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[
"Mia Hamm",
"Washington Freedom, 2001-2003"
] |
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Who was the first team she played against as part of the team?
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Who was the first team Mia Hamm played against as part of the Washington Freedom?
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Mia Hamm
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In 2001, Hamm was a founding player in the first professional women's soccer league in the United States, the Women's United Soccer Association (WUSA), and played for the Washington Freedom from 2001-2003. Throughout the league's history, Hamm was hailed as the star of the league and used heavily in marketing and promotion. In a poll of 1,000 advertising executives conducted in 2001, she was voted "the most appealing female athlete", garnering almost twice as many votes as the runner-up Anna Kournikova. During the league's inaugural match between the Freedom and Bay Area CyberRays at RFK Stadium in Washington, D.C., Hamm was fouled in the penalty area resulting in a penalty kick that her teammate Pretinha converted to mark the first goal scored in the league. The Freedom won 1-0. In addition to the 34,148 fans in attendance being greater than any MLS game that weekend, the Turner Network Television (TNT) broadcast reached 393,087 households: more than two MLS games broadcast on ESPN and ESPN2. Playing as a midfielder and forward, Hamm played in 19 of the Freedom's 21 matches during the 2001 season. She led the team in goals (6) and assists (4). The Freedom finished in seventh place during the regular season with a 6-12-3 record. Hamm suffered a knee injury in November 2001 that kept her off the pitch for several months of early 2002. Despite playing only half the 2002 season with the Freedom, she finished the season with eight goals. The team finished in third place during the 2002 season with a 11-5-5 record and advanced to the playoffs. After winning the semi-final against the Philadelphia Charge 1-0, the team was defeated 3-2 by the Carolina Courage in the 2002 WUSA Founders Cup. Hamm scored the Freedom's second goal in the 64th minute. During the 2003 season, Hamm started in 16 of the 19 games in which she played. Her 11 goals ranked second on the team behind Abby Wambach's 13 while her 11 assists ranked first. The Freedom finished in fourth place during the regular season with a 9-8-4 record and secured a berth in the playoffs. Hamm finished her club career as a WUSA champion when the Freedom defeated the Atlanta Beat 2-1 in overtime to win the Founders Cup on August 24, 2003. CANNOTANSWER
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During the league's inaugural match between the Freedom and Bay Area CyberRays at RFK Stadium in Washington, D.C.,
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Mariel Margaret Hamm-Garciaparra (born March 17, 1972) is an American retired professional soccer player, two-time Olympic gold medalist, and two-time FIFA Women's World Cup champion. Hailed as a soccer icon, she played as a forward for the United States women's national soccer team from 1987 to 2004. Hamm was the face of the Women's United Soccer Association (WUSA), the first professional women's soccer league in the United States, where she played for the Washington Freedom from 2001 to 2003. She played college soccer for the North Carolina Tar Heels women's soccer team and helped the team win four consecutive NCAA Division I Women's Soccer Championship titles.
During her tenure with the national team, Hamm competed in four FIFA Women's World Cup tournaments: the inaugural 1991 in China, 1995 in Sweden, 1999 and 2003 in the United States. She led the team at three Olympic Games, including: 1996 in Atlanta (the first time women's soccer was played), 2000 in Sydney, and 2004 in Athens. She completed her international career having played in 42 matches and scored 14 goals at these 7 international tournaments.
Hamm held the record for most international goals scored until 2013 and remains in third place behind former teammate Abby Wambach and Canadian striker Christine Sinclair as of 2017. She currently ranks third in the history of the U.S. national team for international caps (276) and first for career assists (144). Twice named FIFA World Player of the Year in 2001 and 2002, Hamm and her teammate Michelle Akers were hailed by Pelé as two of FIFA's 125 greatest living players when he included them in the FIFA 100 to celebrate the organization's 100th anniversary. Hamm was named U.S. Soccer Female Athlete of the Year five years in a row and won three ESPY awards including Soccer Player of the Year and Female Athlete of the Year. The Women's Sports Foundation named her Sportswoman of the Year in 1997 and 1999. She was inducted into the National Soccer Hall of Fame, Alabama Sports Hall of Fame, Texas Sports Hall of Fame, North Carolina Soccer Hall of Fame, and was the first woman inducted into the World Football Hall of Fame.
A co-owner of Los Angeles FC, Hamm is also a global ambassador for FC Barcelona and is on the board of directors of Serie A club A.S. Roma. Author of Go For the Goal: A Champion's Guide to Winning in Soccer and Life, Hamm has been featured in several films and television shows, including the HBO documentary, Dare to Dream: The Story of the U.S. Women's Soccer Team.
Early life
Born in Selma, Alabama, Mia was the fourth of six children of Bill and Stephanie Hamm. She wore corrective shoes as a toddler after being born with a club foot. Hamm spent her childhood on various United States Air Force bases around the world with her family. While living in Florence, Italy, Hamm first played soccer, which was hugely popular there; her entire family quickly became involved in the sport. At age five, then living in Wichita Falls, Texas, Hamm joined her first soccer team. Her father coached Mia and her newly adopted brother, 8-year-old Garrett.
Hamm played sports from a young age and excelled as a football player on the boys' team at junior high school. As a high school freshman and sophomore, she played soccer for Notre Dame Catholic High School in Wichita Falls. She played at the 1987 U.S. Olympic Festival, the youngest player to play for the United States women's national soccer team. As a new player, she often started as a forward but did not score a goal during her first year on the team. Hamm spent a year at Lake Braddock Secondary School in Burke, Virginia, and helped the Lake Braddock soccer team win the 1989 state championships.
Club career
North Carolina Tar Heels, 1989–1993
From 1989 to 1993, Hamm attended the University of North Carolina at Chapel Hill, where she helped the Tar Heels win four NCAA Division I Women's Soccer Championships in five years. She red-shirted the 1991 season to focus on preparation for the inaugural 1991 FIFA Women's World Cup in China. North Carolina lost one game of the 95 she played on the team. She earned All-American honors, was named the Atlantic Coast Conference (ACC) Player of the Year for three consecutive years, and was named ACC Female Athlete of the Year in 1993 and 1994. She graduated from North Carolina in 1994 with the ACC records for goals (103), assists (72), and total points (278). In 2003, she and Michael Jordan were named the ACC's Greatest Athletes of the conference's first fifty years.
Hamm was a member of the United States women's national college team that won a silver medal, being defeated by China in the final, at the 1993 Summer Universiade in Buffalo, New York.
Washington Freedom, 2001–2003
In 2001, Hamm was a founding player in the first professional women's soccer league in the United States, the Women's United Soccer Association (WUSA), and played for the Washington Freedom from 2001 to 2003. Throughout the league's history, Hamm was hailed as the star of the league and used heavily in marketing and promotion. In a poll of 1,000 advertising executives conducted in 2001, she was voted "the most appealing female athlete", garnering almost twice as many votes as the runner-up Anna Kournikova.
During the league's inaugural match between the Freedom and Bay Area CyberRays at RFK Stadium in Washington, D.C., Hamm was fouled in the penalty area resulting in a penalty kick that her teammate Pretinha converted to mark the first goal scored in the league. The Freedom won 1–0. In addition to the 34,148 fans in attendance being greater than any MLS game that weekend, the Turner Network Television (TNT) broadcast reached 393,087 households: more than two MLS games broadcast on ESPN and ESPN2. Playing as a midfielder and forward, Hamm played in 19 of the Freedom's 21 matches during the 2001 season. She led the team in goals (6) and assists (4).
The Freedom finished in seventh place during the regular season with a record.
Hamm suffered a knee injury in November 2001 that kept her off the pitch for several months of early 2002. Despite playing only half the 2002 season with the Freedom, she finished the season with eight goals. The team finished in third place during the 2002 season with a record and advanced to the playoffs. After winning the semi-final against the Philadelphia Charge 1–0, the team was defeated 3–2 by the Carolina Courage in the 2002 WUSA Founders Cup. Hamm scored the Freedom's second goal in the 64th minute.
During the 2003 season, Hamm started in 16 of the 19 games in which she played. Her 11 goals ranked second on the team behind Abby Wambach's 13 while her 11 assists ranked first.
The Freedom finished in fourth place during the regular season with a record and secured a berth in the playoffs. Hamm finished her club career as a WUSA champion when the Freedom defeated the Atlanta Beat 2–1 in overtime to win the Founders Cup on August 24, 2003.
Retirement
On May 14, 2004, Hamm announced her retirement effective after the 2004 Athens Olympics. Following the 2004 Olympics, Hamm and her teammates played in a 10-game farewell tour in the United States. The final match of the tour against Mexico at the Home Depot Center in Carson, California, on December 8, 2004, marked the final international match for Hamm, Julie Foudy, and Joy Fawcett. The U.S. defeated Mexico 5–0 and Hamm assisted on two of the goals.
Hamm retired at age 32 with a record 158 international goals. She and teammates Foudy and Fawcett were honored with a pre-game ceremony where they were presented with framed jerseys and roses in front of 15,549 fans at Home Depot Center in Carson, California. During the 5–0 win against Mexico, Hamm provided the assist on the first two goals. Following her retirement, Hamm's #9 jersey was inherited by midfielder Heather O'Reilly.
International career
Women's national team, 1987–2004
Hamm made her debut for the United States women's national soccer team in 1987 at the age of 15 — just two years after the team played its first international match. She was the youngest person ever to play for the team. She scored her first goal during her 17th appearance. She competed in four FIFA Women's World Cup tournaments: the inaugural 1991 in China, 1995 in Sweden, 1999 and 2003 in the United States. She led the team at three Olympic Games, including: 1996 in Atlanta (the first time women's soccer was played), 2000 in Sydney, and 2004 in Athens. In total, she played 42 matches and scored 14 goals in international tournaments.
Hamm held the record for most international goals scored—by a woman or man—until 2013 and remains in third place as of 2017. She currently ranks third in the history of the U.S. national team for international caps (276) and first for career assists (144).
1991 FIFA Women's World Cup
In 1991, Hamm was named to the roster for the inaugural FIFA Women's World Cup in China under North Carolina coach Anson Dorrance. At 19 years old, she was still the youngest player on the team. During the team's first match of the tournament, Hamm scored the game-winning goal in the 62nd minute, leading the U.S. to a 3–2 win over Sweden. She also scored once in their second group stage match when they defeated Brazil 5–0. The U.S. squad finished first in Group B after a third win against Japan on November 21 and advanced to the knockout stage of the tournament. During the quarterfinal match, the U. S. defeated Chinese Taipei 7–0. After defeating Germany 5–2 during the semi-final, the U.S. faced Norway in the final. In front of 63,000 spectators, the U.S. clinched the first World Cup championship title after a 2–1 win.
1995 FIFA Women's World Cup
Hamm's second World Cup appearance came during the 1995 tournament in Sweden. The United States were led by head coach Tony DiCicco. During the team's first match of the tournament, she scored the team's third goal in the 51st minute in a 3–3 draw against China PR. The U.S. faced Denmark during its second group stage match. Goals from Kristine Lilly and Tiffeny Milbrett led to a 2–0 win for the U.S. Hamm played goalkeeper for a few minutes after Briana Scurry received a red card and was removed from the match. After defeating Australia 4–1 on June, 10, the U.S. advanced to the knock-out stage and defeated Japan 4–0 in the quarter-final. The U.S. was defeated by eventual champion Norway 1–0 in the semi-finals and captured third place after defeating China PR 2–0 on June 17. Hamm scored the second U.S. goal of the match in the 55th minute.
1996–1998: Atlanta Olympics and 100th international goal
Hamm was a key part of the U.S. team at the 1996 Summer Olympic Games in Atlanta; this was the first Olympic tournament to include women's soccer. The U.S. faced Denmark in their first preliminary round match. Hamm scored a goal and served an assist to Tiffeny Milbrett to lead the U.S. to a 3–0 win. The team defeated Sweden 2–1 next at the Orlando Citrus Bowl. After tying China 0–0 in their final preliminary round match, the U.S. finished second in Group E. Defeating Norway in the semi-finals, the team faced China in the final. Hamm played despite having foot and groin injuries, suffered during team training and the match against Sweden. Although she was carried off by stretcher in the final minute, her team won their first Olympic gold medal with a 2–1 win witnessed by 76,481 fans in the stadium – the largest crowd for a soccer event in the history of the Olympics and the largest crowd for a women's sports event in the United States.
The 20 goals scored by Hamm in 1998 were the highest annual total of her international career. She also provided 20 assists. On September 18, she scored her 100th international goal in a friendly match against Russia in Rochester, New York. The same year, she led the U.S. to the first-ever Goodwill Games gold medal. Hamm scored five of the team's seven goals at the tournament, including two during the championship match against China.
1999: 108th International goal and FIFA Women's World Cup
On May 22, 1999, Hamm broke the all-time international goal record with her 108th goal in a game against Brazil in Orlando, Florida. The following month, she led the national team at the 1999 FIFA Women's World Cup, hosted by the United States. During the team's first group stage match against Denmark, she scored her 110th international goal and served an assist to Julie Foudy as the U.S. won 3–0. Against Nigeria, Hamm's low free kick was knocked into the goal by a Nigerian midfielder. Within a minute, Hamm scored with a free kick. She later served an assist to Kristine Lilly before being substituted in the 57th minute. The U.S. won 7–1 and secured a berth in the quarter-finals. During the team's final group stage match, head coach Tony DiCicco rested a number of players, including Hamm, who was substituted at half-time. The U.S. defeated Korea 3–0 and finished Group A with nine points. In the quarter-finals, the U.S. defeated Germany 3–2. Playing Brazil in the semi-finals, Hamm was knocked down in the penalty area late in the second half; Michelle Akers converted the subsequent penalty and their team won 2–0.
After 90 minutes of scoreless regulation time and 30 minutes of sudden death, the 1999 FIFA Women's World Cup Final was decided by a penalty shootout between the U.S. and China. The five American players to take penalty kicks, including Hamm, converted; China missed one attempt so that the home team won. The final surpassed the 1996 Atlanta Olympic final as the most-attended women's sports event, with more than 90,000 people filling the Rose Bowl in Pasadena, California. It held the record until 2014 for the largest U.S. television audience for a soccer match with 17,975,000 viewers. , it ranks third following the 2015 FIFA Women's World Cup (25,400,000 viewers) and 2014 FIFA World Cup group stage match between the U.S. men's team and Portugal (18,220,000 viewers).
Immediately following the final, Hamm collapsed in the locker room from severe dehydration. She was treated by medical staff with an intravenous drip and three liters of fluids. After 12 hours of sleep, she joined the team for magazine cover shoots, went to Disneyland for a celebration rally, and made numerous television appearances. A week later, the team met President Clinton at the White House and flew with Hillary and Chelsea Clinton on Air Force One to Cape Canaveral. Her leadership and performance at the 1999 World Cup cemented Hamm as a soccer icon.
2000 Sydney Olympics
Hamm represented the United States at the 2000 Summer Olympics in Sydney, Australia. During the group stage, she scored a goal against Norway to lift the United States to a 2–0 win. The team tied China 1–1 in their next group stage match before defeating Nigeria 3–1 to finish first in their group. After advancing to the semi-finals where the U.S. faced Brazil, Hamm scored the game-winning goal in the 60th minute. The goal marked the 127th of her international career and set a new record for most goals scored in international play by a woman or man. The U.S. faced Norway in the final and were defeated 3–2 in overtime to earn the silver medal at the Games.
2003 FIFA Women's World Cup
Originally scheduled for China, the 2003 FIFA Women's World Cup was moved to the United States due to the SARS outbreak. Hamm was named to the U.S. roster in August, and stated that it would be her final World Cup appearance. During the team's first group stage match, Hamm's three assists helped the U.S. to a 3–1 win over Sweden. She scored twice against Nigeria and served the assist for the team's third goal to lead the U.S. to a 5–0 win and qualification for the quarter-finals with one match to play. The U.S. faced North Korea in their final group stage match and dominated 3–0. Hamm and a number of others were rested for the game by head coach April Heinrichs; this was the first World Cup match Hamm had missed in her career. The U.S. faced Norway in the quarter-finals; Although the U.S. won 1–0, Hamm was fouled throughout the match as Norway played with physicality to counter the U.S. team. One of Norway's 24 fouls resulted in a penalty kick for Hamm which was saved by the Norwegian goalkeeper. After the U.S. was defeated 3–0 by Germany in the semi-finals, the team defeated Canada 3–1 to secure a third-place finish.
2004: 158th international goal and Athens Olympics
During a friendly game against Australia on July 21, 2004, Hamm scored her 158th international goal setting the record for most international goals scored by any player in the world, male or female. She held the world record until Abby Wambach scored her 159th goal on June 20, 2013. The Australia match also marked Hamm's 259th international appearance; only two of her teammates, Kristine Lilly and Christie Rampone, have played in more international games.
Hamm helped lead the U.S. national team to its second gold medal at the 2004 Summer Olympics in Athens and was selected by her fellow Olympians to carry the American flag at the closing ceremony. During the team's first group stage match against Greece, Hamm served the cross to Shannon Boxx's game-opening goal, and scored the last goal of the match to lift the U.S. to a 3–0 win. During a 2–0 win over Brazil in the second group stage match, Hamm converted a penalty kick for the opening goal. The U.S. finished at the top of Group C with seven points after a 1–1 draw against Australia to advance to the quarter-finals, where they defeated Japan 2–1. During the semi-final match against Germany, Hamm served an assist to Heather O'Reilly who scored in overtime to secure a 2–1 win. The U.S. faced Brazil for a second time at the Games in the gold medal match and won 2–1 in overtime. Her teammates swarmed Hamm after the final whistle to celebrate their second Olympic gold medal and her final win at the Olympics. The game marked the last Olympic appearance for the five remaining players who had helped win the inaugural 1991 FIFA Women's World Cup: Hamm, Julie Foudy, Joy Fawcett, Brandi Chastain, and Kristine Lilly (often referred to as the Fab Five).
Style of play
Regarded as one of the greatest women soccer players of all time, Hamm was an athletic, dynamic, and technically gifted striker, renowned for her speed, skill, footwork, stamina, and ability on the ball, as well as her consistency. An excellent, agile dribbler, she was highly regarded for her control, as well as her grace, pace, and elegance in possession. A prolific goalscorer, she was known for her powerful and accurate striking ability, although she was also a creative and hard-working forward, and a team player, who was equally capable of assisting many goals for her teammates, due to her accurate passing, and was also willing to aid her teammates defensively when possession was lost. She was capable of playing in any offensive position.
Personal life
Hamm was first married to her college sweetheart Christiaan Corry, a United States Marine Corps helicopter pilot; they divorced in 2001 after being married six years. She married then-Boston Red Sox shortstop Nomar Garciaparra on November 22, 2003, in Goleta, California, in a ceremony attended by a few hundred guests. On March 27, 2007, Hamm gave birth to twin girls, Grace Isabella and Ava Caroline. Though born five weeks early, each girl weighed over at birth. The couple had a son, named Garrett Anthony, in January 2012.
Philanthropy
In 1999, Hamm founded the Mia Hamm Foundation following the death of her adopted brother Garrett in 1997 from complications of aplastic anemia, a rare blood disease he had endured for ten years. Dedicated to promoting awareness of and raising funds for families in need of a bone marrow or cord blood transplant, the foundation encourages people to register in the national bone marrow registry and provides funds to UNC Health Care and Children's Hospital Los Angeles. It also focuses on creating opportunities to empower women through sport. Hamm hosts an annual celebrity soccer game in Los Angeles to support the foundation.
In popular culture
Hamm has been called the most marketable female athlete of her generation. During her time as an international soccer player, she signed endorsement deals with Gatorade, Nike, Dreyer's Ice Cream, Pepsi, Nabisco, Fleet Bank, Earthgrains, and Powerbar. In 1997, she starred in a popular commercial for Pert Plus. Hamm was featured on a Wheaties box following the 1999 World Cup and endorsed the first Soccer Barbie by Mattel. She co-starred with Michael Jordan in a popular television commercial for Gatorade in the spring of 1999 which featured the two athletes competing against each other in a variety of sports while the song Anything You Can Do (I Can Do Better) is heard. The commercial ends with Hamm throwing Jordan to the ground in a judo match. In 2000, the video game, Mia Hamm Soccer 64 was released for Nintendo 64. It was the first game to feature female athletes only and sold a "relatively high" 42,886 copies in the United States.
Hamm was featured on the covers of Sports Illustrated, Time, and People. She has made appearances on numerous television shows, including: Late Night with David Letterman, The Rosie O'Donnell Show, The Tonight Show with Jay Leno, Today, Extreme Makeover: Home Edition, Good Morning America, and The Oprah Winfrey Show. She was profiled in ESPN's SportsCentury and Biography documentaries, ESPN 25: Who's #1?, and was featured in Once in a Lifetime: The Extraordinary Story of the New York Cosmos. In 2005, she was featured in the HBO documentary Dare to Dream: The Story of the U.S. Women's Soccer Team. Her likeness was used in the logo of Women's Professional Soccer, the second women's professional soccer league in the United States. Hamm was mentioned on a season eight episode of the TV series Friends. When Rachel had Joey put his hand on her belly, she says, "Aw, it's unbelievable! Wow! She is kicking so much! Oh, she's like, um, who's that kind of annoying girl soccer player?" Joey asks, "Mia Hamm?" Rachel says, "Mia Hamm!".
Other work
Hamm is a global ambassador for FC Barcelona. She is the author of the national bestseller Go For the Goal: A Champion's Guide to Winning in Soccer and Life and juvenile fiction book Winners Never Quit.
In 2012, after Pia Sundhage's departure as head coach of the national team, Hamm joined Danielle Slaton and Sunil Gulati as a member of the search committee for Sundhage's successor. In 2014, she was named to the board of the National Soccer Hall of Fame.
In October 2014, Hamm was announced as a co-owner of the future Major League Soccer team, Los Angeles FC. The same month, Hamm joined the board of directors of Serie A club A.S. Roma, owned by American investors. Hamm joined Vice President Joe Biden and Second Lady Jill Biden as members of the United States delegation at the 2015 FIFA Women's World Cup Final in Vancouver, Canada.
Career statistics
Matches and goals scored at World Cup and Olympic tournaments
Hamm competed as a member of the United States national soccer team in four FIFA Women's World Cup tournaments: the inaugural 1991 in China, 1995 in Sweden, as well as 1999 and 2003 in the United States. She competed at three Summer Olympic Games: 1996 in Atlanta, 2000 in Sydney, and 2004 in Athens. All together, she played in 38 matches and scored 13 goals at seven top international tournaments. With her teammates, Hamm finished third at two World Cup tournaments in 1995 and 2003, second at the 2000 Olympics, and first at the four other international tournaments.
Honors and awards
Hamm was named Sportswoman of the Year by the Women's Sports Foundation in 1997 and 1999. In June 1999, Nike named the largest building on their corporate campus after Hamm. In December 2000, Hamm was named one of the top three female soccer players of the twentieth century in the FIFA Female Player of the Century Award, finishing behind only Sun Wen and compatriot Michelle Akers.
While at North Carolina, she won the Honda Sports Award as the nation's top female soccer player in both 1993 and 1994, and won the Honda-Broderick Cup in 1994 as the nation's top female athlete.
In March 2004, Hamm and former U.S. teammate Michelle Akers were the only two women and Americans named to the FIFA 100, a list of the 125 greatest living soccer players, selected by Pelé and commissioned by FIFA for the organization's 100th anniversary. Other accolades include being elected U.S. Soccer Female Athlete of the Year five years in a row from 1994 to 1998, and winning three ESPY awards including Soccer Player of the Year and Female Athlete of the Year.
In 2006 Hamm was inducted into the Alabama Sports Hall of Fame, followed by the Texas Sports Hall of Fame on March 11, 2008. In 2007, during her first year of eligibility, Hamm was selected for induction into the National Soccer Hall of Fame. In 2008, an image of her silhouette was used in the logo for the second professional women's soccer league in the United States: Women's Professional Soccer. ESPN named her the greatest female athlete in 2012.
In 2013, Hamm became the first woman inducted into the World Football Hall of Fame, located in Pachuca, Mexico. She was named to U.S. Soccer's USWNT All-Time Best XI in December 2013. In 2014, Hamm was named one of ESPNW's Impact 25; she was also the recipient of the Golden Foot Legends Award.
For their first match of March 2019, the women of the United States women's national soccer team each wore a jersey with the name of a woman they were honoring on the back; Samantha Mewis chose the name of Hamm.
In 2021, Hamm was inducted into the National Women's Hall of Fame.
Championships
See also
List of FIFA Women's World Cup winning players
List of women's footballers with 100 or more international goals
List of University of North Carolina at Chapel Hill Olympians
List of FIFA Women's World Cup goalscorers
List of Olympic medalists in football
List of 1996 Summer Olympics medal winners
List of 2000 Summer Olympics medal winners
List of 2004 Summer Olympics medal winners
List of athletes on Wheaties boxes
References
Match reports
External links
Mia Hamm Video produced by Makers: Women Who Make America
1972 births
Living people
Sportspeople from Selma, Alabama
Soccer players from Alabama
Soccer players from North Carolina
American women's soccer players
Women's association football forwards
Women's association football midfielders
North Carolina Tar Heels women's soccer players
Hermann Trophy women's winners
Washington Freedom players
Women's United Soccer Association players
Women's Olympic soccer players of the United States
United States women's international soccer players
1991 FIFA Women's World Cup players
1995 FIFA Women's World Cup players
Footballers at the 1996 Summer Olympics
1999 FIFA Women's World Cup players
Footballers at the 2000 Summer Olympics
2003 FIFA Women's World Cup players
Footballers at the 2004 Summer Olympics
Outfield association footballers who played in goal
FIFA Women's World Cup-winning players
Olympic gold medalists for the United States in soccer
Olympic silver medalists for the United States in soccer
Medalists at the 1996 Summer Olympics
Medalists at the 2000 Summer Olympics
Medalists at the 2004 Summer Olympics
FIFA Century Club
FIFA World Player of the Year winners
National Soccer Hall of Fame members
FIFA 100
Women association football executives
American expatriate sportspeople in Italy
American women philanthropists
Philanthropists from Alabama
Philanthropists from North Carolina
Competitors at the 1998 Goodwill Games
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[
"Jacqueline \"Jackie\" Billet (born January 23, 1974) is an American former soccer player who played as a midfielder, making one appearance for the United States women's national team.\n\nCareer\nIn high school, Billet played for the Oakville Tigers, where she had a team record of 25 assists in a season and was an All-Metro player in 1991. In college, she played for the Wisconsin Badgers from 1992 to 1995, where she was a letter-winner. In total, she scored 26 goals and registered 20 assists. She was selected for the NSCAA All-Region first team in 1992, 1993, and 1994, as well as the third team in 1995. She was also included in the All-Big Ten Conference first team in 1994. In 1996, she was selected as part of the West Squad for the Umbro College All-Star Soccer Classic, and in 2008 was inducted into the Oakville High School Hall of Fame as a part of the school's 1991 women's championship-winning soccer team.\n\nBillet made her only international appearance for the United States on August 16, 1992 in a friendly match against Norway, which finished as a 2–4 loss.\n\nFrom 1997 to 2001, Billet served as an assistant coach at Illinois State Redbirds.\n\nCareer statistics\n\nInternational\n\nReferences\n\n1974 births\nLiving people\nSoccer players from Missouri\nAmerican women's soccer players\nAmerican women's soccer coaches\nUnited States women's international soccer players\nWomen's association football midfielders\nWisconsin Badgers women's soccer players",
"Michaela Dalgleish (born 22 August 1983), more commonly known as Dally, is an Australian basketball player.\n\nPersonal\nDalgleish was born on 12 July 1983. She is tall. In March 2011, she attended the Sport for Women Day at the University of Prook and participated in an outdoor zumba class alongside some of her Canberra Capitals teammates.\n\nDalgleish has a sister, Kirby Dalgleish, who also played in the WNBL, playing for the Townsville Fire when Dalgiesh was playing for the Canberra Capitals. Her father played for the Canberra Cannons, a now defunct team in the NBL. He also represented Australia as a member of the Australia national basketball team at the 1980 Summer Olympics and 1984 Summer Olympics. Her mother is Rhonda Dalgleish and she was a member of the Canberra Capitals during her own basketball career.\n\nIn 2002, she enrolled at the University of Portland and attended the university for a year. In 2003, she started a degree programme at a university in Queensland. In October 2011, after two and a half years of enrolment, she graduated from the University of Canberra with a Bachelor of Education in Primary Teaching. As part of her degree program, she did student teaching at Radford College. As a student, she maintained a grade point average above 6.5. While attending the University of Canberra and playing for the Canberra Capitals, she also was the University of Canberra's research ethics and compliance officer. After finishing her degree, she retired from playing professional basketball to focus on her teaching career. After stopping teaching at Canberra Girls' Grammar School, she has moved to Singapore.\n\nBasketball\nDalgleish plays guard. She first played basketball as an eight-year-old. She had a shoulder injury around 2003 that put her basketball career at risk. The shoulder injury necessitated a total shoulder reconstruction.\n\nJuniors\nAs a junior basketball player, Dalgleish played for the Southern Districts Lady Spartans in Queensland.\n\nUniversity of Prook\nDalgleish had a basketball scholarship at the University of Portland in 2002/2003. As a freshman, she was a starter for 22 of the team's 24 games. She played only one season with the University of Portland team before moving back to Australia.\n\nCanberra Capitals\nDalgleish joined the Canberra Capitals for their 2006/2007 campaign and continued to play for the team during the 2007/2008, 2008/2009, 2009/2010 and 2010/2011 seasons. She was part of the 2006/2007 Capitals side that won the WNBL Championship, playing 19 games that season and averaging 1.3 points per game. She played in an October 2006 game against the Rangers. She was part of the team that won a WNBL championship during the 2008/2009 season. She missed the first two games of that season because of a back injury. She attended the 2010/2011 team award ceremony that took place at the end of the season before the finals.\n\nNational team\nDalgleish has not played for the senior national team. She has competed internationally as part of Australians as part of the 1998 and 2000 Australian School Girls Team and as part of the 2001 Australian Oceania Tournament Team. At the Australian Oceania Tournament, she won a gold medal.\n\nWaratah League\nIn 2010, Dalgleish played for the Canberra Nationals in the Waratah League, which will join the SEABL in 2012. In the 2010 Grand Finals loss versus Grand Final, she scored 19. She played for the team again in 2011. She was the team's captain.\n\nReferences\n\nExternal links\n Michaela Dalgleish: WNBL profile\n\nLiving people\nAustralian women's basketball players\nCanberra Capitals players\nPortland Pilots women's basketball players\n1983 births"
] |
[
"Mia Hamm",
"Washington Freedom, 2001-2003",
"Who was the first team she played against as part of the team?",
"During the league's inaugural match between the Freedom and Bay Area CyberRays at RFK Stadium in Washington, D.C.,"
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C_62a5febe9e214319a432971d23e2d865_0
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Did they win?
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Did the Washington Freedom win against the Bay Area CyberRays in the league's inaugural match?
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Mia Hamm
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In 2001, Hamm was a founding player in the first professional women's soccer league in the United States, the Women's United Soccer Association (WUSA), and played for the Washington Freedom from 2001-2003. Throughout the league's history, Hamm was hailed as the star of the league and used heavily in marketing and promotion. In a poll of 1,000 advertising executives conducted in 2001, she was voted "the most appealing female athlete", garnering almost twice as many votes as the runner-up Anna Kournikova. During the league's inaugural match between the Freedom and Bay Area CyberRays at RFK Stadium in Washington, D.C., Hamm was fouled in the penalty area resulting in a penalty kick that her teammate Pretinha converted to mark the first goal scored in the league. The Freedom won 1-0. In addition to the 34,148 fans in attendance being greater than any MLS game that weekend, the Turner Network Television (TNT) broadcast reached 393,087 households: more than two MLS games broadcast on ESPN and ESPN2. Playing as a midfielder and forward, Hamm played in 19 of the Freedom's 21 matches during the 2001 season. She led the team in goals (6) and assists (4). The Freedom finished in seventh place during the regular season with a 6-12-3 record. Hamm suffered a knee injury in November 2001 that kept her off the pitch for several months of early 2002. Despite playing only half the 2002 season with the Freedom, she finished the season with eight goals. The team finished in third place during the 2002 season with a 11-5-5 record and advanced to the playoffs. After winning the semi-final against the Philadelphia Charge 1-0, the team was defeated 3-2 by the Carolina Courage in the 2002 WUSA Founders Cup. Hamm scored the Freedom's second goal in the 64th minute. During the 2003 season, Hamm started in 16 of the 19 games in which she played. Her 11 goals ranked second on the team behind Abby Wambach's 13 while her 11 assists ranked first. The Freedom finished in fourth place during the regular season with a 9-8-4 record and secured a berth in the playoffs. Hamm finished her club career as a WUSA champion when the Freedom defeated the Atlanta Beat 2-1 in overtime to win the Founders Cup on August 24, 2003. CANNOTANSWER
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The Freedom won 1-0.
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Mariel Margaret Hamm-Garciaparra (born March 17, 1972) is an American retired professional soccer player, two-time Olympic gold medalist, and two-time FIFA Women's World Cup champion. Hailed as a soccer icon, she played as a forward for the United States women's national soccer team from 1987 to 2004. Hamm was the face of the Women's United Soccer Association (WUSA), the first professional women's soccer league in the United States, where she played for the Washington Freedom from 2001 to 2003. She played college soccer for the North Carolina Tar Heels women's soccer team and helped the team win four consecutive NCAA Division I Women's Soccer Championship titles.
During her tenure with the national team, Hamm competed in four FIFA Women's World Cup tournaments: the inaugural 1991 in China, 1995 in Sweden, 1999 and 2003 in the United States. She led the team at three Olympic Games, including: 1996 in Atlanta (the first time women's soccer was played), 2000 in Sydney, and 2004 in Athens. She completed her international career having played in 42 matches and scored 14 goals at these 7 international tournaments.
Hamm held the record for most international goals scored until 2013 and remains in third place behind former teammate Abby Wambach and Canadian striker Christine Sinclair as of 2017. She currently ranks third in the history of the U.S. national team for international caps (276) and first for career assists (144). Twice named FIFA World Player of the Year in 2001 and 2002, Hamm and her teammate Michelle Akers were hailed by Pelé as two of FIFA's 125 greatest living players when he included them in the FIFA 100 to celebrate the organization's 100th anniversary. Hamm was named U.S. Soccer Female Athlete of the Year five years in a row and won three ESPY awards including Soccer Player of the Year and Female Athlete of the Year. The Women's Sports Foundation named her Sportswoman of the Year in 1997 and 1999. She was inducted into the National Soccer Hall of Fame, Alabama Sports Hall of Fame, Texas Sports Hall of Fame, North Carolina Soccer Hall of Fame, and was the first woman inducted into the World Football Hall of Fame.
A co-owner of Los Angeles FC, Hamm is also a global ambassador for FC Barcelona and is on the board of directors of Serie A club A.S. Roma. Author of Go For the Goal: A Champion's Guide to Winning in Soccer and Life, Hamm has been featured in several films and television shows, including the HBO documentary, Dare to Dream: The Story of the U.S. Women's Soccer Team.
Early life
Born in Selma, Alabama, Mia was the fourth of six children of Bill and Stephanie Hamm. She wore corrective shoes as a toddler after being born with a club foot. Hamm spent her childhood on various United States Air Force bases around the world with her family. While living in Florence, Italy, Hamm first played soccer, which was hugely popular there; her entire family quickly became involved in the sport. At age five, then living in Wichita Falls, Texas, Hamm joined her first soccer team. Her father coached Mia and her newly adopted brother, 8-year-old Garrett.
Hamm played sports from a young age and excelled as a football player on the boys' team at junior high school. As a high school freshman and sophomore, she played soccer for Notre Dame Catholic High School in Wichita Falls. She played at the 1987 U.S. Olympic Festival, the youngest player to play for the United States women's national soccer team. As a new player, she often started as a forward but did not score a goal during her first year on the team. Hamm spent a year at Lake Braddock Secondary School in Burke, Virginia, and helped the Lake Braddock soccer team win the 1989 state championships.
Club career
North Carolina Tar Heels, 1989–1993
From 1989 to 1993, Hamm attended the University of North Carolina at Chapel Hill, where she helped the Tar Heels win four NCAA Division I Women's Soccer Championships in five years. She red-shirted the 1991 season to focus on preparation for the inaugural 1991 FIFA Women's World Cup in China. North Carolina lost one game of the 95 she played on the team. She earned All-American honors, was named the Atlantic Coast Conference (ACC) Player of the Year for three consecutive years, and was named ACC Female Athlete of the Year in 1993 and 1994. She graduated from North Carolina in 1994 with the ACC records for goals (103), assists (72), and total points (278). In 2003, she and Michael Jordan were named the ACC's Greatest Athletes of the conference's first fifty years.
Hamm was a member of the United States women's national college team that won a silver medal, being defeated by China in the final, at the 1993 Summer Universiade in Buffalo, New York.
Washington Freedom, 2001–2003
In 2001, Hamm was a founding player in the first professional women's soccer league in the United States, the Women's United Soccer Association (WUSA), and played for the Washington Freedom from 2001 to 2003. Throughout the league's history, Hamm was hailed as the star of the league and used heavily in marketing and promotion. In a poll of 1,000 advertising executives conducted in 2001, she was voted "the most appealing female athlete", garnering almost twice as many votes as the runner-up Anna Kournikova.
During the league's inaugural match between the Freedom and Bay Area CyberRays at RFK Stadium in Washington, D.C., Hamm was fouled in the penalty area resulting in a penalty kick that her teammate Pretinha converted to mark the first goal scored in the league. The Freedom won 1–0. In addition to the 34,148 fans in attendance being greater than any MLS game that weekend, the Turner Network Television (TNT) broadcast reached 393,087 households: more than two MLS games broadcast on ESPN and ESPN2. Playing as a midfielder and forward, Hamm played in 19 of the Freedom's 21 matches during the 2001 season. She led the team in goals (6) and assists (4).
The Freedom finished in seventh place during the regular season with a record.
Hamm suffered a knee injury in November 2001 that kept her off the pitch for several months of early 2002. Despite playing only half the 2002 season with the Freedom, she finished the season with eight goals. The team finished in third place during the 2002 season with a record and advanced to the playoffs. After winning the semi-final against the Philadelphia Charge 1–0, the team was defeated 3–2 by the Carolina Courage in the 2002 WUSA Founders Cup. Hamm scored the Freedom's second goal in the 64th minute.
During the 2003 season, Hamm started in 16 of the 19 games in which she played. Her 11 goals ranked second on the team behind Abby Wambach's 13 while her 11 assists ranked first.
The Freedom finished in fourth place during the regular season with a record and secured a berth in the playoffs. Hamm finished her club career as a WUSA champion when the Freedom defeated the Atlanta Beat 2–1 in overtime to win the Founders Cup on August 24, 2003.
Retirement
On May 14, 2004, Hamm announced her retirement effective after the 2004 Athens Olympics. Following the 2004 Olympics, Hamm and her teammates played in a 10-game farewell tour in the United States. The final match of the tour against Mexico at the Home Depot Center in Carson, California, on December 8, 2004, marked the final international match for Hamm, Julie Foudy, and Joy Fawcett. The U.S. defeated Mexico 5–0 and Hamm assisted on two of the goals.
Hamm retired at age 32 with a record 158 international goals. She and teammates Foudy and Fawcett were honored with a pre-game ceremony where they were presented with framed jerseys and roses in front of 15,549 fans at Home Depot Center in Carson, California. During the 5–0 win against Mexico, Hamm provided the assist on the first two goals. Following her retirement, Hamm's #9 jersey was inherited by midfielder Heather O'Reilly.
International career
Women's national team, 1987–2004
Hamm made her debut for the United States women's national soccer team in 1987 at the age of 15 — just two years after the team played its first international match. She was the youngest person ever to play for the team. She scored her first goal during her 17th appearance. She competed in four FIFA Women's World Cup tournaments: the inaugural 1991 in China, 1995 in Sweden, 1999 and 2003 in the United States. She led the team at three Olympic Games, including: 1996 in Atlanta (the first time women's soccer was played), 2000 in Sydney, and 2004 in Athens. In total, she played 42 matches and scored 14 goals in international tournaments.
Hamm held the record for most international goals scored—by a woman or man—until 2013 and remains in third place as of 2017. She currently ranks third in the history of the U.S. national team for international caps (276) and first for career assists (144).
1991 FIFA Women's World Cup
In 1991, Hamm was named to the roster for the inaugural FIFA Women's World Cup in China under North Carolina coach Anson Dorrance. At 19 years old, she was still the youngest player on the team. During the team's first match of the tournament, Hamm scored the game-winning goal in the 62nd minute, leading the U.S. to a 3–2 win over Sweden. She also scored once in their second group stage match when they defeated Brazil 5–0. The U.S. squad finished first in Group B after a third win against Japan on November 21 and advanced to the knockout stage of the tournament. During the quarterfinal match, the U. S. defeated Chinese Taipei 7–0. After defeating Germany 5–2 during the semi-final, the U.S. faced Norway in the final. In front of 63,000 spectators, the U.S. clinched the first World Cup championship title after a 2–1 win.
1995 FIFA Women's World Cup
Hamm's second World Cup appearance came during the 1995 tournament in Sweden. The United States were led by head coach Tony DiCicco. During the team's first match of the tournament, she scored the team's third goal in the 51st minute in a 3–3 draw against China PR. The U.S. faced Denmark during its second group stage match. Goals from Kristine Lilly and Tiffeny Milbrett led to a 2–0 win for the U.S. Hamm played goalkeeper for a few minutes after Briana Scurry received a red card and was removed from the match. After defeating Australia 4–1 on June, 10, the U.S. advanced to the knock-out stage and defeated Japan 4–0 in the quarter-final. The U.S. was defeated by eventual champion Norway 1–0 in the semi-finals and captured third place after defeating China PR 2–0 on June 17. Hamm scored the second U.S. goal of the match in the 55th minute.
1996–1998: Atlanta Olympics and 100th international goal
Hamm was a key part of the U.S. team at the 1996 Summer Olympic Games in Atlanta; this was the first Olympic tournament to include women's soccer. The U.S. faced Denmark in their first preliminary round match. Hamm scored a goal and served an assist to Tiffeny Milbrett to lead the U.S. to a 3–0 win. The team defeated Sweden 2–1 next at the Orlando Citrus Bowl. After tying China 0–0 in their final preliminary round match, the U.S. finished second in Group E. Defeating Norway in the semi-finals, the team faced China in the final. Hamm played despite having foot and groin injuries, suffered during team training and the match against Sweden. Although she was carried off by stretcher in the final minute, her team won their first Olympic gold medal with a 2–1 win witnessed by 76,481 fans in the stadium – the largest crowd for a soccer event in the history of the Olympics and the largest crowd for a women's sports event in the United States.
The 20 goals scored by Hamm in 1998 were the highest annual total of her international career. She also provided 20 assists. On September 18, she scored her 100th international goal in a friendly match against Russia in Rochester, New York. The same year, she led the U.S. to the first-ever Goodwill Games gold medal. Hamm scored five of the team's seven goals at the tournament, including two during the championship match against China.
1999: 108th International goal and FIFA Women's World Cup
On May 22, 1999, Hamm broke the all-time international goal record with her 108th goal in a game against Brazil in Orlando, Florida. The following month, she led the national team at the 1999 FIFA Women's World Cup, hosted by the United States. During the team's first group stage match against Denmark, she scored her 110th international goal and served an assist to Julie Foudy as the U.S. won 3–0. Against Nigeria, Hamm's low free kick was knocked into the goal by a Nigerian midfielder. Within a minute, Hamm scored with a free kick. She later served an assist to Kristine Lilly before being substituted in the 57th minute. The U.S. won 7–1 and secured a berth in the quarter-finals. During the team's final group stage match, head coach Tony DiCicco rested a number of players, including Hamm, who was substituted at half-time. The U.S. defeated Korea 3–0 and finished Group A with nine points. In the quarter-finals, the U.S. defeated Germany 3–2. Playing Brazil in the semi-finals, Hamm was knocked down in the penalty area late in the second half; Michelle Akers converted the subsequent penalty and their team won 2–0.
After 90 minutes of scoreless regulation time and 30 minutes of sudden death, the 1999 FIFA Women's World Cup Final was decided by a penalty shootout between the U.S. and China. The five American players to take penalty kicks, including Hamm, converted; China missed one attempt so that the home team won. The final surpassed the 1996 Atlanta Olympic final as the most-attended women's sports event, with more than 90,000 people filling the Rose Bowl in Pasadena, California. It held the record until 2014 for the largest U.S. television audience for a soccer match with 17,975,000 viewers. , it ranks third following the 2015 FIFA Women's World Cup (25,400,000 viewers) and 2014 FIFA World Cup group stage match between the U.S. men's team and Portugal (18,220,000 viewers).
Immediately following the final, Hamm collapsed in the locker room from severe dehydration. She was treated by medical staff with an intravenous drip and three liters of fluids. After 12 hours of sleep, she joined the team for magazine cover shoots, went to Disneyland for a celebration rally, and made numerous television appearances. A week later, the team met President Clinton at the White House and flew with Hillary and Chelsea Clinton on Air Force One to Cape Canaveral. Her leadership and performance at the 1999 World Cup cemented Hamm as a soccer icon.
2000 Sydney Olympics
Hamm represented the United States at the 2000 Summer Olympics in Sydney, Australia. During the group stage, she scored a goal against Norway to lift the United States to a 2–0 win. The team tied China 1–1 in their next group stage match before defeating Nigeria 3–1 to finish first in their group. After advancing to the semi-finals where the U.S. faced Brazil, Hamm scored the game-winning goal in the 60th minute. The goal marked the 127th of her international career and set a new record for most goals scored in international play by a woman or man. The U.S. faced Norway in the final and were defeated 3–2 in overtime to earn the silver medal at the Games.
2003 FIFA Women's World Cup
Originally scheduled for China, the 2003 FIFA Women's World Cup was moved to the United States due to the SARS outbreak. Hamm was named to the U.S. roster in August, and stated that it would be her final World Cup appearance. During the team's first group stage match, Hamm's three assists helped the U.S. to a 3–1 win over Sweden. She scored twice against Nigeria and served the assist for the team's third goal to lead the U.S. to a 5–0 win and qualification for the quarter-finals with one match to play. The U.S. faced North Korea in their final group stage match and dominated 3–0. Hamm and a number of others were rested for the game by head coach April Heinrichs; this was the first World Cup match Hamm had missed in her career. The U.S. faced Norway in the quarter-finals; Although the U.S. won 1–0, Hamm was fouled throughout the match as Norway played with physicality to counter the U.S. team. One of Norway's 24 fouls resulted in a penalty kick for Hamm which was saved by the Norwegian goalkeeper. After the U.S. was defeated 3–0 by Germany in the semi-finals, the team defeated Canada 3–1 to secure a third-place finish.
2004: 158th international goal and Athens Olympics
During a friendly game against Australia on July 21, 2004, Hamm scored her 158th international goal setting the record for most international goals scored by any player in the world, male or female. She held the world record until Abby Wambach scored her 159th goal on June 20, 2013. The Australia match also marked Hamm's 259th international appearance; only two of her teammates, Kristine Lilly and Christie Rampone, have played in more international games.
Hamm helped lead the U.S. national team to its second gold medal at the 2004 Summer Olympics in Athens and was selected by her fellow Olympians to carry the American flag at the closing ceremony. During the team's first group stage match against Greece, Hamm served the cross to Shannon Boxx's game-opening goal, and scored the last goal of the match to lift the U.S. to a 3–0 win. During a 2–0 win over Brazil in the second group stage match, Hamm converted a penalty kick for the opening goal. The U.S. finished at the top of Group C with seven points after a 1–1 draw against Australia to advance to the quarter-finals, where they defeated Japan 2–1. During the semi-final match against Germany, Hamm served an assist to Heather O'Reilly who scored in overtime to secure a 2–1 win. The U.S. faced Brazil for a second time at the Games in the gold medal match and won 2–1 in overtime. Her teammates swarmed Hamm after the final whistle to celebrate their second Olympic gold medal and her final win at the Olympics. The game marked the last Olympic appearance for the five remaining players who had helped win the inaugural 1991 FIFA Women's World Cup: Hamm, Julie Foudy, Joy Fawcett, Brandi Chastain, and Kristine Lilly (often referred to as the Fab Five).
Style of play
Regarded as one of the greatest women soccer players of all time, Hamm was an athletic, dynamic, and technically gifted striker, renowned for her speed, skill, footwork, stamina, and ability on the ball, as well as her consistency. An excellent, agile dribbler, she was highly regarded for her control, as well as her grace, pace, and elegance in possession. A prolific goalscorer, she was known for her powerful and accurate striking ability, although she was also a creative and hard-working forward, and a team player, who was equally capable of assisting many goals for her teammates, due to her accurate passing, and was also willing to aid her teammates defensively when possession was lost. She was capable of playing in any offensive position.
Personal life
Hamm was first married to her college sweetheart Christiaan Corry, a United States Marine Corps helicopter pilot; they divorced in 2001 after being married six years. She married then-Boston Red Sox shortstop Nomar Garciaparra on November 22, 2003, in Goleta, California, in a ceremony attended by a few hundred guests. On March 27, 2007, Hamm gave birth to twin girls, Grace Isabella and Ava Caroline. Though born five weeks early, each girl weighed over at birth. The couple had a son, named Garrett Anthony, in January 2012.
Philanthropy
In 1999, Hamm founded the Mia Hamm Foundation following the death of her adopted brother Garrett in 1997 from complications of aplastic anemia, a rare blood disease he had endured for ten years. Dedicated to promoting awareness of and raising funds for families in need of a bone marrow or cord blood transplant, the foundation encourages people to register in the national bone marrow registry and provides funds to UNC Health Care and Children's Hospital Los Angeles. It also focuses on creating opportunities to empower women through sport. Hamm hosts an annual celebrity soccer game in Los Angeles to support the foundation.
In popular culture
Hamm has been called the most marketable female athlete of her generation. During her time as an international soccer player, she signed endorsement deals with Gatorade, Nike, Dreyer's Ice Cream, Pepsi, Nabisco, Fleet Bank, Earthgrains, and Powerbar. In 1997, she starred in a popular commercial for Pert Plus. Hamm was featured on a Wheaties box following the 1999 World Cup and endorsed the first Soccer Barbie by Mattel. She co-starred with Michael Jordan in a popular television commercial for Gatorade in the spring of 1999 which featured the two athletes competing against each other in a variety of sports while the song Anything You Can Do (I Can Do Better) is heard. The commercial ends with Hamm throwing Jordan to the ground in a judo match. In 2000, the video game, Mia Hamm Soccer 64 was released for Nintendo 64. It was the first game to feature female athletes only and sold a "relatively high" 42,886 copies in the United States.
Hamm was featured on the covers of Sports Illustrated, Time, and People. She has made appearances on numerous television shows, including: Late Night with David Letterman, The Rosie O'Donnell Show, The Tonight Show with Jay Leno, Today, Extreme Makeover: Home Edition, Good Morning America, and The Oprah Winfrey Show. She was profiled in ESPN's SportsCentury and Biography documentaries, ESPN 25: Who's #1?, and was featured in Once in a Lifetime: The Extraordinary Story of the New York Cosmos. In 2005, she was featured in the HBO documentary Dare to Dream: The Story of the U.S. Women's Soccer Team. Her likeness was used in the logo of Women's Professional Soccer, the second women's professional soccer league in the United States. Hamm was mentioned on a season eight episode of the TV series Friends. When Rachel had Joey put his hand on her belly, she says, "Aw, it's unbelievable! Wow! She is kicking so much! Oh, she's like, um, who's that kind of annoying girl soccer player?" Joey asks, "Mia Hamm?" Rachel says, "Mia Hamm!".
Other work
Hamm is a global ambassador for FC Barcelona. She is the author of the national bestseller Go For the Goal: A Champion's Guide to Winning in Soccer and Life and juvenile fiction book Winners Never Quit.
In 2012, after Pia Sundhage's departure as head coach of the national team, Hamm joined Danielle Slaton and Sunil Gulati as a member of the search committee for Sundhage's successor. In 2014, she was named to the board of the National Soccer Hall of Fame.
In October 2014, Hamm was announced as a co-owner of the future Major League Soccer team, Los Angeles FC. The same month, Hamm joined the board of directors of Serie A club A.S. Roma, owned by American investors. Hamm joined Vice President Joe Biden and Second Lady Jill Biden as members of the United States delegation at the 2015 FIFA Women's World Cup Final in Vancouver, Canada.
Career statistics
Matches and goals scored at World Cup and Olympic tournaments
Hamm competed as a member of the United States national soccer team in four FIFA Women's World Cup tournaments: the inaugural 1991 in China, 1995 in Sweden, as well as 1999 and 2003 in the United States. She competed at three Summer Olympic Games: 1996 in Atlanta, 2000 in Sydney, and 2004 in Athens. All together, she played in 38 matches and scored 13 goals at seven top international tournaments. With her teammates, Hamm finished third at two World Cup tournaments in 1995 and 2003, second at the 2000 Olympics, and first at the four other international tournaments.
Honors and awards
Hamm was named Sportswoman of the Year by the Women's Sports Foundation in 1997 and 1999. In June 1999, Nike named the largest building on their corporate campus after Hamm. In December 2000, Hamm was named one of the top three female soccer players of the twentieth century in the FIFA Female Player of the Century Award, finishing behind only Sun Wen and compatriot Michelle Akers.
While at North Carolina, she won the Honda Sports Award as the nation's top female soccer player in both 1993 and 1994, and won the Honda-Broderick Cup in 1994 as the nation's top female athlete.
In March 2004, Hamm and former U.S. teammate Michelle Akers were the only two women and Americans named to the FIFA 100, a list of the 125 greatest living soccer players, selected by Pelé and commissioned by FIFA for the organization's 100th anniversary. Other accolades include being elected U.S. Soccer Female Athlete of the Year five years in a row from 1994 to 1998, and winning three ESPY awards including Soccer Player of the Year and Female Athlete of the Year.
In 2006 Hamm was inducted into the Alabama Sports Hall of Fame, followed by the Texas Sports Hall of Fame on March 11, 2008. In 2007, during her first year of eligibility, Hamm was selected for induction into the National Soccer Hall of Fame. In 2008, an image of her silhouette was used in the logo for the second professional women's soccer league in the United States: Women's Professional Soccer. ESPN named her the greatest female athlete in 2012.
In 2013, Hamm became the first woman inducted into the World Football Hall of Fame, located in Pachuca, Mexico. She was named to U.S. Soccer's USWNT All-Time Best XI in December 2013. In 2014, Hamm was named one of ESPNW's Impact 25; she was also the recipient of the Golden Foot Legends Award.
For their first match of March 2019, the women of the United States women's national soccer team each wore a jersey with the name of a woman they were honoring on the back; Samantha Mewis chose the name of Hamm.
In 2021, Hamm was inducted into the National Women's Hall of Fame.
Championships
See also
List of FIFA Women's World Cup winning players
List of women's footballers with 100 or more international goals
List of University of North Carolina at Chapel Hill Olympians
List of FIFA Women's World Cup goalscorers
List of Olympic medalists in football
List of 1996 Summer Olympics medal winners
List of 2000 Summer Olympics medal winners
List of 2004 Summer Olympics medal winners
List of athletes on Wheaties boxes
References
Match reports
External links
Mia Hamm Video produced by Makers: Women Who Make America
1972 births
Living people
Sportspeople from Selma, Alabama
Soccer players from Alabama
Soccer players from North Carolina
American women's soccer players
Women's association football forwards
Women's association football midfielders
North Carolina Tar Heels women's soccer players
Hermann Trophy women's winners
Washington Freedom players
Women's United Soccer Association players
Women's Olympic soccer players of the United States
United States women's international soccer players
1991 FIFA Women's World Cup players
1995 FIFA Women's World Cup players
Footballers at the 1996 Summer Olympics
1999 FIFA Women's World Cup players
Footballers at the 2000 Summer Olympics
2003 FIFA Women's World Cup players
Footballers at the 2004 Summer Olympics
Outfield association footballers who played in goal
FIFA Women's World Cup-winning players
Olympic gold medalists for the United States in soccer
Olympic silver medalists for the United States in soccer
Medalists at the 1996 Summer Olympics
Medalists at the 2000 Summer Olympics
Medalists at the 2004 Summer Olympics
FIFA Century Club
FIFA World Player of the Year winners
National Soccer Hall of Fame members
FIFA 100
Women association football executives
American expatriate sportspeople in Italy
American women philanthropists
Philanthropists from Alabama
Philanthropists from North Carolina
Competitors at the 1998 Goodwill Games
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"The Gilleys Shield is a trophy symbolising the Open Women's Championship of the Softball Australia organisation (formerly known as the Australian Softball Federation). The competition's full name is the Mack Gilley Shield.\n\nHistory \nIn 1947, Queensland, New South Wales and Victoria participated in the first interstate softball competition in the country. The competition was eventually called the Mack Gilley Shield. For the 2009–2010 season the Shield will for the first time admit the New Zealand White Sox team to the competition.\n\nWinners \nBetween 1947 and 1968, New South Wales did not win a single Mack Gilley Shield. They finally won in 1969, repeating their first-place finish again in 1973, 1981 when they shared the title with Victoria, 1986, 1988, 1989, 1990, 1991 and 1993. Between the start of the competition and 1995, New South Wales won a total of nine Gilley Shields. This total ranked them third amongst all states.\n\nQueensland won the Mack Gilley Shield in 1963, 1966 and 1968. They won again in 1975, 1983, 1984, 1987, 1992 and 1994. In 2012, Queensland finished third in the Gilley Shield. Between the start of the competition and 1995, Queensland won a total of ten Gilley Shields. This total ranked them second amongst all states.\n\nVictoria won the Mack Gilley Shield in 1947, 1949, 1950, and 1951. They won it again in 1954, 1957 and 1958. They did not win in 1959 but won again in 1960, 1961 and 1962. Queensland won in 1963, but Victoria won again in 1964 and 1965 and 1967. Victoria went on to win again in 1970, 1971, 1972, 1974, 1976, 1977, and shared the title with New South Wales in 1981. They won again in 1982, and 1985. Between the start of the competition and 1995, Victoria won a total of twenty-two Gilley Shields if the 1981 tie with New South Wales is counted. This was twelve more than any other state.\n\nBetween 1947 and 1994, Tasmania did not win a single Mack Gilley Shield.\n\nSouth Australia won the Mack Gilley Shield in 1956. Between 1957 and 1994, they did not win another championship.\n\nWestern Australia won the Mack Gilley Shield in 1952 and 1953. They did not win in 1954 but won it again in 1955. They missed out in winning from 1956 to 1958, before winning again in 1959. They did not win another championship between 1960 and 1994.\n\nBetween 1947 and 1968, the Australian Capital Territory did not win the Mack Gilley Shield. They finally broke their losing streak by winning in 1978, 1979 and 1980. They did not win again between 1981 and 1994.\n\nBetween 1947 and 1968, the Northern Territory did not win the Mack Gilley Shield. They did not win between 1969 and 1994.\n\nHosting \nNew South Wales hosted the Mack Gilley Shield in Sydney in 1950, 1955, 1961, and 1968. Queensland hosted the Mack Gilley Shield in Brisbane in 1947, 1953, 1959 and 1966. Victoria hosted the Mack Gilley Shield in Melbourne in 1949, 1954, 1960 and 1967. Tasmania hosted the Mack Gilley Shield in Hobart in 1958, 1964 and 1985. South Australia hosted the Mack Gilley Shield in Adelaide in 1951, 1956, and 1962. Western Australia hosted the Mack Gilley Shield in Perth in 1952, 1957, and 1963. The Australian Capital Territory hosted the Mack Gilley Shield in Canberra in 1965. Between 1947 and 1968, the Northern Territory did not host the Mack Gilley Shield.\n\nGilleys Shield Awards \nThere are several awards connected with the Shield including the Midge Nelson Medal for the competition's most valuable player, the Lorraine Woolley Medal for pitching and the Sybil turner Medal for the best batting. In 1985, the Nelson Medal was won by K. Dienelt of the Northern Territory and the Woolley Medal was won by L. Evans of Victoria. In 1986, the Nelson Medal was won by H. Strauss of Queensland and the Woolley Medal was won by C. Bruce of New South Wales. In 1987, the Nelson Medal was won by K. Dienelt of the Northern Territory and the Woolley Medal was won by C. Cunderson of Queensland. 1988 was the first year all three medals were awarded. They were won respectively by L. Ward of New South Wales, M. Roche of New South Wales and V. Grant of Western Australia. In 1989, they respectively went to L. Loughman of Victoria, M. Rouche of New South Wales and L. Martin of South Australia. In 1990, they went to K, McCracken of Victoria, M. Rouche of New South Wales, and G. Ledingham of New South Wales.\n\nAWARD NAMES\nMidge Nelson Medal – Most Valuable Player\nRosemary Adey Medal – Rookie of the Year\nLorraine Woolley Medal – Best Pitcher\nSybil Turner Medal – Best Batter\n\nPrevious Individual Award Winners \n2003\nMost Valuable Player – Tanya Harding (QLD)\nRookie of the Year – Melanie Dunne (QLD)\nBest Pitcher – Kelly Hardie (QLD)\nBest Batter – Kerrie Sheehan (NSW)\n2004\nMost Valuable Player – Tanya Harding (QLD\nRookie of the Year – Kylie Cronk (QLD)\nBest Pitcher – Brooke Wilkins (QLD)\nBest Batter – Natalie Titcume (VIC)\n2005\nMost Valuable Player – Natalie Titcume (VIC)\nRookie of the Year – Krystle Rivers (WA)\nBest Pitcher – Jocelyn McCallum (QLD)\nBest Batter – Amanda Doman (QLD)\n2006\nMost Valuable Player – Amanda Doman (QLD)\nRookie of the Year – Nicole Smith (ACT)\nBest Pitcher – Kelly Hardie (QLD)\nBest Batter – Stacey Porter (NSW)\n\nSee also \nSoftball Australia\nASF National Championships\n\nReferences \n\nSoftball competitions in Australia",
"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"
] |
[
"Mia Hamm",
"Washington Freedom, 2001-2003",
"Who was the first team she played against as part of the team?",
"During the league's inaugural match between the Freedom and Bay Area CyberRays at RFK Stadium in Washington, D.C.,",
"Did they win?",
"The Freedom won 1-0."
] |
C_62a5febe9e214319a432971d23e2d865_0
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How did she do in the game?
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How did Mia Hamm do in the Washington Freedom's inaugural game against the Bay Area CyberRays?
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Mia Hamm
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In 2001, Hamm was a founding player in the first professional women's soccer league in the United States, the Women's United Soccer Association (WUSA), and played for the Washington Freedom from 2001-2003. Throughout the league's history, Hamm was hailed as the star of the league and used heavily in marketing and promotion. In a poll of 1,000 advertising executives conducted in 2001, she was voted "the most appealing female athlete", garnering almost twice as many votes as the runner-up Anna Kournikova. During the league's inaugural match between the Freedom and Bay Area CyberRays at RFK Stadium in Washington, D.C., Hamm was fouled in the penalty area resulting in a penalty kick that her teammate Pretinha converted to mark the first goal scored in the league. The Freedom won 1-0. In addition to the 34,148 fans in attendance being greater than any MLS game that weekend, the Turner Network Television (TNT) broadcast reached 393,087 households: more than two MLS games broadcast on ESPN and ESPN2. Playing as a midfielder and forward, Hamm played in 19 of the Freedom's 21 matches during the 2001 season. She led the team in goals (6) and assists (4). The Freedom finished in seventh place during the regular season with a 6-12-3 record. Hamm suffered a knee injury in November 2001 that kept her off the pitch for several months of early 2002. Despite playing only half the 2002 season with the Freedom, she finished the season with eight goals. The team finished in third place during the 2002 season with a 11-5-5 record and advanced to the playoffs. After winning the semi-final against the Philadelphia Charge 1-0, the team was defeated 3-2 by the Carolina Courage in the 2002 WUSA Founders Cup. Hamm scored the Freedom's second goal in the 64th minute. During the 2003 season, Hamm started in 16 of the 19 games in which she played. Her 11 goals ranked second on the team behind Abby Wambach's 13 while her 11 assists ranked first. The Freedom finished in fourth place during the regular season with a 9-8-4 record and secured a berth in the playoffs. Hamm finished her club career as a WUSA champion when the Freedom defeated the Atlanta Beat 2-1 in overtime to win the Founders Cup on August 24, 2003. CANNOTANSWER
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Hamm was fouled in the penalty area resulting in a penalty kick that her teammate Pretinha converted
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Mariel Margaret Hamm-Garciaparra (born March 17, 1972) is an American retired professional soccer player, two-time Olympic gold medalist, and two-time FIFA Women's World Cup champion. Hailed as a soccer icon, she played as a forward for the United States women's national soccer team from 1987 to 2004. Hamm was the face of the Women's United Soccer Association (WUSA), the first professional women's soccer league in the United States, where she played for the Washington Freedom from 2001 to 2003. She played college soccer for the North Carolina Tar Heels women's soccer team and helped the team win four consecutive NCAA Division I Women's Soccer Championship titles.
During her tenure with the national team, Hamm competed in four FIFA Women's World Cup tournaments: the inaugural 1991 in China, 1995 in Sweden, 1999 and 2003 in the United States. She led the team at three Olympic Games, including: 1996 in Atlanta (the first time women's soccer was played), 2000 in Sydney, and 2004 in Athens. She completed her international career having played in 42 matches and scored 14 goals at these 7 international tournaments.
Hamm held the record for most international goals scored until 2013 and remains in third place behind former teammate Abby Wambach and Canadian striker Christine Sinclair as of 2017. She currently ranks third in the history of the U.S. national team for international caps (276) and first for career assists (144). Twice named FIFA World Player of the Year in 2001 and 2002, Hamm and her teammate Michelle Akers were hailed by Pelé as two of FIFA's 125 greatest living players when he included them in the FIFA 100 to celebrate the organization's 100th anniversary. Hamm was named U.S. Soccer Female Athlete of the Year five years in a row and won three ESPY awards including Soccer Player of the Year and Female Athlete of the Year. The Women's Sports Foundation named her Sportswoman of the Year in 1997 and 1999. She was inducted into the National Soccer Hall of Fame, Alabama Sports Hall of Fame, Texas Sports Hall of Fame, North Carolina Soccer Hall of Fame, and was the first woman inducted into the World Football Hall of Fame.
A co-owner of Los Angeles FC, Hamm is also a global ambassador for FC Barcelona and is on the board of directors of Serie A club A.S. Roma. Author of Go For the Goal: A Champion's Guide to Winning in Soccer and Life, Hamm has been featured in several films and television shows, including the HBO documentary, Dare to Dream: The Story of the U.S. Women's Soccer Team.
Early life
Born in Selma, Alabama, Mia was the fourth of six children of Bill and Stephanie Hamm. She wore corrective shoes as a toddler after being born with a club foot. Hamm spent her childhood on various United States Air Force bases around the world with her family. While living in Florence, Italy, Hamm first played soccer, which was hugely popular there; her entire family quickly became involved in the sport. At age five, then living in Wichita Falls, Texas, Hamm joined her first soccer team. Her father coached Mia and her newly adopted brother, 8-year-old Garrett.
Hamm played sports from a young age and excelled as a football player on the boys' team at junior high school. As a high school freshman and sophomore, she played soccer for Notre Dame Catholic High School in Wichita Falls. She played at the 1987 U.S. Olympic Festival, the youngest player to play for the United States women's national soccer team. As a new player, she often started as a forward but did not score a goal during her first year on the team. Hamm spent a year at Lake Braddock Secondary School in Burke, Virginia, and helped the Lake Braddock soccer team win the 1989 state championships.
Club career
North Carolina Tar Heels, 1989–1993
From 1989 to 1993, Hamm attended the University of North Carolina at Chapel Hill, where she helped the Tar Heels win four NCAA Division I Women's Soccer Championships in five years. She red-shirted the 1991 season to focus on preparation for the inaugural 1991 FIFA Women's World Cup in China. North Carolina lost one game of the 95 she played on the team. She earned All-American honors, was named the Atlantic Coast Conference (ACC) Player of the Year for three consecutive years, and was named ACC Female Athlete of the Year in 1993 and 1994. She graduated from North Carolina in 1994 with the ACC records for goals (103), assists (72), and total points (278). In 2003, she and Michael Jordan were named the ACC's Greatest Athletes of the conference's first fifty years.
Hamm was a member of the United States women's national college team that won a silver medal, being defeated by China in the final, at the 1993 Summer Universiade in Buffalo, New York.
