasted until her death in 1991. Victoria Price's biography Vincent Price: A Daughter's Biography (1999) details Price's early antisemitism and initial admiration for Adolf Hitler. According to his daughter: "When he went to Germany and Austria as a young man, he was struck by a lot of things going on during the Weimar Republic and the disillusion of the empire... So when Hitler came into power, instead of seeing him as a dangerous force, he was sort of swept up in this whole idea that Hitler was going to bring German pride back." However, Price became a liberal after becoming friends with New York intellectuals such as Dorothy Parker and Lillian Hellman in the 1930s, so much so that he was "greylisted" under McCarthyism in the 1950s for having been a prewar "premature anti-Nazi", and after being unable to find work for a year, agreed to requests by the FBI that he sign a "secret oath" to save his career. Victoria said that her father became so liberal that "one of my brother's earliest memories is when Franklin Roosevelt's death was announced, my father fell backwards off the sofa sobbing." Price denounced racial and religious prejudice as a form of poison at the end of an episode of The Saint, which aired on NBC Radio on July 30, 1950, claiming that Americans must actively fight against it because such prejudices within the United States fuels support for the nation's enemies. He was later appointed to the Indian Arts and Crafts Board under the Dwight D. Eisenhower administration; he called the appointment "kind of a surprise, since I am a Democrat". Price was supportive of his daughter when she came out as a lesbian, and he was critical of Anita Bryant's anti-gay-rights campaign in the 1970s. In an interview in 2015, Victoria confirmed that her father confided with her of his intimate relationships with men when she came out to him as a lesbian. Death Price suffered from chronic obstructive pulmonary disease and Parkinson's disease. His symptoms were especially severe during the filming of Edward Scissorhands, making cutting his filming schedule short a necessity. His illness also contributed to his retirement from Mystery! in 1989. He died at age 82 of lung cancer on October 25, 1993, at his home in Los Angeles, California. His remains were cremated and his ashes scattered off Point Dume in Malibu. Legacy The A&E Network aired an episode of Biography the night following Price's death, highlighting his horror-film career, but because of its failure to clear copyrights, the show was never aired again. Four years later, A&E produced its updated episode, titled Vincent Price: The Versatile Villain, which aired on October 12, 1997. The script was by Lucy Chase Williams, author of The Complete Films of Vincent Price. In early 1991, Tim Burton was developing a personal documentary with the working title Conversations with Vincent, in which interviews with Price were shot at the Vincent Price Gallery, but the project was never completed and was eventually shelved. Rhythmeen, the ZZ Top album from 1996, includes a track named "Vincent Price Blues". Price was an honorary board member and strong supporter of the Witch's Dungeon Classic Movie Museum in Bristol, Connecticut, until his death in 1993. The museum features detailed life-sized wax replicas of characters from some of Price's films, including The Fly, The Abominable Dr. Phibes, and The Masque of the Red Death. A black-box theater at Price's alma mater, Mary Institute and St. Louis Country Day School, is named after him. Tim Burton directed a short stop-motion film as a tribute to Vincent Price called Vincent, about a young boy named Vincent Malloy who is obsessed with the grim and macabre; it is narrated by Price. "Vincent Twice, Vincent Twice" was a parody on Sesame Street. He was parodied in an episode of The Simpsons ("Sunday, Cruddy Sunday"). Price had his own Spitting Image puppet, who was always trying to be "sinister" and lure people into his ghoulish traps, only for his victims to point out all the obvious flaws. Starting in November 2005, featured cast member Bill Hader of the NBC sketch comedy/variety show Saturday Night Live has played Price in a recurring sketch in which Price hosts botched holiday specials filled with celebrities of the 1950s/'60s. Other cast members who played Price on SNL include Dan Aykroyd and Michael McKean (who played Price when he hosted a season-10 episode and again when he was hired as a cast member for the 1994–95 season). In 1999, a frank and detailed biography about Price written by his daughter, Victoria, was published by St. Martin's Press. In late May 2011, an event was held by the organization Cinema St. Louis to celebrate what would have been Price's 100th birthday. It included a public event with Victoria at the Missouri History Museum and a showcase of ephemeral and historic items at the gallery inside the Sheldon Concert Hall. In an unusual convergence of widely different generational and cultural backgrounds, the genteel Price was a friend of the English hard rock band Deep Purple and in 1975, he appeared on Roger Glover's live version of The Butterfly Ball and the Grasshopper's Feast as a narrator. Decades later, in 2013, Deep Purple released "Vincent Price", a single the band members dedicated to him. That same year, American director and writer John Waters composed a "heartfelt and appreciative" retrospective on Price for Turner Classic Movies, which recognized the actor as its "Star of the Month" in October 2013 and showcased then a selection of his most popular films. The tribute was repeatedly broadcast on TCM to promote and complement those televised presentations. In sharing with viewers his feelings about Price, Waters at one point describes the actor's screen appeal, especially when he was featured in his darker roles: Filmography Radio appearances Books Introductions to Works by Others Peter Haining (ed). The Ghouls. NY: Stein and Day, 1971. Tom Hutchinson. Horror and Fantasy in the Movies. NY: Crescent Books, 1974. Audio books References External links Vincent Price Official Website Vincent Price Gallery St. Louis Walk of Fame Vincent Price Papers catalog Vincent Price at Virtual History Cooking with Vincent, A Treasury Of Great Recipes Vincent Price Papers (MS 1625). Manuscripts and Archives, Yale University Library. 1911 births 1993 deaths 20th Century Fox contract players 20th-century American male actors 20th-century American essayists Alumni of the Courtauld Institute of Art American art collectors American people of English descent American people of Welsh descent American art writers American autobiographers American cookbook writers American food writers American male film actors American male radio actors American male stage actors American male television actors American male voice actors Audiobook narrators Philanthropists from New York (state) Caedmon Records artists American television hosts California Democrats Deaths from cancer in California Deaths from emphysema Deaths from lung cancer LGBT rights activists from the United States Male actors from Los Angeles Male actors from St. Louis Missouri Democrats People with Parkinson's disease The Yale Record alumni Writers from Los Angeles Writers from Missouri 20th-century American businesspeople 20th-century American male writers American male non-fiction writers Articles containing video clips LGBT writers from the United States Bisexual male actors Bisexual writers American bisexual actors
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[ "Baron Hervey is an aristocratic title that has been created three times, once in the Peerage of Ireland and twice in the Peerage of England. \n\nThe first creation was in the Peerage of Ireland in 1620, when Sir William Hervey, 1st Baronet, was made Baron Hervey, of Rosse in County Wexford. He had been created Baronet of St. Martin's in the Fields on 31 May 1619. \n\nThe second creation was in 1628, when the same William Hervey was also made Baron Hervey, of Kidbrooke, Kent, in the Peerage of England. When William Hervey died in 1642, both titles became extinct.\n\nThe third creation came in 1703 in the Peerage of England, when John Hervey was made Baron Hervey, of Ickworth, Suffolk. John Hervey was a second cousin thrice removed of William Hervey and was later created Earl of Bristol.\n\nBaron Hervey (1620, 1628)\nWilliam Hervey, 1st Baron Hervey (died 1642)\n\nBarons Hervey (1703)\nSee Marquess of Bristol\n\nReferences\n\nExtinct baronies in the Peerage of Ireland\nExtinct baronies in the Peerage of England\nBaronies in the Peerage of England\n1620 establishments in Ireland\n1628 establishments in England\n1703 establishments in England\n1642 disestablishments in Ireland\n1642 disestablishments in England\nNoble titles created in 1620\nNoble titles created in 1628\nNoble titles created in 1703", "The Isle of Thanet Rural District was a rural district covering part of the Isle of Thanet in the county of Kent, England, from 1894 to 1935. Most of its former area is now part of the Thanet district.\n\nWhen the district was created several ancient parishes were split to create urban and rural parts. Northdown was created from the part of Margate St John the Baptist that was outside the Municipal Borough of Margate, St Lawrence Extra was created from the part of St Lawrence that was outside the Municipal Borough of Ramsgate. St Peter Extra was created from the part of St Peter's that was not part of Broadstairs and St Peter's Urban District. \n\nIt included the following civil parishes:\n\nThe rural district was abolished in 1935 by the County of Kent Review Order, 1935.\n\nReferences\n\nDistricts of England created by the Local Government Act 1894\nHistory of Kent\nThanet\nRural districts of England" ]
[ "Vincent Price", "Art", "What type of Art did he create?", "Price, who studied Art History (along with English) at Yale University, was a noted art lover and collector.", "Did he create visual artwork?", "Price also spent time working as an art consultant for Sears-Roebuck:", "What was he known for?", "establish the Vincent Price Art Museum at East Los Angeles College in Monterey Park, California, which was the first \"teaching art collection\" owned by a community college", "When was that created?", "In 1957, impressed by the spirit of the students and the community's need for the opportunity" ]
C_9632aada122e45be87f8cc63486a96c7_1
Did he receive any formal awards?
5
Did Vincent Price receive any formal awards?
Vincent Price
Price, who studied Art History (along with English) at Yale University, was a noted art lover and collector. He was a commissioner of the Indian Arts and Crafts Board. In 1957, impressed by the spirit of the students and the community's need for the opportunity to experience original art works first hand, Vincent and Mary Grant Price donated 90 pieces from their private collection and a large amount of money to establish the Vincent Price Art Museum at East Los Angeles College in Monterey Park, California, which was the first "teaching art collection" owned by a community college in the United States. They ultimately donated some 2,000 pieces; the collection contains over 9,000 pieces and has been valued in excess of $5 million. Price also spent time working as an art consultant for Sears-Roebuck: From 1962 to 1971, Sears offered the "Vincent Price Collection of Fine Art", selling about 50,000 fine art prints to the general public. Works which Price selected or commissioned for the collection included works by Rembrandt, Pablo Picasso, and Salvador Dali. Public access to fine art was important to Price, who, according to his daughter, Victoria, saw the Sears deal as an "opportunity to put his populist beliefs into practice, to bring art to the American public." Price amassed his own extensive collection of art, and in 2008, a painting bought for $25 by a couple from Dallas, Texas was identified as a piece from Price's collection. Painted by leading Australian modernist Grace Cossington Smith it was given a modern valuation of AU$45,000. CANNOTANSWER
Sears offered the "Vincent Price Collection of Fine Art", selling about 50,000 fine art prints to the general public.
Vincent Leonard Price Jr. (May 27, 1911 – October 25, 1993) was an American actor best known for his performances in horror films, although his career spanned other genres. He appeared on stage, television, and radio, and in more than 100 films. Price has two stars on the Hollywood Walk of Fame, one for motion pictures and one for television. Price's first film role was as leading man in the 1938 comedy Service de Luxe. He became well known as a character actor, appearing in films such as The Song of Bernadette (1943), Laura (1944), The Keys of the Kingdom (1944), Leave Her to Heaven (1945), Dragonwyck (1946), and The Ten Commandments (1956). He established himself as a recognizable horror-movie star after his leading role in House of Wax (1953). He subsequently starred in other horror films, including The Fly (1958), House on Haunted Hill (1959), Return of the Fly (1959), The Tingler (1959), The Last Man on Earth (1964), Witchfinder General (1968), The Abominable Dr. Phibes (1971), and Theatre of Blood (1973). He was also known for his collaborations with Roger Corman on Edgar Allan Poe adaptations such as House of Usher (1960), The Pit and the Pendulum (1961), and The Masque of the Red Death (1964). Price occasionally appeared on television series, such as in Batman as Egghead. In his later years, Price voiced the villainous Professor Ratigan in Disney's classic animated film The Great Mouse Detective (1986), then appeared in the drama The Whales of August (1987), which earned him an Independent Spirit Award for Best Supporting Male nomination, and in Tim Burton’s Edward Scissorhands (1990), his last theatrical release. For his contributions to cinema, especially to genre films, he has received lifetime achievement or special tribute awards from Academy of Science Fiction, Fantasy and Horror Films, Fantasporto, Bram Stoker Awards, and Los Angeles Film Critics Association. Price narrated several animation films, radio dramas and documentaries, as well as the monologue on Michael Jackson's song "Thriller". For his voice work in Great American Speeches (1959), Price was nominated for a Grammy Award for Best Spoken Word Album. Price was also an art collector and arts consultant, with a degree in art history, and he lectured and wrote books on the subject. The Vincent Price Art Museum at East Los Angeles College is named in his honor. Price was also a noted gourmet cook. Early life and career Vincent Leonard Price Jr. was born on May 27, 1911, in St. Louis, Missouri, the youngest of the four children of Vincent Leonard Price Sr., president of the National Candy Company, and his wife Marguerite Cobb (née Wilcox) Price. His grandfather was Vincent Clarence Price, who invented "Dr. Price's Baking Powder", the first cream of tartar-based baking powder, and it secured the family's fortune. Price was of Welsh and English descent and was a descendant of Peregrine White, the first white child born in colonial Massachusetts, being born on the Mayflower while it was in Provincetown Harbor. Price attended the St. Louis Country Day School and Milford Academy in Milford, Connecticut. In 1933, he graduated with a degree in English and a minor in art history from Yale University, where he worked on the campus humor magazine The Yale Record. After teaching for a year, he entered the Courtauld Institute of Art in London, intending to study for a master's degree in fine arts. Instead, he was drawn to the theater, first appearing on stage professionally in 1934. His acting career began in London in 1935, performing with Orson Welles's Mercury Theatre. In 1936, Price appeared as Prince Albert in the American production of Laurence Housman's play Victoria Regina, which starred Helen Hayes in the title role of Queen Victoria. Introduction to film roles Price started out in films as a character actor. He made his film debut in Service de Luxe (1938), and established himself in the film Laura (1944), opposite Gene Tierney, directed by Otto Preminger. He played Joseph Smith in the movie Brigham Young (1940) and William Gibbs McAdoo in Wilson (1944), as well as Bernadette's prosecutor, Vital Dutour, in The Song of Bernadette (1943), and as a pretentious priest in The Keys of the Kingdom (1944). Price's first venture into the horror genre, for which he later became best known, was in the Boris Karloff film Tower of London (1939). The following year, Price portrayed the title character in The Invisible Man Returns (a role he reprised in a voice-only cameo in the closing scene of the horror-comedy spoof Abbott and Costello Meet Frankenstein released in 1948). He reunited with Tierney in Leave Her to Heaven (1945) and Dragonwyck (1946). He also had many villainous roles in film noir thrillers such as The Web (1947), The Long Night (1947), Rogues' Regiment (1948), and The Bribe (1949), with Robert Taylor, Ava Gardner, and Charles Laughton. Price's first starring role was as con man James Reavis in the biopic The Baron of Arizona (1950). He did a comedic turn as the tycoon Burnbridge Waters, co-starring with Ronald Colman in Champagne for Caesar (also 1950), one of his favorite film roles. Price was active in radio, portraying the Robin Hood-inspired crime-fighter Simon Templar in The Saint, which ran from 1947 to 1951. In the 1950s, Price moved into more regular horror-film roles with the leading role in House of Wax (1953) as a homicidal sculptor, the first three-dimensional film to land in the year's top 10 at the North American box-office. His next roles were The Mad Magician (1954), the monster movie The Fly (1958), and its sequel Return of the Fly (1959). That same year, Price starred in two thrillers by producer-director William Castle: House on Haunted Hill as eccentric millionaire Fredrick Loren, and The Tingler as Dr. Warren Chapin, who discovered the titular creature. He appeared in the radio drama Three Skeleton Key, the story of an island lighthouse besieged by an army of rats. He had first performed the work in 1950 on Escape and returned to it in 1956 and 1958 for Suspense. Outside the horror realm, Price played Baka in The Ten Commandments, released in 1956. About this time, he also appeared in episodes of television shows such as Science Fiction Theatre, Playhouse 90, and General Electric Theater. In the 1955–56 television season, he was cast three times on the religion anthology series Crossroads. In the 1955 episode "Cleanup", Price portrayed the Reverend Robert Russell. In 1956, he was cast as Rabbi Gershom Mendes Seixas in "The Rebel", and as the Rev. Alfred W. Price in "God's Healing". 1960s In the 1960s, Price achieved a number of low-budget filmmaking successes with Roger Corman and American International Pictures (AIP) starting with the House of Usher (1960), which earned over $2 million at the box office in the United States and led to the subsequent Edgar Allan Poe adaptations of The Pit and the Pendulum (1961), Tales of Terror (1962), The Comedy of Terrors (1963), The Raven (1963), The Masque of the Red Death (1964), and The Tomb of Ligeia (1964). He starred in The Last Man on Earth (1964), the first adaptation of the Richard Matheson novel I Am Legend, and portrayed witch hunter Matthew Hopkins in Witchfinder General (US: The Conqueror Worm, 1968) set during the English Civil War. Price also starred in comedy films such as Dr. Goldfoot and the Bikini Machine (1965) and its sequel Dr. Goldfoot and the Girl Bombs (1966). In 1968, he played the part of an eccentric artist in the musical Darling of the Day, opposite Patricia Routledge. In the 1960s, Price began his role as a guest on the television game show Hollywood Squares, becoming a semiregular in the 1970s, including being one of the guest panelists on the finale in 1980. Price made many guest-star appearances in television shows during the decade, including The Red Skelton Show, Daniel Boone, F Troop, Get Smart, The Man from U.N.C.L.E., and Voyage to the Bottom of the Sea. He had a recurring role in the Batman TV series as the villain Egghead from 1966 to 1967. In 1964, he provided the narration for the Tombstone Historama in Tombstone, Arizona, which was still in operation as of 2016. He also starred as the host of the Australian TV series If These Walls Could Speak, in which a short history of a historical building (supposedly narrated by the building itself) was covered, and as the narrating voice of the building. Later career During the early 1970s, Price hosted and starred in BBC Radio's horror and mystery series The Price of Fear. He accepted a cameo part in the Canadian children's television program The Hilarious House of Frightenstein (1971) in Hamilton, Ontario, on the local television station CHCH-TV. In addition to the opening and closing monologues, his role in the show was to recite poems about various characters, sometimes wearing a cloak or other costumes. He appeared in The Abominable Dr. Phibes (1971), its sequel Dr. Phibes Rises Again (1972), and Theatre of Blood (1973), in which he portrayed one of two serial killers. That same year, he appeared as himself in Mooch Goes to Hollywood, a film written by Jim Backus. Price was an admirer of the works of Edgar Allan Poe, and in 1975 visited the Edgar Allan Poe Museum in Richmond, Virginia, where he had his picture taken with the museum's popular stuffed raven. Price also recorded dramatic readings of Poe's short stories and poems, which were collected together with readings by Basil Rathbone. In 1975, Price and his wife Coral Browne appeared together in an international stage adaptation of Ardèle, which played in the U.S. and in London at the Queen's Theatre. During this run, Browne and Price starred together in the BBC Radio play Night of the Wolf first airing in 1975. Price greatly reduced his film work from around 1975, as horror itself suffered a slump, and he increased his narrative and voice work, as well as advertising Milton Bradley's Shrunken Head Apple Sculpture. Price provided a monologue for the Alice Cooper song "Devil's Food" on the Welcome to My Nightmare album in 1975, and he appeared in the corresponding TV special Alice Cooper: The Nightmare. He starred for a year in the early 1970s in the syndicated daily radio program Tales of the Unexplained. He made guest appearances in a 1970 episode of Here's Lucy, showcasing his art expertise, and in a 1972 episode of ABC's The Brady Bunch, in which he played a deranged archaeologist. In October 1976, he appeared as the featured guest in an episode of The Muppet Show. In 1977, Price began performing as Oscar Wilde in the one-man stage play Diversions and Delights, written by John Gay and directed by Joe Hardy, and set in a Parisian theatre on a night about one year before Wilde's death. The original tour of the play was a success in every city except for New York City. In the summer of 1979, Price performed the role of Wilde at the Tabor Opera House in Leadville, Colorado, on the same stage from which Wilde had spoken to miners about art some 96 years before. He eventually performed the play worldwide. Victoria Price stated in her biography of her father that several members of Price's family and friends thought that this was his best acting performance. In 1979, Price starred with his wife in the short-lived CBS series Time Express. That same year he hosted the hour-long television special America Screams, riding on several roller coasters and recounting their history. During 1979–1980, he hosted the "Mystery Night" segment of the radio series Sears Radio Theater. In 1982, Price provided the narrator's voice in Vincent, Tim Burton's six-minute film about a young boy who flashes from reality into a fantasy where he is Vincent Price. He appeared as Sir Despard Murgatroyd in a 1982 television production of Gilbert and Sullivan's Ruddigore (with Keith Michell as Robin Oakapple). In 1982, Price provided the spoken-word sequence to the end of the Michael Jackson song "Thriller". In 1983, he played the Sinister Man in the British spoof horror film Bloodbath at the House of Death. He appeared in House of the Long Shadows with Christopher Lee, Peter Cushing, and John Carradine; he had worked with each of those actors at least once in previous decades, but this was the first time that all had teamed up. One of his last major roles, and one of his favorites, was as the voice of Professor Ratigan in Walt Disney Pictures' The Great Mouse Detective in 1986. From 1981 to 1989, Price hosted the PBS television series Mystery! In 1985, he provided voice talent on the Hanna-Barbera series The 13 Ghosts of Scooby-Doo as the mysterious "Vincent Van Ghoul", who aided Scooby-Doo, Scrappy-Doo, and the gang in recapturing thirteen demons. He was a