Washington Freedom, 2001–2003
In 2001, Hamm was a founding player in the first professional women's soccer league in the United States, the Women's United Soccer Association (WUSA), and played for the Washington Freedom from 2001 to 2003. Throughout the league's history, Hamm was hailed as the star of the league and used heavily in marketing and promotion. In a poll of 1,000 advertising executives conducted in 2001, she was voted "the most appealing female athlete", garnering almost twice as many votes as the runner-up Anna Kournikova.
During the league's inaugural match between the Freedom and Bay Area CyberRays at RFK Stadium in Washington, D.C., Hamm was fouled in the penalty area resulting in a penalty kick that her teammate Pretinha converted to mark the first goal scored in the league. The Freedom won 1–0. In addition to the 34,148 fans in attendance being greater than any MLS game that weekend, the Turner Network Television (TNT) broadcast reached 393,087 households: more than two MLS games broadcast on ESPN and ESPN2. Playing as a midfielder and forward, Hamm played in 19 of the Freedom's 21 matches during the 2001 season. She led the team in goals (6) and assists (4).
The Freedom finished in seventh place during the regular season with a record.
Hamm suffered a knee injury in November 2001 that kept her off the pitch for several months of early 2002. Despite playing only half the 2002 season with the Freedom, she finished the season with eight goals. The team finished in third place during the 2002 season with a record and advanced to the playoffs. After winning the semi-final against the Philadelphia Charge 1–0, the team was defeated 3–2 by the Carolina Courage in the 2002 WUSA Founders Cup. Hamm scored the Freedom's second goal in the 64th minute.
During the 2003 season, Hamm started in 16 of the 19 games in which she played. Her 11 goals ranked second on the team behind Abby Wambach's 13 while her 11 assists ranked first.
The Freedom finished in fourth place during the regular season with a record and secured a berth in the playoffs. Hamm finished her club career as a WUSA champion when the Freedom defeated the Atlanta Beat 2–1 in overtime to win the Founders Cup on August 24, 2003.
Retirement
On May 14, 2004, Hamm announced her retirement effective after the 2004 Athens Olympics. Following the 2004 Olympics, Hamm and her teammates played in a 10-game farewell tour in the United States. The final match of the tour against Mexico at the Home Depot Center in Carson, California, on December 8, 2004, marked the final international match for Hamm, Julie Foudy, and Joy Fawcett. The U.S. defeated Mexico 5–0 and Hamm assisted on two of the goals.
Hamm retired at age 32 with a record 158 international goals. She and teammates Foudy and Fawcett were honored with a pre-game ceremony where they were presented with framed jerseys and roses in front of 15,549 fans at Home Depot Center in Carson, California. During the 5–0 win against Mexico, Hamm provided the assist on the first two goals. Following her retirement, Hamm's #9 jersey was inherited by midfielder Heather O'Reilly.
International career
Women's national team, 1987–2004
Hamm made her debut for the United States women's national soccer team in 1987 at the age of 15 — just two years after the team played its first international match. She was the youngest person ever to play for the team. She scored her first goal during her 17th appearance. She competed in four FIFA Women's World Cup tournaments: the inaugural 1991 in China, 1995 in Sweden, 1999 and 2003 in the United States. She led the team at three Olympic Games, including: 1996 in Atlanta (the first time women's soccer was played), 2000 in Sydney, and 2004 in Athens. In total, she played 42 matches and scored 14 goals in international tournaments.
Hamm held the record for most international goals scored—by a woman or man—until 2013 and remains in third place as of 2017. She currently ranks third in the history of the U.S. national team for international caps (276) and first for career assists (144).
1991 FIFA Women's World Cup
In 1991, Hamm was named to the roster for the inaugural FIFA Women's World Cup in China under North Carolina coach Anson Dorrance. At 19 years old, she was still the youngest player on the team. During the team's first match of the tournament, Hamm scored the game-winning goal in the 62nd minute, leading the U.S. to a 3–2 win over Sweden. She also scored once in their second group stage match when they defeated Brazil 5–0. The U.S. squad finished first in Group B after a third win against Japan on November 21 and advanced to the knockout stage of the tournament. During the quarterfinal match, the U. S. defeated Chinese Taipei 7–0. After defeating Germany 5–2 during the semi-final, the U.S. faced Norway in the final. In front of 63,000 spectators, the U.S. clinched the first World Cup championship title after a 2–1 win.
1995 FIFA Women's World Cup
Hamm's second World Cup appearance came during the 1995 tournament in Sweden. The United States were led by head coach Tony DiCicco. During the team's first match of the tournament, she scored the team's third goal in the 51st minute in a 3–3 draw against China PR. The U.S. faced Denmark during its second group stage match. Goals from Kristine Lilly and Tiffeny Milbrett led to a 2–0 win for the U.S. Hamm played goalkeeper for a few minutes after Briana Scurry received a red card and was removed from the match. After defeating Australia 4–1 on June, 10, the U.S. advanced to the knock-out stage and defeated Japan 4–0 in the quarter-final. The U.S. was defeated by eventual champion Norway 1–0 in the semi-finals and captured third place after defeating China PR 2–0 on June 17. Hamm scored the second U.S. goal of the match in the 55th minute.
1996–1998: Atlanta Olympics and 100th international goal
Hamm was a key part of the U.S. team at the 1996 Summer Olympic Games in Atlanta; this was the first Olympic tournament to include women's soccer. The U.S. faced Denmark in their first preliminary round match. Hamm scored a goal and served an assist to Tiffeny Milbrett to lead the U.S. to a 3–0 win. The team defeated Sweden 2–1 next at the Orlando Citrus Bowl. After tying China 0–0 in their final preliminary round match, the U.S. finished second in Group E. Defeating Norway in the semi-finals, the team faced China in the final. Hamm played despite having foot and groin injuries, suffered during team training and the match against Sweden. Although she was carried off by stretcher in the final minute, her team won their first Olympic gold medal with a 2–1 win witnessed by 76,481 fans in the stadium – the largest crowd for a soccer event in the history of the Olympics and the largest crowd for a women's sports event in the United States.
The 20 goals scored by Hamm in 1998 were the highest annual total of her international career. She also provided 20 assists. On September 18, she scored her 100th international goal in a friendly match against Russia in Rochester, New York. The same year, she led the U.S. to the first-ever Goodwill Games gold medal. Hamm scored five of the team's seven goals at the tournament, including two during the championship match against China.
1999: 108th International goal and FIFA Women's World Cup
On May 22, 1999, Hamm broke the all-time international goal record with her 108th goal in a game against Brazil in Orlando, Florida. The following month, she led the national team at the 1999 FIFA Women's World Cup, hosted by the United States. During the team's first group stage match against Denmark, she scored her 110th international goal and served an assist to Julie Foudy as the U.S. won 3–0. Against Nigeria, Hamm's low free kick was knocked into the goal by a Nigerian midfielder. Within a minute, Hamm scored with a free kick. She later served an assist to Kristine Lilly before being substituted in the 57th minute. The U.S. won 7–1 and secured a berth in the quarter-finals. During the team's final group stage match, head coach Tony DiCicco rested a number of players, including Hamm, who was substituted at half-time. The U.S. defeated Korea 3–0 and finished Group A with nine points. In the quarter-finals, the U.S. defeated Germany 3–2. Playing Brazil in the semi-finals, Hamm was knocked down in the penalty area late in the second half; Michelle Akers converted the subsequent penalty and their team won 2–0.
After 90 minutes of scoreless regulation time and 30 minutes of sudden death, the 1999 FIFA Women's World Cup Final was decided by a penalty shootout between the U.S. and China. The five American players to take penalty kicks, including Hamm, converted; China missed one attempt so that the home team won. The final surpassed the 1996 Atlanta Olympic final as the most-attended women's sports event, with more than 90,000 people filling the Rose Bowl in Pasadena, California. It held the record until 2014 for the largest U.S. television audience for a soccer match with 17,975,000 viewers. , it ranks third following the 2015 FIFA Women's World Cup (25,400,000 viewers) and 2014 FIFA World Cup group stage match between the U.S. men's team and Portugal (18,220,000 viewers).
Immediately following the final, Hamm collapsed in the locker room from severe dehydration. She was treated by medical staff with an intravenous drip and three liters of fluids. After 12 hours of sleep, she joined the team for magazine cover shoots, went to Disneyland for a celebration rally, and made numerous television appearances. A week later, the team met President Clinton at the White House and flew with Hillary and Chelsea Clinton on Air Force One to Cape Canaveral. Her leadership and performance at the 1999 World Cup cemented Hamm as a soccer icon.
2000 Sydney Olympics
Hamm represented the United States at the 2000 Summer Olympics in Sydney, Australia. During the group stage, she scored a goal against Norway to lift the United States to a 2–0 win. The team tied China 1–1 in their next group stage match before defeating Nigeria 3–1 to finish first in their group. After advancing to the semi-finals where the U.S. faced Brazil, Hamm scored the game-winning goal in the 60th minute. The goal marked the 127th of her international career and set a new record for most goals scored in international play by a woman or man. The U.S. faced Norway in the final and were defeated 3–2 in overtime to earn the silver medal at the Games.
2003 FIFA Women's World Cup
Originally scheduled for China, the 2003 FIFA Women's World Cup was moved to the United States due to the SARS outbreak. Hamm was named to the U.S. roster in August, and stated that it would be her final World Cup appearance. During the team's first group stage match, Hamm's three assists helped the U.S. to a 3–1 win over Sweden. She scored twice against Nigeria and served the assist for the team's third goal to lead the U.S. to a 5–0 win and qualification for the quarter-finals with one match to play. The U.S. faced North Korea in their final group stage match and dominated 3–0. Hamm and a number of others were rested for the game by head coach April Heinrichs; this was the first World Cup match Hamm had missed in her career. The U.S. faced Norway in the quarter-finals; Although the U.S. won 1–0, Hamm was fouled throughout the match as Norway played with physicality to counter the U.S. team. One of Norway's 24 fouls resulted in a penalty kick for Hamm which was saved by the Norwegian goalkeeper. After the U.S. was defeated 3–0 by Germany in the semi-finals, the team defeated Canada 3–1 to secure a third-place finish.
2004: 158th international goal and Athens Olympics
During a friendly game against Australia on July 21, 2004, Hamm scored her 158th international goal setting the record for most international goals scored by any player in the world, male or female. She held the world record until Abby Wambach scored her 159th goal on June 20, 2013. The Australia match also marked Hamm's 259th international appearance; only two of her teammates, Kristine Lilly and Christie Rampone, have played in more international games.
Hamm helped lead the U.S. national team to its second gold medal at the 2004 Summer Olympics in Athens and was selected by her fellow Olympians to carry the American flag at the closing ceremony. During the team's first group stage match against Greece, Hamm served the cross to Shannon Boxx's game-opening goal, and scored the last goal of the match to lift the U.S. to a 3–0 win. During a 2–0 win over Brazil in the second group stage match, Hamm converted a penalty kick for the opening goal. The U.S. finished at the top of Group C with seven points after a 1–1 draw against Australia to advance to the quarter-finals, where they defeated Japan 2–1. During the semi-final match against Germany, Hamm served an assist to Heather O'Reilly who scored in overtime to secure a 2–1 win. The U.S. faced Brazil for a second time at the Games in the gold medal match and won 2–1 in overtime. Her teammates swarmed Hamm after the final whistle to celebrate their second Olympic gold medal and her final win at the Olympics. The game marked the last Olympic appearance for the five remaining players who had helped win the inaugural 1991 FIFA Women's World Cup: Hamm, Julie Foudy, Joy Fawcett, Brandi Chastain, and Kristine Lilly (often referred to as the Fab Five).
Style of play
Regarded as one of the greatest women soccer players of all time, Hamm was an athletic, dynamic, and technically gifted striker, renowned for her speed, skill, footwork, stamina, and ability on the ball, as well as her consistency. An excellent, agile dribbler, she was highly regarded for her control, as well as her grace, pace, and elegance in possession. A prolific goalscorer, she was known for her powerful and accurate striking ability, although she was also a creative and hard-working forward, and a team player, who was equally capable of assisting many goals for her teammates, due to her accurate passing, and was also willing to aid her teammates defensively when possession was lost. She was capable of playing in any offensive position.
Personal life
Hamm was first married to her college sweetheart Christiaan Corry, a United States Marine Corps helicopter pilot; they divorced in 2001 after being married six years. She married then-Boston Red Sox shortstop Nomar Garciaparra on November 22, 2003, in Goleta, California, in a ceremony attended by a few hundred guests. On March 27, 2007, Hamm gave birth to twin girls, Grace Isabella and Ava Caroline. Though born five weeks early, each girl weighed over at birth. The couple had a son, named Garrett Anthony, in January 2012.
Philanthropy
In 1999, Hamm founded the Mia Hamm Foundation following the death of her adopted brother Garrett in 1997 from complications of aplastic anemia, a rare blood disease he had endured for ten years. Dedicated to promoting awareness of and raising funds for families in need of a bone marrow or cord blood transplant, the foundation encourages people to register in the national bone marrow registry and provides funds to UNC Health Care and Children's Hospital Los Angeles. It also focuses on creating opportunities to empower women through sport. Hamm hosts an annual celebrity soccer game in Los Angeles to support the foundation.
In popular culture
Hamm has been called the most marketable female athlete of her generation. During her time as an international soccer player, she signed endorsement deals with Gatorade, Nike, Dreyer's Ice Cream, Pepsi, Nabisco, Fleet Bank, Earthgrains, and Powerbar. In 1997, she starred in a popular commercial for Pert Plus. Hamm was featured on a Wheaties box following the 1999 World Cup and endorsed the first Soccer Barbie by Mattel. She co-starred with Michael Jordan in a popular television commercial for Gatorade in the spring of 1999 which featured the two athletes competing against each other in a variety of sports while the song Anything You Can Do (I Can Do Better) is heard. The commercial ends with Hamm throwing Jordan to the ground in a judo match. In 2000, the video game, Mia Hamm Soccer 64 was released for Nintendo 64. It was the first game to feature female athletes only and sold a "relatively high" 42,886 copies in the United States.
Hamm was featured on the covers of Sports Illustrated, Time, and People. She has made appearances on numerous television shows, including: Late Night with David Letterman, The Rosie O'Donnell Show, The Tonight Show with Jay Leno, Today, Extreme Makeover: Home Edition, Good Morning America, and The Oprah Winfrey Show. She was profiled in ESPN's SportsCentury and Biography documentaries, ESPN 25: Who's #1?, and was featured in Once in a Lifetime: The Extraordinary Story of the New York Cosmos. In 2005, she was featured in the HBO documentary Dare to Dream: The Story of the U.S. Women's Soccer Team. Her likeness was used in the logo of Women's Professional Soccer, the second women's professional soccer league in the United States. Hamm was mentioned on a season eight episode of the TV series Friends. When Rachel had Joey put his hand on her belly, she says, "Aw, it's unbelievable! Wow! She is kicking so much! Oh, she's like, um, who's that kind of annoying girl soccer player?" Joey asks, "Mia Hamm?" Rachel says, "Mia Hamm!".
Other work
Hamm is a global ambassador for FC Barcelona. She is the author of the national bestseller Go For the Goal: A Champion's Guide to Winning in Soccer and Life and juvenile fiction book Winners Never Quit.
In 2012, after Pia Sundhage's departure as head coach of the national team, Hamm joined Danielle Slaton and Sunil Gulati as a member of the search committee for Sundhage's successor. In 2014, she was named to the board of the National Soccer Hall of Fame.
In October 2014, Hamm was announced as a co-owner of the future Major League Soccer team, Los Angeles FC. The same month, Hamm joined the board of directors of Serie A club A.S. Roma, owned by American investors. Hamm joined Vice President Joe Biden and Second Lady Jill Biden as members of the United States delegation at the 2015 FIFA Women's World Cup Final in Vancouver, Canada.
Career statistics
Matches and goals scored at World Cup and Olympic tournaments
Hamm competed as a member of the United States national soccer team in four FIFA Women's World Cup tournaments: the inaugural 1991 in China, 1995 in Sweden, as well as 1999 and 2003 in the United States. She competed at three Summer Olympic Games: 1996 in Atlanta, 2000 in Sydney, and 2004 in Athens. All together, she played in 38 matches and scored 13 goals at seven top international tournaments. With her teammates, Hamm finished third at two World Cup tournaments in 1995 and 2003, second at the 2000 Olympics, and first at the four other international tournaments.
Honors and awards
Hamm was named Sportswoman of the Year by the Women's Sports Foundation in 1997 and 1999. In June 1999, Nike named the largest building on their corporate campus after Hamm. In December 2000, Hamm was named one of the top three female soccer players of the twentieth century in the FIFA Female Player of the Century Award, finishing behind only Sun Wen and compatriot Michelle Akers.
While at North Carolina, she won the Honda Sports Award as the nation's top female soccer player in both 1993 and 1994, and won the Honda-Broderick Cup in 1994 as the nation's top female athlete.
In March 2004, Hamm and former U.S. teammate Michelle Akers were the only two women and Americans named to the FIFA 100, a list of the 125 greatest living soccer players, selected by Pelé and commissioned by FIFA for the organization's 100th anniversary. Other accolades include being elected U.S. Soccer Female Athlete of the Year five years in a row from 1994 to 1998, and winning three ESPY awards including Soccer Player of the Year and Female Athlete of the Year.
In 2006 Hamm was inducted into the Alabama Sports Hall of Fame, followed by the Texas Sports Hall of Fame on March 11, 2008. In 2007, during her first year of eligibility, Hamm was selected for induction into the National Soccer Hall of Fame. In 2008, an image of her silhouette was used in the logo for the second professional women's soccer league in the United States: Women's Professional Soccer. ESPN named her the greatest female athlete in 2012.
In 2013, Hamm became the first woman inducted into the World Football Hall of Fame, located in Pachuca, Mexico. She was named to U.S. Soccer's USWNT All-Time Best XI in December 2013. In 2014, Hamm was named one of ESPNW's Impact 25; she was also the recipient of the Golden Foot Legends Award.
For their first match of March 2019, the women of the United States women's national soccer team each wore a jersey with the name of a woman they were honoring on the back; Samantha Mewis chose the name of Hamm.
In 2021, Hamm was inducted into the National Women's Hall of Fame.
Championships
See also
List of FIFA Women's World Cup winning players
List of women's footballers with 100 or more international goals
List of University of North Carolina at Chapel Hill Olympians
List of FIFA Women's World Cup goalscorers
List of Olympic medalists in football
List of 1996 Summer Olympics medal winners
List of 2000 Summer Olympics medal winners
List of 2004 Summer Olympics medal winners
List of athletes on Wheaties boxes
References
Match reports
External links
Mia Hamm Video produced by Makers: Women Who Make America
1972 births
Living people
Sportspeople from Selma, Alabama
Soccer players from Alabama
Soccer players from North Carolina
American women's soccer players
Women's association football forwards
Women's association football midfielders
North Carolina Tar Heels women's soccer players
Hermann Trophy women's winners
Washington Freedom players
Women's United Soccer Association players
Women's Olympic soccer players of the United States
United States women's international soccer players
1991 FIFA Women's World Cup players
1995 FIFA Women's World Cup players
Footballers at the 1996 Summer Olympics
1999 FIFA Women's World Cup players
Footballers at the 2000 Summer Olympics
2003 FIFA Women's World Cup players
Footballers at the 2004 Summer Olympics
Outfield association footballers who played in goal
FIFA Women's World Cup-winning players
Olympic gold medalists for the United States in soccer
Olympic silver medalists for the United States in soccer
Medalists at the 1996 Summer Olympics
Medalists at the 2000 Summer Olympics
Medalists at the 2004 Summer Olympics
FIFA Century Club
FIFA World Player of the Year winners
National Soccer Hall of Fame members
FIFA 100
Women association football executives
American expatriate sportspeople in Italy
American women philanthropists
Philanthropists from Alabama
Philanthropists from North Carolina
Competitors at the 1998 Goodwill Games
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[
"Jane McGonigal (born October 21, 1977) is an American game designer and author who advocates the use of mobile and digital technology to channel positive attitudes and collaboration in a real world context.\n\nBiography\n\nEarly years \nMcGonigal was brought up in New Jersey. Her parents are teachers who emphasized intellectual attainment. Her identical twin sister, Kelly McGonigal, is a well known psychologist.\n\nEducation\n\nMcGonigal received her BA in English from Fordham University in 1999 and her PhD in performance studies from the University of California, Berkeley in 2006. She was the first in the department to study computer and video games.\n\nPersonal life\nAfter earning her BA in English, McGonigal started developing her first commercial games. In 2006, at the age of 28, she earned a PhD in performance studies and continued developing games. In 2009, she suffered a debilitating concussion that helped her in the development of a game, Jane the Concussion Slayer, for treating her concussion and other similar conditions; the game was later renamed SuperBetter. In 2011, her first book was published.\n\nPhilosophy\n\nMcGonigal writes and speaks about alternate reality games and massively multiplayer online gaming, especially about the way that collective intelligence can be generated and used as a means for improving the quality of human life or working towards the solution of social ills. She has stated that gaming should be moving \"towards Nobel Prizes.\"\n\nMcGonigal has been called \"the current public face of gamification\". Despite this, McGonigal has objected to the word, stating, \"I don't do 'gamification,' and I'm not prepared to stand up and say I think it works, I don't think anybody should make games to try to motivate somebody to do something they don't want to do. If the game is not about a goal you're intrinsically motivated by, it won't work.\"\n\nCareer \n\nAs a designer McGonigal became known for location-based and alternate reality games. She has taught game design and game studies at the San Francisco Art Institute and the University of California, Berkeley. In 2008 she became the Director of Game Research & Development at Institute for the Future and in 2012 Chief Creative Officer at SuperBetter Labs.\n\nGames\n\nJane has been developing commercial games since 2006, some of which are listed in the following chart:\n\nSuperBetter\n\nIn July 2009, Jane suffered a concussion after hitting her head in her office. The symptoms were severe, lasted for several weeks, and led to her feeling suicidal. She requested her friends give her tasks to do each day.\n\nWanting to recover from her condition, she created a game to treat it. The game was initially called Jane the Concussion-Slayer (after Buffy the Vampire Slayer), then renamed to SuperBetter. McGonigal was able to raise $1 million to fund an expanded version of the game. Additionally, she has collaborated on commissioned games for the Whitney Museum of American Art and the Museum of Contemporary Art, Los Angeles.\n\nBooks\n\nOn January 20, 2011, McGonigal's first book, Reality Is Broken: Why Games Make us Better and How they Can Change the World, was published. In this book, McGonigal looks not only at massively multiplayer online gaming and alternate reality games but also at games more widely. Using current research from the positive psychology movement, McGonigal argues that games contribute powerfully to human happiness and motivation, a sense of meaning, and the development of community.\n\nThe book was met with a favorable reception from The Los Angeles Times, and Wired, and mixed reviews from The Independent. The book received criticism from some quarters, notably the Wall Street Journal, which felt that her thesis, which claimed to use games to \"fix\" everyday life by giving it a sense of achievement and making it seem more fulfilling and optimistic, made \"overblown\" claims from minor examples, and did not address conflicting individual goals and desires, or the influence of \"evil\". The New York Times Book Review also criticized some points in her book, calling out the lack of evidence demonstrating that in-game behavior and values could translate into solutions to real world problems such as poverty, disease and hunger.\n\nOn September 15, 2015, McGonigal's second book, SuperBetter: A Revolutionary Approach to Getting Stronger, Happier, Braver, and More Resilient, was published by Penguin Press. It was #7 on the New York Times Best Seller: Advice, How-to and Miscellaneous List its debut week.\n\nMcGonigal's third book, Imaginable: How to See the Future Coming and Feel Ready for Anything―Even Things That Seem Impossible Today, will be released on March 22, 2022.\n\nMcGonigal has a chapter giving advice in Tim Ferriss' book Tools of Titans.\n\nRecognition \n{| class=\"wikitable collapsible\"\n|-\n! Date !! Award !! Description\n|-\n| 2010 || Named in O: The Oprah Magazine \"2010 O Power List\" || Named in O: The Oprah Magazine as one of 20 important women of 2010 on the \"2010 O Power List\"\n|-\n| 2008 || Named one of the Top 20 Most Important Women in videogaming ||\n|-\n| 2008 || South by Southwest Interactive Award for Activism || Awarded for World Without Oil \n\n|-\n| 2006 || Listed on MIT Technology Review's TR100 || Named one of the world's top innovators under the age of 35 by MIT's Technology Review.\n|-\n| 2005 || 2005 Innovation Award from the International Game Developers Association and a 2005 Games-related Webby Award. || For I Love Bees, the Halo 2 promotion.\n|}\n\nPublicationsReality Is Broken: Why Games Make Us Better and How They Can Change the World, , (20 January 2011)SuperBetter: A Revolutionary Approach to Getting Stronger, Happier, Braver and More Resilient'', (15 September 2015).\n\nReferences\n\nExternal links\n\n \n IT Conversations: Interview on Alternate Reality Gaming (2007)\n Game Changer: A Talk with Jane McGonigal (2011)\n Mother Jones: Wii Shall Overcome (2011)\n Hollywood Reporter: How Video Games Can Change Your Life (2012)\n How Gaming Can Make A Better World: Ted Talk (2010)\n\n1977 births\nAmerican video game designers\nLiving people\nWriters from Philadelphia\nSan Francisco Art Institute faculty\nUniversity of California, Berkeley faculty\nUniversity of California, Berkeley alumni\nGame researchers\n21st-century American women writers\nTwin people from the United States\nWomen video game designers\nWomen video game developers\nPervasive games\nIdentical twins\nAmerican women academics",
"\"How We Do\" is a song by American rapper and West Coast hip hop artist the Game, featuring rapper 50 Cent from his debut album, The Documentary. Produced by Dr. Dre, Mike Elizondo, it was released as the album's second official single in late 2004.\n\n\"How We Do\" achieved commercial success worldwide. The track peaked within the top 10 in multiple countries, including the United Kingdom, Ireland, Netherlands, Switzerland, Germany and New Zealand. The single was commercially successful in the United States, peaking at number 4 on the Billboard Hot 100 and remaining on the chart for 28 consecutive weeks. \"How We Do\" marked Game's first top-ten single on the chart as a lead artist and also marked 50 Cent's fifth overall top-ten single.\n\nCommercial success\nThe song was a hit at Urban and Rhythmic radio stations in America, and was a success on American mainstream pop music radio stations. In the U.S., the song debuted at number 65 and peaked at number 4 on the Billboard Hot 100 in early 2005, making it the Game's first top-five hit. The song was also certified Gold by the RIAA.\n\nThe song fell down the charts relatively quickly for a top-ten hit. This was likely due to an overabundance of Shady/Aftermath/G-Unit-related singles all competing for airtime during this time period, as Eminem and G-Unit members 50 Cent, Lloyd Banks, Young Buck, and Game all had songs on the chart during the months of late 2004 and early 2005. However, despite its fast fall out of the top twenty, the song managed to hang on in the lower rungs of the top 40 for months, in spite of, or possibly because of, the Game's follow up, \"Hate It or Love It\" becoming even bigger on pop radio only a few weeks after \"How We Do\" had peaked. Dr. Dre had produced \"How We Do\" during his time in N.W.A.\n\nMusic video\nThe music video was directed by Hype Williams; it features cameos by Dr. Dre and Olivia as well as DJ Quik. It showcases night shots of Los Angeles; as well as a Dodge Magnum, driven by the Game, and a Cadillac Escalade, driven by 50 Cent; as it finally cuts to a nightclub. Carmelo Anthony can be briefly seen towards the end, raising a glass of champagne.\n\nSingle track listing\n\nA-side\n\"How We Do (edited)\" (4:03)\n\nB-side\n\"How We Do (edited)\" (4:03) \n\"How We Do (explicit)\" (4:20) \n\"How We Do (instrumental)\" (4:04) \n\"How We Do (a cappella)\" (3:01)\n\nCharts and certifications\n\nWeekly charts\n\nYear-end charts\n\nCertifications\n\nReferences\n\nExternal links\n\n2004 singles\nThe Game (rapper) songs\n50 Cent songs\nSong recordings produced by Dr. Dre\nSongs written by 50 Cent\nMusic videos directed by Hype Williams\nSongs written by Dr. Dre\nAftermath Entertainment singles\nGangsta rap songs\nSongs written by Mike Elizondo\nSong recordings produced by Mike Elizondo\n2004 songs\nSongs written by The Game (rapper)"
] |
[
"Mia Hamm",
"Washington Freedom, 2001-2003",
"Who was the first team she played against as part of the team?",
"During the league's inaugural match between the Freedom and Bay Area CyberRays at RFK Stadium in Washington, D.C.,",
"Did they win?",
"The Freedom won 1-0.",
"How did she do in the game?",
"Hamm was fouled in the penalty area resulting in a penalty kick that her teammate Pretinha converted"
] |
C_62a5febe9e214319a432971d23e2d865_0
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Was it on television?
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Was the inaugural game between the Washington Freedom and the Bay Area CyberRays on television?
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Mia Hamm
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In 2001, Hamm was a founding player in the first professional women's soccer league in the United States, the Women's United Soccer Association (WUSA), and played for the Washington Freedom from 2001-2003. Throughout the league's history, Hamm was hailed as the star of the league and used heavily in marketing and promotion. In a poll of 1,000 advertising executives conducted in 2001, she was voted "the most appealing female athlete", garnering almost twice as many votes as the runner-up Anna Kournikova. During the league's inaugural match between the Freedom and Bay Area CyberRays at RFK Stadium in Washington, D.C., Hamm was fouled in the penalty area resulting in a penalty kick that her teammate Pretinha converted to mark the first goal scored in the league. The Freedom won 1-0. In addition to the 34,148 fans in attendance being greater than any MLS game that weekend, the Turner Network Television (TNT) broadcast reached 393,087 households: more than two MLS games broadcast on ESPN and ESPN2. Playing as a midfielder and forward, Hamm played in 19 of the Freedom's 21 matches during the 2001 season. She led the team in goals (6) and assists (4). The Freedom finished in seventh place during the regular season with a 6-12-3 record. Hamm suffered a knee injury in November 2001 that kept her off the pitch for several months of early 2002. Despite playing only half the 2002 season with the Freedom, she finished the season with eight goals. The team finished in third place during the 2002 season with a 11-5-5 record and advanced to the playoffs. After winning the semi-final against the Philadelphia Charge 1-0, the team was defeated 3-2 by the Carolina Courage in the 2002 WUSA Founders Cup. Hamm scored the Freedom's second goal in the 64th minute. During the 2003 season, Hamm started in 16 of the 19 games in which she played. Her 11 goals ranked second on the team behind Abby Wambach's 13 while her 11 assists ranked first. The Freedom finished in fourth place during the regular season with a 9-8-4 record and secured a berth in the playoffs. Hamm finished her club career as a WUSA champion when the Freedom defeated the Atlanta Beat 2-1 in overtime to win the Founders Cup on August 24, 2003. CANNOTANSWER
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the Turner Network Television (TNT) broadcast reached 393,087 households:
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Mariel Margaret Hamm-Garciaparra (born March 17, 1972) is an American retired professional soccer player, two-time Olympic gold medalist, and two-time FIFA Women's World Cup champion. Hailed as a soccer icon, she played as a forward for the United States women's national soccer team from 1987 to 2004. Hamm was the face of the Women's United Soccer Association (WUSA), the first professional women's soccer league in the United States, where she played for the Washington Freedom from 2001 to 2003. She played college soccer for the North Carolina Tar Heels women's soccer team and helped the team win four consecutive NCAA Division I Women's Soccer Championship titles.
During her tenure with the national team, Hamm competed in four FIFA Women's World Cup tournaments: the inaugural 1991 in China, 1995 in Sweden, 1999 and 2003 in the United States. She led the team at three Olympic Games, including: 1996 in Atlanta (the first time women's soccer was played), 2000 in Sydney, and 2004 in Athens. She completed her international career having played in 42 matches and scored 14 goals at these 7 international tournaments.
Hamm held the record for most international goals scored until 2013 and remains in third place behind former teammate Abby Wambach and Canadian striker Christine Sinclair as of 2017. She currently ranks third in the history of the U.S. national team for international caps (276) and first for career assists (144). Twice named FIFA World Player of the Year in 2001 and 2002, Hamm and her teammate Michelle Akers were hailed by Pelé as two of FIFA's 125 greatest living players when he included them in the FIFA 100 to celebrate the organization's 100th anniversary. Hamm was named U.S. Soccer Female Athlete of the Year five years in a row and won three ESPY awards including Soccer Player of the Year and Female Athlete of the Year. The Women's Sports Foundation named her Sportswoman of the Year in 1997 and 1999. She was inducted into the National Soccer Hall of Fame, Alabama Sports Hall of Fame, Texas Sports Hall of Fame, North Carolina Soccer Hall of Fame, and was the first woman inducted into the World Football Hall of Fame.
A co-owner of Los Angeles FC, Hamm is also a global ambassador for FC Barcelona and is on the board of directors of Serie A club A.S. Roma. Author of Go For the Goal: A Champion's Guide to Winning in Soccer and Life, Hamm has been featured in several films and television shows, including the HBO documentary, Dare to Dream: The Story of the U.S. Women's Soccer Team.
Early life
Born in Selma, Alabama, Mia was the fourth of six children of Bill and Stephanie Hamm. She wore corrective shoes as a toddler after being born with a club foot. Hamm spent her childhood on various United States Air Force bases around the world with her family. While living in Florence, Italy, Hamm first played soccer, which was hugely popular there; her entire family quickly became involved in the sport. At age five, then living in Wichita Falls, Texas, Hamm joined her first soccer team. Her father coached Mia and her newly adopted brother, 8-year-old Garrett.
Hamm played sports from a young age and excelled as a football player on the boys' team at junior high school. As a high school freshman and sophomore, she played soccer for Notre Dame Catholic High School in Wichita Falls. She played at the 1987 U.S. Olympic Festival, the youngest player to play for the United States women's national soccer team. As a new player, she often started as a forward but did not score a goal during her first year on the team. Hamm spent a year at Lake Braddock Secondary School in Burke, Virginia, and helped the Lake Braddock soccer team win the 1989 state championships.
Club career
North Carolina Tar Heels, 1989–1993
From 1989 to 1993, Hamm attended the University of North Carolina at Chapel Hill, where she helped the Tar Heels win four NCAA Division I Women's Soccer Championships in five years. She red-shirted the 1991 season to focus on preparation for the inaugural 1991 FIFA Women's World Cup in China. North Carolina lost one game of the 95 she played on the team. She earned All-American honors, was named the Atlantic Coast Conference (ACC) Player of the Year for three consecutive years, and was named ACC Female Athlete of the Year in 1993 and 1994. She graduated from North Carolina in 1994 with the ACC records for goals (103), assists (72), and total points (278). In 2003, she and Michael Jordan were named the ACC's Greatest Athletes of the conference's first fifty years.
Hamm was a member of the United States women's national college team that won a silver medal, being defeated by China in the final, at the 1993 Summer Universiade in Buffalo, New York.
Washington Freedom, 2001–2003
In 2001, Hamm was a founding player in the first professional women's soccer league in the United States, the Women's United Soccer Association (WUSA), and played for the Washington Freedom from 2001 to 2003. Throughout the league's history, Hamm was hailed as the star of the league and used heavily in marketing and promotion. In a poll of 1,000 advertising executives conducted in 2001, she was voted "the most appealing female athlete", garnering almost twice as many votes as the runner-up Anna Kournikova.
During the league's inaugural match between the Freedom and Bay Area CyberRays at RFK Stadium in Washington, D.C., Hamm was fouled in the penalty area resulting in a penalty kick that her teammate Pretinha converted to mark the first goal scored in the league. The Freedom won 1–0. In addition to the 34,148 fans in attendance being greater than any MLS game that weekend, the Turner Network Television (TNT) broadcast reached 393,087 households: more than two MLS games broadcast on ESPN and ESPN2. Playing as a midfielder and forward, Hamm played in 19 of the Freedom's 21 matches during the 2001 season. She led the team in goals (6) and assists (4).
The Freedom finished in seventh place during the regular season with a record.
Hamm suffered a knee injury in November 2001 that kept her off the pitch for several months of early 2002. Despite playing only half the 2002 season with the Freedom, she finished the season with eight goals. The team finished in third place during the 2002 season with a record and advanced to the playoffs. After winning the semi-final against the Philadelphia Charge 1–0, the team was defeated 3–2 by the Carolina Courage in the 2002 WUSA Founders Cup. Hamm scored the Freedom's second goal in the 64th minute.
During the 2003 season, Hamm started in 16 of the 19 games in which she played. Her 11 goals ranked second on the team behind Abby Wambach's 13 while her 11 assists ranked first.
The Freedom finished in fourth place during the regular season with a record and secured a berth in the playoffs. Hamm finished her club career as a WUSA champion when the Freedom defeated the Atlanta Beat 2–1 in overtime to win the Founders Cup on August 24, 2003.
Retirement
On May 14, 2004, Hamm announced her retirement effective after the 2004 Athens Olympics. Following the 2004 Olympics, Hamm and her teammates played in a 10-game farewell tour in the United States. The final match of the tour against Mexico at the Home Depot Center in Carson, California, on December 8, 2004, marked the final international match for Hamm, Julie Foudy, and Joy Fawcett. The U.S. defeated Mexico 5–0 and Hamm assisted on two of the goals.
Hamm retired at age 32 with a record 158 international goals. She and teammates Foudy and Fawcett were honored with a pre-game ceremony where they were presented with framed jerseys and roses in front of 15,549 fans at Home Depot Center in Carson, California. During the 5–0 win against Mexico, Hamm provided the assist on the first two goals. Following her retirement, Hamm's #9 jersey was inherited by midfielder Heather O'Reilly.
International career
Women's national team, 1987–2004
Hamm made her debut for the United States women's national soccer team in 1987 at the age of 15 — just two years after the team played its first international match. She was the youngest person ever to play for the team. She scored her first goal during her 17th appearance. She competed in four FIFA Women's World Cup tournaments: the inaugural 1991 in China, 1995 in Sweden, 1999 and 2003 in the United States. She led the team at three Olympic Games, including: 1996 in Atlanta (the first time women's soccer was played), 2000 in Sydney, and 2004 in Athens. In total, she played 42 matches and scored 14 goals in international tournaments.
Hamm held the record for most international goals scored—by a woman or man—until 2013 and remains in third place as of 2017. She currently ranks third in the history of the U.S. national team for international caps (276) and first for career assists (144).
1991 FIFA Women's World Cup
In 1991, Hamm was named to the roster for the inaugural FIFA Women's World Cup in China under North Carolina coach Anson Dorrance. At 19 years old, she was still the youngest player on the team. During the team's first match of the tournament, Hamm scored the game-winning goal in the 62nd minute, leading the U.S. to a 3–2 win over Sweden. She also scored once in their second group stage match when they defeated Brazil 5–0. The U.S. squad finished first in Group B after a third win against Japan on November 21 and advanced to the knockout stage of the tournament. During the quarterfinal match, the U. S. defeated Chinese Taipei 7–0. After defeating Germany 5–2 during the semi-final, the U.S. faced Norway in the final. In front of 63,000 spectators, the U.S. clinched the first World Cup championship title after a 2–1 win.
1995 FIFA Women's World Cup
Hamm's second World Cup appearance came during the 1995 tournament in Sweden. The United States were led by head coach Tony DiCicco. During the team's first match of the tournament, she scored the team's third goal in the 51st minute in a 3–3 draw against China PR. The U.S. faced Denmark during its second group stage match. Goals from Kristine Lilly and Tiffeny Milbrett led to a 2–0 win for the U.S. Hamm played goalkeeper for a few minutes after Briana Scurry received a red card and was removed from the match. After defeating Australia 4–1 on June, 10, the U.S. advanced to the knock-out stage and defeated Japan 4–0 in the quarter-final. The U.S. was defeated by eventual champion Norway 1–0 in the semi-finals and captured third place after defeating China PR 2–0 on June 17. Hamm scored the second U.S. goal of the match in the 55th minute.
1996–1998: Atlanta Olympics and 100th international goal
Hamm was a key part of the U.S. team at the 1996 Summer Olympic Games in Atlanta; this was the first Olympic tournament to include women's soccer. The U.S. faced Denmark in their first preliminary round match. Hamm scored a goal and served an assist to Tiffeny Milbrett to lead the U.S. to a 3–0 win. The team defeated Sweden 2–1 next at the Orlando Citrus Bowl. After tying China 0–0 in their final preliminary round match, the U.S. finished second in Group E. Defeating Norway in the semi-finals, the team faced China in the final. Hamm played despite having foot and groin injuries, suffered during team training and the match against Sweden. Although she was carried off by stretcher in the final minute, her team won their first Olympic gold medal with a 2–1 win witnessed by 76,481 fans in the stadium – the largest crowd for a soccer event in the history of the Olympics and the largest crowd for a women's sports event in the United States.
The 20 goals scored by Hamm in 1998 were the highest annual total of her international career. She also provided 20 assists. On September 18, she scored her 100th international goal in a friendly match against Russia in Rochester, New York. The same year, she led the U.S. to the first-ever Goodwill Games gold medal. Hamm scored five of the team's seven goals at the tournament, including two during the championship match against China.
1999: 108th International goal and FIFA Women's World Cup
On May 22, 1999, Hamm broke the all-time international goal record with her 108th goal in a game against Brazil in Orlando, Florida. The following month, she led the national team at the 1999 FIFA Women's World Cup, hosted by the United States. During the team's first group stage match against Denmark, she scored her 110th international goal and served an assist to Julie Foudy as the U.S. won 3–0. Against Nigeria, Hamm's low free kick was knocked into the goal by a Nigerian midfielder. Within a minute, Hamm scored with a free kick. She later served an assist to Kristine Lilly before being substituted in the 57th minute. The U.S. won 7–1 and secured a berth in the quarter-finals. During the team's final group stage match, head coach Tony DiCicco rested a number of players, including Hamm, who was substituted at half-time. The U.S. defeated Korea 3–0 and finished Group A with nine points. In the quarter-finals, the U.S. defeated Germany 3–2. Playing Brazil in the semi-finals, Hamm was knocked down in the penalty area late in the second half; Michelle Akers converted the subsequent penalty and their team won 2–0.
After 90 minutes of scoreless regulation time and 30 minutes of sudden death, the 1999 FIFA Women's World Cup Final was decided by a penalty shootout between the U.S. and China. The five American players to take penalty kicks, including Hamm, converted; China missed one attempt so that the home team won. The final surpassed the 1996 Atlanta Olympic final as the most-attended women's sports event, with more than 90,000 people filling the Rose Bowl in Pasadena, California. It held the record until 2014 for the largest U.S. television audience for a soccer match with 17,975,000 viewers. , it ranks third following the 2015 FIFA Women's World Cup (25,400,000 viewers) and 2014 FIFA World Cup group stage match between the U.S. men's team and Portugal (18,220,000 viewers).
Immediately following the final, Hamm collapsed in the locker room from severe dehydration. She was treated by medical staff with an intravenous drip and three liters of fluids. After 12 hours of sleep, she joined the team for magazine cover shoots, went to Disneyland for a celebration rally, and made numerous television appearances. A week later, the team met President Clinton at the White House and flew with Hillary and Chelsea Clinton on Air Force One to Cape Canaveral. Her leadership and performance at the 1999 World Cup cemented Hamm as a soccer icon.
2000 Sydney Olympics
Hamm represented the United States at the 2000 Summer Olympics in Sydney, Australia. During the group stage, she scored a goal against Norway to lift the United States to a 2–0 win. The team tied China 1–1 in their next group stage match before defeating Nigeria 3–1 to finish first in their group. After advancing to the semi-finals where the U.S. faced Brazil, Hamm scored the game-winning goal in the 60th minute. The goal marked the 127th of her international career and set a new record for most goals scored in international play by a woman or man. The U.S. faced Norway in the final and were defeated 3–2 in overtime to earn the silver medal at the Games.
2003 FIFA Women's World Cup
Originally scheduled for China, the 2003 FIFA Women's World Cup was moved to the United States due to the SARS outbreak. Hamm was named to the U.S. roster in August, and stated that it would be her final World Cup appearance. During the team's first group stage match, Hamm's three assists helped the U.S. to a 3–1 win over Sweden. She scored twice against Nigeria and served the assist for the team's third goal to lead the U.S. to a 5–0 win and qualification for the quarter-finals with one match to play. The U.S. faced North Korea in their final group stage match and dominated 3–0. Hamm and a number of others were rested for the game by head coach April Heinrichs; this was the first World Cup match Hamm had missed in her career. The U.S. faced Norway in the quarter-finals; Although the U.S. won 1–0, Hamm was fouled throughout the match as Norway played with physicality to counter the U.S. team. One of Norway's 24 fouls resulted in a penalty kick for Hamm which was saved by the Norwegian goalkeeper. After the U.S. was defeated 3–0 by Germany in the semi-finals, the team defeated Canada 3–1 to secure a third-place finish.
2004: 158th international goal and Athens Olympics
During a friendly game against Australia on July 21, 2004, Hamm scored her 158th international goal setting the record for most international goals scored by any player in the world, male or female. She held the world record until Abby Wambach scored her 159th goal on June 20, 2013. The Australia match also marked Hamm's 259th international appearance; only two of her teammates, Kristine Lilly and Christie Rampone, have played in more international games.
Hamm helped lead the U.S. national team to its second gold medal at the 2004 Summer Olympics in Athens and was selected by her fellow Olympians to carry the American flag at the closing ceremony. During the team's first group stage match against Greece, Hamm served the cross to Shannon Boxx's game-opening goal, and scored the last goal of the match to lift the U.S. to a 3–0 win. During a 2–0 win over Brazil in the second group stage match, Hamm converted a penalty kick for the opening goal. The U.S. finished at the top of Group C with seven points after a 1–1 draw against Australia to advance to the quarter-finals, where they defeated Japan 2–1. During the semi-final match against Germany, Hamm served an assist to Heather O'Reilly who scored in overtime to secure a 2–1 win. The U.S. faced Brazil for a second time at the Games in the gold medal match and won 2–1 in overtime. Her teammates swarmed Hamm after the final whistle to celebrate their second Olympic gold medal and her final win at the Olympics. The game marked the last Olympic appearance for the five remaining players who had helped win the inaugural 1991 FIFA Women's World Cup: Hamm, Julie Foudy, Joy Fawcett, Brandi Chastain, and Kristine Lilly (often referred to as the Fab Five).
Style of play
Regarded as one of the greatest women soccer players of all time, Hamm was an athletic, dynamic, and technically gifted striker, renowned for her speed, skill, footwork, stamina, and ability on the ball, as well as her consistency. An excellent, agile dribbler, she was highly regarded for her control, as well as her grace, pace, and elegance in possession. A prolific goalscorer, she was known for her powerful and accurate striking ability, although she was also a creative and hard-working forward, and a team player, who was equally capable of assisting many goals for her teammates, due to her accurate passing, and was also willing to aid her teammates defensively when possession was lost. She was capable of playing in any offensive position.
Personal life
Hamm was first married to her college sweetheart Christiaan Corry, a United States Marine Corps helicopter pilot; they divorced in 2001 after being married six years. She married then-Boston Red Sox shortstop Nomar Garciaparra on November 22, 2003, in Goleta, California, in a ceremony attended by a few hundred guests. On March 27, 2007, Hamm gave birth to twin girls, Grace Isabella and Ava Caroline. Though born five weeks early, each girl weighed over at birth. The couple had a son, named Garrett Anthony, in January 2012.
Philanthropy
In 1999, Hamm founded the Mia Hamm Foundation following the death of her adopted brother Garrett in 1997 from complications of aplastic anemia, a rare blood disease he had endured for ten years. Dedicated to promoting awareness of and raising funds for families in need of a bone marrow or cord blood transplant, the foundation encourages people to register in the national bone marrow registry and provides funds to UNC Health Care and Children's Hospital Los Angeles. It also focuses on creating opportunities to empower women through sport. Hamm hosts an annual celebrity soccer game in Los Angeles to support the foundation.
In popular culture
Hamm has been called the most marketable female athlete of her generation. During her time as an international soccer player, she signed endorsement deals with Gatorade, Nike, Dreyer's Ice Cream, Pepsi, Nabisco, Fleet Bank, Earthgrains, and Powerbar. In 1997, she starred in a popular commercial for Pert Plus. Hamm was featured on a Wheaties box following the 1999 World Cup and endorsed the first Soccer Barbie by Mattel. She co-starred with Michael Jordan in a popular television commercial for Gatorade in the spring of 1999 which featured the two athletes competing against each other in a variety of sports while the song Anything You Can Do (I Can Do Better) is heard. The commercial ends with Hamm throwing Jordan to the ground in a judo match. In 2000, the video game, Mia Hamm Soccer 64 was released for Nintendo 64. It was the first game to feature female athletes only and sold a "relatively high" 42,886 copies in the United States.
Hamm was featured on the covers of Sports Illustrated, Time, and People. She has made appearances on numerous television shows, including: Late Night with David Letterman, The Rosie O'Donnell Show, The Tonight Show with Jay Leno, Today, Extreme Makeover: Home Edition, Good Morning America, and The Oprah Winfrey Show. She was profiled in ESPN's SportsCentury and Biography documentaries, ESPN 25: Who's #1?, and was featured in Once in a Lifetime: The Extraordinary Story of the New York Cosmos. In 2005, she was featured in the HBO documentary Dare to Dream: The Story of the U.S. Women's Soccer Team. Her likeness was used in the logo of Women's Professional Soccer, the second women's professional soccer league in the United States. Hamm was mentioned on a season eight episode of the TV series Friends. When Rachel had Joey put his hand on her belly, she says, "Aw, it's unbelievable! Wow! She is kicking so much! Oh, she's like, um, who's that kind of annoying girl soccer player?" Joey asks, "Mia Hamm?" Rachel says, "Mia Hamm!".
Other work
Hamm is a global ambassador for FC Barcelona. She is the author of the national bestseller Go For the Goal: A Champion's Guide to Winning in Soccer and Life and juvenile fiction book Winners Never Quit.
In 2012, after Pia Sundhage's departure as head coach of the national team, Hamm joined Danielle Slaton and Sunil Gulati as a member of the search committee for Sundhage's successor. In 2014, she was named to the board of the National Soccer Hall of Fame.
In October 2014, Hamm was announced as a co-owner of the future Major League Soccer team, Los Angeles FC. The same month, Hamm joined the board of directors of Serie A club A.S. Roma, owned by American investors. Hamm joined Vice President Joe Biden and Second Lady Jill Biden as members of the United States delegation at the 2015 FIFA Women's World Cup Final in Vancouver, Canada.
Career statistics
Matches and goals scored at World Cup and Olympic tournaments
Hamm competed as a member of the United States national soccer team in four FIFA Women's World Cup tournaments: the inaugural 1991 in China, 1995 in Sweden, as well as 1999 and 2003 in the United States. She competed at three Summer Olympic Games: 1996 in Atlanta, 2000 in Sydney, and 2004 in Athens. All together, she played in 38 matches and scored 13 goals at seven top international tournaments. With her teammates, Hamm finished third at two World Cup tournaments in 1995 and 2003, second at the 2000 Olympics, and first at the four other international tournaments.
Honors and awards
Hamm was named Sportswoman of the Year by the Women's Sports Foundation in 1997 and 1999. In June 1999, Nike named the largest building on their corporate campus after Hamm. In December 2000, Hamm was named one of the top three female soccer players of the twentieth century in the FIFA Female Player of the Century Award, finishing behind only Sun Wen and compatriot Michelle Akers.
While at North Carolina, she won the Honda Sports Award as the nation's top female soccer player in both 1993 and 1994, and won the Honda-Broderick Cup in 1994 as the nation's top female athlete.
In March 2004, Hamm and former U.S. teammate Michelle Akers were the only two women and Americans named to the FIFA 100, a list of the 125 greatest living soccer players, selected by Pelé and commissioned by FIFA for the organization's 100th anniversary. Other accolades include being elected U.S. Soccer Female Athlete of the Year five years in a row from 1994 to 1998, and winning three ESPY awards including Soccer Player of the Year and Female Athlete of the Year.
In 2006 Hamm was inducted into the Alabama Sports Hall of Fame, followed by the Texas Sports Hall of Fame on March 11, 2008. In 2007, during her first year of eligibility, Hamm was selected for induction into the National Soccer Hall of Fame. In 2008, an image of her silhouette was used in the logo for the second professional women's soccer league in the United States: Women's Professional Soccer. ESPN named her the greatest female athlete in 2012.
In 2013, Hamm became the first woman inducted into the World Football Hall of Fame, located in Pachuca, Mexico. She was named to U.S. Soccer's USWNT All-Time Best XI in December 2013. In 2014, Hamm was named one of ESPNW's Impact 25; she was also the recipient of the Golden Foot Legends Award.
For their first match of March 2019, the women of the United States women's national soccer team each wore a jersey with the name of a woman they were honoring on the back; Samantha Mewis chose the name of Hamm.
In 2021, Hamm was inducted into the National Women's Hall of Fame.
Championships
See also
List of FIFA Women's World Cup winning players
List of women's footballers with 100 or more international goals
List of University of North Carolina at Chapel Hill Olympians
List of FIFA Women's World Cup goalscorers
List of Olympic medalists in football
List of 1996 Summer Olympics medal winners
List of 2000 Summer Olympics medal winners
List of 2004 Summer Olympics medal winners
List of athletes on Wheaties boxes
References
Match reports
External links
Mia Hamm Video produced by Makers: Women Who Make America
1972 births
Living people
Sportspeople from Selma, Alabama
Soccer players from Alabama
Soccer players from North Carolina
American women's soccer players
Women's association football forwards
Women's association football midfielders
North Carolina Tar Heels women's soccer players
Hermann Trophy women's winners
Washington Freedom players
Women's United Soccer Association players
Women's Olympic soccer players of the United States
United States women's international soccer players
1991 FIFA Women's World Cup players
1995 FIFA Women's World Cup players
Footballers at the 1996 Summer Olympics
1999 FIFA Women's World Cup players
Footballers at the 2000 Summer Olympics
2003 FIFA Women's World Cup players
Footballers at the 2004 Summer Olympics
Outfield association footballers who played in goal
FIFA Women's World Cup-winning players
Olympic gold medalists for the United States in soccer
Olympic silver medalists for the United States in soccer
Medalists at the 1996 Summer Olympics
Medalists at the 2000 Summer Olympics
Medalists at the 2004 Summer Olympics
FIFA Century Club
FIFA World Player of the Year winners
National Soccer Hall of Fame members
FIFA 100
Women association football executives
American expatriate sportspeople in Italy
American women philanthropists
Philanthropists from Alabama
Philanthropists from North Carolina
Competitors at the 1998 Goodwill Games
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"Washington Freedom, 2001-2003",
"Who was the first team she played against as part of the team?",
"During the league's inaugural match between the Freedom and Bay Area CyberRays at RFK Stadium in Washington, D.C.,",
"Did they win?",
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"Hamm was fouled in the penalty area resulting in a penalty kick that her teammate Pretinha converted",
"Was it on television?",
"the Turner Network Television (TNT) broadcast reached 393,087 households:"
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Did she suffer any injuries?
| 5 |
Did Mia Hamm suffer any injuries in the inaugural game when playing for the Washington Freedom?
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Mia Hamm
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In 2001, Hamm was a founding player in the first professional women's soccer league in the United States, the Women's United Soccer Association (WUSA), and played for the Washington Freedom from 2001-2003. Throughout the league's history, Hamm was hailed as the star of the league and used heavily in marketing and promotion. In a poll of 1,000 advertising executives conducted in 2001, she was voted "the most appealing female athlete", garnering almost twice as many votes as the runner-up Anna Kournikova. During the league's inaugural match between the Freedom and Bay Area CyberRays at RFK Stadium in Washington, D.C., Hamm was fouled in the penalty area resulting in a penalty kick that her teammate Pretinha converted to mark the first goal scored in the league. The Freedom won 1-0. In addition to the 34,148 fans in attendance being greater than any MLS game that weekend, the Turner Network Television (TNT) broadcast reached 393,087 households: more than two MLS games broadcast on ESPN and ESPN2. Playing as a midfielder and forward, Hamm played in 19 of the Freedom's 21 matches during the 2001 season. She led the team in goals (6) and assists (4). The Freedom finished in seventh place during the regular season with a 6-12-3 record. Hamm suffered a knee injury in November 2001 that kept her off the pitch for several months of early 2002. Despite playing only half the 2002 season with the Freedom, she finished the season with eight goals. The team finished in third place during the 2002 season with a 11-5-5 record and advanced to the playoffs. After winning the semi-final against the Philadelphia Charge 1-0, the team was defeated 3-2 by the Carolina Courage in the 2002 WUSA Founders Cup. Hamm scored the Freedom's second goal in the 64th minute. During the 2003 season, Hamm started in 16 of the 19 games in which she played. Her 11 goals ranked second on the team behind Abby Wambach's 13 while her 11 assists ranked first. The Freedom finished in fourth place during the regular season with a 9-8-4 record and secured a berth in the playoffs. Hamm finished her club career as a WUSA champion when the Freedom defeated the Atlanta Beat 2-1 in overtime to win the Founders Cup on August 24, 2003. CANNOTANSWER
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Hamm suffered a knee injury in November 2001
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Mariel Margaret Hamm-Garciaparra (born March 17, 1972) is an American retired professional soccer player, two-time Olympic gold medalist, and two-time FIFA Women's World Cup champion. Hailed as a soccer icon, she played as a forward for the United States women's national soccer team from 1987 to 2004. Hamm was the face of the Women's United Soccer Association (WUSA), the first professional women's soccer league in the United States, where she played for the Washington Freedom from 2001 to 2003. She played college soccer for the North Carolina Tar Heels women's soccer team and helped the team win four consecutive NCAA Division I Women's Soccer Championship titles.
During her tenure with the national team, Hamm competed in four FIFA Women's World Cup tournaments: the inaugural 1991 in China, 1995 in Sweden, 1999 and 2003 in the United States. She led the team at three Olympic Games, including: 1996 in Atlanta (the first time women's soccer was played), 2000 in Sydney, and 2004 in Athens. She completed her international career having played in 42 matches and scored 14 goals at these 7 international tournaments.
Hamm held the record for most international goals scored until 2013 and remains in third place behind former teammate Abby Wambach and Canadian striker Christine Sinclair as of 2017. She currently ranks third in the history of the U.S. national team for international caps (276) and first for career assists (144). Twice named FIFA World Player of the Year in 2001 and 2002, Hamm and her teammate Michelle Akers were hailed by Pelé as two of FIFA's 125 greatest living players when he included them in the FIFA 100 to celebrate the organization's 100th anniversary. Hamm was named U.S. Soccer Female Athlete of the Year five years in a row and won three ESPY awards including Soccer Player of the Year and Female Athlete of the Year. The Women's Sports Foundation named her Sportswoman of the Year in 1997 and 1999. She was inducted into the National Soccer Hall of Fame, Alabama Sports Hall of Fame, Texas Sports Hall of Fame, North Carolina Soccer Hall of Fame, and was the first woman inducted into the World Football Hall of Fame.
A co-owner of Los Angeles FC, Hamm is also a global ambassador for FC Barcelona and is on the board of directors of Serie A club A.S. Roma. Author of Go For the Goal: A Champion's Guide to Winning in Soccer and Life, Hamm has been featured in several films and television shows, including the HBO documentary, Dare to Dream: The Story of the U.S. Women's Soccer Team.
Early life
Born in Selma, Alabama, Mia was the fourth of six children of Bill and Stephanie Hamm. She wore corrective shoes as a toddler after being born with a club foot. Hamm spent her childhood on various United States Air Force bases around the world with her family. While living in Florence, Italy, Hamm first played soccer, which was hugely popular there; her entire family quickly became involved in the sport. At age five, then living in Wichita Falls, Texas, Hamm joined her first soccer team. Her father coached Mia and her newly adopted brother, 8-year-old Garrett.
Hamm played sports from a young age and excelled as a football player on the boys' team at junior high school. As a high school freshman and sophomore, she played soccer for Notre Dame Catholic High School in Wichita Falls. She played at the 1987 U.S. Olympic Festival, the youngest player to play for the United States women's national soccer team. As a new player, she often started as a forward but did not score a goal during her first year on the team. Hamm spent a year at Lake Braddock Secondary School in Burke, Virginia, and helped the Lake Braddock soccer team win the 1989 state championships.
Club career
North Carolina Tar Heels, 1989–1993
From 1989 to 1993, Hamm attended the University of North Carolina at Chapel Hill, where she helped the Tar Heels win four NCAA Division I Women's Soccer Championships in five years. She red-shirted the 1991 season to focus on preparation for the inaugural 1991 FIFA Women's World Cup in China. North Carolina lost one game of the 95 she played on the team. She earned All-American honors, was named the Atlantic Coast Conference (ACC) Player of the Year for three consecutive years, and was named ACC Female Athlete of the Year in 1993 and 1994. She graduated from North Carolina in 1994 with the ACC records for goals (103), assists (72), and total points (278). In 2003, she and Michael Jordan were named the ACC's Greatest Athletes of the conference's first fifty years.
Hamm was a member of the United States women's national college team that won a silver medal, being defeated by China in the final, at the 1993 Summer Universiade in Buffalo, New York.
Washington Freedom, 2001–2003
In 2001, Hamm was a founding player in the first professional women's soccer league in the United States, the Women's United Soccer Association (WUSA), and played for the Washington Freedom from 2001 to 2003. Throughout the league's history, Hamm was hailed as the star of the league and used heavily in marketing and promotion. In a poll of 1,000 advertising executives conducted in 2001, she was voted "the most appealing female athlete", garnering almost twice as many votes as the runner-up Anna Kournikova.
During the league's inaugural match between the Freedom and Bay Area CyberRays at RFK Stadium in Washington, D.C., Hamm was fouled in the penalty area resulting in a penalty kick that her teammate Pretinha converted to mark the first goal scored in the league. The Freedom won 1–0. In addition to the 34,148 fans in attendance being greater than any MLS game that weekend, the Turner Network Television (TNT) broadcast reached 393,087 households: more than two MLS games broadcast on ESPN and ESPN2. Playing as a midfielder and forward, Hamm played in 19 of the Freedom's 21 matches during the 2001 season. She led the team in goals (6) and assists (4).
The Freedom finished in seventh place during the regular season with a record.
Hamm suffered a knee injury in November 2001 that kept her off the pitch for several months of early 2002. Despite playing only half the 2002 season with the Freedom, she finished the season with eight goals. The team finished in third place during the 2002 season with a record and advanced to the playoffs. After winning the semi-final against the Philadelphia Charge 1–0, the team was defeated 3–2 by the Carolina Courage in the 2002 WUSA Founders Cup. Hamm scored the Freedom's second goal in the 64th minute.
During the 2003 season, Hamm started in 16 of the 19 games in which she played. Her 11 goals ranked second on the team behind Abby Wambach's 13 while her 11 assists ranked first.
The Freedom finished in fourth place during the regular season with a record and secured a berth in the playoffs. Hamm finished her club career as a WUSA champion when the Freedom defeated the Atlanta Beat 2–1 in overtime to win the Founders Cup on August 24, 2003.
Retirement
On May 14, 2004, Hamm announced her retirement effective after the 2004 Athens Olympics. Following the 2004 Olympics, Hamm and her teammates played in a 10-game farewell tour in the United States. The final match of the tour against Mexico at the Home Depot Center in Carson, California, on December 8, 2004, marked the final international match for Hamm, Julie Foudy, and Joy Fawcett. The U.S. defeated Mexico 5–0 and Hamm assisted on two of the goals.
Hamm retired at age 32 with a record 158 international goals. She and teammates Foudy and Fawcett were honored with a pre-game ceremony where they were presented with framed jerseys and roses in front of 15,549 fans at Home Depot Center in Carson, California. During the 5–0 win against Mexico, Hamm provided the assist on the first two goals. Following her retirement, Hamm's #9 jersey was inherited by midfielder Heather O'Reilly.
International career
Women's national team, 1987–2004
Hamm made her debut for the United States women's national soccer team in 1987 at the age of 15 — just two years after the team played its first international match. She was the youngest person ever to play for the team. She scored her first goal during her 17th appearance. She competed in four FIFA Women's World Cup tournaments: the inaugural 1991 in China, 1995 in Sweden, 1999 and 2003 in the United States. She led the team at three Olympic Games, including: 1996 in Atlanta (the first time women's soccer was played), 2000 in Sydney, and 2004 in Athens. In total, she played 42 matches and scored 14 goals in international tournaments.
Hamm held the record for most international goals scored—by a woman or man—until 2013 and remains in third place as of 2017. She currently ranks third in the history of the U.S. national team for international caps (276) and first for career assists (144).
1991 FIFA Women's World Cup
In 1991, Hamm was named to the roster for the inaugural FIFA Women's World Cup in China under North Carolina coach Anson Dorrance. At 19 years old, she was still the youngest player on the team. During the team's first match of the tournament, Hamm scored the game-winning goal in the 62nd minute, leading the U.S. to a 3–2 win over Sweden. She also scored once in their second group stage match when they defeated Brazil 5–0. The U.S. squad finished first in Group B after a third win against Japan on November 21 and advanced to the knockout stage of the tournament. During the quarterfinal match, the U. S. defeated Chinese Taipei 7–0. After defeating Germany 5–2 during the semi-final, the U.S. faced Norway in the final. In front of 63,000 spectators, the U.S. clinched the first World Cup championship title after a 2–1 win.
1995 FIFA Women's World Cup
Hamm's second World Cup appearance came during the 1995 tournament in Sweden. The United States were led by head coach Tony DiCicco. During the team's first match of the tournament, she scored the team's third goal in the 51st minute in a 3–3 draw against China PR. The U.S. faced Denmark during its second group stage match. Goals from Kristine Lilly and Tiffeny Milbrett led to a 2–0 win for the U.S. Hamm played goalkeeper for a few minutes after Briana Scurry received a red card and was removed from the match. After defeating Australia 4–1 on June, 10, the U.S. advanced to the knock-out stage and defeated Japan 4–0 in the quarter-final. The U.S. was defeated by eventual champion Norway 1–0 in the semi-finals and captured third place after defeating China PR 2–0 on June 17. Hamm scored the second U.S. goal of the match in the 55th minute.
1996–1998: Atlanta Olympics and 100th international goal
Hamm was a key part of the U.S. team at the 1996 Summer Olympic Games in Atlanta; this was the first Olympic tournament to include women's soccer. The U.S. faced Denmark in their first preliminary round match. Hamm scored a goal and served an assist to Tiffeny Milbrett to lead the U.S. to a 3–0 win. The team defeated Sweden 2–1 next at the Orlando Citrus Bowl. After tying China 0–0 in their final preliminary round match, the U.S. finished second in Group E. Defeating Norway in the semi-finals, the team faced China in the final. Hamm played despite having foot and groin injuries, suffered during team training and the match against Sweden. Although she was carried off by stretcher in the final minute, her team won their first Olympic gold medal with a 2–1 win witnessed by 76,481 fans in the stadium – the largest crowd for a soccer event in the history of the Olympics and the largest crowd for a women's sports event in the United States.
The 20 goals scored by Hamm in 1998 were the highest annual total of her international career. She also provided 20 assists. On September 18, she scored her 100th international goal in a friendly match against Russia in Rochester, New York. The same year, she led the U.S. to the first-ever Goodwill Games gold medal. Hamm scored five of the team's seven goals at the tournament, including two during the championship match against China.
1999: 108th International goal and FIFA Women's World Cup
On May 22, 1999, Hamm broke the all-time international goal record with her 108th goal in a game against Brazil in Orlando, Florida. The following month, she led the national team at the 1999 FIFA Women's World Cup, hosted by the United States. During the team's first group stage match against Denmark, she scored her 110th international goal and served an assist to Julie Foudy as the U.S. won 3–0. Against Nigeria, Hamm's low free kick was knocked into the goal by a Nigerian midfielder. Within a minute, Hamm scored with a free kick. She later served an assist to Kristine Lilly before being substituted in the 57th minute. The U.S. won 7–1 and secured a berth in the quarter-finals. During the team's final group stage match, head coach Tony DiCicco rested a number of players, including Hamm, who was substituted at half-time. The U.S. defeated Korea 3–0 and finished Group A with nine points. In the quarter-finals, the U.S. defeated Germany 3–2. Playing Brazil in the semi-finals, Hamm was knocked down in the penalty area late in the second half; Michelle Akers converted the subsequent penalty and their team won 2–0.
After 90 minutes of scoreless regulation time and 30 minutes of sudden death, the 1999 FIFA Women's World Cup Final was decided by a penalty shootout between the U.S. and China. The five American players to take penalty kicks, including Hamm, converted; China missed one attempt so that the home team won. The final surpassed the 1996 Atlanta Olympic final as the most-attended women's sports event, with more than 90,000 people filling the Rose Bowl in Pasadena, California. It held the record until 2014 for the largest U.S. television audience for a soccer match with 17,975,000 viewers. , it ranks third following the 2015 FIFA Women's World Cup (25,400,000 viewers) and 2014 FIFA World Cup group stage match between the U.S. men's team and Portugal (18,220,000 viewers).
Immediately following the final, Hamm collapsed in the locker room from severe dehydration. She was treated by medical staff with an intravenous drip and three liters of fluids. After 12 hours of sleep, she joined the team for magazine cover shoots, went to Disneyland for a celebration rally, and made numerous television appearances. A week later, the team met President Clinton at the White House and flew with Hillary and Chelsea Clinton on Air Force One to Cape Canaveral. Her leadership and performance at the 1999 World Cup cemented Hamm as a soccer icon.
2000 Sydney Olympics
Hamm represented the United States at the 2000 Summer Olympics in Sydney, Australia. During the group stage, she scored a goal against Norway to lift the United States to a 2–0 win. The team tied China 1–1 in their next group stage match before defeating Nigeria 3–1 to finish first in their group. After advancing to the semi-finals where the U.S. faced Brazil, Hamm scored the game-winning goal in the 60th minute. The goal marked the 127th of her international career and set a new record for most goals scored in international play by a woman or man. The U.S. faced Norway in the final and were defeated 3–2 in overtime to earn the silver medal at the Games.
2003 FIFA Women's World Cup
Originally scheduled for China, the 2003 FIFA Women's World Cup was moved to the United States due to the SARS outbreak. Hamm was named to the U.S. roster in August, and stated that it would be her final World Cup appearance. During the team's first group stage match, Hamm's three assists helped the U.S. to a 3–1 win over Sweden. She scored twice against Nigeria and served the assist for the team's third goal to lead the U.S. to a 5–0 win and qualification for the quarter-finals with one match to play. The U.S. faced North Korea in their final group stage match and dominated 3–0. Hamm and a number of others were rested for the game by head coach April Heinrichs; this was the first World Cup match Hamm had missed in her career. The U.S. faced Norway in the quarter-finals; Although the U.S. won 1–0, Hamm was fouled throughout the match as Norway played with physicality to counter the U.S. team. One of Norway's 24 fouls resulted in a penalty kick for Hamm which was saved by the Norwegian goalkeeper. After the U.S. was defeated 3–0 by Germany in the semi-finals, the team defeated Canada 3–1 to secure a third-place finish.
2004: 158th international goal and Athens Olympics
During a friendly game against Australia on July 21, 2004, Hamm scored her 158th international goal setting the record for most international goals scored by any player in the world, male or female. She held the world record until Abby Wambach scored her 159th goal on June 20, 2013. The Australia match also marked Hamm's 259th international appearance; only two of her teammates, Kristine Lilly and Christie Rampone, have played in more international games.
Hamm helped lead the U.S. national team to its second gold medal at the 2004 Summer Olympics in Athens and was selected by her fellow Olympians to carry the American flag at the closing ceremony. During the team's first group stage match against Greece, Hamm served the cross to Shannon Boxx's game-opening goal, and scored the last goal of the match to lift the U.S. to a 3–0 win. During a 2–0 win over Brazil in the second group stage match, Hamm converted a penalty kick for the opening goal. The U.S. finished at the top of Group C with seven points after a 1–1 draw against Australia to advance to the quarter-finals, where they defeated Japan 2–1. During the semi-final match against Germany, Hamm served an assist to Heather O'Reilly who scored in overtime to secure a 2–1 win. The U.S. faced Brazil for a second time at the Games in the gold medal match and won 2–1 in overtime. Her teammates swarmed Hamm after the final whistle to celebrate their second Olympic gold medal and her final win at the Olympics. The game marked the last Olympic appearance for the five remaining players who had helped win the inaugural 1991 FIFA Women's World Cup: Hamm, Julie Foudy, Joy Fawcett, Brandi Chastain, and Kristine Lilly (often referred to as the Fab Five).
Style of play
Regarded as one of the greatest women soccer players of all time, Hamm was an athletic, dynamic, and technically gifted striker, renowned for her speed, skill, footwork, stamina, and ability on the ball, as well as her consistency. An excellent, agile dribbler, she was highly regarded for her control, as well as her grace, pace, and elegance in possession. A prolific goalscorer, she was known for her powerful and accurate striking ability, although she was also a creative and hard-working forward, and a team player, who was equally capable of assisting many goals for her teammates, due to her accurate passing, and was also willing to aid her teammates defensively when possession was lost. She was capable of playing in any offensive position.
Personal life
Hamm was first married to her college sweetheart Christiaan Corry, a United States Marine Corps helicopter pilot; they divorced in 2001 after being married six years. She married then-Boston Red Sox shortstop Nomar Garciaparra on November 22, 2003, in Goleta, California, in a ceremony attended by a few hundred guests. On March 27, 2007, Hamm gave birth to twin girls, Grace Isabella and Ava Caroline. Though born five weeks early, each girl weighed over at birth. The couple had a son, named Garrett Anthony, in January 2012.
Philanthropy
In 1999, Hamm founded the Mia Hamm Foundation following the death of her adopted brother Garrett in 1997 from complications of aplastic anemia, a rare blood disease he had endured for ten years. Dedicated to promoting awareness of and raising funds for families in need of a bone marrow or cord blood transplant, the foundation encourages people to register in the national bone marrow registry and provides funds to UNC Health Care and Children's Hospital Los Angeles. It also focuses on creating opportunities to empower women through sport. Hamm hosts an annual celebrity soccer game in Los Angeles to support the foundation.
In popular culture
Hamm has been called the most marketable female athlete of her generation. During her time as an international soccer player, she signed endorsement deals with Gatorade, Nike, Dreyer's Ice Cream, Pepsi, Nabisco, Fleet Bank, Earthgrains, and Powerbar. In 1997, she starred in a popular commercial for Pert Plus. Hamm was featured on a Wheaties box following the 1999 World Cup and endorsed the first Soccer Barbie by Mattel. She co-starred with Michael Jordan in a popular television commercial for Gatorade in the spring of 1999 which featured the two athletes competing against each other in a variety of sports while the song Anything You Can Do (I Can Do Better) is heard. The commercial ends with Hamm throwing Jordan to the ground in a judo match. In 2000, the video game, Mia Hamm Soccer 64 was released for Nintendo 64. It was the first game to feature female athletes only and sold a "relatively high" 42,886 copies in the United States.
Hamm was featured on the covers of Sports Illustrated, Time, and People. She has made appearances on numerous television shows, including: Late Night with David Letterman, The Rosie O'Donnell Show, The Tonight Show with Jay Leno, Today, Extreme Makeover: Home Edition, Good Morning America, and The Oprah Winfrey Show. She was profiled in ESPN's SportsCentury and Biography documentaries, ESPN 25: Who's #1?, and was featured in Once in a Lifetime: The Extraordinary Story of the New York Cosmos. In 2005, she was featured in the HBO documentary Dare to Dream: The Story of the U.S. Women's Soccer Team. Her likeness was used in the logo of Women's Professional Soccer, the second women's professional soccer league in the United States. Hamm was mentioned on a season eight episode of the TV series Friends. When Rachel had Joey put his hand on her belly, she says, "Aw, it's unbelievable! Wow! She is kicking so much! Oh, she's like, um, who's that kind of annoying girl soccer player?" Joey asks, "Mia Hamm?" Rachel says, "Mia Hamm!".
Other work
Hamm is a global ambassador for FC Barcelona. She is the author of the national bestseller Go For the Goal: A Champion's Guide to Winning in Soccer and Life and juvenile fiction book Winners Never Quit.
In 2012, after Pia Sundhage's departure as head coach of the national team, Hamm joined Danielle Slaton and Sunil Gulati as a member of the search committee for Sundhage's successor. In 2014, she was named to the board of the National Soccer Hall of Fame.
In October 2014, Hamm was announced as a co-owner of the future Major League Soccer team, Los Angeles FC. The same month, Hamm joined the board of directors of Serie A club A.S. Roma, owned by American investors. Hamm joined Vice President Joe Biden and Second Lady Jill Biden as members of the United States delegation at the 2015 FIFA Women's World Cup Final in Vancouver, Canada.
Career statistics
Matches and goals scored at World Cup and Olympic tournaments
Hamm competed as a member of the United States national soccer team in four FIFA Women's World Cup tournaments: the inaugural 1991 in China, 1995 in Sweden, as well as 1999 and 2003 in the United States. She competed at three Summer Olympic Games: 1996 in Atlanta, 2000 in Sydney, and 2004 in Athens. All together, she played in 38 matches and scored 13 goals at seven top international tournaments. With her teammates, Hamm finished third at two World Cup tournaments in 1995 and 2003, second at the 2000 Olympics, and first at the four other international tournaments.
Honors and awards
Hamm was named Sportswoman of the Year by the Women's Sports Foundation in 1997 and 1999. In June 1999, Nike named the largest building on their corporate campus after Hamm. In December 2000, Hamm was named one of the top three female soccer players of the twentieth century in the FIFA Female Player of the Century Award, finishing behind only Sun Wen and compatriot Michelle Akers.
While at North Carolina, she won the Honda Sports Award as the nation's top female soccer player in both 1993 and 1994, and won the Honda-Broderick Cup in 1994 as the nation's top female athlete.
In March 2004, Hamm and former U.S. teammate Michelle Akers were the only two women and Americans named to the FIFA 100, a list of the 125 greatest living soccer players, selected by Pelé and commissioned by FIFA for the organization's 100th anniversary. Other accolades include being elected U.S. Soccer Female Athlete of the Year five years in a row from 1994 to 1998, and winning three ESPY awards including Soccer Player of the Year and Female Athlete of the Year.
In 2006 Hamm was inducted into the Alabama Sports Hall of Fame, followed by the Texas Sports Hall of Fame on March 11, 2008. In 2007, during her first year of eligibility, Hamm was selected for induction into the National Soccer Hall of Fame. In 2008, an image of her silhouette was used in the logo for the second professional women's soccer league in the United States: Women's Professional Soccer. ESPN named her the greatest female athlete in 2012.
In 2013, Hamm became the first woman inducted into the World Football Hall of Fame, located in Pachuca, Mexico. She was named to U.S. Soccer's USWNT All-Time Best XI in December 2013. In 2014, Hamm was named one of ESPNW's Impact 25; she was also the recipient of the Golden Foot Legends Award.
For their first match of March 2019, the women of the United States women's national soccer team each wore a jersey with the name of a woman they were honoring on the back; Samantha Mewis chose the name of Hamm.
In 2021, Hamm was inducted into the National Women's Hall of Fame.
Championships
See also
List of FIFA Women's World Cup winning players
List of women's footballers with 100 or more international goals
List of University of North Carolina at Chapel Hill Olympians
List of FIFA Women's World Cup goalscorers
List of Olympic medalists in football
List of 1996 Summer Olympics medal winners
List of 2000 Summer Olympics medal winners
List of 2004 Summer Olympics medal winners
List of athletes on Wheaties boxes
References
Match reports
External links
Mia Hamm Video produced by Makers: Women Who Make America
1972 births
Living people
Sportspeople from Selma, Alabama
Soccer players from Alabama
Soccer players from North Carolina
American women's soccer players
Women's association football forwards
Women's association football midfielders
North Carolina Tar Heels women's soccer players
Hermann Trophy women's winners
Washington Freedom players
Women's United Soccer Association players
Women's Olympic soccer players of the United States
United States women's international soccer players
1991 FIFA Women's World Cup players
1995 FIFA Women's World Cup players
Footballers at the 1996 Summer Olympics
1999 FIFA Women's World Cup players
Footballers at the 2000 Summer Olympics
2003 FIFA Women's World Cup players
Footballers at the 2004 Summer Olympics
Outfield association footballers who played in goal
FIFA Women's World Cup-winning players
Olympic gold medalists for the United States in soccer
Olympic silver medalists for the United States in soccer
Medalists at the 1996 Summer Olympics
Medalists at the 2000 Summer Olympics
Medalists at the 2004 Summer Olympics
FIFA Century Club
FIFA World Player of the Year winners
National Soccer Hall of Fame members
FIFA 100
Women association football executives
American expatriate sportspeople in Italy
American women philanthropists
Philanthropists from Alabama
Philanthropists from North Carolina
Competitors at the 1998 Goodwill Games
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[
"Queenstown Lakes District Council v Palmer CA83/98 [1998] NZCA 190; [1999] 1 NZLR 549 is a cited case in New Zealand regarding the claiming of damages for nervous shock from witnessing an accident.\n.\n\nBackground\nMark Palmer and his wife were tourists from the US, and went white water rafting on the Shotover River.\n\nTragedy struck, when his wife drowned in the river, and whilst Palmer did not suffer any physical injuries, he suffered post traumatic injury for witnessing her death.\n\nPalmer sued the rafting company and the local council for damages for his mental injuries.\n\nThe council defended the matter by claiming that the ACC law prohibited awarding damages for injury in NZ.\n\nHowever, Thomas said the law was changed in 1992 with the Accident Rehabilitation Act, where section 14(1) now excluded cover for mental injury for witnessing an accident.\n\nHeld\nThe Court of Appeal confirmed that section 14(1) now allowed people to sue for mental injury resulting in witnessing an accident.\n\nReferences\n\nCourt of Appeal of New Zealand cases\nNew Zealand tort case law\n1998 in New Zealand law\n1998 in case law\nQueenstown-Lakes District",
"Elena Sadiku (born 6 November 1993) is a retired Swedish football midfielder of Kosovar descent. She was an Under-19 international.\n\nShe started her career with LdB Malmö, before moving to Kristianstads DFF and Eskilstuna United.\n\nSadiku suffered a knee injury in July 2014. She scored a hat-trick in her comeback game a year later, only to suffer another serious knee injury a few days later. She was unable to play in 2016 and after suffering from depression, left Eskilstuna at the end of the season. Shortly afterwards, newly-promoted Hammarby announced that they had signed Sadiku and were hoping she could overcome her injuries and recapture her best form. She played 6 games for Hammarby in 2017, scoring once, before retiring due to recurring problems with injuries.\n\nIn February 2018 Sadiku accepted a coaching role with Chinese Women's Super League club Beijing BG Phoenix.\n\nReferences\n\nExternal links\n \n \n\n1993 births\nLiving people\nSwedish women's footballers\nKosovo Albanians\nFC Rosengård players\nKristianstads DFF players\nDamallsvenskan players\nEskilstuna United DFF players\nHammarby Fotboll (women) players\nWomen's association football midfielders\nSwedish expatriates in China"
] |
[
"Mia Hamm",
"Washington Freedom, 2001-2003",
"Who was the first team she played against as part of the team?",
"During the league's inaugural match between the Freedom and Bay Area CyberRays at RFK Stadium in Washington, D.C.,",
"Did they win?",
"The Freedom won 1-0.",
"How did she do in the game?",
"Hamm was fouled in the penalty area resulting in a penalty kick that her teammate Pretinha converted",
"Was it on television?",
"the Turner Network Television (TNT) broadcast reached 393,087 households:",
"Did she suffer any injuries?",
"Hamm suffered a knee injury in November 2001"
] |
C_62a5febe9e214319a432971d23e2d865_0
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Did the team do well without her?
| 6 |
Did the Washington Freedom team do well without the injured Mia Hamm?
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Mia Hamm
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In 2001, Hamm was a founding player in the first professional women's soccer league in the United States, the Women's United Soccer Association (WUSA), and played for the Washington Freedom from 2001-2003. Throughout the league's history, Hamm was hailed as the star of the league and used heavily in marketing and promotion. In a poll of 1,000 advertising executives conducted in 2001, she was voted "the most appealing female athlete", garnering almost twice as many votes as the runner-up Anna Kournikova. During the league's inaugural match between the Freedom and Bay Area CyberRays at RFK Stadium in Washington, D.C., Hamm was fouled in the penalty area resulting in a penalty kick that her teammate Pretinha converted to mark the first goal scored in the league. The Freedom won 1-0. In addition to the 34,148 fans in attendance being greater than any MLS game that weekend, the Turner Network Television (TNT) broadcast reached 393,087 households: more than two MLS games broadcast on ESPN and ESPN2. Playing as a midfielder and forward, Hamm played in 19 of the Freedom's 21 matches during the 2001 season. She led the team in goals (6) and assists (4). The Freedom finished in seventh place during the regular season with a 6-12-3 record. Hamm suffered a knee injury in November 2001 that kept her off the pitch for several months of early 2002. Despite playing only half the 2002 season with the Freedom, she finished the season with eight goals. The team finished in third place during the 2002 season with a 11-5-5 record and advanced to the playoffs. After winning the semi-final against the Philadelphia Charge 1-0, the team was defeated 3-2 by the Carolina Courage in the 2002 WUSA Founders Cup. Hamm scored the Freedom's second goal in the 64th minute. During the 2003 season, Hamm started in 16 of the 19 games in which she played. Her 11 goals ranked second on the team behind Abby Wambach's 13 while her 11 assists ranked first. The Freedom finished in fourth place during the regular season with a 9-8-4 record and secured a berth in the playoffs. Hamm finished her club career as a WUSA champion when the Freedom defeated the Atlanta Beat 2-1 in overtime to win the Founders Cup on August 24, 2003. CANNOTANSWER
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The team finished in third place during the 2002 season with a 11-5-5 record and advanced to the playoffs.
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Mariel Margaret Hamm-Garciaparra (born March 17, 1972) is an American retired professional soccer player, two-time Olympic gold medalist, and two-time FIFA Women's World Cup champion. Hailed as a soccer icon, she played as a forward for the United States women's national soccer team from 1987 to 2004. Hamm was the face of the Women's United Soccer Association (WUSA), the first professional women's soccer league in the United States, where she played for the Washington Freedom from 2001 to 2003. She played college soccer for the North Carolina Tar Heels women's soccer team and helped the team win four consecutive NCAA Division I Women's Soccer Championship titles.
During her tenure with the national team, Hamm competed in four FIFA Women's World Cup tournaments: the inaugural 1991 in China, 1995 in Sweden, 1999 and 2003 in the United States. She led the team at three Olympic Games, including: 1996 in Atlanta (the first time women's soccer was played), 2000 in Sydney, and 2004 in Athens. She completed her international career having played in 42 matches and scored 14 goals at these 7 international tournaments.
Hamm held the record for most international goals scored until 2013 and remains in third place behind former teammate Abby Wambach and Canadian striker Christine Sinclair as of 2017. She currently ranks third in the history of the U.S. national team for international caps (276) and first for career assists (144). Twice named FIFA World Player of the Year in 2001 and 2002, Hamm and her teammate Michelle Akers were hailed by Pelé as two of FIFA's 125 greatest living players when he included them in the FIFA 100 to celebrate the organization's 100th anniversary. Hamm was named U.S. Soccer Female Athlete of the Year five years in a row and won three ESPY awards including Soccer Player of the Year and Female Athlete of the Year. The Women's Sports Foundation named her Sportswoman of the Year in 1997 and 1999. She was inducted into the National Soccer Hall of Fame, Alabama Sports Hall of Fame, Texas Sports Hall of Fame, North Carolina Soccer Hall of Fame, and was the first woman inducted into the World Football Hall of Fame.
A co-owner of Los Angeles FC, Hamm is also a global ambassador for FC Barcelona and is on the board of directors of Serie A club A.S. Roma. Author of Go For the Goal: A Champion's Guide to Winning in Soccer and Life, Hamm has been featured in several films and television shows, including the HBO documentary, Dare to Dream: The Story of the U.S. Women's Soccer Team.
Early life
Born in Selma, Alabama, Mia was the fourth of six children of Bill and Stephanie Hamm. She wore corrective shoes as a toddler after being born with a club foot. Hamm spent her childhood on various United States Air Force bases around the world with her family. While living in Florence, Italy, Hamm first played soccer, which was hugely popular there; her entire family quickly became involved in the sport. At age five, then living in Wichita Falls, Texas, Hamm joined her first soccer team. Her father coached Mia and her newly adopted brother, 8-year-old Garrett.
Hamm played sports from a young age and excelled as a football player on the boys' team at junior high school. As a high school freshman and sophomore, she played soccer for Notre Dame Catholic High School in Wichita Falls. She played at the 1987 U.S. Olympic Festival, the youngest player to play for the United States women's national soccer team. As a new player, she often started as a forward but did not score a goal during her first year on the team. Hamm spent a year at Lake Braddock Secondary School in Burke, Virginia, and helped the Lake Braddock soccer team win the 1989 state championships.
Club career
North Carolina Tar Heels, 1989–1993
From 1989 to 1993, Hamm attended the University of North Carolina at Chapel Hill, where she helped the Tar Heels win four NCAA Division I Women's Soccer Championships in five years. She red-shirted the 1991 season to focus on preparation for the inaugural 1991 FIFA Women's World Cup in China. North Carolina lost one game of the 95 she played on the team. She earned All-American honors, was named the Atlantic Coast Conference (ACC) Player of the Year for three consecutive years, and was named ACC Female Athlete of the Year in 1993 and 1994. She graduated from North Carolina in 1994 with the ACC records for goals (103), assists (72), and total points (278). In 2003, she and Michael Jordan were named the ACC's Greatest Athletes of the conference's first fifty years.
Hamm was a member of the United States women's national college team that won a silver medal, being defeated by China in the final, at the 1993 Summer Universiade in Buffalo, New York.
Washington Freedom, 2001–2003
In 2001, Hamm was a founding player in the first professional women's soccer league in the United States, the Women's United Soccer Association (WUSA), and played for the Washington Freedom from 2001 to 2003. Throughout the league's history, Hamm was hailed as the star of the league and used heavily in marketing and promotion. In a poll of 1,000 advertising executives conducted in 2001, she was voted "the most appealing female athlete", garnering almost twice as many votes as the runner-up Anna Kournikova.
During the league's inaugural match between the Freedom and Bay Area CyberRays at RFK Stadium in Washington, D.C., Hamm was fouled in the penalty area resulting in a penalty kick that her teammate Pretinha converted to mark the first goal scored in the league. The Freedom won 1–0. In addition to the 34,148 fans in attendance being greater than any MLS game that weekend, the Turner Network Television (TNT) broadcast reached 393,087 households: more than two MLS games broadcast on ESPN and ESPN2. Playing as a midfielder and forward, Hamm played in 19 of the Freedom's 21 matches during the 2001 season. She led the team in goals (6) and assists (4).
The Freedom finished in seventh place during the regular season with a record.
Hamm suffered a knee injury in November 2001 that kept her off the pitch for several months of early 2002. Despite playing only half the 2002 season with the Freedom, she finished the season with eight goals. The team finished in third place during the 2002 season with a record and advanced to the playoffs. After winning the semi-final against the Philadelphia Charge 1–0, the team was defeated 3–2 by the Carolina Courage in the 2002 WUSA Founders Cup. Hamm scored the Freedom's second goal in the 64th minute.
During the 2003 season, Hamm started in 16 of the 19 games in which she played. Her 11 goals ranked second on the team behind Abby Wambach's 13 while her 11 assists ranked first.
The Freedom finished in fourth place during the regular season with a record and secured a berth in the playoffs. Hamm finished her club career as a WUSA champion when the Freedom defeated the Atlanta Beat 2–1 in overtime to win the Founders Cup on August 24, 2003.
Retirement
On May 14, 2004, Hamm announced her retirement effective after the 2004 Athens Olympics. Following the 2004 Olympics, Hamm and her teammates played in a 10-game farewell tour in the United States. The final match of the tour against Mexico at the Home Depot Center in Carson, California, on December 8, 2004, marked the final international match for Hamm, Julie Foudy, and Joy Fawcett. The U.S. defeated Mexico 5–0 and Hamm assisted on two of the goals.
Hamm retired at age 32 with a record 158 international goals. She and teammates Foudy and Fawcett were honored with a pre-game ceremony where they were presented with framed jerseys and roses in front of 15,549 fans at Home Depot Center in Carson, California. During the 5–0 win against Mexico, Hamm provided the assist on the first two goals. Following her retirement, Hamm's #9 jersey was inherited by midfielder Heather O'Reilly.
International career
Women's national team, 1987–2004
Hamm made her debut for the United States women's national soccer team in 1987 at the age of 15 — just two years after the team played its first international match. She was the youngest person ever to play for the team. She scored her first goal during her 17th appearance. She competed in four FIFA Women's World Cup tournaments: the inaugural 1991 in China, 1995 in Sweden, 1999 and 2003 in the United States. She led the team at three Olympic Games, including: 1996 in Atlanta (the first time women's soccer was played), 2000 in Sydney, and 2004 in Athens. In total, she played 42 matches and scored 14 goals in international tournaments.
Hamm held the record for most international goals scored—by a woman or man—until 2013 and remains in third place as of 2017. She currently ranks third in the history of the U.S. national team for international caps (276) and first for career assists (144).
1991 FIFA Women's World Cup
In 1991, Hamm was named to the roster for the inaugural FIFA Women's World Cup in China under North Carolina coach Anson Dorrance. At 19 years old, she was still the youngest player on the team. During the team's first match of the tournament, Hamm scored the game-winning goal in the 62nd minute, leading the U.S. to a 3–2 win over Sweden. She also scored once in their second group stage match when they defeated Brazil 5–0. The U.S. squad finished first in Group B after a third win against Japan on November 21 and advanced to the knockout stage of the tournament. During the quarterfinal match, the U. S. defeated Chinese Taipei 7–0. After defeating Germany 5–2 during the semi-final, the U.S. faced Norway in the final. In front of 63,000 spectators, the U.S. clinched the first World Cup championship title after a 2–1 win.
1995 FIFA Women's World Cup
Hamm's second World Cup appearance came during the 1995 tournament in Sweden. The United States were led by head coach Tony DiCicco. During the team's first match of the tournament, she scored the team's third goal in the 51st minute in a 3–3 draw against China PR. The U.S. faced Denmark during its second group stage match. Goals from Kristine Lilly and Tiffeny Milbrett led to a 2–0 win for the U.S. Hamm played goalkeeper for a few minutes after Briana Scurry received a red card and was removed from the match. After defeating Australia 4–1 on June, 10, the U.S. advanced to the knock-out stage and defeated Japan 4–0 in the quarter-final. The U.S. was defeated by eventual champion Norway 1–0 in the semi-finals and captured third place after defeating China PR 2–0 on June 17. Hamm scored the second U.S. goal of the match in the 55th minute.
1996–1998: Atlanta Olympics and 100th international goal
Hamm was a key part of the U.S. team at the 1996 Summer Olympic Games in Atlanta; this was the first Olympic tournament to include women's soccer. The U.S. faced Denmark in their first preliminary round match. Hamm scored a goal and served an assist to Tiffeny Milbrett to lead the U.S. to a 3–0 win. The team defeated Sweden 2–1 next at the Orlando Citrus Bowl. After tying China 0–0 in their final preliminary round match, the U.S. finished second in Group E. Defeating Norway in the semi-finals, the team faced China in the final. Hamm played despite having foot and groin injuries, suffered during team training and the match against Sweden. Although she was carried off by stretcher in the final minute, her team won their first Olympic gold medal with a 2–1 win witnessed by 76,481 fans in the stadium – the largest crowd for a soccer event in the history of the Olympics and the largest crowd for a women's sports event in the United States.
The 20 goals scored by Hamm in 1998 were the highest annual total of her international career. She also provided 20 assists. On September 18, she scored her 100th international goal in a friendly match against Russia in Rochester, New York. The same year, she led the U.S. to the first-ever Goodwill Games gold medal. Hamm scored five of the team's seven goals at the tournament, including two during the championship match against China.
1999: 108th International goal and FIFA Women's World Cup
On May 22, 1999, Hamm broke the all-time international goal record with her 108th goal in a game against Brazil in Orlando, Florida. The following month, she led the national team at the 1999 FIFA Women's World Cup, hosted by the United States. During the team's first group stage match against Denmark, she scored her 110th international goal and served an assist to Julie Foudy as the U.S. won 3–0. Against Nigeria, Hamm's low free kick was knocked into the goal by a Nigerian midfielder. Within a minute, Hamm scored with a free kick. She later served an assist to Kristine Lilly before being substituted in the 57th minute. The U.S. won 7–1 and secured a berth in the quarter-finals. During the team's final group stage match, head coach Tony DiCicco rested a number of players, including Hamm, who was substituted at half-time. The U.S. defeated Korea 3–0 and finished Group A with nine points. In the quarter-finals, the U.S. defeated Germany 3–2. Playing Brazil in the semi-finals, Hamm was knocked down in the penalty area late in the second half; Michelle Akers converted the subsequent penalty and their team won 2–0.
After 90 minutes of scoreless regulation time and 30 minutes of sudden death, the 1999 FIFA Women's World Cup Final was decided by a penalty shootout between the U.S. and China. The five American players to take penalty kicks, including Hamm, converted; China missed one attempt so that the home team won. The final surpassed the 1996 Atlanta Olympic final as the most-attended women's sports event, with more than 90,000 people filling the Rose Bowl in Pasadena, California. It held the record until 2014 for the largest U.S. television audience for a soccer match with 17,975,000 viewers. , it ranks third following the 2015 FIFA Women's World Cup (25,400,000 viewers) and 2014 FIFA World Cup group stage match between the U.S. men's team and Portugal (18,220,000 viewers).
Immediately following the final, Hamm collapsed in the locker room from severe dehydration. She was treated by medical staff with an intravenous drip and three liters of fluids. After 12 hours of sleep, she joined the team for magazine cover shoots, went to Disneyland for a celebration rally, and made numerous television appearances. A week later, the team met President Clinton at the White House and flew with Hillary and Chelsea Clinton on Air Force One to Cape Canaveral. Her leadership and performance at the 1999 World Cup cemented Hamm as a soccer icon.
2000 Sydney Olympics
Hamm represented the United States at the 2000 Summer Olympics in Sydney, Australia. During the group stage, she scored a goal against Norway to lift the United States to a 2–0 win. The team tied China 1–1 in their next group stage match before defeating Nigeria 3–1 to finish first in their group. After advancing to the semi-finals where the U.S. faced Brazil, Hamm scored the game-winning goal in the 60th minute. The goal marked the 127th of her international career and set a new record for most goals scored in international play by a woman or man. The U.S. faced Norway in the final and were defeated 3–2 in overtime to earn the silver medal at the Games.
2003 FIFA Women's World Cup
Originally scheduled for China, the 2003 FIFA Women's World Cup was moved to the United States due to the SARS outbreak. Hamm was named to the U.S. roster in August, and stated that it would be her final World Cup appearance. During the team's first group stage match, Hamm's three assists helped the U.S. to a 3–1 win over Sweden. She scored twice against Nigeria and served the assist for the team's third goal to lead the U.S. to a 5–0 win and qualification for the quarter-finals with one match to play. The U.S. faced North Korea in their final group stage match and dominated 3–0. Hamm and a number of others were rested for the game by head coach April Heinrichs; this was the first World Cup match Hamm had missed in her career. The U.S. faced Norway in the quarter-finals; Although the U.S. won 1–0, Hamm was fouled throughout the match as Norway played with physicality to counter the U.S. team. One of Norway's 24 fouls resulted in a penalty kick for Hamm which was saved by the Norwegian goalkeeper. After the U.S. was defeated 3–0 by Germany in the semi-finals, the team defeated Canada 3–1 to secure a third-place finish.
2004: 158th international goal and Athens Olympics
During a friendly game against Australia on July 21, 2004, Hamm scored her 158th international goal setting the record for most international goals scored by any player in the world, male or female. She held the world record until Abby Wambach scored her 159th goal on June 20, 2013. The Australia match also marked Hamm's 259th international appearance; only two of her teammates, Kristine Lilly and Christie Rampone, have played in more international games.
Hamm helped lead the U.S. national team to its second gold medal at the 2004 Summer Olympics in Athens and was selected by her fellow Olympians to carry the American flag at the closing ceremony. During the team's first group stage match against Greece, Hamm served the cross to Shannon Boxx's game-opening goal, and scored the last goal of the match to lift the U.S. to a 3–0 win. During a 2–0 win over Brazil in the second group stage match, Hamm converted a penalty kick for the opening goal. The U.S. finished at the top of Group C with seven points after a 1–1 draw against Australia to advance to the quarter-finals, where they defeated Japan 2–1. During the semi-final match against Germany, Hamm served an assist to Heather O'Reilly who scored in overtime to secure a 2–1 win. The U.S. faced Brazil for a second time at the Games in the gold medal match and won 2–1 in overtime. Her teammates swarmed Hamm after the final whistle to celebrate their second Olympic gold medal and her final win at the Olympics. The game marked the last Olympic appearance for the five remaining players who had helped win the inaugural 1991 FIFA Women's World Cup: Hamm, Julie Foudy, Joy Fawcett, Brandi Chastain, and Kristine Lilly (often referred to as the Fab Five).
Style of play
Regarded as one of the greatest women soccer players of all time, Hamm was an athletic, dynamic, and technically gifted striker, renowned for her speed, skill, footwork, stamina, and ability on the ball, as well as her consistency. An excellent, agile dribbler, she was highly regarded for her control, as well as her grace, pace, and elegance in possession. A prolific goalscorer, she was known for her powerful and accurate striking ability, although she was also a creative and hard-working forward, and a team player, who was equally capable of assisting many goals for her teammates, due to her accurate passing, and was also willing to aid her teammates defensively when possession was lost. She was capable of playing in any offensive position.
Personal life
Hamm was first married to her college sweetheart Christiaan Corry, a United States Marine Corps helicopter pilot; they divorced in 2001 after being married six years. She married then-Boston Red Sox shortstop Nomar Garciaparra on November 22, 2003, in Goleta, California, in a ceremony attended by a few hundred guests. On March 27, 2007, Hamm gave birth to twin girls, Grace Isabella and Ava Caroline. Though born five weeks early, each girl weighed over at birth. The couple had a son, named Garrett Anthony, in January 2012.
Philanthropy
In 1999, Hamm founded the Mia Hamm Foundation following the death of her adopted brother Garrett in 1997 from complications of aplastic anemia, a rare blood disease he had endured for ten years. Dedicated to promoting awareness of and raising funds for families in need of a bone marrow or cord blood transplant, the foundation encourages people to register in the national bone marrow registry and provides funds to UNC Health Care and Children's Hospital Los Angeles. It also focuses on creating opportunities to empower women through sport. Hamm hosts an annual celebrity soccer game in Los Angeles to support the foundation.
In popular culture
Hamm has been called the most marketable female athlete of her generation. During her time as an international soccer player, she signed endorsement deals with Gatorade, Nike, Dreyer's Ice Cream, Pepsi, Nabisco, Fleet Bank, Earthgrains, and Powerbar. In 1997, she starred in a popular commercial for Pert Plus. Hamm was featured on a Wheaties box following the 1999 World Cup and endorsed the first Soccer Barbie by Mattel. She co-starred with Michael Jordan in a popular television commercial for Gatorade in the spring of 1999 which featured the two athletes competing against each other in a variety of sports while the song Anything You Can Do (I Can Do Better) is heard. The commercial ends with Hamm throwing Jordan to the ground in a judo match. In 2000, the video game, Mia Hamm Soccer 64 was released for Nintendo 64. It was the first game to feature female athletes only and sold a "relatively high" 42,886 copies in the United States.
Hamm was featured on the covers of Sports Illustrated, Time, and People. She has made appearances on numerous television shows, including: Late Night with David Letterman, The Rosie O'Donnell Show, The Tonight Show with Jay Leno, Today, Extreme Makeover: Home Edition, Good Morning America, and The Oprah Winfrey Show. She was profiled in ESPN's SportsCentury and Biography documentaries, ESPN 25: Who's #1?, and was featured in Once in a Lifetime: The Extraordinary Story of the New York Cosmos. In 2005, she was featured in the HBO documentary Dare to Dream: The Story of the U.S. Women's Soccer Team. Her likeness was used in the logo of Women's Professional Soccer, the second women's professional soccer league in the United States. Hamm was mentioned on a season eight episode of the TV series Friends. When Rachel had Joey put his hand on her belly, she says, "Aw, it's unbelievable! Wow! She is kicking so much! Oh, she's like, um, who's that kind of annoying girl soccer player?" Joey asks, "Mia Hamm?" Rachel says, "Mia Hamm!".
Other work
Hamm is a global ambassador for FC Barcelona. She is the author of the national bestseller Go For the Goal: A Champion's Guide to Winning in Soccer and Life and juvenile fiction book Winners Never Quit.
In 2012, after Pia Sundhage's departure as head coach of the national team, Hamm joined Danielle Slaton and Sunil Gulati as a member of the search committee for Sundhage's successor. In 2014, she was named to the board of the National Soccer Hall of Fame.
In October 2014, Hamm was announced as a co-owner of the future Major League Soccer team, Los Angeles FC. The same month, Hamm joined the board of directors of Serie A club A.S. Roma, owned by American investors. Hamm joined Vice President Joe Biden and Second Lady Jill Biden as members of the United States delegation at the 2015 FIFA Women's World Cup Final in Vancouver, Canada.
Career statistics
Matches and goals scored at World Cup and Olympic tournaments
Hamm competed as a member of the United States national soccer team in four FIFA Women's World Cup tournaments: the inaugural 1991 in China, 1995 in Sweden, as well as 1999 and 2003 in the United States. She competed at three Summer Olympic Games: 1996 in Atlanta, 2000 in Sydney, and 2004 in Athens. All together, she played in 38 matches and scored 13 goals at seven top international tournaments. With her teammates, Hamm finished third at two World Cup tournaments in 1995 and 2003, second at the 2000 Olympics, and first at the four other international tournaments.
Honors and awards
Hamm was named Sportswoman of the Year by the Women's Sports Foundation in 1997 and 1999. In June 1999, Nike named the largest building on their corporate campus after Hamm. In December 2000, Hamm was named one of the top three female soccer players of the twentieth century in the FIFA Female Player of the Century Award, finishing behind only Sun Wen and compatriot Michelle Akers.
While at North Carolina, she won the Honda Sports Award as the nation's top female soccer player in both 1993 and 1994, and won the Honda-Broderick Cup in 1994 as the nation's top female athlete.
In March 2004, Hamm and former U.S. teammate Michelle Akers were the only two women and Americans named to the FIFA 100, a list of the 125 greatest living soccer players, selected by Pelé and commissioned by FIFA for the organization's 100th anniversary. Other accolades include being elected U.S. Soccer Female Athlete of the Year five years in a row from 1994 to 1998, and winning three ESPY awards including Soccer Player of the Year and Female Athlete of the Year.
In 2006 Hamm was inducted into the Alabama Sports Hall of Fame, followed by the Texas Sports Hall of Fame on March 11, 2008. In 2007, during her first year of eligibility, Hamm was selected for induction into the National Soccer Hall of Fame. In 2008, an image of her silhouette was used in the logo for the second professional women's soccer league in the United States: Women's Professional Soccer. ESPN named her the greatest female athlete in 2012.
In 2013, Hamm became the first woman inducted into the World Football Hall of Fame, located in Pachuca, Mexico. She was named to U.S. Soccer's USWNT All-Time Best XI in December 2013. In 2014, Hamm was named one of ESPNW's Impact 25; she was also the recipient of the Golden Foot Legends Award.
For their first match of March 2019, the women of the United States women's national soccer team each wore a jersey with the name of a woman they were honoring on the back; Samantha Mewis chose the name of Hamm.
In 2021, Hamm was inducted into the National Women's Hall of Fame.
Championships
See also
List of FIFA Women's World Cup winning players
List of women's footballers with 100 or more international goals
List of University of North Carolina at Chapel Hill Olympians
List of FIFA Women's World Cup goalscorers
List of Olympic medalists in football
List of 1996 Summer Olympics medal winners
List of 2000 Summer Olympics medal winners
List of 2004 Summer Olympics medal winners
List of athletes on Wheaties boxes
References
Match reports
External links
Mia Hamm Video produced by Makers: Women Who Make America
1972 births
Living people
Sportspeople from Selma, Alabama
Soccer players from Alabama
Soccer players from North Carolina
American women's soccer players
Women's association football forwards
Women's association football midfielders
North Carolina Tar Heels women's soccer players
Hermann Trophy women's winners
Washington Freedom players
Women's United Soccer Association players
Women's Olympic soccer players of the United States
United States women's international soccer players
1991 FIFA Women's World Cup players
1995 FIFA Women's World Cup players
Footballers at the 1996 Summer Olympics
1999 FIFA Women's World Cup players
Footballers at the 2000 Summer Olympics
2003 FIFA Women's World Cup players
Footballers at the 2004 Summer Olympics
Outfield association footballers who played in goal
FIFA Women's World Cup-winning players
Olympic gold medalists for the United States in soccer
Olympic silver medalists for the United States in soccer
Medalists at the 1996 Summer Olympics
Medalists at the 2000 Summer Olympics
Medalists at the 2004 Summer Olympics
FIFA Century Club
FIFA World Player of the Year winners
National Soccer Hall of Fame members
FIFA 100
Women association football executives
American expatriate sportspeople in Italy
American women philanthropists
Philanthropists from Alabama
Philanthropists from North Carolina
Competitors at the 1998 Goodwill Games
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[
"The Well of the World's End is an Anglo-Scottish Border fairy tale, recorded in the Scottish Lowlands, collected by Joseph Jacobs in English Fairy Tales. His source was The Complaynt of Scotland, and he notes the tale's similarity to the German Frog Prince. Like that tale, it is Aarne-Thompson type 440, \"The Frog King\" or \"Iron Henry\".\n\nSynopsis\n\nA girl's mother died, and her father remarried. Her stepmother abused her, made her do all the housework, and finally decided to be rid of her. She gave her a sieve and ordered her to not come back without filling it at the Well of the World's End. The girl set out and questioned everyone about the way. Finally, a little old woman directed her to the well, but she could not fill the sieve. She wept. A frog asked what was wrong and said it could aid her if she promised to do everything he asked for a night. She agreed, and the frog told her to stop the holes up with moss and clay. With that, she carried back the water.\n\nThe stepmother was angry at her return, and when the frog arrived, she insisted that the girl keep her promise. The frog made her take it on her knee, give it some supper, and take it to bed with her. In the morning, it made her chop off its head. When she did, it was transformed into a handsome prince. The stepmother was even more angry, but the prince married the girl and took her home.\n\nSee also\nFrog Prince*\nThe Frog Princess\nThe Tale of the Queen Who Sought a Drink From a Certain Well\nThe Three Heads in the Well\n\nReferences\n\nScottish fairy tales\nNorthumbrian folklore\nFiction about shapeshifting",
"Michelle Brunner (31 December 1953 – 24 June 2011) was a British bridge player, writer and teacher. She was a member of the British team that won the 1985 Venice Cup, the biennial world championship for women national teams.\n\nShe also finished second once and third twice in the quadriennial World Team Olympiad, women flight. As of September 2011 she held historic rank 24 among European Grand Masters, Women category. (Female players commonly have rankings and may be grand masters in the open category too.)\n\nDeath\nBrunner was diagnosed with metastatic breast cancer in 2007 and died on 24 June 2011 at age 57.\n\nEarly life\nBorn in London, Brunner attended the Henrietta Barnett School in Hampstead Garden Suburb, London, where she learned and practised her bridge playing skills during her sixth form years.\n\nFollowing this, she went to Manchester University where she read Italian and French, but her increasing involvement in bridge meant that she left without getting her degree to work in the travel industry for Thomas Cook for seventeen years. At university, she met and played with John Holland, who would also become an international player. He soon became her partner in life as well as in bridge, and they married in 2008.\n\nBridge career\nBrunner was a World Bridge Federation Life Master and an English Bridge Union (EBU) Premier Grand Master.\n\nHer Venice Cup win in 1985 was achieved as partner to Gill Scott-Jones on the Great Britain team. However the pair did not play enough boards to qualify for the title of World Champions. In 1980 she and Pat Davies were part of the Great Britain team that finished third in the World Team Olympiad, but the pair did not play enough boards to qualify for bronze medals.\n\nIn 1988 the Great Britain team finished second and Brunner, as partner to Sandra Landy, did earn the silver medal. In 2004, she was part of the England team in the Olympiad which finished third, and received a bronze medal partnering Rhona Goldenfield.\n\nIn mixed and women's events she won gold and bronze medals in the Common Market Championships and gold, silver and bronze in the European Championships. Partnering John Holland, she was part of three England teams which won the Camrose Trophy. Brunner was also in winning teams in the Lady Milne competition, the equivalent of the Camrose Trophy for women teams, on seven occasions.\n\nShe turned professional in 1995, when she launched her Mobile School of Bridge. Brunner taught beginning and intermediate players until 2006. She did private teaching, as well as offering her services as a professional partner. As well as writing articles for bridge magazines, she wrote two books.\n\nPublications\n\nBooks\n 192 pp.\n 192 pp.\n\nPamphlets\n Practise Your Avoidance Plays (Bisley: Bridge Plus, 2001) 16 pp.\n\nReferences\n\nExternal links\n \n\n1953 births\n2011 deaths\nBritish and Irish contract bridge players \nBridge players from London\nVenice Cup players\nContract bridge writers\nWriters from London\nDeaths from breast cancer\nDeaths from cancer in England\nPlace of death missing"
] |
[
"Mia Hamm",
"Washington Freedom, 2001-2003",
"Who was the first team she played against as part of the team?",
"During the league's inaugural match between the Freedom and Bay Area CyberRays at RFK Stadium in Washington, D.C.,",
"Did they win?",
"The Freedom won 1-0.",
"How did she do in the game?",
"Hamm was fouled in the penalty area resulting in a penalty kick that her teammate Pretinha converted",
"Was it on television?",
"the Turner Network Television (TNT) broadcast reached 393,087 households:",
"Did she suffer any injuries?",
"Hamm suffered a knee injury in November 2001",
"Did the team do well without her?",
"The team finished in third place during the 2002 season with a 11-5-5 record and advanced to the playoffs."
] |
C_62a5febe9e214319a432971d23e2d865_0
|
How did she do in the 2003 season?
| 7 |
How did Mia Hamm do in the 2003 season?
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Mia Hamm
|
In 2001, Hamm was a founding player in the first professional women's soccer league in the United States, the Women's United Soccer Association (WUSA), and played for the Washington Freedom from 2001-2003. Throughout the league's history, Hamm was hailed as the star of the league and used heavily in marketing and promotion. In a poll of 1,000 advertising executives conducted in 2001, she was voted "the most appealing female athlete", garnering almost twice as many votes as the runner-up Anna Kournikova. During the league's inaugural match between the Freedom and Bay Area CyberRays at RFK Stadium in Washington, D.C., Hamm was fouled in the penalty area resulting in a penalty kick that her teammate Pretinha converted to mark the first goal scored in the league. The Freedom won 1-0. In addition to the 34,148 fans in attendance being greater than any MLS game that weekend, the Turner Network Television (TNT) broadcast reached 393,087 households: more than two MLS games broadcast on ESPN and ESPN2. Playing as a midfielder and forward, Hamm played in 19 of the Freedom's 21 matches during the 2001 season. She led the team in goals (6) and assists (4). The Freedom finished in seventh place during the regular season with a 6-12-3 record. Hamm suffered a knee injury in November 2001 that kept her off the pitch for several months of early 2002. Despite playing only half the 2002 season with the Freedom, she finished the season with eight goals. The team finished in third place during the 2002 season with a 11-5-5 record and advanced to the playoffs. After winning the semi-final against the Philadelphia Charge 1-0, the team was defeated 3-2 by the Carolina Courage in the 2002 WUSA Founders Cup. Hamm scored the Freedom's second goal in the 64th minute. During the 2003 season, Hamm started in 16 of the 19 games in which she played. Her 11 goals ranked second on the team behind Abby Wambach's 13 while her 11 assists ranked first. The Freedom finished in fourth place during the regular season with a 9-8-4 record and secured a berth in the playoffs. Hamm finished her club career as a WUSA champion when the Freedom defeated the Atlanta Beat 2-1 in overtime to win the Founders Cup on August 24, 2003. CANNOTANSWER
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Her 11 goals ranked second on the team behind Abby Wambach's 13 while her 11 assists ranked first.
|
Mariel Margaret Hamm-Garciaparra (born March 17, 1972) is an American retired professional soccer player, two-time Olympic gold medalist, and two-time FIFA Women's World Cup champion. Hailed as a soccer icon, she played as a forward for the United States women's national soccer team from 1987 to 2004. Hamm was the face of the Women's United Soccer Association (WUSA), the first professional women's soccer league in the United States, where she played for the Washington Freedom from 2001 to 2003. She played college soccer for the North Carolina Tar Heels women's soccer team and helped the team win four consecutive NCAA Division I Women's Soccer Championship titles.
During her tenure with the national team, Hamm competed in four FIFA Women's World Cup tournaments: the inaugural 1991 in China, 1995 in Sweden, 1999 and 2003 in the United States. She led the team at three Olympic Games, including: 1996 in Atlanta (the first time women's soccer was played), 2000 in Sydney, and 2004 in Athens. She completed her international career having played in 42 matches and scored 14 goals at these 7 international tournaments.
Hamm held the record for most international goals scored until 2013 and remains in third place behind former teammate Abby Wambach and Canadian striker Christine Sinclair as of 2017. She currently ranks third in the history of the U.S. national team for international caps (276) and first for career assists (144). Twice named FIFA World Player of the Year in 2001 and 2002, Hamm and her teammate Michelle Akers were hailed by Pelé as two of FIFA's 125 greatest living players when he included them in the FIFA 100 to celebrate the organization's 100th anniversary. Hamm was named U.S. Soccer Female Athlete of the Year five years in a row and won three ESPY awards including Soccer Player of the Year and Female Athlete of the Year. The Women's Sports Foundation named her Sportswoman of the Year in 1997 and 1999. She was inducted into the National Soccer Hall of Fame, Alabama Sports Hall of Fame, Texas Sports Hall of Fame, North Carolina Soccer Hall of Fame, and was the first woman inducted into the World Football Hall of Fame.
A co-owner of Los Angeles FC, Hamm is also a global ambassador for FC Barcelona and is on the board of directors of Serie A club A.S. Roma. Author of Go For the Goal: A Champion's Guide to Winning in Soccer and Life, Hamm has been featured in several films and television shows, including the HBO documentary, Dare to Dream: The Story of the U.S. Women's Soccer Team.
Early life
Born in Selma, Alabama, Mia was the fourth of six children of Bill and Stephanie Hamm. She wore corrective shoes as a toddler after being born with a club foot. Hamm spent her childhood on various United States Air Force bases around the world with her family. While living in Florence, Italy, Hamm first played soccer, which was hugely popular there; her entire family quickly became involved in the sport. At age five, then living in Wichita Falls, Texas, Hamm joined her first soccer team. Her father coached Mia and her newly adopted brother, 8-year-old Garrett.
Hamm played sports from a young age and excelled as a football player on the boys' team at junior high school. As a high school freshman and sophomore, she played soccer for Notre Dame Catholic High School in Wichita Falls. She played at the 1987 U.S. Olympic Festival, the youngest player to play for the United States women's national soccer team. As a new player, she often started as a forward but did not score a goal during her first year on the team. Hamm spent a year at Lake Braddock Secondary School in Burke, Virginia, and helped the Lake Braddock soccer team win the 1989 state championships.
Club career
North Carolina Tar Heels, 1989–1993
From 1989 to 1993, Hamm attended the University of North Carolina at Chapel Hill, where she helped the Tar Heels win four NCAA Division I Women's Soccer Championships in five years. She red-shirted the 1991 season to focus on preparation for the inaugural 1991 FIFA Women's World Cup in China. North Carolina lost one game of the 95 she played on the team. She earned All-American honors, was named the Atlantic Coast Conference (ACC) Player of the Year for three consecutive years, and was named ACC Female Athlete of the Year in 1993 and 1994. She graduated from North Carolina in 1994 with the ACC records for goals (103), assists (72), and total points (278). In 2003, she and Michael Jordan were named the ACC's Greatest Athletes of the conference's first fifty years.
Hamm was a member of the United States women's national college team that won a silver medal, being defeated by China in the final, at the 1993 Summer Universiade in Buffalo, New York.
Washington Freedom, 2001–2003
In 2001, Hamm was a founding player in the first professional women's soccer league in the United States, the Women's United Soccer Association (WUSA), and played for the Washington Freedom from 2001 to 2003. Throughout the league's history, Hamm was hailed as the star of the league and used heavily in marketing and promotion. In a poll of 1,000 advertising executives conducted in 2001, she was voted "the most appealing female athlete", garnering almost twice as many votes as the runner-up Anna Kournikova.
During the league's inaugural match between the Freedom and Bay Area CyberRays at RFK Stadium in Washington, D.C., Hamm was fouled in the penalty area resulting in a penalty kick that her teammate Pretinha converted to mark the first goal scored in the league. The Freedom won 1–0. In addition to the 34,148 fans in attendance being greater than any MLS game that weekend, the Turner Network Television (TNT) broadcast reached 393,087 households: more than two MLS games broadcast on ESPN and ESPN2. Playing as a midfielder and forward, Hamm played in 19 of the Freedom's 21 matches during the 2001 season. She led the team in goals (6) and assists (4).
The Freedom finished in seventh place during the regular season with a record.
Hamm suffered a knee injury in November 2001 that kept her off the pitch for several months of early 2002. Despite playing only half the 2002 season with the Freedom, she finished the season with eight goals. The team finished in third place during the 2002 season with a record and advanced to the playoffs. After winning the semi-final against the Philadelphia Charge 1–0, the team was defeated 3–2 by the Carolina Courage in the 2002 WUSA Founders Cup. Hamm scored the Freedom's second goal in the 64th minute.
During the 2003 season, Hamm started in 16 of the 19 games in which she played. Her 11 goals ranked second on the team behind Abby Wambach's 13 while her 11 assists ranked first.
The Freedom finished in fourth place during the regular season with a record and secured a berth in the playoffs. Hamm finished her club career as a WUSA champion when the Freedom defeated the Atlanta Beat 2–1 in overtime to win the Founders Cup on August 24, 2003.
Retirement
On May 14, 2004, Hamm announced her retirement effective after the 2004 Athens Olympics. Following the 2004 Olympics, Hamm and her teammates played in a 10-game farewell tour in the United States. The final match of the tour against Mexico at the Home Depot Center in Carson, California, on December 8, 2004, marked the final international match for Hamm, Julie Foudy, and Joy Fawcett. The U.S. defeated Mexico 5–0 and Hamm assisted on two of the goals.
Hamm retired at age 32 with a record 158 international goals. She and teammates Foudy and Fawcett were honored with a pre-game ceremony where they were presented with framed jerseys and roses in front of 15,549 fans at Home Depot Center in Carson, California. During the 5–0 win against Mexico, Hamm provided the assist on the first two goals. Following her retirement, Hamm's #9 jersey was inherited by midfielder Heather O'Reilly.
International career
Women's national team, 1987–2004
Hamm made her debut for the United States women's national soccer team in 1987 at the age of 15 — just two years after the team played its first international match. She was the youngest person ever to play for the team. She scored her first goal during her 17th appearance. She competed in four FIFA Women's World Cup tournaments: the inaugural 1991 in China, 1995 in Sweden, 1999 and 2003 in the United States. She led the team at three Olympic Games, including: 1996 in Atlanta (the first time women's soccer was played), 2000 in Sydney, and 2004 in Athens. In total, she played 42 matches and scored 14 goals in international tournaments.
Hamm held the record for most international goals scored—by a woman or man—until 2013 and remains in third place as of 2017. She currently ranks third in the history of the U.S. national team for international caps (276) and first for career assists (144).
1991 FIFA Women's World Cup
In 1991, Hamm was named to the roster for the inaugural FIFA Women's World Cup in China under North Carolina coach Anson Dorrance. At 19 years old, she was still the youngest player on the team. During the team's first match of the tournament, Hamm scored the game-winning goal in the 62nd minute, leading the U.S. to a 3–2 win over Sweden. She also scored once in their second group stage match when they defeated Brazil 5–0. The U.S. squad finished first in Group B after a third win against Japan on November 21 and advanced to the knockout stage of the tournament. During the quarterfinal match, the U. S. defeated Chinese Taipei 7–0. After defeating Germany 5–2 during the semi-final, the U.S. faced Norway in the final. In front of 63,000 spectators, the U.S. clinched the first World Cup championship title after a 2–1 win.
1995 FIFA Women's World Cup
Hamm's second World Cup appearance came during the 1995 tournament in Sweden. The United States were led by head coach Tony DiCicco. During the team's first match of the tournament, she scored the team's third goal in the 51st minute in a 3–3 draw against China PR. The U.S. faced Denmark during its second group stage match. Goals from Kristine Lilly and Tiffeny Milbrett led to a 2–0 win for the U.S. Hamm played goalkeeper for a few minutes after Briana Scurry received a red card and was removed from the match. After defeating Australia 4–1 on June, 10, the U.S. advanced to the knock-out stage and defeated Japan 4–0 in the quarter-final. The U.S. was defeated by eventual champion Norway 1–0 in the semi-finals and captured third place after defeating China PR 2–0 on June 17. Hamm scored the second U.S. goal of the match in the 55th minute.
1996–1998: Atlanta Olympics and 100th international goal
Hamm was a key part of the U.S. team at the 1996 Summer Olympic Games in Atlanta; this was the first Olympic tournament to include women's soccer. The U.S. faced Denmark in their first preliminary round match. Hamm scored a goal and served an assist to Tiffeny Milbrett to lead the U.S. to a 3–0 win. The team defeated Sweden 2–1 next at the Orlando Citrus Bowl. After tying China 0–0 in their final preliminary round match, the U.S. finished second in Group E. Defeating Norway in the semi-finals, the team faced China in the final. Hamm played despite having foot and groin injuries, suffered during team training and the match against Sweden. Although she was carried off by stretcher in the final minute, her team won their first Olympic gold medal with a 2–1 win witnessed by 76,481 fans in the stadium – the largest crowd for a soccer event in the history of the Olympics and the largest crowd for a women's sports event in the United States.
The 20 goals scored by Hamm in 1998 were the highest annual total of her international career. She also provided 20 assists. On September 18, she scored her 100th international goal in a friendly match against Russia in Rochester, New York. The same year, she led the U.S. to the first-ever Goodwill Games gold medal. Hamm scored five of the team's seven goals at the tournament, including two during the championship match against China.
1999: 108th International goal and FIFA Women's World Cup
On May 22, 1999, Hamm broke the all-time international goal record with her 108th goal in a game against Brazil in Orlando, Florida. The following month, she led the national team at the 1999 FIFA Women's World Cup, hosted by the United States. During the team's first group stage match against Denmark, she scored her 110th international goal and served an assist to Julie Foudy as the U.S. won 3–0. Against Nigeria, Hamm's low free kick was knocked into the goal by a Nigerian midfielder. Within a minute, Hamm scored with a free kick. She later served an assist to Kristine Lilly before being substituted in the 57th minute. The U.S. won 7–1 and secured a berth in the quarter-finals. During the team's final group stage match, head coach Tony DiCicco rested a number of players, including Hamm, who was substituted at half-time. The U.S. defeated Korea 3–0 and finished Group A with nine points. In the quarter-finals, the U.S. defeated Germany 3–2. Playing Brazil in the semi-finals, Hamm was knocked down in the penalty area late in the second half; Michelle Akers converted the subsequent penalty and their team won 2–0.
After 90 minutes of scoreless regulation time and 30 minutes of sudden death, the 1999 FIFA Women's World Cup Final was decided by a penalty shootout between the U.S. and China. The five American players to take penalty kicks, including Hamm, converted; China missed one attempt so that the home team won. The final surpassed the 1996 Atlanta Olympic final as the most-attended women's sports event, with more than 90,000 people filling the Rose Bowl in Pasadena, California. It held the record until 2014 for the largest U.S. television audience for a soccer match with 17,975,000 viewers. , it ranks third following the 2015 FIFA Women's World Cup (25,400,000 viewers) and 2014 FIFA World Cup group stage match between the U.S. men's team and Portugal (18,220,000 viewers).
Immediately following the final, Hamm collapsed in the locker room from severe dehydration. She was treated by medical staff with an intravenous drip and three liters of fluids. After 12 hours of sleep, she joined the team for magazine cover shoots, went to Disneyland for a celebration rally, and made numerous television appearances. A week later, the team met President Clinton at the White House and flew with Hillary and Chelsea Clinton on Air Force One to Cape Canaveral. Her leadership and performance at the 1999 World Cup cemented Hamm as a soccer icon.
2000 Sydney Olympics
Hamm represented the United States at the 2000 Summer Olympics in Sydney, Australia. During the group stage, she scored a goal against Norway to lift the United States to a 2–0 win. The team tied China 1–1 in their next group stage match before defeating Nigeria 3–1 to finish first in their group. After advancing to the semi-finals where the U.S. faced Brazil, Hamm scored the game-winning goal in the 60th minute. The goal marked the 127th of her international career and set a new record for most goals scored in international play by a woman or man. The U.S. faced Norway in the final and were defeated 3–2 in overtime to earn the silver medal at the Games.
2003 FIFA Women's World Cup
Originally scheduled for China, the 2003 FIFA Women's World Cup was moved to the United States due to the SARS outbreak. Hamm was named to the U.S. roster in August, and stated that it would be her final World Cup appearance. During the team's first group stage match, Hamm's three assists helped the U.S. to a 3–1 win over Sweden. She scored twice against Nigeria and served the assist for the team's third goal to lead the U.S. to a 5–0 win and qualification for the quarter-finals with one match to play. The U.S. faced North Korea in their final group stage match and dominated 3–0. Hamm and a number of others were rested for the game by head coach April Heinrichs; this was the first World Cup match Hamm had missed in her career. The U.S. faced Norway in the quarter-finals; Although the U.S. won 1–0, Hamm was fouled throughout the match as Norway played with physicality to counter the U.S. team. One of Norway's 24 fouls resulted in a penalty kick for Hamm which was saved by the Norwegian goalkeeper. After the U.S. was defeated 3–0 by Germany in the semi-finals, the team defeated Canada 3–1 to secure a third-place finish.
2004: 158th international goal and Athens Olympics
During a friendly game against Australia on July 21, 2004, Hamm scored her 158th international goal setting the record for most international goals scored by any player in the world, male or female. She held the world record until Abby Wambach scored her 159th goal on June 20, 2013. The Australia match also marked Hamm's 259th international appearance; only two of her teammates, Kristine Lilly and Christie Rampone, have played in more international games.
Hamm helped lead the U.S. national team to its second gold medal at the 2004 Summer Olympics in Athens and was selected by her fellow Olympians to carry the American flag at the closing ceremony. During the team's first group stage match against Greece, Hamm served the cross to Shannon Boxx's game-opening goal, and scored the last goal of the match to lift the U.S. to a 3–0 win. During a 2–0 win over Brazil in the second group stage match, Hamm converted a penalty kick for the opening goal. The U.S. finished at the top of Group C with seven points after a 1–1 draw against Australia to advance to the quarter-finals, where they defeated Japan 2–1. During the semi-final match against Germany, Hamm served an assist to Heather O'Reilly who scored in overtime to secure a 2–1 win. The U.S. faced Brazil for a second time at the Games in the gold medal match and won 2–1 in overtime. Her teammates swarmed Hamm after the final whistle to celebrate their second Olympic gold medal and her final win at the Olympics. The game marked the last Olympic appearance for the five remaining players who had helped win the inaugural 1991 FIFA Women's World Cup: Hamm, Julie Foudy, Joy Fawcett, Brandi Chastain, and Kristine Lilly (often referred to as the Fab Five).
Style of play
Regarded as one of the greatest women soccer players of all time, Hamm was an athletic, dynamic, and technically gifted striker, renowned for her speed, skill, footwork, stamina, and ability on the ball, as well as her consistency. An excellent, agile dribbler, she was highly regarded for her control, as well as her grace, pace, and elegance in possession. A prolific goalscorer, she was known for her powerful and accurate striking ability, although she was also a creative and hard-working forward, and a team player, who was equally capable of assisting many goals for her teammates, due to her accurate passing, and was also willing to aid her teammates defensively when possession was lost. She was capable of playing in any offensive position.
Personal life
Hamm was first married to her college sweetheart Christiaan Corry, a United States Marine Corps helicopter pilot; they divorced in 2001 after being married six years. She married then-Boston Red Sox shortstop Nomar Garciaparra on November 22, 2003, in Goleta, California, in a ceremony attended by a few hundred guests. On March 27, 2007, Hamm gave birth to twin girls, Grace Isabella and Ava Caroline. Though born five weeks early, each girl weighed over at birth. The couple had a son, named Garrett Anthony, in January 2012.
Philanthropy
In 1999, Hamm founded the Mia Hamm Foundation following the death of her adopted brother Garrett in 1997 from complications of aplastic anemia, a rare blood disease he had endured for ten years. Dedicated to promoting awareness of and raising funds for families in need of a bone marrow or cord blood transplant, the foundation encourages people to register in the national bone marrow registry and provides funds to UNC Health Care and Children's Hospital Los Angeles. It also focuses on creating opportunities to empower women through sport. Hamm hosts an annual celebrity soccer game in Los Angeles to support the foundation.
In popular culture
Hamm has been called the most marketable female athlete of her generation. During her time as an international soccer player, she signed endorsement deals with Gatorade, Nike, Dreyer's Ice Cream, Pepsi, Nabisco, Fleet Bank, Earthgrains, and Powerbar. In 1997, she starred in a popular commercial for Pert Plus. Hamm was featured on a Wheaties box following the 1999 World Cup and endorsed the first Soccer Barbie by Mattel. She co-starred with Michael Jordan in a popular television commercial for Gatorade in the spring of 1999 which featured the two athletes competing against each other in a variety of sports while the song Anything You Can Do (I Can Do Better) is heard. The commercial ends with Hamm throwing Jordan to the ground in a judo match. In 2000, the video game, Mia Hamm Soccer 64 was released for Nintendo 64. It was the first game to feature female athletes only and sold a "relatively high" 42,886 copies in the United States.
Hamm was featured on the covers of Sports Illustrated, Time, and People. She has made appearances on numerous television shows, including: Late Night with David Letterman, The Rosie O'Donnell Show, The Tonight Show with Jay Leno, Today, Extreme Makeover: Home Edition, Good Morning America, and The Oprah Winfrey Show. She was profiled in ESPN's SportsCentury and Biography documentaries, ESPN 25: Who's #1?, and was featured in Once in a Lifetime: The Extraordinary Story of the New York Cosmos. In 2005, she was featured in the HBO documentary Dare to Dream: The Story of the U.S. Women's Soccer Team. Her likeness was used in the logo of Women's Professional Soccer, the second women's professional soccer league in the United States. Hamm was mentioned on a season eight episode of the TV series Friends. When Rachel had Joey put his hand on her belly, she says, "Aw, it's unbelievable! Wow! She is kicking so much! Oh, she's like, um, who's that kind of annoying girl soccer player?" Joey asks, "Mia Hamm?" Rachel says, "Mia Hamm!".
Other work
Hamm is a global ambassador for FC Barcelona. She is the author of the national bestseller Go For the Goal: A Champion's Guide to Winning in Soccer and Life and juvenile fiction book Winners Never Quit.
In 2012, after Pia Sundhage's departure as head coach of the national team, Hamm joined Danielle Slaton and Sunil Gulati as a member of the search committee for Sundhage's successor. In 2014, she was named to the board of the National Soccer Hall of Fame.
In October 2014, Hamm was announced as a co-owner of the future Major League Soccer team, Los Angeles FC. The same month, Hamm joined the board of directors of Serie A club A.S. Roma, owned by American investors. Hamm joined Vice President Joe Biden and Second Lady Jill Biden as members of the United States delegation at the 2015 FIFA Women's World Cup Final in Vancouver, Canada.
Career statistics
Matches and goals scored at World Cup and Olympic tournaments
Hamm competed as a member of the United States national soccer team in four FIFA Women's World Cup tournaments: the inaugural 1991 in China, 1995 in Sweden, as well as 1999 and 2003 in the United States. She competed at three Summer Olympic Games: 1996 in Atlanta, 2000 in Sydney, and 2004 in Athens. All together, she played in 38 matches and scored 13 goals at seven top international tournaments. With her teammates, Hamm finished third at two World Cup tournaments in 1995 and 2003, second at the 2000 Olympics, and first at the four other international tournaments.
Honors and awards
Hamm was named Sportswoman of the Year by the Women's Sports Foundation in 1997 and 1999. In June 1999, Nike named the largest building on their corporate campus after Hamm. In December 2000, Hamm was named one of the top three female soccer players of the twentieth century in the FIFA Female Player of the Century Award, finishing behind only Sun Wen and compatriot Michelle Akers.
While at North Carolina, she won the Honda Sports Award as the nation's top female soccer player in both 1993 and 1994, and won the Honda-Broderick Cup in 1994 as the nation's top female athlete.