lifelong fan of roller coasters, and he narrated a 1987 thirty-minute documentary on the history of roller coasters and amusement parks, including Coney Island. During this time (1985–1989), he appeared in horror-themed commercials for Tilex bathroom cleanser. In 1984, Price appeared in Shelley Duvall's live-action series Faerie Tale Theatre as the Mirror in "Snow White and the Seven Dwarfs", and the narrator for "The Boy Who Left Home to Find Out About the Shivers". In 1987, he starred with Bette Davis, Lillian Gish, and Ann Sothern in The Whales of August, a story of two sisters living in Maine facing the end of their days. His performance in The Whales of August earned the only award nomination of his career, an Independent Spirit Award for Best Supporting Male. In 1989, Price was inducted into the St. Louis Walk of Fame. His last significant film work was as the inventor in Tim Burton's Edward Scissorhands (1990). In 1990, Price recorded the narration as the Phantom for Disneyland Paris's Phantom Manor. After the attraction opened in 1992, though, the narration was shortly removed and replaced with one entirely in French, performed by Gérard Chevalier. Only Price's infamous laughter remained on the soundtrack. In 2018, during Phantom Manor's major renovation, parts of Price's narration were announced to be restored to the soundtrack of the attraction. Since the 2019 reopening, the new tracks are dual-language; Price's original excerpts as well as previously unused material from his 1990 recording comprise the English-speaking portions, while actor Bernard Alane voices the Phantom in French. Art Price, who studied art history at Yale, was an art lover and collector. He was a commissioner of the Indian Arts and Crafts Board. In 1957, impressed by the spirit of the students and the community's need for the opportunity to experience original art works first hand, Vincent and Mary Grant Price donated 90 pieces from their private collection and a large amount of money to establish the Vincent Price Art Museum at East Los Angeles College in Monterey Park, California, which was the first "teaching art collection" owned by a community college in the United States. They ultimately donated some 2,000 pieces; the collection contains over 9,000 pieces and has been valued in excess of $5 million. Price also spent time working as an art consultant for Sears-Roebuck: From 1962 to 1971, Sears offered the "Vincent Price Collection of Fine Art", selling about 50,000 fine-art prints to the general public. Works which Price selected or commissioned for the collection included some by Rembrandt, Pablo Picasso, and Salvador Dalí. Public access to fine art was important to Price, who according to his daughter Victoria, saw the Sears deal as an "opportunity to put his populist beliefs into practice, to bring art to the American public." In the 1960s, portraits painted by Charles Bird King, of Native Americans were secured for Jacqueline Kennedy's White House Restoration. Through the efforts of Vincent Price these five paintings were paid for and donated to the White House Collection by Sears-Roebuck. Price amassed his own extensive collection of art, and in 2008, a painting bought for $25 by a couple from Dallas was identified as a piece from Price's collection. Painted by leading Australian modernist Grace Cossington Smith, it was given a modern valuation of AU$45,000. Cooking Price was a gourmet cook, and he authored several cookbooks with his second wife, Mary. These include: A Treasury of Great Recipes (1965) Mary and Vincent Price present a National Treasury of Cookery (1967) Mary and Vincent Price's Come into the Kitchen Cook Book: A Collector's Treasury of America's Great Recipes (1969) Cooking Price-Wise with Vincent Price (1971) Mary and Vincent Price present a National Treasury of Cookery was a five-volume series, packaged in a boxed set and published by the Heirloom Publishing Company. These five books were combined into a single book two years later and published as Mary and Vincent Price's Come into the Kitchen Cook Book: A Collector's Treasury of America's Great Recipes. Most of the Prices' cookbooks remained in print throughout the 1970s. After being out of print for several decades, two of their books were reprinted; A Treasury of Great Recipes (in August 2015 by Calla Editions) and Mary and Vincent Price's Come into the Kitchen Cook Book (in November 2016 by Calla Editions), both featuring new forewords by their daughter Victoria Price. Cooking Price-Wise with Vincent Price was scheduled to be reprinted by Dover Publishing in October 2017 under the updated title Cooking Price-Wise – The Original Foodie. In 1971, Price hosted his own cooking program on British television, called Cooking Price-Wise produced for the ITV network by Thames Television, which was broadcast in April and May 1971. This show gave its name to Price's fourth and final cookbook later that year. Price promoted his cookbooks on many talk shows, one of the most famous instances being the November 21, 1975, broadcast of The Tonight Show Starring Johnny Carson, when he demonstrated how to poach a fish in a dishwasher. Price recorded a number of audio cooking tutorials titled International Cooking Course. These were titled Bounty of Paradise, Classical Spanish Cuisine, Cuisina Italiana, Delights from the Sultan's Pantry, Dinner at the Casbah, Dining at Versailles, Exotic Delights from the Far East, Food of the Gods, Foods from the Austro-Hungarian Empire, La Cocina Mejicana, The Bard's Board, and The Wok. In addition to those, he recorded an audio wine course titled Wine Is Elegance. These audio recordings were released on 33⅓ LPs by Nelson Industries in 1977, and were also packaged in a 12-cassette boxed set titled Beverly Hills Cookbook – Cookbook of the Rich and Famous, Your Host Mr. Vincent Price. In August 1982, he co-hosted A Taste of China for Thames Television over five episodes. He also prepared a fish recipe on Wolfgang Puck's Cooking with Wolfgang Puck VHS, released in October 1987 by Warner Home Video. Personal life Price married three times. His first marriage was in 1938 to former actress Edith Barrett; they had one son, poet and columnist Vincent Barrett Price. Edith and Price divorced in 1948. Price married Mary Grant in 1949, and they had a daughter, inspirational speaker Victoria Price, on April 27, 1962, naming her after Price's first major success in the play Victoria Regina. The marriage lasted until 1973. He married Australian actress Coral Browne in 1974; she had appeared as one of his victims in Theatre of Blood (1973). The marriage lasted until her death in 1991. Victoria Price's biography Vincent Price: A Daughter's Biography (1999) details Price's early antisemitism and initial admiration for Adolf Hitler. According to his daughter: "When he went to Germany and Austria as a young man, he was struck by a lot of things going on during the Weimar Republic and the disillusion of the empire... So when Hitler came into power, instead of seeing him as a dangerous force, he was sort of swept up in this whole idea that Hitler was going to bring German pride back." However, Price became a liberal after becoming friends with New York intellectuals such as Dorothy Parker and Lillian Hellman in the 1930s, so much so that he was "greylisted" under McCarthyism in the 1950s for having been a prewar "premature anti-Nazi", and after being unable to find work for a year, agreed to requests by the FBI that he sign a "secret oath" to save his career. Victoria said that her father became so liberal that "one of my brother's earliest memories is when Franklin Roosevelt's death was announced, my father fell backwards off the sofa sobbing." Price denounced racial and religious prejudice as a form of poison at the end of an episode of The Saint, which aired on NBC Radio on July 30, 1950, claiming that Americans must actively fight against it because such prejudices within the United States fuels support for the nation's enemies. He was later appointed to the Indian Arts and Crafts Board under the Dwight D. Eisenhower administration; he called the appointment "kind of a surprise, since I am a Democrat". Price was supportive of his daughter when she came out as a lesbian, and he was critical of Anita Bryant's anti-gay-rights campaign in the 1970s. In an interview in 2015, Victoria confirmed that her father confided with her of his intimate relationships with men when she came out to him as a lesbian. Death Price suffered from chronic obstructive pulmonary disease and Parkinson's disease. His symptoms were especially severe during the filming of Edward Scissorhands, making cutting his filming schedule short a necessity. His illness also contributed to his retirement from Mystery! in 1989. He died at age 82 of lung cancer on October 25, 1993, at his home in Los Angeles, California. His remains were cremated and his ashes scattered off Point Dume in Malibu. Legacy The A&E Network aired an episode of Biography the night following Price's death, highlighting his horror-film career, but because of its failure to clear copyrights, the show was never aired again. Four years later, A&E produced its updated episode, titled Vincent Price: The Versatile Villain, which aired on October 12, 1997. The script was by Lucy Chase Williams, author of The Complete Films of Vincent Price. In early 1991, Tim Burton was developing a personal documentary with the working title Conversations with Vincent, in which interviews with Price were shot at the Vincent Price Gallery, but the project was never completed and was eventually shelved. Rhythmeen, the ZZ Top album from 1996, includes a track named "Vincent Price Blues". Price was an honorary board member and strong supporter of the Witch's Dungeon Classic Movie Museum in Bristol, Connecticut, until his death in 1993. The museum features detailed life-sized wax replicas of characters from some of Price's films, including The Fly, The Abominable Dr. Phibes, and The Masque of the Red Death. A black-box theater at Price's alma mater, Mary Institute and St. Louis Country Day School, is named after him. Tim Burton directed a short stop-motion film as a tribute to Vincent Price called Vincent, about a young boy named Vincent Malloy who is obsessed with the grim and macabre; it is narrated by Price. "Vincent Twice, Vincent Twice" was a parody on Sesame Street. He was parodied in an episode of The Simpsons ("Sunday, Cruddy Sunday"). Price had his own Spitting Image puppet, who was always trying to be "sinister" and lure people into his ghoulish traps, only for his victims to point out all the obvious flaws. Starting in November 2005, featured cast member Bill Hader of the NBC sketch comedy/variety show Saturday Night Live has played Price in a recurring sketch in which Price hosts botched holiday specials filled with celebrities of the 1950s/'60s. Other cast members who played Price on SNL include Dan Aykroyd and Michael McKean (who played Price when he hosted a season-10 episode and again when he was hired as a cast member for the 1994–95 season). In 1999, a frank and detailed biography about Price written by his daughter, Victoria, was published by St. Martin's Press. In late May 2011, an event was held by the organization Cinema St. Louis to celebrate what would have been Price's 100th birthday. It included a public event with Victoria at the Missouri History Museum and a showcase of ephemeral and historic items at the gallery inside the Sheldon Concert Hall. In an unusual convergence of widely different generational and cultural backgrounds, the genteel Price was a friend of the English hard rock band Deep Purple and in 1975, he appeared on Roger Glover's live version of The Butterfly Ball and the Grasshopper's Feast as a narrator. Decades later, in 2013, Deep Purple released "Vincent Price", a single the band members dedicated to him. That same year, American director and writer John Waters composed a "heartfelt and appreciative" retrospective on Price for Turner Classic Movies, which recognized the actor as its "Star of the Month" in October 2013 and showcased then a selection of his most popular films. The tribute was repeatedly broadcast on TCM to promote and complement those televised presentations. In sharing with viewers his feelings about Price, Waters at one point describes the actor's screen appeal, especially when he was featured in his darker roles: Filmography Radio appearances Books Introductions to Works by Others Peter Haining (ed). The Ghouls. NY: Stein and Day, 1971. Tom Hutchinson. Horror and Fantasy in the Movies. NY: Crescent Books, 1974. Audio books References External links Vincent Price Official Website Vincent Price Gallery St. Louis Walk of Fame Vincent Price Papers catalog Vincent Price at Virtual History Cooking with Vincent, A Treasury Of Great Recipes Vincent Price Papers (MS 1625). Manuscripts and Archives, Yale University Library. 1911 births 1993 deaths 20th Century Fox contract players 20th-century American male actors 20th-century American essayists Alumni of the Courtauld Institute of Art American art collectors American people of English descent American people of Welsh descent American art writers American autobiographers American cookbook writers American food writers American male film actors American male radio actors American male stage actors American male television actors American male voice actors Audiobook narrators Philanthropists from New York (state) Caedmon Records artists American television hosts California Democrats Deaths from cancer in California Deaths from emphysema Deaths from lung cancer LGBT rights activists from the United States Male actors from Los Angeles Male actors from St. Louis Missouri Democrats People with Parkinson's disease The Yale Record alumni Writers from Los Angeles Writers from Missouri 20th-century American businesspeople 20th-century American male writers American male non-fiction writers Articles containing video clips LGBT writers from the United States Bisexual male actors Bisexual writers American bisexual actors
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[ "Ahmet Uzel (1930–1998) was a Turkish composer. Uzel launched his career in 1948 and penned his first poem and composed music for the first time the same year. Even though he did not receive any formal education in music or literature, he has composed more than 5000 pieces all featuring his own lyrics. Uzel published his work for the first time on January 20, 1994; until then only a few close friends had seen it. The Turkish Radio and Television Corporation repertory includes 300 compositions by Uzel.\n\nSee also \n List of composers of classical Turkish music\n\nReferences\n\nComposers of Ottoman classical music\nComposers of Turkish makam music\n1930 births\n1998 deaths\n20th-century composers", "Jenny Brasier (1936 - 2020) was a botanical artist and book illustrator.\n\nBrasier was born on 9 August 1936 in Alvechurch near Birmingham, UK. \n\nShe painted in watercolour and was known for painting on vellum. She did not receive any formal training. She was a neighbour of the art teacher and author Wilfrid Blunt who encouraged her painting.\n\nDuring her lifetime she exhibited in the UK and internationally, including at the Smithsonian Museum and the Hunt Institute for Botanical Documentation at Carnegie Mellon University in the USA. She also illustrated some books. Some of her paintings were included in The Art of Botanical Illustration, the first survey published of European botanical artists. Her paintings are included in UK national collections including the Natural History Museum, Victoria and Albert Museum, Royal Horticultural Society and Kew Gardens.\n\nAwards\nShe was awarded Gold Medals in 1982, 1988 1989, 1994 and 2000 by the Royal Horticultural Society. In 2002 she was given the Jill Smythies Award by the Linnean Society for accurate published botanical illustrations.\n\nReferences\n\n1936 births\n2020 deaths\nPeople from Alvechurch\nBritish women artists\nBotanical illustrators\nBritish illustrators" ]
[ "Vincent Price", "Art", "What type of Art did he create?", "Price, who studied Art History (along with English) at Yale University, was a noted art lover and collector.", "Did he create visual artwork?", "Price also spent time working as an art consultant for Sears-Roebuck:", "What was he known for?", "establish the Vincent Price Art Museum at East Los Angeles College in Monterey Park, California, which was the first \"teaching art collection\" owned by a community college", "When was that created?", "In 1957, impressed by the spirit of the students and the community's need for the opportunity", "Did he receive any formal awards?", "Sears offered the \"Vincent Price Collection of Fine Art\", selling about 50,000 fine art prints to the general public." ]
C_9632aada122e45be87f8cc63486a96c7_1
What else did you find interesting?
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Besides Sears offering the "Vincent Price Collection of Fine Art", what else did you find interesting?
Vincent Price
Price, who studied Art History (along with English) at Yale University, was a noted art lover and collector. He was a commissioner of the Indian Arts and Crafts Board. In 1957, impressed by the spirit of the students and the community's need for the opportunity to experience original art works first hand, Vincent and Mary Grant Price donated 90 pieces from their private collection and a large amount of money to establish the Vincent Price Art Museum at East Los Angeles College in Monterey Park, California, which was the first "teaching art collection" owned by a community college in the United States. They ultimately donated some 2,000 pieces; the collection contains over 9,000 pieces and has been valued in excess of $5 million. Price also spent time working as an art consultant for Sears-Roebuck: From 1962 to 1971, Sears offered the "Vincent Price Collection of Fine Art", selling about 50,000 fine art prints to the general public. Works which Price selected or commissioned for the collection included works by Rembrandt, Pablo Picasso, and Salvador Dali. Public access to fine art was important to Price, who, according to his daughter, Victoria, saw the Sears deal as an "opportunity to put his populist beliefs into practice, to bring art to the American public." Price amassed his own extensive collection of art, and in 2008, a painting bought for $25 by a couple from Dallas, Texas was identified as a piece from Price's collection. Painted by leading Australian modernist Grace Cossington Smith it was given a modern valuation of AU$45,000. CANNOTANSWER
Works which Price selected or commissioned for the collection included works by Rembrandt, Pablo Picasso, and Salvador Dali.
Vincent Leonard Price Jr. (May 27, 1911 – October 25, 1993) was an American actor best known for his performances in horror films, although his career spanned other genres. He appeared on stage, television, and radio, and in more than 100 films. Price has two stars on the Hollywood Walk of Fame, one for motion pictures and one for television. Price's first film role was as leading man in the 1938 comedy Service de Luxe. He became well known as a character actor, appearing in films such as The Song of Bernadette (1943), Laura (1944), The Keys of the Kingdom (1944), Leave Her to Heaven (1945), Dragonwyck (1946), and The Ten Commandments (1956). He established himself as a recognizable horror-movie star after his leading role in House of Wax (1953). He subsequently starred in other horror films, including The Fly (1958), House on Haunted Hill (1959), Return of the Fly (1959), The Tingler (1959), The Last Man on Earth (1964), Witchfinder General (1968), The Abominable Dr. Phibes (1971), and Theatre of Blood (1973). He was also known for his collaborations with Roger Corman on Edgar Allan Poe adaptations such as House of Usher (1960), The Pit and the Pendulum (1961), and The Masque of the Red Death (1964). Price occasionally appeared on television series, such as in Batman as Egghead. In his later years, Price voiced the villainous Professor Ratigan in Disney's classic animated film The Great Mouse Detective (1986), then appeared in the drama The Whales of August (1987), which earned him an Independent Spirit Award for Best Supporting Male nomination, and in Tim Burton’s Edward Scissorhands (1990), his last theatrical release. For his contributions to cinema, especially to genre films, he has received lifetime achievement or special tribute awards from Academy of Science Fiction, Fantasy and Horror Films, Fantasporto, Bram Stoker Awards, and Los Angeles Film Critics Association. Price narrated several animation films, radio dramas and documentaries, as well as the monologue on Michael Jackson's song "Thriller". For his voice work in Great American Speeches (1959), Price was nominated for a Grammy Award for Best Spoken Word Album. Price was also an art collector and arts consultant, with a degree in art history, and he lectured and wrote books on the subject. The Vincent Price Art Museum at East Los Angeles College is named in his honor. Price was also a noted gourmet cook. Early life and career Vincent Leonard Price Jr. was born on May 27, 1911, in St. Louis, Missouri, the youngest of the four children of Vincent Leonard Price Sr., president of the National Candy Company, and his wife Marguerite Cobb (née Wilcox) Price. His grandfather was Vincent Clarence Price, who invented "Dr. Price's Baking Powder", the first cream of tartar-based baking powder, and it secured the family's fortune. Price was of Welsh and English descent and was a descendant of Peregrine White, the first white child born in colonial Massachusetts, being born on the Mayflower while it was in Provincetown Harbor. Price attended the St. Louis Country Day School and Milford Academy in Milford, Connecticut. In 1933, he graduated with a degree in English and a minor in art history from Yale University, where he worked on the campus humor magazine The Yale Record. After teaching for a year, he entered the Courtauld Institute of Art in London, intending to study for a master's degree in fine arts. Instead, he was drawn to the theater, first appearing on stage professionally in 1934. His acting career began in London in 1935, performing with Orson Welles's Mercury Theatre. In 1936, Price appeared as Prince Albert in the American production of Laurence Housman's play Victoria Regina, which starred Helen Hayes in the title role of Queen Victoria. Introduction to film roles Price started out in films as a character actor. He made his film debut in Service de Luxe (1938), and established himself in the film Laura (1944), opposite Gene Tierney, directed by Otto Preminger. He played Joseph Smith in the movie Brigham Young (1940) and William Gibbs McAdoo in Wilson (1944), as well as Bernadette's prosecutor, Vital Dutour, in The Song of Bernadette (1943), and as a pretentious priest in The Keys of the Kingdom (1944). Price's first venture into the horror genre, for which he later became best known, was in the Boris Karloff film Tower of London (1939). The following year, Price portrayed the title character in The Invisible Man Returns (a role he reprised in a voice-only cameo in the closing scene of the horror-comedy spoof Abbott and Costello Meet Frankenstein released in 1948). He reunited with Tierney in Leave Her to Heaven (1945) and Dragonwyck (1946). He also had many villainous roles in film noir thrillers such as The Web (1947), The Long Night (1947), Rogues' Regiment (1948), and The Bribe (1949), with Robert Taylor, Ava Gardner, and Charles Laughton. Price's first starring role was as con man James Reavis in the biopic The Baron of Arizona (1950). He did a comedic turn as the tycoon Burnbridge Waters, co-starring with Ronald Colman in Champagne for Caesar (also 1950), one of his favorite film roles. Price was active in radio, portraying the Robin Hood-inspired crime-fighter Simon Templar in The Saint, which ran from 1947 to 1951. In the 1950s, Price moved into more regular horror-film roles with the leading role in House of Wax (1953) as a homicidal sculptor, the first three-dimensional film to land in the year's top 10 at the North American box-office. His next roles were The Mad Magician (1954), the monster movie The Fly (1958), and its sequel Return of the Fly (1959). That same year, Price starred in two thrillers by producer-director William Castle: House on Haunted Hill as eccentric millionaire Fredrick Loren, and The Tingler as Dr. Warren Chapin, who discovered the titular creature. He appeared in the radio drama Three Skeleton Key, the story of an island lighthouse besieged by an army of rats. He had first performed the work in 1950 on Escape and returned to it in 1956 and 1958 for Suspense. Outside the horror realm, Price played Baka in The Ten Commandments, released in 1956. About this time, he also appeared in episodes of television shows such as Science Fiction Theatre, Playhouse 90, and General Electric Theater. In the 1955–56 television season, he was cast three times on the religion anthology series Crossroads. In the 1955 episode "Cleanup", Price portrayed the Reverend Robert Russell. In 1956, he was cast as Rabbi Gershom Mendes Seixas in "The Rebel", and as the Rev. Alfred W. Price in "God's Healing". 1960s In the 1960s, Price achieved a number of low-budget filmmaking successes with Roger Corman and American International Pictures (AIP) starting with the House of Usher (1960), which earned over $2 million at the box office in the United States and led to the subsequent Edgar Allan Poe adaptations of The Pit and the Pendulum (1961), Tales of Terror (1962), The Comedy of Terrors (1963), The Raven (1963), The Masque of the Red Death (1964), and The Tomb of Ligeia (1964). He starred in The Last Man on Earth (1964), the first adaptation of the Richard Matheson novel I Am Legend, and portrayed witch hunter Matthew Hopkins in Witchfinder General (US: The Conqueror Worm, 1968) set during the English Civil War. Price also starred in comedy films such as Dr. Goldfoot and the Bikini Machine (1965) and its sequel Dr. Goldfoot and the Girl Bombs (1966). In 1968, he played the part of an eccentric artist in the musical Darling of the Day, opposite Patricia Routledge. In the 1960s, Price began his role as a guest on the television game show Hollywood Squares, becoming a semiregular in the 1970s, including being one of the guest panelists on the finale in 1980. Price made many guest-star appearances in television shows during the decade, including The Red Skelton Show, Daniel Boone, F Troop, Get Smart, The Man from U.N.C.L.E., and Voyage to the Bottom of the Sea. He had a recurring role in the Batman TV series as the villain Egghead from 1966 to 1967. In 1964, he provided the narration for the Tombstone Historama in Tombstone, Arizona, which was still in operation as of 2016. He also starred as the host of the Australian TV series If These Walls Could Speak, in which a short history of a historical building (supposedly narrated by the building itself) was covered, and as the narrating voice of the building. Later career During the early 1970s, Price hosted and starred in BBC Radio's horror and mystery series The Price of Fear. He accepted a cameo part in the Canadian children's television program The Hilarious House of Frightenstein (1971) in Hamilton, Ontario, on the local television station CHCH-TV. In addition to the opening and closing monologues, his role in the show was to recite poems about various characters, sometimes wearing a cloak or other costumes. He appeared in The Abominable Dr. Phibes (1971), its sequel Dr. Phibes Rises Again (1972), and Theatre of Blood (1973), in which he portrayed one of two serial killers. That same year, he appeared as himself in Mooch Goes to Hollywood, a film written by Jim Backus. Price was an admirer of the works of Edgar Allan Poe, and in 1975 visited the Edgar Allan Poe Museum in Richmond, Virginia, where he had his picture taken with the museum's popular stuffed raven. Price also recorded dramatic readings of Poe's short stories and poems, which were collected together with readings by Basil Rathbone. In 1975, Price and his wife Coral Browne appeared together in an international stage adaptation of Ardèle, which played in the U.S. and in London at the Queen's Theatre. During this run, Browne and Price starred together in the BBC Radio play Night of the Wolf first airing in 1975. Price greatly reduced his film work from around 1975, as horror itself suffered a slump, and he increased his narrative and voice work, as well as advertising Milton Bradley's Shrunken Head Apple Sculpture. Price provided a monologue for the Alice Cooper song "Devil's Food" on the Welcome to My Nightmare album in 1975, and he appeared in the corresponding TV special Alice Cooper: The Nightmare. He starred for a year in the early 1970s in the syndicated daily radio program Tales of the Unexplained. He made guest appearances in a 1970 episode of Here's Lucy, showcasing his art expertise, and in a 1972 episode of ABC's The Brady Bunch, in which he played a deranged archaeologist. In October 1976, he appeared as the featured guest in an episode of The Muppet Show. In 1977, Price began performing as Oscar Wilde in the one-man stage play Diversions and Delights, written by John Gay and directed by Joe Hardy, and set in a Parisian theatre on a night about one year before Wilde's death. The original tour of the play was a success in every city except for New York City. In the summer of 1979, Price performed the role of Wilde at the Tabor Opera House in Leadville, Colorado, on the same stage from which Wilde had spoken to miners about art some 96 years before. He eventually performed the play worldwide. Victoria Price stated in her biography of her father that several members of Price's family and friends thought that this was his best acting performance. In 1979, Price starred with his wife in the short-lived CBS series Time Express. That same year he hosted the hour-long television special America Screams, riding on several roller coasters and recounting their history. During 1979–1980, he hosted the "Mystery Night" segment of the radio series Sears Radio Theater. In 1982, Price provided the narrator's voice in Vincent, Tim Burton's six-minute film about a young boy who flashes from reality into a fantasy where he is Vincent Price. He appeared as Sir Despard Murgatroyd in a 1982 television production of Gilbert and Sullivan's Ruddigore (with Keith Michell as Robin Oakapple). In 1982, Price provided the spoken-word sequence to the end of the Michael Jackson song "Thriller". In 1983, he played the Sinister Man in the British spoof horror film Bloodbath at the House of Death. He appeared in House of the Long Shadows with Christopher Lee, Peter Cushing, and John Carradine; he had worked with each of those actors at least once in previous decades, but this was the first time that all had teamed up. One of his last major roles, and one of his favorites, was as the voice of Professor Ratigan in Walt Disney Pictures' The Great Mouse Detective in 1986. From 1981 to 1989, Price hosted the PBS television series Mystery! In 1985, he provided voice talent on the Hanna-Barbera series The 13 Ghosts of Scooby-Doo as the mysterious "Vincent Van Ghoul", who aided Scooby-Doo, Scrappy-Doo, and the gang in recapturing thirteen demons. He was a lifelong fan of roller coasters, and he narrated a 1987 thirty-minute documentary on the history of roller coasters and amusement parks, including Coney Island. During this time (1985–1989), he appeared in horror-themed commercials for Tilex bathroom cleanser. In 1984, Price appeared in Shelley Duvall's live-action series Faerie Tale Theatre as the Mirror in "Snow White and the Seven Dwarfs", and the narrator for "The Boy Who Left Home to Find Out About the Shivers". In 1987, he starred with Bette Davis, Lillian Gish, and Ann Sothern in The Whales of August, a story of two sisters living in Maine facing the end of their days. His performance in The Whales of August earned the only award nomination of his career, an Independent Spirit Award for Best Supporting Male. In 1989, Price was inducted into the St. Louis Walk of Fame. His last significant film work was as the inventor in Tim Burton's Edward Scissorhands (1990). In 1990, Price recorded the narration as the Phantom for Disneyland Paris's Phantom Manor. After the attraction opened in 1992, though, the narration was shortly removed and replaced with one entirely in French, performed by Gérard Chevalier. Only Price's infamous laughter remained on the soundtrack. In 2018, during Phantom Manor's major renovation, parts of Price's narration were announced to be restored to the soundtrack of the attraction. Since the 2019 reopening, the new tracks are dual-language; Price's original excerpts as well as previously unused material from his 1990 recording comprise the English-speaking portions, while actor Bernard Alane voices the Phantom in French. Art Price, who studied art history at Yale, was an art lover and collector. He was a commissioner of the Indian Arts and Crafts Board. In 1957, impressed by the spirit of the students and the community's need for the opportunity to experience original art works first hand, Vincent and Mary Grant Price donated 90 pieces from their private collection and a large amount of money to establish the Vincent Price Art Museum at East Los Angeles College in Monterey Park, California, which was the first "teaching art collection" owned by a community college in the United States. They ultimately donated some 2,000 pieces; the collection contains over 9,000 pieces and has been valued in excess of $5 million. Price also spent time working as an art consultant for Sears-Roebuck: From 1962 to 1971, Sears offered the "Vincent Price Collection of Fine Art", selling about 50,000 fine-art prints to the general public. Works which Price selected or commissioned for the collection included some by Rembrandt, Pablo Picasso, and Salvador Dalí. Public access to fine art was important to Price, who according to his daughter Victoria, saw the Sears deal as an "opportunity to put his populist beliefs into practice, to bring art to the American public." In the 1960s, portraits painted by Charles Bird King, of Native Americans were secured for Jacqueline Kennedy's White House Restoration. Through the efforts of Vincent Price these five paintings were paid for and donated to the White House Collection by Sears-Roebuck. Price amassed his own extensive collection of art, and in 2008, a painting bought for $25 by a couple from Dallas was identified as a piece from Price's collection. Painted by leading Australian modernist Grace Cossington Smith, it was given a modern valuation of AU$45,000. Cooking Price was a gourmet cook, and he authored several cookbooks with his second wife, Mary. These include: A Treasury of Great Recipes (1965) Mary and Vincent Price present a National Treasury of Cookery (1967) Mary and Vincent Price's Come into the Kitchen Cook Book: A Collector's Treasury of America's Great Recipes (1969) Cooking Price-Wise with Vincent Price (1971) Mary and Vincent Price present a National Treasury of Cookery was a five-volume series, packaged in a boxed set and published by the Heirloom Publishing Company. These five books were combined into a single book two years later and published as Mary and Vincent Price's Come into the Kitchen Cook Book: A Collector's Treasury of America's Great Recipes. Most of the Prices' cookbooks remained in print throughout the 1970s. After being out of print for several decades, two of their books were reprinted; A Treasury of Great Recipes (in August 2015 by Calla Editions) and Mary and Vincent Price's Come into the Kitchen Cook Book (in November 2016 by Calla Editions), both featuring new forewords by their daughter Victoria Price. Cooking Price-Wise with Vincent Price was scheduled to be reprinted by Dover Publishing in October 2017 under the updated title Cooking Price-Wise – The Original Foodie. In 1971, Price hosted his own cooking program on British television, called Cooking Price-Wise produced for the ITV network by Thames Television, which was broadcast in April and May 1971. This show gave its name to Price's fourth and final cookbook later that year. Price promoted his cookbooks on many talk shows, one of the most famous instances being the November 21, 1975, broadcast of The Tonight Show Starring Johnny Carson, when he demonstrated how to poach a fish in a dishwasher. Price recorded a number of audio cooking tutorials titled International Cooking Course. These were titled Bounty of Paradise, Classical Spanish Cuisine, Cuisina Italiana, Delights from the Sultan's Pantry, Dinner at the Casbah, Dining at Versailles, Exotic Delights from the Far East, Food of the Gods, Foods from the Austro-Hungarian Empire, La Cocina Mejicana, The Bard's Board, and The Wok. In addition to those, he recorded an audio wine course titled Wine Is Elegance. These audio recordings were released on 33⅓ LPs by Nelson Industries in 1977, and were also packaged in a 12-cassette boxed set titled Beverly Hills Cookbook – Cookbook of the Rich and Famous, Your Host Mr. Vincent Price. In August 1982, he co-hosted A Taste of China for Thames Television over five episodes. He also prepared a fish recipe on Wolfgang Puck's Cooking with Wolfgang Puck VHS, released in October 1987 by Warner Home Video. Personal life Price married three times. His first marriage was in 1938 to former actress Edith Barrett; they had one son, poet and columnist Vincent Barrett Price. Edith and Price divorced in 1948. Price married Mary Grant in 1949, and they had a daughter, inspirational speaker Victoria Price, on April 27, 1962, naming her after Price's first major success in the play Victoria Regina. The marriage lasted until 1973. He married Australian actress Coral Browne in 1974; she had appeared as one of his victims in Theatre of Blood (1973). The marriage lasted until her death in 1991. Victoria Price's biography Vincent Price: A Daughter's Biography (1999) details Price's early antisemitism and initial admiration for Adolf Hitler. According to his daughter: "When he went to Germany and Austria as a young man, he was struck by a lot of things going on during the Weimar Republic and the disillusion of the empire... So when Hitler came into power, instead of seeing him as a dangerous force, he was sort of swept up in this whole idea that Hitler was going to bring German pride back." However, Price became a liberal after becoming friends with New York intellectuals such as Dorothy Parker and Lillian Hellman in the 1930s, so much so that he was "greylisted" under McCarthyism in the 1950s for having been a prewar "premature anti-Nazi", and after being unable to find work for a year, agreed to requests by the FBI that he sign a "secret oath" to save his career. Victoria said that her father became so liberal that "one of my brother's earliest memories is when Franklin Roosevelt's death was announced, my father fell backwards off the sofa sobbing." Price denounced racial and religious prejudice as a form of poison at the end of an episode of The Saint, which aired on NBC Radio on July 30, 1950, claiming that Americans must actively fight against it because such prejudices within the United States fuels support for the nation's enemies. He was later appointed to the Indian Arts and Crafts Board under the Dwight D. Eisenhower administration; he called the appointment "kind of a surprise, since I am a Democrat". Price was supportive of his daughter when she came out as a lesbian, and he was critical of Anita Bryant's anti-gay-rights campaign in the 1970s. In an interview in 2015, Victoria confirmed that her father confided with her of his intimate relationships with men when she came out to him as a lesbian. Death Price suffered from chronic obstructive pulmonary disease and Parkinson's disease. His symptoms were especially severe during the filming of Edward Scissorhands, making cutting his filming schedule short a necessity. His illness also contributed to his retirement from Mystery! in 1989. He died at age 82 of lung cancer on October 25, 1993, at his home in Los Angeles, California. His remains were cremated and his ashes scattered off Point Dume in Malibu. Legacy The A&E Network aired an episode of Biography the night following Price's death, highlighting his horror-film career, but because of its failure to clear copyrights, the show was never aired again. Four years later, A&E produced its updated episode, titled Vincent Price: The Versatile Villain, which aired on October 12, 1997. The script was by Lucy Chase Williams, author of The Complete Films of Vincent Price. In early 1991, Tim Burton was developing a personal documentary with the working title Conversations with Vincent, in which interviews with Price were shot at the Vincent Price Gallery, but the project was never completed and was eventually shelved. Rhythmeen, the ZZ Top album from 1996, includes a track named "Vincent Price Blues". Price was an honorary board member and strong supporter of the Witch's Dungeon Classic Movie Museum in Bristol, Connecticut, until his death in 1993. The museum features detailed life-sized wax replicas of characters from some of Price's films, including The Fly, The Abominable Dr. Phibes, and The Masque of the Red Death. A black-box theater at Price's alma mater, Mary Institute and St. Louis Country Day School, is named after him. Tim Burton directed a short stop-motion film as a tribute to Vincent Price called Vincent, about a young boy named Vincent Malloy who is obsessed with the grim and macabre; it is narrated by Price. "Vincent Twice, Vincent Twice" was a parody on Sesame Street. He was parodied in an episode of The Simpsons ("Sunday, Cruddy Sunday"). Price had his own Spitting Image puppet, who was always trying to be "sinister" and lure people into his ghoulish traps, only for his victims to point out all the obvious flaws. Starting in November 2005, featured cast member Bill Hader of the NBC sketch comedy/variety show Saturday Night Live has played Price in a recurring sketch in which Price hosts botched holiday specials filled with celebrities of the 1950s/'60s. Other cast members who played Price on SNL include Dan Aykroyd and Michael McKean (who played Price when he hosted a season-10 episode and again when he was hired as a cast member for the 1994–95 season). In 1999, a frank and detailed biography about Price written by his daughter, Victoria, was published by St. Martin's Press. In late May 2011, an event was held by the organization Cinema St. Louis to celebrate what would have been Price's 100th birthday. It included a public event with Victoria at the Missouri History Museum and a showcase of ephemeral and historic items at the gallery inside the Sheldon Concert Hall. In an unusual convergence of widely different generational and cultural backgrounds, the genteel Price was a friend of the English hard rock band Deep Purple and in 1975, he appeared on Roger Glover's live version of The Butterfly Ball and the Grasshopper's Feast as a narrator. Decades later, in 2013, Deep Purple released "Vincent Price", a single the band members dedicated to him. That same year, American director and writer John Waters composed a "heartfelt and appreciative" retrospective on Price for Turner Classic Movies, which recognized the actor as its "Star of the Month" in October 2013 and showcased then a selection of his most popular films. The tribute was repeatedly broadcast on TCM to promote and complement those televised presentations. In sharing with viewers his feelings about Price, Waters at one point describes the actor's screen appeal, especially when he was featured in his darker roles: Filmography Radio appearances Books Introductions to Works by Others Peter Haining (ed). The Ghouls. NY: Stein and Day, 1971. Tom Hutchinson. Horror and Fantasy in the Movies. NY: Crescent Books, 1974. Audio books References External links Vincent Price Official Website Vincent Price Gallery St. Louis Walk of Fame Vincent Price Papers catalog Vincent Price at Virtual History Cooking with Vincent, A Treasury Of Great Recipes Vincent Price Papers (MS 1625). Manuscripts and Archives, Yale University Library. 1911 births 1993 deaths 20th Century Fox contract players 20th-century American male actors 20th-century American essayists Alumni of the Courtauld Institute of Art American art collectors American people of English descent American people of Welsh descent American art writers American autobiographers American cookbook writers American food writers American male film actors American male radio actors American male stage actors American male television actors American male voice actors Audiobook narrators Philanthropists from New York (state) Caedmon Records artists American television hosts California Democrats Deaths from cancer in California Deaths from emphysema Deaths from lung cancer LGBT rights activists from the United States Male actors from Los Angeles Male actors from St. Louis Missouri Democrats People with Parkinson's disease The Yale Record alumni Writers from Los Angeles Writers from Missouri 20th-century American businesspeople 20th-century American male writers American male non-fiction writers Articles containing video clips LGBT writers from the United States Bisexual male actors Bisexual writers American bisexual actors
false
[ "\"Find What You Love and Let It Kill You\" may refer to:\n\nMusic \n Find What You Love and Let It Kill You (Jonny Craig album)\n Find What You Love and Let It Kill You (Hurricane No. 1 album)\n \"Find What You Love and Let It Kill You\", a song by Linus Pauling Quartet\n Find What You Love and Let It Kill You, a 2019 short film", "Finally Awake is the fifth studio album released by Christian rock band Seventh Day Slumber. It was released on March 20, 2007 under Tooth & Nail Records. Finally Awake reached its peak on the Top Christian Albums chart at No. 16 in 2007.\n\nMeaning \nWhen Joseph Rojas was asked about the meaning behind Finally Awake, he responded: \"The message of this album is clear. We want to empower kids to stop looking to the media, to what the world tells them they have to be, to find identity. You don’t have to be what everyone else tells you to. Be what you were created to be.\"\n\nTrack listing \n \"Awake\" - 3:42\n \"Last Regret\" - 3:08\n \"Missing Pages\" - 3:53\n \"My Only Hope\" - 3:45\n \"Always\" - 4:40\n \"Breaking Away\" - 3:35\n \"Burning Bridges\" - 3:54\n \"Undone\" - 3:26\n \"On My Way Home\" - 3:43\n \"Broken Buildings\" - 4:21\n \"Every Saturday\" - 4:20\n\nReferences \n\n2007 albums\nTooth & Nail Records albums\nSeventh Day Slumber albums" ]
[ "Ashkenazi Jews", "Etymology" ]
C_a6274184d4ed4effa3225743032766df_1
What makes one a ashkenazi jew?
1
What makes someone an Ashkenazi Jew?
Ashkenazi Jews
The name Ashkenazi derives from the biblical figure of Ashkenaz, the first son of Gomer, son of Japhet, son of Noah, and a Japhetic patriarch in the Table of Nations (Genesis 10). The name of Gomer has often been linked to the ethnonym Cimmerians. Biblical Ashkenaz is usually derived from Assyrian Askuza (cuneiform Askuzai/Iskuzai), a people who expelled the Cimmerians from the Armenian area of the Upper Euphrates, whose name is usually associated with the name of the Scythians. The intrusive n in the Biblical name is likely due to a scribal error confusing a waw v with a nun n. In Jeremiah 51:27, Ashkenaz figures as one of three kingdoms in the far north, the others being Minni and Ararat, perhaps corresponding to Urartu, called on by God to resist Babylon. In the Yoma tractate of the Babylonian Talmud the name Gomer is rendered as Germania, which elsewhere in rabbinical literature was identified with Germanikia in northwestern Syria, but later became associated with Germania. Ashkenaz is linked to Scandza/Scanzia, viewed as the cradle of Germanic tribes, as early as a 6th-century gloss to the Historia Ecclesiastica of Eusebius. In the 10th-century History of Armenia of Yovhannes Drasxanakertc'i (1.15) Ashkenaz was associated with Armenia, as it was occasionally in Jewish usage, where its denotation extended at times to Adiabene, Khazaria, Crimea and areas to the east. His contemporary Saadia Gaon identified Ashkenaz with the Saquliba or Slavic territories, and such usage covered also the lands of tribes neighboring the Slavs, and Eastern and Central Europe. In modern times, Samuel Krauss identified the Biblical "Ashkenaz" with Khazaria. Sometime in the early medieval period, the Jews of central and eastern Europe came to be called by this term. Conforming to the custom of designating areas of Jewish settlement with biblical names, Spain was denominated Sefarad (Obadiah 20), France was called Tsarefat (1 Kings 17:9), and Bohemia was called the Land of Canaan. By the high medieval period, Talmudic commentators like Rashi began to use Ashkenaz/Eretz Ashkenaz to designate Germany, earlier known as Loter, where, especially in the Rhineland communities of Speyer, Worms and Mainz, the most important Jewish communities arose. Rashi uses leshon Ashkenaz (Ashkenazi language) to describe German speech, and Byzantium and Syrian Jewish letters referred to the Crusaders as Ashkenazim. Given the close links between the Jewish communities of France and Germany following the Carolingian unification, the term Ashkenazi came to refer to both the Jews of medieval Germany and France. CANNOTANSWER
Sometime in the early medieval period, the Jews of central and eastern Europe came to be called by this term.