In March 2004, Hamm and former U.S. teammate Michelle Akers were the only two women and Americans named to the FIFA 100, a list of the 125 greatest living soccer players, selected by Pelé and commissioned by FIFA for the organization's 100th anniversary. Other accolades include being elected U.S. Soccer Female Athlete of the Year five years in a row from 1994 to 1998, and winning three ESPY awards including Soccer Player of the Year and Female Athlete of the Year.
In 2006 Hamm was inducted into the Alabama Sports Hall of Fame, followed by the Texas Sports Hall of Fame on March 11, 2008. In 2007, during her first year of eligibility, Hamm was selected for induction into the National Soccer Hall of Fame. In 2008, an image of her silhouette was used in the logo for the second professional women's soccer league in the United States: Women's Professional Soccer. ESPN named her the greatest female athlete in 2012.
In 2013, Hamm became the first woman inducted into the World Football Hall of Fame, located in Pachuca, Mexico. She was named to U.S. Soccer's USWNT All-Time Best XI in December 2013. In 2014, Hamm was named one of ESPNW's Impact 25; she was also the recipient of the Golden Foot Legends Award.
For their first match of March 2019, the women of the United States women's national soccer team each wore a jersey with the name of a woman they were honoring on the back; Samantha Mewis chose the name of Hamm.
In 2021, Hamm was inducted into the National Women's Hall of Fame.
Championships
See also
List of FIFA Women's World Cup winning players
List of women's footballers with 100 or more international goals
List of University of North Carolina at Chapel Hill Olympians
List of FIFA Women's World Cup goalscorers
List of Olympic medalists in football
List of 1996 Summer Olympics medal winners
List of 2000 Summer Olympics medal winners
List of 2004 Summer Olympics medal winners
List of athletes on Wheaties boxes
References
Match reports
External links
Mia Hamm Video produced by Makers: Women Who Make America
1972 births
Living people
Sportspeople from Selma, Alabama
Soccer players from Alabama
Soccer players from North Carolina
American women's soccer players
Women's association football forwards
Women's association football midfielders
North Carolina Tar Heels women's soccer players
Hermann Trophy women's winners
Washington Freedom players
Women's United Soccer Association players
Women's Olympic soccer players of the United States
United States women's international soccer players
1991 FIFA Women's World Cup players
1995 FIFA Women's World Cup players
Footballers at the 1996 Summer Olympics
1999 FIFA Women's World Cup players
Footballers at the 2000 Summer Olympics
2003 FIFA Women's World Cup players
Footballers at the 2004 Summer Olympics
Outfield association footballers who played in goal
FIFA Women's World Cup-winning players
Olympic gold medalists for the United States in soccer
Olympic silver medalists for the United States in soccer
Medalists at the 1996 Summer Olympics
Medalists at the 2000 Summer Olympics
Medalists at the 2004 Summer Olympics
FIFA Century Club
FIFA World Player of the Year winners
National Soccer Hall of Fame members
FIFA 100
Women association football executives
American expatriate sportspeople in Italy
American women philanthropists
Philanthropists from Alabama
Philanthropists from North Carolina
Competitors at the 1998 Goodwill Games
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[
"Katherine Elizabeth Callan (née Borman; January 9, 1936) is an American author and actress known for playing Clark Kent's mother Martha in the ABC television series Lois & Clark: The New Adventures of Superman.\n\nEarly years\nCallan was born in Dallas, Texas. When she was 5 years old, she felt that she wanted to act. She did so in school, and as a student at Texas University at Denton, she studied drama. She went on to teach drama at a Catholic girls' school, and she began a children's theater.\n\nCareer\nCallan first appeared on television in an episode of Route 66 that happened to be shooting in Dallas. She resumed her on-camera career in 1970, guest-starring in roles on One Day at a Time, St. Elsewhere, Carnivàle, JAG, Coach and King of the Hill. She played a key role in the Emmy Award-winning episode \"Cousin Liz\" of All in the Family and portrayed the mother of April Stevens Ewing in several episodes of the penultimate season of Dallas. She played Daisy LaRue in the TV show Meet the Browns and appeared as Mrs. Monroe, Gabe Duncan's teacher, in Good Luck Charlie. She also appeared in the third-season finale of Desperate Housewives as Ilene Britt, the mother of Edie Britt (Nicollette Sheridan), and has portrayed Lily's maternal grandmother on several episodes of How I Met Your Mother. She played the part of Charlie (as an elderly woman) in Heroes for one episode.\n\nShe appeared in the films Joe (1970), A Touch of Class (1973), The Onion Field (1979), American Gigolo (1980), A Change of Seasons (1980), Fast-Walking (1982), and Knives Out (2019), as well as the 1972 television adaptation of the 1966 Lanford Wilson play The Rimers of Eldritch.\n\nShe has written several books, including The Los Angeles Agent, The Script Is Finished, Now What Do I Do?, Directing YourDirecting Career, and How to Sell Yourself as an Actor. She received her acting training at HB Studio in New York City.\n\nCallan made TV commercials for products, including Anacin, Endust, Geritol, and Sanka.\n\nPersonal life\nCallan was married to and divorced from author James Ruskin Callan. The couple have three children, Jamie Callan, Kelly Callan, and Kristi Callan.\n\nFilmography\n\nFilm\n\nTelevision\n\nReferences\n\nBibliography\n\nExternal links\n\n1936 births\nLiving people\nAmerican film actresses\nAmerican television actresses\nWriters from Texas\nActresses from Dallas\n20th-century American actresses\n21st-century American actresses",
"How Do They Do It? is a television series produced by Wag TV for Discovery Channel. Each programme explores how 2 or 3 ordinary objects are made and used. The show's slogan is \"Behind the ordinary is the extraordinary.\" The series is broadcast throughout the world on various Discovery-owned networks including:\n\nDiscovery Channel, Science Channel, DMAX and Quest in the United Kingdom;\nScience Channel in the United States;\nDiscovery Channel in Asia, Australia, Belgium, Canada, France, Spain, Switzerland, and the Netherlands;\nDiscovery Channel and Discovery Science in Italy.\n\nSeries 1 and 2, which were co-produced with Rocket Surgery Productions, were narrated by Rupert Degas; series 3 and 4 were narrated by Iain Lee; and series 5 and 6 were narrated by Dominic Frisby. In 2008, the UK's Channel 5 began airing the series, presented by Robert Llewellyn. This version was released on DVD in the UK in May 2010.\n\nIn the United States, the series airs on the Science Channel and is narrated by Chris Broyles.\n\nThis programme is similar to the popular Canadian-produced documentary programme, How It's Made, also broadcast on Discovery Channel networks.\n\nEpisodes\n\nSeason 1 (2006) \n\nEpisodes in the first season aired with 60-minute runtimes (including commercials).\n\nSeason 2 (2006) \n\nEpisodes in the second season aired with 30-minute runtimes (including commercials).\n\nSeason 3 (2007)\n\nSeason 4 (2007)\n\nSeason 5 (2008)\n\nSeason 6 (2009)\n\nSeason 7 (2010)\n\nSeason 8 (2011)\n\nSeason 9 (2012)\n\nSeason 10 (2012)\n\nSeason 11 (2013)\n\nSeason 12 (2014)\n\nSeason 13 (2015)\n\nSeason 14 (2016)\n\nSeason 15 (2017)\n\nSeason 16\n\nSpecial\n\nEpisodes 60 minutes long taken the best from series 3 and 4\n\nFIVE (UK) version\n\nSeries 1\n\nEach episode is 30 minutes long and airs on terrestrial UK channel five. Each programme features 2 items from the original series with 1 new item filmed with presenter Robert Llewellyn. Llewellyn also presents links in between the original items.\n\nSeries 2\n\nSeries 3\n\nSeries 4\n\nSeries 4 does not feature a specially shot item with presenter Robert Llewellyn; instead this is a reversion of the Discovery Channel series 5 with filmed links presented by Robert between the items. This series was not made available on Five's online video site.\n\nSeries 5\n\nSeries 5 does not feature a specially shot item with presenter Robert Llewellyn; instead this is a reversion of the Discovery Channel series 6 with filmed links presented by Robert between the items. This series was not made available on Five's online video site.\n\nScience Channel\n\nSeason Unknown\n\nEpisodes in this group aired with 30-minute runtimes (including commercials). On hiatus as of February 2014.\n\nReferences\n\nExternal links\n\n How Do They Do It?, Discovery Channel UK\n How Do They Do It?, Discovery Channel Asia\n ¿Cómo lo hacen?, Discovery Channel en Español\n Official Youtube channel with \"How Do They Do It?\" videos, among others\n WAG TV\n\nBritish documentary television series\n2000s Canadian documentary television series\nDiscovery Channel original programming\nDocumentary television series about industry"
] |
[
"Mia Hamm",
"Washington Freedom, 2001-2003",
"Who was the first team she played against as part of the team?",
"During the league's inaugural match between the Freedom and Bay Area CyberRays at RFK Stadium in Washington, D.C.,",
"Did they win?",
"The Freedom won 1-0.",
"How did she do in the game?",
"Hamm was fouled in the penalty area resulting in a penalty kick that her teammate Pretinha converted",
"Was it on television?",
"the Turner Network Television (TNT) broadcast reached 393,087 households:",
"Did she suffer any injuries?",
"Hamm suffered a knee injury in November 2001",
"Did the team do well without her?",
"The team finished in third place during the 2002 season with a 11-5-5 record and advanced to the playoffs.",
"How did she do in the 2003 season?",
"Her 11 goals ranked second on the team behind Abby Wambach's 13 while her 11 assists ranked first."
] |
C_62a5febe9e214319a432971d23e2d865_0
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Did she starts on some games?
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Did Mia Hamm start on some games for the Washington Freedom?
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Mia Hamm
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In 2001, Hamm was a founding player in the first professional women's soccer league in the United States, the Women's United Soccer Association (WUSA), and played for the Washington Freedom from 2001-2003. Throughout the league's history, Hamm was hailed as the star of the league and used heavily in marketing and promotion. In a poll of 1,000 advertising executives conducted in 2001, she was voted "the most appealing female athlete", garnering almost twice as many votes as the runner-up Anna Kournikova. During the league's inaugural match between the Freedom and Bay Area CyberRays at RFK Stadium in Washington, D.C., Hamm was fouled in the penalty area resulting in a penalty kick that her teammate Pretinha converted to mark the first goal scored in the league. The Freedom won 1-0. In addition to the 34,148 fans in attendance being greater than any MLS game that weekend, the Turner Network Television (TNT) broadcast reached 393,087 households: more than two MLS games broadcast on ESPN and ESPN2. Playing as a midfielder and forward, Hamm played in 19 of the Freedom's 21 matches during the 2001 season. She led the team in goals (6) and assists (4). The Freedom finished in seventh place during the regular season with a 6-12-3 record. Hamm suffered a knee injury in November 2001 that kept her off the pitch for several months of early 2002. Despite playing only half the 2002 season with the Freedom, she finished the season with eight goals. The team finished in third place during the 2002 season with a 11-5-5 record and advanced to the playoffs. After winning the semi-final against the Philadelphia Charge 1-0, the team was defeated 3-2 by the Carolina Courage in the 2002 WUSA Founders Cup. Hamm scored the Freedom's second goal in the 64th minute. During the 2003 season, Hamm started in 16 of the 19 games in which she played. Her 11 goals ranked second on the team behind Abby Wambach's 13 while her 11 assists ranked first. The Freedom finished in fourth place during the regular season with a 9-8-4 record and secured a berth in the playoffs. Hamm finished her club career as a WUSA champion when the Freedom defeated the Atlanta Beat 2-1 in overtime to win the Founders Cup on August 24, 2003. CANNOTANSWER
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Hamm started in 16 of the 19 games in which she played.
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Mariel Margaret Hamm-Garciaparra (born March 17, 1972) is an American retired professional soccer player, two-time Olympic gold medalist, and two-time FIFA Women's World Cup champion. Hailed as a soccer icon, she played as a forward for the United States women's national soccer team from 1987 to 2004. Hamm was the face of the Women's United Soccer Association (WUSA), the first professional women's soccer league in the United States, where she played for the Washington Freedom from 2001 to 2003. She played college soccer for the North Carolina Tar Heels women's soccer team and helped the team win four consecutive NCAA Division I Women's Soccer Championship titles.
During her tenure with the national team, Hamm competed in four FIFA Women's World Cup tournaments: the inaugural 1991 in China, 1995 in Sweden, 1999 and 2003 in the United States. She led the team at three Olympic Games, including: 1996 in Atlanta (the first time women's soccer was played), 2000 in Sydney, and 2004 in Athens. She completed her international career having played in 42 matches and scored 14 goals at these 7 international tournaments.
Hamm held the record for most international goals scored until 2013 and remains in third place behind former teammate Abby Wambach and Canadian striker Christine Sinclair as of 2017. She currently ranks third in the history of the U.S. national team for international caps (276) and first for career assists (144). Twice named FIFA World Player of the Year in 2001 and 2002, Hamm and her teammate Michelle Akers were hailed by Pelé as two of FIFA's 125 greatest living players when he included them in the FIFA 100 to celebrate the organization's 100th anniversary. Hamm was named U.S. Soccer Female Athlete of the Year five years in a row and won three ESPY awards including Soccer Player of the Year and Female Athlete of the Year. The Women's Sports Foundation named her Sportswoman of the Year in 1997 and 1999. She was inducted into the National Soccer Hall of Fame, Alabama Sports Hall of Fame, Texas Sports Hall of Fame, North Carolina Soccer Hall of Fame, and was the first woman inducted into the World Football Hall of Fame.
A co-owner of Los Angeles FC, Hamm is also a global ambassador for FC Barcelona and is on the board of directors of Serie A club A.S. Roma. Author of Go For the Goal: A Champion's Guide to Winning in Soccer and Life, Hamm has been featured in several films and television shows, including the HBO documentary, Dare to Dream: The Story of the U.S. Women's Soccer Team.
Early life
Born in Selma, Alabama, Mia was the fourth of six children of Bill and Stephanie Hamm. She wore corrective shoes as a toddler after being born with a club foot. Hamm spent her childhood on various United States Air Force bases around the world with her family. While living in Florence, Italy, Hamm first played soccer, which was hugely popular there; her entire family quickly became involved in the sport. At age five, then living in Wichita Falls, Texas, Hamm joined her first soccer team. Her father coached Mia and her newly adopted brother, 8-year-old Garrett.
Hamm played sports from a young age and excelled as a football player on the boys' team at junior high school. As a high school freshman and sophomore, she played soccer for Notre Dame Catholic High School in Wichita Falls. She played at the 1987 U.S. Olympic Festival, the youngest player to play for the United States women's national soccer team. As a new player, she often started as a forward but did not score a goal during her first year on the team. Hamm spent a year at Lake Braddock Secondary School in Burke, Virginia, and helped the Lake Braddock soccer team win the 1989 state championships.
Club career
North Carolina Tar Heels, 1989–1993
From 1989 to 1993, Hamm attended the University of North Carolina at Chapel Hill, where she helped the Tar Heels win four NCAA Division I Women's Soccer Championships in five years. She red-shirted the 1991 season to focus on preparation for the inaugural 1991 FIFA Women's World Cup in China. North Carolina lost one game of the 95 she played on the team. She earned All-American honors, was named the Atlantic Coast Conference (ACC) Player of the Year for three consecutive years, and was named ACC Female Athlete of the Year in 1993 and 1994. She graduated from North Carolina in 1994 with the ACC records for goals (103), assists (72), and total points (278). In 2003, she and Michael Jordan were named the ACC's Greatest Athletes of the conference's first fifty years.
Hamm was a member of the United States women's national college team that won a silver medal, being defeated by China in the final, at the 1993 Summer Universiade in Buffalo, New York.
Washington Freedom, 2001–2003
In 2001, Hamm was a founding player in the first professional women's soccer league in the United States, the Women's United Soccer Association (WUSA), and played for the Washington Freedom from 2001 to 2003. Throughout the league's history, Hamm was hailed as the star of the league and used heavily in marketing and promotion. In a poll of 1,000 advertising executives conducted in 2001, she was voted "the most appealing female athlete", garnering almost twice as many votes as the runner-up Anna Kournikova.
During the league's inaugural match between the Freedom and Bay Area CyberRays at RFK Stadium in Washington, D.C., Hamm was fouled in the penalty area resulting in a penalty kick that her teammate Pretinha converted to mark the first goal scored in the league. The Freedom won 1–0. In addition to the 34,148 fans in attendance being greater than any MLS game that weekend, the Turner Network Television (TNT) broadcast reached 393,087 households: more than two MLS games broadcast on ESPN and ESPN2. Playing as a midfielder and forward, Hamm played in 19 of the Freedom's 21 matches during the 2001 season. She led the team in goals (6) and assists (4).
The Freedom finished in seventh place during the regular season with a record.
Hamm suffered a knee injury in November 2001 that kept her off the pitch for several months of early 2002. Despite playing only half the 2002 season with the Freedom, she finished the season with eight goals. The team finished in third place during the 2002 season with a record and advanced to the playoffs. After winning the semi-final against the Philadelphia Charge 1–0, the team was defeated 3–2 by the Carolina Courage in the 2002 WUSA Founders Cup. Hamm scored the Freedom's second goal in the 64th minute.
During the 2003 season, Hamm started in 16 of the 19 games in which she played. Her 11 goals ranked second on the team behind Abby Wambach's 13 while her 11 assists ranked first.
The Freedom finished in fourth place during the regular season with a record and secured a berth in the playoffs. Hamm finished her club career as a WUSA champion when the Freedom defeated the Atlanta Beat 2–1 in overtime to win the Founders Cup on August 24, 2003.
Retirement
On May 14, 2004, Hamm announced her retirement effective after the 2004 Athens Olympics. Following the 2004 Olympics, Hamm and her teammates played in a 10-game farewell tour in the United States. The final match of the tour against Mexico at the Home Depot Center in Carson, California, on December 8, 2004, marked the final international match for Hamm, Julie Foudy, and Joy Fawcett. The U.S. defeated Mexico 5–0 and Hamm assisted on two of the goals.
Hamm retired at age 32 with a record 158 international goals. She and teammates Foudy and Fawcett were honored with a pre-game ceremony where they were presented with framed jerseys and roses in front of 15,549 fans at Home Depot Center in Carson, California. During the 5–0 win against Mexico, Hamm provided the assist on the first two goals. Following her retirement, Hamm's #9 jersey was inherited by midfielder Heather O'Reilly.
International career
Women's national team, 1987–2004
Hamm made her debut for the United States women's national soccer team in 1987 at the age of 15 — just two years after the team played its first international match. She was the youngest person ever to play for the team. She scored her first goal during her 17th appearance. She competed in four FIFA Women's World Cup tournaments: the inaugural 1991 in China, 1995 in Sweden, 1999 and 2003 in the United States. She led the team at three Olympic Games, including: 1996 in Atlanta (the first time women's soccer was played), 2000 in Sydney, and 2004 in Athens. In total, she played 42 matches and scored 14 goals in international tournaments.
Hamm held the record for most international goals scored—by a woman or man—until 2013 and remains in third place as of 2017. She currently ranks third in the history of the U.S. national team for international caps (276) and first for career assists (144).
1991 FIFA Women's World Cup
In 1991, Hamm was named to the roster for the inaugural FIFA Women's World Cup in China under North Carolina coach Anson Dorrance. At 19 years old, she was still the youngest player on the team. During the team's first match of the tournament, Hamm scored the game-winning goal in the 62nd minute, leading the U.S. to a 3–2 win over Sweden. She also scored once in their second group stage match when they defeated Brazil 5–0. The U.S. squad finished first in Group B after a third win against Japan on November 21 and advanced to the knockout stage of the tournament. During the quarterfinal match, the U. S. defeated Chinese Taipei 7–0. After defeating Germany 5–2 during the semi-final, the U.S. faced Norway in the final. In front of 63,000 spectators, the U.S. clinched the first World Cup championship title after a 2–1 win.
1995 FIFA Women's World Cup
Hamm's second World Cup appearance came during the 1995 tournament in Sweden. The United States were led by head coach Tony DiCicco. During the team's first match of the tournament, she scored the team's third goal in the 51st minute in a 3–3 draw against China PR. The U.S. faced Denmark during its second group stage match. Goals from Kristine Lilly and Tiffeny Milbrett led to a 2–0 win for the U.S. Hamm played goalkeeper for a few minutes after Briana Scurry received a red card and was removed from the match. After defeating Australia 4–1 on June, 10, the U.S. advanced to the knock-out stage and defeated Japan 4–0 in the quarter-final. The U.S. was defeated by eventual champion Norway 1–0 in the semi-finals and captured third place after defeating China PR 2–0 on June 17. Hamm scored the second U.S. goal of the match in the 55th minute.
1996–1998: Atlanta Olympics and 100th international goal
Hamm was a key part of the U.S. team at the 1996 Summer Olympic Games in Atlanta; this was the first Olympic tournament to include women's soccer. The U.S. faced Denmark in their first preliminary round match. Hamm scored a goal and served an assist to Tiffeny Milbrett to lead the U.S. to a 3–0 win. The team defeated Sweden 2–1 next at the Orlando Citrus Bowl. After tying China 0–0 in their final preliminary round match, the U.S. finished second in Group E. Defeating Norway in the semi-finals, the team faced China in the final. Hamm played despite having foot and groin injuries, suffered during team training and the match against Sweden. Although she was carried off by stretcher in the final minute, her team won their first Olympic gold medal with a 2–1 win witnessed by 76,481 fans in the stadium – the largest crowd for a soccer event in the history of the Olympics and the largest crowd for a women's sports event in the United States.
The 20 goals scored by Hamm in 1998 were the highest annual total of her international career. She also provided 20 assists. On September 18, she scored her 100th international goal in a friendly match against Russia in Rochester, New York. The same year, she led the U.S. to the first-ever Goodwill Games gold medal. Hamm scored five of the team's seven goals at the tournament, including two during the championship match against China.
1999: 108th International goal and FIFA Women's World Cup
On May 22, 1999, Hamm broke the all-time international goal record with her 108th goal in a game against Brazil in Orlando, Florida. The following month, she led the national team at the 1999 FIFA Women's World Cup, hosted by the United States. During the team's first group stage match against Denmark, she scored her 110th international goal and served an assist to Julie Foudy as the U.S. won 3–0. Against Nigeria, Hamm's low free kick was knocked into the goal by a Nigerian midfielder. Within a minute, Hamm scored with a free kick. She later served an assist to Kristine Lilly before being substituted in the 57th minute. The U.S. won 7–1 and secured a berth in the quarter-finals. During the team's final group stage match, head coach Tony DiCicco rested a number of players, including Hamm, who was substituted at half-time. The U.S. defeated Korea 3–0 and finished Group A with nine points. In the quarter-finals, the U.S. defeated Germany 3–2. Playing Brazil in the semi-finals, Hamm was knocked down in the penalty area late in the second half; Michelle Akers converted the subsequent penalty and their team won 2–0.
After 90 minutes of scoreless regulation time and 30 minutes of sudden death, the 1999 FIFA Women's World Cup Final was decided by a penalty shootout between the U.S. and China. The five American players to take penalty kicks, including Hamm, converted; China missed one attempt so that the home team won. The final surpassed the 1996 Atlanta Olympic final as the most-attended women's sports event, with more than 90,000 people filling the Rose Bowl in Pasadena, California. It held the record until 2014 for the largest U.S. television audience for a soccer match with 17,975,000 viewers. , it ranks third following the 2015 FIFA Women's World Cup (25,400,000 viewers) and 2014 FIFA World Cup group stage match between the U.S. men's team and Portugal (18,220,000 viewers).
Immediately following the final, Hamm collapsed in the locker room from severe dehydration. She was treated by medical staff with an intravenous drip and three liters of fluids. After 12 hours of sleep, she joined the team for magazine cover shoots, went to Disneyland for a celebration rally, and made numerous television appearances. A week later, the team met President Clinton at the White House and flew with Hillary and Chelsea Clinton on Air Force One to Cape Canaveral. Her leadership and performance at the 1999 World Cup cemented Hamm as a soccer icon.
2000 Sydney Olympics
Hamm represented the United States at the 2000 Summer Olympics in Sydney, Australia. During the group stage, she scored a goal against Norway to lift the United States to a 2–0 win. The team tied China 1–1 in their next group stage match before defeating Nigeria 3–1 to finish first in their group. After advancing to the semi-finals where the U.S. faced Brazil, Hamm scored the game-winning goal in the 60th minute. The goal marked the 127th of her international career and set a new record for most goals scored in international play by a woman or man. The U.S. faced Norway in the final and were defeated 3–2 in overtime to earn the silver medal at the Games.
2003 FIFA Women's World Cup
Originally scheduled for China, the 2003 FIFA Women's World Cup was moved to the United States due to the SARS outbreak. Hamm was named to the U.S. roster in August, and stated that it would be her final World Cup appearance. During the team's first group stage match, Hamm's three assists helped the U.S. to a 3–1 win over Sweden. She scored twice against Nigeria and served the assist for the team's third goal to lead the U.S. to a 5–0 win and qualification for the quarter-finals with one match to play. The U.S. faced North Korea in their final group stage match and dominated 3–0. Hamm and a number of others were rested for the game by head coach April Heinrichs; this was the first World Cup match Hamm had missed in her career. The U.S. faced Norway in the quarter-finals; Although the U.S. won 1–0, Hamm was fouled throughout the match as Norway played with physicality to counter the U.S. team. One of Norway's 24 fouls resulted in a penalty kick for Hamm which was saved by the Norwegian goalkeeper. After the U.S. was defeated 3–0 by Germany in the semi-finals, the team defeated Canada 3–1 to secure a third-place finish.
2004: 158th international goal and Athens Olympics
During a friendly game against Australia on July 21, 2004, Hamm scored her 158th international goal setting the record for most international goals scored by any player in the world, male or female. She held the world record until Abby Wambach scored her 159th goal on June 20, 2013. The Australia match also marked Hamm's 259th international appearance; only two of her teammates, Kristine Lilly and Christie Rampone, have played in more international games.
Hamm helped lead the U.S. national team to its second gold medal at the 2004 Summer Olympics in Athens and was selected by her fellow Olympians to carry the American flag at the closing ceremony. During the team's first group stage match against Greece, Hamm served the cross to Shannon Boxx's game-opening goal, and scored the last goal of the match to lift the U.S. to a 3–0 win. During a 2–0 win over Brazil in the second group stage match, Hamm converted a penalty kick for the opening goal. The U.S. finished at the top of Group C with seven points after a 1–1 draw against Australia to advance to the quarter-finals, where they defeated Japan 2–1. During the semi-final match against Germany, Hamm served an assist to Heather O'Reilly who scored in overtime to secure a 2–1 win. The U.S. faced Brazil for a second time at the Games in the gold medal match and won 2–1 in overtime. Her teammates swarmed Hamm after the final whistle to celebrate their second Olympic gold medal and her final win at the Olympics. The game marked the last Olympic appearance for the five remaining players who had helped win the inaugural 1991 FIFA Women's World Cup: Hamm, Julie Foudy, Joy Fawcett, Brandi Chastain, and Kristine Lilly (often referred to as the Fab Five).
Style of play
Regarded as one of the greatest women soccer players of all time, Hamm was an athletic, dynamic, and technically gifted striker, renowned for her speed, skill, footwork, stamina, and ability on the ball, as well as her consistency. An excellent, agile dribbler, she was highly regarded for her control, as well as her grace, pace, and elegance in possession. A prolific goalscorer, she was known for her powerful and accurate striking ability, although she was also a creative and hard-working forward, and a team player, who was equally capable of assisting many goals for her teammates, due to her accurate passing, and was also willing to aid her teammates defensively when possession was lost. She was capable of playing in any offensive position.
Personal life
Hamm was first married to her college sweetheart Christiaan Corry, a United States Marine Corps helicopter pilot; they divorced in 2001 after being married six years. She married then-Boston Red Sox shortstop Nomar Garciaparra on November 22, 2003, in Goleta, California, in a ceremony attended by a few hundred guests. On March 27, 2007, Hamm gave birth to twin girls, Grace Isabella and Ava Caroline. Though born five weeks early, each girl weighed over at birth. The couple had a son, named Garrett Anthony, in January 2012.
Philanthropy
In 1999, Hamm founded the Mia Hamm Foundation following the death of her adopted brother Garrett in 1997 from complications of aplastic anemia, a rare blood disease he had endured for ten years. Dedicated to promoting awareness of and raising funds for families in need of a bone marrow or cord blood transplant, the foundation encourages people to register in the national bone marrow registry and provides funds to UNC Health Care and Children's Hospital Los Angeles. It also focuses on creating opportunities to empower women through sport. Hamm hosts an annual celebrity soccer game in Los Angeles to support the foundation.
In popular culture
Hamm has been called the most marketable female athlete of her generation. During her time as an international soccer player, she signed endorsement deals with Gatorade, Nike, Dreyer's Ice Cream, Pepsi, Nabisco, Fleet Bank, Earthgrains, and Powerbar. In 1997, she starred in a popular commercial for Pert Plus. Hamm was featured on a Wheaties box following the 1999 World Cup and endorsed the first Soccer Barbie by Mattel. She co-starred with Michael Jordan in a popular television commercial for Gatorade in the spring of 1999 which featured the two athletes competing against each other in a variety of sports while the song Anything You Can Do (I Can Do Better) is heard. The commercial ends with Hamm throwing Jordan to the ground in a judo match. In 2000, the video game, Mia Hamm Soccer 64 was released for Nintendo 64. It was the first game to feature female athletes only and sold a "relatively high" 42,886 copies in the United States.
Hamm was featured on the covers of Sports Illustrated, Time, and People. She has made appearances on numerous television shows, including: Late Night with David Letterman, The Rosie O'Donnell Show, The Tonight Show with Jay Leno, Today, Extreme Makeover: Home Edition, Good Morning America, and The Oprah Winfrey Show. She was profiled in ESPN's SportsCentury and Biography documentaries, ESPN 25: Who's #1?, and was featured in Once in a Lifetime: The Extraordinary Story of the New York Cosmos. In 2005, she was featured in the HBO documentary Dare to Dream: The Story of the U.S. Women's Soccer Team. Her likeness was used in the logo of Women's Professional Soccer, the second women's professional soccer league in the United States. Hamm was mentioned on a season eight episode of the TV series Friends. When Rachel had Joey put his hand on her belly, she says, "Aw, it's unbelievable! Wow! She is kicking so much! Oh, she's like, um, who's that kind of annoying girl soccer player?" Joey asks, "Mia Hamm?" Rachel says, "Mia Hamm!".
Other work
Hamm is a global ambassador for FC Barcelona. She is the author of the national bestseller Go For the Goal: A Champion's Guide to Winning in Soccer and Life and juvenile fiction book Winners Never Quit.
In 2012, after Pia Sundhage's departure as head coach of the national team, Hamm joined Danielle Slaton and Sunil Gulati as a member of the search committee for Sundhage's successor. In 2014, she was named to the board of the National Soccer Hall of Fame.
In October 2014, Hamm was announced as a co-owner of the future Major League Soccer team, Los Angeles FC. The same month, Hamm joined the board of directors of Serie A club A.S. Roma, owned by American investors. Hamm joined Vice President Joe Biden and Second Lady Jill Biden as members of the United States delegation at the 2015 FIFA Women's World Cup Final in Vancouver, Canada.
Career statistics
Matches and goals scored at World Cup and Olympic tournaments
Hamm competed as a member of the United States national soccer team in four FIFA Women's World Cup tournaments: the inaugural 1991 in China, 1995 in Sweden, as well as 1999 and 2003 in the United States. She competed at three Summer Olympic Games: 1996 in Atlanta, 2000 in Sydney, and 2004 in Athens. All together, she played in 38 matches and scored 13 goals at seven top international tournaments. With her teammates, Hamm finished third at two World Cup tournaments in 1995 and 2003, second at the 2000 Olympics, and first at the four other international tournaments.
Honors and awards
Hamm was named Sportswoman of the Year by the Women's Sports Foundation in 1997 and 1999. In June 1999, Nike named the largest building on their corporate campus after Hamm. In December 2000, Hamm was named one of the top three female soccer players of the twentieth century in the FIFA Female Player of the Century Award, finishing behind only Sun Wen and compatriot Michelle Akers.
While at North Carolina, she won the Honda Sports Award as the nation's top female soccer player in both 1993 and 1994, and won the Honda-Broderick Cup in 1994 as the nation's top female athlete.
In March 2004, Hamm and former U.S. teammate Michelle Akers were the only two women and Americans named to the FIFA 100, a list of the 125 greatest living soccer players, selected by Pelé and commissioned by FIFA for the organization's 100th anniversary. Other accolades include being elected U.S. Soccer Female Athlete of the Year five years in a row from 1994 to 1998, and winning three ESPY awards including Soccer Player of the Year and Female Athlete of the Year.
In 2006 Hamm was inducted into the Alabama Sports Hall of Fame, followed by the Texas Sports Hall of Fame on March 11, 2008. In 2007, during her first year of eligibility, Hamm was selected for induction into the National Soccer Hall of Fame. In 2008, an image of her silhouette was used in the logo for the second professional women's soccer league in the United States: Women's Professional Soccer. ESPN named her the greatest female athlete in 2012.
In 2013, Hamm became the first woman inducted into the World Football Hall of Fame, located in Pachuca, Mexico. She was named to U.S. Soccer's USWNT All-Time Best XI in December 2013. In 2014, Hamm was named one of ESPNW's Impact 25; she was also the recipient of the Golden Foot Legends Award.
For their first match of March 2019, the women of the United States women's national soccer team each wore a jersey with the name of a woman they were honoring on the back; Samantha Mewis chose the name of Hamm.
In 2021, Hamm was inducted into the National Women's Hall of Fame.
Championships
See also
List of FIFA Women's World Cup winning players
List of women's footballers with 100 or more international goals
List of University of North Carolina at Chapel Hill Olympians
List of FIFA Women's World Cup goalscorers
List of Olympic medalists in football
List of 1996 Summer Olympics medal winners
List of 2000 Summer Olympics medal winners
List of 2004 Summer Olympics medal winners
List of athletes on Wheaties boxes
References
Match reports
External links
Mia Hamm Video produced by Makers: Women Who Make America
1972 births
Living people
Sportspeople from Selma, Alabama
Soccer players from Alabama
Soccer players from North Carolina
American women's soccer players
Women's association football forwards
Women's association football midfielders
North Carolina Tar Heels women's soccer players
Hermann Trophy women's winners
Washington Freedom players
Women's United Soccer Association players
Women's Olympic soccer players of the United States
United States women's international soccer players
1991 FIFA Women's World Cup players
1995 FIFA Women's World Cup players
Footballers at the 1996 Summer Olympics
1999 FIFA Women's World Cup players
Footballers at the 2000 Summer Olympics
2003 FIFA Women's World Cup players
Footballers at the 2004 Summer Olympics
Outfield association footballers who played in goal
FIFA Women's World Cup-winning players
Olympic gold medalists for the United States in soccer
Olympic silver medalists for the United States in soccer
Medalists at the 1996 Summer Olympics
Medalists at the 2000 Summer Olympics
Medalists at the 2004 Summer Olympics
FIFA Century Club
FIFA World Player of the Year winners
National Soccer Hall of Fame members
FIFA 100
Women association football executives
American expatriate sportspeople in Italy
American women philanthropists
Philanthropists from Alabama
Philanthropists from North Carolina
Competitors at the 1998 Goodwill Games
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"\"Number One\" is the third and final single released from Noise From the Basement, the 2004 debut album from Canadian musician Skye Sweetnam. The song was written by Skye Sweetnam, Paul Cafaro, Peter Konicek, and Eric Dodd. It was produced by LCV and by Sweetnam herself. Although this single did not make an impact on the singles charts, it did manage to peak at #22 on the Much Music Top 30 Countdown in 2005.\n\nMusic video\nThe video starts with Skye entering her room, throwing her guitar bag on the floor and getting on her bed. Skye then walks to her mirror-table, applying some eye liner. She then puts on a pink dress and starts singing. She can also be seen walking down a hallway with the same dress, holding and playing on a little pink guitar. When the song is nearly in the end, Skye removes the dress and enters a room, where she starts playing with her band.\n\nReleases\nThese are the other releases/recordings of \"Number One\":\n \"Number One\" (WNBA version) – 1:02\n \"Number One\" (Video version) – 2:49\n \"Number One\" (Album version) – 2:43\n\nReferences\n\nSkye Sweetnam songs\n2005 singles\n2004 songs\nCapitol Records singles",
"Fire Fade is a 2017 short film co-produced, co-written and starring Swedish singer-songwriter Tove Lo. The film coincides with the second \"chapter\" of Lo's second album, Lady Wood, which was released on 28 October 2016. The film was released on YouTube and Vevo on 25 August 2017 and it is a sequel of the short film Fairy Dust which was released on 31 October 2016.\n\nPlot\nThe movie starts with Lo in the corridor of a motel, she starts talking about her emotional breakdown by saying \"Everyone around is watching me or are they just looking when I look at them? I can't tell. My head and my ego are the same now. Everything is so beautiful but so cold. Where did the fire go?\". The song \"Don't Talk About It\" starts playing and she starts dancing on the corridor, the song stops and she falls to the floor and she starts speaking out of breath about her intentions to not get married, she suddenly tries to catch a butterfly by dragging herself to the floor, after she managed to catch the butterfly she starts confessing her secrets to it. After the song \"Imaginary Friend\" starts playing, the butterfly escapes from the palm of her hands and she tries to catch it again by climbing on the walls. The song stops playing and she starts playing \"My name is X baby\" which is a Malaysian/Swedish clapping game that she probably played as a child. She manages to catch the butterfly for the second time, but she suddenly crushes the butterfly and she starts screaming on the balcony. The song \"Keep It Simple\" starts playing and several cuts of her climbing on the walls are shown, at the end of the song she starts crying on the ceiling, she starts singing acapella the chorus of the song \"Flashes\" in an empty closet and the song starts playing after the song stops, she leaves the room and she goes on the corridor and lays in a corner. Three handsome guys enter the room and the song \"WTF Love Is\" starts playing. She decides to enter the room to join the three guys to have sexual relationships with them. Lo faces the dark secrets of her past while she also has flashbacks to Fairy Dust. The movie ends with Lo getting herself out of the shower and laying on a chair in a bathrobe.\n\nCast\nTove Lo as herself\nVas Galohvastov as first man\nQuinn Straw as second man\nHarrison Bock as third man\n\nSoundtrack\n\nReferences\n\nFilms with screenplays by Tove Lo"
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"Haruki Murakami",
"Writing style"
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C_5069548399d145c9b7a1ae344a31a180_1
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What is Marukami's writing style?
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What is Haruki Murakami's writing style?
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Haruki Murakami
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Most of Haruki Murakami's works use first-person narrative in the tradition of the Japanese I Novel. He states that because family plays a significant role in traditional Japanese literature, any main character who is independent becomes a man who values freedom and solitude over intimacy. Also notable is Murakami's unique humor, as seen in his 2000 short story collection, After the Quake. In the story "Superfrog Saves Tokyo", the protagonist is confronted with a 6-foot tall frog that talks about the destruction of Tokyo over a cup of tea. In spite of the story's sober tone, Murakami feels the reader should be entertained once the seriousness of a subject has been broached. Another notable feature of Murakami's stories are the comments that come from the main characters as to how strange the story presents itself. Murakami explains that his characters experience what he experiences as he writes, which could be compared to a movie set where the walls and props are all fake. Many of his novels have themes and titles that invoke classical music, such as the three books making up The Wind-Up Bird Chronicle: The Thieving Magpie (after Rossini's opera), Bird as Prophet (after a piano piece by Robert Schumann usually known in English as The Prophet Bird), and The Bird-Catcher (a character in Mozart's opera The Magic Flute). Some of his novels take their titles from songs: Dance, Dance, Dance (after The Dells' 1957 B-side song, although it is often thought it was titled after the Beach Boys' 1964 tune), Norwegian Wood (after The Beatles' song) and South of the Border, West of the Sun (after the song "South of the Border"). Some analyses see aspects of shamanism in his writing. In a 2000 article, Susan Fisher connected Japanese folk religion or Japanese shamanism with some elements of The Wind-Up Bird Chronicle, such as a descent into a dry well. At an October 2013 symposium held at the University of Hawaii, associate professor of Japanese Nobuko Ochner opined "there were many descriptions of traveling in a parallel world as well as characters who have some connection to shamanism" in Murakami's works. CANNOTANSWER
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Most of Haruki Murakami's works use first-person narrative in the tradition of the Japanese I Novel.
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is a Japanese writer. His novels, essays, and short stories have been bestsellers in Japan as well as internationally, with his work translated into 50 languages and selling millions of copies outside Japan. He has received numerous awards for his work, including the Gunzou Prize for New Writers, the World Fantasy Award, the Frank O'Connor International Short Story Award, the Franz Kafka Prize, and the Jerusalem Prize.
Growing up in Kobe before moving to Tokyo to attend Waseda University, he published his first novel Hear the Wind Sing (1979) after working as the owner of a small jazz bar for seven years. His notable works include the novels Norwegian Wood (1987), The Wind-Up Bird Chronicle (1994–95), Kafka on the Shore (2002), and 1Q84 (2009–10), with 1Q84 ranked as the best work of Japan's Heisei era (1989-2019) by the national newspaper Asahi Shimbun survey of literary experts. His work spans genres including science fiction, fantasy, and crime fiction, and has become known for its use of magical realist elements. His official website lists Raymond Chandler, Kurt Vonnegut, and Richard Brautigan as key inspirations to his work, while Murakami himself has cited Kazuo Ishiguro, Cormac McCarthy, and Dag Solstad as his favourite currently active writers. Murakami has also published five short story collections, including his most recently published work, First Person Singular (2020), and non-fiction works including Underground (1997), inspired by personal interviews Murakami conducted with victims of the Tokyo subway sarin attack, and What I Talk About When I Talk About Running (2007), a series of personal essays about his experience as a marathon runner.
His fiction has polarized literary critics and the reading public. He has sometimes been criticised by Japan's literary establishment as un-Japanese, leading to Murakami's recalling that he was a "black sheep in the Japanese literary world". Meanwhile, Murakami has been described by Gary Fisketjon, the editor of Murakami's collection The Elephant Vanishes (1993), as a "truly extraordinary writer", while Steven Poole of The Guardian praised Murakami as "among the world's greatest living novelists" for his oeuvre and achievements.
Biography
Murakami was born in Kyoto, Japan, during the post-World War II baby boom and raised in Nishinomiya, Ashiya and Kobe. He is an only child. His father was the son of a Buddhist priest, and his mother is the daughter of an Osaka merchant. Both taught Japanese literature. His father was involved in the Second Sino-Japanese War, and was deeply traumatized by it, which would, in turn, affect Murakami.
Since childhood, Murakami, like Kōbō Abe, has been heavily influenced by Western culture, particularly Western as well as Russian music and literature. He grew up reading a wide range of works by European and American writers, such as Franz Kafka, Gustave Flaubert, Charles Dickens, Kurt Vonnegut, Fyodor Dostoyevsky, Richard Brautigan and Jack Kerouac. These Western influences distinguish Murakami from the majority of other Japanese writers.
Murakami studied drama at Waseda University in Tokyo, where he met Yoko, now his wife. His first job was at a record store. Shortly before finishing his studies, Murakami opened a coffee house and jazz bar, Peter Cat, in Kokubunji, Tokyo, which he ran with his wife, from 1974 to 1981. The couple decided not to have children.
Murakami is an experienced marathon runner and triathlon enthusiast, though he did not start running until he was 33 years old, after he began as a way to stay healthy despite the hours spent at his desk writing. On June 23, 1996, he completed his first ultramarathon, a 100 km race around Lake Saroma in Hokkaido, Japan. He discusses his relationship with running in his 2008 memoir What I Talk About When I Talk About Running.
Writing career
Trilogy of the Rat
Murakami began to write fiction when he was 29. "Before that," he said, "I didn't write anything. I was just one of those ordinary people. I was running a jazz club, and I didn't create anything at all." He was inspired to write his first novel, Hear the Wind Sing (1979), while watching a baseball game. He described the moment he realized he could write as a "warm sensation" he could still feel in his heart. He went home and began writing that night. Murakami worked on Hear the Wind Sing for ten months in very brief stretches, during nights, after working days at the bar. He completed the novel and sent it to the only literary contest that would accept a work of that length, winning first prize.
Murakami's initial success with Hear the Wind Sing encouraged him to continue writing. A year later, he published a sequel, Pinball, 1973. In 1982, he published A Wild Sheep Chase, a critical success. Hear the Wind Sing, Pinball, 1973, and A Wild Sheep Chase form the Trilogy of the Rat (a sequel, Dance, Dance, Dance, was written later but is not considered part of the series), centered on the same unnamed narrator and his friend, "the Rat". The first two novels were not widely available in English translation outside Japan until 2015, although an English edition, translated by Alfred Birnbaum with extensive notes, had been published by Kodansha as part of a series intended for Japanese students of English. Murakami considers his first two novels to be "immature" and "flimsy", and has not been eager to have them translated into English. A Wild Sheep Chase, he says, was "the first book where I could feel a kind of sensation, the joy of telling a story. When you read a good story, you just keep reading. When I write a good story, I just keep writing."
Wider recognition
In 1985, Murakami wrote Hard-Boiled Wonderland and the End of the World, a dream-like fantasy that took the magical elements of his work to a new extreme. Murakami achieved a major breakthrough and national recognition in 1987 with the publication of Norwegian Wood, a nostalgic story of loss and sexuality. It sold millions of copies among young Japanese.
Norwegian Wood propelled the barely known Murakami into the spotlight. He was mobbed at airports and other public places, leading to his departure from Japan in 1986. Murakami traveled through Europe, lived in the United States and currently resides in Oiso, Kanagawa, with an office in Tokyo.
Murakami was a writing fellow at Princeton University in Princeton, New Jersey, Tufts University in Medford, Massachusetts, and Harvard University in Cambridge, Massachusetts. During this time he wrote South of the Border, West of the Sun and The Wind-Up Bird Chronicle.
From "detachment" to "commitment"
The Wind-Up Bird Chronicle (1995) fuses the realistic and fantastic and contains elements of physical violence. It is also more socially conscious than his previous work, dealing in part with the difficult topic of war crimes in Manchukuo (Northeast China). The novel won the Yomiuri Prize, awarded by one of Murakami's harshest former critics, Kenzaburō Ōe, who himself won the Nobel Prize for Literature in 1994.
The processing of collective trauma soon became an important theme in Murakami's writing, which had previously been more personal in nature. Murakami returned to Japan in the aftermath of the Kobe earthquake and the Aum Shinrikyo gas attack. He came to terms with these events with his first work of non-fiction, Underground, and the short story collection After the Quake. Underground consists largely of interviews of victims of the gas attacks in the Tokyo subway system.
Murakami himself mentions that he changed his position from one of "detachment" to one of "commitment" after staying in the United States in 1991. "His early books, he said, originated in an individual darkness, while his later works tap into the darkness found in society and history," wrote Wendy Edelstein in an article for UC Berkeley News.
English translations of many of his short stories written between 1983 and 1990 have been collected in The Elephant Vanishes. Murakami has also translated many works of F. Scott Fitzgerald, Raymond Carver, Truman Capote, John Irving, and Paul Theroux, among others, into Japanese.
Murakami took an active role in translation of his work into English, encouraging "adaptations" of his texts to American reality rather than direct translation. Some of his works that appeared in German turned out to be translations from English rather than Japanese (South of the Border, West of the Sun, 2000; The Wind-Up Bird Chronicle, 2000s), encouraged by Murakami himself. Both were later re-translated from Japanese.
Since 1999
Sputnik Sweetheart was first published in 1999, followed by Kafka on the Shore in 2002, with the English translation following in 2005. Kafka on the Shore won the World Fantasy Award for Novels in 2006. The English version of his novel After Dark was released in May 2007. It was chosen by The New York Times as a "notable book of the year". In late 2005, Murakami published a collection of short stories titled Tōkyō Kitanshū, or 東京奇譚集, which translates loosely as "Mysteries of Tokyo". A collection of the English versions of twenty-four short stories, titled Blind Willow, Sleeping Woman, was published in August 2006. This collection includes both older works from the 1980s as well as some of Murakami's more recent short stories, including all five that appear in Tōkyō Kitanshū.
In 2002, Murakami published the anthology Birthday Stories, which collects short stories on the theme of birthdays. The collection includes work by Russell Banks, Ethan Canin, Raymond Carver, David Foster Wallace, Denis Johnson, Claire Keegan, Andrea Lee, Daniel Lyons, Lynda Sexson, Paul Theroux, and William Trevor, as well as a story by Murakami himself. What I Talk About When I Talk About Running, containing tales about his experience as a marathon runner and a triathlete, was published in Japan in 2007, with English translations released in the U.K. and the U.S. in 2008. The title is a play on that of Raymond Carver's short story collection, What We Talk About When We Talk About Love.
Shinchosha Publishing published Murakami's novel 1Q84 in Japan on May 29, 2009. 1Q84 is pronounced "ichi kyū hachi yon", the same as 1984, as 9 is also pronounced "kyū" in Japanese. The book was longlisted for the Man Asian Literary Prize in 2011. However, after the 2012 anti-Japanese demonstrations in China, Murakami's books were removed from sale there, along with those of other Japanese authors. Murakami criticized the China–Japan political territorial dispute, characterizing the overwrought nationalistic response as "cheap liquor" which politicians were giving to the public. In April 2013, he published his novel Colorless Tsukuru Tazaki and His Years of Pilgrimage. It became an international bestseller but received mixed reviews.
Killing Commendatore (Kishidancho Goroshi) is Murakami's most recent work as of 2018. Published in Japan on February 24, 2017 and in the US in October 2018, the novel is a historical fiction that has caused controversy in Hong Kong. The novel was labeled under "Class II – indecent" in Hong Kong. This classification led to mass amounts of censorship. The publisher must not distribute the book to people under the age of 18, and must have a warning label printed on the cover.
Writing style
Most of Haruki Murakami's works use first-person narrative in the tradition of the Japanese I Novel. He states that because family plays a significant role in traditional Japanese literature, any main character who is independent becomes a man who values freedom and solitude over intimacy. Also notable is Murakami's unique humor, as seen in his 2000 short story collection, After the Quake. In the story "Superfrog Saves Tokyo", the protagonist is confronted with a 6-foot tall frog that talks about the destruction of Tokyo over a cup of tea. In spite of the story's sober tone, Murakami feels the reader should be entertained once the seriousness of a subject has been broached. Another notable feature of Murakami's stories are the comments that come from the main characters as to how strange the story presents itself. Murakami explains that his characters experience what he experiences as he writes, which could be compared to a movie set where the walls and props are all fake. He has further compared the process of writing to movies: "That is one of the joys of writing fiction—I'm making my own film made just for myself."
Many of his novels have themes and titles that evoke classical music, such as the three books making up The Wind-Up Bird Chronicle: The Thieving Magpie (after Rossini's opera), Bird as Prophet (after a piano piece by Robert Schumann usually known in English as The Prophet Bird), and The Bird-Catcher (a character in Mozart's opera The Magic Flute). Some of his novels take their titles from songs: Dance, Dance, Dance (after The Dells' 1957 B-side song, although it is often thought it was titled after the Beach Boys' 1964 tune), Norwegian Wood (after The Beatles' song) and South of the Border, West of the Sun (after the song "South of the Border").
Some analyses see aspects of shamanism in his writing. In a 2000 article, Susan Fisher connected Japanese folk religion or Japanese shamanism with some elements of The Wind-Up Bird Chronicle, such as a descent into a dry well. At an October 2013 symposium held at the University of Hawaii, associate professor of Japanese Nobuko Ochner opined "there were many descriptions of traveling in a parallel world as well as characters who have some connection to shamanism" in Murakami's works.
Recognition
Prizes for books
1979: Gunzo Award (best first novel) for Hear the Wind Sing
1982: Noma Literary Prize (best newcomer) for A Wild Sheep Chase
1985: Tanizaki Prize for Hard-Boiled Wonderland and the End of the World
1995: Yomiuri Prize (best novel) for The Wind-Up Bird Chronicle
1999: Kuwabara Takeo Prize for Underground
2006: World Fantasy Award (best novel) for Kafka on the Shore
2006: Frank O'Connor International Short Story Award for Blind Willow, Sleeping Woman
2016: Hans Christian Andersen Literature Award
2018: America Award in Literature for a lifetime contribution to international writing
Murakami was also awarded the 2007 Kiriyama Prize for Fiction for his collection of short stories Blind Willow, Sleeping Woman, but according to the prize's official website, Murakami "declined to accept the award for reasons of personal principle".
Personal prizes
In 2006, Murakami became the sixth recipient of the Franz Kafka Prize.
In September 2007, he received an honorary doctorate of Letters from the University of Liège, one from Princeton University in June 2008, and one from Tufts University in May 2014.
In January 2009, Murakami received the Jerusalem Prize, a biennial literary award given to writers whose work deals with themes of human freedom, society, politics, and government. There were protests in Japan and elsewhere against his attending the February award ceremony in Israel, including threats to boycott his work as a response against Israel's recent bombing of the Gaza. Murakami chose to attend the ceremony, but gave a speech to the gathered Israeli dignitaries harshly criticizing Israeli policies. Murakami said, "Each of us possesses a tangible living soul. The system has no such thing. We must not allow the system to exploit us."
In 2011, Murakami donated his €80,000 winnings from the International Catalunya Prize (from the Generalitat de Catalunya) to the victims of the March 11 earthquake and tsunami, and to those affected by the Fukushima nuclear disaster. Accepting the award, he said in his speech that the situation at the Fukushima plant was "the second major nuclear disaster that the Japanese people have experienced ... however, this time it was not a bomb being dropped upon us, but a mistake committed by our very own hands". According to Murakami, the Japanese people should have rejected nuclear power after having "learned through the sacrifice of the hibakusha just how badly radiation leaves scars on the world and human wellbeing".
In recent years, Haruki Murakami has often been mentioned as a possible recipient of the Nobel Prize in Literature. Nonetheless, since all nomination records are sealed for 50 years from the awarding of the prize, it is pure speculation. When asked about the possibility of being awarded the Nobel Prize, Murakami responded with a laugh saying "No, I don't want prizes. That means you're finished."
In October 2014, he was awarded the Welt-Literaturpreis.
In April 2015, Murakami was named one of the TIME 100's most influential people. In November 2016, he was awarded the Danish Hans Christian Andersen Literature Award, an award previously won by British author JK Rowling.
In 2018 he was nominated for the New Academy Prize in Literature. He requested that his nomination be withdrawn, saying he wanted to "concentrate on writing, away from media attention."
Archives
In 2018 Waseda University in Tokyo agreed to house the archives of Haruki Murakami, including his manuscripts, source documents, and music collection. The collection is intended to be open to scholars, and is set to open in October 2021.
In September 2021, architect Kengo Kuma announced the opening of a library dedicated entirely to Murakami's works at Waseda University. It will include more than 3,000 works by Murakami, including translations into more than 50 other languages.
Films and other adaptations
Murakami's first novel, Hear the Wind Sing (Kaze no uta o kike), was adapted by Japanese director Kazuki Ōmori. The film was released in 1981 and distributed by Art Theatre Guild. Naoto Yamakawa directed two short films, Attack on the Bakery (released in 1982) and A Girl, She is 100 Percent (released in 1983), based on Murakami's short stories "Bakery Attack" and "On Seeing the 100% Perfect Girl One Beautiful April Morning", respectively. Japanese director Jun Ichikawa adapted Murakami's short story "Tony Takitani" into a 75-minute feature. The film played at various film festivals and was released in New York and Los Angeles on July 29, 2005. The original short story, translated into English by Jay Rubin, is available in the April 15, 2002 issue of The New Yorker, as a stand-alone book published by Cloverfield Press, and part of Blind Willow, Sleeping Woman by Knopf. In 1998, the German film The Polar Bear (), written and directed by Granz Henman, used elements of Murakami's short story "The Second Bakery Attack" in three intersecting story lines. "The Second Bakery Attack" was also adapted as a short film in 2010, directed by Carlos Cuarón, starring Kirsten Dunst.
Murakami's work was also adapted for the stage in a 2003 play entitled The Elephant Vanishes, co-produced by Britain's Complicite company and Japan's Setagaya Public Theatre. The production, directed by Simon McBurney, adapted three of Murakami's short stories and received acclaim for its unique blending of multimedia (video, music, and innovative sound design) with actor-driven physical theater (mime, dance, and even acrobatic wire work). On tour, the play was performed in Japanese, with supertitle translations for European and American audiences.
Two stories from Murakami's book After The Quake"Honey Pie" and "Superfrog Saves Tokyo"have been adapted for the stage and directed by Frank Galati. Entitled after the quake, the play was first performed at the Steppenwolf Theatre Company in association with La Jolla Playhouse, and opened on October 12, 2007, at Berkeley Repertory Theatre. In 2008, Galati also adapted and directed a theatrical version of Kafka on the Shore, which first ran at Chicago's Steppenwolf Theatre Company from September to November.
On Max Richter's 2006 album Songs from Before, Robert Wyatt reads passages from Murakami's novels. In 2007, Robert Logevall adapted "All God's Children Can Dance" into a film, with a soundtrack composed by American jam band Sound Tribe Sector 9. In 2008, Tom Flint adapted "On Seeing the 100% Perfect Girl One Beautiful April Morning" into a short film. The film was screened at the 2008 CON-CAN Movie Festival. The film was viewed, voted, and commented upon as part of the audience award for the movie festival.
It was announced in July 2008 that French-Vietnamese director Tran Anh Hung would direct an adaptation of Murakami's novel Norwegian Wood. The film was released in Japan on December 11, 2010.
In 2010, Stephen Earnhart adapted The Wind-Up Bird Chronicle into a two-hour multimedia stage presentation. The show opened January 12, 2010, as part of the Public Theater's "Under the Radar" festival at the Ohio Theater in New York City, presented in association with The Asia Society and the Baryshnikov Arts Center. The show had its world premiere at the Edinburgh International Festival on August 21, 2011. The presentation incorporates live actors, video projection, traditional Japanese puppetry, and immersive soundscapes to render the surreal landscape of the original work.
"Memoranda", a 2017 video game had been inspired by several Murakami short stories, mainly from Blind Willow, Sleeping Woman and The Elephant Vanishes, and features several Murakami characters, including Mizuki Ando.
In 2018, "Barn Burning" from Murakami's short story collection The Elephant Vanishes was adapted into a film titled Burning by director Lee Chang-dong. The film was awarded the FIPRESCI International Critics’ Prize for best film, receiving the highest score to date. It was also South Korea’s submission for the Academy Award for Best International Feature Film in 2019.
A film based on the short story "Drive My Car" premiered at the 2021 Cannes Film Festival, where it won Best Screenplay, the FIPRESCI Prize, and the Prize of the Ecumenical Jury. The film went on to be nominated for four Academy Awards: Best Picture, Best Director, Best Adapted Screenplay, and Best International Feature. Directed by Ryusuke Hamaguchi, it also takes inspiration from "Scheherazade" and "Kino," two other stories in the collection Men Without Women.
Personal life
After receiving the Gunzo Award for his 1979 literary work Hear the Wind Sing, Murakami did not aspire to meet other writers. Aside from Sarah Lawrence's Mary Morris, whom he briefly mentions in his memoir What I Talk About When I Talk About Running alongside Joyce Carol Oates and Toni Morrison, Murakami was never a part of a community of writers, his reason being that he was a loner and was never fond of groups, schools, and literary circles. When working on a book, Murakami states that he relies on his wife, who is always his first reader. While he never acquainted himself with many writers, among the contemporary writers, he enjoys the work of Kazuo Ishiguro, Cormac McCarthy, Lee Child and Dag Solstad. While he does not read much contemporary Japanese literature, Murakami enjoys the works of Ryū Murakami and Banana Yoshimoto.
Haruki Murakami is a fan of crime novels. During his high school days while living in Kōbe, he would buy paperbacks from second hand book stores and learned to read English. The first book that he read in English was The Name is Archer, written by Ross Macdonald in 1955. Other writers he was interested in included Leo Tolstoy and Fyodor Dostoyevsky.
Murakami also has a passion for listening to music, especially classical and jazz. When he was around 15, he began to develop an interest in jazz after attending an Art Blakey and the Jazz Messengers concert in Kobe. He later opened the Peter Cat, a coffeehouse and jazz bar. Murakami has said that music, like writing, is a mental journey. At one time he aspired to be a musician, but because he could not play instruments well he decided to become a writer instead.
In an interview with The Guardian, Murakami stated his belief that his surreal books appeal to people especially in times of turmoil and political chaos. He stated that "I was so popular in the 1990s in Russia, at the time they were changing from the Soviet Union – there was big confusion, and people in confusion like my books" and “In Germany, when the Berlin Wall fell down, there was confusion – and people liked my books.”
Political views
Murakami stated that it is natural for China and the Koreas to continue to feel resentment towards Japan for its wartime aggressions. "Fundamentally, Japanese people tend not to have an idea that they were also assailants, and the tendency is getting clearer," he said. In another interview, Murakami stated: "The issue of historical understanding carries great significance, and I believe it is important that Japan makes straightforward apologies. I think that is all Japan can do – apologise until the countries say: 'We don't necessarily get over it completely, but you have apologised enough. Alright, let's leave it now.'"
In August 2021, during one of his radio shows, Murakami criticized prime minister Yoshihide Suga over the handling of the COVID-19 pandemic in Japan. Murakami quoted Suga as saying "an exit is now in our sight after a long tunnel" and added, in criticism, that "If he really saw an exit, his eyes must be extremely good for his age. I’m of the same age as Mr. Suga, but I don’t see any exit at all."
Bibliography
This is an incomplete bibliography as not all works published by Murakami in Japanese have been translated into English. Kanji titles are given with Hepburn romanization. (Original titles entirely in transcribed English are given as "katakana / romaji = English".)
Novels
Short stories
Collections
List of stories
Essays and nonfiction
Murakami has published more than 40 books of non-fiction. Among them are:
Other books include:
See also
Japanese literature
Surrealism
Weird fiction
References
Further reading
Pintor, Ivan. "David Lynch y Haruki Murakami, la llama en el umbral", in: VV.AA., Universo Lynch. Internacional Sitges Film Festival-Calamar 2007 ()
Rubin, Jay. Haruki Murakami and the Music of Words. Harvill Press, 2002 ()
Strecher, Matthew Carl. The Wind-Up Bird Chronicle Readers Guide. Continuum Pubublishing Group, 2002 ()
Strecher, Matthew Carl. Dances with Sheep: The Quest for Identity in the Fiction of Murakami Haruki. University of Michigan/Monographs in Japanese Studies, 2001 ()
Suter, Rebecca. The Japanization of Modernity: Murakami Haruki Between Japan and the United States. Harvard University Asian Center, 2008. ()
External links
Haruki Murakami at Random House
Haruki Murakami at The New Yorker (online essays, stories, excerpts)
Haruki Murakami at The New York Times (articles about, interviews with)
Haruki Murakami at Complete Review (international meta-reviews)
Haruki Murakami at The Encyclopedia of Science Fiction
Interviews
"Haruki Murakami: The Outsider" (by Laura Miller and Don George), Salon, December 1997 (about Wind-Up Bird and Underground)
"Haruki Murakami, The Art of Fiction No. 182" (by John Wray), The Paris Review, Summer 2004
Articles
"The reception of Murakami Haruki in Taiwan" (PDF), Yale University
"Haruki Murakami: How a Japanese writer conquered the world" (by Stephanie Hegarty), BBC News, October 17, 2011
"The 10 Best Haruki Murakami Books" (by Murakami scholar Matthew C. Strecher), Publishers Weekly, August 8, 2014
Multimedia
Video about Murakami's life and work at Psychology Today's blog The Literary Mind
1949 births
20th-century Japanese novelists
20th-century Japanese translators
21st-century Japanese translators
21st-century Japanese novelists
English–Japanese translators
Japanese essayists
Japanese male short story writers
Japanese psychological fiction writers
Japanese science fiction writers
Japanese ultramarathon runners
Jerusalem Prize recipients
Literary translators
Living people
Magic realism writers
Male ultramarathon runners
Order of Arts and Letters of Spain recipients
Postmodern writers
Princeton University faculty
Tufts University faculty
Waseda University alumni
Winners of the Yomiuri Prize
World Fantasy Award-winning writers
Writers from Kyoto
Weird fiction writers
Progressivism in Japan
| true |
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"Writing anxiety is a term for the tension, worry, nervousness, and a wide variety of other negative feelings that may occur when given a writing task. The degree to which a writer experiences these negative feelings may vary depending on the context of the writing. Some may feel anxious about writing an essay for school, but writing an email on the same topic doesn't trigger the anxiety. Others may feel fine writing a lab report, but writing a letter to loved one triggers the anxiety. Writing anxiety is therefore a situational experience that depends on a number of factors, including the writing task itself, the environment, personal and audience expectations, and one's previous experiences with writing. While writing anxiety is often used interchangeably with writer's block, writing anxiety refers to the various feelings of apprehension one associates with a writing task, while writer's block is the effect that it has on one's writing process.\n\nCauses \nWriting anxiety can occur when\n\n Faced with the pressures of getting good grades at school, college, or university. \n Having to adapt and learn a new writing style. \n Tight deadlines or no deadlines.\n Not understanding the writing task.\n\nManaging Writing Anxiety \nThere are many ways to manage writing anxiety.\n\n Asking for assistance from a teacher, a writing group, a friend or family member about the assignment can help understand the assignment and give a direction of which writing style and format is appropriate for the task. \n Practice writing. it is a skill that can learned and taught, given the support and guidance from teacher, lecturers and professors.\n Have a plan of what to write out. Work out what to say, what feelings to convey to the reader, how to reach the end goal\n\nReferences \n\nAnxiety\nWriting",
"Dialogue, in literature, is a verbal exchange between two or more characters (but can also involve strategic use of silence). If there is only one character talking aloud, it is a monologue.\n\nIdentifiers\n\"This breakfast is making me sick,\" George said.\n\nThe George said is the identifier. Said is the verb most writers use because reader familiarity with said prevents it from drawing attention to itself. Although other verbs such as ask, shout, or reply are acceptable, some identifiers get in the reader's way. For example:\n\n\"Hello,\" he croaked nervously, \"my name's Horace.\"\n\"What's yours?\" he asked with as much aplomb as he could muster.\n\nAnother example is:\n\n\"My name is Peg, what's yours?\" I asked.\n\"My name is William, but my friends call me Will,\" said Will.\n\nStephen King, in his book On Writing, expresses his belief that said is the best identifier to use. King recommends reading a novel by Larry McMurtry, who he claims has mastered the art of well-written dialogue.\n\nSubstitutes are known as said-bookisms. For example, in the sentence \"What do you mean?\" he smiled, the word smiled is a said-bookism.\n\nSee also\n Exposition\n Fiction writing\n Pace\n Show, Don't Tell\n\nNotes\n\nReferences\n\nExternal links\n Fiction Writing: Top 8 Tips for Writing Realistic Dialogue\n Tips for Fiction Writers: Dialogue\n \"Stop Using Those Said Bookisms,\" the Editor Shrieked\n\nFiction\nStyle (fiction)\nFiction-writing mode\nNarratology\nWriting"
] |
[
"Haruki Murakami",
"Writing style",
"What is Marukami's writing style?",
"Most of Haruki Murakami's works use first-person narrative in the tradition of the Japanese I Novel."
] |
C_5069548399d145c9b7a1ae344a31a180_1
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What else is notable about his writing style?
| 2 |
Along with Japanese I Novel, what else is notable about Haruki Murakami's writing style?
|
Haruki Murakami
|
Most of Haruki Murakami's works use first-person narrative in the tradition of the Japanese I Novel. He states that because family plays a significant role in traditional Japanese literature, any main character who is independent becomes a man who values freedom and solitude over intimacy. Also notable is Murakami's unique humor, as seen in his 2000 short story collection, After the Quake. In the story "Superfrog Saves Tokyo", the protagonist is confronted with a 6-foot tall frog that talks about the destruction of Tokyo over a cup of tea. In spite of the story's sober tone, Murakami feels the reader should be entertained once the seriousness of a subject has been broached. Another notable feature of Murakami's stories are the comments that come from the main characters as to how strange the story presents itself. Murakami explains that his characters experience what he experiences as he writes, which could be compared to a movie set where the walls and props are all fake. Many of his novels have themes and titles that invoke classical music, such as the three books making up The Wind-Up Bird Chronicle: The Thieving Magpie (after Rossini's opera), Bird as Prophet (after a piano piece by Robert Schumann usually known in English as The Prophet Bird), and The Bird-Catcher (a character in Mozart's opera The Magic Flute). Some of his novels take their titles from songs: Dance, Dance, Dance (after The Dells' 1957 B-side song, although it is often thought it was titled after the Beach Boys' 1964 tune), Norwegian Wood (after The Beatles' song) and South of the Border, West of the Sun (after the song "South of the Border"). Some analyses see aspects of shamanism in his writing. In a 2000 article, Susan Fisher connected Japanese folk religion or Japanese shamanism with some elements of The Wind-Up Bird Chronicle, such as a descent into a dry well. At an October 2013 symposium held at the University of Hawaii, associate professor of Japanese Nobuko Ochner opined "there were many descriptions of traveling in a parallel world as well as characters who have some connection to shamanism" in Murakami's works. CANNOTANSWER
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He states that because family plays a significant role in traditional Japanese literature, any main character who is independent becomes a man who values freedom and solitude over intimacy.