Ashkenazi Jews ( ; ), also known as Ashkenazic Jews or by using the Hebrew plural suffix -im, Ashkenazim are a Jewish diaspora population who coalesced in the Holy Roman Empire around the end of the first millennium. The traditional diaspora language of Ashkenazi Jews is Yiddish (a Germanic language with elements of Hebrew, Aramaic, and Slavic languages), developed after they had moved into northern Europe: beginning with Germany and France in the Middle Ages. For centuries, they used Hebrew only as a sacred language, until the revival of Hebrew as a common language in 20th century Israel. Throughout their time in Europe, Ashkenazim have made many important contributions to its philosophy, scholarship, literature, art, music and science. The term "Ashkenazi" refers to Jewish settlers who established communities along the Rhine river in Western Germany and in Northern France during the Middle Ages. Once there, they adapted traditions carried from Babylon, the Holy Land, and the Western Mediterranean to their new environment. The Ashkenazi religious rite developed in cities such as Mainz, Worms, and Troyes. The eminent French Rishon Rabbi Shlomo Itzhaki (Rashi) would have a significant influence on the Jewish religion. In the late Middle Ages, due to religious persecution, the majority of the Ashkenazi population shifted steadily eastward, moving out of the Holy Roman Empire into the areas later part of the Polish–Lithuanian Commonwealth, comprising parts of present-day Belarus, Estonia, Latvia, Lithuania, Moldova, Poland, Russia, Slovakia, and Ukraine. In the course of the late 18th and 19th centuries, those Jews who remained in or returned to the German lands generated a cultural reorientation; under the influence of the Haskalah and the struggle for emancipation, as well as the intellectual and cultural ferment in urban centers, they gradually abandoned the use of Yiddish and adopted German, while developing new forms of Jewish religious life and cultural identity. It is estimated that in the 11th century Ashkenazi Jews composed 3 percent of the world's total Jewish population, while an estimate made in 1930 (near the population's peak) had them as 92 percent of the world's Jews. The Holocaust of the Second World War decimated the Ashkenazim, affecting almost every Jewish family. Immediately prior to the Holocaust, the number of Jews in the world stood at approximately 16.7 million. Statistical figures vary for the contemporary demography of Ashkenazi Jews, ranging from 10 million to 11.2 million. Sergio Della Pergola, in a rough calculation of Sephardic and Mizrahi Jews, implies that Ashkenazi Jews make up 65–70% of Jews worldwide. Other estimates place Ashkenazi Jews as making up about 75% of Jews worldwide. Genetic studies on Ashkenazim—researching both their paternal and maternal lineages, as well as autosomal DNA—indicate that Ashkenazim are of mixed Levantine and European (mainly Western/Southern European) ancestry. These studies have arrived at diverging conclusions regarding both the degree and the sources of their European admixture, with some focusing on the extent of the European genetic origin observed in Ashkenazi maternal lineages, which is in contrast to the predominant Middle Eastern genetic origin observed in Ashkenazi paternal lineages. Etymology The name Ashkenazi derives from the biblical figure of Ashkenaz, the first son of Gomer, son of Japhet, son of Noah, and a Japhetic patriarch in the Table of Nations (Genesis 10). The name of Gomer has often been linked to the ethnonym Cimmerians. Biblical Ashkenaz is usually derived from Assyrian Aškūza (cuneiform Aškuzai/Iškuzai), a people who expelled the Cimmerians from the Armenian area of the Upper Euphrates; the name Aškūza is usually associated with the name of the Scythians. The intrusive n in the Biblical name is likely due to a scribal error confusing a vav with a nun . In Jeremiah 51:27, Ashkenaz figures as one of three kingdoms in the far north, the others being Minni and Ararat, perhaps corresponding to Urartu, called on by God to resist Babylon. In the Yoma tractate of the Babylonian Talmud the name Gomer is rendered as Germania, which elsewhere in rabbinical literature was identified with Germanikia in northwestern Syria, but later became associated with Germania. Ashkenaz is linked to Scandza/Scanzia, viewed as the cradle of Germanic tribes, as early as a 6th-century gloss to the Historia Ecclesiastica of Eusebius. In the 10th-century History of Armenia of Yovhannes Drasxanakertc'i (1.15), Ashkenaz was associated with Armenia, as it was occasionally in Jewish usage, where its denotation extended at times to Adiabene, Khazaria, Crimea and areas to the east. His contemporary Saadia Gaon identified Ashkenaz with the Saquliba or Slavic territories, and such usage covered also the lands of tribes neighboring the Slavs, and Eastern and Central Europe. In modern times, Samuel Krauss identified the Biblical "Ashkenaz" with Khazaria. Sometime in the Early Medieval period, the Jews of central and eastern Europe came to be called by this term. Conforming to the custom of designating areas of Jewish settlement with biblical names, Spain was denominated Sefarad (Obadiah 20), France was called Tsarefat (1 Kings 17:9), and Bohemia was called the Land of Canaan. By the high medieval period, Talmudic commentators like Rashi began to use Ashkenaz/Eretz Ashkenaz to designate Germany, earlier known as Loter, where, especially in the Rhineland communities of Speyer, Worms and Mainz, the most important Jewish communities arose. Rashi uses leshon Ashkenaz (Ashkenazi language) to describe Yiddish, and Byzantium and Syrian Jewish letters referred to the Crusaders as Ashkenazim. Given the close links between the Jewish communities of France and Germany following the Carolingian unification, the term Ashkenazi came to refer to the Jews of both medieval Germany and France. History Jewish settlement of Europe in antiquity Jewish communities appeared in southern Europe as early as the third century BCE, in the Aegean Islands, Greece, and Italy. Jews migrated to southern Europe from the Middle East voluntarily for opportunities in trade and commerce. Following Alexander the Great's conquests, Jews migrated to Greek settlements in the Eastern Mediterranean, spurred on by economic opportunities. Jewish economic migration to southern Europe is also believed to have occurred during the Roman era. Regarding Jewish settlements founded in southern Europe during the Roman era, E. Mary Smallwood wrote that "no date or origin can be assigned to the numerous settlements eventually known in the west, and some may have been founded as a result of the dispersal of Palestinian Jews after the revolts of AD 66–70 and 132–135, but it is reasonable to conjecture that many, such as the settlement in Puteoli attested in 4 BC, went back to the late republic or early empire and originated in voluntary emigration and the lure of trade and commerce." In 63 BCE, the Siege of Jerusalem saw the Roman Republic conquer Judea, and thousands of Jewish prisoners of war were brought to Rome as slaves. After gaining their freedom, they settled permanently in Rome as traders. It is likely that there was an additional influx of Jewish slaves taken to southern Europe by Roman forces after the capture of Jerusalem by the forces of Herod the Great with assistance from Roman forces in 37 BCE. It is known that Jewish war captives were sold into slavery after the suppression of a minor Jewish revolt in 53 BCE, and some were probably taken to southern Europe. The Roman Empire decisively crushed two large-scale Jewish rebellions in Judea, the First Jewish–Roman War, which lasted from 66 to 73 CE, and the Bar Kokhba revolt, which lasted from 132 to 135 CE. Both of these revolts ended in widespread destruction in Judea. The holy city of Jerusalem and Herod's Temple were destroyed in the first revolt, and during the Bar-Kokhba revolt, Jerusalem was totally razed, and Hadrian built the colony of Aelia Capitolina over its ruins, totally forbidding Jews and Jewish Christians from entering. During both of these rebellions, many Jews were captured and sold into slavery by the Romans. According to the Jewish historian Josephus, 97,000 Jews were sold as slaves in the aftermath of the first revolt. Jewish slaves and their children eventually gained their freedom and joined local free Jewish communities. With their national aspirations crushed and widespread devastation in Judea, despondent Jews migrated out of Judea in the aftermath of both revolts, and many settled in southern Europe. The movement was by no means a single, centralized event, nor was it a compulsory relocation as the earlier Assyrian and Babylonian captivities had been. Indeed, for centuries prior to the war or its particularly destructive conclusion, Jews had lived across the known world. Outside of their origins in ancient Israel, the history of Ashkenazim is shrouded in mystery, and many theories have arisen speculating on their emergence as a distinct community of Jews. The historical record attests to Jewish communities in southern Europe since pre-Christian times. Many Jews were denied full Roman citizenship until Emperor Caracalla granted all free peoples this privilege in 212. Jews were required to pay a poll tax until the reign of Emperor Julian in 363. In the late Roman Empire, Jews were free to form networks of cultural and religious ties and enter into various local occupations. But, after Christianity became the official religion of Rome and Constantinople in 380, Jews were increasingly marginalized. The history of Jews in Greece goes back to at least the Archaic Era of Greece when the classical culture of Greece was undergoing a process of formalization after the Greek Dark Age. The Greek historian Herodotus knew of the Jews, whom he called "Palestinian Syrians", and listed them among the levied naval forces in service of the invading Persians. While Jewish monotheism was not deeply affected by Greek polytheism, the Greek way of living was attractive for many wealthier Jews. The Synagogue in the Agora of Athens is dated to the period between 267 and 396 CE. The Stobi Synagogue in Macedonia was built on the ruins of a more ancient synagogue in the 4th century, while later in the 5th century, the synagogue was transformed into a Christian basilica. Hellenistic Judaism thrived in Antioch and Alexandria, and many of these Greek-speaking Jews would convert to Christianity. Sporadic epigraphic evidence in gravesite excavations, particularly in Brigetio (Szőny), Aquincum (Óbuda), Intercisa (Dunaújváros), Triccinae (Sárvár), Savaria (Szombathely), Sopianae (Pécs) in Hungary, and Mursa (Osijek) in Croatia, attest to the presence of Jews after the 2nd and 3rd centuries where Roman garrisons were established. There was a sufficient number of Jews in Pannonia to form communities and build a synagogue. Jewish troops were among the Syrian soldiers transferred there, and replenished from the Middle East. After 175 CE Jews and especially Syrians came from Antioch, Tarsus, and Cappadocia. Others came from Italy and the Hellenized parts of the Roman Empire. The excavations suggest they first lived in isolated enclaves attached to Roman legion camps and intermarried with other similar oriental families within the military orders of the region. Raphael Patai states that later Roman writers remarked that they differed little in either customs, manner of writing, or names from the people among whom they dwelt; and it was especially difficult to differentiate Jews from the Syrians. After Pannonia was ceded to the Huns in 433, the garrison populations were withdrawn to Italy, and only a few, enigmatic traces remain of a possible Jewish presence in the area some centuries later. No evidence has yet been found of a Jewish presence in antiquity in Germany beyond its Roman border, nor in Eastern Europe. In Gaul and Germany itself, with the possible exception of Trier and Cologne, the archeological evidence suggests at most a fleeting presence of very few Jews, primarily itinerant traders or artisans. Estimating the number of Jews in antiquity is a task fraught with peril due to the nature of and lack of accurate documentation. The number of Jews in the Roman Empire for a long time was based on the accounts of Syrian Orthodox bishop Bar Hebraeus who lived between 1226 and 1286 CE, who stated by the time of the destruction of the Second Temple in 70 CE, as many as six million Jews were already living in the Roman Empire, a conclusion which has been contested as highly exaggerated. The 13th-century author Bar Hebraeus gave a figure of 6,944,000 Jews in the Roman world. Salo Wittmayer Baron considered the figure convincing. The figure of seven million within and one million outside the Roman world in the mid-first century became widely accepted, including by Louis Feldman. However, contemporary scholars now accept that Bar Hebraeus based his figure on a census of total Roman citizens and thus included non-Jews, the figure of 6,944,000 being recorded in Eusebius' Chronicon. Louis Feldman, previously an active supporter of the figure, now states that he and Baron were mistaken. Philo gives a figure of one million Jews living in Egypt. John R. Bartlett rejects Baron's figures entirely, arguing that we have no clue as to the size of the Jewish demographic in the ancient world. The Romans did not distinguish between Jews inside and outside of the land of Israel/Judaea. They collected an annual temple tax from Jews both in and outside of Israel. The revolts in and suppression of diaspora communities in Egypt, Libya and Crete during the Kitos War of 115–117 CE had a severe impact on the Jewish diaspora. A substantial Jewish population emerged in northern Gaul by the Middle Ages, but Jewish communities existed in 465 CE in Brittany, in 524 CE in Valence, and in 533 CE in Orléans. Throughout this period and into the early Middle Ages, some Jews assimilated into the dominant Greek and Latin cultures, mostly through conversion to Christianity. King Dagobert I of the Franks expelled the Jews from his Merovingian kingdom in 629. Jews in former Roman territories faced new challenges as harsher anti-Jewish Church rulings were enforced. Charlemagne's expansion of the Frankish empire around 800, including northern Italy and Rome, brought on a brief period of stability and unity in Francia. This created opportunities for Jewish merchants to settle again north of the Alps. Charlemagne granted the Jews freedoms similar to those once enjoyed under the Roman Empire. In addition, Jews from southern Italy, fleeing religious persecution, began to move into Central Europe. Returning to Frankish lands, many Jewish merchants took up occupations in finance and commerce, including money lending, or usury. (Church legislation banned Christians from lending money in exchange for interest.) From Charlemagne's time to the present, Jewish life in northern Europe is well documented. By the 11th century, when Rashi of Troyes wrote his commentaries, Jews in what came to be known as "Ashkenaz" were known for their halakhic learning, and Talmudic studies. They were criticized by Sephardim and other Jewish scholars in Islamic lands for their lack of expertise in Jewish jurisprudence and general ignorance of Hebrew linguistics and literature. Yiddish emerged as a result of Judeo-Latin language contact with various High German vernaculars in the medieval period. It is a Germanic language written in Hebrew letters, and heavily influenced by Hebrew and Aramaic, with some elements of Romance and later Slavic languages. High and Late Middle Ages migrations Historical records show evidence of Jewish communities north of the Alps and Pyrenees as early as the 8th and 9th centuries. By the 11th century, Jewish settlers moving from southern European and Middle Eastern centers (such as Babylonian Jews and Persian Jews) and Maghrebi Jewish traders from North Africa who had contacts with their Ashkenazi brethren and had visited each other from time to time in each's domain appear to have begun to settle in the north, especially along the Rhine, often in response to new economic opportunities and at the invitation of local Christian rulers. Thus Baldwin V, Count of Flanders, invited Jacob ben Yekutiel and his fellow Jews to settle in his lands; and soon after the Norman conquest of England, William the Conqueror likewise extended a welcome to continental Jews to take up residence there. Bishop Rüdiger Huzmann called on the Jews of Mainz to relocate to Speyer. In all of these decisions, the idea that Jews had the know-how and capacity to jump-start the economy, improve revenues, and enlarge trade seems to have played a prominent role. Typically, Jews relocated close to the markets and churches in town centres, where, though they came under the authority of both royal and ecclesiastical powers, they were accorded administrative autonomy. In the 11th century, both Rabbinic Judaism and the culture of the Babylonian Talmud that underlies it became established in southern Italy and then spread north to Ashkenaz. Numerous massacres of Jews occurred throughout Europe during the Christian Crusades. Inspired by the preaching of a First Crusade, crusader mobs in France and Germany perpetrated the Rhineland massacres of 1096, devastating Jewish communities along the Rhine River, including the SHuM cities of Speyer, Worms, and Mainz. The cluster of cities contain the earliest Jewish settlements north of the Alps, and played a major role in the formation of Ashkenazi Jewish religious tradition, along with Troyes and Sens in France. Nonetheless, Jewish life in Germany persisted, while some Ashkenazi Jews joined Sephardic Jewry in Spain. Expulsions from England (1290), France (1394), and parts of Germany (15th century), gradually pushed Ashkenazi Jewry eastward, to Poland (10th century), Lithuania (10th century), and Russia (12th century). Over this period of several hundred years, some have suggested, Jewish economic activity was focused on trade, business management, and financial services, due to several presumed factors: Christian European prohibitions restricting certain activities by Jews, preventing certain financial activities (such as "usurious" loans) between Christians, high rates of literacy, near-universal male education, and ability of merchants to rely upon and trust family members living in different regions and countries. By the 15th century, the Ashkenazi Jewish communities in Poland were the largest Jewish communities of the Diaspora. This area, which eventually fell under the domination of Russia, Austria, and Prussia (Germany), would remain the main center of Ashkenazi Jewry until the Holocaust. The answer to why there was so little assimilation of Jews in central and eastern Europe for so long would seem to lie in part in the probability that the alien surroundings in central and eastern Europe were not conducive, though there was some assimilation. Furthermore, Jews lived almost exclusively in shtetls, maintained a strong system of education for males, heeded rabbinic leadership, and had a very different lifestyle to that of their neighbours; all of these tendencies increased with every outbreak of antisemitism. In parts of Eastern Europe, before the arrival of the Ashkenazi Jews from Central, some non-Ashkenazi Jews were present who spoke Leshon Knaan and held various other Non-Ashkenazi traditions and customs. In 1966, the historian Cecil Roth questioned the inclusion of all Yiddish speaking Jews as Ashkenazim in descent, suggesting that upon the arrival of Ashkenazi Jews from central Europe to Eastern Europe, from the Middle Ages to the 16th century, there were a substantial number of non-Ashkenazim Jews already there who later abandoned their original Eastern European Jewish culture in favor of the Ashkenazi one. However, according to more recent research, mass migrations of Yiddish-speaking Ashkenazi Jews occurred to Eastern Europe, from Central Europe in the west, who due to high birth rates absorbed and largely replaced the preceding non-Ashkenazi Jewish groups of Eastern Europe (whose numbers the demographer Sergio Della Pergola considers to have been small). Genetic evidence also indicates that Yiddish-speaking Eastern European Jews largely descend from Ashkenazi Jews who migrated from central to eastern Europe and subsequently experienced high birthrates and genetic isolation. Some Jewish immigration from southern Europe to Eastern Europe continued into the early modern period. During the 16th century, as conditions for Italian Jews worsened, many Jews from Venice and the surrounding area migrated to Poland and Lithuania. During the 16th and 17th centuries, some Sephardi Jews and Romaniote Jews from throughout the Ottoman Empire migrated to Eastern Europe, as did Arabic-speaking Mizrahi Jews and Persian Jews. Medieval references In the first half of the 11th century, Hai Gaon refers to questions that had been addressed to him from Ashkenaz, by which he undoubtedly means Germany. Rashi in the latter half of the 11th century refers to both the language of Ashkenaz and the country of Ashkenaz. During the 12th century, the word appears quite frequently. In the Mahzor Vitry, the kingdom of Ashkenaz is referred to chiefly in regard to the ritual of the synagogue there, but occasionally also with regard to certain other observances. In the literature of the 13th century, references to the land and the language of Ashkenaz often occur. Examples include Solomon ben Aderet's Responsa (vol. i., No. 395); the Responsa of Asher ben Jehiel (pp. 4, 6); his Halakot (Berakot i. 12, ed. Wilna, p. 10); the work of his son Jacob ben Asher, Tur Orach Chayim (chapter 59); the Responsa of Isaac ben Sheshet (numbers 193, 268, 270). In the Midrash compilation, Genesis Rabbah, Rabbi Berechiah mentions Ashkenaz, Riphath, and Togarmah as German tribes or as German lands. It may correspond to a Greek word that may have existed in the Greek dialect of the Jews in Syria Palaestina, or the text is corrupted from "Germanica". This view of Berechiah is based on the Talmud (Yoma 10a; Jerusalem Talmud Megillah 71b), where Gomer, the father of Ashkenaz, is translated by Germamia, which evidently stands for Germany, and which was suggested by the similarity of the sound. In later times, the word Ashkenaz is used to designate southern and western Germany, the ritual of which sections differs somewhat from that of eastern Germany and Poland. Thus the prayer-book of Isaiah Horowitz, and many others, give the piyyutim according to the Minhag of Ashkenaz and Poland. According to 16th-century mystic Rabbi Elijah of Chelm, Ashkenazi Jews lived in Jerusalem during the 11th century. The story is told that a German-speaking Jew saved the life of a young German man surnamed Dolberger. So when the knights of the First Crusade came to siege Jerusalem, one of Dolberger's family members who was among them rescued Jews in Palestine and carried them back to Worms to repay the favor. Further evidence of German communities in the holy city comes in the form of halakhic questions sent from Germany to Jerusalem during the second half of the 11th century. Modern history Material relating to the history of German Jews has been preserved in the communal accounts of certain communities on the Rhine, a Memorbuch, and a Liebesbrief, documents that are now part of the Sassoon Collection. Heinrich Graetz has also added to the history of German Jewry in modern times in the abstract of his seminal work, History of the Jews, which he entitled "Volksthümliche Geschichte der Juden." In an essay on Sephardi Jewry, Daniel Elazar at the Jerusalem Center for Public Affairs summarized the demographic history of Ashkenazi Jews in the last thousand years. He notes that at the end of the 11th century, 97% of world Jewry was Sephardic and 3% Ashkenazi; in the mid-17th century, "Sephardim still outnumbered Ashkenazim three to two"; by the end of the 18th century, "Ashkenazim outnumbered Sephardim three to two, the result of improved living conditions in Christian Europe versus the Ottoman Muslim world." By 1930, Arthur Ruppin estimated that Ashkenazi Jews accounted for nearly 92% of world Jewry. These factors are sheer demography showing the migration patterns of Jews from Southern and Western Europe to Central and Eastern Europe. In 1740, a family from Lithuania became the first Ashkenazi Jews to settle in the Jewish Quarter of Jerusalem. In the generations after emigration from the west, Jewish communities in places like Poland, Russia, and Belarus enjoyed a comparatively stable socio-political environment. A thriving publishing industry and the printing of hundreds of biblical commentaries precipitated the development of the Hasidic movement as well as major Jewish academic centers. After two centuries of comparative tolerance in the new nations, massive westward emigration occurred in the 19th and 20th centuries in response to pogroms in the east and the economic opportunities offered in other parts of the world. Ashkenazi Jews have made up the majority of the American Jewish community since 1750. In the context of the European Enlightenment, Jewish emancipation began in 18th century France and spread throughout Western and Central Europe. Disabilities that had limited the rights of Jews since the Middle Ages were abolished, including the requirements to wear distinctive clothing, pay special taxes, and live in ghettos isolated from non-Jewish communities and the prohibitions on certain professions. Laws were passed to integrate Jews into their host countries, forcing Ashkenazi Jews to adopt family names (they had formerly used patronymics). Newfound inclusion into public life led to cultural growth in the Haskalah, or Jewish Enlightenment, with its goal of integrating modern European values into Jewish life. As a reaction to increasing antisemitism and assimilation following the emancipation, Zionism was developed in central Europe. Other Jews, particularly those in the Pale of Settlement, turned to socialism. These tendencies would be united in Labor Zionism, the founding ideology of the State of Israel. The Holocaust Of the estimated 8.8 million Jews living in Europe at the beginning of World War II, the majority of whom were Ashkenazi, about 6 million – more than two-thirds – were systematically murdered in the Holocaust. These included 3 million of 3.3 million Polish Jews (91%); 900,000 of 1.5 million in Ukraine (60%); and 50–90% of the Jews of other Slavic nations, Germany, Hungary, and the Baltic states, and over 25% of the Jews in France. Sephardi communities suffered similar depletions in a few countries, including Greece, the Netherlands and the former Yugoslavia. As the large majority of the victims were Ashkenazi Jews, their percentage dropped from an estimate of 92% of world Jewry in 1930 to nearly 80% of world Jewry today. The Holocaust also effectively put an end to the dynamic development of the Yiddish language in the previous decades, as the vast majority of the Jewish victims of the Holocaust, around 5 million, were Yiddish speakers. Many of the surviving Ashkenazi Jews emigrated to countries such as Israel, Canada, Argentina, Australia, and the United States after the war. Following the Holocaust, some sources place Ashkenazim today as making up approximately 83–85 percent of Jews worldwide, while Sergio DellaPergola in a rough calculation of Sephardic and Mizrahi Jews, implies that Ashkenazi make up a notably lower figure, less than 74%. Other estimates place Ashkenazi Jews as making up about 75% of Jews worldwide. Israel In Israel, the term Ashkenazi is now used in a manner unrelated to its original meaning, often applied to all Jews who settled in Europe and sometimes including those whose ethnic background is actually Sephardic. Jews of any non-Ashkenazi background, including Mizrahi, Yemenite, Kurdish and others who have no connection with the Iberian Peninsula, have similarly come to be lumped together as Sephardic. Jews of mixed background are increasingly common, partly because of intermarriage between Ashkenazi and non-Ashkenazi, and partly because many do not see such historic markers as relevant to their life experiences as Jews. Religious Ashkenazi Jews living in Israel are obliged to follow the authority of the chief Ashkenazi rabbi in halakhic matters. In this respect, a religiously Ashkenazi Jew is an Israeli who is more likely to support certain religious interests in Israel, including certain political parties. These political parties result from the fact that a portion of the Israeli electorate votes for Jewish religious parties; although the electoral map changes from one election to another, there are generally several small parties associated with the interests of religious Ashkenazi Jews. The role of religious parties, including small religious parties that play important roles as coalition members, results in turn from Israel's composition as a complex society in which competing social, economic, and religious interests stand for election to the Knesset, a unicameral legislature with 120 seats. Ashkenazi Jews have played a prominent role in the economy, media, and politics of Israel since its founding. During the first decades of Israel as a state, strong cultural conflict occurred between Sephardic and Ashkenazi Jews (mainly east European Ashkenazim). The roots of this conflict, which still exists to a much smaller extent in present-day Israeli society, are chiefly attributed to the concept of the "melting pot". That is to say, all Jewish immigrants who arrived in Israel were strongly encouraged to "meltdown" their own particular exilic identities within the general social "pot" in order to become Israeli. Definition By religion Religious Jews have minhagim, customs, in addition to halakha, or religious law, and different interpretations of the law. Different groups of religious Jews in different geographic areas historically adopted different customs and interpretations. On certain issues, Orthodox Jews are required to follow the customs of their ancestors and do not believe they have the option of picking and choosing. For this reason, observant Jews at times find it important for religious reasons to ascertain who their household's religious ancestors are in order to know what customs their household should follow. These times include, for example, when two Jews of different ethnic background marry, when a non-Jew converts to Judaism and determines what customs to follow for the first time, or when a lapsed or less observant Jew returns to traditional Judaism and must determine what was done in his or her family's past. In this sense, "Ashkenazic" refers both to a family ancestry and to a body of customs binding on Jews of that ancestry. Reform Judaism, which does not necessarily follow those minhagim, did nonetheless originate among Ashkenazi Jews. In a religious sense, an Ashkenazi Jew is any Jew whose family tradition and ritual follow Ashkenazi practice. Until the Ashkenazi community first began to develop in the Early Middle Ages, the centers of Jewish religious authority were in the Islamic world, at Baghdad and in Islamic Spain. Ashkenaz (Germany) was so distant geographically that it developed a minhag of its own. Ashkenazi Hebrew came to be pronounced in ways distinct from other forms of Hebrew. In this respect, the counterpart of Ashkenazi is Sephardic, since most non-Ashkenazi Orthodox Jews follow Sephardic rabbinical authorities, whether or not they are ethnically Sephardic. By tradition, a Sephardic or Mizrahi woman who marries into an Orthodox or Haredi Ashkenazi Jewish family raises her children to be Ashkenazi Jews; conversely an Ashkenazi woman who marries a Sephardi or Mizrahi man is expected to take on Sephardic practice and the children inherit a Sephardic identity, though in practice many families compromise. A convert generally follows the practice of the beth din that converted him or her. With the integration of Jews from around the world in Israel, North America, and other places, the religious definition of an Ashkenazi Jew is blurring, especially outside Orthodox Judaism. New developments in Judaism often transcend differences in religious practice between Ashkenazi and Sephardic Jews. In North American cities, social trends such as the chavurah movement, and the emergence of "post-denominational Judaism" often bring together younger Jews of diverse ethnic backgrounds. In recent years, there has been increased interest in Kabbalah, which many Ashkenazi Jews study outside of the Yeshiva framework. Another trend is the new popularity of ecstatic worship in the Jewish Renewal movement and the Carlebach style minyan, both of which are nominally of Ashkenazi origin. Outside of Haredi communities, the traditional Ashkenazi pronunciation of Hebrew has also drastically declined in favor of the Sephardi-based pronunciation of Modern Hebrew. By culture Culturally, an Ashkenazi Jew can be identified by the concept of Yiddishkeit, which means "Jewishness" in the Yiddish language. Yiddishkeit is specifically the Jewishness of Ashkenazi Jews. Before the Haskalah and the emancipation of Jews in Europe, this meant the study of Torah and Talmud for men, and a family and communal life governed by the observance of Jewish Law for men and women. From the Rhineland to Riga to Romania, most Jews prayed in liturgical Ashkenazi Hebrew, and spoke Yiddish in their secular lives. But with modernization, Yiddishkeit now encompasses not just Orthodoxy and Hasidism, but a broad range of movements, ideologies, practices, and traditions in which Ashkenazi Jews have participated and somehow retained a sense of Jewishness. Although a far smaller number of Jews still speak Yiddish, Yiddishkeit can be identified in manners of speech, in styles of humor, in patterns of association. Broadly speaking, a Jew is one who associates culturally with Jews, supports Jewish institutions, reads Jewish books and periodicals, attends Jewish movies and theater, travels to Israel, visits historical synagogues, and so forth. It is a definition that applies to Jewish culture in general, and to Ashkenazi Yiddishkeit in particular. As Ashkenazi Jews moved away from Europe, mostly in the form of aliyah to Israel, or immigration to North America, and other English-speaking areas such as South Africa; and Europe (particularly France) and Latin America, the geographic isolation that gave rise to Ashkenazim have given way to mixing with other cultures, and with non-Ashkenazi Jews who, similarly, are no longer isolated in distinct geographic locales. Hebrew has replaced Yiddish as the primary Jewish language for many Ashkenazi Jews, although many Hasidic and Hareidi groups continue to use Yiddish in daily life. (There are numerous Ashkenazi Jewish anglophones and Russian-speakers as well, although English and Russian are not originally Jewish languages.) France's blended Jewish community is typical of the cultural recombination that is going on among Jews throughout the world. Although France expelled its original Jewish population in the Middle Ages, by the time of the French Revolution, there were two distinct Jewish populations. One consisted of Sephardic Jews, originally refugees from the Inquisition and concentrated in the southwest, while the other community was Ashkenazi, concentrated in formerly German Alsace, and mainly speaking a German dialect similar to Yiddish. (The third community of Provençal Jews living in Comtat Venaissin were technically outside France, and were later absorbed into the Sephardim.) The two communities were so separate and different that the National Assembly emancipated them separately in 1790 and 1791. But after emancipation, a sense of a unified French Jewry emerged, especially when France was wracked by the Dreyfus affair in the 1890s. In the 1920s and 1930s, Ashkenazi Jews from Europe arrived in large numbers as refugees from antisemitism, the Russian revolution, and the economic turmoil of the Great Depression. By the 1930s, Paris had a vibrant Yiddish culture, and many Jews were involved in diverse political movements. After the Vichy years and the Holocaust, the French Jewish population was augmented once again, first by Ashkenazi refugees from Central Europe, and later by Sephardi immigrants and refugees from North Africa, many of them francophone. Ashkenazi Jews did not record their traditions or achievements by text, instead these traditions were passed down orally from one generation to the next. The desire to maintain pre-Holocaust traditions relating to Ashkenazi culture has often been met with criticism by Jews in Eastern Europe. Reasoning for this could be related to the development of a new style of Jewish arts and culture developed by the Jews of Palestine during the 1930s and 1940s, which in conjunction with the decimation of European Ashkenazi Jews and their culture by the Nazi regime made it easier to assimilate to the new style of ritual rather than try to repair the older traditions. This new style of tradition was referred to as the Mediterranean Style, and was noted for its simplicity and metaphorical rejuvenation of Jews abroad. This was intended to replace the Galut traditions, which were more sorrowful in practice. Then, in the 1990s, yet another Ashkenazi Jewish wave began to arrive from countries of the former Soviet Union and Central Europe. The result is a pluralistic Jewish community that still has some distinct elements of both Ashkenazi and Sephardic culture. But in France, it is becoming much more difficult to sort out the two, and a distinctly French Jewishness has emerged. By ethnicity In an ethnic sense, an Ashkenazi Jew is one whose ancestry can be traced to the Jews who settled in Central Europe. For roughly a thousand years, the Ashkenazim were a reproductively isolated population in Europe, despite living in many countries, with little inflow or outflow from migration, conversion, or intermarriage with other groups, including other Jews. Human geneticists have argued that genetic variations have been identified that show high frequencies among Ashkenazi Jews, but not in the general European population, be they for patrilineal markers (Y-chromosome haplotypes) and for matrilineal markers (mitotypes). Since the middle of the 20th century, many Ashkenazi Jews have intermarried, both with members of other Jewish communities and with people of region Customs, laws and traditions The Halakhic practices of (Orthodox) Ashkenazi Jews may differ from those of Sephardi Jews, particularly in matters of custom. Differences are noted in the Shulkhan Arukh itself, in the gloss of Moses Isserles. Well known differences in practice include: Observance of Pesach (Passover): Ashkenazi Jews traditionally refrain from eating legumes, grain, millet, and rice (quinoa, however, has become accepted as foodgrain in the North American communities), whereas Sephardi Jews typically do not prohibit these foods. Ashkenazi Jews freely mix and eat fish and milk products; some Sephardic Jews refrain from doing so. Ashkenazim are more permissive toward the usage of wigs as a hair covering for married and widowed women. In the case of kashrut for meat, conversely, Sephardi Jews have stricter requirements – this level is commonly referred to as Beth Yosef. Meat products that are acceptable to Ashkenazi Jews as kosher may therefore be rejected by Sephardi Jews. Notwithstanding stricter requirements for the actual slaughter, Sephardi Jews permit the rear portions of an animal after proper Halakhic removal of the sciatic nerve, while many Ashkenazi Jews do not. This is not because of different interpretations of the law; rather, slaughterhouses could not find adequate skills for correct removal of the sciatic nerve and found it more economical to separate the hindquarters and sell them as non-kosher meat. Ashkenazi Jews often name newborn children after deceased family members, but not after living relatives. Sephardi Jews, in contrast, often name their children after the children's grandparents, even if those grandparents are still living. A notable exception to this generally reliable rule is among Dutch Jews, where Ashkenazim for centuries used the naming conventions otherwise attributed exclusively to Sephardim such as Chuts. Ashkenazi tefillin bear some differences from Sephardic tefillin. In the traditional Ashkenazic rite, the tefillin are wound towards the body, not away from it. Ashkenazim traditionally don tefillin while standing, whereas other Jews generally do so while sitting down. Ashkenazic traditional pronunciations of Hebrew differ from those of other groups. The most prominent consonantal difference from Sephardic and Mizrahic Hebrew dialects is the pronunciation of the Hebrew letter tav in certain Hebrew words (historically, in postvocalic undoubled context) as an /s/ and not a /t/ or /θ/ sound. The prayer shawl, or tallit (or tallis in Ashkenazi Hebrew), is worn by the majority of Ashkenazi men after marriage, but western European Ashkenazi men wear it from Bar Mitzvah. In Sephardi or Mizrahi Judaism, the prayer shawl is commonly worn from early childhood. Ashkenazic liturgy The term Ashkenazi also refers to the nusach Ashkenaz (Hebrew, "liturgical tradition", or rite) used by Ashkenazi Jews in their Siddur (prayer book). A nusach is defined by a liturgical tradition's choice of prayers, the order of prayers, the text of prayers, and melodies used in the singing of prayers. Two other major forms of nusach among Ashkenazic Jews are Nusach Sefard (not to be confused with the Sephardic ritual), which is the general Polish Hasidic nusach, and Nusach Ari, as used by Lubavitch Hasidim. Ashkenazi as a surname Several famous people have Ashkenazi as a surname, such as Vladimir Ashkenazy. However, most people with this surname hail from within Sephardic communities, particularly from the Syrian Jewish community. The Sephardic carriers of the surname would have some Ashkenazi ancestors since the surname was adopted by families who were initially of Ashkenazic origins who moved to countries with Sephardi communities and joined those communities. Ashkenazi would be formally adopted as the family surname having started off as a nickname imposed by their adopted communities. Some have shortened the name to Ash. Relations with Sephardim Relations between Ashkenazim and Sephardim have at times been tense and clouded by arrogance, snobbery and claims of racial superiority with both sides claiming the inferiority of the other, based upon such features as physical traits and culture. North African Sephardim and Berber Jews were often looked down upon by Ashkenazim as second-class citizens during the first decade after the creation of Israel. This has led to protest movements such as the Israeli Black Panthers led by Saadia Marciano, a Moroccan Jew. Nowadays, relations are getting warmer. In some instances, Ashkenazi communities have accepted significant numbers of Sephardi newcomers, sometimes resulting in intermarriage and the possible merging between the two communities. Notable Ashkenazim Ashkenazi Jews have a notable history of achievement in Western societies in the fields of natural and social sciences, mathematics, literature, finance, politics, media, and others. In those societies where they have been free to enter any profession, they have a record of high occupational achievement, entering professions and fields of commerce where higher education is required. Ashkenazi Jews have won a large number of the Nobel awards. Time magazine's person of the 20th century, Albert Einstein, was an Ashkenazi Jew. According to a study performed by Cambridge University, 21% of Ivy League students, 25% of the Turing Award winners, 23% of the wealthiest Americans, 38% of the Oscar-winning film directors, and 29% of Oslo awardees are Ashkenazi Jews. Genetics Genetic origins Efforts to identify the origins of Ashkenazi Jews through DNA analysis began in the 1990s. Currently, there are three types of genetic origin testing, autosomal DNA (atDNA), mitochondrial DNA (mtDNA), and Y-chromosomal DNA (Y-DNA). Autosomal DNA is a mixture from an individual's entire ancestry, Y-DNA shows a male's lineage only along his strict paternal line, mtDNA shows any person's lineage only along the strict maternal line. Genome-wide association studies have also been employed to yield findings relevant to genetic origins. Like most DNA studies of human migration patterns, the earliest studies on Ashkenazi Jews focused on the Y-DNA and mtDNA segments of the human genome. Both segments are unaffected by recombination (except for the ends of the Y chromosome – the pseudoautosomal regions known as PAR1 and PAR2), thus allowing tracing of direct maternal and paternal lineages. These studies revealed that Ashkenazi Jews originate from an ancient (2000–700 BCE) population of the Middle East who had spread to Europe. Ashkenazic Jews display the homogeneity of a genetic bottleneck, meaning they descend from a larger population whose numbers were greatly reduced but recovered through a few founding individuals. Although the Jewish people, in general, were present across a wide geographical area as described, genetic research done by Gil Atzmon of the Longevity Genes Project at Albert Einstein College of Medicine suggests "that Ashkenazim branched off from other Jews around the time of the destruction of the First Temple, 2,500 years ago ... flourished during the Roman Empire but then went through a 'severe bottleneck' as they dispersed, reducing a population of several million to just 400 families who left Northern Italy around the year 1000 for Central and eventually Eastern Europe." Various studies have arrived at diverging conclusions regarding both the degree and the sources of the non-Levantine admixture in Ashkenazim, particularly with respect to the extent of the non-Levantine genetic origin observed in Ashkenazi maternal lineages, which is in contrast to the predominant Levantine genetic origin observed in Ashkenazi paternal lineages. All studies nevertheless agree that genetic overlap with the Fertile Crescent exists in both lineages, albeit at differing rates. Collectively, Ashkenazi Jews are less genetically diverse than other Jewish ethnic divisions, due to their genetic bottleneck. Male lineages: Y-chromosomal DNA The majority of genetic findings to date concerning Ashkenazi Jews conclude that the male lines were founded by ancestors from the Middle East. A study of haplotypes of the Y-chromosome, published in 2000, addressed the paternal origins of Ashkenazi Jews. Hammer et al. found that the Y-chromosome of Ashkenazi and Sephardic Jews contained mutations that are also common among other Middle Eastern peoples, but uncommon in the autochthonous European population. This suggested that the male ancestors of the Ashkenazi Jews could be traced mostly to the Middle East. The proportion of male genetic admixture in Ashkenazi Jews amounts to less than 0.5% per generation over an estimated 80 generations, with "relatively minor contribution of European Y chromosomes to the Ashkenazim," and a total admixture estimate "very similar to Motulsky's average estimate of 12.5%." This supported the finding that "Diaspora Jews from Europe, Northwest Africa, and the Near East resemble each other more closely than they resemble their non-Jewish neighbors." "Past research found that 50–80 percent of DNA from the Ashkenazi Y chromosome, which is used to trace the male lineage, originated in the Near East," Richards said. The population has subsequently spread out. A 2001 study by Nebel et al. showed that both Ashkenazi and Sephardic Jewish populations share the same overall paternal Near Eastern ancestries. In comparison with data available from other relevant populations in the region, Jews were found to be more closely related to groups in the north of the Fertile Crescent. The authors also report on Eu 19 (R1a) chromosomes, which are very frequent in Central and Eastern Europeans (54–60%) at elevated frequency (13%) in Ashkenazi Jews. They hypothesized that the differences among Ashkenazim Jews could reflect low-level gene flow from surrounding European populations or genetic drift during isolation. A later 2005 study by Nebel et al., found a similar level of 11.5% of male Ashkenazim belonging to R1a1a (M17+), the dominant Y-chromosome haplogroup in Central and Eastern Europeans. However, a 2017 study, concentrating on the Ashkenazi Levites where the proportion reaches 50%, while signalling that there's a "rich variation of haplogroup R1a outside of Europe which is phylogenetically separate from the typically European R1a branches", precises that the particular R1a-Y2619 sub-clade testifies for a local origin, and that the "Middle Eastern origin of the Ashkenazi Levite lineage based on what was previously a relatively limited number of reported samples, can now be considered firmly validated." Female lineages: Mitochondrial DNA Before 2006, geneticists had largely attributed the ethnogenesis of most of the world's Jewish populations, including Ashkenazi Jews, to Israelite Jewish male migrants from the Middle East and "the women from each local population whom they took as wives and converted to Judaism." Thus, in 2002, in line with this model of origin, David Goldstein, now of Duke University, reported that unlike male Ashkenazi lineages, the female lineages in Ashkenazi Jewish communities "did not seem to be Middle Eastern", and that each community had its own genetic pattern and even that "in some cases the mitochondrial DNA was closely related to that of the host community." In his view, this suggested, "that Jewish men had arrived from the Middle East, taken wives from the host population and converted them to Judaism, after which there was no further intermarriage with non-Jews." In 2006, a study by Behar et al., based on what was at that time high-resolution analysis of haplogroup K (mtDNA), suggested that about 40% of the current Ashkenazi population is descended matrilineally from just four women, or "founder lineages", that were "likely from a Hebrew/Levantine mtDNA pool" originating in the Middle East in the 1st and 2nd centuries CE. Additionally, Behar et al. suggested that the rest of Ashkenazi mtDNA is originated from ~150 women, and that most of those were also likely of Middle Eastern origin. In reference specifically to Haplogroup K, they suggested that although it is common throughout western Eurasia, "the observed global pattern of distribution renders very unlikely the possibility that the four aforementioned founder lineages entered the Ashkenazi mtDNA pool via gene flow from a European host population". In 2013, a study of Ashkenazi mitochondrial DNA by a team led by Martin B. Richards of the University of Huddersfield in England reached different conclusions, in line with the pre-2006 origin hypothesis. Testing was performed on the full 16,600 DNA units composing mitochondrial DNA (the 2006 Behar study had only tested 1,000 units) in all their subjects, and the study found that the four main female Ashkenazi founders had descent lines that were established in Europe 10,000 to 20,000 years in the past while most of the remaining minor founders also have a deep European ancestry. The study argued that the great majority of Ashkenazi maternal lineages were not brought from the Near East or the Caucasus, but instead assimilated within Europe, primarily of Italian and Old French origins. The Richards study estimated that more than 80 percent of Ashkenazi maternal ancestry comes from women indigenous to (mainly prehistoric Western) Europe, and only 8 percent from the Near East, while the origin of the remainder is undetermined. According to the study these findings "point to a significant role for the conversion of women in the formation of Ashkenazi communities." Karl Skorecki criticized the study for perceived flaws in phylogenetic analysis. "While Costa et al have re-opened the question of the maternal origins of Ashkenazi Jewry, the phylogenetic analysis in the manuscript does not 'settle' the question." A 2014 study by Fernández et al. found that Ashkenazi Jews display a frequency of haplogroup K in their maternal DNA, suggesting an ancient Near Eastern matrilineal origin, similar to the results of the Behar study in 2006. Fernández noted that this observation clearly contradicts the results of the 2013 study led by Richards that suggested a European source for 3 exclusively Ashkenazi K lineages. Association and linkage studies (autosomal dna) In genetic epidemiology, a genome-wide association study (GWA study, or GWAS) is an examination of all or most of the genes (the genome) of different individuals of a particular species to see how much the genes vary from individual to individual. These techniques were originally designed for epidemiological uses, to identify genetic associations with observable traits. A 2006 study by Seldin et al. used over five thousand autosomal SNPs to demonstrate European genetic substructure. The results showed "a consistent and reproducible distinction between 'northern' and 'southern' European population groups". Most northern, central, and eastern Europeans (Finns, Swedes, English, Irish, Germans, and Ukrainians) showed >90% in the "northern" population group, while most individual participants with southern European ancestry (Italians, Greeks, Portuguese, Spaniards) showed >85% in the "southern" group. Both Ashkenazi Jews as well as Sephardic Jews showed >85% membership in the "southern" group. Referring to the Jews clustering with southern Europeans, the authors state the results were "consistent with a later Mediterranean origin of these ethnic groups". A 2007 study by Bauchet et al. found that Ashkenazi Jews were most closely clustered with Arabic North African populations when compared to Global population, and in the European structure analysis, they share similarities only with Greeks and Southern Italians, reflecting their east Mediterranean origins. A 2010 study on Jewish ancestry by Atzmon-Ostrer et al. stated "Two major groups were identified by principal component, phylogenetic, and identity