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is a Japanese writer. His novels, essays, and short stories have been bestsellers in Japan as well as internationally, with his work translated into 50 languages and selling millions of copies outside Japan. He has received numerous awards for his work, including the Gunzou Prize for New Writers, the World Fantasy Award, the Frank O'Connor International Short Story Award, the Franz Kafka Prize, and the Jerusalem Prize.
Growing up in Kobe before moving to Tokyo to attend Waseda University, he published his first novel Hear the Wind Sing (1979) after working as the owner of a small jazz bar for seven years. His notable works include the novels Norwegian Wood (1987), The Wind-Up Bird Chronicle (1994–95), Kafka on the Shore (2002), and 1Q84 (2009–10), with 1Q84 ranked as the best work of Japan's Heisei era (1989-2019) by the national newspaper Asahi Shimbun survey of literary experts. His work spans genres including science fiction, fantasy, and crime fiction, and has become known for its use of magical realist elements. His official website lists Raymond Chandler, Kurt Vonnegut, and Richard Brautigan as key inspirations to his work, while Murakami himself has cited Kazuo Ishiguro, Cormac McCarthy, and Dag Solstad as his favourite currently active writers. Murakami has also published five short story collections, including his most recently published work, First Person Singular (2020), and non-fiction works including Underground (1997), inspired by personal interviews Murakami conducted with victims of the Tokyo subway sarin attack, and What I Talk About When I Talk About Running (2007), a series of personal essays about his experience as a marathon runner.
His fiction has polarized literary critics and the reading public. He has sometimes been criticised by Japan's literary establishment as un-Japanese, leading to Murakami's recalling that he was a "black sheep in the Japanese literary world". Meanwhile, Murakami has been described by Gary Fisketjon, the editor of Murakami's collection The Elephant Vanishes (1993), as a "truly extraordinary writer", while Steven Poole of The Guardian praised Murakami as "among the world's greatest living novelists" for his oeuvre and achievements.
Biography
Murakami was born in Kyoto, Japan, during the post-World War II baby boom and raised in Nishinomiya, Ashiya and Kobe. He is an only child. His father was the son of a Buddhist priest, and his mother is the daughter of an Osaka merchant. Both taught Japanese literature. His father was involved in the Second Sino-Japanese War, and was deeply traumatized by it, which would, in turn, affect Murakami.
Since childhood, Murakami, like Kōbō Abe, has been heavily influenced by Western culture, particularly Western as well as Russian music and literature. He grew up reading a wide range of works by European and American writers, such as Franz Kafka, Gustave Flaubert, Charles Dickens, Kurt Vonnegut, Fyodor Dostoyevsky, Richard Brautigan and Jack Kerouac. These Western influences distinguish Murakami from the majority of other Japanese writers.
Murakami studied drama at Waseda University in Tokyo, where he met Yoko, now his wife. His first job was at a record store. Shortly before finishing his studies, Murakami opened a coffee house and jazz bar, Peter Cat, in Kokubunji, Tokyo, which he ran with his wife, from 1974 to 1981. The couple decided not to have children.
Murakami is an experienced marathon runner and triathlon enthusiast, though he did not start running until he was 33 years old, after he began as a way to stay healthy despite the hours spent at his desk writing. On June 23, 1996, he completed his first ultramarathon, a 100 km race around Lake Saroma in Hokkaido, Japan. He discusses his relationship with running in his 2008 memoir What I Talk About When I Talk About Running.
Writing career
Trilogy of the Rat
Murakami began to write fiction when he was 29. "Before that," he said, "I didn't write anything. I was just one of those ordinary people. I was running a jazz club, and I didn't create anything at all." He was inspired to write his first novel, Hear the Wind Sing (1979), while watching a baseball game. He described the moment he realized he could write as a "warm sensation" he could still feel in his heart. He went home and began writing that night. Murakami worked on Hear the Wind Sing for ten months in very brief stretches, during nights, after working days at the bar. He completed the novel and sent it to the only literary contest that would accept a work of that length, winning first prize.
Murakami's initial success with Hear the Wind Sing encouraged him to continue writing. A year later, he published a sequel, Pinball, 1973. In 1982, he published A Wild Sheep Chase, a critical success. Hear the Wind Sing, Pinball, 1973, and A Wild Sheep Chase form the Trilogy of the Rat (a sequel, Dance, Dance, Dance, was written later but is not considered part of the series), centered on the same unnamed narrator and his friend, "the Rat". The first two novels were not widely available in English translation outside Japan until 2015, although an English edition, translated by Alfred Birnbaum with extensive notes, had been published by Kodansha as part of a series intended for Japanese students of English. Murakami considers his first two novels to be "immature" and "flimsy", and has not been eager to have them translated into English. A Wild Sheep Chase, he says, was "the first book where I could feel a kind of sensation, the joy of telling a story. When you read a good story, you just keep reading. When I write a good story, I just keep writing."
Wider recognition
In 1985, Murakami wrote Hard-Boiled Wonderland and the End of the World, a dream-like fantasy that took the magical elements of his work to a new extreme. Murakami achieved a major breakthrough and national recognition in 1987 with the publication of Norwegian Wood, a nostalgic story of loss and sexuality. It sold millions of copies among young Japanese.
Norwegian Wood propelled the barely known Murakami into the spotlight. He was mobbed at airports and other public places, leading to his departure from Japan in 1986. Murakami traveled through Europe, lived in the United States and currently resides in Oiso, Kanagawa, with an office in Tokyo.
Murakami was a writing fellow at Princeton University in Princeton, New Jersey, Tufts University in Medford, Massachusetts, and Harvard University in Cambridge, Massachusetts. During this time he wrote South of the Border, West of the Sun and The Wind-Up Bird Chronicle.
From "detachment" to "commitment"
The Wind-Up Bird Chronicle (1995) fuses the realistic and fantastic and contains elements of physical violence. It is also more socially conscious than his previous work, dealing in part with the difficult topic of war crimes in Manchukuo (Northeast China). The novel won the Yomiuri Prize, awarded by one of Murakami's harshest former critics, Kenzaburō Ōe, who himself won the Nobel Prize for Literature in 1994.
The processing of collective trauma soon became an important theme in Murakami's writing, which had previously been more personal in nature. Murakami returned to Japan in the aftermath of the Kobe earthquake and the Aum Shinrikyo gas attack. He came to terms with these events with his first work of non-fiction, Underground, and the short story collection After the Quake. Underground consists largely of interviews of victims of the gas attacks in the Tokyo subway system.
Murakami himself mentions that he changed his position from one of "detachment" to one of "commitment" after staying in the United States in 1991. "His early books, he said, originated in an individual darkness, while his later works tap into the darkness found in society and history," wrote Wendy Edelstein in an article for UC Berkeley News.
English translations of many of his short stories written between 1983 and 1990 have been collected in The Elephant Vanishes. Murakami has also translated many works of F. Scott Fitzgerald, Raymond Carver, Truman Capote, John Irving, and Paul Theroux, among others, into Japanese.
Murakami took an active role in translation of his work into English, encouraging "adaptations" of his texts to American reality rather than direct translation. Some of his works that appeared in German turned out to be translations from English rather than Japanese (South of the Border, West of the Sun, 2000; The Wind-Up Bird Chronicle, 2000s), encouraged by Murakami himself. Both were later re-translated from Japanese.
Since 1999
Sputnik Sweetheart was first published in 1999, followed by Kafka on the Shore in 2002, with the English translation following in 2005. Kafka on the Shore won the World Fantasy Award for Novels in 2006. The English version of his novel After Dark was released in May 2007. It was chosen by The New York Times as a "notable book of the year". In late 2005, Murakami published a collection of short stories titled Tōkyō Kitanshū, or 東京奇譚集, which translates loosely as "Mysteries of Tokyo". A collection of the English versions of twenty-four short stories, titled Blind Willow, Sleeping Woman, was published in August 2006. This collection includes both older works from the 1980s as well as some of Murakami's more recent short stories, including all five that appear in Tōkyō Kitanshū.
In 2002, Murakami published the anthology Birthday Stories, which collects short stories on the theme of birthdays. The collection includes work by Russell Banks, Ethan Canin, Raymond Carver, David Foster Wallace, Denis Johnson, Claire Keegan, Andrea Lee, Daniel Lyons, Lynda Sexson, Paul Theroux, and William Trevor, as well as a story by Murakami himself. What I Talk About When I Talk About Running, containing tales about his experience as a marathon runner and a triathlete, was published in Japan in 2007, with English translations released in the U.K. and the U.S. in 2008. The title is a play on that of Raymond Carver's short story collection, What We Talk About When We Talk About Love.
Shinchosha Publishing published Murakami's novel 1Q84 in Japan on May 29, 2009. 1Q84 is pronounced "ichi kyū hachi yon", the same as 1984, as 9 is also pronounced "kyū" in Japanese. The book was longlisted for the Man Asian Literary Prize in 2011. However, after the 2012 anti-Japanese demonstrations in China, Murakami's books were removed from sale there, along with those of other Japanese authors. Murakami criticized the China–Japan political territorial dispute, characterizing the overwrought nationalistic response as "cheap liquor" which politicians were giving to the public. In April 2013, he published his novel Colorless Tsukuru Tazaki and His Years of Pilgrimage. It became an international bestseller but received mixed reviews.
Killing Commendatore (Kishidancho Goroshi) is Murakami's most recent work as of 2018. Published in Japan on February 24, 2017 and in the US in October 2018, the novel is a historical fiction that has caused controversy in Hong Kong. The novel was labeled under "Class II – indecent" in Hong Kong. This classification led to mass amounts of censorship. The publisher must not distribute the book to people under the age of 18, and must have a warning label printed on the cover.
Writing style
Most of Haruki Murakami's works use first-person narrative in the tradition of the Japanese I Novel. He states that because family plays a significant role in traditional Japanese literature, any main character who is independent becomes a man who values freedom and solitude over intimacy. Also notable is Murakami's unique humor, as seen in his 2000 short story collection, After the Quake. In the story "Superfrog Saves Tokyo", the protagonist is confronted with a 6-foot tall frog that talks about the destruction of Tokyo over a cup of tea. In spite of the story's sober tone, Murakami feels the reader should be entertained once the seriousness of a subject has been broached. Another notable feature of Murakami's stories are the comments that come from the main characters as to how strange the story presents itself. Murakami explains that his characters experience what he experiences as he writes, which could be compared to a movie set where the walls and props are all fake. He has further compared the process of writing to movies: "That is one of the joys of writing fiction—I'm making my own film made just for myself."
Many of his novels have themes and titles that evoke classical music, such as the three books making up The Wind-Up Bird Chronicle: The Thieving Magpie (after Rossini's opera), Bird as Prophet (after a piano piece by Robert Schumann usually known in English as The Prophet Bird), and The Bird-Catcher (a character in Mozart's opera The Magic Flute). Some of his novels take their titles from songs: Dance, Dance, Dance (after The Dells' 1957 B-side song, although it is often thought it was titled after the Beach Boys' 1964 tune), Norwegian Wood (after The Beatles' song) and South of the Border, West of the Sun (after the song "South of the Border").
Some analyses see aspects of shamanism in his writing. In a 2000 article, Susan Fisher connected Japanese folk religion or Japanese shamanism with some elements of The Wind-Up Bird Chronicle, such as a descent into a dry well. At an October 2013 symposium held at the University of Hawaii, associate professor of Japanese Nobuko Ochner opined "there were many descriptions of traveling in a parallel world as well as characters who have some connection to shamanism" in Murakami's works.
Recognition
Prizes for books
1979: Gunzo Award (best first novel) for Hear the Wind Sing
1982: Noma Literary Prize (best newcomer) for A Wild Sheep Chase
1985: Tanizaki Prize for Hard-Boiled Wonderland and the End of the World
1995: Yomiuri Prize (best novel) for The Wind-Up Bird Chronicle
1999: Kuwabara Takeo Prize for Underground
2006: World Fantasy Award (best novel) for Kafka on the Shore
2006: Frank O'Connor International Short Story Award for Blind Willow, Sleeping Woman
2016: Hans Christian Andersen Literature Award
2018: America Award in Literature for a lifetime contribution to international writing
Murakami was also awarded the 2007 Kiriyama Prize for Fiction for his collection of short stories Blind Willow, Sleeping Woman, but according to the prize's official website, Murakami "declined to accept the award for reasons of personal principle".
Personal prizes
In 2006, Murakami became the sixth recipient of the Franz Kafka Prize.
In September 2007, he received an honorary doctorate of Letters from the University of Liège, one from Princeton University in June 2008, and one from Tufts University in May 2014.
In January 2009, Murakami received the Jerusalem Prize, a biennial literary award given to writers whose work deals with themes of human freedom, society, politics, and government. There were protests in Japan and elsewhere against his attending the February award ceremony in Israel, including threats to boycott his work as a response against Israel's recent bombing of the Gaza. Murakami chose to attend the ceremony, but gave a speech to the gathered Israeli dignitaries harshly criticizing Israeli policies. Murakami said, "Each of us possesses a tangible living soul. The system has no such thing. We must not allow the system to exploit us."
In 2011, Murakami donated his €80,000 winnings from the International Catalunya Prize (from the Generalitat de Catalunya) to the victims of the March 11 earthquake and tsunami, and to those affected by the Fukushima nuclear disaster. Accepting the award, he said in his speech that the situation at the Fukushima plant was "the second major nuclear disaster that the Japanese people have experienced ... however, this time it was not a bomb being dropped upon us, but a mistake committed by our very own hands". According to Murakami, the Japanese people should have rejected nuclear power after having "learned through the sacrifice of the hibakusha just how badly radiation leaves scars on the world and human wellbeing".
In recent years, Haruki Murakami has often been mentioned as a possible recipient of the Nobel Prize in Literature. Nonetheless, since all nomination records are sealed for 50 years from the awarding of the prize, it is pure speculation. When asked about the possibility of being awarded the Nobel Prize, Murakami responded with a laugh saying "No, I don't want prizes. That means you're finished."
In October 2014, he was awarded the Welt-Literaturpreis.
In April 2015, Murakami was named one of the TIME 100's most influential people. In November 2016, he was awarded the Danish Hans Christian Andersen Literature Award, an award previously won by British author JK Rowling.
In 2018 he was nominated for the New Academy Prize in Literature. He requested that his nomination be withdrawn, saying he wanted to "concentrate on writing, away from media attention."
Archives
In 2018 Waseda University in Tokyo agreed to house the archives of Haruki Murakami, including his manuscripts, source documents, and music collection. The collection is intended to be open to scholars, and is set to open in October 2021.
In September 2021, architect Kengo Kuma announced the opening of a library dedicated entirely to Murakami's works at Waseda University. It will include more than 3,000 works by Murakami, including translations into more than 50 other languages.
Films and other adaptations
Murakami's first novel, Hear the Wind Sing (Kaze no uta o kike), was adapted by Japanese director Kazuki Ōmori. The film was released in 1981 and distributed by Art Theatre Guild. Naoto Yamakawa directed two short films, Attack on the Bakery (released in 1982) and A Girl, She is 100 Percent (released in 1983), based on Murakami's short stories "Bakery Attack" and "On Seeing the 100% Perfect Girl One Beautiful April Morning", respectively. Japanese director Jun Ichikawa adapted Murakami's short story "Tony Takitani" into a 75-minute feature. The film played at various film festivals and was released in New York and Los Angeles on July 29, 2005. The original short story, translated into English by Jay Rubin, is available in the April 15, 2002 issue of The New Yorker, as a stand-alone book published by Cloverfield Press, and part of Blind Willow, Sleeping Woman by Knopf. In 1998, the German film The Polar Bear (), written and directed by Granz Henman, used elements of Murakami's short story "The Second Bakery Attack" in three intersecting story lines. "The Second Bakery Attack" was also adapted as a short film in 2010, directed by Carlos Cuarón, starring Kirsten Dunst.
Murakami's work was also adapted for the stage in a 2003 play entitled The Elephant Vanishes, co-produced by Britain's Complicite company and Japan's Setagaya Public Theatre. The production, directed by Simon McBurney, adapted three of Murakami's short stories and received acclaim for its unique blending of multimedia (video, music, and innovative sound design) with actor-driven physical theater (mime, dance, and even acrobatic wire work). On tour, the play was performed in Japanese, with supertitle translations for European and American audiences.
Two stories from Murakami's book After The Quake"Honey Pie" and "Superfrog Saves Tokyo"have been adapted for the stage and directed by Frank Galati. Entitled after the quake, the play was first performed at the Steppenwolf Theatre Company in association with La Jolla Playhouse, and opened on October 12, 2007, at Berkeley Repertory Theatre. In 2008, Galati also adapted and directed a theatrical version of Kafka on the Shore, which first ran at Chicago's Steppenwolf Theatre Company from September to November.
On Max Richter's 2006 album Songs from Before, Robert Wyatt reads passages from Murakami's novels. In 2007, Robert Logevall adapted "All God's Children Can Dance" into a film, with a soundtrack composed by American jam band Sound Tribe Sector 9. In 2008, Tom Flint adapted "On Seeing the 100% Perfect Girl One Beautiful April Morning" into a short film. The film was screened at the 2008 CON-CAN Movie Festival. The film was viewed, voted, and commented upon as part of the audience award for the movie festival.
It was announced in July 2008 that French-Vietnamese director Tran Anh Hung would direct an adaptation of Murakami's novel Norwegian Wood. The film was released in Japan on December 11, 2010.
In 2010, Stephen Earnhart adapted The Wind-Up Bird Chronicle into a two-hour multimedia stage presentation. The show opened January 12, 2010, as part of the Public Theater's "Under the Radar" festival at the Ohio Theater in New York City, presented in association with The Asia Society and the Baryshnikov Arts Center. The show had its world premiere at the Edinburgh International Festival on August 21, 2011. The presentation incorporates live actors, video projection, traditional Japanese puppetry, and immersive soundscapes to render the surreal landscape of the original work.
"Memoranda", a 2017 video game had been inspired by several Murakami short stories, mainly from Blind Willow, Sleeping Woman and The Elephant Vanishes, and features several Murakami characters, including Mizuki Ando.
In 2018, "Barn Burning" from Murakami's short story collection The Elephant Vanishes was adapted into a film titled Burning by director Lee Chang-dong. The film was awarded the FIPRESCI International Critics’ Prize for best film, receiving the highest score to date. It was also South Korea’s submission for the Academy Award for Best International Feature Film in 2019.
A film based on the short story "Drive My Car" premiered at the 2021 Cannes Film Festival, where it won Best Screenplay, the FIPRESCI Prize, and the Prize of the Ecumenical Jury. The film went on to be nominated for four Academy Awards: Best Picture, Best Director, Best Adapted Screenplay, and Best International Feature. Directed by Ryusuke Hamaguchi, it also takes inspiration from "Scheherazade" and "Kino," two other stories in the collection Men Without Women.
Personal life
After receiving the Gunzo Award for his 1979 literary work Hear the Wind Sing, Murakami did not aspire to meet other writers. Aside from Sarah Lawrence's Mary Morris, whom he briefly mentions in his memoir What I Talk About When I Talk About Running alongside Joyce Carol Oates and Toni Morrison, Murakami was never a part of a community of writers, his reason being that he was a loner and was never fond of groups, schools, and literary circles. When working on a book, Murakami states that he relies on his wife, who is always his first reader. While he never acquainted himself with many writers, among the contemporary writers, he enjoys the work of Kazuo Ishiguro, Cormac McCarthy, Lee Child and Dag Solstad. While he does not read much contemporary Japanese literature, Murakami enjoys the works of Ryū Murakami and Banana Yoshimoto.
Haruki Murakami is a fan of crime novels. During his high school days while living in Kōbe, he would buy paperbacks from second hand book stores and learned to read English. The first book that he read in English was The Name is Archer, written by Ross Macdonald in 1955. Other writers he was interested in included Leo Tolstoy and Fyodor Dostoyevsky.
Murakami also has a passion for listening to music, especially classical and jazz. When he was around 15, he began to develop an interest in jazz after attending an Art Blakey and the Jazz Messengers concert in Kobe. He later opened the Peter Cat, a coffeehouse and jazz bar. Murakami has said that music, like writing, is a mental journey. At one time he aspired to be a musician, but because he could not play instruments well he decided to become a writer instead.
In an interview with The Guardian, Murakami stated his belief that his surreal books appeal to people especially in times of turmoil and political chaos. He stated that "I was so popular in the 1990s in Russia, at the time they were changing from the Soviet Union – there was big confusion, and people in confusion like my books" and “In Germany, when the Berlin Wall fell down, there was confusion – and people liked my books.”
Political views
Murakami stated that it is natural for China and the Koreas to continue to feel resentment towards Japan for its wartime aggressions. "Fundamentally, Japanese people tend not to have an idea that they were also assailants, and the tendency is getting clearer," he said. In another interview, Murakami stated: "The issue of historical understanding carries great significance, and I believe it is important that Japan makes straightforward apologies. I think that is all Japan can do – apologise until the countries say: 'We don't necessarily get over it completely, but you have apologised enough. Alright, let's leave it now.'"
In August 2021, during one of his radio shows, Murakami criticized prime minister Yoshihide Suga over the handling of the COVID-19 pandemic in Japan. Murakami quoted Suga as saying "an exit is now in our sight after a long tunnel" and added, in criticism, that "If he really saw an exit, his eyes must be extremely good for his age. I’m of the same age as Mr. Suga, but I don’t see any exit at all."
Bibliography
This is an incomplete bibliography as not all works published by Murakami in Japanese have been translated into English. Kanji titles are given with Hepburn romanization. (Original titles entirely in transcribed English are given as "katakana / romaji = English".)
Novels
Short stories
Collections
List of stories
Essays and nonfiction
Murakami has published more than 40 books of non-fiction. Among them are:
Other books include:
See also
Japanese literature
Surrealism
Weird fiction
References
Further reading
Pintor, Ivan. "David Lynch y Haruki Murakami, la llama en el umbral", in: VV.AA., Universo Lynch. Internacional Sitges Film Festival-Calamar 2007 ()
Rubin, Jay. Haruki Murakami and the Music of Words. Harvill Press, 2002 ()
Strecher, Matthew Carl. The Wind-Up Bird Chronicle Readers Guide. Continuum Pubublishing Group, 2002 ()
Strecher, Matthew Carl. Dances with Sheep: The Quest for Identity in the Fiction of Murakami Haruki. University of Michigan/Monographs in Japanese Studies, 2001 ()
Suter, Rebecca. The Japanization of Modernity: Murakami Haruki Between Japan and the United States. Harvard University Asian Center, 2008. ()
External links
Haruki Murakami at Random House
Haruki Murakami at The New Yorker (online essays, stories, excerpts)
Haruki Murakami at The New York Times (articles about, interviews with)
Haruki Murakami at Complete Review (international meta-reviews)
Haruki Murakami at The Encyclopedia of Science Fiction
Interviews
"Haruki Murakami: The Outsider" (by Laura Miller and Don George), Salon, December 1997 (about Wind-Up Bird and Underground)
"Haruki Murakami, The Art of Fiction No. 182" (by John Wray), The Paris Review, Summer 2004
Articles
"The reception of Murakami Haruki in Taiwan" (PDF), Yale University
"Haruki Murakami: How a Japanese writer conquered the world" (by Stephanie Hegarty), BBC News, October 17, 2011
"The 10 Best Haruki Murakami Books" (by Murakami scholar Matthew C. Strecher), Publishers Weekly, August 8, 2014
Multimedia
Video about Murakami's life and work at Psychology Today's blog The Literary Mind
1949 births
20th-century Japanese novelists
20th-century Japanese translators
21st-century Japanese translators
21st-century Japanese novelists
English–Japanese translators
Japanese essayists
Japanese male short story writers
Japanese psychological fiction writers
Japanese science fiction writers
Japanese ultramarathon runners
Jerusalem Prize recipients
Literary translators
Living people
Magic realism writers
Male ultramarathon runners
Order of Arts and Letters of Spain recipients
Postmodern writers
Princeton University faculty
Tufts University faculty
Waseda University alumni
Winners of the Yomiuri Prize
World Fantasy Award-winning writers
Writers from Kyoto
Weird fiction writers
Progressivism in Japan
| true |
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"Writing anxiety is a term for the tension, worry, nervousness, and a wide variety of other negative feelings that may occur when given a writing task. The degree to which a writer experiences these negative feelings may vary depending on the context of the writing. Some may feel anxious about writing an essay for school, but writing an email on the same topic doesn't trigger the anxiety. Others may feel fine writing a lab report, but writing a letter to loved one triggers the anxiety. Writing anxiety is therefore a situational experience that depends on a number of factors, including the writing task itself, the environment, personal and audience expectations, and one's previous experiences with writing. While writing anxiety is often used interchangeably with writer's block, writing anxiety refers to the various feelings of apprehension one associates with a writing task, while writer's block is the effect that it has on one's writing process.\n\nCauses \nWriting anxiety can occur when\n\n Faced with the pressures of getting good grades at school, college, or university. \n Having to adapt and learn a new writing style. \n Tight deadlines or no deadlines.\n Not understanding the writing task.\n\nManaging Writing Anxiety \nThere are many ways to manage writing anxiety.\n\n Asking for assistance from a teacher, a writing group, a friend or family member about the assignment can help understand the assignment and give a direction of which writing style and format is appropriate for the task. \n Practice writing. it is a skill that can learned and taught, given the support and guidance from teacher, lecturers and professors.\n Have a plan of what to write out. Work out what to say, what feelings to convey to the reader, how to reach the end goal\n\nReferences \n\nAnxiety\nWriting",
"'L'Extase matérielle' is an essay written by French Nobel laureate J. M. G. Le Clézio. The book's title means Material Ecstasy in English. This essay may be advising that we should pay the utmost attention to what there is around us, not to what there might be or ought to be. According to a review of 'L'Extase matérielle' the reasoning behind the essay is to accept that \"what there is is all there is\"(and to demand more is ludicrous)\n\nWriting style\nThis essay consists of personal deliberations, discursively written, which are (probably) intended more to provoke his readers than to comfort them. Le Clézio seems to have been motivated to write this essay not just taking ideas from other writers, but also to explain his own research and also to relate his very own perspective on life. The essay is emotionally written.\n\nPrinciples\nThis is a collection of essays which explicitly theorize many of the principles Le Clézio himself wrote in Terra Amata. Le Clezio expresses his fondness for small things in these essays.\n\nThemes in L'extase materielle\n Le Clézio meditates about his bedroom\n Le Clézio writes about the woman\n (and about the woman's body)\n Le Clézio writes of love,\n(even of a fly or a spider)\n Le Clézio discourses on writing\n Le Clézio`writes about death\n Le Clézio gives some ideas of what he thinks \"an absolute\" (of anything) could be\n\nPublication history\n\nFirst French Edition\nRe-Printed 1971\n\nSecond French Edition\n\nThird French Edition\n\nReferences\n\n2004 essays\nEssays by J. M. G. Le Clézio\nWorks by J. M. G. Le Clézio"
] |
[
"Haruki Murakami",
"Writing style",
"What is Marukami's writing style?",
"Most of Haruki Murakami's works use first-person narrative in the tradition of the Japanese I Novel.",
"What else is notable about his writing style?",
"He states that because family plays a significant role in traditional Japanese literature, any main character who is independent becomes a man who values freedom and solitude over intimacy."
] |
C_5069548399d145c9b7a1ae344a31a180_1
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What themes are in his writing?
| 3 |
What themes are in Haruki Murakami's writing?
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Haruki Murakami
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Most of Haruki Murakami's works use first-person narrative in the tradition of the Japanese I Novel. He states that because family plays a significant role in traditional Japanese literature, any main character who is independent becomes a man who values freedom and solitude over intimacy. Also notable is Murakami's unique humor, as seen in his 2000 short story collection, After the Quake. In the story "Superfrog Saves Tokyo", the protagonist is confronted with a 6-foot tall frog that talks about the destruction of Tokyo over a cup of tea. In spite of the story's sober tone, Murakami feels the reader should be entertained once the seriousness of a subject has been broached. Another notable feature of Murakami's stories are the comments that come from the main characters as to how strange the story presents itself. Murakami explains that his characters experience what he experiences as he writes, which could be compared to a movie set where the walls and props are all fake. Many of his novels have themes and titles that invoke classical music, such as the three books making up The Wind-Up Bird Chronicle: The Thieving Magpie (after Rossini's opera), Bird as Prophet (after a piano piece by Robert Schumann usually known in English as The Prophet Bird), and The Bird-Catcher (a character in Mozart's opera The Magic Flute). Some of his novels take their titles from songs: Dance, Dance, Dance (after The Dells' 1957 B-side song, although it is often thought it was titled after the Beach Boys' 1964 tune), Norwegian Wood (after The Beatles' song) and South of the Border, West of the Sun (after the song "South of the Border"). Some analyses see aspects of shamanism in his writing. In a 2000 article, Susan Fisher connected Japanese folk religion or Japanese shamanism with some elements of The Wind-Up Bird Chronicle, such as a descent into a dry well. At an October 2013 symposium held at the University of Hawaii, associate professor of Japanese Nobuko Ochner opined "there were many descriptions of traveling in a parallel world as well as characters who have some connection to shamanism" in Murakami's works. CANNOTANSWER
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Many of his novels have themes and titles that invoke classical music,
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is a Japanese writer. His novels, essays, and short stories have been bestsellers in Japan as well as internationally, with his work translated into 50 languages and selling millions of copies outside Japan. He has received numerous awards for his work, including the Gunzou Prize for New Writers, the World Fantasy Award, the Frank O'Connor International Short Story Award, the Franz Kafka Prize, and the Jerusalem Prize.
Growing up in Kobe before moving to Tokyo to attend Waseda University, he published his first novel Hear the Wind Sing (1979) after working as the owner of a small jazz bar for seven years. His notable works include the novels Norwegian Wood (1987), The Wind-Up Bird Chronicle (1994–95), Kafka on the Shore (2002), and 1Q84 (2009–10), with 1Q84 ranked as the best work of Japan's Heisei era (1989-2019) by the national newspaper Asahi Shimbun survey of literary experts. His work spans genres including science fiction, fantasy, and crime fiction, and has become known for its use of magical realist elements. His official website lists Raymond Chandler, Kurt Vonnegut, and Richard Brautigan as key inspirations to his work, while Murakami himself has cited Kazuo Ishiguro, Cormac McCarthy, and Dag Solstad as his favourite currently active writers. Murakami has also published five short story collections, including his most recently published work, First Person Singular (2020), and non-fiction works including Underground (1997), inspired by personal interviews Murakami conducted with victims of the Tokyo subway sarin attack, and What I Talk About When I Talk About Running (2007), a series of personal essays about his experience as a marathon runner.
His fiction has polarized literary critics and the reading public. He has sometimes been criticised by Japan's literary establishment as un-Japanese, leading to Murakami's recalling that he was a "black sheep in the Japanese literary world". Meanwhile, Murakami has been described by Gary Fisketjon, the editor of Murakami's collection The Elephant Vanishes (1993), as a "truly extraordinary writer", while Steven Poole of The Guardian praised Murakami as "among the world's greatest living novelists" for his oeuvre and achievements.
Biography
Murakami was born in Kyoto, Japan, during the post-World War II baby boom and raised in Nishinomiya, Ashiya and Kobe. He is an only child. His father was the son of a Buddhist priest, and his mother is the daughter of an Osaka merchant. Both taught Japanese literature. His father was involved in the Second Sino-Japanese War, and was deeply traumatized by it, which would, in turn, affect Murakami.
Since childhood, Murakami, like Kōbō Abe, has been heavily influenced by Western culture, particularly Western as well as Russian music and literature. He grew up reading a wide range of works by European and American writers, such as Franz Kafka, Gustave Flaubert, Charles Dickens, Kurt Vonnegut, Fyodor Dostoyevsky, Richard Brautigan and Jack Kerouac. These Western influences distinguish Murakami from the majority of other Japanese writers.
Murakami studied drama at Waseda University in Tokyo, where he met Yoko, now his wife. His first job was at a record store. Shortly before finishing his studies, Murakami opened a coffee house and jazz bar, Peter Cat, in Kokubunji, Tokyo, which he ran with his wife, from 1974 to 1981. The couple decided not to have children.
Murakami is an experienced marathon runner and triathlon enthusiast, though he did not start running until he was 33 years old, after he began as a way to stay healthy despite the hours spent at his desk writing. On June 23, 1996, he completed his first ultramarathon, a 100 km race around Lake Saroma in Hokkaido, Japan. He discusses his relationship with running in his 2008 memoir What I Talk About When I Talk About Running.
Writing career
Trilogy of the Rat
Murakami began to write fiction when he was 29. "Before that," he said, "I didn't write anything. I was just one of those ordinary people. I was running a jazz club, and I didn't create anything at all." He was inspired to write his first novel, Hear the Wind Sing (1979), while watching a baseball game. He described the moment he realized he could write as a "warm sensation" he could still feel in his heart. He went home and began writing that night. Murakami worked on Hear the Wind Sing for ten months in very brief stretches, during nights, after working days at the bar. He completed the novel and sent it to the only literary contest that would accept a work of that length, winning first prize.
Murakami's initial success with Hear the Wind Sing encouraged him to continue writing. A year later, he published a sequel, Pinball, 1973. In 1982, he published A Wild Sheep Chase, a critical success. Hear the Wind Sing, Pinball, 1973, and A Wild Sheep Chase form the Trilogy of the Rat (a sequel, Dance, Dance, Dance, was written later but is not considered part of the series), centered on the same unnamed narrator and his friend, "the Rat". The first two novels were not widely available in English translation outside Japan until 2015, although an English edition, translated by Alfred Birnbaum with extensive notes, had been published by Kodansha as part of a series intended for Japanese students of English. Murakami considers his first two novels to be "immature" and "flimsy", and has not been eager to have them translated into English. A Wild Sheep Chase, he says, was "the first book where I could feel a kind of sensation, the joy of telling a story. When you read a good story, you just keep reading. When I write a good story, I just keep writing."
Wider recognition
In 1985, Murakami wrote Hard-Boiled Wonderland and the End of the World, a dream-like fantasy that took the magical elements of his work to a new extreme. Murakami achieved a major breakthrough and national recognition in 1987 with the publication of Norwegian Wood, a nostalgic story of loss and sexuality. It sold millions of copies among young Japanese.
Norwegian Wood propelled the barely known Murakami into the spotlight. He was mobbed at airports and other public places, leading to his departure from Japan in 1986. Murakami traveled through Europe, lived in the United States and currently resides in Oiso, Kanagawa, with an office in Tokyo.
Murakami was a writing fellow at Princeton University in Princeton, New Jersey, Tufts University in Medford, Massachusetts, and Harvard University in Cambridge, Massachusetts. During this time he wrote South of the Border, West of the Sun and The Wind-Up Bird Chronicle.
From "detachment" to "commitment"
The Wind-Up Bird Chronicle (1995) fuses the realistic and fantastic and contains elements of physical violence. It is also more socially conscious than his previous work, dealing in part with the difficult topic of war crimes in Manchukuo (Northeast China). The novel won the Yomiuri Prize, awarded by one of Murakami's harshest former critics, Kenzaburō Ōe, who himself won the Nobel Prize for Literature in 1994.
The processing of collective trauma soon became an important theme in Murakami's writing, which had previously been more personal in nature. Murakami returned to Japan in the aftermath of the Kobe earthquake and the Aum Shinrikyo gas attack. He came to terms with these events with his first work of non-fiction, Underground, and the short story collection After the Quake. Underground consists largely of interviews of victims of the gas attacks in the Tokyo subway system.
Murakami himself mentions that he changed his position from one of "detachment" to one of "commitment" after staying in the United States in 1991. "His early books, he said, originated in an individual darkness, while his later works tap into the darkness found in society and history," wrote Wendy Edelstein in an article for UC Berkeley News.
English translations of many of his short stories written between 1983 and 1990 have been collected in The Elephant Vanishes. Murakami has also translated many works of F. Scott Fitzgerald, Raymond Carver, Truman Capote, John Irving, and Paul Theroux, among others, into Japanese.
Murakami took an active role in translation of his work into English, encouraging "adaptations" of his texts to American reality rather than direct translation. Some of his works that appeared in German turned out to be translations from English rather than Japanese (South of the Border, West of the Sun, 2000; The Wind-Up Bird Chronicle, 2000s), encouraged by Murakami himself. Both were later re-translated from Japanese.
Since 1999
Sputnik Sweetheart was first published in 1999, followed by Kafka on the Shore in 2002, with the English translation following in 2005. Kafka on the Shore won the World Fantasy Award for Novels in 2006. The English version of his novel After Dark was released in May 2007. It was chosen by The New York Times as a "notable book of the year". In late 2005, Murakami published a collection of short stories titled Tōkyō Kitanshū, or 東京奇譚集, which translates loosely as "Mysteries of Tokyo". A collection of the English versions of twenty-four short stories, titled Blind Willow, Sleeping Woman, was published in August 2006. This collection includes both older works from the 1980s as well as some of Murakami's more recent short stories, including all five that appear in Tōkyō Kitanshū.
In 2002, Murakami published the anthology Birthday Stories, which collects short stories on the theme of birthdays. The collection includes work by Russell Banks, Ethan Canin, Raymond Carver, David Foster Wallace, Denis Johnson, Claire Keegan, Andrea Lee, Daniel Lyons, Lynda Sexson, Paul Theroux, and William Trevor, as well as a story by Murakami himself. What I Talk About When I Talk About Running, containing tales about his experience as a marathon runner and a triathlete, was published in Japan in 2007, with English translations released in the U.K. and the U.S. in 2008. The title is a play on that of Raymond Carver's short story collection, What We Talk About When We Talk About Love.
Shinchosha Publishing published Murakami's novel 1Q84 in Japan on May 29, 2009. 1Q84 is pronounced "ichi kyū hachi yon", the same as 1984, as 9 is also pronounced "kyū" in Japanese. The book was longlisted for the Man Asian Literary Prize in 2011. However, after the 2012 anti-Japanese demonstrations in China, Murakami's books were removed from sale there, along with those of other Japanese authors. Murakami criticized the China–Japan political territorial dispute, characterizing the overwrought nationalistic response as "cheap liquor" which politicians were giving to the public. In April 2013, he published his novel Colorless Tsukuru Tazaki and His Years of Pilgrimage. It became an international bestseller but received mixed reviews.
Killing Commendatore (Kishidancho Goroshi) is Murakami's most recent work as of 2018. Published in Japan on February 24, 2017 and in the US in October 2018, the novel is a historical fiction that has caused controversy in Hong Kong. The novel was labeled under "Class II – indecent" in Hong Kong. This classification led to mass amounts of censorship. The publisher must not distribute the book to people under the age of 18, and must have a warning label printed on the cover.
Writing style
Most of Haruki Murakami's works use first-person narrative in the tradition of the Japanese I Novel. He states that because family plays a significant role in traditional Japanese literature, any main character who is independent becomes a man who values freedom and solitude over intimacy. Also notable is Murakami's unique humor, as seen in his 2000 short story collection, After the Quake. In the story "Superfrog Saves Tokyo", the protagonist is confronted with a 6-foot tall frog that talks about the destruction of Tokyo over a cup of tea. In spite of the story's sober tone, Murakami feels the reader should be entertained once the seriousness of a subject has been broached. Another notable feature of Murakami's stories are the comments that come from the main characters as to how strange the story presents itself. Murakami explains that his characters experience what he experiences as he writes, which could be compared to a movie set where the walls and props are all fake. He has further compared the process of writing to movies: "That is one of the joys of writing fiction—I'm making my own film made just for myself."
Many of his novels have themes and titles that evoke classical music, such as the three books making up The Wind-Up Bird Chronicle: The Thieving Magpie (after Rossini's opera), Bird as Prophet (after a piano piece by Robert Schumann usually known in English as The Prophet Bird), and The Bird-Catcher (a character in Mozart's opera The Magic Flute). Some of his novels take their titles from songs: Dance, Dance, Dance (after The Dells' 1957 B-side song, although it is often thought it was titled after the Beach Boys' 1964 tune), Norwegian Wood (after The Beatles' song) and South of the Border, West of the Sun (after the song "South of the Border").
Some analyses see aspects of shamanism in his writing. In a 2000 article, Susan Fisher connected Japanese folk religion or Japanese shamanism with some elements of The Wind-Up Bird Chronicle, such as a descent into a dry well. At an October 2013 symposium held at the University of Hawaii, associate professor of Japanese Nobuko Ochner opined "there were many descriptions of traveling in a parallel world as well as characters who have some connection to shamanism" in Murakami's works.
Recognition
Prizes for books
1979: Gunzo Award (best first novel) for Hear the Wind Sing
1982: Noma Literary Prize (best newcomer) for A Wild Sheep Chase
1985: Tanizaki Prize for Hard-Boiled Wonderland and the End of the World
1995: Yomiuri Prize (best novel) for The Wind-Up Bird Chronicle
1999: Kuwabara Takeo Prize for Underground
2006: World Fantasy Award (best novel) for Kafka on the Shore
2006: Frank O'Connor International Short Story Award for Blind Willow, Sleeping Woman
2016: Hans Christian Andersen Literature Award
2018: America Award in Literature for a lifetime contribution to international writing
Murakami was also awarded the 2007 Kiriyama Prize for Fiction for his collection of short stories Blind Willow, Sleeping Woman, but according to the prize's official website, Murakami "declined to accept the award for reasons of personal principle".
Personal prizes
In 2006, Murakami became the sixth recipient of the Franz Kafka Prize.
In September 2007, he received an honorary doctorate of Letters from the University of Liège, one from Princeton University in June 2008, and one from Tufts University in May 2014.
In January 2009, Murakami received the Jerusalem Prize, a biennial literary award given to writers whose work deals with themes of human freedom, society, politics, and government. There were protests in Japan and elsewhere against his attending the February award ceremony in Israel, including threats to boycott his work as a response against Israel's recent bombing of the Gaza. Murakami chose to attend the ceremony, but gave a speech to the gathered Israeli dignitaries harshly criticizing Israeli policies. Murakami said, "Each of us possesses a tangible living soul. The system has no such thing. We must not allow the system to exploit us."
In 2011, Murakami donated his €80,000 winnings from the International Catalunya Prize (from the Generalitat de Catalunya) to the victims of the March 11 earthquake and tsunami, and to those affected by the Fukushima nuclear disaster. Accepting the award, he said in his speech that the situation at the Fukushima plant was "the second major nuclear disaster that the Japanese people have experienced ... however, this time it was not a bomb being dropped upon us, but a mistake committed by our very own hands". According to Murakami, the Japanese people should have rejected nuclear power after having "learned through the sacrifice of the hibakusha just how badly radiation leaves scars on the world and human wellbeing".
In recent years, Haruki Murakami has often been mentioned as a possible recipient of the Nobel Prize in Literature. Nonetheless, since all nomination records are sealed for 50 years from the awarding of the prize, it is pure speculation. When asked about the possibility of being awarded the Nobel Prize, Murakami responded with a laugh saying "No, I don't want prizes. That means you're finished."
In October 2014, he was awarded the Welt-Literaturpreis.
In April 2015, Murakami was named one of the TIME 100's most influential people. In November 2016, he was awarded the Danish Hans Christian Andersen Literature Award, an award previously won by British author JK Rowling.
In 2018 he was nominated for the New Academy Prize in Literature. He requested that his nomination be withdrawn, saying he wanted to "concentrate on writing, away from media attention."
Archives
In 2018 Waseda University in Tokyo agreed to house the archives of Haruki Murakami, including his manuscripts, source documents, and music collection. The collection is intended to be open to scholars, and is set to open in October 2021.
In September 2021, architect Kengo Kuma announced the opening of a library dedicated entirely to Murakami's works at Waseda University. It will include more than 3,000 works by Murakami, including translations into more than 50 other languages.
Films and other adaptations
Murakami's first novel, Hear the Wind Sing (Kaze no uta o kike), was adapted by Japanese director Kazuki Ōmori. The film was released in 1981 and distributed by Art Theatre Guild. Naoto Yamakawa directed two short films, Attack on the Bakery (released in 1982) and A Girl, She is 100 Percent (released in 1983), based on Murakami's short stories "Bakery Attack" and "On Seeing the 100% Perfect Girl One Beautiful April Morning", respectively. Japanese director Jun Ichikawa adapted Murakami's short story "Tony Takitani" into a 75-minute feature. The film played at various film festivals and was released in New York and Los Angeles on July 29, 2005. The original short story, translated into English by Jay Rubin, is available in the April 15, 2002 issue of The New Yorker, as a stand-alone book published by Cloverfield Press, and part of Blind Willow, Sleeping Woman by Knopf. In 1998, the German film The Polar Bear (), written and directed by Granz Henman, used elements of Murakami's short story "The Second Bakery Attack" in three intersecting story lines. "The Second Bakery Attack" was also adapted as a short film in 2010, directed by Carlos Cuarón, starring Kirsten Dunst.
Murakami's work was also adapted for the stage in a 2003 play entitled The Elephant Vanishes, co-produced by Britain's Complicite company and Japan's Setagaya Public Theatre. The production, directed by Simon McBurney, adapted three of Murakami's short stories and received acclaim for its unique blending of multimedia (video, music, and innovative sound design) with actor-driven physical theater (mime, dance, and even acrobatic wire work). On tour, the play was performed in Japanese, with supertitle translations for European and American audiences.
Two stories from Murakami's book After The Quake"Honey Pie" and "Superfrog Saves Tokyo"have been adapted for the stage and directed by Frank Galati. Entitled after the quake, the play was first performed at the Steppenwolf Theatre Company in association with La Jolla Playhouse, and opened on October 12, 2007, at Berkeley Repertory Theatre. In 2008, Galati also adapted and directed a theatrical version of Kafka on the Shore, which first ran at Chicago's Steppenwolf Theatre Company from September to November.
On Max Richter's 2006 album Songs from Before, Robert Wyatt reads passages from Murakami's novels. In 2007, Robert Logevall adapted "All God's Children Can Dance" into a film, with a soundtrack composed by American jam band Sound Tribe Sector 9. In 2008, Tom Flint adapted "On Seeing the 100% Perfect Girl One Beautiful April Morning" into a short film. The film was screened at the 2008 CON-CAN Movie Festival. The film was viewed, voted, and commented upon as part of the audience award for the movie festival.
It was announced in July 2008 that French-Vietnamese director Tran Anh Hung would direct an adaptation of Murakami's novel Norwegian Wood. The film was released in Japan on December 11, 2010.
In 2010, Stephen Earnhart adapted The Wind-Up Bird Chronicle into a two-hour multimedia stage presentation. The show opened January 12, 2010, as part of the Public Theater's "Under the Radar" festival at the Ohio Theater in New York City, presented in association with The Asia Society and the Baryshnikov Arts Center. The show had its world premiere at the Edinburgh International Festival on August 21, 2011. The presentation incorporates live actors, video projection, traditional Japanese puppetry, and immersive soundscapes to render the surreal landscape of the original work.
"Memoranda", a 2017 video game had been inspired by several Murakami short stories, mainly from Blind Willow, Sleeping Woman and The Elephant Vanishes, and features several Murakami characters, including Mizuki Ando.
In 2018, "Barn Burning" from Murakami's short story collection The Elephant Vanishes was adapted into a film titled Burning by director Lee Chang-dong. The film was awarded the FIPRESCI International Critics’ Prize for best film, receiving the highest score to date. It was also South Korea’s submission for the Academy Award for Best International Feature Film in 2019.
A film based on the short story "Drive My Car" premiered at the 2021 Cannes Film Festival, where it won Best Screenplay, the FIPRESCI Prize, and the Prize of the Ecumenical Jury. The film went on to be nominated for four Academy Awards: Best Picture, Best Director, Best Adapted Screenplay, and Best International Feature. Directed by Ryusuke Hamaguchi, it also takes inspiration from "Scheherazade" and "Kino," two other stories in the collection Men Without Women.
Personal life
After receiving the Gunzo Award for his 1979 literary work Hear the Wind Sing, Murakami did not aspire to meet other writers. Aside from Sarah Lawrence's Mary Morris, whom he briefly mentions in his memoir What I Talk About When I Talk About Running alongside Joyce Carol Oates and Toni Morrison, Murakami was never a part of a community of writers, his reason being that he was a loner and was never fond of groups, schools, and literary circles. When working on a book, Murakami states that he relies on his wife, who is always his first reader. While he never acquainted himself with many writers, among the contemporary writers, he enjoys the work of Kazuo Ishiguro, Cormac McCarthy, Lee Child and Dag Solstad. While he does not read much contemporary Japanese literature, Murakami enjoys the works of Ryū Murakami and Banana Yoshimoto.
Haruki Murakami is a fan of crime novels. During his high school days while living in Kōbe, he would buy paperbacks from second hand book stores and learned to read English. The first book that he read in English was The Name is Archer, written by Ross Macdonald in 1955. Other writers he was interested in included Leo Tolstoy and Fyodor Dostoyevsky.
Murakami also has a passion for listening to music, especially classical and jazz. When he was around 15, he began to develop an interest in jazz after attending an Art Blakey and the Jazz Messengers concert in Kobe. He later opened the Peter Cat, a coffeehouse and jazz bar. Murakami has said that music, like writing, is a mental journey. At one time he aspired to be a musician, but because he could not play instruments well he decided to become a writer instead.
In an interview with The Guardian, Murakami stated his belief that his surreal books appeal to people especially in times of turmoil and political chaos. He stated that "I was so popular in the 1990s in Russia, at the time they were changing from the Soviet Union – there was big confusion, and people in confusion like my books" and “In Germany, when the Berlin Wall fell down, there was confusion – and people liked my books.”
Political views
Murakami stated that it is natural for China and the Koreas to continue to feel resentment towards Japan for its wartime aggressions. "Fundamentally, Japanese people tend not to have an idea that they were also assailants, and the tendency is getting clearer," he said. In another interview, Murakami stated: "The issue of historical understanding carries great significance, and I believe it is important that Japan makes straightforward apologies. I think that is all Japan can do – apologise until the countries say: 'We don't necessarily get over it completely, but you have apologised enough. Alright, let's leave it now.'"
In August 2021, during one of his radio shows, Murakami criticized prime minister Yoshihide Suga over the handling of the COVID-19 pandemic in Japan. Murakami quoted Suga as saying "an exit is now in our sight after a long tunnel" and added, in criticism, that "If he really saw an exit, his eyes must be extremely good for his age. I’m of the same age as Mr. Suga, but I don’t see any exit at all."
Bibliography
This is an incomplete bibliography as not all works published by Murakami in Japanese have been translated into English. Kanji titles are given with Hepburn romanization. (Original titles entirely in transcribed English are given as "katakana / romaji = English".)
Novels
Short stories
Collections
List of stories
Essays and nonfiction
Murakami has published more than 40 books of non-fiction. Among them are:
Other books include:
See also
Japanese literature
Surrealism
Weird fiction
References
Further reading
Pintor, Ivan. "David Lynch y Haruki Murakami, la llama en el umbral", in: VV.AA., Universo Lynch. Internacional Sitges Film Festival-Calamar 2007 ()
Rubin, Jay. Haruki Murakami and the Music of Words. Harvill Press, 2002 ()
Strecher, Matthew Carl. The Wind-Up Bird Chronicle Readers Guide. Continuum Pubublishing Group, 2002 ()
Strecher, Matthew Carl. Dances with Sheep: The Quest for Identity in the Fiction of Murakami Haruki. University of Michigan/Monographs in Japanese Studies, 2001 ()
Suter, Rebecca. The Japanization of Modernity: Murakami Haruki Between Japan and the United States. Harvard University Asian Center, 2008. ()
External links
Haruki Murakami at Random House
Haruki Murakami at The New Yorker (online essays, stories, excerpts)
Haruki Murakami at The New York Times (articles about, interviews with)
Haruki Murakami at Complete Review (international meta-reviews)
Haruki Murakami at The Encyclopedia of Science Fiction
Interviews
"Haruki Murakami: The Outsider" (by Laura Miller and Don George), Salon, December 1997 (about Wind-Up Bird and Underground)
"Haruki Murakami, The Art of Fiction No. 182" (by John Wray), The Paris Review, Summer 2004
Articles
"The reception of Murakami Haruki in Taiwan" (PDF), Yale University
"Haruki Murakami: How a Japanese writer conquered the world" (by Stephanie Hegarty), BBC News, October 17, 2011
"The 10 Best Haruki Murakami Books" (by Murakami scholar Matthew C. Strecher), Publishers Weekly, August 8, 2014
Multimedia
Video about Murakami's life and work at Psychology Today's blog The Literary Mind
1949 births
20th-century Japanese novelists
20th-century Japanese translators
21st-century Japanese translators
21st-century Japanese novelists
English–Japanese translators
Japanese essayists
Japanese male short story writers
Japanese psychological fiction writers
Japanese science fiction writers
Japanese ultramarathon runners
Jerusalem Prize recipients
Literary translators
Living people
Magic realism writers
Male ultramarathon runners
Order of Arts and Letters of Spain recipients
Postmodern writers
Princeton University faculty
Tufts University faculty
Waseda University alumni
Winners of the Yomiuri Prize
World Fantasy Award-winning writers
Writers from Kyoto
Weird fiction writers
Progressivism in Japan
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"Remote Control is a 2021 science fiction novella by Nnedi Okorafor.\n\nWriting process \nOkorafor wrote the book during the COVID-19 pandemic, stating in an interview that travel disruptions due to the pandemic made her focus her energy on writing and editing the book.\n\nThemes \nThe book has been noted as a coming-of-age story, exploring themes such as solitude, grief, and what it means to be normal. The book has also been described as an Africanfuturist novella.\n\nReception \nWriting for NPR, Jason Heller described the novel as \"a cumulative narrative, a slow burn that builds in emotional urgency even as the scope of Okorafor's worldbuilding bursts into something breathtakingly vast.\" Writing for New Scientist, Layal Liverpool stated that \"Remote Control is thrilling and surprising all the way through.\" Samantha Nelson of AV Club, however, stated that \"Sankofa is a fascinating character, but one whose legend isn’t quite compelling enough to take hold in our world.\"\n\nReferences\n\nExternal links\n \n\nNigerian science fiction novels\n2021 science fiction novels\nWorks by Nnedi Okorafor\nNovels set in Ghana\n2021 Nigerian novels\nAfricanfuturist novels",
"Lost Themes is the debut studio album by American film director and composer John Carpenter. It was released on February 3, 2015, through Sacred Bones Records. Carpenter created Lost Themes in collaboration with his son Cody Carpenter and his godson Daniel Davies. While Lost Themes is his first stand-alone album, Carpenter has composed numerous critically acclaimed soundtracks for films since the 1970s, including for the films Assault on Precinct 13, Halloween, and Escape from New York.\n\nBackground\nOn the album's production and recording, Carpenter stated:\n\nCritical reception\n\nUpon its release, Lost Themes received positive reviews from music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from critics, the album received an average score of 74, which indicates \"generally favorable reviews\", based on 12 reviews. Writing for AllMusic, Heather Phares stated that \"a big part of Lost Themes brilliance lies in Carpenter's refusal to update his aesthetic -- the more '80s it is, the more vital it sounds.\" She also further commented: \"As he leaps from one thrill to the next, he evokes his past without rehashing it, delivering a complete and immensely satisfying portrait of his music along the way.\" Consequence of Sound critic Dan Bogosian thought that \"Carpenter’s limited instrumentation started as a strength,\" writing: \"these Lost Themes could stand with any of his horror soundscapes.\" Exclaim! critic Cam Lindsay described the album as \"a brand new soundtrack that doesn't require a film\" and observed: \"Carpenter knows exactly how to appease his fans, and with Lost Themes, he has given them just what they want.\" Aaron Leitko of Pitchfork wrote: \"Lost Themes is plenty dark and heavy but shorter on inspiration.\" Andy Beta of Rolling Stone was mixed in his assessment of the album, stating: \"The icy synths of \"Vortex\" and \"Fallen\" evoke vintage Carpenter dread, but the prog-pomp of \"Domain\" and \"Mystery\" are the aural equivalent of too much CGI.\"\n\nCharts\nThe album debuted at number 44 on the UK Albums Chart. Stateside, Lost Themes peaked at #129 on Billboard 200.\n\nTrack listing\n\nPersonnel\n John Carpenter – composition, performance, engineering\n Cody Carpenter – composition, performance, engineering\n Daniel Davies – composition, performance, engineering\n Jay Shaw – design\n Kyle Cassidy – photography\n\nReferences\n\nExternal links\n \n\n2015 debut albums\nJohn Carpenter albums\nSacred Bones Records albums"
] |
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"What is Marukami's writing style?",
"Most of Haruki Murakami's works use first-person narrative in the tradition of the Japanese I Novel.",
"What else is notable about his writing style?",
"He states that because family plays a significant role in traditional Japanese literature, any main character who is independent becomes a man who values freedom and solitude over intimacy.",
"What themes are in his writing?",
"Many of his novels have themes and titles that invoke classical music,"
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C_5069548399d145c9b7a1ae344a31a180_1
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What else do his novels invoke?
| 4 |
Besides classical music, what else do Haruki Murakami's novels invoke?
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Haruki Murakami
|
Most of Haruki Murakami's works use first-person narrative in the tradition of the Japanese I Novel. He states that because family plays a significant role in traditional Japanese literature, any main character who is independent becomes a man who values freedom and solitude over intimacy. Also notable is Murakami's unique humor, as seen in his 2000 short story collection, After the Quake. In the story "Superfrog Saves Tokyo", the protagonist is confronted with a 6-foot tall frog that talks about the destruction of Tokyo over a cup of tea. In spite of the story's sober tone, Murakami feels the reader should be entertained once the seriousness of a subject has been broached. Another notable feature of Murakami's stories are the comments that come from the main characters as to how strange the story presents itself. Murakami explains that his characters experience what he experiences as he writes, which could be compared to a movie set where the walls and props are all fake. Many of his novels have themes and titles that invoke classical music, such as the three books making up The Wind-Up Bird Chronicle: The Thieving Magpie (after Rossini's opera), Bird as Prophet (after a piano piece by Robert Schumann usually known in English as The Prophet Bird), and The Bird-Catcher (a character in Mozart's opera The Magic Flute). Some of his novels take their titles from songs: Dance, Dance, Dance (after The Dells' 1957 B-side song, although it is often thought it was titled after the Beach Boys' 1964 tune), Norwegian Wood (after The Beatles' song) and South of the Border, West of the Sun (after the song "South of the Border"). Some analyses see aspects of shamanism in his writing. In a 2000 article, Susan Fisher connected Japanese folk religion or Japanese shamanism with some elements of The Wind-Up Bird Chronicle, such as a descent into a dry well. At an October 2013 symposium held at the University of Hawaii, associate professor of Japanese Nobuko Ochner opined "there were many descriptions of traveling in a parallel world as well as characters who have some connection to shamanism" in Murakami's works. CANNOTANSWER
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Some of his novels take their titles from songs:
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is a Japanese writer. His novels, essays, and short stories have been bestsellers in Japan as well as internationally, with his work translated into 50 languages and selling millions of copies outside Japan. He has received numerous awards for his work, including the Gunzou Prize for New Writers, the World Fantasy Award, the Frank O'Connor International Short Story Award, the Franz Kafka Prize, and the Jerusalem Prize.
Growing up in Kobe before moving to Tokyo to attend Waseda University, he published his first novel Hear the Wind Sing (1979) after working as the owner of a small jazz bar for seven years. His notable works include the novels Norwegian Wood (1987), The Wind-Up Bird Chronicle (1994–95), Kafka on the Shore (2002), and 1Q84 (2009–10), with 1Q84 ranked as the best work of Japan's Heisei era (1989-2019) by the national newspaper Asahi Shimbun survey of literary experts. His work spans genres including science fiction, fantasy, and crime fiction, and has become known for its use of magical realist elements. His official website lists Raymond Chandler, Kurt Vonnegut, and Richard Brautigan as key inspirations to his work, while Murakami himself has cited Kazuo Ishiguro, Cormac McCarthy, and Dag Solstad as his favourite currently active writers. Murakami has also published five short story collections, including his most recently published work, First Person Singular (2020), and non-fiction works including Underground (1997), inspired by personal interviews Murakami conducted with victims of the Tokyo subway sarin attack, and What I Talk About When I Talk About Running (2007), a series of personal essays about his experience as a marathon runner.
His fiction has polarized literary critics and the reading public. He has sometimes been criticised by Japan's literary establishment as un-Japanese, leading to Murakami's recalling that he was a "black sheep in the Japanese literary world". Meanwhile, Murakami has been described by Gary Fisketjon, the editor of Murakami's collection The Elephant Vanishes (1993), as a "truly extraordinary writer", while Steven Poole of The Guardian praised Murakami as "among the world's greatest living novelists" for his oeuvre and achievements.
Biography
Murakami was born in Kyoto, Japan, during the post-World War II baby boom and raised in Nishinomiya, Ashiya and Kobe. He is an only child. His father was the son of a Buddhist priest, and his mother is the daughter of an Osaka merchant. Both taught Japanese literature. His father was involved in the Second Sino-Japanese War, and was deeply traumatized by it, which would, in turn, affect Murakami.
Since childhood, Murakami, like Kōbō Abe, has been heavily influenced by Western culture, particularly Western as well as Russian music and literature. He grew up reading a wide range of works by European and American writers, such as Franz Kafka, Gustave Flaubert, Charles Dickens, Kurt Vonnegut, Fyodor Dostoyevsky, Richard Brautigan and Jack Kerouac. These Western influences distinguish Murakami from the majority of other Japanese writers.
Murakami studied drama at Waseda University in Tokyo, where he met Yoko, now his wife. His first job was at a record store. Shortly before finishing his studies, Murakami opened a coffee house and jazz bar, Peter Cat, in Kokubunji, Tokyo, which he ran with his wife, from 1974 to 1981. The couple decided not to have children.
Murakami is an experienced marathon runner and triathlon enthusiast, though he did not start running until he was 33 years old, after he began as a way to stay healthy despite the hours spent at his desk writing. On June 23, 1996, he completed his first ultramarathon, a 100 km race around Lake Saroma in Hokkaido, Japan. He discusses his relationship with running in his 2008 memoir What I Talk About When I Talk About Running.
Writing career
Trilogy of the Rat
Murakami began to write fiction when he was 29. "Before that," he said, "I didn't write anything. I was just one of those ordinary people. I was running a jazz club, and I didn't create anything at all." He was inspired to write his first novel, Hear the Wind Sing (1979), while watching a baseball game. He described the moment he realized he could write as a "warm sensation" he could still feel in his heart. He went home and began writing that night. Murakami worked on Hear the Wind Sing for ten months in very brief stretches, during nights, after working days at the bar. He completed the novel and sent it to the only literary contest that would accept a work of that length, winning first prize.
Murakami's initial success with Hear the Wind Sing encouraged him to continue writing. A year later, he published a sequel, Pinball, 1973. In 1982, he published A Wild Sheep Chase, a critical success. Hear the Wind Sing, Pinball, 1973, and A Wild Sheep Chase form the Trilogy of the Rat (a sequel, Dance, Dance, Dance, was written later but is not considered part of the series), centered on the same unnamed narrator and his friend, "the Rat". The first two novels were not widely available in English translation outside Japan until 2015, although an English edition, translated by Alfred Birnbaum with extensive notes, had been published by Kodansha as part of a series intended for Japanese students of English. Murakami considers his first two novels to be "immature" and "flimsy", and has not been eager to have them translated into English. A Wild Sheep Chase, he says, was "the first book where I could feel a kind of sensation, the joy of telling a story. When you read a good story, you just keep reading. When I write a good story, I just keep writing."
Wider recognition
In 1985, Murakami wrote Hard-Boiled Wonderland and the End of the World, a dream-like fantasy that took the magical elements of his work to a new extreme. Murakami achieved a major breakthrough and national recognition in 1987 with the publication of Norwegian Wood, a nostalgic story of loss and sexuality. It sold millions of copies among young Japanese.
Norwegian Wood propelled the barely known Murakami into the spotlight. He was mobbed at airports and other public places, leading to his departure from Japan in 1986. Murakami traveled through Europe, lived in the United States and currently resides in Oiso, Kanagawa, with an office in Tokyo.
Murakami was a writing fellow at Princeton University in Princeton, New Jersey, Tufts University in Medford, Massachusetts, and Harvard University in Cambridge, Massachusetts. During this time he wrote South of the Border, West of the Sun and The Wind-Up Bird Chronicle.
From "detachment" to "commitment"
The Wind-Up Bird Chronicle (1995) fuses the realistic and fantastic and contains elements of physical violence. It is also more socially conscious than his previous work, dealing in part with the difficult topic of war crimes in Manchukuo (Northeast China). The novel won the Yomiuri Prize, awarded by one of Murakami's harshest former critics, Kenzaburō Ōe, who himself won the Nobel Prize for Literature in 1994.
The processing of collective trauma soon became an important theme in Murakami's writing, which had previously been more personal in nature. Murakami returned to Japan in the aftermath of the Kobe earthquake and the Aum Shinrikyo gas attack. He came to terms with these events with his first work of non-fiction, Underground, and the short story collection After the Quake. Underground consists largely of interviews of victims of the gas attacks in the Tokyo subway system.
Murakami himself mentions that he changed his position from one of "detachment" to one of "commitment" after staying in the United States in 1991. "His early books, he said, originated in an individual darkness, while his later works tap into the darkness found in society and history," wrote Wendy Edelstein in an article for UC Berkeley News.
English translations of many of his short stories written between 1983 and 1990 have been collected in The Elephant Vanishes. Murakami has also translated many works of F. Scott Fitzgerald, Raymond Carver, Truman Capote, John Irving, and Paul Theroux, among others, into Japanese.
Murakami took an active role in translation of his work into English, encouraging "adaptations" of his texts to American reality rather than direct translation. Some of his works that appeared in German turned out to be translations from English rather than Japanese (South of the Border, West of the Sun, 2000; The Wind-Up Bird Chronicle, 2000s), encouraged by Murakami himself. Both were later re-translated from Japanese.
Since 1999
Sputnik Sweetheart was first published in 1999, followed by Kafka on the Shore in 2002, with the English translation following in 2005. Kafka on the Shore won the World Fantasy Award for Novels in 2006. The English version of his novel After Dark was released in May 2007. It was chosen by The New York Times as a "notable book of the year". In late 2005, Murakami published a collection of short stories titled Tōkyō Kitanshū, or 東京奇譚集, which translates loosely as "Mysteries of Tokyo". A collection of the English versions of twenty-four short stories, titled Blind Willow, Sleeping Woman, was published in August 2006. This collection includes both older works from the 1980s as well as some of Murakami's more recent short stories, including all five that appear in Tōkyō Kitanshū.
In 2002, Murakami published the anthology Birthday Stories, which collects short stories on the theme of birthdays. The collection includes work by Russell Banks, Ethan Canin, Raymond Carver, David Foster Wallace, Denis Johnson, Claire Keegan, Andrea Lee, Daniel Lyons, Lynda Sexson, Paul Theroux, and William Trevor, as well as a story by Murakami himself. What I Talk About When I Talk About Running, containing tales about his experience as a marathon runner and a triathlete, was published in Japan in 2007, with English translations released in the U.K. and the U.S. in 2008. The title is a play on that of Raymond Carver's short story collection, What We Talk About When We Talk About Love.
Shinchosha Publishing published Murakami's novel 1Q84 in Japan on May 29, 2009. 1Q84 is pronounced "ichi kyū hachi yon", the same as 1984, as 9 is also pronounced "kyū" in Japanese. The book was longlisted for the Man Asian Literary Prize in 2011. However, after the 2012 anti-Japanese demonstrations in China, Murakami's books were removed from sale there, along with those of other Japanese authors. Murakami criticized the China–Japan political territorial dispute, characterizing the overwrought nationalistic response as "cheap liquor" which politicians were giving to the public. In April 2013, he published his novel Colorless Tsukuru Tazaki and His Years of Pilgrimage. It became an international bestseller but received mixed reviews.
Killing Commendatore (Kishidancho Goroshi) is Murakami's most recent work as of 2018. Published in Japan on February 24, 2017 and in the US in October 2018, the novel is a historical fiction that has caused controversy in Hong Kong. The novel was labeled under "Class II – indecent" in Hong Kong. This classification led to mass amounts of censorship. The publisher must not distribute the book to people under the age of 18, and must have a warning label printed on the cover.
Writing style
Most of Haruki Murakami's works use first-person narrative in the tradition of the Japanese I Novel. He states that because family plays a significant role in traditional Japanese literature, any main character who is independent becomes a man who values freedom and solitude over intimacy. Also notable is Murakami's unique humor, as seen in his 2000 short story collection, After the Quake. In the story "Superfrog Saves Tokyo", the protagonist is confronted with a 6-foot tall frog that talks about the destruction of Tokyo over a cup of tea. In spite of the story's sober tone, Murakami feels the reader should be entertained once the seriousness of a subject has been broached. Another notable feature of Murakami's stories are the comments that come from the main characters as to how strange the story presents itself. Murakami explains that his characters experience what he experiences as he writes, which could be compared to a movie set where the walls and props are all fake. He has further compared the process of writing to movies: "That is one of the joys of writing fiction—I'm making my own film made just for myself."
Many of his novels have themes and titles that evoke classical music, such as the three books making up The Wind-Up Bird Chronicle: The Thieving Magpie (after Rossini's opera), Bird as Prophet (after a piano piece by Robert Schumann usually known in English as The Prophet Bird), and The Bird-Catcher (a character in Mozart's opera The Magic Flute). Some of his novels take their titles from songs: Dance, Dance, Dance (after The Dells' 1957 B-side song, although it is often thought it was titled after the Beach Boys' 1964 tune), Norwegian Wood (after The Beatles' song) and South of the Border, West of the Sun (after the song "South of the Border").
Some analyses see aspects of shamanism in his writing. In a 2000 article, Susan Fisher connected Japanese folk religion or Japanese shamanism with some elements of The Wind-Up Bird Chronicle, such as a descent into a dry well. At an October 2013 symposium held at the University of Hawaii, associate professor of Japanese Nobuko Ochner opined "there were many descriptions of traveling in a parallel world as well as characters who have some connection to shamanism" in Murakami's works.
Recognition
Prizes for books
1979: Gunzo Award (best first novel) for Hear the Wind Sing
1982: Noma Literary Prize (best newcomer) for A Wild Sheep Chase
1985: Tanizaki Prize for Hard-Boiled Wonderland and the End of the World
1995: Yomiuri Prize (best novel) for The Wind-Up Bird Chronicle
1999: Kuwabara Takeo Prize for Underground
2006: World Fantasy Award (best novel) for Kafka on the Shore
2006: Frank O'Connor International Short Story Award for Blind Willow, Sleeping Woman
2016: Hans Christian Andersen Literature Award
2018: America Award in Literature for a lifetime contribution to international writing
Murakami was also awarded the 2007 Kiriyama Prize for Fiction for his collection of short stories Blind Willow, Sleeping Woman, but according to the prize's official website, Murakami "declined to accept the award for reasons of personal principle".
Personal prizes
In 2006, Murakami became the sixth recipient of the Franz Kafka Prize.
In September 2007, he received an honorary doctorate of Letters from the University of Liège, one from Princeton University in June 2008, and one from Tufts University in May 2014.
In January 2009, Murakami received the Jerusalem Prize, a biennial literary award given to writers whose work deals with themes of human freedom, society, politics, and government. There were protests in Japan and elsewhere against his attending the February award ceremony in Israel, including threats to boycott his work as a response against Israel's recent bombing of the Gaza. Murakami chose to attend the ceremony, but gave a speech to the gathered Israeli dignitaries harshly criticizing Israeli policies. Murakami said, "Each of us possesses a tangible living soul. The system has no such thing. We must not allow the system to exploit us."
In 2011, Murakami donated his €80,000 winnings from the International Catalunya Prize (from the Generalitat de Catalunya) to the victims of the March 11 earthquake and tsunami, and to those affected by the Fukushima nuclear disaster. Accepting the award, he said in his speech that the situation at the Fukushima plant was "the second major nuclear disaster that the Japanese people have experienced ... however, this time it was not a bomb being dropped upon us, but a mistake committed by our very own hands". According to Murakami, the Japanese people should have rejected nuclear power after having "learned through the sacrifice of the hibakusha just how badly radiation leaves scars on the world and human wellbeing".
In recent years, Haruki Murakami has often been mentioned as a possible recipient of the Nobel Prize in Literature. Nonetheless, since all nomination records are sealed for 50 years from the awarding of the prize, it is pure speculation. When asked about the possibility of being awarded the Nobel Prize, Murakami responded with a laugh saying "No, I don't want prizes. That means you're finished."
In October 2014, he was awarded the Welt-Literaturpreis.
In April 2015, Murakami was named one of the TIME 100's most influential people. In November 2016, he was awarded the Danish Hans Christian Andersen Literature Award, an award previously won by British author JK Rowling.
In 2018 he was nominated for the New Academy Prize in Literature. He requested that his nomination be withdrawn, saying he wanted to "concentrate on writing, away from media attention."
Archives
In 2018 Waseda University in Tokyo agreed to house the archives of Haruki Murakami, including his manuscripts, source documents, and music collection. The collection is intended to be open to scholars, and is set to open in October 2021.
In September 2021, architect Kengo Kuma announced the opening of a library dedicated entirely to Murakami's works at Waseda University. It will include more than 3,000 works by Murakami, including translations into more than 50 other languages.
Films and other adaptations
Murakami's first novel, Hear the Wind Sing (Kaze no uta o kike), was adapted by Japanese director Kazuki Ōmori. The film was released in 1981 and distributed by Art Theatre Guild. Naoto Yamakawa directed two short films, Attack on the Bakery (released in 1982) and A Girl, She is 100 Percent (released in 1983), based on Murakami's short stories "Bakery Attack" and "On Seeing the 100% Perfect Girl One Beautiful April Morning", respectively. Japanese director Jun Ichikawa adapted Murakami's short story "Tony Takitani" into a 75-minute feature. The film played at various film festivals and was released in New York and Los Angeles on July 29, 2005. The original short story, translated into English by Jay Rubin, is available in the April 15, 2002 issue of The New Yorker, as a stand-alone book published by Cloverfield Press, and part of Blind Willow, Sleeping Woman by Knopf. In 1998, the German film The Polar Bear (), written and directed by Granz Henman, used elements of Murakami's short story "The Second Bakery Attack" in three intersecting story lines. "The Second Bakery Attack" was also adapted as a short film in 2010, directed by Carlos Cuarón, starring Kirsten Dunst.
Murakami's work was also adapted for the stage in a 2003 play entitled The Elephant Vanishes, co-produced by Britain's Complicite company and Japan's Setagaya Public Theatre. The production, directed by Simon McBurney, adapted three of Murakami's short stories and received acclaim for its unique blending of multimedia (video, music, and innovative sound design) with actor-driven physical theater (mime, dance, and even acrobatic wire work). On tour, the play was performed in Japanese, with supertitle translations for European and American audiences.
Two stories from Murakami's book After The Quake"Honey Pie" and "Superfrog Saves Tokyo"have been adapted for the stage and directed by Frank Galati. Entitled after the quake, the play was first performed at the Steppenwolf Theatre Company in association with La Jolla Playhouse, and opened on October 12, 2007, at Berkeley Repertory Theatre. In 2008, Galati also adapted and directed a theatrical version of Kafka on the Shore, which first ran at Chicago's Steppenwolf Theatre Company from September to November.
On Max Richter's 2006 album Songs from Before, Robert Wyatt reads passages from Murakami's novels. In 2007, Robert Logevall adapted "All God's Children Can Dance" into a film, with a soundtrack composed by American jam band Sound Tribe Sector 9. In 2008, Tom Flint adapted "On Seeing the 100% Perfect Girl One Beautiful April Morning" into a short film. The film was screened at the 2008 CON-CAN Movie Festival. The film was viewed, voted, and commented upon as part of the audience award for the movie festival.
It was announced in July 2008 that French-Vietnamese director Tran Anh Hung would direct an adaptation of Murakami's novel Norwegian Wood. The film was released in Japan on December 11, 2010.
In 2010, Stephen Earnhart adapted The Wind-Up Bird Chronicle into a two-hour multimedia stage presentation. The show opened January 12, 2010, as part of the Public Theater's "Under the Radar" festival at the Ohio Theater in New York City, presented in association with The Asia Society and the Baryshnikov Arts Center. The show had its world premiere at the Edinburgh International Festival on August 21, 2011. The presentation incorporates live actors, video projection, traditional Japanese puppetry, and immersive soundscapes to render the surreal landscape of the original work.
"Memoranda", a 2017 video game had been inspired by several Murakami short stories, mainly from Blind Willow, Sleeping Woman and The Elephant Vanishes, and features several Murakami characters, including Mizuki Ando.
In 2018, "Barn Burning" from Murakami's short story collection The Elephant Vanishes was adapted into a film titled Burning by director Lee Chang-dong. The film was awarded the FIPRESCI International Critics’ Prize for best film, receiving the highest score to date. It was also South Korea’s submission for the Academy Award for Best International Feature Film in 2019.
A film based on the short story "Drive My Car" premiered at the 2021 Cannes Film Festival, where it won Best Screenplay, the FIPRESCI Prize, and the Prize of the Ecumenical Jury. The film went on to be nominated for four Academy Awards: Best Picture, Best Director, Best Adapted Screenplay, and Best International Feature. Directed by Ryusuke Hamaguchi, it also takes inspiration from "Scheherazade" and "Kino," two other stories in the collection Men Without Women.
Personal life
After receiving the Gunzo Award for his 1979 literary work Hear the Wind Sing, Murakami did not aspire to meet other writers. Aside from Sarah Lawrence's Mary Morris, whom he briefly mentions in his memoir What I Talk About When I Talk About Running alongside Joyce Carol Oates and Toni Morrison, Murakami was never a part of a community of writers, his reason being that he was a loner and was never fond of groups, schools, and literary circles. When working on a book, Murakami states that he relies on his wife, who is always his first reader. While he never acquainted himself with many writers, among the contemporary writers, he enjoys the work of Kazuo Ishiguro, Cormac McCarthy, Lee Child and Dag Solstad. While he does not read much contemporary Japanese literature, Murakami enjoys the works of Ryū Murakami and Banana Yoshimoto.
Haruki Murakami is a fan of crime novels. During his high school days while living in Kōbe, he would buy paperbacks from second hand book stores and learned to read English. The first book that he read in English was The Name is Archer, written by Ross Macdonald in 1955. Other writers he was interested in included Leo Tolstoy and Fyodor Dostoyevsky.
Murakami also has a passion for listening to music, especially classical and jazz. When he was around 15, he began to develop an interest in jazz after attending an Art Blakey and the Jazz Messengers concert in Kobe. He later opened the Peter Cat, a coffeehouse and jazz bar. Murakami has said that music, like writing, is a mental journey. At one time he aspired to be a musician, but because he could not play instruments well he decided to become a writer instead.
In an interview with The Guardian, Murakami stated his belief that his surreal books appeal to people especially in times of turmoil and political chaos. He stated that "I was so popular in the 1990s in Russia, at the time they were changing from the Soviet Union – there was big confusion, and people in confusion like my books" and “In Germany, when the Berlin Wall fell down, there was confusion – and people liked my books.”
Political views
Murakami stated that it is natural for China and the Koreas to continue to feel resentment towards Japan for its wartime aggressions. "Fundamentally, Japanese people tend not to have an idea that they were also assailants, and the tendency is getting clearer," he said. In another interview, Murakami stated: "The issue of historical understanding carries great significance, and I believe it is important that Japan makes straightforward apologies. I think that is all Japan can do – apologise until the countries say: 'We don't necessarily get over it completely, but you have apologised enough. Alright, let's leave it now.'"
In August 2021, during one of his radio shows, Murakami criticized prime minister Yoshihide Suga over the handling of the COVID-19 pandemic in Japan. Murakami quoted Suga as saying "an exit is now in our sight after a long tunnel" and added, in criticism, that "If he really saw an exit, his eyes must be extremely good for his age. I’m of the same age as Mr. Suga, but I don’t see any exit at all."
Bibliography
This is an incomplete bibliography as not all works published by Murakami in Japanese have been translated into English. Kanji titles are given with Hepburn romanization. (Original titles entirely in transcribed English are given as "katakana / romaji = English".)
Novels
Short stories
Collections
List of stories
Essays and nonfiction
Murakami has published more than 40 books of non-fiction. Among them are:
Other books include:
See also
Japanese literature
Surrealism
Weird fiction
References
Further reading
Pintor, Ivan. "David Lynch y Haruki Murakami, la llama en el umbral", in: VV.AA., Universo Lynch. Internacional Sitges Film Festival-Calamar 2007 ()
Rubin, Jay. Haruki Murakami and the Music of Words. Harvill Press, 2002 ()
Strecher, Matthew Carl. The Wind-Up Bird Chronicle Readers Guide. Continuum Pubublishing Group, 2002 ()
Strecher, Matthew Carl. Dances with Sheep: The Quest for Identity in the Fiction of Murakami Haruki. University of Michigan/Monographs in Japanese Studies, 2001 ()
Suter, Rebecca. The Japanization of Modernity: Murakami Haruki Between Japan and the United States. Harvard University Asian Center, 2008. ()
External links
Haruki Murakami at Random House
Haruki Murakami at The New Yorker (online essays, stories, excerpts)
Haruki Murakami at The New York Times (articles about, interviews with)
Haruki Murakami at Complete Review (international meta-reviews)
Haruki Murakami at The Encyclopedia of Science Fiction
Interviews
"Haruki Murakami: The Outsider" (by Laura Miller and Don George), Salon, December 1997 (about Wind-Up Bird and Underground)
"Haruki Murakami, The Art of Fiction No. 182" (by John Wray), The Paris Review, Summer 2004
Articles
"The reception of Murakami Haruki in Taiwan" (PDF), Yale University
"Haruki Murakami: How a Japanese writer conquered the world" (by Stephanie Hegarty), BBC News, October 17, 2011
"The 10 Best Haruki Murakami Books" (by Murakami scholar Matthew C. Strecher), Publishers Weekly, August 8, 2014
Multimedia
Video about Murakami's life and work at Psychology Today's blog The Literary Mind
1949 births
20th-century Japanese novelists
20th-century Japanese translators
21st-century Japanese translators
21st-century Japanese novelists
English–Japanese translators
Japanese essayists
Japanese male short story writers
Japanese psychological fiction writers
Japanese science fiction writers
Japanese ultramarathon runners
Jerusalem Prize recipients
Literary translators
Living people
Magic realism writers
Male ultramarathon runners
Order of Arts and Letters of Spain recipients
Postmodern writers
Princeton University faculty
Tufts University faculty
Waseda University alumni
Winners of the Yomiuri Prize
World Fantasy Award-winning writers
Writers from Kyoto
Weird fiction writers
Progressivism in Japan
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"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"
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"Many of his novels have themes and titles that invoke classical music,",
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What songs do his novels invoke?
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What songs do Haruki Murakami's novels invoke?
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Haruki Murakami
|
Most of Haruki Murakami's works use first-person narrative in the tradition of the Japanese I Novel. He states that because family plays a significant role in traditional Japanese literature, any main character who is independent becomes a man who values freedom and solitude over intimacy. Also notable is Murakami's unique humor, as seen in his 2000 short story collection, After the Quake. In the story "Superfrog Saves Tokyo", the protagonist is confronted with a 6-foot tall frog that talks about the destruction of Tokyo over a cup of tea. In spite of the story's sober tone, Murakami feels the reader should be entertained once the seriousness of a subject has been broached. Another notable feature of Murakami's stories are the comments that come from the main characters as to how strange the story presents itself. Murakami explains that his characters experience what he experiences as he writes, which could be compared to a movie set where the walls and props are all fake. Many of his novels have themes and titles that invoke classical music, such as the three books making up The Wind-Up Bird Chronicle: The Thieving Magpie (after Rossini's opera), Bird as Prophet (after a piano piece by Robert Schumann usually known in English as The Prophet Bird), and The Bird-Catcher (a character in Mozart's opera The Magic Flute). Some of his novels take their titles from songs: Dance, Dance, Dance (after The Dells' 1957 B-side song, although it is often thought it was titled after the Beach Boys' 1964 tune), Norwegian Wood (after The Beatles' song) and South of the Border, West of the Sun (after the song "South of the Border"). Some analyses see aspects of shamanism in his writing. In a 2000 article, Susan Fisher connected Japanese folk religion or Japanese shamanism with some elements of The Wind-Up Bird Chronicle, such as a descent into a dry well. At an October 2013 symposium held at the University of Hawaii, associate professor of Japanese Nobuko Ochner opined "there were many descriptions of traveling in a parallel world as well as characters who have some connection to shamanism" in Murakami's works. CANNOTANSWER
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Norwegian Wood (after The Beatles' song) and South of the Border, West of the Sun (after the song "South of the Border").
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is a Japanese writer. His novels, essays, and short stories have been bestsellers in Japan as well as internationally, with his work translated into 50 languages and selling millions of copies outside Japan. He has received numerous awards for his work, including the Gunzou Prize for New Writers, the World Fantasy Award, the Frank O'Connor International Short Story Award, the Franz Kafka Prize, and the Jerusalem Prize.
Growing up in Kobe before moving to Tokyo to attend Waseda University, he published his first novel Hear the Wind Sing (1979) after working as the owner of a small jazz bar for seven years. His notable works include the novels Norwegian Wood (1987), The Wind-Up Bird Chronicle (1994–95), Kafka on the Shore (2002), and 1Q84 (2009–10), with 1Q84 ranked as the best work of Japan's Heisei era (1989-2019) by the national newspaper Asahi Shimbun survey of literary experts. His work spans genres including science fiction, fantasy, and crime fiction, and has become known for its use of magical realist elements. His official website lists Raymond Chandler, Kurt Vonnegut, and Richard Brautigan as key inspirations to his work, while Murakami himself has cited Kazuo Ishiguro, Cormac McCarthy, and Dag Solstad as his favourite currently active writers. Murakami has also published five short story collections, including his most recently published work, First Person Singular (2020), and non-fiction works including Underground (1997), inspired by personal interviews Murakami conducted with victims of the Tokyo subway sarin attack, and What I Talk About When I Talk About Running (2007), a series of personal essays about his experience as a marathon runner.
His fiction has polarized literary critics and the reading public. He has sometimes been criticised by Japan's literary establishment as un-Japanese, leading to Murakami's recalling that he was a "black sheep in the Japanese literary world". Meanwhile, Murakami has been described by Gary Fisketjon, the editor of Murakami's collection The Elephant Vanishes (1993), as a "truly extraordinary writer", while Steven Poole of The Guardian praised Murakami as "among the world's greatest living novelists" for his oeuvre and achievements.
Biography
Murakami was born in Kyoto, Japan, during the post-World War II baby boom and raised in Nishinomiya, Ashiya and Kobe. He is an only child. His father was the son of a Buddhist priest, and his mother is the daughter of an Osaka merchant. Both taught Japanese literature. His father was involved in the Second Sino-Japanese War, and was deeply traumatized by it, which would, in turn, affect Murakami.
Since childhood, Murakami, like Kōbō Abe, has been heavily influenced by Western culture, particularly Western as well as Russian music and literature. He grew up reading a wide range of works by European and American writers, such as Franz Kafka, Gustave Flaubert, Charles Dickens, Kurt Vonnegut, Fyodor Dostoyevsky, Richard Brautigan and Jack Kerouac. These Western influences distinguish Murakami from the majority of other Japanese writers.
Murakami studied drama at Waseda University in Tokyo, where he met Yoko, now his wife. His first job was at a record store. Shortly before finishing his studies, Murakami opened a coffee house and jazz bar, Peter Cat, in Kokubunji, Tokyo, which he ran with his wife, from 1974 to 1981. The couple decided not to have children.
Murakami is an experienced marathon runner and triathlon enthusiast, though he did not start running until he was 33 years old, after he began as a way to stay healthy despite the hours spent at his desk writing. On June 23, 1996, he completed his first ultramarathon, a 100 km race around Lake Saroma in Hokkaido, Japan. He discusses his relationship with running in his 2008 memoir What I Talk About When I Talk About Running.
Writing career
Trilogy of the Rat
Murakami began to write fiction when he was 29. "Before that," he said, "I didn't write anything. I was just one of those ordinary people. I was running a jazz club, and I didn't create anything at all." He was inspired to write his first novel, Hear the Wind Sing (1979), while watching a baseball game. He described the moment he realized he could write as a "warm sensation" he could still feel in his heart. He went home and began writing that night. Murakami worked on Hear the Wind Sing for ten months in very brief stretches, during nights, after working days at the bar. He completed the novel and sent it to the only literary contest that would accept a work of that length, winning first prize.
Murakami's initial success with Hear the Wind Sing encouraged him to continue writing. A year later, he published a sequel, Pinball, 1973. In 1982, he published A Wild Sheep Chase, a critical success. Hear the Wind Sing, Pinball, 1973, and A Wild Sheep Chase form the Trilogy of the Rat (a sequel, Dance, Dance, Dance, was written later but is not considered part of the series), centered on the same unnamed narrator and his friend, "the Rat". The first two novels were not widely available in English translation outside Japan until 2015, although an English edition, translated by Alfred Birnbaum with extensive notes, had been published by Kodansha as part of a series intended for Japanese students of English. Murakami considers his first two novels to be "immature" and "flimsy", and has not been eager to have them translated into English. A Wild Sheep Chase, he says, was "the first book where I could feel a kind of sensation, the joy of telling a story. When you read a good story, you just keep reading. When I write a good story, I just keep writing."
Wider recognition
In 1985, Murakami wrote Hard-Boiled Wonderland and the End of the World, a dream-like fantasy that took the magical elements of his work to a new extreme. Murakami achieved a major breakthrough and national recognition in 1987 with the publication of Norwegian Wood, a nostalgic story of loss and sexuality. It sold millions of copies among young Japanese.
Norwegian Wood propelled the barely known Murakami into the spotlight. He was mobbed at airports and other public places, leading to his departure from Japan in 1986. Murakami traveled through Europe, lived in the United States and currently resides in Oiso, Kanagawa, with an office in Tokyo.
Murakami was a writing fellow at Princeton University in Princeton, New Jersey, Tufts University in Medford, Massachusetts, and Harvard University in Cambridge, Massachusetts. During this time he wrote South of the Border, West of the Sun and The Wind-Up Bird Chronicle.
From "detachment" to "commitment"
The Wind-Up Bird Chronicle (1995) fuses the realistic and fantastic and contains elements of physical violence. It is also more socially conscious than his previous work, dealing in part with the difficult topic of war crimes in Manchukuo (Northeast China). The novel won the Yomiuri Prize, awarded by one of Murakami's harshest former critics, Kenzaburō Ōe, who himself won the Nobel Prize for Literature in 1994.
The processing of collective trauma soon became an important theme in Murakami's writing, which had previously been more personal in nature. Murakami returned to Japan in the aftermath of the Kobe earthquake and the Aum Shinrikyo gas attack. He came to terms with these events with his first work of non-fiction, Underground, and the short story collection After the Quake. Underground consists largely of interviews of victims of the gas attacks in the Tokyo subway system.
Murakami himself mentions that he changed his position from one of "detachment" to one of "commitment" after staying in the United States in 1991. "His early books, he said, originated in an individual darkness, while his later works tap into the darkness found in society and history," wrote Wendy Edelstein in an article for UC Berkeley News.
English translations of many of his short stories written between 1983 and 1990 have been collected in The Elephant Vanishes. Murakami has also translated many works of F. Scott Fitzgerald, Raymond Carver, Truman Capote, John Irving, and Paul Theroux, among others, into Japanese.
Murakami took an active role in translation of his work into English, encouraging "adaptations" of his texts to American reality rather than direct translation. Some of his works that appeared in German turned out to be translations from English rather than Japanese (South of the Border, West of the Sun, 2000; The Wind-Up Bird Chronicle, 2000s), encouraged by Murakami himself. Both were later re-translated from Japanese.
Since 1999
Sputnik Sweetheart was first published in 1999, followed by Kafka on the Shore in 2002, with the English translation following in 2005. Kafka on the Shore won the World Fantasy Award for Novels in 2006. The English version of his novel After Dark was released in May 2007. It was chosen by The New York Times as a "notable book of the year". In late 2005, Murakami published a collection of short stories titled Tōkyō Kitanshū, or 東京奇譚集, which translates loosely as "Mysteries of Tokyo". A collection of the English versions of twenty-four short stories, titled Blind Willow, Sleeping Woman, was published in August 2006. This collection includes both older works from the 1980s as well as some of Murakami's more recent short stories, including all five that appear in Tōkyō Kitanshū.
In 2002, Murakami published the anthology Birthday Stories, which collects short stories on the theme of birthdays. The collection includes work by Russell Banks, Ethan Canin, Raymond Carver, David Foster Wallace, Denis Johnson, Claire Keegan, Andrea Lee, Daniel Lyons, Lynda Sexson, Paul Theroux, and William Trevor, as well as a story by Murakami himself. What I Talk About When I Talk About Running, containing tales about his experience as a marathon runner and a triathlete, was published in Japan in 2007, with English translations released in the U.K. and the U.S. in 2008. The title is a play on that of Raymond Carver's short story collection, What We Talk About When We Talk About Love.
Shinchosha Publishing published Murakami's novel 1Q84 in Japan on May 29, 2009. 1Q84 is pronounced "ichi kyū hachi yon", the same as 1984, as 9 is also pronounced "kyū" in Japanese. The book was longlisted for the Man Asian Literary Prize in 2011. However, after the 2012 anti-Japanese demonstrations in China, Murakami's books were removed from sale there, along with those of other Japanese authors. Murakami criticized the China–Japan political territorial dispute, characterizing the overwrought nationalistic response as "cheap liquor" which politicians were giving to the public. In April 2013, he published his novel Colorless Tsukuru Tazaki and His Years of Pilgrimage. It became an international bestseller but received mixed reviews.
Killing Commendatore (Kishidancho Goroshi) is Murakami's most recent work as of 2018. Published in Japan on February 24, 2017 and in the US in October 2018, the novel is a historical fiction that has caused controversy in Hong Kong. The novel was labeled under "Class II – indecent" in Hong Kong. This classification led to mass amounts of censorship. The publisher must not distribute the book to people under the age of 18, and must have a warning label printed on the cover.
Writing style
Most of Haruki Murakami's works use first-person narrative in the tradition of the Japanese I Novel. He states that because family plays a significant role in traditional Japanese literature, any main character who is independent becomes a man who values freedom and solitude over intimacy. Also notable is Murakami's unique humor, as seen in his 2000 short story collection, After the Quake. In the story "Superfrog Saves Tokyo", the protagonist is confronted with a 6-foot tall frog that talks about the destruction of Tokyo over a cup of tea. In spite of the story's sober tone, Murakami feels the reader should be entertained once the seriousness of a subject has been broached. Another notable feature of Murakami's stories are the comments that come from the main characters as to how strange the story presents itself. Murakami explains that his characters experience what he experiences as he writes, which could be compared to a movie set where the walls and props are all fake. He has further compared the process of writing to movies: "That is one of the joys of writing fiction—I'm making my own film made just for myself."
Many of his novels have themes and titles that evoke classical music, such as the three books making up The Wind-Up Bird Chronicle: The Thieving Magpie (after Rossini's opera), Bird as Prophet (after a piano piece by Robert Schumann usually known in English as The Prophet Bird), and The Bird-Catcher (a character in Mozart's opera The Magic Flute). Some of his novels take their titles from songs: Dance, Dance, Dance (after The Dells' 1957 B-side song, although it is often thought it was titled after the Beach Boys' 1964 tune), Norwegian Wood (after The Beatles' song) and South of the Border, West of the Sun (after the song "South of the Border").
Some analyses see aspects of shamanism in his writing. In a 2000 article, Susan Fisher connected Japanese folk religion or Japanese shamanism with some elements of The Wind-Up Bird Chronicle, such as a descent into a dry well. At an October 2013 symposium held at the University of Hawaii, associate professor of Japanese Nobuko Ochner opined "there were many descriptions of traveling in a parallel world as well as characters who have some connection to shamanism" in Murakami's works.
Recognition
Prizes for books
1979: Gunzo Award (best first novel) for Hear the Wind Sing
1982: Noma Literary Prize (best newcomer) for A Wild Sheep Chase
1985: Tanizaki Prize for Hard-Boiled Wonderland and the End of the World
1995: Yomiuri Prize (best novel) for The Wind-Up Bird Chronicle
1999: Kuwabara Takeo Prize for Underground
2006: World Fantasy Award (best novel) for Kafka on the Shore
2006: Frank O'Connor International Short Story Award for Blind Willow, Sleeping Woman
2016: Hans Christian Andersen Literature Award
2018: America Award in Literature for a lifetime contribution to international writing
Murakami was also awarded the 2007 Kiriyama Prize for Fiction for his collection of short stories Blind Willow, Sleeping Woman, but according to the prize's official website, Murakami "declined to accept the award for reasons of personal principle".
Personal prizes
In 2006, Murakami became the sixth recipient of the Franz Kafka Prize.
In September 2007, he received an honorary doctorate of Letters from the University of Liège, one from Princeton University in June 2008, and one from Tufts University in May 2014.
In January 2009, Murakami received the Jerusalem Prize, a biennial literary award given to writers whose work deals with themes of human freedom, society, politics, and government. There were protests in Japan and elsewhere against his attending the February award ceremony in Israel, including threats to boycott his work as a response against Israel's recent bombing of the Gaza. Murakami chose to attend the ceremony, but gave a speech to the gathered Israeli dignitaries harshly criticizing Israeli policies. Murakami said, "Each of us possesses a tangible living soul. The system has no such thing. We must not allow the system to exploit us."
In 2011, Murakami donated his €80,000 winnings from the International Catalunya Prize (from the Generalitat de Catalunya) to the victims of the March 11 earthquake and tsunami, and to those affected by the Fukushima nuclear disaster. Accepting the award, he said in his speech that the situation at the Fukushima plant was "the second major nuclear disaster that the Japanese people have experienced ... however, this time it was not a bomb being dropped upon us, but a mistake committed by our very own hands". According to Murakami, the Japanese people should have rejected nuclear power after having "learned through the sacrifice of the hibakusha just how badly radiation leaves scars on the world and human wellbeing".
In recent years, Haruki Murakami has often been mentioned as a possible recipient of the Nobel Prize in Literature. Nonetheless, since all nomination records are sealed for 50 years from the awarding of the prize, it is pure speculation. When asked about the possibility of being awarded the Nobel Prize, Murakami responded with a laugh saying "No, I don't want prizes. That means you're finished."
In October 2014, he was awarded the Welt-Literaturpreis.
In April 2015, Murakami was named one of the TIME 100's most influential people. In November 2016, he was awarded the Danish Hans Christian Andersen Literature Award, an award previously won by British author JK Rowling.
In 2018 he was nominated for the New Academy Prize in Literature. He requested that his nomination be withdrawn, saying he wanted to "concentrate on writing, away from media attention."
Archives
In 2018 Waseda University in Tokyo agreed to house the archives of Haruki Murakami, including his manuscripts, source documents, and music collection. The collection is intended to be open to scholars, and is set to open in October 2021.
In September 2021, architect Kengo Kuma announced the opening of a library dedicated entirely to Murakami's works at Waseda University. It will include more than 3,000 works by Murakami, including translations into more than 50 other languages.
Films and other adaptations
Murakami's first novel, Hear the Wind Sing (Kaze no uta o kike), was adapted by Japanese director Kazuki Ōmori. The film was released in 1981 and distributed by Art Theatre Guild. Naoto Yamakawa directed two short films, Attack on the Bakery (released in 1982) and A Girl, She is 100 Percent (released in 1983), based on Murakami's short stories "Bakery Attack" and "On Seeing the 100% Perfect Girl One Beautiful April Morning", respectively. Japanese director Jun Ichikawa adapted Murakami's short story "Tony Takitani" into a 75-minute feature. The film played at various film festivals and was released in New York and Los Angeles on July 29, 2005. The original short story, translated into English by Jay Rubin, is available in the April 15, 2002 issue of The New Yorker, as a stand-alone book published by Cloverfield Press, and part of Blind Willow, Sleeping Woman by Knopf. In 1998, the German film The Polar Bear (), written and directed by Granz Henman, used elements of Murakami's short story "The Second Bakery Attack" in three intersecting story lines. "The Second Bakery Attack" was also adapted as a short film in 2010, directed by Carlos Cuarón, starring Kirsten Dunst.
Murakami's work was also adapted for the stage in a 2003 play entitled The Elephant Vanishes, co-produced by Britain's Complicite company and Japan's Setagaya Public Theatre. The production, directed by Simon McBurney, adapted three of Murakami's short stories and received acclaim for its unique blending of multimedia (video, music, and innovative sound design) with actor-driven physical theater (mime, dance, and even acrobatic wire work). On tour, the play was performed in Japanese, with supertitle translations for European and American audiences.
Two stories from Murakami's book After The Quake"Honey Pie" and "Superfrog Saves Tokyo"have been adapted for the stage and directed by Frank Galati. Entitled after the quake, the play was first performed at the Steppenwolf Theatre Company in association with La Jolla Playhouse, and opened on October 12, 2007, at Berkeley Repertory Theatre. In 2008, Galati also adapted and directed a theatrical version of Kafka on the Shore, which first ran at Chicago's Steppenwolf Theatre Company from September to November.
On Max Richter's 2006 album Songs from Before, Robert Wyatt reads passages from Murakami's novels. In 2007, Robert Logevall adapted "All God's Children Can Dance" into a film, with a soundtrack composed by American jam band Sound Tribe Sector 9. In 2008, Tom Flint adapted "On Seeing the 100% Perfect Girl One Beautiful April Morning" into a short film. The film was screened at the 2008 CON-CAN Movie Festival. The film was viewed, voted, and commented upon as part of the audience award for the movie festival.
It was announced in July 2008 that French-Vietnamese director Tran Anh Hung would direct an adaptation of Murakami's novel Norwegian Wood. The film was released in Japan on December 11, 2010.
In 2010, Stephen Earnhart adapted The Wind-Up Bird Chronicle into a two-hour multimedia stage presentation. The show opened January 12, 2010, as part of the Public Theater's "Under the Radar" festival at the Ohio Theater in New York City, presented in association with The Asia Society and the Baryshnikov Arts Center. The show had its world premiere at the Edinburgh International Festival on August 21, 2011. The presentation incorporates live actors, video projection, traditional Japanese puppetry, and immersive soundscapes to render the surreal landscape of the original work.
"Memoranda", a 2017 video game had been inspired by several Murakami short stories, mainly from Blind Willow, Sleeping Woman and The Elephant Vanishes, and features several Murakami characters, including Mizuki Ando.
In 2018, "Barn Burning" from Murakami's short story collection The Elephant Vanishes was adapted into a film titled Burning by director Lee Chang-dong. The film was awarded the FIPRESCI International Critics’ Prize for best film, receiving the highest score to date. It was also South Korea’s submission for the Academy Award for Best International Feature Film in 2019.
A film based on the short story "Drive My Car" premiered at the 2021 Cannes Film Festival, where it won Best Screenplay, the FIPRESCI Prize, and the Prize of the Ecumenical Jury. The film went on to be nominated for four Academy Awards: Best Picture, Best Director, Best Adapted Screenplay, and Best International Feature. Directed by Ryusuke Hamaguchi, it also takes inspiration from "Scheherazade" and "Kino," two other stories in the collection Men Without Women.
Personal life
After receiving the Gunzo Award for his 1979 literary work Hear the Wind Sing, Murakami did not aspire to meet other writers. Aside from Sarah Lawrence's Mary Morris, whom he briefly mentions in his memoir What I Talk About When I Talk About Running alongside Joyce Carol Oates and Toni Morrison, Murakami was never a part of a community of writers, his reason being that he was a loner and was never fond of groups, schools, and literary circles. When working on a book, Murakami states that he relies on his wife, who is always his first reader. While he never acquainted himself with many writers, among the contemporary writers, he enjoys the work of Kazuo Ishiguro, Cormac McCarthy, Lee Child and Dag Solstad. While he does not read much contemporary Japanese literature, Murakami enjoys the works of Ryū Murakami and Banana Yoshimoto.
Haruki Murakami is a fan of crime novels. During his high school days while living in Kōbe, he would buy paperbacks from second hand book stores and learned to read English. The first book that he read in English was The Name is Archer, written by Ross Macdonald in 1955. Other writers he was interested in included Leo Tolstoy and Fyodor Dostoyevsky.
Murakami also has a passion for listening to music, especially classical and jazz. When he was around 15, he began to develop an interest in jazz after attending an Art Blakey and the Jazz Messengers concert in Kobe. He later opened the Peter Cat, a coffeehouse and jazz bar. Murakami has said that music, like writing, is a mental journey. At one time he aspired to be a musician, but because he could not play instruments well he decided to become a writer instead.
In an interview with The Guardian, Murakami stated his belief that his surreal books appeal to people especially in times of turmoil and political chaos. He stated that "I was so popular in the 1990s in Russia, at the time they were changing from the Soviet Union – there was big confusion, and people in confusion like my books" and “In Germany, when the Berlin Wall fell down, there was confusion – and people liked my books.”
Political views
Murakami stated that it is natural for China and the Koreas to continue to feel resentment towards Japan for its wartime aggressions. "Fundamentally, Japanese people tend not to have an idea that they were also assailants, and the tendency is getting clearer," he said. In another interview, Murakami stated: "The issue of historical understanding carries great significance, and I believe it is important that Japan makes straightforward apologies. I think that is all Japan can do – apologise until the countries say: 'We don't necessarily get over it completely, but you have apologised enough. Alright, let's leave it now.'"
In August 2021, during one of his radio shows, Murakami criticized prime minister Yoshihide Suga over the handling of the COVID-19 pandemic in Japan. Murakami quoted Suga as saying "an exit is now in our sight after a long tunnel" and added, in criticism, that "If he really saw an exit, his eyes must be extremely good for his age. I’m of the same age as Mr. Suga, but I don’t see any exit at all."
Bibliography
This is an incomplete bibliography as not all works published by Murakami in Japanese have been translated into English. Kanji titles are given with Hepburn romanization. (Original titles entirely in transcribed English are given as "katakana / romaji = English".)
Novels
Short stories
Collections
List of stories
Essays and nonfiction
Murakami has published more than 40 books of non-fiction. Among them are:
Other books include:
See also
Japanese literature
Surrealism
Weird fiction
References
Further reading
Pintor, Ivan. "David Lynch y Haruki Murakami, la llama en el umbral", in: VV.AA., Universo Lynch. Internacional Sitges Film Festival-Calamar 2007 ()
Rubin, Jay. Haruki Murakami and the Music of Words. Harvill Press, 2002 ()
Strecher, Matthew Carl. The Wind-Up Bird Chronicle Readers Guide. Continuum Pubublishing Group, 2002 ()
Strecher, Matthew Carl. Dances with Sheep: The Quest for Identity in the Fiction of Murakami Haruki. University of Michigan/Monographs in Japanese Studies, 2001 ()
Suter, Rebecca. The Japanization of Modernity: Murakami Haruki Between Japan and the United States. Harvard University Asian Center, 2008. ()
External links
Haruki Murakami at Random House
Haruki Murakami at The New Yorker (online essays, stories, excerpts)
Haruki Murakami at The New York Times (articles about, interviews with)
Haruki Murakami at Complete Review (international meta-reviews)
Haruki Murakami at The Encyclopedia of Science Fiction
Interviews
"Haruki Murakami: The Outsider" (by Laura Miller and Don George), Salon, December 1997 (about Wind-Up Bird and Underground)
"Haruki Murakami, The Art of Fiction No. 182" (by John Wray), The Paris Review, Summer 2004
Articles
"The reception of Murakami Haruki in Taiwan" (PDF), Yale University
"Haruki Murakami: How a Japanese writer conquered the world" (by Stephanie Hegarty), BBC News, October 17, 2011
"The 10 Best Haruki Murakami Books" (by Murakami scholar Matthew C. Strecher), Publishers Weekly, August 8, 2014
Multimedia
Video about Murakami's life and work at Psychology Today's blog The Literary Mind
1949 births
20th-century Japanese novelists
20th-century Japanese translators
21st-century Japanese translators
21st-century Japanese novelists
English–Japanese translators
Japanese essayists
Japanese male short story writers
Japanese psychological fiction writers
Japanese science fiction writers
Japanese ultramarathon runners
Jerusalem Prize recipients
Literary translators
Living people
Magic realism writers
Male ultramarathon runners
Order of Arts and Letters of Spain recipients
Postmodern writers
Princeton University faculty
Tufts University faculty
Waseda University alumni
Winners of the Yomiuri Prize
World Fantasy Award-winning writers
Writers from Kyoto
Weird fiction writers
Progressivism in Japan
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"Haruki Murakami",
"Writing style",
"What is Marukami's writing style?",
"Most of Haruki Murakami's works use first-person narrative in the tradition of the Japanese I Novel.",
"What else is notable about his writing style?",
"He states that because family plays a significant role in traditional Japanese literature, any main character who is independent becomes a man who values freedom and solitude over intimacy.",
"What themes are in his writing?",
"Many of his novels have themes and titles that invoke classical music,",
"What else do his novels invoke?",
"Some of his novels take their titles from songs:",
"What songs do his novels invoke?",
"Norwegian Wood (after The Beatles' song) and South of the Border, West of the Sun (after the song \"South of the Border\")."
] |
C_5069548399d145c9b7a1ae344a31a180_1
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What other books did he write?
| 6 |
In addition to "South of the Border", what other books did Haruki Murakami write?
|
Haruki Murakami
|
Most of Haruki Murakami's works use first-person narrative in the tradition of the Japanese I Novel. He states that because family plays a significant role in traditional Japanese literature, any main character who is independent becomes a man who values freedom and solitude over intimacy. Also notable is Murakami's unique humor, as seen in his 2000 short story collection, After the Quake. In the story "Superfrog Saves Tokyo", the protagonist is confronted with a 6-foot tall frog that talks about the destruction of Tokyo over a cup of tea. In spite of the story's sober tone, Murakami feels the reader should be entertained once the seriousness of a subject has been broached. Another notable feature of Murakami's stories are the comments that come from the main characters as to how strange the story presents itself. Murakami explains that his characters experience what he experiences as he writes, which could be compared to a movie set where the walls and props are all fake. Many of his novels have themes and titles that invoke classical music, such as the three books making up The Wind-Up Bird Chronicle: The Thieving Magpie (after Rossini's opera), Bird as Prophet (after a piano piece by Robert Schumann usually known in English as The Prophet Bird), and The Bird-Catcher (a character in Mozart's opera The Magic Flute). Some of his novels take their titles from songs: Dance, Dance, Dance (after The Dells' 1957 B-side song, although it is often thought it was titled after the Beach Boys' 1964 tune), Norwegian Wood (after The Beatles' song) and South of the Border, West of the Sun (after the song "South of the Border"). Some analyses see aspects of shamanism in his writing. In a 2000 article, Susan Fisher connected Japanese folk religion or Japanese shamanism with some elements of The Wind-Up Bird Chronicle, such as a descent into a dry well. At an October 2013 symposium held at the University of Hawaii, associate professor of Japanese Nobuko Ochner opined "there were many descriptions of traveling in a parallel world as well as characters who have some connection to shamanism" in Murakami's works. CANNOTANSWER
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The Thieving Magpie (after Rossini's opera), Bird as Prophet (after a piano piece by Robert Schumann usually known in English as The Prophet Bird), and The Bird-Catcher
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is a Japanese writer. His novels, essays, and short stories have been bestsellers in Japan as well as internationally, with his work translated into 50 languages and selling millions of copies outside Japan. He has received numerous awards for his work, including the Gunzou Prize for New Writers, the World Fantasy Award, the Frank O'Connor International Short Story Award, the Franz Kafka Prize, and the Jerusalem Prize.
Growing up in Kobe before moving to Tokyo to attend Waseda University, he published his first novel Hear the Wind Sing (1979) after working as the owner of a small jazz bar for seven years. His notable works include the novels Norwegian Wood (1987), The Wind-Up Bird Chronicle (1994–95), Kafka on the Shore (2002), and 1Q84 (2009–10), with 1Q84 ranked as the best work of Japan's Heisei era (1989-2019) by the national newspaper Asahi Shimbun survey of literary experts. His work spans genres including science fiction, fantasy, and crime fiction, and has become known for its use of magical realist elements. His official website lists Raymond Chandler, Kurt Vonnegut, and Richard Brautigan as key inspirations to his work, while Murakami himself has cited Kazuo Ishiguro, Cormac McCarthy, and Dag Solstad as his favourite currently active writers. Murakami has also published five short story collections, including his most recently published work, First Person Singular (2020), and non-fiction works including Underground (1997), inspired by personal interviews Murakami conducted with victims of the Tokyo subway sarin attack, and What I Talk About When I Talk About Running (2007), a series of personal essays about his experience as a marathon runner.
His fiction has polarized literary critics and the reading public. He has sometimes been criticised by Japan's literary establishment as un-Japanese, leading to Murakami's recalling that he was a "black sheep in the Japanese literary world". Meanwhile, Murakami has been described by Gary Fisketjon, the editor of Murakami's collection The Elephant Vanishes (1993), as a "truly extraordinary writer", while Steven Poole of The Guardian praised Murakami as "among the world's greatest living novelists" for his oeuvre and achievements.
Biography
Murakami was born in Kyoto, Japan, during the post-World War II baby boom and raised in Nishinomiya, Ashiya and Kobe. He is an only child. His father was the son of a Buddhist priest, and his mother is the daughter of an Osaka merchant. Both taught Japanese literature. His father was involved in the Second Sino-Japanese War, and was deeply traumatized by it, which would, in turn, affect Murakami.
Since childhood, Murakami, like Kōbō Abe, has been heavily influenced by Western culture, particularly Western as well as Russian music and literature. He grew up reading a wide range of works by European and American writers, such as Franz Kafka, Gustave Flaubert, Charles Dickens, Kurt Vonnegut, Fyodor Dostoyevsky, Richard Brautigan and Jack Kerouac. These Western influences distinguish Murakami from the majority of other Japanese writers.
Murakami studied drama at Waseda University in Tokyo, where he met Yoko, now his wife. His first job was at a record store. Shortly before finishing his studies, Murakami opened a coffee house and jazz bar, Peter Cat, in Kokubunji, Tokyo, which he ran with his wife, from 1974 to 1981. The couple decided not to have children.
Murakami is an experienced marathon runner and triathlon enthusiast, though he did not start running until he was 33 years old, after he began as a way to stay healthy despite the hours spent at his desk writing. On June 23, 1996, he completed his first ultramarathon, a 100 km race around Lake Saroma in Hokkaido, Japan. He discusses his relationship with running in his 2008 memoir What I Talk About When I Talk About Running.
Writing career
Trilogy of the Rat
Murakami began to write fiction when he was 29. "Before that," he said, "I didn't write anything. I was just one of those ordinary people. I was running a jazz club, and I didn't create anything at all." He was inspired to write his first novel, Hear the Wind Sing (1979), while watching a baseball game. He described the moment he realized he could write as a "warm sensation" he could still feel in his heart. He went home and began writing that night. Murakami worked on Hear the Wind Sing for ten months in very brief stretches, during nights, after working days at the bar. He completed the novel and sent it to the only literary contest that would accept a work of that length, winning first prize.
Murakami's initial success with Hear the Wind Sing encouraged him to continue writing. A year later, he published a sequel, Pinball, 1973. In 1982, he published A Wild Sheep Chase, a critical success. Hear the Wind Sing, Pinball, 1973, and A Wild Sheep Chase form the Trilogy of the Rat (a sequel, Dance, Dance, Dance, was written later but is not considered part of the series), centered on the same unnamed narrator and his friend, "the Rat". The first two novels were not widely available in English translation outside Japan until 2015, although an English edition, translated by Alfred Birnbaum with extensive notes, had been published by Kodansha as part of a series intended for Japanese students of English. Murakami considers his first two novels to be "immature" and "flimsy", and has not been eager to have them translated into English. A Wild Sheep Chase, he says, was "the first book where I could feel a kind of sensation, the joy of telling a story. When you read a good story, you just keep reading. When I write a good story, I just keep writing."
Wider recognition
In 1985, Murakami wrote Hard-Boiled Wonderland and the End of the World, a dream-like fantasy that took the magical elements of his work to a new extreme. Murakami achieved a major breakthrough and national recognition in 1987 with the publication of Norwegian Wood, a nostalgic story of loss and sexuality. It sold millions of copies among young Japanese.
Norwegian Wood propelled the barely known Murakami into the spotlight. He was mobbed at airports and other public places, leading to his departure from Japan in 1986. Murakami traveled through Europe, lived in the United States and currently resides in Oiso, Kanagawa, with an office in Tokyo.
Murakami was a writing fellow at Princeton University in Princeton, New Jersey, Tufts University in Medford, Massachusetts, and Harvard University in Cambridge, Massachusetts. During this time he wrote South of the Border, West of the Sun and The Wind-Up Bird Chronicle.
From "detachment" to "commitment"
The Wind-Up Bird Chronicle (1995) fuses the realistic and fantastic and contains elements of physical violence. It is also more socially conscious than his previous work, dealing in part with the difficult topic of war crimes in Manchukuo (Northeast China). The novel won the Yomiuri Prize, awarded by one of Murakami's harshest former critics, Kenzaburō Ōe, who himself won the Nobel Prize for Literature in 1994.
The processing of collective trauma soon became an important theme in Murakami's writing, which had previously been more personal in nature. Murakami returned to Japan in the aftermath of the Kobe earthquake and the Aum Shinrikyo gas attack. He came to terms with these events with his first work of non-fiction, Underground, and the short story collection After the Quake. Underground consists largely of interviews of victims of the gas attacks in the Tokyo subway system.
Murakami himself mentions that he changed his position from one of "detachment" to one of "commitment" after staying in the United States in 1991. "His early books, he said, originated in an individual darkness, while his later works tap into the darkness found in society and history," wrote Wendy Edelstein in an article for UC Berkeley News.
English translations of many of his short stories written between 1983 and 1990 have been collected in The Elephant Vanishes. Murakami has also translated many works of F. Scott Fitzgerald, Raymond Carver, Truman Capote, John Irving, and Paul Theroux, among others, into Japanese.
Murakami took an active role in translation of his work into English, encouraging "adaptations" of his texts to American reality rather than direct translation. Some of his works that appeared in German turned out to be translations from English rather than Japanese (South of the Border, West of the Sun, 2000; The Wind-Up Bird Chronicle, 2000s), encouraged by Murakami himself. Both were later re-translated from Japanese.
Since 1999
Sputnik Sweetheart was first published in 1999, followed by Kafka on the Shore in 2002, with the English translation following in 2005. Kafka on the Shore won the World Fantasy Award for Novels in 2006. The English version of his novel After Dark was released in May 2007. It was chosen by The New York Times as a "notable book of the year". In late 2005, Murakami published a collection of short stories titled Tōkyō Kitanshū, or 東京奇譚集, which translates loosely as "Mysteries of Tokyo". A collection of the English versions of twenty-four short stories, titled Blind Willow, Sleeping Woman, was published in August 2006. This collection includes both older works from the 1980s as well as some of Murakami's more recent short stories, including all five that appear in Tōkyō Kitanshū.
In 2002, Murakami published the anthology Birthday Stories, which collects short stories on the theme of birthdays. The collection includes work by Russell Banks, Ethan Canin, Raymond Carver, David Foster Wallace, Denis Johnson, Claire Keegan, Andrea Lee, Daniel Lyons, Lynda Sexson, Paul Theroux, and William Trevor, as well as a story by Murakami himself. What I Talk About When I Talk About Running, containing tales about his experience as a marathon runner and a triathlete, was published in Japan in 2007, with English translations released in the U.K. and the U.S. in 2008. The title is a play on that of Raymond Carver's short story collection, What We Talk About When We Talk About Love.
Shinchosha Publishing published Murakami's novel 1Q84 in Japan on May 29, 2009. 1Q84 is pronounced "ichi kyū hachi yon", the same as 1984, as 9 is also pronounced "kyū" in Japanese. The book was longlisted for the Man Asian Literary Prize in 2011. However, after the 2012 anti-Japanese demonstrations in China, Murakami's books were removed from sale there, along with those of other Japanese authors. Murakami criticized the China–Japan political territorial dispute, characterizing the overwrought nationalistic response as "cheap liquor" which politicians were giving to the public. In April 2013, he published his novel Colorless Tsukuru Tazaki and His Years of Pilgrimage. It became an international bestseller but received mixed reviews.
Killing Commendatore (Kishidancho Goroshi) is Murakami's most recent work as of 2018. Published in Japan on February 24, 2017 and in the US in October 2018, the novel is a historical fiction that has caused controversy in Hong Kong. The novel was labeled under "Class II – indecent" in Hong Kong. This classification led to mass amounts of censorship. The publisher must not distribute the book to people under the age of 18, and must have a warning label printed on the cover.
Writing style
Most of Haruki Murakami's works use first-person narrative in the tradition of the Japanese I Novel. He states that because family plays a significant role in traditional Japanese literature, any main character who is independent becomes a man who values freedom and solitude over intimacy. Also notable is Murakami's unique humor, as seen in his 2000 short story collection, After the Quake. In the story "Superfrog Saves Tokyo", the protagonist is confronted with a 6-foot tall frog that talks about the destruction of Tokyo over a cup of tea. In spite of the story's sober tone, Murakami feels the reader should be entertained once the seriousness of a subject has been broached. Another notable feature of Murakami's stories are the comments that come from the main characters as to how strange the story presents itself. Murakami explains that his characters experience what he experiences as he writes, which could be compared to a movie set where the walls and props are all fake. He has further compared the process of writing to movies: "That is one of the joys of writing fiction—I'm making my own film made just for myself."
Many of his novels have themes and titles that evoke classical music, such as the three books making up The Wind-Up Bird Chronicle: The Thieving Magpie (after Rossini's opera), Bird as Prophet (after a piano piece by Robert Schumann usually known in English as The Prophet Bird), and The Bird-Catcher (a character in Mozart's opera The Magic Flute). Some of his novels take their titles from songs: Dance, Dance, Dance (after The Dells' 1957 B-side song, although it is often thought it was titled after the Beach Boys' 1964 tune), Norwegian Wood (after The Beatles' song) and South of the Border, West of the Sun (after the song "South of the Border").
Some analyses see aspects of shamanism in his writing. In a 2000 article, Susan Fisher connected Japanese folk religion or Japanese shamanism with some elements of The Wind-Up Bird Chronicle, such as a descent into a dry well. At an October 2013 symposium held at the University of Hawaii, associate professor of Japanese Nobuko Ochner opined "there were many descriptions of traveling in a parallel world as well as characters who have some connection to shamanism" in Murakami's works.
Recognition
Prizes for books
1979: Gunzo Award (best first novel) for Hear the Wind Sing
1982: Noma Literary Prize (best newcomer) for A Wild Sheep Chase
1985: Tanizaki Prize for Hard-Boiled Wonderland and the End of the World
1995: Yomiuri Prize (best novel) for The Wind-Up Bird Chronicle
1999: Kuwabara Takeo Prize for Underground
2006: World Fantasy Award (best novel) for Kafka on the Shore
2006: Frank O'Connor International Short Story Award for Blind Willow, Sleeping Woman
2016: Hans Christian Andersen Literature Award
2018: America Award in Literature for a lifetime contribution to international writing
Murakami was also awarded the 2007 Kiriyama Prize for Fiction for his collection of short stories Blind Willow, Sleeping Woman, but according to the prize's official website, Murakami "declined to accept the award for reasons of personal principle".
Personal prizes
In 2006, Murakami became the sixth recipient of the Franz Kafka Prize.
In September 2007, he received an honorary doctorate of Letters from the University of Liège, one from Princeton University in June 2008, and one from Tufts University in May 2014.
In January 2009, Murakami received the Jerusalem Prize, a biennial literary award given to writers whose work deals with themes of human freedom, society, politics, and government. There were protests in Japan and elsewhere against his attending the February award ceremony in Israel, including threats to boycott his work as a response against Israel's recent bombing of the Gaza. Murakami chose to attend the ceremony, but gave a speech to the gathered Israeli dignitaries harshly criticizing Israeli policies. Murakami said, "Each of us possesses a tangible living soul. The system has no such thing. We must not allow the system to exploit us."
In 2011, Murakami donated his €80,000 winnings from the International Catalunya Prize (from the Generalitat de Catalunya) to the victims of the March 11 earthquake and tsunami, and to those affected by the Fukushima nuclear disaster. Accepting the award, he said in his speech that the situation at the Fukushima plant was "the second major nuclear disaster that the Japanese people have experienced ... however, this time it was not a bomb being dropped upon us, but a mistake committed by our very own hands". According to Murakami, the Japanese people should have rejected nuclear power after having "learned through the sacrifice of the hibakusha just how badly radiation leaves scars on the world and human wellbeing".
In recent years, Haruki Murakami has often been mentioned as a possible recipient of the Nobel Prize in Literature. Nonetheless, since all nomination records are sealed for 50 years from the awarding of the prize, it is pure speculation. When asked about the possibility of being awarded the Nobel Prize, Murakami responded with a laugh saying "No, I don't want prizes. That means you're finished."
In October 2014, he was awarded the Welt-Literaturpreis.
In April 2015, Murakami was named one of the TIME 100's most influential people. In November 2016, he was awarded the Danish Hans Christian Andersen Literature Award, an award previously won by British author JK Rowling.
In 2018 he was nominated for the New Academy Prize in Literature. He requested that his nomination be withdrawn, saying he wanted to "concentrate on writing, away from media attention."
Archives
In 2018 Waseda University in Tokyo agreed to house the archives of Haruki Murakami, including his manuscripts, source documents, and music collection. The collection is intended to be open to scholars, and is set to open in October 2021.
In September 2021, architect Kengo Kuma announced the opening of a library dedicated entirely to Murakami's works at Waseda University. It will include more than 3,000 works by Murakami, including translations into more than 50 other languages.
Films and other adaptations
Murakami's first novel, Hear the Wind Sing (Kaze no uta o kike), was adapted by Japanese director Kazuki Ōmori. The film was released in 1981 and distributed by Art Theatre Guild. Naoto Yamakawa directed two short films, Attack on the Bakery (released in 1982) and A Girl, She is 100 Percent (released in 1983), based on Murakami's short stories "Bakery Attack" and "On Seeing the 100% Perfect Girl One Beautiful April Morning", respectively. Japanese director Jun Ichikawa adapted Murakami's short story "Tony Takitani" into a 75-minute feature. The film played at various film festivals and was released in New York and Los Angeles on July 29, 2005. The original short story, translated into English by Jay Rubin, is available in the April 15, 2002 issue of The New Yorker, as a stand-alone book published by Cloverfield Press, and part of Blind Willow, Sleeping Woman by Knopf. In 1998, the German film The Polar Bear (), written and directed by Granz Henman, used elements of Murakami's short story "The Second Bakery Attack" in three intersecting story lines. "The Second Bakery Attack" was also adapted as a short film in 2010, directed by Carlos Cuarón, starring Kirsten Dunst.
Murakami's work was also adapted for the stage in a 2003 play entitled The Elephant Vanishes, co-produced by Britain's Complicite company and Japan's Setagaya Public Theatre. The production, directed by Simon McBurney, adapted three of Murakami's short stories and received acclaim for its unique blending of multimedia (video, music, and innovative sound design) with actor-driven physical theater (mime, dance, and even acrobatic wire work). On tour, the play was performed in Japanese, with supertitle translations for European and American audiences.
Two stories from Murakami's book After The Quake"Honey Pie" and "Superfrog Saves Tokyo"have been adapted for the stage and directed by Frank Galati. Entitled after the quake, the play was first performed at the Steppenwolf Theatre Company in association with La Jolla Playhouse, and opened on October 12, 2007, at Berkeley Repertory Theatre. In 2008, Galati also adapted and directed a theatrical version of Kafka on the Shore, which first ran at Chicago's Steppenwolf Theatre Company from September to November.
On Max Richter's 2006 album Songs from Before, Robert Wyatt reads passages from Murakami's novels. In 2007, Robert Logevall adapted "All God's Children Can Dance" into a film, with a soundtrack composed by American jam band Sound Tribe Sector 9. In 2008, Tom Flint adapted "On Seeing the 100% Perfect Girl One Beautiful April Morning" into a short film. The film was screened at the 2008 CON-CAN Movie Festival. The film was viewed, voted, and commented upon as part of the audience award for the movie festival.
It was announced in July 2008 that French-Vietnamese director Tran Anh Hung would direct an adaptation of Murakami's novel Norwegian Wood. The film was released in Japan on December 11, 2010.
In 2010, Stephen Earnhart adapted The Wind-Up Bird Chronicle into a two-hour multimedia stage presentation. The show opened January 12, 2010, as part of the Public Theater's "Under the Radar" festival at the Ohio Theater in New York City, presented in association with The Asia Society and the Baryshnikov Arts Center. The show had its world premiere at the Edinburgh International Festival on August 21, 2011. The presentation incorporates live actors, video projection, traditional Japanese puppetry, and immersive soundscapes to render the surreal landscape of the original work.
"Memoranda", a 2017 video game had been inspired by several Murakami short stories, mainly from Blind Willow, Sleeping Woman and The Elephant Vanishes, and features several Murakami characters, including Mizuki Ando.
In 2018, "Barn Burning" from Murakami's short story collection The Elephant Vanishes was adapted into a film titled Burning by director Lee Chang-dong. The film was awarded the FIPRESCI International Critics’ Prize for best film, receiving the highest score to date. It was also South Korea’s submission for the Academy Award for Best International Feature Film in 2019.
A film based on the short story "Drive My Car" premiered at the 2021 Cannes Film Festival, where it won Best Screenplay, the FIPRESCI Prize, and the Prize of the Ecumenical Jury. The film went on to be nominated for four Academy Awards: Best Picture, Best Director, Best Adapted Screenplay, and Best International Feature. Directed by Ryusuke Hamaguchi, it also takes inspiration from "Scheherazade" and "Kino," two other stories in the collection Men Without Women.
Personal life
After receiving the Gunzo Award for his 1979 literary work Hear the Wind Sing, Murakami did not aspire to meet other writers. Aside from Sarah Lawrence's Mary Morris, whom he briefly mentions in his memoir What I Talk About When I Talk About Running alongside Joyce Carol Oates and Toni Morrison, Murakami was never a part of a community of writers, his reason being that he was a loner and was never fond of groups, schools, and literary circles. When working on a book, Murakami states that he relies on his wife, who is always his first reader. While he never acquainted himself with many writers, among the contemporary writers, he enjoys the work of Kazuo Ishiguro, Cormac McCarthy, Lee Child and Dag Solstad. While he does not read much contemporary Japanese literature, Murakami enjoys the works of Ryū Murakami and Banana Yoshimoto.
Haruki Murakami is a fan of crime novels. During his high school days while living in Kōbe, he would buy paperbacks from second hand book stores and learned to read English. The first book that he read in English was The Name is Archer, written by Ross Macdonald in 1955. Other writers he was interested in included Leo Tolstoy and Fyodor Dostoyevsky.
Murakami also has a passion for listening to music, especially classical and jazz. When he was around 15, he began to develop an interest in jazz after attending an Art Blakey and the Jazz Messengers concert in Kobe. He later opened the Peter Cat, a coffeehouse and jazz bar. Murakami has said that music, like writing, is a mental journey. At one time he aspired to be a musician, but because he could not play instruments well he decided to become a writer instead.
In an interview with The Guardian, Murakami stated his belief that his surreal books appeal to people especially in times of turmoil and political chaos. He stated that "I was so popular in the 1990s in Russia, at the time they were changing from the Soviet Union – there was big confusion, and people in confusion like my books" and “In Germany, when the Berlin Wall fell down, there was confusion – and people liked my books.”
Political views
Murakami stated that it is natural for China and the Koreas to continue to feel resentment towards Japan for its wartime aggressions. "Fundamentally, Japanese people tend not to have an idea that they were also assailants, and the tendency is getting clearer," he said. In another interview, Murakami stated: "The issue of historical understanding carries great significance, and I believe it is important that Japan makes straightforward apologies. I think that is all Japan can do – apologise until the countries say: 'We don't necessarily get over it completely, but you have apologised enough. Alright, let's leave it now.'"
In August 2021, during one of his radio shows, Murakami criticized prime minister Yoshihide Suga over the handling of the COVID-19 pandemic in Japan. Murakami quoted Suga as saying "an exit is now in our sight after a long tunnel" and added, in criticism, that "If he really saw an exit, his eyes must be extremely good for his age. I’m of the same age as Mr. Suga, but I don’t see any exit at all."
Bibliography
This is an incomplete bibliography as not all works published by Murakami in Japanese have been translated into English. Kanji titles are given with Hepburn romanization. (Original titles entirely in transcribed English are given as "katakana / romaji = English".)
Novels
Short stories
Collections
List of stories
Essays and nonfiction
Murakami has published more than 40 books of non-fiction. Among them are:
Other books include:
See also
Japanese literature
Surrealism
Weird fiction
References
Further reading
Pintor, Ivan. "David Lynch y Haruki Murakami, la llama en el umbral", in: VV.AA., Universo Lynch. Internacional Sitges Film Festival-Calamar 2007 ()
Rubin, Jay. Haruki Murakami and the Music of Words. Harvill Press, 2002 ()
Strecher, Matthew Carl. The Wind-Up Bird Chronicle Readers Guide. Continuum Pubublishing Group, 2002 ()
Strecher, Matthew Carl. Dances with Sheep: The Quest for Identity in the Fiction of Murakami Haruki. University of Michigan/Monographs in Japanese Studies, 2001 ()
Suter, Rebecca. The Japanization of Modernity: Murakami Haruki Between Japan and the United States. Harvard University Asian Center, 2008. ()
External links
Haruki Murakami at Random House
Haruki Murakami at The New Yorker (online essays, stories, excerpts)
Haruki Murakami at The New York Times (articles about, interviews with)
Haruki Murakami at Complete Review (international meta-reviews)
Haruki Murakami at The Encyclopedia of Science Fiction
Interviews
"Haruki Murakami: The Outsider" (by Laura Miller and Don George), Salon, December 1997 (about Wind-Up Bird and Underground)
"Haruki Murakami, The Art of Fiction No. 182" (by John Wray), The Paris Review, Summer 2004
Articles
"The reception of Murakami Haruki in Taiwan" (PDF), Yale University
"Haruki Murakami: How a Japanese writer conquered the world" (by Stephanie Hegarty), BBC News, October 17, 2011
"The 10 Best Haruki Murakami Books" (by Murakami scholar Matthew C. Strecher), Publishers Weekly, August 8, 2014
Multimedia
Video about Murakami's life and work at Psychology Today's blog The Literary Mind
1949 births
20th-century Japanese novelists
20th-century Japanese translators
21st-century Japanese translators
21st-century Japanese novelists
English–Japanese translators
Japanese essayists
Japanese male short story writers
Japanese psychological fiction writers
Japanese science fiction writers
Japanese ultramarathon runners
Jerusalem Prize recipients
Literary translators
Living people
Magic realism writers
Male ultramarathon runners
Order of Arts and Letters of Spain recipients
Postmodern writers
Princeton University faculty
Tufts University faculty
Waseda University alumni
Winners of the Yomiuri Prize
World Fantasy Award-winning writers
Writers from Kyoto
Weird fiction writers
Progressivism in Japan
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"I Write What I Like (full name I Write What I Like: Selected Writings by Steve Biko) is a compilation of writings from anti-apartheid activist Steve Biko.\n\nI Write What I Like contains a selection of Biko's writings from 1969, when he became the president of the South African Student Organisation, to 1972, when he was prohibited from publishing. Originally published in 1978, the book was republished in 1987 and April 2002. The book's title was taken from the title under which he had published his writings in the SASO newsletter under the pseudonym Frank Talk.\n\nI Write What I Like reflects Biko's conviction that black people in South Africa could not be liberated until they united to break their chains of servitude, a key tenet of the Black Consciousness Movement that he helped found.\n\nThe collection was edited by Aelred Stubbs. The book includes a preface by Archbishop Desmond Tutu; an introduction by Malusi and Thoko Mpumlwana, who were both involved with Biko in the Black Consciousness Movement; a memoir of Biko by Father Aelred Stubbs, his longtime pastor and friend; and a new foreword by Professor Lewis Gordon.\n\nReferences\n\n1978 non-fiction books\n2002 non-fiction books\nBooks about apartheid\nPolitical books\nSouth African non-fiction books",
"Flight MH370: The Mystery is a 2014 book by the American-born-British author Nigel Cawthorne concerning the disappearance of Malaysia Airlines Flight 370.\n\nSynopsis\nThe book is critical of official accounts of the disappearance of Malaysia Airlines Flight 370, noting 'In a world where we can be tracked by our mobile phones, CCTV and spy cameras, things do not just disappear. Especially not a big thing like a jumbo jet'. The book questions alleged failure by governments and organisations to share information concerning Flight MH370. The author suggests a cover up has occurred because the United States Military shot down the plane during military exercises in the region.\n\nReception\nThe book was fiercely criticised in The Australian by David Free, who described it as an 'information gumbo' that 'reproduces the slapdash atmosphere of the worst kind of 24-hour news show' and advised readers 'Next time you're in one (a shop), buy any book other than this. I guarantee it won't be worse' while The Daily Telegraph reported some relatives of the victims were angered by the book\n\nIn a May 2014 segment of the Australian television program Today, co-host Karl Stefanovic also took issue with guest Cawthorne.“You write in the book: ‘They’ll never be sure, the families, what happened to their loved ones. Did they die painlessly unaware of their fate or did they die in terror in a flaming wreck crashing from the sky at the hands of a madman?’ Stefanovic characterized the book as \"disgusting\" and insensitive to the families. When asked \"why would you write the book?\", the author replied, “I’m afraid it’s what I do for a living.\"\n\nReferences\n\n2014 non-fiction books\nMalaysia Airlines Flight 370\nBooks about conspiracy theories\nBooks by Nigel Cawthorne"
] |
[
"Haruki Murakami",
"Writing style",
"What is Marukami's writing style?",
"Most of Haruki Murakami's works use first-person narrative in the tradition of the Japanese I Novel.",
"What else is notable about his writing style?",
"He states that because family plays a significant role in traditional Japanese literature, any main character who is independent becomes a man who values freedom and solitude over intimacy.",
"What themes are in his writing?",
"Many of his novels have themes and titles that invoke classical music,",
"What else do his novels invoke?",
"Some of his novels take their titles from songs:",
"What songs do his novels invoke?",
"Norwegian Wood (after The Beatles' song) and South of the Border, West of the Sun (after the song \"South of the Border\").",
"What other books did he write?",
"The Thieving Magpie (after Rossini's opera), Bird as Prophet (after a piano piece by Robert Schumann usually known in English as The Prophet Bird), and The Bird-Catcher"
] |
C_5069548399d145c9b7a1ae344a31a180_1
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Are there any other books with titles from music?
| 7 |
Aside from Bird as Prophet, are there any other books with titles from music?