by descent (IBD) analysis: Middle Eastern Jews and European/Syrian Jews. The IBD segment sharing and the proximity of European Jews to each other and to southern European populations suggested similar origins for European Jewry and refuted large-scale genetic contributions of Central and Eastern European and Slavic populations to the formation of Ashkenazi Jewry", as both groups – the Middle Eastern Jews and European/Syrian Jews – shared common ancestors in the Middle East about 2500 years ago. The study examines genetic markers spread across the entire genome and shows that the Jewish groups (Ashkenazi and non-Ashkenazi) share large swaths of DNA, indicating close relationships and that each of the Jewish groups in the study (Iranian, Iraqi, Syrian, Italian, Turkish, Greek and Ashkenazi) has its own genetic signature but is more closely related to the other Jewish groups than to their fellow non-Jewish countrymen. Atzmon's team found that the SNP markers in genetic segments of 3 million DNA letters or longer were 10 times more likely to be identical among Jews than non-Jews. Results of the analysis also tally with biblical accounts of the fate of the Jews. The study also found that with respect to non-Jewish European groups, the population most closely related to Ashkenazi Jews are modern-day Italians. The study speculated that the genetic-similarity between Ashkenazi Jews and Italians may be due to inter-marriage and conversions in the time of the Roman Empire. It was also found that any two Ashkenazi Jewish participants in the study shared about as much DNA as fourth or fifth cousins. A 2010 study by Bray et al., using SNP microarray techniques and linkage analysis found that when assuming Druze and Palestinian Arab populations to represent the reference to world Jewry ancestor genome, between 35 and 55 percent of the modern Ashkenazi genome can possibly be of European origin, and that European "admixture is considerably higher than previous estimates by studies that used the Y chromosome" with this reference point. Assuming this reference point the linkage disequilibrium in the Ashkenazi Jewish population was interpreted as "matches signs of interbreeding or 'admixture' between Middle Eastern and European populations". On the Bray et al. tree, Ashkenazi Jews were found to be a genetically more divergent population than Russians, Orcadians, French, Basques, Sardinians, Italians and Tuscans. The study also observed that Ashkenazim are more diverse than their Middle Eastern relatives, which was counterintuitive because Ashkenazim are supposed to be a subset, not a superset, of their assumed geographical source population. Bray et al. therefore postulate that these results reflect not the population antiquity but a history of mixing between genetically distinct populations in Europe. However, it is possible that the relaxation of marriage prescription in the ancestors of Ashkenazim drove their heterozygosity up, while the maintenance of the FBD rule in native Middle Easterners has been keeping their heterozygosity values in check. Ashkenazim distinctiveness as found in the Bray et al. study, therefore, may come from their ethnic endogamy (ethnic inbreeding), which allowed them to "mine" their ancestral gene pool in the context of relative reproductive isolation from European neighbors, and not from clan endogamy (clan inbreeding). Consequently, their higher diversity compared to Middle Easterners stems from the latter's marriage practices, not necessarily from the former's admixture with Europeans. The genome-wide genetic study carried out in 2010 by Behar et al. examined the genetic relationships among all major Jewish groups, including Ashkenazim, as well as the genetic relationship between these Jewish groups and non-Jewish ethnic populations. The study found that contemporary Jews (excluding Indian and Ethiopian Jews) have a close genetic relationship with people from the Levant. The authors explained that "the most parsimonious explanation for these observations is a common genetic origin, which is consistent with an historical formulation of the Jewish people as descending from ancient Hebrew and Israelite residents of the Levant". A study by Behar et al. (2013) found evidence in Ashkenazim of mixed European and Levantine origins. The authors found the greatest affinity and shared ancestry of Ashkenazi Jews to be firstly with other Jewish groups from southern Europe, Syria, and North Africa, and secondly with both southern Europeans (such as Italians) and modern Levantines (such as the Druze, Cypriots, Lebanese and Samaritans). In addition to finding no affinity in Ashkenazim with northern Caucasus populations, the authors found no more affinity in Ashkenazi Jews to modern south Caucasus and eastern Anatolian populations (such as Armenians, Azeris, Georgians, and Turks) than found in non-Ashkenazi Jews or non-Jewish Middle Easterners (such as the Kurds, Iranians, Druze and Lebanese). A 2017 autosomal study by Xue, Shai Carmi et al. found an approximately even mixture of Middle-Eastern and European ancestry in Ashkenazi Jews: with the European component being largely Southern European with a minority being Eastern European, and the Middle Eastern ancestry showing the strongest affinity to Levantine populations such as the Druze and Lebanese. A 2018 study, referencing the popular theory of Ashkenazi Jewish (AJ) origins in "an initial settlement in Western Europe (Northern France and Germany), followed by migration to Poland and an expansion there and in the rest of Eastern Europe", tested "whether Ashkenazi Jews with recent origins in Eastern Europe are genetically distinct from Western European Ashkenazi". The study concluded that that "Western AJ consist of two slightly distinct groups: one that descends from a subset of the original founders [who remained in Western Europe], and another that migrated there back from Eastern Europe, possibly after absorbing a limited degree of gene flow". The Khazar hypothesis In the late 19th century, it was proposed that the core of today's Ashkenazi Jewry are genetically descended from a hypothetical Khazarian Jewish diaspora who had migrated westward from modern Russia and Ukraine into modern France and Germany (as opposed to the currently held theory that Jews migrated from France and Germany into Eastern Europe). The hypothesis is not corroborated by historical sources, and is unsubstantiated by genetics, but it is still occasionally supported by scholars who have had some success in keeping the theory in the academic consciousness. The theory has sometimes been used by Jewish authors such as Arthur Koestler as part of an argument against traditional forms of antisemitism (for example the claim that "the Jews killed Christ"), just as similar arguments have been advanced on behalf of the Crimean Karaites. Today, however, the theory is more often associated with antisemitism and anti-Zionism. A 2013 trans-genome study carried out by 30 geneticists, from 13 universities and academies, from nine countries, assembling the largest data set available to date, for assessment of Ashkenazi Jewish genetic origins found no evidence of Khazar origin among Ashkenazi Jews. The authors concluded: Thus, analysis of Ashkenazi Jews together with a large sample from the region of the Khazar Khaganate corroborates the earlier results that Ashkenazi Jews derive their ancestry primarily from populations of the Middle East and Europe, that they possess considerable shared ancestry with other Jewish populations, and that there is no indication of a significant genetic contribution either from within or from north of the Caucasus region. The authors found no affinity in Ashkenazim with north Caucasus populations, as well as no greater affinity in Ashkenazim to south Caucasus or Anatolian populations than that found in non-Ashkenazi Jews and non-Jewish Middle Easterners (such as the Kurds, Iranians, Druze and Lebanese). The greatest affinity and shared ancestry of Ashkenazi Jews were found to be (after those with other Jewish groups from southern Europe, Syria, and North Africa) with both southern Europeans and Levantines such as Druze, Cypriot, Lebanese and Samaritan groups. Medical genetics There are many references to Ashkenazi Jews in the literature of medical and population genetics. Indeed, much awareness of "Ashkenazi Jews" as an ethnic group or category stems from the large number of genetic studies of disease, including many that are well reported in the media, that have been conducted among Jews. Jewish populations have been studied more thoroughly than most other human populations, for a variety of reasons: Jewish populations, and particularly the large Ashkenazi Jewish population, are ideal for such research studies, because they exhibit a high degree of endogamy, yet they are sizable. Jewish communities are comparatively well informed about genetics research, and have been supportive of community efforts to study and prevent genetic diseases. The result is a form of ascertainment bias. This has sometimes created an impression that Jews are more susceptible to genetic disease than other populations. Healthcare professionals are often taught to consider those of Ashkenazi descent to be at increased risk for colon cancer. Genetic counseling and genetic testing are often undertaken by couples where both partners are of Ashkenazi ancestry. Some organizations, most notably Dor Yeshorim, organize screening programs to prevent homozygosity for the genes that cause related diseases. See also Jewish ethnic divisions List of Israeli Ashkenazi Jews Explanatory notes References Citations References for "Who is an Ashkenazi Jew?" Other references Beider, Alexander (2001): A Dictionary of Ashkenazic Given Names: Their Origins, Structure, Pronunciations, and Migrations. Avotaynu. . Biale, David (2002): Cultures of the Jews: A New History. Schoken Books. . Brook, Kevin Alan (2003): "The Origins of East European Jews" in Russian History/Histoire Russe vol. 30, nos. 1–2, pp. 1–22. Gross, N. (1975): Economic History of the Jews. Schocken Books, New York. Haumann, Heiko (2001): A History of East European Jews. Central European University Press. . Kriwaczek, Paul (2005): Yiddish Civilization: The Rise and Fall of a Forgotten Nation. Alfred A. Knopf, New York. . Lewis, Bernard (1984): The Jews of Islam. Princeton University Press. . Bukovec, Predrag: East and South-East European Jews in the 19th and 20th Centuries, European History Online, Mainz: Institute of European History, 2010, retrieved: 17 December 2012. Vital, David (1999): A People Apart: A History of the Jews in Europe. Oxford University Press. . External links The YIVO Encyclopedia of Jews in Eastern Europe Ashkenazi history at the Jewish Virtual Library "Ashkenazi Jewish mtDNA haplogroup distribution varies among distinct subpopulations: lessons of population substructure in a closed group"—European Journal of Human Genetics, 2007 "Analysis of genetic variation in Ashkenazi Jews by high density SNP genotyping" Nusach Ashkenaz, and Discussion Forum Ashkenaz Heritage Ashkenazi Jews topics Ethnic groups in Israel Ethnic groups in Russia Ethnic groups in the United States Jewish ethnic groups Middle Eastern people Semitic-speaking peoples
true
[ "Arab and Jew may refer to:\n\n Semitic peoples, the descendants of Shem, who are the Arabs and the Jews\n Arab Jews, people who are both Arab and Jew\n Arab and Jew: Wounded Spirits in a Promised Land (book) an award-winning 1986 non-fiction book by David K. Shipler\n\nSee also\n Ashkenazi Jews, the traditional Jewish group of Western, Central and Eastern Europe\n Palestinian Jew\n Israeli Arab\n Arab (disambiguation)\n Jew (disambiguation)", "Meir Ashkenazi was a sixteenth-century Crimean Jew.\n\nAn envoy of the Khan of Crimea in the sixteenth century, Ashkenazi was killed by pirates on a voyage from Gava (near Genoa) to Dakhel (probably Dakhel or Dakleh in the western oasis of Upper Egypt), between the 15th and the 25th day of Tammuz (July), 1567. From the testimony of the witness Elias ben Nehemiah, given before the board of rabbis in Safed in the case of the widow and heirs of the slain Meïr Ashkenazi, it was made evident that he was an inhabitant of Kefe; that his parents were still living there; that he had a brother who was a student in the yeshiva of Brest-Litovsk; that he had brought to Gava prisoners of war from Egypt; that he was appointed envoy of the khan of the Tatars to the king of Poland; and that on the way from Gava to Dakhel he was slain by pirates with all the passengers on the ship.\n\nReferences\nMoses of Trani, Responsa, part 2, § 78.\n\nYear of birth missing\n1567 deaths\nJewish explorers\nCrimean Jews\nUkrainian Jews\nHistory of Crimea\nPeople killed by pirates" ]
[ "Ashkenazi Jews", "Etymology", "What makes one a ashkenazi jew?", "Sometime in the early medieval period, the Jews of central and eastern Europe came to be called by this term." ]
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Ashkenazi Jews
The name Ashkenazi derives from the biblical figure of Ashkenaz, the first son of Gomer, son of Japhet, son of Noah, and a Japhetic patriarch in the Table of Nations (Genesis 10). The name of Gomer has often been linked to the ethnonym Cimmerians. Biblical Ashkenaz is usually derived from Assyrian Askuza (cuneiform Askuzai/Iskuzai), a people who expelled the Cimmerians from the Armenian area of the Upper Euphrates, whose name is usually associated with the name of the Scythians. The intrusive n in the Biblical name is likely due to a scribal error confusing a waw v with a nun n. In Jeremiah 51:27, Ashkenaz figures as one of three kingdoms in the far north, the others being Minni and Ararat, perhaps corresponding to Urartu, called on by God to resist Babylon. In the Yoma tractate of the Babylonian Talmud the name Gomer is rendered as Germania, which elsewhere in rabbinical literature was identified with Germanikia in northwestern Syria, but later became associated with Germania. Ashkenaz is linked to Scandza/Scanzia, viewed as the cradle of Germanic tribes, as early as a 6th-century gloss to the Historia Ecclesiastica of Eusebius. In the 10th-century History of Armenia of Yovhannes Drasxanakertc'i (1.15) Ashkenaz was associated with Armenia, as it was occasionally in Jewish usage, where its denotation extended at times to Adiabene, Khazaria, Crimea and areas to the east. His contemporary Saadia Gaon identified Ashkenaz with the Saquliba or Slavic territories, and such usage covered also the lands of tribes neighboring the Slavs, and Eastern and Central Europe. In modern times, Samuel Krauss identified the Biblical "Ashkenaz" with Khazaria. Sometime in the early medieval period, the Jews of central and eastern Europe came to be called by this term. Conforming to the custom of designating areas of Jewish settlement with biblical names, Spain was denominated Sefarad (Obadiah 20), France was called Tsarefat (1 Kings 17:9), and Bohemia was called the Land of Canaan. By the high medieval period, Talmudic commentators like Rashi began to use Ashkenaz/Eretz Ashkenaz to designate Germany, earlier known as Loter, where, especially in the Rhineland communities of Speyer, Worms and Mainz, the most important Jewish communities arose. Rashi uses leshon Ashkenaz (Ashkenazi language) to describe German speech, and Byzantium and Syrian Jewish letters referred to the Crusaders as Ashkenazim. Given the close links between the Jewish communities of France and Germany following the Carolingian unification, the term Ashkenazi came to refer to both the Jews of medieval Germany and France. CANNOTANSWER
By the high medieval period, Talmudic commentators like Rashi began to use Ashkenaz/Eretz Ashkenaz to designate Germany,
Ashkenazi Jews ( ; ), also known as Ashkenazic Jews or by using the Hebrew plural suffix -im, Ashkenazim are a Jewish diaspora population who coalesced in the Holy Roman Empire around the end of the first millennium. The traditional diaspora language of Ashkenazi Jews is Yiddish (a Germanic language with elements of Hebrew, Aramaic, and Slavic languages), developed after they had moved into northern Europe: beginning with Germany and France in the Middle Ages. For centuries, they used Hebrew only as a sacred language, until the revival of Hebrew as a common language in 20th century Israel. Throughout their time in Europe, Ashkenazim have made many important contributions to its philosophy, scholarship, literature, art, music and science. The term "Ashkenazi" refers to Jewish settlers who established communities along the Rhine river in Western Germany and in Northern France during the Middle Ages. Once there, they adapted traditions carried from Babylon, the Holy Land, and the Western Mediterranean to their new environment. The Ashkenazi religious rite developed in cities such as Mainz, Worms, and Troyes. The eminent French Rishon Rabbi Shlomo Itzhaki (Rashi) would have a significant influence on the Jewish religion. In the late Middle Ages, due to religious persecution, the majority of the Ashkenazi population shifted steadily eastward, moving out of the Holy Roman Empire into the areas later part of the Polish–Lithuanian Commonwealth, comprising parts of present-day Belarus, Estonia, Latvia, Lithuania, Moldova, Poland, Russia, Slovakia, and Ukraine. In the course of the late 18th and 19th centuries, those Jews who remained in or returned to the German lands generated a cultural reorientation; under the influence of the Haskalah and the struggle for emancipation, as well as the intellectual and cultural ferment in urban centers, they gradually abandoned the use of Yiddish and adopted German, while developing new forms of Jewish religious life and cultural identity. It is estimated that in the 11th century Ashkenazi Jews composed 3 percent of the world's total Jewish population, while an estimate made in 1930 (near the population's peak) had them as 92 percent of the world's Jews. The Holocaust of the Second World War decimated the Ashkenazim, affecting almost every Jewish family. Immediately prior to the Holocaust, the number of Jews in the world stood at approximately 16.7 million. Statistical figures vary for the contemporary demography of Ashkenazi Jews, ranging from 10 million to 11.2 million. Sergio Della Pergola, in a rough calculation of Sephardic and Mizrahi Jews, implies that Ashkenazi Jews make up 65–70% of Jews worldwide. Other estimates place Ashkenazi Jews as making up about 75% of Jews worldwide. Genetic studies on Ashkenazim—researching both their paternal and maternal lineages, as well as autosomal DNA—indicate that Ashkenazim are of mixed Levantine and European (mainly Western/Southern European) ancestry. These studies have arrived at diverging conclusions regarding both the degree and the sources of their European admixture, with some focusing on the extent of the European genetic origin observed in Ashkenazi maternal lineages, which is in contrast to the predominant Middle Eastern genetic origin observed in Ashkenazi paternal lineages. Etymology The name Ashkenazi derives from the biblical figure of Ashkenaz, the first son of Gomer, son of Japhet, son of Noah, and a Japhetic patriarch in the Table of Nations (Genesis 10). The name of Gomer has often been linked to the ethnonym Cimmerians. Biblical Ashkenaz is usually derived from Assyrian Aškūza (cuneiform Aškuzai/Iškuzai), a people who expelled the Cimmerians from the Armenian area of the Upper Euphrates; the name Aškūza is usually associated with the name of the Scythians. The intrusive n in the Biblical name is likely due to a scribal error confusing a vav with a nun . In Jeremiah 51:27, Ashkenaz figures as one of three kingdoms in the far north, the others being Minni and Ararat, perhaps corresponding to Urartu, called on by God to resist Babylon. In the Yoma tractate of the Babylonian Talmud the name Gomer is rendered as Germania, which elsewhere in rabbinical literature was identified with Germanikia in northwestern Syria, but later became associated with Germania. Ashkenaz is linked to Scandza/Scanzia, viewed as the cradle of Germanic tribes, as early as a 6th-century gloss to the Historia Ecclesiastica of Eusebius. In the 10th-century History of Armenia of Yovhannes Drasxanakertc'i (1.15), Ashkenaz was associated with Armenia, as it was occasionally in Jewish usage, where its denotation extended at times to Adiabene, Khazaria, Crimea and areas to the east. His contemporary Saadia Gaon identified Ashkenaz with the Saquliba or Slavic territories, and such usage covered also the lands of tribes neighboring the Slavs, and Eastern and Central Europe. In modern times, Samuel Krauss identified the Biblical "Ashkenaz" with Khazaria. Sometime in the Early Medieval period, the Jews of central and eastern Europe came to be called by this term. Conforming to the custom of designating areas of Jewish settlement with biblical names, Spain was denominated Sefarad (Obadiah 20), France was called Tsarefat (1 Kings 17:9), and Bohemia was called the Land of Canaan. By the high medieval period, Talmudic commentators like Rashi began to use Ashkenaz/Eretz Ashkenaz to designate Germany, earlier known as Loter, where, especially in the Rhineland communities of Speyer, Worms and Mainz, the most important Jewish communities arose. Rashi uses leshon Ashkenaz (Ashkenazi language) to describe Yiddish, and Byzantium and Syrian Jewish letters referred to the Crusaders as Ashkenazim. Given the close links between the Jewish communities of France and Germany following the Carolingian unification, the term Ashkenazi came to refer to the Jews of both medieval Germany and France. History Jewish settlement of Europe in antiquity Jewish communities appeared in southern Europe as early as the third century BCE, in the Aegean Islands, Greece, and Italy. Jews migrated to southern Europe from the Middle East voluntarily for opportunities in trade and commerce. Following Alexander the Great's conquests, Jews migrated to Greek settlements in the Eastern Mediterranean, spurred on by economic opportunities. Jewish economic migration to southern Europe is also believed to have occurred during the Roman era. Regarding Jewish settlements founded in southern Europe during the Roman era, E. Mary Smallwood wrote that "no date or origin can be assigned to the numerous settlements eventually known in the west, and some may have been founded as a result of the dispersal of Palestinian Jews after the revolts of AD 66–70 and 132–135, but it is reasonable to conjecture that many, such as the settlement in Puteoli attested in 4 BC, went back to the late republic or early empire and originated in voluntary emigration and the lure of trade and commerce." In 63 BCE, the Siege of Jerusalem saw the Roman Republic conquer Judea, and thousands of Jewish prisoners of war were brought to Rome as slaves. After gaining their freedom, they settled permanently in Rome as traders. It is likely that there was an additional influx of Jewish slaves taken to southern Europe by Roman forces after the capture of Jerusalem by the forces of Herod the Great with assistance from Roman forces in 37 BCE. It is known that Jewish war captives were sold into slavery after the suppression of a minor Jewish revolt in 53 BCE, and some were probably taken to southern Europe. The Roman Empire decisively crushed two large-scale Jewish rebellions in Judea, the First Jewish–Roman War, which lasted from 66 to 73 CE, and the Bar Kokhba revolt, which lasted from 132 to 135 CE. Both of these revolts ended in widespread destruction in Judea. The holy city of Jerusalem and Herod's Temple were destroyed in the first revolt, and during the Bar-Kokhba revolt, Jerusalem was totally razed, and Hadrian built the colony of Aelia Capitolina over its ruins, totally forbidding Jews and Jewish Christians from entering. During both of these rebellions, many Jews were captured and sold into slavery by the Romans. According to the Jewish historian Josephus, 97,000 Jews were sold as slaves in the aftermath of the first revolt. Jewish slaves and their children eventually gained their freedom and joined local free Jewish communities. With their national aspirations crushed and widespread devastation in Judea, despondent Jews migrated out of Judea in the aftermath of both revolts, and many settled in southern Europe. The movement was by no means a single, centralized event, nor was it a compulsory relocation as the earlier Assyrian and Babylonian captivities had been. Indeed, for centuries prior to the war or its particularly destructive conclusion, Jews had lived across the known world. Outside of their origins in ancient Israel, the history of Ashkenazim is shrouded in mystery, and many theories have arisen speculating on their emergence as a distinct community of Jews. The historical record attests to Jewish communities in southern Europe since pre-Christian times. Many Jews were denied full Roman citizenship until Emperor Caracalla granted all free peoples this privilege in 212. Jews were required to pay a poll tax until the reign of Emperor Julian in 363. In the late Roman Empire, Jews were free to form networks of cultural and religious ties and enter into various local occupations. But, after Christianity became the official religion of Rome and Constantinople in 380, Jews were increasingly marginalized. The history of Jews in Greece goes back to at least the Archaic Era of Greece when the classical culture of Greece was undergoing a process of formalization after the Greek Dark Age. The Greek historian Herodotus knew of the Jews, whom he called "Palestinian Syrians", and listed them among the levied naval forces in service of the invading Persians. While Jewish monotheism was not deeply affected by Greek polytheism, the Greek way of living was attractive for many wealthier Jews. The Synagogue in the Agora of Athens is dated to the period between 267 and 396 CE. The Stobi Synagogue in Macedonia was built on the ruins of a more ancient synagogue in the 4th century, while later in the 5th century, the synagogue was transformed into a Christian basilica. Hellenistic Judaism thrived in Antioch and Alexandria, and many of these Greek-speaking Jews would convert to Christianity. Sporadic epigraphic evidence in gravesite excavations, particularly in Brigetio (Szőny), Aquincum (Óbuda), Intercisa (Dunaújváros), Triccinae (Sárvár), Savaria (Szombathely), Sopianae (Pécs) in Hungary, and Mursa (Osijek) in Croatia, attest to the presence of Jews after the 2nd and 3rd centuries where Roman garrisons were established. There was a sufficient number of Jews in Pannonia to form communities and build a synagogue. Jewish troops were among the Syrian soldiers transferred there, and replenished from the Middle East. After 175 CE Jews and especially Syrians came from Antioch, Tarsus, and Cappadocia. Others came from Italy and the Hellenized parts of the Roman Empire. The excavations suggest they first lived in isolated enclaves attached to Roman legion camps and intermarried with other similar oriental families within the military orders of the region. Raphael Patai states