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Haruki Murakami
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Most of Haruki Murakami's works use first-person narrative in the tradition of the Japanese I Novel. He states that because family plays a significant role in traditional Japanese literature, any main character who is independent becomes a man who values freedom and solitude over intimacy. Also notable is Murakami's unique humor, as seen in his 2000 short story collection, After the Quake. In the story "Superfrog Saves Tokyo", the protagonist is confronted with a 6-foot tall frog that talks about the destruction of Tokyo over a cup of tea. In spite of the story's sober tone, Murakami feels the reader should be entertained once the seriousness of a subject has been broached. Another notable feature of Murakami's stories are the comments that come from the main characters as to how strange the story presents itself. Murakami explains that his characters experience what he experiences as he writes, which could be compared to a movie set where the walls and props are all fake. Many of his novels have themes and titles that invoke classical music, such as the three books making up The Wind-Up Bird Chronicle: The Thieving Magpie (after Rossini's opera), Bird as Prophet (after a piano piece by Robert Schumann usually known in English as The Prophet Bird), and The Bird-Catcher (a character in Mozart's opera The Magic Flute). Some of his novels take their titles from songs: Dance, Dance, Dance (after The Dells' 1957 B-side song, although it is often thought it was titled after the Beach Boys' 1964 tune), Norwegian Wood (after The Beatles' song) and South of the Border, West of the Sun (after the song "South of the Border"). Some analyses see aspects of shamanism in his writing. In a 2000 article, Susan Fisher connected Japanese folk religion or Japanese shamanism with some elements of The Wind-Up Bird Chronicle, such as a descent into a dry well. At an October 2013 symposium held at the University of Hawaii, associate professor of Japanese Nobuko Ochner opined "there were many descriptions of traveling in a parallel world as well as characters who have some connection to shamanism" in Murakami's works. CANNOTANSWER
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Dance, Dance, Dance (after The Dells' 1957 B-side song, although it is often thought it was titled after the Beach Boys' 1964 tune),
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is a Japanese writer. His novels, essays, and short stories have been bestsellers in Japan as well as internationally, with his work translated into 50 languages and selling millions of copies outside Japan. He has received numerous awards for his work, including the Gunzou Prize for New Writers, the World Fantasy Award, the Frank O'Connor International Short Story Award, the Franz Kafka Prize, and the Jerusalem Prize.
Growing up in Kobe before moving to Tokyo to attend Waseda University, he published his first novel Hear the Wind Sing (1979) after working as the owner of a small jazz bar for seven years. His notable works include the novels Norwegian Wood (1987), The Wind-Up Bird Chronicle (1994–95), Kafka on the Shore (2002), and 1Q84 (2009–10), with 1Q84 ranked as the best work of Japan's Heisei era (1989-2019) by the national newspaper Asahi Shimbun survey of literary experts. His work spans genres including science fiction, fantasy, and crime fiction, and has become known for its use of magical realist elements. His official website lists Raymond Chandler, Kurt Vonnegut, and Richard Brautigan as key inspirations to his work, while Murakami himself has cited Kazuo Ishiguro, Cormac McCarthy, and Dag Solstad as his favourite currently active writers. Murakami has also published five short story collections, including his most recently published work, First Person Singular (2020), and non-fiction works including Underground (1997), inspired by personal interviews Murakami conducted with victims of the Tokyo subway sarin attack, and What I Talk About When I Talk About Running (2007), a series of personal essays about his experience as a marathon runner.
His fiction has polarized literary critics and the reading public. He has sometimes been criticised by Japan's literary establishment as un-Japanese, leading to Murakami's recalling that he was a "black sheep in the Japanese literary world". Meanwhile, Murakami has been described by Gary Fisketjon, the editor of Murakami's collection The Elephant Vanishes (1993), as a "truly extraordinary writer", while Steven Poole of The Guardian praised Murakami as "among the world's greatest living novelists" for his oeuvre and achievements.
Biography
Murakami was born in Kyoto, Japan, during the post-World War II baby boom and raised in Nishinomiya, Ashiya and Kobe. He is an only child. His father was the son of a Buddhist priest, and his mother is the daughter of an Osaka merchant. Both taught Japanese literature. His father was involved in the Second Sino-Japanese War, and was deeply traumatized by it, which would, in turn, affect Murakami.
Since childhood, Murakami, like Kōbō Abe, has been heavily influenced by Western culture, particularly Western as well as Russian music and literature. He grew up reading a wide range of works by European and American writers, such as Franz Kafka, Gustave Flaubert, Charles Dickens, Kurt Vonnegut, Fyodor Dostoyevsky, Richard Brautigan and Jack Kerouac. These Western influences distinguish Murakami from the majority of other Japanese writers.
Murakami studied drama at Waseda University in Tokyo, where he met Yoko, now his wife. His first job was at a record store. Shortly before finishing his studies, Murakami opened a coffee house and jazz bar, Peter Cat, in Kokubunji, Tokyo, which he ran with his wife, from 1974 to 1981. The couple decided not to have children.
Murakami is an experienced marathon runner and triathlon enthusiast, though he did not start running until he was 33 years old, after he began as a way to stay healthy despite the hours spent at his desk writing. On June 23, 1996, he completed his first ultramarathon, a 100 km race around Lake Saroma in Hokkaido, Japan. He discusses his relationship with running in his 2008 memoir What I Talk About When I Talk About Running.
Writing career
Trilogy of the Rat
Murakami began to write fiction when he was 29. "Before that," he said, "I didn't write anything. I was just one of those ordinary people. I was running a jazz club, and I didn't create anything at all." He was inspired to write his first novel, Hear the Wind Sing (1979), while watching a baseball game. He described the moment he realized he could write as a "warm sensation" he could still feel in his heart. He went home and began writing that night. Murakami worked on Hear the Wind Sing for ten months in very brief stretches, during nights, after working days at the bar. He completed the novel and sent it to the only literary contest that would accept a work of that length, winning first prize.
Murakami's initial success with Hear the Wind Sing encouraged him to continue writing. A year later, he published a sequel, Pinball, 1973. In 1982, he published A Wild Sheep Chase, a critical success. Hear the Wind Sing, Pinball, 1973, and A Wild Sheep Chase form the Trilogy of the Rat (a sequel, Dance, Dance, Dance, was written later but is not considered part of the series), centered on the same unnamed narrator and his friend, "the Rat". The first two novels were not widely available in English translation outside Japan until 2015, although an English edition, translated by Alfred Birnbaum with extensive notes, had been published by Kodansha as part of a series intended for Japanese students of English. Murakami considers his first two novels to be "immature" and "flimsy", and has not been eager to have them translated into English. A Wild Sheep Chase, he says, was "the first book where I could feel a kind of sensation, the joy of telling a story. When you read a good story, you just keep reading. When I write a good story, I just keep writing."
Wider recognition
In 1985, Murakami wrote Hard-Boiled Wonderland and the End of the World, a dream-like fantasy that took the magical elements of his work to a new extreme. Murakami achieved a major breakthrough and national recognition in 1987 with the publication of Norwegian Wood, a nostalgic story of loss and sexuality. It sold millions of copies among young Japanese.
Norwegian Wood propelled the barely known Murakami into the spotlight. He was mobbed at airports and other public places, leading to his departure from Japan in 1986. Murakami traveled through Europe, lived in the United States and currently resides in Oiso, Kanagawa, with an office in Tokyo.
Murakami was a writing fellow at Princeton University in Princeton, New Jersey, Tufts University in Medford, Massachusetts, and Harvard University in Cambridge, Massachusetts. During this time he wrote South of the Border, West of the Sun and The Wind-Up Bird Chronicle.
From "detachment" to "commitment"
The Wind-Up Bird Chronicle (1995) fuses the realistic and fantastic and contains elements of physical violence. It is also more socially conscious than his previous work, dealing in part with the difficult topic of war crimes in Manchukuo (Northeast China). The novel won the Yomiuri Prize, awarded by one of Murakami's harshest former critics, Kenzaburō Ōe, who himself won the Nobel Prize for Literature in 1994.
The processing of collective trauma soon became an important theme in Murakami's writing, which had previously been more personal in nature. Murakami returned to Japan in the aftermath of the Kobe earthquake and the Aum Shinrikyo gas attack. He came to terms with these events with his first work of non-fiction, Underground, and the short story collection After the Quake. Underground consists largely of interviews of victims of the gas attacks in the Tokyo subway system.
Murakami himself mentions that he changed his position from one of "detachment" to one of "commitment" after staying in the United States in 1991. "His early books, he said, originated in an individual darkness, while his later works tap into the darkness found in society and history," wrote Wendy Edelstein in an article for UC Berkeley News.
English translations of many of his short stories written between 1983 and 1990 have been collected in The Elephant Vanishes. Murakami has also translated many works of F. Scott Fitzgerald, Raymond Carver, Truman Capote, John Irving, and Paul Theroux, among others, into Japanese.
Murakami took an active role in translation of his work into English, encouraging "adaptations" of his texts to American reality rather than direct translation. Some of his works that appeared in German turned out to be translations from English rather than Japanese (South of the Border, West of the Sun, 2000; The Wind-Up Bird Chronicle, 2000s), encouraged by Murakami himself. Both were later re-translated from Japanese.
Since 1999
Sputnik Sweetheart was first published in 1999, followed by Kafka on the Shore in 2002, with the English translation following in 2005. Kafka on the Shore won the World Fantasy Award for Novels in 2006. The English version of his novel After Dark was released in May 2007. It was chosen by The New York Times as a "notable book of the year". In late 2005, Murakami published a collection of short stories titled Tōkyō Kitanshū, or 東京奇譚集, which translates loosely as "Mysteries of Tokyo". A collection of the English versions of twenty-four short stories, titled Blind Willow, Sleeping Woman, was published in August 2006. This collection includes both older works from the 1980s as well as some of Murakami's more recent short stories, including all five that appear in Tōkyō Kitanshū.
In 2002, Murakami published the anthology Birthday Stories, which collects short stories on the theme of birthdays. The collection includes work by Russell Banks, Ethan Canin, Raymond Carver, David Foster Wallace, Denis Johnson, Claire Keegan, Andrea Lee, Daniel Lyons, Lynda Sexson, Paul Theroux, and William Trevor, as well as a story by Murakami himself. What I Talk About When I Talk About Running, containing tales about his experience as a marathon runner and a triathlete, was published in Japan in 2007, with English translations released in the U.K. and the U.S. in 2008. The title is a play on that of Raymond Carver's short story collection, What We Talk About When We Talk About Love.
Shinchosha Publishing published Murakami's novel 1Q84 in Japan on May 29, 2009. 1Q84 is pronounced "ichi kyū hachi yon", the same as 1984, as 9 is also pronounced "kyū" in Japanese. The book was longlisted for the Man Asian Literary Prize in 2011. However, after the 2012 anti-Japanese demonstrations in China, Murakami's books were removed from sale there, along with those of other Japanese authors. Murakami criticized the China–Japan political territorial dispute, characterizing the overwrought nationalistic response as "cheap liquor" which politicians were giving to the public. In April 2013, he published his novel Colorless Tsukuru Tazaki and His Years of Pilgrimage. It became an international bestseller but received mixed reviews.
Killing Commendatore (Kishidancho Goroshi) is Murakami's most recent work as of 2018. Published in Japan on February 24, 2017 and in the US in October 2018, the novel is a historical fiction that has caused controversy in Hong Kong. The novel was labeled under "Class II – indecent" in Hong Kong. This classification led to mass amounts of censorship. The publisher must not distribute the book to people under the age of 18, and must have a warning label printed on the cover.
Writing style
Most of Haruki Murakami's works use first-person narrative in the tradition of the Japanese I Novel. He states that because family plays a significant role in traditional Japanese literature, any main character who is independent becomes a man who values freedom and solitude over intimacy. Also notable is Murakami's unique humor, as seen in his 2000 short story collection, After the Quake. In the story "Superfrog Saves Tokyo", the protagonist is confronted with a 6-foot tall frog that talks about the destruction of Tokyo over a cup of tea. In spite of the story's sober tone, Murakami feels the reader should be entertained once the seriousness of a subject has been broached. Another notable feature of Murakami's stories are the comments that come from the main characters as to how strange the story presents itself. Murakami explains that his characters experience what he experiences as he writes, which could be compared to a movie set where the walls and props are all fake. He has further compared the process of writing to movies: "That is one of the joys of writing fiction—I'm making my own film made just for myself."
Many of his novels have themes and titles that evoke classical music, such as the three books making up The Wind-Up Bird Chronicle: The Thieving Magpie (after Rossini's opera), Bird as Prophet (after a piano piece by Robert Schumann usually known in English as The Prophet Bird), and The Bird-Catcher (a character in Mozart's opera The Magic Flute). Some of his novels take their titles from songs: Dance, Dance, Dance (after The Dells' 1957 B-side song, although it is often thought it was titled after the Beach Boys' 1964 tune), Norwegian Wood (after The Beatles' song) and South of the Border, West of the Sun (after the song "South of the Border").
Some analyses see aspects of shamanism in his writing. In a 2000 article, Susan Fisher connected Japanese folk religion or Japanese shamanism with some elements of The Wind-Up Bird Chronicle, such as a descent into a dry well. At an October 2013 symposium held at the University of Hawaii, associate professor of Japanese Nobuko Ochner opined "there were many descriptions of traveling in a parallel world as well as characters who have some connection to shamanism" in Murakami's works.
Recognition
Prizes for books
1979: Gunzo Award (best first novel) for Hear the Wind Sing
1982: Noma Literary Prize (best newcomer) for A Wild Sheep Chase
1985: Tanizaki Prize for Hard-Boiled Wonderland and the End of the World
1995: Yomiuri Prize (best novel) for The Wind-Up Bird Chronicle
1999: Kuwabara Takeo Prize for Underground
2006: World Fantasy Award (best novel) for Kafka on the Shore
2006: Frank O'Connor International Short Story Award for Blind Willow, Sleeping Woman
2016: Hans Christian Andersen Literature Award
2018: America Award in Literature for a lifetime contribution to international writing
Murakami was also awarded the 2007 Kiriyama Prize for Fiction for his collection of short stories Blind Willow, Sleeping Woman, but according to the prize's official website, Murakami "declined to accept the award for reasons of personal principle".
Personal prizes
In 2006, Murakami became the sixth recipient of the Franz Kafka Prize.
In September 2007, he received an honorary doctorate of Letters from the University of Liège, one from Princeton University in June 2008, and one from Tufts University in May 2014.
In January 2009, Murakami received the Jerusalem Prize, a biennial literary award given to writers whose work deals with themes of human freedom, society, politics, and government. There were protests in Japan and elsewhere against his attending the February award ceremony in Israel, including threats to boycott his work as a response against Israel's recent bombing of the Gaza. Murakami chose to attend the ceremony, but gave a speech to the gathered Israeli dignitaries harshly criticizing Israeli policies. Murakami said, "Each of us possesses a tangible living soul. The system has no such thing. We must not allow the system to exploit us."
In 2011, Murakami donated his €80,000 winnings from the International Catalunya Prize (from the Generalitat de Catalunya) to the victims of the March 11 earthquake and tsunami, and to those affected by the Fukushima nuclear disaster. Accepting the award, he said in his speech that the situation at the Fukushima plant was "the second major nuclear disaster that the Japanese people have experienced ... however, this time it was not a bomb being dropped upon us, but a mistake committed by our very own hands". According to Murakami, the Japanese people should have rejected nuclear power after having "learned through the sacrifice of the hibakusha just how badly radiation leaves scars on the world and human wellbeing".
In recent years, Haruki Murakami has often been mentioned as a possible recipient of the Nobel Prize in Literature. Nonetheless, since all nomination records are sealed for 50 years from the awarding of the prize, it is pure speculation. When asked about the possibility of being awarded the Nobel Prize, Murakami responded with a laugh saying "No, I don't want prizes. That means you're finished."
In October 2014, he was awarded the Welt-Literaturpreis.
In April 2015, Murakami was named one of the TIME 100's most influential people. In November 2016, he was awarded the Danish Hans Christian Andersen Literature Award, an award previously won by British author JK Rowling.
In 2018 he was nominated for the New Academy Prize in Literature. He requested that his nomination be withdrawn, saying he wanted to "concentrate on writing, away from media attention."
Archives
In 2018 Waseda University in Tokyo agreed to house the archives of Haruki Murakami, including his manuscripts, source documents, and music collection. The collection is intended to be open to scholars, and is set to open in October 2021.
In September 2021, architect Kengo Kuma announced the opening of a library dedicated entirely to Murakami's works at Waseda University. It will include more than 3,000 works by Murakami, including translations into more than 50 other languages.
Films and other adaptations
Murakami's first novel, Hear the Wind Sing (Kaze no uta o kike), was adapted by Japanese director Kazuki Ōmori. The film was released in 1981 and distributed by Art Theatre Guild. Naoto Yamakawa directed two short films, Attack on the Bakery (released in 1982) and A Girl, She is 100 Percent (released in 1983), based on Murakami's short stories "Bakery Attack" and "On Seeing the 100% Perfect Girl One Beautiful April Morning", respectively. Japanese director Jun Ichikawa adapted Murakami's short story "Tony Takitani" into a 75-minute feature. The film played at various film festivals and was released in New York and Los Angeles on July 29, 2005. The original short story, translated into English by Jay Rubin, is available in the April 15, 2002 issue of The New Yorker, as a stand-alone book published by Cloverfield Press, and part of Blind Willow, Sleeping Woman by Knopf. In 1998, the German film The Polar Bear (), written and directed by Granz Henman, used elements of Murakami's short story "The Second Bakery Attack" in three intersecting story lines. "The Second Bakery Attack" was also adapted as a short film in 2010, directed by Carlos Cuarón, starring Kirsten Dunst.
Murakami's work was also adapted for the stage in a 2003 play entitled The Elephant Vanishes, co-produced by Britain's Complicite company and Japan's Setagaya Public Theatre. The production, directed by Simon McBurney, adapted three of Murakami's short stories and received acclaim for its unique blending of multimedia (video, music, and innovative sound design) with actor-driven physical theater (mime, dance, and even acrobatic wire work). On tour, the play was performed in Japanese, with supertitle translations for European and American audiences.
Two stories from Murakami's book After The Quake"Honey Pie" and "Superfrog Saves Tokyo"have been adapted for the stage and directed by Frank Galati. Entitled after the quake, the play was first performed at the Steppenwolf Theatre Company in association with La Jolla Playhouse, and opened on October 12, 2007, at Berkeley Repertory Theatre. In 2008, Galati also adapted and directed a theatrical version of Kafka on the Shore, which first ran at Chicago's Steppenwolf Theatre Company from September to November.
On Max Richter's 2006 album Songs from Before, Robert Wyatt reads passages from Murakami's novels. In 2007, Robert Logevall adapted "All God's Children Can Dance" into a film, with a soundtrack composed by American jam band Sound Tribe Sector 9. In 2008, Tom Flint adapted "On Seeing the 100% Perfect Girl One Beautiful April Morning" into a short film. The film was screened at the 2008 CON-CAN Movie Festival. The film was viewed, voted, and commented upon as part of the audience award for the movie festival.
It was announced in July 2008 that French-Vietnamese director Tran Anh Hung would direct an adaptation of Murakami's novel Norwegian Wood. The film was released in Japan on December 11, 2010.
In 2010, Stephen Earnhart adapted The Wind-Up Bird Chronicle into a two-hour multimedia stage presentation. The show opened January 12, 2010, as part of the Public Theater's "Under the Radar" festival at the Ohio Theater in New York City, presented in association with The Asia Society and the Baryshnikov Arts Center. The show had its world premiere at the Edinburgh International Festival on August 21, 2011. The presentation incorporates live actors, video projection, traditional Japanese puppetry, and immersive soundscapes to render the surreal landscape of the original work.
"Memoranda", a 2017 video game had been inspired by several Murakami short stories, mainly from Blind Willow, Sleeping Woman and The Elephant Vanishes, and features several Murakami characters, including Mizuki Ando.
In 2018, "Barn Burning" from Murakami's short story collection The Elephant Vanishes was adapted into a film titled Burning by director Lee Chang-dong. The film was awarded the FIPRESCI International Critics’ Prize for best film, receiving the highest score to date. It was also South Korea’s submission for the Academy Award for Best International Feature Film in 2019.
A film based on the short story "Drive My Car" premiered at the 2021 Cannes Film Festival, where it won Best Screenplay, the FIPRESCI Prize, and the Prize of the Ecumenical Jury. The film went on to be nominated for four Academy Awards: Best Picture, Best Director, Best Adapted Screenplay, and Best International Feature. Directed by Ryusuke Hamaguchi, it also takes inspiration from "Scheherazade" and "Kino," two other stories in the collection Men Without Women.
Personal life
After receiving the Gunzo Award for his 1979 literary work Hear the Wind Sing, Murakami did not aspire to meet other writers. Aside from Sarah Lawrence's Mary Morris, whom he briefly mentions in his memoir What I Talk About When I Talk About Running alongside Joyce Carol Oates and Toni Morrison, Murakami was never a part of a community of writers, his reason being that he was a loner and was never fond of groups, schools, and literary circles. When working on a book, Murakami states that he relies on his wife, who is always his first reader. While he never acquainted himself with many writers, among the contemporary writers, he enjoys the work of Kazuo Ishiguro, Cormac McCarthy, Lee Child and Dag Solstad. While he does not read much contemporary Japanese literature, Murakami enjoys the works of Ryū Murakami and Banana Yoshimoto.
Haruki Murakami is a fan of crime novels. During his high school days while living in Kōbe, he would buy paperbacks from second hand book stores and learned to read English. The first book that he read in English was The Name is Archer, written by Ross Macdonald in 1955. Other writers he was interested in included Leo Tolstoy and Fyodor Dostoyevsky.
Murakami also has a passion for listening to music, especially classical and jazz. When he was around 15, he began to develop an interest in jazz after attending an Art Blakey and the Jazz Messengers concert in Kobe. He later opened the Peter Cat, a coffeehouse and jazz bar. Murakami has said that music, like writing, is a mental journey. At one time he aspired to be a musician, but because he could not play instruments well he decided to become a writer instead.
In an interview with The Guardian, Murakami stated his belief that his surreal books appeal to people especially in times of turmoil and political chaos. He stated that "I was so popular in the 1990s in Russia, at the time they were changing from the Soviet Union – there was big confusion, and people in confusion like my books" and “In Germany, when the Berlin Wall fell down, there was confusion – and people liked my books.”
Political views
Murakami stated that it is natural for China and the Koreas to continue to feel resentment towards Japan for its wartime aggressions. "Fundamentally, Japanese people tend not to have an idea that they were also assailants, and the tendency is getting clearer," he said. In another interview, Murakami stated: "The issue of historical understanding carries great significance, and I believe it is important that Japan makes straightforward apologies. I think that is all Japan can do – apologise until the countries say: 'We don't necessarily get over it completely, but you have apologised enough. Alright, let's leave it now.'"
In August 2021, during one of his radio shows, Murakami criticized prime minister Yoshihide Suga over the handling of the COVID-19 pandemic in Japan. Murakami quoted Suga as saying "an exit is now in our sight after a long tunnel" and added, in criticism, that "If he really saw an exit, his eyes must be extremely good for his age. I’m of the same age as Mr. Suga, but I don’t see any exit at all."
Bibliography
This is an incomplete bibliography as not all works published by Murakami in Japanese have been translated into English. Kanji titles are given with Hepburn romanization. (Original titles entirely in transcribed English are given as "katakana / romaji = English".)
Novels
Short stories
Collections
List of stories
Essays and nonfiction
Murakami has published more than 40 books of non-fiction. Among them are:
Other books include:
See also
Japanese literature
Surrealism
Weird fiction
References
Further reading
Pintor, Ivan. "David Lynch y Haruki Murakami, la llama en el umbral", in: VV.AA., Universo Lynch. Internacional Sitges Film Festival-Calamar 2007 ()
Rubin, Jay. Haruki Murakami and the Music of Words. Harvill Press, 2002 ()
Strecher, Matthew Carl. The Wind-Up Bird Chronicle Readers Guide. Continuum Pubublishing Group, 2002 ()
Strecher, Matthew Carl. Dances with Sheep: The Quest for Identity in the Fiction of Murakami Haruki. University of Michigan/Monographs in Japanese Studies, 2001 ()
Suter, Rebecca. The Japanization of Modernity: Murakami Haruki Between Japan and the United States. Harvard University Asian Center, 2008. ()
External links
Haruki Murakami at Random House
Haruki Murakami at The New Yorker (online essays, stories, excerpts)
Haruki Murakami at The New York Times (articles about, interviews with)
Haruki Murakami at Complete Review (international meta-reviews)
Haruki Murakami at The Encyclopedia of Science Fiction
Interviews
"Haruki Murakami: The Outsider" (by Laura Miller and Don George), Salon, December 1997 (about Wind-Up Bird and Underground)
"Haruki Murakami, The Art of Fiction No. 182" (by John Wray), The Paris Review, Summer 2004
Articles
"The reception of Murakami Haruki in Taiwan" (PDF), Yale University
"Haruki Murakami: How a Japanese writer conquered the world" (by Stephanie Hegarty), BBC News, October 17, 2011
"The 10 Best Haruki Murakami Books" (by Murakami scholar Matthew C. Strecher), Publishers Weekly, August 8, 2014
Multimedia
Video about Murakami's life and work at Psychology Today's blog The Literary Mind
1949 births
20th-century Japanese novelists
20th-century Japanese translators
21st-century Japanese translators
21st-century Japanese novelists
English–Japanese translators
Japanese essayists
Japanese male short story writers
Japanese psychological fiction writers
Japanese science fiction writers
Japanese ultramarathon runners
Jerusalem Prize recipients
Literary translators
Living people
Magic realism writers
Male ultramarathon runners
Order of Arts and Letters of Spain recipients
Postmodern writers
Princeton University faculty
Tufts University faculty
Waseda University alumni
Winners of the Yomiuri Prize
World Fantasy Award-winning writers
Writers from Kyoto
Weird fiction writers
Progressivism in Japan
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"Latvian ISBN/ISMN agency () - is an agency responsible for assigning ISBN numbers for the group identifier 9984 to books and ISMN numbers to printed music in Latvia. As of 2008 the agency is part of the National Library of Latvia and is located in Riga.\n\nThe ISBN group identifier was assigned by The International ISBN Agency to Latvia in 1992 and the agency has been operating since 1993.\n\nSince May 2005 the Latvian agency has been assigning ISBNs only for concrete titles. The assignment of ISBN ranges is not practiced any more. Publishers can acquire numbers either in the agency or via internet using the Lursoft IT site.\n\nPublishers \nAs of 2004 the Latvian publishers' database comprises 1393 entries. About 400 publishers were active in 2003 and 180 have published only 1 title (50 of them are author-publishers). The National Library of Latvia has a local database of the publishers. A reference service from it is available.\n\nThe Latvian publishing output in 2006 was about 2500 titles, about 5 million copies in total. The average print-run of one title is just above 2 thousand copies. Only 3 publishers have published more than a hundred titles. Zvaigzne ABC is in the leading position with 300 titles. Other notable publishers are Jumava, Avots and Kontinents. Fiction dominates with 613 titles; textbooks 411 titles; science, research and popular scientific books 303 titles; children books and comics 233 publications; popular issues 113 titles. The other types of publications do not reach 100 titles a year.\n\nThere are 27 music publishers in Latvia.\n\nReferences\n\nExternal links \nLatvian ISBN/ISMN agency site\n\nISBN agencies\nBook publishing companies of Latvia\nLatvian culture\nMass media in Riga",
"The White Ravens is a catalog annually published by International Youth Library as a recommendation list for child and youth literature. An annual White Ravens catalog is introduced each year at the Bologna Children's Book Fair in Italy.\n\nSelection\nFrom the large quantity of the review and donation copies, which the library receives from publishing houses, institutions, organizations and other friends of the library, the language specialists (lektors) select 200 new releases from over 40 countries in more than 30 languages. The titles are taken into consideration based on the interest of their universal topic and/or their innovative literary and picture-formative quality for a specialised international audience and if they will be well received. Each book listed in the catalog is briefly described with short annotations. Using identification symbols, the \"special Mentions\" are identified, as well as the books that are found to be a contribution to the communication between cultures and people, and easy-to-read texts, which also apply to the older readers. The catalog contains books from 81 countries and in 58 languages.\n\nThe White Raven label is given to \"books that deserve worldwide attention because of their universal themes and/or their exceptional and often innovative artistic and literary style and design. The titles are drawn from the books that the IYL receives as review or donation copies from publishers and organisations around the world\".\n\nBooks\nAn online catalog, which includes all titles from 1993 to 2007, is available on the International Children's Digital Library website, and there is an updated online database of titles hosted by the IYL, with an advanced search facility.\n\nReferences\n\nEducation in Munich\nLibraries in Munich\nPublic libraries\nYouth in Germany\nChildren's books\nCulture in Bologna\nLibrary catalogues"
] |
[
"Haruki Murakami",
"Writing style",
"What is Marukami's writing style?",
"Most of Haruki Murakami's works use first-person narrative in the tradition of the Japanese I Novel.",
"What else is notable about his writing style?",
"He states that because family plays a significant role in traditional Japanese literature, any main character who is independent becomes a man who values freedom and solitude over intimacy.",
"What themes are in his writing?",
"Many of his novels have themes and titles that invoke classical music,",
"What else do his novels invoke?",
"Some of his novels take their titles from songs:",
"What songs do his novels invoke?",
"Norwegian Wood (after The Beatles' song) and South of the Border, West of the Sun (after the song \"South of the Border\").",
"What other books did he write?",
"The Thieving Magpie (after Rossini's opera), Bird as Prophet (after a piano piece by Robert Schumann usually known in English as The Prophet Bird), and The Bird-Catcher",
"Are there any other books with titles from music?",
"Dance, Dance, Dance (after The Dells' 1957 B-side song, although it is often thought it was titled after the Beach Boys' 1964 tune),"
] |
C_5069548399d145c9b7a1ae344a31a180_1
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Did anything else influence his writing style?
| 8 |
In addition to the Beach Boys, did anything else influence Haruki Murakamis writing style?
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Haruki Murakami
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Most of Haruki Murakami's works use first-person narrative in the tradition of the Japanese I Novel. He states that because family plays a significant role in traditional Japanese literature, any main character who is independent becomes a man who values freedom and solitude over intimacy. Also notable is Murakami's unique humor, as seen in his 2000 short story collection, After the Quake. In the story "Superfrog Saves Tokyo", the protagonist is confronted with a 6-foot tall frog that talks about the destruction of Tokyo over a cup of tea. In spite of the story's sober tone, Murakami feels the reader should be entertained once the seriousness of a subject has been broached. Another notable feature of Murakami's stories are the comments that come from the main characters as to how strange the story presents itself. Murakami explains that his characters experience what he experiences as he writes, which could be compared to a movie set where the walls and props are all fake. Many of his novels have themes and titles that invoke classical music, such as the three books making up The Wind-Up Bird Chronicle: The Thieving Magpie (after Rossini's opera), Bird as Prophet (after a piano piece by Robert Schumann usually known in English as The Prophet Bird), and The Bird-Catcher (a character in Mozart's opera The Magic Flute). Some of his novels take their titles from songs: Dance, Dance, Dance (after The Dells' 1957 B-side song, although it is often thought it was titled after the Beach Boys' 1964 tune), Norwegian Wood (after The Beatles' song) and South of the Border, West of the Sun (after the song "South of the Border"). Some analyses see aspects of shamanism in his writing. In a 2000 article, Susan Fisher connected Japanese folk religion or Japanese shamanism with some elements of The Wind-Up Bird Chronicle, such as a descent into a dry well. At an October 2013 symposium held at the University of Hawaii, associate professor of Japanese Nobuko Ochner opined "there were many descriptions of traveling in a parallel world as well as characters who have some connection to shamanism" in Murakami's works. CANNOTANSWER
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Some analyses see aspects of shamanism in his writing.
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is a Japanese writer. His novels, essays, and short stories have been bestsellers in Japan as well as internationally, with his work translated into 50 languages and selling millions of copies outside Japan. He has received numerous awards for his work, including the Gunzou Prize for New Writers, the World Fantasy Award, the Frank O'Connor International Short Story Award, the Franz Kafka Prize, and the Jerusalem Prize.
Growing up in Kobe before moving to Tokyo to attend Waseda University, he published his first novel Hear the Wind Sing (1979) after working as the owner of a small jazz bar for seven years. His notable works include the novels Norwegian Wood (1987), The Wind-Up Bird Chronicle (1994–95), Kafka on the Shore (2002), and 1Q84 (2009–10), with 1Q84 ranked as the best work of Japan's Heisei era (1989-2019) by the national newspaper Asahi Shimbun survey of literary experts. His work spans genres including science fiction, fantasy, and crime fiction, and has become known for its use of magical realist elements. His official website lists Raymond Chandler, Kurt Vonnegut, and Richard Brautigan as key inspirations to his work, while Murakami himself has cited Kazuo Ishiguro, Cormac McCarthy, and Dag Solstad as his favourite currently active writers. Murakami has also published five short story collections, including his most recently published work, First Person Singular (2020), and non-fiction works including Underground (1997), inspired by personal interviews Murakami conducted with victims of the Tokyo subway sarin attack, and What I Talk About When I Talk About Running (2007), a series of personal essays about his experience as a marathon runner.
His fiction has polarized literary critics and the reading public. He has sometimes been criticised by Japan's literary establishment as un-Japanese, leading to Murakami's recalling that he was a "black sheep in the Japanese literary world". Meanwhile, Murakami has been described by Gary Fisketjon, the editor of Murakami's collection The Elephant Vanishes (1993), as a "truly extraordinary writer", while Steven Poole of The Guardian praised Murakami as "among the world's greatest living novelists" for his oeuvre and achievements.
Biography
Murakami was born in Kyoto, Japan, during the post-World War II baby boom and raised in Nishinomiya, Ashiya and Kobe. He is an only child. His father was the son of a Buddhist priest, and his mother is the daughter of an Osaka merchant. Both taught Japanese literature. His father was involved in the Second Sino-Japanese War, and was deeply traumatized by it, which would, in turn, affect Murakami.
Since childhood, Murakami, like Kōbō Abe, has been heavily influenced by Western culture, particularly Western as well as Russian music and literature. He grew up reading a wide range of works by European and American writers, such as Franz Kafka, Gustave Flaubert, Charles Dickens, Kurt Vonnegut, Fyodor Dostoyevsky, Richard Brautigan and Jack Kerouac. These Western influences distinguish Murakami from the majority of other Japanese writers.
Murakami studied drama at Waseda University in Tokyo, where he met Yoko, now his wife. His first job was at a record store. Shortly before finishing his studies, Murakami opened a coffee house and jazz bar, Peter Cat, in Kokubunji, Tokyo, which he ran with his wife, from 1974 to 1981. The couple decided not to have children.
Murakami is an experienced marathon runner and triathlon enthusiast, though he did not start running until he was 33 years old, after he began as a way to stay healthy despite the hours spent at his desk writing. On June 23, 1996, he completed his first ultramarathon, a 100 km race around Lake Saroma in Hokkaido, Japan. He discusses his relationship with running in his 2008 memoir What I Talk About When I Talk About Running.
Writing career
Trilogy of the Rat
Murakami began to write fiction when he was 29. "Before that," he said, "I didn't write anything. I was just one of those ordinary people. I was running a jazz club, and I didn't create anything at all." He was inspired to write his first novel, Hear the Wind Sing (1979), while watching a baseball game. He described the moment he realized he could write as a "warm sensation" he could still feel in his heart. He went home and began writing that night. Murakami worked on Hear the Wind Sing for ten months in very brief stretches, during nights, after working days at the bar. He completed the novel and sent it to the only literary contest that would accept a work of that length, winning first prize.
Murakami's initial success with Hear the Wind Sing encouraged him to continue writing. A year later, he published a sequel, Pinball, 1973. In 1982, he published A Wild Sheep Chase, a critical success. Hear the Wind Sing, Pinball, 1973, and A Wild Sheep Chase form the Trilogy of the Rat (a sequel, Dance, Dance, Dance, was written later but is not considered part of the series), centered on the same unnamed narrator and his friend, "the Rat". The first two novels were not widely available in English translation outside Japan until 2015, although an English edition, translated by Alfred Birnbaum with extensive notes, had been published by Kodansha as part of a series intended for Japanese students of English. Murakami considers his first two novels to be "immature" and "flimsy", and has not been eager to have them translated into English. A Wild Sheep Chase, he says, was "the first book where I could feel a kind of sensation, the joy of telling a story. When you read a good story, you just keep reading. When I write a good story, I just keep writing."
Wider recognition
In 1985, Murakami wrote Hard-Boiled Wonderland and the End of the World, a dream-like fantasy that took the magical elements of his work to a new extreme. Murakami achieved a major breakthrough and national recognition in 1987 with the publication of Norwegian Wood, a nostalgic story of loss and sexuality. It sold millions of copies among young Japanese.
Norwegian Wood propelled the barely known Murakami into the spotlight. He was mobbed at airports and other public places, leading to his departure from Japan in 1986. Murakami traveled through Europe, lived in the United States and currently resides in Oiso, Kanagawa, with an office in Tokyo.
Murakami was a writing fellow at Princeton University in Princeton, New Jersey, Tufts University in Medford, Massachusetts, and Harvard University in Cambridge, Massachusetts. During this time he wrote South of the Border, West of the Sun and The Wind-Up Bird Chronicle.
From "detachment" to "commitment"
The Wind-Up Bird Chronicle (1995) fuses the realistic and fantastic and contains elements of physical violence. It is also more socially conscious than his previous work, dealing in part with the difficult topic of war crimes in Manchukuo (Northeast China). The novel won the Yomiuri Prize, awarded by one of Murakami's harshest former critics, Kenzaburō Ōe, who himself won the Nobel Prize for Literature in 1994.
The processing of collective trauma soon became an important theme in Murakami's writing, which had previously been more personal in nature. Murakami returned to Japan in the aftermath of the Kobe earthquake and the Aum Shinrikyo gas attack. He came to terms with these events with his first work of non-fiction, Underground, and the short story collection After the Quake. Underground consists largely of interviews of victims of the gas attacks in the Tokyo subway system.
Murakami himself mentions that he changed his position from one of "detachment" to one of "commitment" after staying in the United States in 1991. "His early books, he said, originated in an individual darkness, while his later works tap into the darkness found in society and history," wrote Wendy Edelstein in an article for UC Berkeley News.
English translations of many of his short stories written between 1983 and 1990 have been collected in The Elephant Vanishes. Murakami has also translated many works of F. Scott Fitzgerald, Raymond Carver, Truman Capote, John Irving, and Paul Theroux, among others, into Japanese.
Murakami took an active role in translation of his work into English, encouraging "adaptations" of his texts to American reality rather than direct translation. Some of his works that appeared in German turned out to be translations from English rather than Japanese (South of the Border, West of the Sun, 2000; The Wind-Up Bird Chronicle, 2000s), encouraged by Murakami himself. Both were later re-translated from Japanese.
Since 1999
Sputnik Sweetheart was first published in 1999, followed by Kafka on the Shore in 2002, with the English translation following in 2005. Kafka on the Shore won the World Fantasy Award for Novels in 2006. The English version of his novel After Dark was released in May 2007. It was chosen by The New York Times as a "notable book of the year". In late 2005, Murakami published a collection of short stories titled Tōkyō Kitanshū, or 東京奇譚集, which translates loosely as "Mysteries of Tokyo". A collection of the English versions of twenty-four short stories, titled Blind Willow, Sleeping Woman, was published in August 2006. This collection includes both older works from the 1980s as well as some of Murakami's more recent short stories, including all five that appear in Tōkyō Kitanshū.
In 2002, Murakami published the anthology Birthday Stories, which collects short stories on the theme of birthdays. The collection includes work by Russell Banks, Ethan Canin, Raymond Carver, David Foster Wallace, Denis Johnson, Claire Keegan, Andrea Lee, Daniel Lyons, Lynda Sexson, Paul Theroux, and William Trevor, as well as a story by Murakami himself. What I Talk About When I Talk About Running, containing tales about his experience as a marathon runner and a triathlete, was published in Japan in 2007, with English translations released in the U.K. and the U.S. in 2008. The title is a play on that of Raymond Carver's short story collection, What We Talk About When We Talk About Love.
Shinchosha Publishing published Murakami's novel 1Q84 in Japan on May 29, 2009. 1Q84 is pronounced "ichi kyū hachi yon", the same as 1984, as 9 is also pronounced "kyū" in Japanese. The book was longlisted for the Man Asian Literary Prize in 2011. However, after the 2012 anti-Japanese demonstrations in China, Murakami's books were removed from sale there, along with those of other Japanese authors. Murakami criticized the China–Japan political territorial dispute, characterizing the overwrought nationalistic response as "cheap liquor" which politicians were giving to the public. In April 2013, he published his novel Colorless Tsukuru Tazaki and His Years of Pilgrimage. It became an international bestseller but received mixed reviews.
Killing Commendatore (Kishidancho Goroshi) is Murakami's most recent work as of 2018. Published in Japan on February 24, 2017 and in the US in October 2018, the novel is a historical fiction that has caused controversy in Hong Kong. The novel was labeled under "Class II – indecent" in Hong Kong. This classification led to mass amounts of censorship. The publisher must not distribute the book to people under the age of 18, and must have a warning label printed on the cover.
Writing style
Most of Haruki Murakami's works use first-person narrative in the tradition of the Japanese I Novel. He states that because family plays a significant role in traditional Japanese literature, any main character who is independent becomes a man who values freedom and solitude over intimacy. Also notable is Murakami's unique humor, as seen in his 2000 short story collection, After the Quake. In the story "Superfrog Saves Tokyo", the protagonist is confronted with a 6-foot tall frog that talks about the destruction of Tokyo over a cup of tea. In spite of the story's sober tone, Murakami feels the reader should be entertained once the seriousness of a subject has been broached. Another notable feature of Murakami's stories are the comments that come from the main characters as to how strange the story presents itself. Murakami explains that his characters experience what he experiences as he writes, which could be compared to a movie set where the walls and props are all fake. He has further compared the process of writing to movies: "That is one of the joys of writing fiction—I'm making my own film made just for myself."
Many of his novels have themes and titles that evoke classical music, such as the three books making up The Wind-Up Bird Chronicle: The Thieving Magpie (after Rossini's opera), Bird as Prophet (after a piano piece by Robert Schumann usually known in English as The Prophet Bird), and The Bird-Catcher (a character in Mozart's opera The Magic Flute). Some of his novels take their titles from songs: Dance, Dance, Dance (after The Dells' 1957 B-side song, although it is often thought it was titled after the Beach Boys' 1964 tune), Norwegian Wood (after The Beatles' song) and South of the Border, West of the Sun (after the song "South of the Border").
Some analyses see aspects of shamanism in his writing. In a 2000 article, Susan Fisher connected Japanese folk religion or Japanese shamanism with some elements of The Wind-Up Bird Chronicle, such as a descent into a dry well. At an October 2013 symposium held at the University of Hawaii, associate professor of Japanese Nobuko Ochner opined "there were many descriptions of traveling in a parallel world as well as characters who have some connection to shamanism" in Murakami's works.
Recognition
Prizes for books
1979: Gunzo Award (best first novel) for Hear the Wind Sing
1982: Noma Literary Prize (best newcomer) for A Wild Sheep Chase
1985: Tanizaki Prize for Hard-Boiled Wonderland and the End of the World
1995: Yomiuri Prize (best novel) for The Wind-Up Bird Chronicle
1999: Kuwabara Takeo Prize for Underground
2006: World Fantasy Award (best novel) for Kafka on the Shore
2006: Frank O'Connor International Short Story Award for Blind Willow, Sleeping Woman
2016: Hans Christian Andersen Literature Award
2018: America Award in Literature for a lifetime contribution to international writing
Murakami was also awarded the 2007 Kiriyama Prize for Fiction for his collection of short stories Blind Willow, Sleeping Woman, but according to the prize's official website, Murakami "declined to accept the award for reasons of personal principle".
Personal prizes
In 2006, Murakami became the sixth recipient of the Franz Kafka Prize.
In September 2007, he received an honorary doctorate of Letters from the University of Liège, one from Princeton University in June 2008, and one from Tufts University in May 2014.
In January 2009, Murakami received the Jerusalem Prize, a biennial literary award given to writers whose work deals with themes of human freedom, society, politics, and government. There were protests in Japan and elsewhere against his attending the February award ceremony in Israel, including threats to boycott his work as a response against Israel's recent bombing of the Gaza. Murakami chose to attend the ceremony, but gave a speech to the gathered Israeli dignitaries harshly criticizing Israeli policies. Murakami said, "Each of us possesses a tangible living soul. The system has no such thing. We must not allow the system to exploit us."
In 2011, Murakami donated his €80,000 winnings from the International Catalunya Prize (from the Generalitat de Catalunya) to the victims of the March 11 earthquake and tsunami, and to those affected by the Fukushima nuclear disaster. Accepting the award, he said in his speech that the situation at the Fukushima plant was "the second major nuclear disaster that the Japanese people have experienced ... however, this time it was not a bomb being dropped upon us, but a mistake committed by our very own hands". According to Murakami, the Japanese people should have rejected nuclear power after having "learned through the sacrifice of the hibakusha just how badly radiation leaves scars on the world and human wellbeing".
In recent years, Haruki Murakami has often been mentioned as a possible recipient of the Nobel Prize in Literature. Nonetheless, since all nomination records are sealed for 50 years from the awarding of the prize, it is pure speculation. When asked about the possibility of being awarded the Nobel Prize, Murakami responded with a laugh saying "No, I don't want prizes. That means you're finished."
In October 2014, he was awarded the Welt-Literaturpreis.
In April 2015, Murakami was named one of the TIME 100's most influential people. In November 2016, he was awarded the Danish Hans Christian Andersen Literature Award, an award previously won by British author JK Rowling.
In 2018 he was nominated for the New Academy Prize in Literature. He requested that his nomination be withdrawn, saying he wanted to "concentrate on writing, away from media attention."
Archives
In 2018 Waseda University in Tokyo agreed to house the archives of Haruki Murakami, including his manuscripts, source documents, and music collection. The collection is intended to be open to scholars, and is set to open in October 2021.
In September 2021, architect Kengo Kuma announced the opening of a library dedicated entirely to Murakami's works at Waseda University. It will include more than 3,000 works by Murakami, including translations into more than 50 other languages.
Films and other adaptations
Murakami's first novel, Hear the Wind Sing (Kaze no uta o kike), was adapted by Japanese director Kazuki Ōmori. The film was released in 1981 and distributed by Art Theatre Guild. Naoto Yamakawa directed two short films, Attack on the Bakery (released in 1982) and A Girl, She is 100 Percent (released in 1983), based on Murakami's short stories "Bakery Attack" and "On Seeing the 100% Perfect Girl One Beautiful April Morning", respectively. Japanese director Jun Ichikawa adapted Murakami's short story "Tony Takitani" into a 75-minute feature. The film played at various film festivals and was released in New York and Los Angeles on July 29, 2005. The original short story, translated into English by Jay Rubin, is available in the April 15, 2002 issue of The New Yorker, as a stand-alone book published by Cloverfield Press, and part of Blind Willow, Sleeping Woman by Knopf. In 1998, the German film The Polar Bear (), written and directed by Granz Henman, used elements of Murakami's short story "The Second Bakery Attack" in three intersecting story lines. "The Second Bakery Attack" was also adapted as a short film in 2010, directed by Carlos Cuarón, starring Kirsten Dunst.
Murakami's work was also adapted for the stage in a 2003 play entitled The Elephant Vanishes, co-produced by Britain's Complicite company and Japan's Setagaya Public Theatre. The production, directed by Simon McBurney, adapted three of Murakami's short stories and received acclaim for its unique blending of multimedia (video, music, and innovative sound design) with actor-driven physical theater (mime, dance, and even acrobatic wire work). On tour, the play was performed in Japanese, with supertitle translations for European and American audiences.
Two stories from Murakami's book After The Quake"Honey Pie" and "Superfrog Saves Tokyo"have been adapted for the stage and directed by Frank Galati. Entitled after the quake, the play was first performed at the Steppenwolf Theatre Company in association with La Jolla Playhouse, and opened on October 12, 2007, at Berkeley Repertory Theatre. In 2008, Galati also adapted and directed a theatrical version of Kafka on the Shore, which first ran at Chicago's Steppenwolf Theatre Company from September to November.
On Max Richter's 2006 album Songs from Before, Robert Wyatt reads passages from Murakami's novels. In 2007, Robert Logevall adapted "All God's Children Can Dance" into a film, with a soundtrack composed by American jam band Sound Tribe Sector 9. In 2008, Tom Flint adapted "On Seeing the 100% Perfect Girl One Beautiful April Morning" into a short film. The film was screened at the 2008 CON-CAN Movie Festival. The film was viewed, voted, and commented upon as part of the audience award for the movie festival.
It was announced in July 2008 that French-Vietnamese director Tran Anh Hung would direct an adaptation of Murakami's novel Norwegian Wood. The film was released in Japan on December 11, 2010.
In 2010, Stephen Earnhart adapted The Wind-Up Bird Chronicle into a two-hour multimedia stage presentation. The show opened January 12, 2010, as part of the Public Theater's "Under the Radar" festival at the Ohio Theater in New York City, presented in association with The Asia Society and the Baryshnikov Arts Center. The show had its world premiere at the Edinburgh International Festival on August 21, 2011. The presentation incorporates live actors, video projection, traditional Japanese puppetry, and immersive soundscapes to render the surreal landscape of the original work.
"Memoranda", a 2017 video game had been inspired by several Murakami short stories, mainly from Blind Willow, Sleeping Woman and The Elephant Vanishes, and features several Murakami characters, including Mizuki Ando.
In 2018, "Barn Burning" from Murakami's short story collection The Elephant Vanishes was adapted into a film titled Burning by director Lee Chang-dong. The film was awarded the FIPRESCI International Critics’ Prize for best film, receiving the highest score to date. It was also South Korea’s submission for the Academy Award for Best International Feature Film in 2019.
A film based on the short story "Drive My Car" premiered at the 2021 Cannes Film Festival, where it won Best Screenplay, the FIPRESCI Prize, and the Prize of the Ecumenical Jury. The film went on to be nominated for four Academy Awards: Best Picture, Best Director, Best Adapted Screenplay, and Best International Feature. Directed by Ryusuke Hamaguchi, it also takes inspiration from "Scheherazade" and "Kino," two other stories in the collection Men Without Women.
Personal life
After receiving the Gunzo Award for his 1979 literary work Hear the Wind Sing, Murakami did not aspire to meet other writers. Aside from Sarah Lawrence's Mary Morris, whom he briefly mentions in his memoir What I Talk About When I Talk About Running alongside Joyce Carol Oates and Toni Morrison, Murakami was never a part of a community of writers, his reason being that he was a loner and was never fond of groups, schools, and literary circles. When working on a book, Murakami states that he relies on his wife, who is always his first reader. While he never acquainted himself with many writers, among the contemporary writers, he enjoys the work of Kazuo Ishiguro, Cormac McCarthy, Lee Child and Dag Solstad. While he does not read much contemporary Japanese literature, Murakami enjoys the works of Ryū Murakami and Banana Yoshimoto.
Haruki Murakami is a fan of crime novels. During his high school days while living in Kōbe, he would buy paperbacks from second hand book stores and learned to read English. The first book that he read in English was The Name is Archer, written by Ross Macdonald in 1955. Other writers he was interested in included Leo Tolstoy and Fyodor Dostoyevsky.
Murakami also has a passion for listening to music, especially classical and jazz. When he was around 15, he began to develop an interest in jazz after attending an Art Blakey and the Jazz Messengers concert in Kobe. He later opened the Peter Cat, a coffeehouse and jazz bar. Murakami has said that music, like writing, is a mental journey. At one time he aspired to be a musician, but because he could not play instruments well he decided to become a writer instead.
In an interview with The Guardian, Murakami stated his belief that his surreal books appeal to people especially in times of turmoil and political chaos. He stated that "I was so popular in the 1990s in Russia, at the time they were changing from the Soviet Union – there was big confusion, and people in confusion like my books" and “In Germany, when the Berlin Wall fell down, there was confusion – and people liked my books.”
Political views
Murakami stated that it is natural for China and the Koreas to continue to feel resentment towards Japan for its wartime aggressions. "Fundamentally, Japanese people tend not to have an idea that they were also assailants, and the tendency is getting clearer," he said. In another interview, Murakami stated: "The issue of historical understanding carries great significance, and I believe it is important that Japan makes straightforward apologies. I think that is all Japan can do – apologise until the countries say: 'We don't necessarily get over it completely, but you have apologised enough. Alright, let's leave it now.'"
In August 2021, during one of his radio shows, Murakami criticized prime minister Yoshihide Suga over the handling of the COVID-19 pandemic in Japan. Murakami quoted Suga as saying "an exit is now in our sight after a long tunnel" and added, in criticism, that "If he really saw an exit, his eyes must be extremely good for his age. I’m of the same age as Mr. Suga, but I don’t see any exit at all."
Bibliography
This is an incomplete bibliography as not all works published by Murakami in Japanese have been translated into English. Kanji titles are given with Hepburn romanization. (Original titles entirely in transcribed English are given as "katakana / romaji = English".)
Novels
Short stories
Collections
List of stories
Essays and nonfiction
Murakami has published more than 40 books of non-fiction. Among them are:
Other books include:
See also
Japanese literature
Surrealism
Weird fiction
References
Further reading
Pintor, Ivan. "David Lynch y Haruki Murakami, la llama en el umbral", in: VV.AA., Universo Lynch. Internacional Sitges Film Festival-Calamar 2007 ()
Rubin, Jay. Haruki Murakami and the Music of Words. Harvill Press, 2002 ()
Strecher, Matthew Carl. The Wind-Up Bird Chronicle Readers Guide. Continuum Pubublishing Group, 2002 ()
Strecher, Matthew Carl. Dances with Sheep: The Quest for Identity in the Fiction of Murakami Haruki. University of Michigan/Monographs in Japanese Studies, 2001 ()
Suter, Rebecca. The Japanization of Modernity: Murakami Haruki Between Japan and the United States. Harvard University Asian Center, 2008. ()
External links
Haruki Murakami at Random House
Haruki Murakami at The New Yorker (online essays, stories, excerpts)
Haruki Murakami at The New York Times (articles about, interviews with)
Haruki Murakami at Complete Review (international meta-reviews)
Haruki Murakami at The Encyclopedia of Science Fiction
Interviews
"Haruki Murakami: The Outsider" (by Laura Miller and Don George), Salon, December 1997 (about Wind-Up Bird and Underground)
"Haruki Murakami, The Art of Fiction No. 182" (by John Wray), The Paris Review, Summer 2004
Articles
"The reception of Murakami Haruki in Taiwan" (PDF), Yale University
"Haruki Murakami: How a Japanese writer conquered the world" (by Stephanie Hegarty), BBC News, October 17, 2011
"The 10 Best Haruki Murakami Books" (by Murakami scholar Matthew C. Strecher), Publishers Weekly, August 8, 2014
Multimedia
Video about Murakami's life and work at Psychology Today's blog The Literary Mind
1949 births
20th-century Japanese novelists
20th-century Japanese translators
21st-century Japanese translators
21st-century Japanese novelists
English–Japanese translators
Japanese essayists
Japanese male short story writers
Japanese psychological fiction writers
Japanese science fiction writers
Japanese ultramarathon runners
Jerusalem Prize recipients
Literary translators
Living people
Magic realism writers
Male ultramarathon runners
Order of Arts and Letters of Spain recipients
Postmodern writers
Princeton University faculty
Tufts University faculty
Waseda University alumni
Winners of the Yomiuri Prize
World Fantasy Award-winning writers
Writers from Kyoto
Weird fiction writers
Progressivism in Japan
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[
"Landscapes is the second studio album by the American recording act Ducktails, released on August 6, 2009 on Olde English Spelling Bee. The album was recorded entirely by Matt Mondanile, and was the second full-length Ducktails album to be released in 2009.\n\nArtwork\nRegarding the album's artwork, Mondanile noted: \"[It has] this purple palm tree imagery, kind of two images, it’s kind of just like: each of my record covers I want to be pop art that goes along with the record. Cartoon to pop. That’s kind of my style. Taking that and seeing what you can do with it to make it weird.\"\n\nReception\n\nFact Magazine characterized Landscapes as a series of \"soft-focus aural polaroids,\" calling it \"a breathtakingly pretty album\" whose \"sense of place is open and plural: it can conjure or complement whatever landscape you will it to, from a verdant forest to a sun-scorched desert; from an overcrowded city to an empty beach.\" In a positive review for Pitchfork, David Bevan praised Matt Mondanile's layered recording techniques, writing: \"Landscapes is rarely anything but engaging. \"Wishes\" in particular is a slacker standout more harmonically rich, more sweetly and appropriately lonesome than anything else here.\"\n\nTrack listing\n\nReferences\n\n2009 albums\nDucktails (band) albums",
"\"Loose Talk\" is a 1954 song written by Hardy Turner, who wrote it using his wife`s name, Annie Lucas. Hardy Turner and Freddie Hart, both under aged, served in WWII together. Freddie Hart (who also recorded it on Capitol, but it did not chart) and recorded by Carl Smith and was his last number one. It was at the top spot of the Billboard country and western chart for seven weeks and had a total of 32 weeks listed there. The B-side was \"More Than Anything Else in the World\": it peaked at number five in the same chart.\n\nCover versions\nThe song was covered in 1960 by Duet of Buck Owens and Rose Maddox and reached No. 4 On the country charts as a B-side to song \"Mental Cruelty\".\nThe song was covered by Patsy Cline on radio program Country Style, USA program number 246 and released on an EP in 1960.\n\nReferences\n\n1954 songs\nCarl Smith (musician) songs\nWebb Pierce songs\nBuck Owens songs\nRose Maddox songs\nSongs written by Freddie Hart"
] |
[
"Haruki Murakami",
"Writing style",
"What is Marukami's writing style?",
"Most of Haruki Murakami's works use first-person narrative in the tradition of the Japanese I Novel.",
"What else is notable about his writing style?",
"He states that because family plays a significant role in traditional Japanese literature, any main character who is independent becomes a man who values freedom and solitude over intimacy.",
"What themes are in his writing?",
"Many of his novels have themes and titles that invoke classical music,",
"What else do his novels invoke?",
"Some of his novels take their titles from songs:",
"What songs do his novels invoke?",
"Norwegian Wood (after The Beatles' song) and South of the Border, West of the Sun (after the song \"South of the Border\").",
"What other books did he write?",
"The Thieving Magpie (after Rossini's opera), Bird as Prophet (after a piano piece by Robert Schumann usually known in English as The Prophet Bird), and The Bird-Catcher",
"Are there any other books with titles from music?",
"Dance, Dance, Dance (after The Dells' 1957 B-side song, although it is often thought it was titled after the Beach Boys' 1964 tune),",
"Did anything else influence his writing style?",
"Some analyses see aspects of shamanism in his writing."
] |
C_5069548399d145c9b7a1ae344a31a180_1
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What aspects of shamanism are in his writing?
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What aspects of shamanism are in Haruki Murakam's writing?
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Haruki Murakami
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Most of Haruki Murakami's works use first-person narrative in the tradition of the Japanese I Novel. He states that because family plays a significant role in traditional Japanese literature, any main character who is independent becomes a man who values freedom and solitude over intimacy. Also notable is Murakami's unique humor, as seen in his 2000 short story collection, After the Quake. In the story "Superfrog Saves Tokyo", the protagonist is confronted with a 6-foot tall frog that talks about the destruction of Tokyo over a cup of tea. In spite of the story's sober tone, Murakami feels the reader should be entertained once the seriousness of a subject has been broached. Another notable feature of Murakami's stories are the comments that come from the main characters as to how strange the story presents itself. Murakami explains that his characters experience what he experiences as he writes, which could be compared to a movie set where the walls and props are all fake. Many of his novels have themes and titles that invoke classical music, such as the three books making up The Wind-Up Bird Chronicle: The Thieving Magpie (after Rossini's opera), Bird as Prophet (after a piano piece by Robert Schumann usually known in English as The Prophet Bird), and The Bird-Catcher (a character in Mozart's opera The Magic Flute). Some of his novels take their titles from songs: Dance, Dance, Dance (after The Dells' 1957 B-side song, although it is often thought it was titled after the Beach Boys' 1964 tune), Norwegian Wood (after The Beatles' song) and South of the Border, West of the Sun (after the song "South of the Border"). Some analyses see aspects of shamanism in his writing. In a 2000 article, Susan Fisher connected Japanese folk religion or Japanese shamanism with some elements of The Wind-Up Bird Chronicle, such as a descent into a dry well. At an October 2013 symposium held at the University of Hawaii, associate professor of Japanese Nobuko Ochner opined "there were many descriptions of traveling in a parallel world as well as characters who have some connection to shamanism" in Murakami's works. CANNOTANSWER
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such as a descent into a dry well.
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is a Japanese writer. His novels, essays, and short stories have been bestsellers in Japan as well as internationally, with his work translated into 50 languages and selling millions of copies outside Japan. He has received numerous awards for his work, including the Gunzou Prize for New Writers, the World Fantasy Award, the Frank O'Connor International Short Story Award, the Franz Kafka Prize, and the Jerusalem Prize.
Growing up in Kobe before moving to Tokyo to attend Waseda University, he published his first novel Hear the Wind Sing (1979) after working as the owner of a small jazz bar for seven years. His notable works include the novels Norwegian Wood (1987), The Wind-Up Bird Chronicle (1994–95), Kafka on the Shore (2002), and 1Q84 (2009–10), with 1Q84 ranked as the best work of Japan's Heisei era (1989-2019) by the national newspaper Asahi Shimbun survey of literary experts. His work spans genres including science fiction, fantasy, and crime fiction, and has become known for its use of magical realist elements. His official website lists Raymond Chandler, Kurt Vonnegut, and Richard Brautigan as key inspirations to his work, while Murakami himself has cited Kazuo Ishiguro, Cormac McCarthy, and Dag Solstad as his favourite currently active writers. Murakami has also published five short story collections, including his most recently published work, First Person Singular (2020), and non-fiction works including Underground (1997), inspired by personal interviews Murakami conducted with victims of the Tokyo subway sarin attack, and What I Talk About When I Talk About Running (2007), a series of personal essays about his experience as a marathon runner.
His fiction has polarized literary critics and the reading public. He has sometimes been criticised by Japan's literary establishment as un-Japanese, leading to Murakami's recalling that he was a "black sheep in the Japanese literary world". Meanwhile, Murakami has been described by Gary Fisketjon, the editor of Murakami's collection The Elephant Vanishes (1993), as a "truly extraordinary writer", while Steven Poole of The Guardian praised Murakami as "among the world's greatest living novelists" for his oeuvre and achievements.
Biography
Murakami was born in Kyoto, Japan, during the post-World War II baby boom and raised in Nishinomiya, Ashiya and Kobe. He is an only child. His father was the son of a Buddhist priest, and his mother is the daughter of an Osaka merchant. Both taught Japanese literature. His father was involved in the Second Sino-Japanese War, and was deeply traumatized by it, which would, in turn, affect Murakami.
Since childhood, Murakami, like Kōbō Abe, has been heavily influenced by Western culture, particularly Western as well as Russian music and literature. He grew up reading a wide range of works by European and American writers, such as Franz Kafka, Gustave Flaubert, Charles Dickens, Kurt Vonnegut, Fyodor Dostoyevsky, Richard Brautigan and Jack Kerouac. These Western influences distinguish Murakami from the majority of other Japanese writers.
Murakami studied drama at Waseda University in Tokyo, where he met Yoko, now his wife. His first job was at a record store. Shortly before finishing his studies, Murakami opened a coffee house and jazz bar, Peter Cat, in Kokubunji, Tokyo, which he ran with his wife, from 1974 to 1981. The couple decided not to have children.
Murakami is an experienced marathon runner and triathlon enthusiast, though he did not start running until he was 33 years old, after he began as a way to stay healthy despite the hours spent at his desk writing. On June 23, 1996, he completed his first ultramarathon, a 100 km race around Lake Saroma in Hokkaido, Japan. He discusses his relationship with running in his 2008 memoir What I Talk About When I Talk About Running.
Writing career
Trilogy of the Rat
Murakami began to write fiction when he was 29. "Before that," he said, "I didn't write anything. I was just one of those ordinary people. I was running a jazz club, and I didn't create anything at all." He was inspired to write his first novel, Hear the Wind Sing (1979), while watching a baseball game. He described the moment he realized he could write as a "warm sensation" he could still feel in his heart. He went home and began writing that night. Murakami worked on Hear the Wind Sing for ten months in very brief stretches, during nights, after working days at the bar. He completed the novel and sent it to the only literary contest that would accept a work of that length, winning first prize.
Murakami's initial success with Hear the Wind Sing encouraged him to continue writing. A year later, he published a sequel, Pinball, 1973. In 1982, he published A Wild Sheep Chase, a critical success. Hear the Wind Sing, Pinball, 1973, and A Wild Sheep Chase form the Trilogy of the Rat (a sequel, Dance, Dance, Dance, was written later but is not considered part of the series), centered on the same unnamed narrator and his friend, "the Rat". The first two novels were not widely available in English translation outside Japan until 2015, although an English edition, translated by Alfred Birnbaum with extensive notes, had been published by Kodansha as part of a series intended for Japanese students of English. Murakami considers his first two novels to be "immature" and "flimsy", and has not been eager to have them translated into English. A Wild Sheep Chase, he says, was "the first book where I could feel a kind of sensation, the joy of telling a story. When you read a good story, you just keep reading. When I write a good story, I just keep writing."
Wider recognition
In 1985, Murakami wrote Hard-Boiled Wonderland and the End of the World, a dream-like fantasy that took the magical elements of his work to a new extreme. Murakami achieved a major breakthrough and national recognition in 1987 with the publication of Norwegian Wood, a nostalgic story of loss and sexuality. It sold millions of copies among young Japanese.
Norwegian Wood propelled the barely known Murakami into the spotlight. He was mobbed at airports and other public places, leading to his departure from Japan in 1986. Murakami traveled through Europe, lived in the United States and currently resides in Oiso, Kanagawa, with an office in Tokyo.
Murakami was a writing fellow at Princeton University in Princeton, New Jersey, Tufts University in Medford, Massachusetts, and Harvard University in Cambridge, Massachusetts. During this time he wrote South of the Border, West of the Sun and The Wind-Up Bird Chronicle.