that later Roman writers remarked that they differed little in either customs, manner of writing, or names from the people among whom they dwelt; and it was especially difficult to differentiate Jews from the Syrians. After Pannonia was ceded to the Huns in 433, the garrison populations were withdrawn to Italy, and only a few, enigmatic traces remain of a possible Jewish presence in the area some centuries later. No evidence has yet been found of a Jewish presence in antiquity in Germany beyond its Roman border, nor in Eastern Europe. In Gaul and Germany itself, with the possible exception of Trier and Cologne, the archeological evidence suggests at most a fleeting presence of very few Jews, primarily itinerant traders or artisans. Estimating the number of Jews in antiquity is a task fraught with peril due to the nature of and lack of accurate documentation. The number of Jews in the Roman Empire for a long time was based on the accounts of Syrian Orthodox bishop Bar Hebraeus who lived between 1226 and 1286 CE, who stated by the time of the destruction of the Second Temple in 70 CE, as many as six million Jews were already living in the Roman Empire, a conclusion which has been contested as highly exaggerated. The 13th-century author Bar Hebraeus gave a figure of 6,944,000 Jews in the Roman world. Salo Wittmayer Baron considered the figure convincing. The figure of seven million within and one million outside the Roman world in the mid-first century became widely accepted, including by Louis Feldman. However, contemporary scholars now accept that Bar Hebraeus based his figure on a census of total Roman citizens and thus included non-Jews, the figure of 6,944,000 being recorded in Eusebius' Chronicon. Louis Feldman, previously an active supporter of the figure, now states that he and Baron were mistaken. Philo gives a figure of one million Jews living in Egypt. John R. Bartlett rejects Baron's figures entirely, arguing that we have no clue as to the size of the Jewish demographic in the ancient world. The Romans did not distinguish between Jews inside and outside of the land of Israel/Judaea. They collected an annual temple tax from Jews both in and outside of Israel. The revolts in and suppression of diaspora communities in Egypt, Libya and Crete during the Kitos War of 115–117 CE had a severe impact on the Jewish diaspora. A substantial Jewish population emerged in northern Gaul by the Middle Ages, but Jewish communities existed in 465 CE in Brittany, in 524 CE in Valence, and in 533 CE in Orléans. Throughout this period and into the early Middle Ages, some Jews assimilated into the dominant Greek and Latin cultures, mostly through conversion to Christianity. King Dagobert I of the Franks expelled the Jews from his Merovingian kingdom in 629. Jews in former Roman territories faced new challenges as harsher anti-Jewish Church rulings were enforced. Charlemagne's expansion of the Frankish empire around 800, including northern Italy and Rome, brought on a brief period of stability and unity in Francia. This created opportunities for Jewish merchants to settle again north of the Alps. Charlemagne granted the Jews freedoms similar to those once enjoyed under the Roman Empire. In addition, Jews from southern Italy, fleeing religious persecution, began to move into Central Europe. Returning to Frankish lands, many Jewish merchants took up occupations in finance and commerce, including money lending, or usury. (Church legislation banned Christians from lending money in exchange for interest.) From Charlemagne's time to the present, Jewish life in northern Europe is well documented. By the 11th century, when Rashi of Troyes wrote his commentaries, Jews in what came to be known as "Ashkenaz" were known for their halakhic learning, and Talmudic studies. They were criticized by Sephardim and other Jewish scholars in Islamic lands for their lack of expertise in Jewish jurisprudence and general ignorance of Hebrew linguistics and literature. Yiddish emerged as a result of Judeo-Latin language contact with various High German vernaculars in the medieval period. It is a Germanic language written in Hebrew letters, and heavily influenced by Hebrew and Aramaic, with some elements of Romance and later Slavic languages. High and Late Middle Ages migrations Historical records show evidence of Jewish communities north of the Alps and Pyrenees as early as the 8th and 9th centuries. By the 11th century, Jewish settlers moving from southern European and Middle Eastern centers (such as Babylonian Jews and Persian Jews) and Maghrebi Jewish traders from North Africa who had contacts with their Ashkenazi brethren and had visited each other from time to time in each's domain appear to have begun to settle in the north, especially along the Rhine, often in response to new economic opportunities and at the invitation of local Christian rulers. Thus Baldwin V, Count of Flanders, invited Jacob ben Yekutiel and his fellow Jews to settle in his lands; and soon after the Norman conquest of England, William the Conqueror likewise extended a welcome to continental Jews to take up residence there. Bishop Rüdiger Huzmann called on the Jews of Mainz to relocate to Speyer. In all of these decisions, the idea that Jews had the know-how and capacity to jump-start the economy, improve revenues, and enlarge trade seems to have played a prominent role. Typically, Jews relocated close to the markets and churches in town centres, where, though they came under the authority of both royal and ecclesiastical powers, they were accorded administrative autonomy. In the 11th century, both Rabbinic Judaism and the culture of the Babylonian Talmud that underlies it became established in southern Italy and then spread north to Ashkenaz. Numerous massacres of Jews occurred throughout Europe during the Christian Crusades. Inspired by the preaching of a First Crusade, crusader mobs in France and Germany perpetrated the Rhineland massacres of 1096, devastating Jewish communities along the Rhine River, including the SHuM cities of Speyer, Worms, and Mainz. The cluster of cities contain the earliest Jewish settlements north of the Alps, and played a major role in the formation of Ashkenazi Jewish religious tradition, along with Troyes and Sens in France. Nonetheless, Jewish life in Germany persisted, while some Ashkenazi Jews joined Sephardic Jewry in Spain. Expulsions from England (1290), France (1394), and parts of Germany (15th century), gradually pushed Ashkenazi Jewry eastward, to Poland (10th century), Lithuania (10th century), and Russia (12th century). Over this period of several hundred years, some have suggested, Jewish economic activity was focused on trade, business management, and financial services, due to several presumed factors: Christian European prohibitions restricting certain activities by Jews, preventing certain financial activities (such as "usurious" loans) between Christians, high rates of literacy, near-universal male education, and ability of merchants to rely upon and trust family members living in different regions and countries. By the 15th century, the Ashkenazi Jewish communities in Poland were the largest Jewish communities of the Diaspora. This area, which eventually fell under the domination of Russia, Austria, and Prussia (Germany), would remain the main center of Ashkenazi Jewry until the Holocaust. The answer to why there was so little assimilation of Jews in central and eastern Europe for so long would seem to lie in part in the probability that the alien surroundings in central and eastern Europe were not conducive, though there was some assimilation. Furthermore, Jews lived almost exclusively in shtetls, maintained a strong system of education for males, heeded rabbinic leadership, and had a very different lifestyle to that of their neighbours; all of these tendencies increased with every outbreak of antisemitism. In parts of Eastern Europe, before the arrival of the Ashkenazi Jews from Central, some non-Ashkenazi Jews were present who spoke Leshon Knaan and held various other Non-Ashkenazi traditions and customs. In 1966, the historian Cecil Roth questioned the inclusion of all Yiddish speaking Jews as Ashkenazim in descent, suggesting that upon the arrival of Ashkenazi Jews from central Europe to Eastern Europe, from the Middle Ages to the 16th century, there were a substantial number of non-Ashkenazim Jews already there who later abandoned their original Eastern European Jewish culture in favor of the Ashkenazi one. However, according to more recent research, mass migrations of Yiddish-speaking Ashkenazi Jews occurred to Eastern Europe, from Central Europe in the west, who due to high birth rates absorbed and largely replaced the preceding non-Ashkenazi Jewish groups of Eastern Europe (whose numbers the demographer Sergio Della Pergola considers to have been small). Genetic evidence also indicates that Yiddish-speaking Eastern European Jews largely descend from Ashkenazi Jews who migrated from central to eastern Europe and subsequently experienced high birthrates and genetic isolation. Some Jewish immigration from southern Europe to Eastern Europe continued into the early modern period. During the 16th century, as conditions for Italian Jews worsened, many Jews from Venice and the surrounding area migrated to Poland and Lithuania. During the 16th and 17th centuries, some Sephardi Jews and Romaniote Jews from throughout the Ottoman Empire migrated to Eastern Europe, as did Arabic-speaking Mizrahi Jews and Persian Jews. Medieval references In the first half of the 11th century, Hai Gaon refers to questions that had been addressed to him from Ashkenaz, by which he undoubtedly means Germany. Rashi in the latter half of the 11th century refers to both the language of Ashkenaz and the country of Ashkenaz. During the 12th century, the word appears quite frequently. In the Mahzor Vitry, the kingdom of Ashkenaz is referred to chiefly in regard to the ritual of the synagogue there, but occasionally also with regard to certain other observances. In the literature of the 13th century, references to the land and the language of Ashkenaz often occur. Examples include Solomon ben Aderet's Responsa (vol. i., No. 395); the Responsa of Asher ben Jehiel (pp. 4, 6); his Halakot (Berakot i. 12, ed. Wilna, p. 10); the work of his son Jacob ben Asher, Tur Orach Chayim (chapter 59); the Responsa of Isaac ben Sheshet (numbers 193, 268, 270). In the Midrash compilation, Genesis Rabbah, Rabbi Berechiah mentions Ashkenaz, Riphath, and Togarmah as German tribes or as German lands. It may correspond to a Greek word that may have existed in the Greek dialect of the Jews in Syria Palaestina, or the text is corrupted from "Germanica". This view of Berechiah is based on the Talmud (Yoma 10a; Jerusalem Talmud Megillah 71b), where Gomer, the father of Ashkenaz, is translated by Germamia, which evidently stands for Germany, and which was suggested by the similarity of the sound. In later times, the word Ashkenaz is used to designate southern and western Germany, the ritual of which sections differs somewhat from that of eastern Germany and Poland. Thus the prayer-book of Isaiah Horowitz, and many others, give the piyyutim according to the Minhag of Ashkenaz and Poland. According to 16th-century mystic Rabbi Elijah of Chelm, Ashkenazi Jews lived in Jerusalem during the 11th century. The story is told that a German-speaking Jew saved the life of a young German man surnamed Dolberger. So when the knights of the First Crusade came to siege Jerusalem, one of Dolberger's family members who was among them rescued Jews in Palestine and carried them back to Worms to repay the favor. Further evidence of German communities in the holy city comes in the form of halakhic questions sent from Germany to Jerusalem during the second half of the 11th century. Modern history Material relating to the history of German Jews has been preserved in the communal accounts of certain communities on the Rhine, a Memorbuch, and a Liebesbrief, documents that are now part of the Sassoon Collection. Heinrich Graetz has also added to the history of German Jewry in modern times in the abstract of his seminal work, History of the Jews, which he entitled "Volksthümliche Geschichte der Juden." In an essay on Sephardi Jewry, Daniel Elazar at the Jerusalem Center for Public Affairs summarized the demographic history of Ashkenazi Jews in the last thousand years. He notes that at the end of the 11th century, 97% of world Jewry was Sephardic and 3% Ashkenazi; in the mid-17th century, "Sephardim still outnumbered Ashkenazim three to two"; by the end of the 18th century, "Ashkenazim outnumbered Sephardim three to two, the result of improved living conditions in Christian Europe versus the Ottoman Muslim world." By 1930, Arthur Ruppin estimated that Ashkenazi Jews accounted for nearly 92% of world Jewry. These factors are sheer demography showing the migration patterns of Jews from Southern and Western Europe to Central and Eastern Europe. In 1740, a family from Lithuania became the first Ashkenazi Jews to settle in the Jewish Quarter of Jerusalem. In the generations after emigration from the west, Jewish communities in places like Poland, Russia, and Belarus enjoyed a comparatively stable socio-political environment. A thriving publishing industry and the printing of hundreds of biblical commentaries precipitated the development of the Hasidic movement as well as major Jewish academic centers. After two centuries of comparative tolerance in the new nations, massive westward emigration occurred in the 19th and 20th centuries in response to pogroms in the east and the economic opportunities offered in other parts of the world. Ashkenazi Jews have made up the majority of the American Jewish community since 1750. In the context of the European Enlightenment, Jewish emancipation began in 18th century France and spread throughout Western and Central Europe. Disabilities that had limited the rights of Jews since the Middle Ages were abolished, including the requirements to wear distinctive clothing, pay special taxes, and live in ghettos isolated from non-Jewish communities and the prohibitions on certain professions. Laws were passed to integrate Jews into their host countries, forcing Ashkenazi Jews to adopt family names (they had formerly used patronymics). Newfound inclusion into public life led to cultural growth in the Haskalah, or Jewish Enlightenment, with its goal of integrating modern European values into Jewish life. As a reaction to increasing antisemitism and assimilation following the emancipation, Zionism was developed in central Europe. Other Jews, particularly those in the Pale of Settlement, turned to socialism. These tendencies would be united in Labor Zionism, the founding ideology of the State of Israel. The Holocaust Of the estimated 8.8 million Jews living in Europe at the beginning of World War II, the majority of whom were Ashkenazi, about 6 million – more than two-thirds – were systematically murdered in the Holocaust. These included 3 million of 3.3 million Polish Jews (91%); 900,000 of 1.5 million in Ukraine (60%); and 50–90% of the Jews of other Slavic nations, Germany, Hungary, and the Baltic states, and over 25% of the Jews in France. Sephardi communities suffered similar depletions in a few countries, including Greece, the Netherlands and the former Yugoslavia. As the large majority of the victims were Ashkenazi Jews, their percentage dropped from an estimate of 92% of world Jewry in 1930 to nearly 80% of world Jewry today. The Holocaust also effectively put an end to the dynamic development of the Yiddish language in the previous decades, as the vast majority of the Jewish victims of the Holocaust, around 5 million, were Yiddish speakers. Many of the surviving Ashkenazi Jews emigrated to countries such as Israel, Canada, Argentina, Australia, and the United States after the war. Following the Holocaust, some sources place Ashkenazim today as making up approximately 83–85 percent of Jews worldwide, while Sergio DellaPergola in a rough calculation of Sephardic and Mizrahi Jews, implies that Ashkenazi make up a notably lower figure, less than 74%. Other estimates place Ashkenazi Jews as making up about 75% of Jews worldwide. Israel In Israel, the term Ashkenazi is now used in a manner unrelated to its original meaning, often applied to all Jews who settled in Europe and sometimes including those whose ethnic background is actually Sephardic. Jews of any non-Ashkenazi background, including Mizrahi, Yemenite, Kurdish and others who have no connection with the Iberian Peninsula, have similarly come to be lumped together as Sephardic. Jews of mixed background are increasingly common, partly because of intermarriage between Ashkenazi and non-Ashkenazi, and partly because many do not see such historic markers as relevant to their life experiences as Jews. Religious Ashkenazi Jews living in Israel are obliged to follow the authority of the chief Ashkenazi rabbi in halakhic matters. In this respect, a religiously Ashkenazi Jew is an Israeli who is more likely to support certain religious interests in Israel, including certain political parties. These political parties result from the fact that a portion of the Israeli electorate votes for Jewish religious parties; although the electoral map changes from one election to another, there are generally several small parties associated with the interests of religious Ashkenazi Jews. The role of religious parties, including small religious parties that play important roles as coalition members, results in turn from Israel's composition as a complex society in which competing social, economic, and religious interests stand for election to the Knesset, a unicameral legislature with 120 seats. Ashkenazi Jews have played a prominent role in the economy, media, and politics of Israel since its founding. During the first decades of Israel as a state, strong cultural conflict occurred between Sephardic and Ashkenazi Jews (mainly east European Ashkenazim). The roots of this conflict, which still exists to a much smaller extent in present-day Israeli society, are chiefly attributed to the concept of the "melting pot". That is to say, all Jewish immigrants who arrived in Israel were strongly encouraged to "meltdown" their own particular exilic identities within the general social "pot" in order to become Israeli. Definition By religion Religious Jews have minhagim, customs, in addition to halakha, or religious law, and different interpretations of the law. Different groups of religious Jews in different geographic areas historically adopted different customs and interpretations. On certain issues, Orthodox Jews are required to follow the customs of their ancestors and do not believe they have the option of picking and choosing. For this reason, observant Jews at times find it important for religious reasons to ascertain who their household's religious ancestors are in order to know what customs their household should follow. These times include, for example, when two Jews of different ethnic background marry, when a non-Jew converts to Judaism and determines what customs to follow for the first time, or when a lapsed or less observant Jew returns to traditional Judaism and must determine what was done in his or her family's past. In this sense, "Ashkenazic" refers both to a family ancestry and to a body of customs binding on Jews of that ancestry. Reform Judaism, which does not necessarily follow those minhagim, did nonetheless originate among Ashkenazi Jews. In a religious sense, an Ashkenazi Jew is any Jew whose family tradition and ritual follow Ashkenazi practice. Until the Ashkenazi community first began to develop in the Early Middle Ages, the centers of Jewish religious authority were in the Islamic world, at Baghdad and in Islamic Spain. Ashkenaz (Germany) was so distant geographically that it developed a minhag of its own. Ashkenazi Hebrew came to be pronounced in ways distinct from other forms of Hebrew. In this respect, the counterpart of Ashkenazi is Sephardic, since most non-Ashkenazi Orthodox Jews follow Sephardic rabbinical authorities, whether or not they are ethnically Sephardic. By tradition, a Sephardic or Mizrahi woman who marries into an Orthodox or Haredi Ashkenazi Jewish family raises her children to be Ashkenazi Jews; conversely an Ashkenazi woman who marries a Sephardi or Mizrahi man is expected to take on Sephardic practice and the children inherit a Sephardic identity, though in practice many families compromise. A convert generally follows the practice of the beth din that converted him or her. With the integration of Jews from around the world in Israel, North America, and other places, the religious definition of an Ashkenazi Jew is blurring, especially outside Orthodox Judaism. New developments in Judaism often transcend differences in religious practice between Ashkenazi and Sephardic Jews. In North American cities, social trends such as the chavurah movement, and the emergence of "post-denominational Judaism" often bring together younger Jews of diverse ethnic backgrounds. In recent years, there has been increased interest in Kabbalah, which many Ashkenazi Jews study outside of the Yeshiva framework. Another trend is the new popularity of ecstatic worship in the Jewish Renewal movement and the Carlebach style minyan, both of which are nominally of Ashkenazi origin. Outside of Haredi communities, the traditional Ashkenazi pronunciation of Hebrew has also drastically declined in favor of the Sephardi-based pronunciation of Modern Hebrew. By culture Culturally, an Ashkenazi Jew can be identified by the concept of Yiddishkeit, which means "Jewishness" in the Yiddish language. Yiddishkeit is specifically the Jewishness of Ashkenazi Jews. Before the Haskalah and the emancipation of Jews in Europe, this meant the study of Torah and Talmud for men, and a family and communal life governed by the observance of Jewish Law for men and women. From the Rhineland to Riga to Romania, most Jews prayed in liturgical Ashkenazi Hebrew, and spoke Yiddish in their secular lives. But with modernization, Yiddishkeit now encompasses not just Orthodoxy and Hasidism, but a broad range of movements, ideologies, practices, and traditions in which Ashkenazi Jews have participated and somehow retained a sense of Jewishness. Although a far smaller number of Jews still speak Yiddish, Yiddishkeit can be identified in manners of speech, in styles of humor, in patterns of association. Broadly speaking, a Jew is one who associates culturally with Jews, supports Jewish institutions, reads Jewish books and periodicals, attends Jewish movies and theater, travels to Israel, visits historical synagogues, and so forth. It is a definition that applies to Jewish culture in general, and to Ashkenazi Yiddishkeit in particular. As Ashkenazi Jews moved away from Europe, mostly in the form of aliyah to Israel, or immigration to North America, and other English-speaking areas such as South Africa; and Europe (particularly France) and Latin America, the geographic isolation that gave rise to Ashkenazim have given way to mixing with other cultures, and with non-Ashkenazi Jews who, similarly, are no longer isolated in distinct geographic locales. Hebrew has replaced Yiddish as the primary Jewish language for many Ashkenazi Jews, although many Hasidic and Hareidi groups continue to use Yiddish in daily life. (There are numerous Ashkenazi Jewish anglophones and Russian-speakers as well, although English and Russian are not originally Jewish languages.) France's blended Jewish community is typical of the cultural recombination that is going on among Jews throughout the world. Although France expelled its original Jewish population in the Middle Ages, by the time of the French Revolution, there were two distinct Jewish populations. One consisted of Sephardic Jews, originally refugees from the Inquisition and concentrated in the southwest, while the other community was Ashkenazi, concentrated in formerly German Alsace, and mainly speaking a German dialect similar to Yiddish. (The third community of Provençal Jews living in Comtat Venaissin were technically outside France, and were later absorbed into the Sephardim.) The two communities were so separate and different that the National Assembly emancipated them separately in 1790 and 1791. But after emancipation, a sense of a unified French Jewry emerged, especially when France was wracked by the Dreyfus affair in the 1890s. In the 1920s and 1930s, Ashkenazi Jews from Europe arrived in large numbers as refugees from antisemitism, the Russian revolution, and the economic turmoil of the Great Depression. By the 1930s, Paris had a vibrant Yiddish culture, and many Jews were involved in diverse political movements. After the Vichy years and the Holocaust, the French Jewish population was augmented once again, first by Ashkenazi refugees from Central Europe, and later by Sephardi immigrants and refugees from North Africa, many of them francophone. Ashkenazi Jews did not record their traditions or achievements by text, instead these traditions were passed down orally from one generation to the next. The desire to maintain pre-Holocaust traditions relating to Ashkenazi culture has often been met with criticism by Jews in Eastern Europe. Reasoning for this could be related to the development of a new style of Jewish arts and culture developed by the Jews of Palestine during the 1930s and 1940s, which in conjunction with the decimation of European Ashkenazi Jews and their culture by the Nazi regime made it easier to assimilate to the new style of ritual rather than try to repair the older traditions. This new style of tradition was referred to as the Mediterranean Style, and was noted for its simplicity and metaphorical rejuvenation of Jews abroad. This was intended to replace the Galut traditions, which were more sorrowful in practice. Then, in the 1990s, yet another Ashkenazi Jewish wave began to arrive from countries of the former Soviet Union and Central Europe. The result is a pluralistic Jewish community that still has some distinct elements of both Ashkenazi and Sephardic culture. But in France, it is becoming much more difficult to sort out the two, and a distinctly French Jewishness has emerged. By ethnicity In an ethnic sense, an Ashkenazi Jew is one whose ancestry can be traced to the Jews who settled in Central Europe. For roughly a thousand years, the Ashkenazim were a reproductively isolated population in Europe, despite living in many countries, with little inflow or outflow from migration, conversion, or intermarriage with other groups, including other Jews. Human geneticists have argued that genetic variations have been identified that show high frequencies among Ashkenazi Jews, but not in the general European population, be they for patrilineal markers (Y-chromosome haplotypes) and for matrilineal markers (mitotypes). Since the middle of the 20th century, many Ashkenazi Jews have intermarried, both with members of other Jewish communities and with people of region Customs, laws and traditions The Halakhic practices of (Orthodox) Ashkenazi Jews may differ from those of Sephardi Jews, particularly in matters of custom. Differences are noted in the Shulkhan Arukh itself, in the gloss of Moses Isserles. Well known differences in practice include: Observance of Pesach (Passover): Ashkenazi Jews traditionally refrain from eating legumes, grain, millet, and rice (quinoa, however, has become accepted as foodgrain in the North American communities), whereas Sephardi Jews typically do not prohibit these foods. Ashkenazi Jews freely mix and eat fish and milk products; some Sephardic Jews refrain from doing so. Ashkenazim are more permissive toward the usage of wigs as a hair covering for married and widowed women. In the case of kashrut for meat, conversely, Sephardi Jews have stricter requirements – this level is commonly referred to as Beth Yosef. Meat products that are acceptable to Ashkenazi Jews as kosher may therefore be rejected by Sephardi Jews. Notwithstanding stricter requirements for the actual slaughter, Sephardi Jews permit the rear portions of an animal after proper Halakhic removal of the sciatic nerve, while many Ashkenazi Jews do not. This is not because of different interpretations of the law; rather, slaughterhouses could not find adequate skills for correct removal of the sciatic nerve and found it more economical to separate the hindquarters and sell them as non-kosher meat. Ashkenazi Jews often name newborn children after deceased family members, but not after living relatives. Sephardi Jews, in contrast, often name their children after the children's grandparents, even if those grandparents are still living. A notable exception to this generally reliable rule is among Dutch Jews, where Ashkenazim for centuries used the naming conventions otherwise attributed exclusively to Sephardim such as Chuts. Ashkenazi tefillin bear some differences from Sephardic tefillin. In the traditional Ashkenazic rite, the tefillin are wound towards the body, not away from it. Ashkenazim traditionally don tefillin while standing, whereas other Jews generally do so while sitting down. Ashkenazic traditional pronunciations of Hebrew differ from those of other groups. The most prominent consonantal difference from Sephardic and Mizrahic Hebrew dialects is the pronunciation of the Hebrew letter tav in certain Hebrew words (historically, in postvocalic undoubled context) as an /s/ and not a /t/ or /θ/ sound. The prayer shawl, or tallit (or tallis in Ashkenazi Hebrew), is worn by the majority of Ashkenazi men after marriage, but western European Ashkenazi men wear it from Bar Mitzvah. In Sephardi or Mizrahi Judaism, the prayer shawl is commonly worn from early childhood. Ashkenazic liturgy The term Ashkenazi also refers to the nusach Ashkenaz (Hebrew, "liturgical tradition", or rite) used by Ashkenazi Jews in their Siddur (prayer book). A nusach is defined by a liturgical tradition's choice of prayers, the order of prayers, the text of prayers, and melodies used in the singing of prayers. Two other major forms of nusach among Ashkenazic Jews are Nusach Sefard (not to be confused with the Sephardic ritual), which is the general Polish Hasidic nusach, and Nusach Ari, as used by Lubavitch Hasidim. Ashkenazi as a surname Several famous people have Ashkenazi as a surname, such as Vladimir Ashkenazy. However, most people with this surname hail from within Sephardic communities, particularly from the Syrian Jewish community. The Sephardic carriers of the surname would have some Ashkenazi ancestors since the surname was adopted by families who were initially of Ashkenazic origins who moved to countries with Sephardi communities and joined those communities. Ashkenazi would be formally adopted as the family surname having started off as a nickname imposed by their adopted communities. Some have shortened the name to Ash. Relations with Sephardim Relations between Ashkenazim and Sephardim have at times been tense and clouded by arrogance, snobbery and claims of racial superiority with both sides claiming the inferiority of the other, based upon such features as physical traits and culture. North African Sephardim and Berber Jews were often looked down upon by Ashkenazim as second-class citizens during the first decade after the creation of Israel. This has led to protest movements such as the Israeli Black Panthers led by Saadia Marciano, a Moroccan Jew. Nowadays, relations are getting warmer. In some instances, Ashkenazi communities have accepted significant numbers of Sephardi newcomers, sometimes resulting in intermarriage and the possible merging between the two communities. Notable Ashkenazim Ashkenazi Jews have a notable history of achievement in Western societies in the fields of natural and social sciences, mathematics, literature, finance, politics, media, and others. In those societies where they have been free to enter any profession, they have a record of high occupational achievement, entering professions and fields of commerce where higher education is required. Ashkenazi Jews have won a large number of the Nobel awards. Time magazine's person of the 20th century, Albert Einstein, was an Ashkenazi Jew. According to a study performed by Cambridge University, 21% of Ivy League students, 25% of the Turing Award winners, 23% of the wealthiest Americans, 38% of the Oscar-winning film directors, and 29% of Oslo awardees are Ashkenazi Jews. Genetics Genetic origins Efforts to identify the origins of Ashkenazi Jews through DNA analysis began in the 1990s. Currently, there are three types of genetic origin testing, autosomal DNA (atDNA), mitochondrial DNA (mtDNA), and Y-chromosomal DNA (Y-DNA). Autosomal DNA is a mixture from an individual's entire ancestry, Y-DNA shows a male's lineage only along his strict paternal line, mtDNA shows any person's lineage only along the strict maternal line. Genome-wide association studies have also been employed to yield findings relevant to genetic origins. Like most DNA studies of human migration patterns, the earliest studies on Ashkenazi Jews focused on the Y-DNA and mtDNA segments of the human genome. Both segments are unaffected by recombination (except for the ends of the Y chromosome – the pseudoautosomal regions known as PAR1 and PAR2), thus allowing tracing of direct maternal and paternal lineages. These studies revealed that Ashkenazi Jews originate from an ancient (2000–700 BCE) population of the Middle East who had spread to Europe. Ashkenazic Jews display the homogeneity of a genetic bottleneck, meaning they descend from a larger population whose numbers were greatly reduced but recovered through a few founding individuals. Although the Jewish people, in general, were present across a wide geographical area as described, genetic research done by Gil Atzmon of the Longevity Genes Project at Albert Einstein College of Medicine suggests "that Ashkenazim branched off from other Jews around the time of the destruction of the First Temple, 2,500 years ago ... flourished during the Roman Empire but then went through a 'severe bottleneck' as they dispersed, reducing a population of several million to just 400 families who left Northern Italy around the year 1000 for Central and eventually Eastern Europe." Various studies have arrived at diverging conclusions regarding both the degree and the sources of the non-Levantine admixture in Ashkenazim, particularly with respect to the extent of the non-Levantine genetic origin observed in Ashkenazi maternal lineages, which is in contrast to the predominant Levantine genetic origin observed in Ashkenazi paternal lineages. All studies nevertheless agree that genetic overlap with the Fertile Crescent exists in both lineages, albeit at differing rates. Collectively, Ashkenazi Jews are less genetically diverse than other Jewish ethnic divisions, due to their genetic bottleneck. Male lineages: Y-chromosomal DNA The majority of genetic findings to date concerning Ashkenazi Jews conclude that the male lines were founded by ancestors from the Middle East. A study of haplotypes of the Y-chromosome, published in 2000, addressed the paternal origins of Ashkenazi Jews. Hammer et al. found that the Y-chromosome of Ashkenazi and Sephardic Jews contained mutations that are also common among other Middle Eastern peoples, but uncommon in the autochthonous European population. This suggested that the male ancestors of the Ashkenazi Jews could be traced mostly to the Middle East. The proportion of male genetic admixture in Ashkenazi Jews amounts to less than 0.5% per generation over an estimated 80 generations, with "relatively minor contribution of European Y chromosomes to the Ashkenazim," and a total admixture estimate "very similar to Motulsky's average estimate of 12.5%." This supported the finding that "Diaspora Jews from Europe, Northwest Africa, and the Near East resemble each other more closely than they resemble their non-Jewish neighbors." "Past research found that 50–80 percent of DNA from the Ashkenazi Y chromosome, which is used to trace the male lineage, originated in the Near East," Richards said. The population has subsequently spread out. A 2001 study by Nebel et al. showed that both Ashkenazi and Sephardic Jewish populations share the same overall paternal Near Eastern ancestries. In comparison with data available from other relevant populations in the region, Jews were found to be more closely related to groups in the north of the Fertile Crescent. The authors also report on Eu 19 (R1a) chromosomes, which are very frequent in Central and Eastern Europeans (54–60%) at elevated frequency (13%) in Ashkenazi Jews. They hypothesized that the differences among Ashkenazim Jews could reflect low-level gene flow from surrounding European populations or genetic drift during isolation. A later 2005 study by Nebel et al., found a similar level of 11.5% of male Ashkenazim belonging to R1a1a (M17+), the dominant Y-chromosome haplogroup in Central and Eastern Europeans. However, a 2017 study, concentrating on the Ashkenazi Levites where the proportion reaches 50%, while signalling that there's a "rich variation of haplogroup R1a outside of Europe which is phylogenetically separate from the typically European R1a branches", precises that the particular R1a-Y2619 sub-clade testifies for a local origin, and that the "Middle Eastern origin of the Ashkenazi Levite lineage based on what was previously a relatively limited number of reported samples, can now be considered firmly validated." Female lineages: Mitochondrial DNA Before 2006, geneticists had largely attributed the ethnogenesis of most of the world's Jewish populations, including Ashkenazi Jews, to Israelite Jewish male migrants from the Middle East and "the women from each local population whom they took as wives and converted to Judaism." Thus, in 2002, in line with this model of origin, David Goldstein, now of Duke University, reported that unlike male Ashkenazi lineages, the female lineages in Ashkenazi Jewish communities "did not seem to be Middle Eastern", and that each community had its own genetic pattern and even that "in some cases the mitochondrial DNA was closely related to that of the host community." In his view, this suggested, "that Jewish men had arrived from the Middle East, taken wives from the host population and converted them to Judaism, after which there was no further intermarriage with non-Jews." In 2006, a study by Behar et al., based on what was at that time high-resolution analysis of haplogroup K (mtDNA), suggested that about 40% of the current Ashkenazi population is descended matrilineally from just four women, or "founder lineages", that were "likely from a Hebrew/Levantine mtDNA pool" originating in the Middle East in the 1st and 2nd centuries CE. Additionally, Behar et al. suggested that the rest of Ashkenazi mtDNA is originated from ~150 women, and that most of those were also likely of Middle Eastern origin. In reference specifically to Haplogroup K, they suggested that although it is common throughout western Eurasia, "the observed global pattern of distribution renders very unlikely the possibility that the four aforementioned founder lineages entered the Ashkenazi mtDNA pool via gene flow from a European host population". In 2013, a study of Ashkenazi mitochondrial DNA by a team led by Martin B. Richards of the University of Huddersfield in England reached different conclusions, in line with the pre-2006 origin hypothesis. Testing was performed on the full 16,600 DNA units composing mitochondrial DNA (the 2006 Behar study had only tested 1,000 units) in all their subjects, and the study found that the four main female Ashkenazi founders had descent lines that were established in Europe 10,000 to 20,000 years in the past while most of the remaining minor founders also have a deep European ancestry. The study argued that the great majority of Ashkenazi maternal lineages were not brought from the Near East or the Caucasus, but instead assimilated within Europe, primarily of Italian and Old French origins. The Richards study estimated that more than 80 percent of Ashkenazi maternal ancestry comes from women indigenous to (mainly prehistoric Western) Europe, and only 8 percent from the Near East, while the origin of the remainder is undetermined. According to the study these findings "point to a significant role for the conversion of women in the formation of Ashkenazi communities." Karl Skorecki criticized the study for perceived flaws in phylogenetic analysis. "While Costa et al have re-opened the question of the maternal origins of Ashkenazi Jewry, the phylogenetic analysis in the manuscript does not 'settle' the question." A 2014 study by Fernández et al. found that Ashkenazi Jews display a frequency of haplogroup K in their maternal DNA, suggesting an ancient Near Eastern matrilineal origin, similar to the results of the Behar study in 2006. Fernández noted that this observation clearly contradicts the results of the 2013 study led by Richards that suggested a European source for 3 exclusively Ashkenazi K lineages. Association and linkage studies (autosomal dna) In genetic epidemiology, a genome-wide association study (GWA study, or GWAS) is an examination of all or most of the genes (the genome) of different individuals of a particular species to see how much the genes vary from individual to individual. These techniques were originally designed for epidemiological uses, to identify genetic associations with observable traits. A 2006 study by Seldin et al. used over five thousand autosomal SNPs to demonstrate European genetic substructure. The results showed "a consistent and reproducible distinction between 'northern' and 'southern' European population groups". Most northern, central, and eastern Europeans (Finns, Swedes, English, Irish, Germans, and Ukrainians) showed >90% in the "northern" population group, while most individual participants with southern European ancestry (Italians, Greeks, Portuguese, Spaniards) showed >85% in the "southern" group. Both Ashkenazi Jews as well as Sephardic Jews showed >85% membership in the "southern" group. Referring to the Jews clustering with southern Europeans, the authors state the results were "consistent with a later Mediterranean origin of these ethnic groups". A 2007 study by Bauchet et al. found that Ashkenazi Jews were most closely clustered with Arabic North African populations when compared to Global population, and in the European structure analysis, they share similarities only with Greeks and Southern Italians, reflecting their east Mediterranean origins. A 2010 study on Jewish ancestry by Atzmon-Ostrer et al. stated "Two major groups were identified by principal component, phylogenetic, and identity by descent (IBD) analysis: Middle Eastern Jews and European/Syrian Jews. The IBD segment sharing and the proximity of European Jews to each other and to southern European populations suggested similar origins for European Jewry and refuted large-scale genetic contributions of Central and Eastern European and Slavic populations to the formation of Ashkenazi Jewry", as both groups – the Middle Eastern Jews and European/Syrian Jews – shared common ancestors in the Middle East about 2500 years ago. The study examines genetic markers spread across the entire genome and shows that the Jewish groups (Ashkenazi and non-Ashkenazi) share large swaths of DNA, indicating close relationships and that each of the Jewish groups in the study (Iranian, Iraqi, Syrian, Italian, Turkish, Greek and Ashkenazi) has its own genetic signature but is more closely related to the other Jewish groups than to their fellow non-Jewish countrymen. Atzmon's team found that the SNP markers in genetic segments of 3 million DNA letters or longer were 10 times more likely to be identical among Jews than non-Jews. Results of the analysis also tally with biblical accounts of the fate of the Jews. The study also found that with respect to non-Jewish European groups, the population most closely related to Ashkenazi Jews are modern-day Italians. The study speculated that the genetic-similarity between Ashkenazi Jews and Italians may be due to inter-marriage and conversions in the time of the Roman Empire. It was also found that any two Ashkenazi Jewish participants in the study shared about as much DNA as fourth or fifth cousins. A 2010 study by Bray et al., using SNP microarray techniques and linkage analysis found that when assuming Druze and Palestinian Arab populations to represent the reference to world Jewry ancestor genome, between 35 and 55 percent of the modern Ashkenazi genome can possibly be of European origin, and that European "admixture is considerably higher than previous estimates by studies that used the Y chromosome" with this reference point. Assuming this reference point the linkage disequilibrium in the Ashkenazi Jewish population was interpreted as "matches signs of interbreeding or 'admixture' between Middle Eastern and European populations". On the Bray et al. tree, Ashkenazi Jews were found to be a genetically more divergent population than Russians, Orcadians, French, Basques, Sardinians, Italians and Tuscans. The study also observed that Ashkenazim are more diverse than their Middle Eastern relatives, which was counterintuitive because Ashkenazim are supposed to be a subset, not a superset, of their assumed geographical source population. Bray et al. therefore postulate that these results reflect not the population antiquity but a history of mixing between genetically distinct populations in Europe. However, it is possible that the relaxation of marriage prescription in the ancestors of Ashkenazim drove their heterozygosity up, while the maintenance of the FBD rule in native Middle Easterners has been keeping their heterozygosity values in check. Ashkenazim distinctiveness as found in the Bray et al. study, therefore, may come from their ethnic endogamy (ethnic inbreeding), which allowed them to "mine" their ancestral gene pool in the context of relative reproductive isolation from European neighbors, and not from clan endogamy (clan inbreeding). Consequently, their higher diversity compared to Middle Easterners stems from the latter's marriage practices, not necessarily from the former's admixture with Europeans. The genome-wide genetic study carried out in 2010 by Behar et al. examined the genetic relationships among all major Jewish groups, including Ashkenazim, as well as the genetic relationship between these Jewish groups and non-Jewish ethnic populations. The study found that contemporary Jews (excluding Indian and Ethiopian Jews) have a close genetic relationship with people from the Levant. The authors explained that "the most parsimonious explanation for these observations is a common genetic origin, which is consistent with an historical formulation of the Jewish people as descending from ancient Hebrew and Israelite residents of the Levant". A study by Behar et al. (2013) found evidence in Ashkenazim of mixed European and Levantine origins. The authors found the greatest affinity and shared ancestry of Ashkenazi Jews to be firstly with other Jewish groups from southern Europe, Syria, and North Africa, and secondly with both southern Europeans (such as Italians) and modern Levantines (such as the Druze, Cypriots, Lebanese and Samaritans). In addition to finding no affinity in Ashkenazim with northern Caucasus populations, the authors found no more affinity in Ashkenazi Jews to modern south Caucasus and eastern Anatolian populations (such as Armenians, Azeris, Georgians, and Turks) than found in non-Ashkenazi Jews or non-Jewish Middle Easterners (such as the Kurds, Iranians, Druze and Lebanese). A 2017 autosomal study by Xue, Shai Carmi et al. found an approximately even mixture of Middle-Eastern and European ancestry in Ashkenazi Jews: with the European component being largely Southern European with a minority being Eastern European, and the Middle Eastern ancestry showing the strongest affinity to Levantine populations such as the Druze and Lebanese. A 2018 study, referencing the popular theory of Ashkenazi Jewish (AJ) origins in "an initial settlement in Western Europe (Northern France and Germany), followed by migration to Poland and an expansion there and in the rest of Eastern Europe", tested "whether Ashkenazi Jews with recent origins in Eastern Europe are genetically distinct from Western European Ashkenazi". The study concluded that that "Western AJ consist of two slightly distinct groups: one that descends from a subset of the original founders [who remained in Western Europe], and another that migrated there back from Eastern Europe, possibly after absorbing a limited degree of gene flow". The Khazar hypothesis In the late 19th century, it was proposed that the core of today's Ashkenazi Jewry are genetically descended from a hypothetical Khazarian Jewish diaspora who had migrated westward from modern Russia and Ukraine into modern France and Germany (as opposed to the currently held theory that Jews migrated from France and Germany into Eastern Europe). The hypothesis is not corroborated by historical sources, and is unsubstantiated by genetics, but it is still occasionally supported by scholars who have had some success in keeping the theory in the academic consciousness. The theory has sometimes been used by Jewish authors such as Arthur Koestler as part of an argument against traditional forms of antisemitism (for example the claim that "the Jews killed Christ"), just as similar arguments have been advanced on behalf of the Crimean Karaites. Today, however, the theory is more often associated with antisemitism and anti-Zionism. A 2013 trans-genome study carried out by 30 geneticists, from 13 universities and academies, from nine countries, assembling the largest data set available to date, for assessment of Ashkenazi Jewish genetic origins found no evidence of Khazar origin among Ashkenazi Jews. The authors concluded: Thus, analysis of Ashkenazi Jews together with a large sample from the region of the Khazar Khaganate corroborates the earlier results that Ashkenazi Jews derive their ancestry primarily from populations of the Middle East and Europe, that they possess considerable shared ancestry with other Jewish populations, and that there is no indication of a significant genetic contribution either from within or from north of the Caucasus region. The authors found no affinity in Ashkenazim with north Caucasus populations, as well as no greater affinity in Ashkenazim to south Caucasus or Anatolian populations than that found in non-Ashkenazi Jews and non-Jewish Middle Easterners (such as the Kurds, Iranians, Druze and Lebanese). The greatest affinity and shared ancestry of Ashkenazi Jews were found to be (after those with other Jewish groups from southern Europe, Syria, and North Africa) with both southern Europeans and Levantines such as Druze, Cypriot, Lebanese and Samaritan groups. Medical genetics There are many references to Ashkenazi Jews in the literature of medical and population genetics. Indeed, much awareness of "Ashkenazi Jews" as an ethnic group or category stems from the large number of genetic studies of disease, including many that are well reported in the media, that have been conducted among Jews. Jewish populations have been studied more thoroughly than most other human populations, for a variety of reasons: Jewish populations, and particularly the large Ashkenazi Jewish population, are ideal for such research studies, because they exhibit a high degree of endogamy, yet they are sizable. Jewish communities are comparatively well informed about genetics research, and have been supportive of community efforts to study and prevent genetic diseases. The result is a form of ascertainment bias. This has sometimes created an impression that Jews are more susceptible to genetic disease than other populations. Healthcare professionals are often taught to consider those of Ashkenazi descent to be at increased risk for colon cancer. Genetic counseling and genetic testing are often undertaken by couples where both partners are of Ashkenazi ancestry. Some organizations, most notably Dor Yeshorim, organize screening programs to prevent homozygosity for the genes that cause related diseases. See also Jewish ethnic divisions List of Israeli Ashkenazi Jews Explanatory notes References Citations References for "Who is an Ashkenazi Jew?" Other references Beider, Alexander (2001): A Dictionary of Ashkenazic Given Names: Their Origins, Structure, Pronunciations, and Migrations. Avotaynu. . Biale, David (2002): Cultures of the Jews: A New History. Schoken Books. . Brook, Kevin Alan (2003): "The Origins of East European Jews" in Russian History/Histoire Russe vol. 30, nos. 1–2, pp. 1–22. Gross, N. (1975): Economic History of the Jews. Schocken Books, New York. Haumann, Heiko (2001): A History of East European Jews. Central European University Press. . Kriwaczek, Paul (2005): Yiddish Civilization: The Rise and Fall of a Forgotten Nation. Alfred A. Knopf, New York. . Lewis, Bernard (1984): The Jews of Islam. Princeton University Press. . Bukovec, Predrag: East and South-East European Jews in the 19th and 20th Centuries, European History Online, Mainz: Institute of European History, 2010, retrieved: 17 December 2012. Vital, David (1999): A People Apart: A History of the Jews in Europe. Oxford University Press. . External links The YIVO Encyclopedia of Jews in Eastern Europe Ashkenazi history at the Jewish Virtual Library "Ashkenazi Jewish mtDNA haplogroup distribution varies among distinct subpopulations: lessons of population substructure in a closed group"—European Journal of Human Genetics, 2007 "Analysis of genetic variation in Ashkenazi Jews by high density SNP genotyping" Nusach Ashkenaz, and Discussion Forum Ashkenaz Heritage Ashkenazi Jews topics Ethnic groups in Israel Ethnic groups in Russia Ethnic groups in the United States Jewish ethnic groups Middle Eastern people Semitic-speaking peoples
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[ "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" ]