From "detachment" to "commitment"
The Wind-Up Bird Chronicle (1995) fuses the realistic and fantastic and contains elements of physical violence. It is also more socially conscious than his previous work, dealing in part with the difficult topic of war crimes in Manchukuo (Northeast China). The novel won the Yomiuri Prize, awarded by one of Murakami's harshest former critics, Kenzaburō Ōe, who himself won the Nobel Prize for Literature in 1994.
The processing of collective trauma soon became an important theme in Murakami's writing, which had previously been more personal in nature. Murakami returned to Japan in the aftermath of the Kobe earthquake and the Aum Shinrikyo gas attack. He came to terms with these events with his first work of non-fiction, Underground, and the short story collection After the Quake. Underground consists largely of interviews of victims of the gas attacks in the Tokyo subway system.
Murakami himself mentions that he changed his position from one of "detachment" to one of "commitment" after staying in the United States in 1991. "His early books, he said, originated in an individual darkness, while his later works tap into the darkness found in society and history," wrote Wendy Edelstein in an article for UC Berkeley News.
English translations of many of his short stories written between 1983 and 1990 have been collected in The Elephant Vanishes. Murakami has also translated many works of F. Scott Fitzgerald, Raymond Carver, Truman Capote, John Irving, and Paul Theroux, among others, into Japanese.
Murakami took an active role in translation of his work into English, encouraging "adaptations" of his texts to American reality rather than direct translation. Some of his works that appeared in German turned out to be translations from English rather than Japanese (South of the Border, West of the Sun, 2000; The Wind-Up Bird Chronicle, 2000s), encouraged by Murakami himself. Both were later re-translated from Japanese.
Since 1999
Sputnik Sweetheart was first published in 1999, followed by Kafka on the Shore in 2002, with the English translation following in 2005. Kafka on the Shore won the World Fantasy Award for Novels in 2006. The English version of his novel After Dark was released in May 2007. It was chosen by The New York Times as a "notable book of the year". In late 2005, Murakami published a collection of short stories titled Tōkyō Kitanshū, or 東京奇譚集, which translates loosely as "Mysteries of Tokyo". A collection of the English versions of twenty-four short stories, titled Blind Willow, Sleeping Woman, was published in August 2006. This collection includes both older works from the 1980s as well as some of Murakami's more recent short stories, including all five that appear in Tōkyō Kitanshū.
In 2002, Murakami published the anthology Birthday Stories, which collects short stories on the theme of birthdays. The collection includes work by Russell Banks, Ethan Canin, Raymond Carver, David Foster Wallace, Denis Johnson, Claire Keegan, Andrea Lee, Daniel Lyons, Lynda Sexson, Paul Theroux, and William Trevor, as well as a story by Murakami himself. What I Talk About When I Talk About Running, containing tales about his experience as a marathon runner and a triathlete, was published in Japan in 2007, with English translations released in the U.K. and the U.S. in 2008. The title is a play on that of Raymond Carver's short story collection, What We Talk About When We Talk About Love.
Shinchosha Publishing published Murakami's novel 1Q84 in Japan on May 29, 2009. 1Q84 is pronounced "ichi kyū hachi yon", the same as 1984, as 9 is also pronounced "kyū" in Japanese. The book was longlisted for the Man Asian Literary Prize in 2011. However, after the 2012 anti-Japanese demonstrations in China, Murakami's books were removed from sale there, along with those of other Japanese authors. Murakami criticized the China–Japan political territorial dispute, characterizing the overwrought nationalistic response as "cheap liquor" which politicians were giving to the public. In April 2013, he published his novel Colorless Tsukuru Tazaki and His Years of Pilgrimage. It became an international bestseller but received mixed reviews.
Killing Commendatore (Kishidancho Goroshi) is Murakami's most recent work as of 2018. Published in Japan on February 24, 2017 and in the US in October 2018, the novel is a historical fiction that has caused controversy in Hong Kong. The novel was labeled under "Class II – indecent" in Hong Kong. This classification led to mass amounts of censorship. The publisher must not distribute the book to people under the age of 18, and must have a warning label printed on the cover.
Writing style
Most of Haruki Murakami's works use first-person narrative in the tradition of the Japanese I Novel. He states that because family plays a significant role in traditional Japanese literature, any main character who is independent becomes a man who values freedom and solitude over intimacy. Also notable is Murakami's unique humor, as seen in his 2000 short story collection, After the Quake. In the story "Superfrog Saves Tokyo", the protagonist is confronted with a 6-foot tall frog that talks about the destruction of Tokyo over a cup of tea. In spite of the story's sober tone, Murakami feels the reader should be entertained once the seriousness of a subject has been broached. Another notable feature of Murakami's stories are the comments that come from the main characters as to how strange the story presents itself. Murakami explains that his characters experience what he experiences as he writes, which could be compared to a movie set where the walls and props are all fake. He has further compared the process of writing to movies: "That is one of the joys of writing fiction—I'm making my own film made just for myself."
Many of his novels have themes and titles that evoke classical music, such as the three books making up The Wind-Up Bird Chronicle: The Thieving Magpie (after Rossini's opera), Bird as Prophet (after a piano piece by Robert Schumann usually known in English as The Prophet Bird), and The Bird-Catcher (a character in Mozart's opera The Magic Flute). Some of his novels take their titles from songs: Dance, Dance, Dance (after The Dells' 1957 B-side song, although it is often thought it was titled after the Beach Boys' 1964 tune), Norwegian Wood (after The Beatles' song) and South of the Border, West of the Sun (after the song "South of the Border").
Some analyses see aspects of shamanism in his writing. In a 2000 article, Susan Fisher connected Japanese folk religion or Japanese shamanism with some elements of The Wind-Up Bird Chronicle, such as a descent into a dry well. At an October 2013 symposium held at the University of Hawaii, associate professor of Japanese Nobuko Ochner opined "there were many descriptions of traveling in a parallel world as well as characters who have some connection to shamanism" in Murakami's works.
Recognition
Prizes for books
1979: Gunzo Award (best first novel) for Hear the Wind Sing
1982: Noma Literary Prize (best newcomer) for A Wild Sheep Chase
1985: Tanizaki Prize for Hard-Boiled Wonderland and the End of the World
1995: Yomiuri Prize (best novel) for The Wind-Up Bird Chronicle
1999: Kuwabara Takeo Prize for Underground
2006: World Fantasy Award (best novel) for Kafka on the Shore
2006: Frank O'Connor International Short Story Award for Blind Willow, Sleeping Woman
2016: Hans Christian Andersen Literature Award
2018: America Award in Literature for a lifetime contribution to international writing
Murakami was also awarded the 2007 Kiriyama Prize for Fiction for his collection of short stories Blind Willow, Sleeping Woman, but according to the prize's official website, Murakami "declined to accept the award for reasons of personal principle".
Personal prizes
In 2006, Murakami became the sixth recipient of the Franz Kafka Prize.
In September 2007, he received an honorary doctorate of Letters from the University of Liège, one from Princeton University in June 2008, and one from Tufts University in May 2014.
In January 2009, Murakami received the Jerusalem Prize, a biennial literary award given to writers whose work deals with themes of human freedom, society, politics, and government. There were protests in Japan and elsewhere against his attending the February award ceremony in Israel, including threats to boycott his work as a response against Israel's recent bombing of the Gaza. Murakami chose to attend the ceremony, but gave a speech to the gathered Israeli dignitaries harshly criticizing Israeli policies. Murakami said, "Each of us possesses a tangible living soul. The system has no such thing. We must not allow the system to exploit us."
In 2011, Murakami donated his €80,000 winnings from the International Catalunya Prize (from the Generalitat de Catalunya) to the victims of the March 11 earthquake and tsunami, and to those affected by the Fukushima nuclear disaster. Accepting the award, he said in his speech that the situation at the Fukushima plant was "the second major nuclear disaster that the Japanese people have experienced ... however, this time it was not a bomb being dropped upon us, but a mistake committed by our very own hands". According to Murakami, the Japanese people should have rejected nuclear power after having "learned through the sacrifice of the hibakusha just how badly radiation leaves scars on the world and human wellbeing".
In recent years, Haruki Murakami has often been mentioned as a possible recipient of the Nobel Prize in Literature. Nonetheless, since all nomination records are sealed for 50 years from the awarding of the prize, it is pure speculation. When asked about the possibility of being awarded the Nobel Prize, Murakami responded with a laugh saying "No, I don't want prizes. That means you're finished."
In October 2014, he was awarded the Welt-Literaturpreis.
In April 2015, Murakami was named one of the TIME 100's most influential people. In November 2016, he was awarded the Danish Hans Christian Andersen Literature Award, an award previously won by British author JK Rowling.
In 2018 he was nominated for the New Academy Prize in Literature. He requested that his nomination be withdrawn, saying he wanted to "concentrate on writing, away from media attention."
Archives
In 2018 Waseda University in Tokyo agreed to house the archives of Haruki Murakami, including his manuscripts, source documents, and music collection. The collection is intended to be open to scholars, and is set to open in October 2021.
In September 2021, architect Kengo Kuma announced the opening of a library dedicated entirely to Murakami's works at Waseda University. It will include more than 3,000 works by Murakami, including translations into more than 50 other languages.
Films and other adaptations
Murakami's first novel, Hear the Wind Sing (Kaze no uta o kike), was adapted by Japanese director Kazuki Ōmori. The film was released in 1981 and distributed by Art Theatre Guild. Naoto Yamakawa directed two short films, Attack on the Bakery (released in 1982) and A Girl, She is 100 Percent (released in 1983), based on Murakami's short stories "Bakery Attack" and "On Seeing the 100% Perfect Girl One Beautiful April Morning", respectively. Japanese director Jun Ichikawa adapted Murakami's short story "Tony Takitani" into a 75-minute feature. The film played at various film festivals and was released in New York and Los Angeles on July 29, 2005. The original short story, translated into English by Jay Rubin, is available in the April 15, 2002 issue of The New Yorker, as a stand-alone book published by Cloverfield Press, and part of Blind Willow, Sleeping Woman by Knopf. In 1998, the German film The Polar Bear (), written and directed by Granz Henman, used elements of Murakami's short story "The Second Bakery Attack" in three intersecting story lines. "The Second Bakery Attack" was also adapted as a short film in 2010, directed by Carlos Cuarón, starring Kirsten Dunst.
Murakami's work was also adapted for the stage in a 2003 play entitled The Elephant Vanishes, co-produced by Britain's Complicite company and Japan's Setagaya Public Theatre. The production, directed by Simon McBurney, adapted three of Murakami's short stories and received acclaim for its unique blending of multimedia (video, music, and innovative sound design) with actor-driven physical theater (mime, dance, and even acrobatic wire work). On tour, the play was performed in Japanese, with supertitle translations for European and American audiences.
Two stories from Murakami's book After The Quake"Honey Pie" and "Superfrog Saves Tokyo"have been adapted for the stage and directed by Frank Galati. Entitled after the quake, the play was first performed at the Steppenwolf Theatre Company in association with La Jolla Playhouse, and opened on October 12, 2007, at Berkeley Repertory Theatre. In 2008, Galati also adapted and directed a theatrical version of Kafka on the Shore, which first ran at Chicago's Steppenwolf Theatre Company from September to November.
On Max Richter's 2006 album Songs from Before, Robert Wyatt reads passages from Murakami's novels. In 2007, Robert Logevall adapted "All God's Children Can Dance" into a film, with a soundtrack composed by American jam band Sound Tribe Sector 9. In 2008, Tom Flint adapted "On Seeing the 100% Perfect Girl One Beautiful April Morning" into a short film. The film was screened at the 2008 CON-CAN Movie Festival. The film was viewed, voted, and commented upon as part of the audience award for the movie festival.
It was announced in July 2008 that French-Vietnamese director Tran Anh Hung would direct an adaptation of Murakami's novel Norwegian Wood. The film was released in Japan on December 11, 2010.
In 2010, Stephen Earnhart adapted The Wind-Up Bird Chronicle into a two-hour multimedia stage presentation. The show opened January 12, 2010, as part of the Public Theater's "Under the Radar" festival at the Ohio Theater in New York City, presented in association with The Asia Society and the Baryshnikov Arts Center. The show had its world premiere at the Edinburgh International Festival on August 21, 2011. The presentation incorporates live actors, video projection, traditional Japanese puppetry, and immersive soundscapes to render the surreal landscape of the original work.
"Memoranda", a 2017 video game had been inspired by several Murakami short stories, mainly from Blind Willow, Sleeping Woman and The Elephant Vanishes, and features several Murakami characters, including Mizuki Ando.
In 2018, "Barn Burning" from Murakami's short story collection The Elephant Vanishes was adapted into a film titled Burning by director Lee Chang-dong. The film was awarded the FIPRESCI International Critics’ Prize for best film, receiving the highest score to date. It was also South Korea’s submission for the Academy Award for Best International Feature Film in 2019.
A film based on the short story "Drive My Car" premiered at the 2021 Cannes Film Festival, where it won Best Screenplay, the FIPRESCI Prize, and the Prize of the Ecumenical Jury. The film went on to be nominated for four Academy Awards: Best Picture, Best Director, Best Adapted Screenplay, and Best International Feature. Directed by Ryusuke Hamaguchi, it also takes inspiration from "Scheherazade" and "Kino," two other stories in the collection Men Without Women.
Personal life
After receiving the Gunzo Award for his 1979 literary work Hear the Wind Sing, Murakami did not aspire to meet other writers. Aside from Sarah Lawrence's Mary Morris, whom he briefly mentions in his memoir What I Talk About When I Talk About Running alongside Joyce Carol Oates and Toni Morrison, Murakami was never a part of a community of writers, his reason being that he was a loner and was never fond of groups, schools, and literary circles. When working on a book, Murakami states that he relies on his wife, who is always his first reader. While he never acquainted himself with many writers, among the contemporary writers, he enjoys the work of Kazuo Ishiguro, Cormac McCarthy, Lee Child and Dag Solstad. While he does not read much contemporary Japanese literature, Murakami enjoys the works of Ryū Murakami and Banana Yoshimoto.
Haruki Murakami is a fan of crime novels. During his high school days while living in Kōbe, he would buy paperbacks from second hand book stores and learned to read English. The first book that he read in English was The Name is Archer, written by Ross Macdonald in 1955. Other writers he was interested in included Leo Tolstoy and Fyodor Dostoyevsky.
Murakami also has a passion for listening to music, especially classical and jazz. When he was around 15, he began to develop an interest in jazz after attending an Art Blakey and the Jazz Messengers concert in Kobe. He later opened the Peter Cat, a coffeehouse and jazz bar. Murakami has said that music, like writing, is a mental journey. At one time he aspired to be a musician, but because he could not play instruments well he decided to become a writer instead.
In an interview with The Guardian, Murakami stated his belief that his surreal books appeal to people especially in times of turmoil and political chaos. He stated that "I was so popular in the 1990s in Russia, at the time they were changing from the Soviet Union – there was big confusion, and people in confusion like my books" and “In Germany, when the Berlin Wall fell down, there was confusion – and people liked my books.”
Political views
Murakami stated that it is natural for China and the Koreas to continue to feel resentment towards Japan for its wartime aggressions. "Fundamentally, Japanese people tend not to have an idea that they were also assailants, and the tendency is getting clearer," he said. In another interview, Murakami stated: "The issue of historical understanding carries great significance, and I believe it is important that Japan makes straightforward apologies. I think that is all Japan can do – apologise until the countries say: 'We don't necessarily get over it completely, but you have apologised enough. Alright, let's leave it now.'"
In August 2021, during one of his radio shows, Murakami criticized prime minister Yoshihide Suga over the handling of the COVID-19 pandemic in Japan. Murakami quoted Suga as saying "an exit is now in our sight after a long tunnel" and added, in criticism, that "If he really saw an exit, his eyes must be extremely good for his age. I’m of the same age as Mr. Suga, but I don’t see any exit at all."
Bibliography
This is an incomplete bibliography as not all works published by Murakami in Japanese have been translated into English. Kanji titles are given with Hepburn romanization. (Original titles entirely in transcribed English are given as "katakana / romaji = English".)
Novels
Short stories
Collections
List of stories
Essays and nonfiction
Murakami has published more than 40 books of non-fiction. Among them are:
Other books include:
See also
Japanese literature
Surrealism
Weird fiction
References
Further reading
Pintor, Ivan. "David Lynch y Haruki Murakami, la llama en el umbral", in: VV.AA., Universo Lynch. Internacional Sitges Film Festival-Calamar 2007 ()
Rubin, Jay. Haruki Murakami and the Music of Words. Harvill Press, 2002 ()
Strecher, Matthew Carl. The Wind-Up Bird Chronicle Readers Guide. Continuum Pubublishing Group, 2002 ()
Strecher, Matthew Carl. Dances with Sheep: The Quest for Identity in the Fiction of Murakami Haruki. University of Michigan/Monographs in Japanese Studies, 2001 ()
Suter, Rebecca. The Japanization of Modernity: Murakami Haruki Between Japan and the United States. Harvard University Asian Center, 2008. ()
External links
Haruki Murakami at Random House
Haruki Murakami at The New Yorker (online essays, stories, excerpts)
Haruki Murakami at The New York Times (articles about, interviews with)
Haruki Murakami at Complete Review (international meta-reviews)
Haruki Murakami at The Encyclopedia of Science Fiction
Interviews
"Haruki Murakami: The Outsider" (by Laura Miller and Don George), Salon, December 1997 (about Wind-Up Bird and Underground)
"Haruki Murakami, The Art of Fiction No. 182" (by John Wray), The Paris Review, Summer 2004
Articles
"The reception of Murakami Haruki in Taiwan" (PDF), Yale University
"Haruki Murakami: How a Japanese writer conquered the world" (by Stephanie Hegarty), BBC News, October 17, 2011
"The 10 Best Haruki Murakami Books" (by Murakami scholar Matthew C. Strecher), Publishers Weekly, August 8, 2014
Multimedia
Video about Murakami's life and work at Psychology Today's blog The Literary Mind
1949 births
20th-century Japanese novelists
20th-century Japanese translators
21st-century Japanese translators
21st-century Japanese novelists
English–Japanese translators
Japanese essayists
Japanese male short story writers
Japanese psychological fiction writers
Japanese science fiction writers
Japanese ultramarathon runners
Jerusalem Prize recipients
Literary translators
Living people
Magic realism writers
Male ultramarathon runners
Order of Arts and Letters of Spain recipients
Postmodern writers
Princeton University faculty
Tufts University faculty
Waseda University alumni
Winners of the Yomiuri Prize
World Fantasy Award-winning writers
Writers from Kyoto
Weird fiction writers
Progressivism in Japan
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[
"Shamanism: Archaic Techniques of Ecstasy is a historical study of the different forms of shamanism around the world written by the Romanian historian of religion Mircea Eliade. It was first published in France by Librarie Payot under the French title of Le Chamanisme et les techniques archaïques de l'extase in 1951. The book was subsequently translated into English by Willard R. Trask and published by Princeton University Press in 1964.\n\nAt the time of the book's writing, Eliade had earned a PhD studying Hinduism in India before becoming involved with far right politics in his native Romania. After the rise of the communist government, he fled to Paris, France in 1945, where he took up an academic position and began studying shamanism, authoring several academic papers on the subject before publishing his book.\n\nThe first half of Shamanism deals with the various elements of shamanic practice, such as the nature of initiatory sickness and dreams, the method for obtaining shamanic powers, the role of shamanic initiation and the symbolism of the shaman's costume and drum. The book's second half looks at the development of shamanism in each region of the world where it is found, including Central and North Asia, the Americas, Southeastern Asia and Oceania and also Tibet, China and the Far East. Eliade argues that all of these shamanisms must have had a common source as the original religion of humanity in the Palaeolithic.\n\nOn publication, Eliade's book was recognised as a seminal and authoritative study on the subject of shamanism. In later decades, as anthropological and historical scholarship increased and improved, elements of the book came under increasing scrutiny, as did Eliade's argument that there was a global phenomenon that could be termed \"shamanism\" or that all shamanisms had a common source. His book also proved to be a significant influence over the Neoshamanic movement which developed in the western world in the 1960s and 1970s.\n\nBackground\nMircea Eliade was born in Bucharest, Romania in 1907. Attending the Spiru Haret National College, he subsequently studied at the University of Bucharest's Faculty of Philosophy and Letters from 1925 through to 1928. Traveling to India to study the country's religions, in 1933 he received his PhD for a thesis devoted to a discussion of Yoga. Writing for the nationalist newspaper Cuvântul, he spoke out against antisemitism but became associated with the Iron Guard, a Romanian fascist group. Arrested for his involvement in the far right, following his release in 1940 he gained employment as a cultural attaché to both the United Kingdom and then Portugal. Following the Second World War, Eliade moved to Paris, France, fearing the rise of a communist government in Romania. Here, he married for a second time, to the Romanian exile Christinel Cotescu.\n\nTogether with Emil Cioran and other Romanian expatriates, Eliade rallied with the former diplomat Alexandru Busuioceanu, helping him publicize anti-communist opinion to the Western European public. In 1947, he was facing material constraints, and Ananda Coomaraswamy found him a job as a French-language teacher in the United States, at a school in Arizona; the arrangement ended upon Coomaraswamy's death in September. Beginning in 1948, he wrote for the journal Critique, edited by French thinker Georges Bataille. The following year, he went on a visit to Italy, where he wrote the first 300 pages of his novel Noaptea de Sânziene (he visited the country a third time in 1952). He collaborated with Carl Jung and the Eranos circle after Henry Corbin recommended him in 1949, and co-edited the Antaios magazine with Ernst Jünger. In 1950, Eliade began attending Eranos conferences, meeting Jung, Olga Fröbe-Kapteyn, Gershom Scholem and Paul Radin. He described Eranos as \"one of the most creative cultural experiences of the modern Western world.\"\n\nWorking from France, Eliade had begun to study shamanism from a global perspective, publishing three papers on the subject: \"Le Probléme du chamanisme\" in the Revue de l'histoire des religions journal (1946), \"Shamanism\" in Forgotten Religions, an anthology edited by Vergilius Ferm (1949), and \"Einführende Betrachtungen über den Schamanismus\" in the Paideuma journal (1951). He had also lectured on the subject in March 1950 at both the University of Rome and the Instituto Italiano per il Medio ed Estremo Oriente.\n\nSynopsis\n\nIn his foreword, Eliade explains the approach that he has taken in the book, noting that his intention is to situate world shamanism within the larger history of religion. Disputing any claims that shamanism is a result of mental illness, he highlights the benefits that further sociological and ethnographic research could provide before explaining the role of a historian of religions. Describing shamanism as \"precisely one of the archaic techniques of ecstasy\", he proclaims that it is \"at once mysticism, magic and \"religion\" in the broadest sense of the term.\"\n\nChapter one, \"General Considerations. Recruiting Methods. Shamanism and Mystical Vocation\", details Eliade's exploration of the etymology and terminological usage of the word \"shamanism\".\n\nArguments\n\nDefinition of \"shamanism\"\nWithin his study of the subject, Eliade proposed several different definitions of the word \"shamanism\". The first of these was that shamanism simply constituted a \"technique of ecstasy\", and in Eliade's opinion, this was the \"least hazardous\" definition. Shamanism is a flexible custom that is embedded in a framework of cosmological beliefs and practices. Shamans believe there is a spiritual connection between everything in the universe, and therefore, do not consider Shamanism to be a religion, nor a science. Instead, Shamanism can be viewed as healing or helping technology. For Shamans to access the power they are given by spirits, they go on a spiritual journey. Other definitions for the word \"shamanism\" are used interchangeably. \"Medicine man\", \"sorcerer\", \"spirit healer\", and \"magician\" are a few examples used to describe people with these \"magico-religious\" powers. These \"magico-religious\" people, or Shamans, believed in and used unconventional techniques in their flexible practices—like spirits, sacred herbs, and the supernatural—in order to heal other people. Shamans are theoretically justified in their practice and can be known as masters of spirits who have a specific group of mastered spirits.\n\nReception\n\nDiscussing the Norse practice of Seiðr in her book Gods and Myths of Northern Europe (1964), the academic Hilda Ellis Davidson described Eliade's French-language book as the \"fullest recent study of shamanism\".\n\nFurther criticism of some of Eliade's positions came from the English historian Ronald Hutton of the University of Bristol in his book, Shamans: Siberian Spirituality and the Western Imagination (2001). Hutton took issue with Eliade's claim that divination only played a minor role in Siberian shamanism, claiming that Eliade had produced no data to substantiate such an assertion, and that the ethnographic evidence actually indicated that the opposite was true. He saw this as part of a wider problem whereby Eliade had ignored certain \"varieties of native practitioner\" from his \"chosen image of shaman\" and had been \"intent on generalizations.\" Hutton also argued that Eliade's description of traditional Siberian cosmology oversimplified great diversity among the various Siberian indigenous groups and that Eliade's claims that Siberian shamanism revolved around a vision of death and rebirth was similarly erroneous.\n\nFor the 2004 English-language re-publication of Shamanism by Princeton University Press, a new foreword was commissioned from the academic Indologist Wendy Doniger. At the time, Doniger held the position of Mircea Eliade Professor of the History of Religions at the University of Chicago. Having been a personal friend and colleague of his for many years, Doniger used her foreword to defend him from accusations that he was either a fascist or an anti-semite, and evaluated his work in Shamanism. Drawing comparisons with anthropologist James Frazer and philologist Max Müller, she accepted that while he advanced the knowledge of his time \"within a body of assumptions that we no longer accept\", his work inspired \"an entire generation\" of scholars and amateurs in the study of religion.\n\nReferences\n\nFootnotes\n\nBibliography\nAcademic books\n\n \n\n1951 non-fiction books\nAcademic studies of shamanism\nAcademic studies of ritual and magic\nHistory books about religion\nShamanism\nWorks by Mircea Eliade",
"Yellow shamanism is the term used to designate a particular version of shamanism practiced in Mongolia and Siberia which incorporates rituals and traditions from Buddhism. \"Yellow\" indicates Buddhism in Mongolia, since most Buddhists there belong to what is called the \"Yellow sect\" of Tibetan Buddhism, whose members wear yellow hats during services. The term also serves to distinguish it from a form of shamanism not influenced by Buddhism (according to its adherents), called \"black shamanism\".\n\nTerminology and background\nWhile the applicability of the term \"yellow\" (or any other term) is still somewhat disputed, scholars consider the variety of shamanism practiced by the Khalka Mongols, the largest population group of Mongolia, to be yellow shamanism; others refer to the shamanism practiced by the Buryats of Siberia as yellow shamanism.\n\nMongolia\nBuddhism first entered Mongolia during the Yuan Dynasty (thirteenth-fourteenth century) and was briefly established as a state religion. The cult of Genghis Khan, who had been accepted into the tngri, the highest pantheon of spirits in Mongolian shamanism, became annexed into Buddhist practice as well. Mongolia itself was at a political and developmental standstill until the sixteenth century, when after the conversion of Altan Khan Buddhism re-established itself. In 1691, after Outer Mongolia had been annexed by the Qing Dynasty, Buddhism became the dominant religion of the entire area and shamanism began incorporating Buddhist elements. Violent resistance in the eighteenth century by the hunting tribes of Northern Mongolia against the (Buddhist) ruling group, the Khalk Mongols, led to the foundation of black shamanism.\n \nDuring the Soviet domination of the Mongolian People's Republic, all varieties of shamanism were repressed; after 1991, when the era of Soviet influence was over, religion (including Buddhism and shamanism) made a comeback.\n\nThe term \"yellow shamanism\" was first introduced in 1992 by Sendenjav Dulam and its use then adopted by Otgony Pürev, who considers it to be the Buddhism-influenced successor of an unbroken practice that goes back to Genghis Khan—that earlier practice was \"black shamanism\" and was practiced by the Darkhad in defiance of the Buddhism introduced to the area by the Khalka. According to Pürev, the center of yellow shamanism was the Dayan Deerh monastery in Khövsgöl Province, where he found evidence of yellow practices in the recitations and prayers of a shaman born in the province in 1926; he argues that yellow shamanism has by now ceased to exist anywhere.\n\nOpponents argue that Pürev's argument relies too much on the evidence of one single monk from one province, and that it is more likely that yellow shamanism developed as a result of the tension between the Buddhism of the Qing Dynasty, for which conversion to Buddhism was in part a colonializing tactic. In agreement with Pürev's argument, though, yellow shamanism is also considered to not have survived Soviet and Communist rule.\n\nBuryatia\nThe territory of the Buryats, who live around Lake Baikal, was invaded by the Russian Empire in the seventeenth century, and came to accept Buddhism in the eighteenth century at the same time they were recognizing themselves as Mongol; to which extent Buryat shamanism mixed with Buddhism is a matter of contention among scholars. A nineteenth-century division between black and white shamanism, where black shamanism called on evil deities to bring people misfortune while white shamanism invoked good deities for happiness and prosperity, had completely changed by the twentieth century. Today, black shamanism invokes traditional shamanic deities, whereas white shamanism invokes Buddhist deities and recites Buddhist incantations but wears black shamanist accoutrements. White shamans worship Sagaan Ubgen and Burkhan Garbal (the \"Ancestor of Buddhism\").\n\nSee also\nGelug\nShamanism in Siberia\nDayan Deerh\nSagaan Ubgen\n\nReferences\n\nCitations\n\nSources \n\n \n \n \n \n\nMongolian shamanism\nMongol mythology\nReligious syncretism\nBuddhism in Mongolia\nShamanism"
] |
[
"Haruki Murakami",
"Writing style",
"What is Marukami's writing style?",
"Most of Haruki Murakami's works use first-person narrative in the tradition of the Japanese I Novel.",
"What else is notable about his writing style?",
"He states that because family plays a significant role in traditional Japanese literature, any main character who is independent becomes a man who values freedom and solitude over intimacy.",
"What themes are in his writing?",
"Many of his novels have themes and titles that invoke classical music,",
"What else do his novels invoke?",
"Some of his novels take their titles from songs:",
"What songs do his novels invoke?",
"Norwegian Wood (after The Beatles' song) and South of the Border, West of the Sun (after the song \"South of the Border\").",
"What other books did he write?",
"The Thieving Magpie (after Rossini's opera), Bird as Prophet (after a piano piece by Robert Schumann usually known in English as The Prophet Bird), and The Bird-Catcher",
"Are there any other books with titles from music?",
"Dance, Dance, Dance (after The Dells' 1957 B-side song, although it is often thought it was titled after the Beach Boys' 1964 tune),",
"Did anything else influence his writing style?",
"Some analyses see aspects of shamanism in his writing.",
"What aspects of shamanism are in his writing?",
"such as a descent into a dry well."
] |
C_5069548399d145c9b7a1ae344a31a180_1
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What other religious references are there?
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Along with shamanism what other religious references are there in Haruki Murakam's writing?
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Haruki Murakami
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Most of Haruki Murakami's works use first-person narrative in the tradition of the Japanese I Novel. He states that because family plays a significant role in traditional Japanese literature, any main character who is independent becomes a man who values freedom and solitude over intimacy. Also notable is Murakami's unique humor, as seen in his 2000 short story collection, After the Quake. In the story "Superfrog Saves Tokyo", the protagonist is confronted with a 6-foot tall frog that talks about the destruction of Tokyo over a cup of tea. In spite of the story's sober tone, Murakami feels the reader should be entertained once the seriousness of a subject has been broached. Another notable feature of Murakami's stories are the comments that come from the main characters as to how strange the story presents itself. Murakami explains that his characters experience what he experiences as he writes, which could be compared to a movie set where the walls and props are all fake. Many of his novels have themes and titles that invoke classical music, such as the three books making up The Wind-Up Bird Chronicle: The Thieving Magpie (after Rossini's opera), Bird as Prophet (after a piano piece by Robert Schumann usually known in English as The Prophet Bird), and The Bird-Catcher (a character in Mozart's opera The Magic Flute). Some of his novels take their titles from songs: Dance, Dance, Dance (after The Dells' 1957 B-side song, although it is often thought it was titled after the Beach Boys' 1964 tune), Norwegian Wood (after The Beatles' song) and South of the Border, West of the Sun (after the song "South of the Border"). Some analyses see aspects of shamanism in his writing. In a 2000 article, Susan Fisher connected Japanese folk religion or Japanese shamanism with some elements of The Wind-Up Bird Chronicle, such as a descent into a dry well. At an October 2013 symposium held at the University of Hawaii, associate professor of Japanese Nobuko Ochner opined "there were many descriptions of traveling in a parallel world as well as characters who have some connection to shamanism" in Murakami's works. CANNOTANSWER
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there were many descriptions of traveling in a parallel world as well as characters who have some connection to shamanism
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is a Japanese writer. His novels, essays, and short stories have been bestsellers in Japan as well as internationally, with his work translated into 50 languages and selling millions of copies outside Japan. He has received numerous awards for his work, including the Gunzou Prize for New Writers, the World Fantasy Award, the Frank O'Connor International Short Story Award, the Franz Kafka Prize, and the Jerusalem Prize.
Growing up in Kobe before moving to Tokyo to attend Waseda University, he published his first novel Hear the Wind Sing (1979) after working as the owner of a small jazz bar for seven years. His notable works include the novels Norwegian Wood (1987), The Wind-Up Bird Chronicle (1994–95), Kafka on the Shore (2002), and 1Q84 (2009–10), with 1Q84 ranked as the best work of Japan's Heisei era (1989-2019) by the national newspaper Asahi Shimbun survey of literary experts. His work spans genres including science fiction, fantasy, and crime fiction, and has become known for its use of magical realist elements. His official website lists Raymond Chandler, Kurt Vonnegut, and Richard Brautigan as key inspirations to his work, while Murakami himself has cited Kazuo Ishiguro, Cormac McCarthy, and Dag Solstad as his favourite currently active writers. Murakami has also published five short story collections, including his most recently published work, First Person Singular (2020), and non-fiction works including Underground (1997), inspired by personal interviews Murakami conducted with victims of the Tokyo subway sarin attack, and What I Talk About When I Talk About Running (2007), a series of personal essays about his experience as a marathon runner.
His fiction has polarized literary critics and the reading public. He has sometimes been criticised by Japan's literary establishment as un-Japanese, leading to Murakami's recalling that he was a "black sheep in the Japanese literary world". Meanwhile, Murakami has been described by Gary Fisketjon, the editor of Murakami's collection The Elephant Vanishes (1993), as a "truly extraordinary writer", while Steven Poole of The Guardian praised Murakami as "among the world's greatest living novelists" for his oeuvre and achievements.
Biography
Murakami was born in Kyoto, Japan, during the post-World War II baby boom and raised in Nishinomiya, Ashiya and Kobe. He is an only child. His father was the son of a Buddhist priest, and his mother is the daughter of an Osaka merchant. Both taught Japanese literature. His father was involved in the Second Sino-Japanese War, and was deeply traumatized by it, which would, in turn, affect Murakami.
Since childhood, Murakami, like Kōbō Abe, has been heavily influenced by Western culture, particularly Western as well as Russian music and literature. He grew up reading a wide range of works by European and American writers, such as Franz Kafka, Gustave Flaubert, Charles Dickens, Kurt Vonnegut, Fyodor Dostoyevsky, Richard Brautigan and Jack Kerouac. These Western influences distinguish Murakami from the majority of other Japanese writers.
Murakami studied drama at Waseda University in Tokyo, where he met Yoko, now his wife. His first job was at a record store. Shortly before finishing his studies, Murakami opened a coffee house and jazz bar, Peter Cat, in Kokubunji, Tokyo, which he ran with his wife, from 1974 to 1981. The couple decided not to have children.
Murakami is an experienced marathon runner and triathlon enthusiast, though he did not start running until he was 33 years old, after he began as a way to stay healthy despite the hours spent at his desk writing. On June 23, 1996, he completed his first ultramarathon, a 100 km race around Lake Saroma in Hokkaido, Japan. He discusses his relationship with running in his 2008 memoir What I Talk About When I Talk About Running.
Writing career
Trilogy of the Rat
Murakami began to write fiction when he was 29. "Before that," he said, "I didn't write anything. I was just one of those ordinary people. I was running a jazz club, and I didn't create anything at all." He was inspired to write his first novel, Hear the Wind Sing (1979), while watching a baseball game. He described the moment he realized he could write as a "warm sensation" he could still feel in his heart. He went home and began writing that night. Murakami worked on Hear the Wind Sing for ten months in very brief stretches, during nights, after working days at the bar. He completed the novel and sent it to the only literary contest that would accept a work of that length, winning first prize.
Murakami's initial success with Hear the Wind Sing encouraged him to continue writing. A year later, he published a sequel, Pinball, 1973. In 1982, he published A Wild Sheep Chase, a critical success. Hear the Wind Sing, Pinball, 1973, and A Wild Sheep Chase form the Trilogy of the Rat (a sequel, Dance, Dance, Dance, was written later but is not considered part of the series), centered on the same unnamed narrator and his friend, "the Rat". The first two novels were not widely available in English translation outside Japan until 2015, although an English edition, translated by Alfred Birnbaum with extensive notes, had been published by Kodansha as part of a series intended for Japanese students of English. Murakami considers his first two novels to be "immature" and "flimsy", and has not been eager to have them translated into English. A Wild Sheep Chase, he says, was "the first book where I could feel a kind of sensation, the joy of telling a story. When you read a good story, you just keep reading. When I write a good story, I just keep writing."
Wider recognition
In 1985, Murakami wrote Hard-Boiled Wonderland and the End of the World, a dream-like fantasy that took the magical elements of his work to a new extreme. Murakami achieved a major breakthrough and national recognition in 1987 with the publication of Norwegian Wood, a nostalgic story of loss and sexuality. It sold millions of copies among young Japanese.
Norwegian Wood propelled the barely known Murakami into the spotlight. He was mobbed at airports and other public places, leading to his departure from Japan in 1986. Murakami traveled through Europe, lived in the United States and currently resides in Oiso, Kanagawa, with an office in Tokyo.
Murakami was a writing fellow at Princeton University in Princeton, New Jersey, Tufts University in Medford, Massachusetts, and Harvard University in Cambridge, Massachusetts. During this time he wrote South of the Border, West of the Sun and The Wind-Up Bird Chronicle.
From "detachment" to "commitment"
The Wind-Up Bird Chronicle (1995) fuses the realistic and fantastic and contains elements of physical violence. It is also more socially conscious than his previous work, dealing in part with the difficult topic of war crimes in Manchukuo (Northeast China). The novel won the Yomiuri Prize, awarded by one of Murakami's harshest former critics, Kenzaburō Ōe, who himself won the Nobel Prize for Literature in 1994.
The processing of collective trauma soon became an important theme in Murakami's writing, which had previously been more personal in nature. Murakami returned to Japan in the aftermath of the Kobe earthquake and the Aum Shinrikyo gas attack. He came to terms with these events with his first work of non-fiction, Underground, and the short story collection After the Quake. Underground consists largely of interviews of victims of the gas attacks in the Tokyo subway system.
Murakami himself mentions that he changed his position from one of "detachment" to one of "commitment" after staying in the United States in 1991. "His early books, he said, originated in an individual darkness, while his later works tap into the darkness found in society and history," wrote Wendy Edelstein in an article for UC Berkeley News.
English translations of many of his short stories written between 1983 and 1990 have been collected in The Elephant Vanishes. Murakami has also translated many works of F. Scott Fitzgerald, Raymond Carver, Truman Capote, John Irving, and Paul Theroux, among others, into Japanese.
Murakami took an active role in translation of his work into English, encouraging "adaptations" of his texts to American reality rather than direct translation. Some of his works that appeared in German turned out to be translations from English rather than Japanese (South of the Border, West of the Sun, 2000; The Wind-Up Bird Chronicle, 2000s), encouraged by Murakami himself. Both were later re-translated from Japanese.
Since 1999
Sputnik Sweetheart was first published in 1999, followed by Kafka on the Shore in 2002, with the English translation following in 2005. Kafka on the Shore won the World Fantasy Award for Novels in 2006. The English version of his novel After Dark was released in May 2007. It was chosen by The New York Times as a "notable book of the year". In late 2005, Murakami published a collection of short stories titled Tōkyō Kitanshū, or 東京奇譚集, which translates loosely as "Mysteries of Tokyo". A collection of the English versions of twenty-four short stories, titled Blind Willow, Sleeping Woman, was published in August 2006. This collection includes both older works from the 1980s as well as some of Murakami's more recent short stories, including all five that appear in Tōkyō Kitanshū.
In 2002, Murakami published the anthology Birthday Stories, which collects short stories on the theme of birthdays. The collection includes work by Russell Banks, Ethan Canin, Raymond Carver, David Foster Wallace, Denis Johnson, Claire Keegan, Andrea Lee, Daniel Lyons, Lynda Sexson, Paul Theroux, and William Trevor, as well as a story by Murakami himself. What I Talk About When I Talk About Running, containing tales about his experience as a marathon runner and a triathlete, was published in Japan in 2007, with English translations released in the U.K. and the U.S. in 2008. The title is a play on that of Raymond Carver's short story collection, What We Talk About When We Talk About Love.
Shinchosha Publishing published Murakami's novel 1Q84 in Japan on May 29, 2009. 1Q84 is pronounced "ichi kyū hachi yon", the same as 1984, as 9 is also pronounced "kyū" in Japanese. The book was longlisted for the Man Asian Literary Prize in 2011. However, after the 2012 anti-Japanese demonstrations in China, Murakami's books were removed from sale there, along with those of other Japanese authors. Murakami criticized the China–Japan political territorial dispute, characterizing the overwrought nationalistic response as "cheap liquor" which politicians were giving to the public. In April 2013, he published his novel Colorless Tsukuru Tazaki and His Years of Pilgrimage. It became an international bestseller but received mixed reviews.
Killing Commendatore (Kishidancho Goroshi) is Murakami's most recent work as of 2018. Published in Japan on February 24, 2017 and in the US in October 2018, the novel is a historical fiction that has caused controversy in Hong Kong. The novel was labeled under "Class II – indecent" in Hong Kong. This classification led to mass amounts of censorship. The publisher must not distribute the book to people under the age of 18, and must have a warning label printed on the cover.
Writing style
Most of Haruki Murakami's works use first-person narrative in the tradition of the Japanese I Novel. He states that because family plays a significant role in traditional Japanese literature, any main character who is independent becomes a man who values freedom and solitude over intimacy. Also notable is Murakami's unique humor, as seen in his 2000 short story collection, After the Quake. In the story "Superfrog Saves Tokyo", the protagonist is confronted with a 6-foot tall frog that talks about the destruction of Tokyo over a cup of tea. In spite of the story's sober tone, Murakami feels the reader should be entertained once the seriousness of a subject has been broached. Another notable feature of Murakami's stories are the comments that come from the main characters as to how strange the story presents itself. Murakami explains that his characters experience what he experiences as he writes, which could be compared to a movie set where the walls and props are all fake. He has further compared the process of writing to movies: "That is one of the joys of writing fiction—I'm making my own film made just for myself."
Many of his novels have themes and titles that evoke classical music, such as the three books making up The Wind-Up Bird Chronicle: The Thieving Magpie (after Rossini's opera), Bird as Prophet (after a piano piece by Robert Schumann usually known in English as The Prophet Bird), and The Bird-Catcher (a character in Mozart's opera The Magic Flute). Some of his novels take their titles from songs: Dance, Dance, Dance (after The Dells' 1957 B-side song, although it is often thought it was titled after the Beach Boys' 1964 tune), Norwegian Wood (after The Beatles' song) and South of the Border, West of the Sun (after the song "South of the Border").
Some analyses see aspects of shamanism in his writing. In a 2000 article, Susan Fisher connected Japanese folk religion or Japanese shamanism with some elements of The Wind-Up Bird Chronicle, such as a descent into a dry well. At an October 2013 symposium held at the University of Hawaii, associate professor of Japanese Nobuko Ochner opined "there were many descriptions of traveling in a parallel world as well as characters who have some connection to shamanism" in Murakami's works.
Recognition
Prizes for books
1979: Gunzo Award (best first novel) for Hear the Wind Sing
1982: Noma Literary Prize (best newcomer) for A Wild Sheep Chase
1985: Tanizaki Prize for Hard-Boiled Wonderland and the End of the World
1995: Yomiuri Prize (best novel) for The Wind-Up Bird Chronicle
1999: Kuwabara Takeo Prize for Underground
2006: World Fantasy Award (best novel) for Kafka on the Shore
2006: Frank O'Connor International Short Story Award for Blind Willow, Sleeping Woman
2016: Hans Christian Andersen Literature Award
2018: America Award in Literature for a lifetime contribution to international writing
Murakami was also awarded the 2007 Kiriyama Prize for Fiction for his collection of short stories Blind Willow, Sleeping Woman, but according to the prize's official website, Murakami "declined to accept the award for reasons of personal principle".
Personal prizes
In 2006, Murakami became the sixth recipient of the Franz Kafka Prize.
In September 2007, he received an honorary doctorate of Letters from the University of Liège, one from Princeton University in June 2008, and one from Tufts University in May 2014.
In January 2009, Murakami received the Jerusalem Prize, a biennial literary award given to writers whose work deals with themes of human freedom, society, politics, and government. There were protests in Japan and elsewhere against his attending the February award ceremony in Israel, including threats to boycott his work as a response against Israel's recent bombing of the Gaza. Murakami chose to attend the ceremony, but gave a speech to the gathered Israeli dignitaries harshly criticizing Israeli policies. Murakami said, "Each of us possesses a tangible living soul. The system has no such thing. We must not allow the system to exploit us."
In 2011, Murakami donated his €80,000 winnings from the International Catalunya Prize (from the Generalitat de Catalunya) to the victims of the March 11 earthquake and tsunami, and to those affected by the Fukushima nuclear disaster. Accepting the award, he said in his speech that the situation at the Fukushima plant was "the second major nuclear disaster that the Japanese people have experienced ... however, this time it was not a bomb being dropped upon us, but a mistake committed by our very own hands". According to Murakami, the Japanese people should have rejected nuclear power after having "learned through the sacrifice of the hibakusha just how badly radiation leaves scars on the world and human wellbeing".
In recent years, Haruki Murakami has often been mentioned as a possible recipient of the Nobel Prize in Literature. Nonetheless, since all nomination records are sealed for 50 years from the awarding of the prize, it is pure speculation. When asked about the possibility of being awarded the Nobel Prize, Murakami responded with a laugh saying "No, I don't want prizes. That means you're finished."
In October 2014, he was awarded the Welt-Literaturpreis.
In April 2015, Murakami was named one of the TIME 100's most influential people. In November 2016, he was awarded the Danish Hans Christian Andersen Literature Award, an award previously won by British author JK Rowling.
In 2018 he was nominated for the New Academy Prize in Literature. He requested that his nomination be withdrawn, saying he wanted to "concentrate on writing, away from media attention."
Archives
In 2018 Waseda University in Tokyo agreed to house the archives of Haruki Murakami, including his manuscripts, source documents, and music collection. The collection is intended to be open to scholars, and is set to open in October 2021.
In September 2021, architect Kengo Kuma announced the opening of a library dedicated entirely to Murakami's works at Waseda University. It will include more than 3,000 works by Murakami, including translations into more than 50 other languages.
Films and other adaptations
Murakami's first novel, Hear the Wind Sing (Kaze no uta o kike), was adapted by Japanese director Kazuki Ōmori. The film was released in 1981 and distributed by Art Theatre Guild. Naoto Yamakawa directed two short films, Attack on the Bakery (released in 1982) and A Girl, She is 100 Percent (released in 1983), based on Murakami's short stories "Bakery Attack" and "On Seeing the 100% Perfect Girl One Beautiful April Morning", respectively. Japanese director Jun Ichikawa adapted Murakami's short story "Tony Takitani" into a 75-minute feature. The film played at various film festivals and was released in New York and Los Angeles on July 29, 2005. The original short story, translated into English by Jay Rubin, is available in the April 15, 2002 issue of The New Yorker, as a stand-alone book published by Cloverfield Press, and part of Blind Willow, Sleeping Woman by Knopf. In 1998, the German film The Polar Bear (), written and directed by Granz Henman, used elements of Murakami's short story "The Second Bakery Attack" in three intersecting story lines. "The Second Bakery Attack" was also adapted as a short film in 2010, directed by Carlos Cuarón, starring Kirsten Dunst.
Murakami's work was also adapted for the stage in a 2003 play entitled The Elephant Vanishes, co-produced by Britain's Complicite company and Japan's Setagaya Public Theatre. The production, directed by Simon McBurney, adapted three of Murakami's short stories and received acclaim for its unique blending of multimedia (video, music, and innovative sound design) with actor-driven physical theater (mime, dance, and even acrobatic wire work). On tour, the play was performed in Japanese, with supertitle translations for European and American audiences.
Two stories from Murakami's book After The Quake"Honey Pie" and "Superfrog Saves Tokyo"have been adapted for the stage and directed by Frank Galati. Entitled after the quake, the play was first performed at the Steppenwolf Theatre Company in association with La Jolla Playhouse, and opened on October 12, 2007, at Berkeley Repertory Theatre. In 2008, Galati also adapted and directed a theatrical version of Kafka on the Shore, which first ran at Chicago's Steppenwolf Theatre Company from September to November.
On Max Richter's 2006 album Songs from Before, Robert Wyatt reads passages from Murakami's novels. In 2007, Robert Logevall adapted "All God's Children Can Dance" into a film, with a soundtrack composed by American jam band Sound Tribe Sector 9. In 2008, Tom Flint adapted "On Seeing the 100% Perfect Girl One Beautiful April Morning" into a short film. The film was screened at the 2008 CON-CAN Movie Festival. The film was viewed, voted, and commented upon as part of the audience award for the movie festival.
It was announced in July 2008 that French-Vietnamese director Tran Anh Hung would direct an adaptation of Murakami's novel Norwegian Wood. The film was released in Japan on December 11, 2010.
In 2010, Stephen Earnhart adapted The Wind-Up Bird Chronicle into a two-hour multimedia stage presentation. The show opened January 12, 2010, as part of the Public Theater's "Under the Radar" festival at the Ohio Theater in New York City, presented in association with The Asia Society and the Baryshnikov Arts Center. The show had its world premiere at the Edinburgh International Festival on August 21, 2011. The presentation incorporates live actors, video projection, traditional Japanese puppetry, and immersive soundscapes to render the surreal landscape of the original work.
"Memoranda", a 2017 video game had been inspired by several Murakami short stories, mainly from Blind Willow, Sleeping Woman and The Elephant Vanishes, and features several Murakami characters, including Mizuki Ando.
In 2018, "Barn Burning" from Murakami's short story collection The Elephant Vanishes was adapted into a film titled Burning by director Lee Chang-dong. The film was awarded the FIPRESCI International Critics’ Prize for best film, receiving the highest score to date. It was also South Korea’s submission for the Academy Award for Best International Feature Film in 2019.
A film based on the short story "Drive My Car" premiered at the 2021 Cannes Film Festival, where it won Best Screenplay, the FIPRESCI Prize, and the Prize of the Ecumenical Jury. The film went on to be nominated for four Academy Awards: Best Picture, Best Director, Best Adapted Screenplay, and Best International Feature. Directed by Ryusuke Hamaguchi, it also takes inspiration from "Scheherazade" and "Kino," two other stories in the collection Men Without Women.
Personal life
After receiving the Gunzo Award for his 1979 literary work Hear the Wind Sing, Murakami did not aspire to meet other writers. Aside from Sarah Lawrence's Mary Morris, whom he briefly mentions in his memoir What I Talk About When I Talk About Running alongside Joyce Carol Oates and Toni Morrison, Murakami was never a part of a community of writers, his reason being that he was a loner and was never fond of groups, schools, and literary circles. When working on a book, Murakami states that he relies on his wife, who is always his first reader. While he never acquainted himself with many writers, among the contemporary writers, he enjoys the work of Kazuo Ishiguro, Cormac McCarthy, Lee Child and Dag Solstad. While he does not read much contemporary Japanese literature, Murakami enjoys the works of Ryū Murakami and Banana Yoshimoto.
Haruki Murakami is a fan of crime novels. During his high school days while living in Kōbe, he would buy paperbacks from second hand book stores and learned to read English. The first book that he read in English was The Name is Archer, written by Ross Macdonald in 1955. Other writers he was interested in included Leo Tolstoy and Fyodor Dostoyevsky.
Murakami also has a passion for listening to music, especially classical and jazz. When he was around 15, he began to develop an interest in jazz after attending an Art Blakey and the Jazz Messengers concert in Kobe. He later opened the Peter Cat, a coffeehouse and jazz bar. Murakami has said that music, like writing, is a mental journey. At one time he aspired to be a musician, but because he could not play instruments well he decided to become a writer instead.
In an interview with The Guardian, Murakami stated his belief that his surreal books appeal to people especially in times of turmoil and political chaos. He stated that "I was so popular in the 1990s in Russia, at the time they were changing from the Soviet Union – there was big confusion, and people in confusion like my books" and “In Germany, when the Berlin Wall fell down, there was confusion – and people liked my books.”
Political views
Murakami stated that it is natural for China and the Koreas to continue to feel resentment towards Japan for its wartime aggressions. "Fundamentally, Japanese people tend not to have an idea that they were also assailants, and the tendency is getting clearer," he said. In another interview, Murakami stated: "The issue of historical understanding carries great significance, and I believe it is important that Japan makes straightforward apologies. I think that is all Japan can do – apologise until the countries say: 'We don't necessarily get over it completely, but you have apologised enough. Alright, let's leave it now.'"
In August 2021, during one of his radio shows, Murakami criticized prime minister Yoshihide Suga over the handling of the COVID-19 pandemic in Japan. Murakami quoted Suga as saying "an exit is now in our sight after a long tunnel" and added, in criticism, that "If he really saw an exit, his eyes must be extremely good for his age. I’m of the same age as Mr. Suga, but I don’t see any exit at all."
Bibliography
This is an incomplete bibliography as not all works published by Murakami in Japanese have been translated into English. Kanji titles are given with Hepburn romanization. (Original titles entirely in transcribed English are given as "katakana / romaji = English".)
Novels
Short stories
Collections
List of stories
Essays and nonfiction
Murakami has published more than 40 books of non-fiction. Among them are:
Other books include:
See also
Japanese literature
Surrealism
Weird fiction
References
Further reading
Pintor, Ivan. "David Lynch y Haruki Murakami, la llama en el umbral", in: VV.AA., Universo Lynch. Internacional Sitges Film Festival-Calamar 2007 ()
Rubin, Jay. Haruki Murakami and the Music of Words. Harvill Press, 2002 ()
Strecher, Matthew Carl. The Wind-Up Bird Chronicle Readers Guide. Continuum Pubublishing Group, 2002 ()
Strecher, Matthew Carl. Dances with Sheep: The Quest for Identity in the Fiction of Murakami Haruki. University of Michigan/Monographs in Japanese Studies, 2001 ()
Suter, Rebecca. The Japanization of Modernity: Murakami Haruki Between Japan and the United States. Harvard University Asian Center, 2008. ()
External links
Haruki Murakami at Random House
Haruki Murakami at The New Yorker (online essays, stories, excerpts)
Haruki Murakami at The New York Times (articles about, interviews with)
Haruki Murakami at Complete Review (international meta-reviews)
Haruki Murakami at The Encyclopedia of Science Fiction
Interviews
"Haruki Murakami: The Outsider" (by Laura Miller and Don George), Salon, December 1997 (about Wind-Up Bird and Underground)
"Haruki Murakami, The Art of Fiction No. 182" (by John Wray), The Paris Review, Summer 2004
Articles
"The reception of Murakami Haruki in Taiwan" (PDF), Yale University
"Haruki Murakami: How a Japanese writer conquered the world" (by Stephanie Hegarty), BBC News, October 17, 2011
"The 10 Best Haruki Murakami Books" (by Murakami scholar Matthew C. Strecher), Publishers Weekly, August 8, 2014
Multimedia
Video about Murakami's life and work at Psychology Today's blog The Literary Mind
1949 births
20th-century Japanese novelists
20th-century Japanese translators
21st-century Japanese translators
21st-century Japanese novelists
English–Japanese translators
Japanese essayists
Japanese male short story writers
Japanese psychological fiction writers
Japanese science fiction writers
Japanese ultramarathon runners
Jerusalem Prize recipients
Literary translators
Living people
Magic realism writers
Male ultramarathon runners
Order of Arts and Letters of Spain recipients
Postmodern writers
Princeton University faculty
Tufts University faculty
Waseda University alumni
Winners of the Yomiuri Prize
World Fantasy Award-winning writers
Writers from Kyoto
Weird fiction writers
Progressivism in Japan
| true |
[
"Beyond Religion: Ethics for a Whole World is a 2011 book by 14th Dalai Lama. It is about Secular ethics use in our everyday life. Those are ethics that can be used by both religious and non-religious people. There are many suggestions about getting rid of destructive emotions and helping other people. In this book there is justified the importance of compassion.\n\nReferences \n\nBooks by the 14th Dalai Lama\nPhilosophical literature\n2011 non-fiction books",
"Give Us This Day is an Australian religious television short program aired from 1956 to 1958 on TCN-9. It is significant as one of the very earliest Australian-produced television programs. It was among the television shows aired during the first \"official\" week of television in Sydney. Give Us This Day was a live six-minute religious program in which a minister gave a short speech, with ministers from different Christian denominations appearing during the show's run. There was no recurring cast. It was based on a British format.\n\nWhile largely forgotten today, it actually out-lived three 1956 TCN series debuts that are more commonly mentioned in television retrospectives – The Johnny O'Connor Show, Campfire Favourites and Accent on Strings. TCN-9's other 1956 series debuts included Fun Farm (1956–1957), The Home Show (1956–1957) and What's My Line (1956–1958).\n\nReferences\n\nExternal links\n \n\n1956 Australian television series debuts\n1958 Australian television series endings\nBlack-and-white Australian television shows\nEnglish-language television shows\nReligious television series\nAustralian live television series"
] |
[
"Haruki Murakami",
"Writing style",
"What is Marukami's writing style?",
"Most of Haruki Murakami's works use first-person narrative in the tradition of the Japanese I Novel.",
"What else is notable about his writing style?",
"He states that because family plays a significant role in traditional Japanese literature, any main character who is independent becomes a man who values freedom and solitude over intimacy.",
"What themes are in his writing?",
"Many of his novels have themes and titles that invoke classical music,",
"What else do his novels invoke?",
"Some of his novels take their titles from songs:",
"What songs do his novels invoke?",
"Norwegian Wood (after The Beatles' song) and South of the Border, West of the Sun (after the song \"South of the Border\").",
"What other books did he write?",
"The Thieving Magpie (after Rossini's opera), Bird as Prophet (after a piano piece by Robert Schumann usually known in English as The Prophet Bird), and The Bird-Catcher",
"Are there any other books with titles from music?",
"Dance, Dance, Dance (after The Dells' 1957 B-side song, although it is often thought it was titled after the Beach Boys' 1964 tune),",
"Did anything else influence his writing style?",
"Some analyses see aspects of shamanism in his writing.",
"What aspects of shamanism are in his writing?",
"such as a descent into a dry well.",
"What other religious references are there?",
"there were many descriptions of traveling in a parallel world as well as characters who have some connection to shamanism"
] |
C_5069548399d145c9b7a1ae344a31a180_1
|
Does Murakami reference popular culture in his writing?
| 11 |
Does Haruki Murakam reference popular culture in his writing of shamanism?
|
Haruki Murakami
|
Most of Haruki Murakami's works use first-person narrative in the tradition of the Japanese I Novel. He states that because family plays a significant role in traditional Japanese literature, any main character who is independent becomes a man who values freedom and solitude over intimacy. Also notable is Murakami's unique humor, as seen in his 2000 short story collection, After the Quake. In the story "Superfrog Saves Tokyo", the protagonist is confronted with a 6-foot tall frog that talks about the destruction of Tokyo over a cup of tea. In spite of the story's sober tone, Murakami feels the reader should be entertained once the seriousness of a subject has been broached. Another notable feature of Murakami's stories are the comments that come from the main characters as to how strange the story presents itself. Murakami explains that his characters experience what he experiences as he writes, which could be compared to a movie set where the walls and props are all fake. Many of his novels have themes and titles that invoke classical music, such as the three books making up The Wind-Up Bird Chronicle: The Thieving Magpie (after Rossini's opera), Bird as Prophet (after a piano piece by Robert Schumann usually known in English as The Prophet Bird), and The Bird-Catcher (a character in Mozart's opera The Magic Flute). Some of his novels take their titles from songs: Dance, Dance, Dance (after The Dells' 1957 B-side song, although it is often thought it was titled after the Beach Boys' 1964 tune), Norwegian Wood (after The Beatles' song) and South of the Border, West of the Sun (after the song "South of the Border"). Some analyses see aspects of shamanism in his writing. In a 2000 article, Susan Fisher connected Japanese folk religion or Japanese shamanism with some elements of The Wind-Up Bird Chronicle, such as a descent into a dry well. At an October 2013 symposium held at the University of Hawaii, associate professor of Japanese Nobuko Ochner opined "there were many descriptions of traveling in a parallel world as well as characters who have some connection to shamanism" in Murakami's works. CANNOTANSWER
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CANNOTANSWER
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is a Japanese writer. His novels, essays, and short stories have been bestsellers in Japan as well as internationally, with his work translated into 50 languages and selling millions of copies outside Japan. He has received numerous awards for his work, including the Gunzou Prize for New Writers, the World Fantasy Award, the Frank O'Connor International Short Story Award, the Franz Kafka Prize, and the Jerusalem Prize.
Growing up in Kobe before moving to Tokyo to attend Waseda University, he published his first novel Hear the Wind Sing (1979) after working as the owner of a small jazz bar for seven years. His notable works include the novels Norwegian Wood (1987), The Wind-Up Bird Chronicle (1994–95), Kafka on the Shore (2002), and 1Q84 (2009–10), with 1Q84 ranked as the best work of Japan's Heisei era (1989-2019) by the national newspaper Asahi Shimbun survey of literary experts. His work spans genres including science fiction, fantasy, and crime fiction, and has become known for its use of magical realist elements. His official website lists Raymond Chandler, Kurt Vonnegut, and Richard Brautigan as key inspirations to his work, while Murakami himself has cited Kazuo Ishiguro, Cormac McCarthy, and Dag Solstad as his favourite currently active writers. Murakami has also published five short story collections, including his most recently published work, First Person Singular (2020), and non-fiction works including Underground (1997), inspired by personal interviews Murakami conducted with victims of the Tokyo subway sarin attack, and What I Talk About When I Talk About Running (2007), a series of personal essays about his experience as a marathon runner.
His fiction has polarized literary critics and the reading public. He has sometimes been criticised by Japan's literary establishment as un-Japanese, leading to Murakami's recalling that he was a "black sheep in the Japanese literary world". Meanwhile, Murakami has been described by Gary Fisketjon, the editor of Murakami's collection The Elephant Vanishes (1993), as a "truly extraordinary writer", while Steven Poole of The Guardian praised Murakami as "among the world's greatest living novelists" for his oeuvre and achievements.
Biography
Murakami was born in Kyoto, Japan, during the post-World War II baby boom and raised in Nishinomiya, Ashiya and Kobe. He is an only child. His father was the son of a Buddhist priest, and his mother is the daughter of an Osaka merchant. Both taught Japanese literature. His father was involved in the Second Sino-Japanese War, and was deeply traumatized by it, which would, in turn, affect Murakami.
Since childhood, Murakami, like Kōbō Abe, has been heavily influenced by Western culture, particularly Western as well as Russian music and literature. He grew up reading a wide range of works by European and American writers, such as Franz Kafka, Gustave Flaubert, Charles Dickens, Kurt Vonnegut, Fyodor Dostoyevsky, Richard Brautigan and Jack Kerouac. These Western influences distinguish Murakami from the majority of other Japanese writers.
Murakami studied drama at Waseda University in Tokyo, where he met Yoko, now his wife. His first job was at a record store. Shortly before finishing his studies, Murakami opened a coffee house and jazz bar, Peter Cat, in Kokubunji, Tokyo, which he ran with his wife, from 1974 to 1981. The couple decided not to have children.
Murakami is an experienced marathon runner and triathlon enthusiast, though he did not start running until he was 33 years old, after he began as a way to stay healthy despite the hours spent at his desk writing. On June 23, 1996, he completed his first ultramarathon, a 100 km race around Lake Saroma in Hokkaido, Japan. He discusses his relationship with running in his 2008 memoir What I Talk About When I Talk About Running.
Writing career
Trilogy of the Rat
Murakami began to write fiction when he was 29. "Before that," he said, "I didn't write anything. I was just one of those ordinary people. I was running a jazz club, and I didn't create anything at all." He was inspired to write his first novel, Hear the Wind Sing (1979), while watching a baseball game. He described the moment he realized he could write as a "warm sensation" he could still feel in his heart. He went home and began writing that night. Murakami worked on Hear the Wind Sing for ten months in very brief stretches, during nights, after working days at the bar. He completed the novel and sent it to the only literary contest that would accept a work of that length, winning first prize.
Murakami's initial success with Hear the Wind Sing encouraged him to continue writing. A year later, he published a sequel, Pinball, 1973. In 1982, he published A Wild Sheep Chase, a critical success. Hear the Wind Sing, Pinball, 1973, and A Wild Sheep Chase form the Trilogy of the Rat (a sequel, Dance, Dance, Dance, was written later but is not considered part of the series), centered on the same unnamed narrator and his friend, "the Rat". The first two novels were not widely available in English translation outside Japan until 2015, although an English edition, translated by Alfred Birnbaum with extensive notes, had been published by Kodansha as part of a series intended for Japanese students of English. Murakami considers his first two novels to be "immature" and "flimsy", and has not been eager to have them translated into English. A Wild Sheep Chase, he says, was "the first book where I could feel a kind of sensation, the joy of telling a story. When you read a good story, you just keep reading. When I write a good story, I just keep writing."
Wider recognition
In 1985, Murakami wrote Hard-Boiled Wonderland and the End of the World, a dream-like fantasy that took the magical elements of his work to a new extreme. Murakami achieved a major breakthrough and national recognition in 1987 with the publication of Norwegian Wood, a nostalgic story of loss and sexuality. It sold millions of copies among young Japanese.
Norwegian Wood propelled the barely known Murakami into the spotlight. He was mobbed at airports and other public places, leading to his departure from Japan in 1986. Murakami traveled through Europe, lived in the United States and currently resides in Oiso, Kanagawa, with an office in Tokyo.
Murakami was a writing fellow at Princeton University in Princeton, New Jersey, Tufts University in Medford, Massachusetts, and Harvard University in Cambridge, Massachusetts. During this time he wrote South of the Border, West of the Sun and The Wind-Up Bird Chronicle.
From "detachment" to "commitment"
The Wind-Up Bird Chronicle (1995) fuses the realistic and fantastic and contains elements of physical violence. It is also more socially conscious than his previous work, dealing in part with the difficult topic of war crimes in Manchukuo (Northeast China). The novel won the Yomiuri Prize, awarded by one of Murakami's harshest former critics, Kenzaburō Ōe, who himself won the Nobel Prize for Literature in 1994.
The processing of collective trauma soon became an important theme in Murakami's writing, which had previously been more personal in nature. Murakami returned to Japan in the aftermath of the Kobe earthquake and the Aum Shinrikyo gas attack. He came to terms with these events with his first work of non-fiction, Underground, and the short story collection After the Quake. Underground consists largely of interviews of victims of the gas attacks in the Tokyo subway system.
Murakami himself mentions that he changed his position from one of "detachment" to one of "commitment" after staying in the United States in 1991. "His early books, he said, originated in an individual darkness, while his later works tap into the darkness found in society and history," wrote Wendy Edelstein in an article for UC Berkeley News.
English translations of many of his short stories written between 1983 and 1990 have been collected in The Elephant Vanishes. Murakami has also translated many works of F. Scott Fitzgerald, Raymond Carver, Truman Capote, John Irving, and Paul Theroux, among others, into Japanese.
Murakami took an active role in translation of his work into English, encouraging "adaptations" of his texts to American reality rather than direct translation. Some of his works that appeared in German turned out to be translations from English rather than Japanese (South of the Border, West of the Sun, 2000; The Wind-Up Bird Chronicle, 2000s), encouraged by Murakami himself. Both were later re-translated from Japanese.
Since 1999
Sputnik Sweetheart was first published in 1999, followed by Kafka on the Shore in 2002, with the English translation following in 2005. Kafka on the Shore won the World Fantasy Award for Novels in 2006. The English version of his novel After Dark was released in May 2007. It was chosen by The New York Times as a "notable book of the year". In late 2005, Murakami published a collection of short stories titled Tōkyō Kitanshū, or 東京奇譚集, which translates loosely as "Mysteries of Tokyo". A collection of the English versions of twenty-four short stories, titled Blind Willow, Sleeping Woman, was published in August 2006. This collection includes both older works from the 1980s as well as some of Murakami's more recent short stories, including all five that appear in Tōkyō Kitanshū.
In 2002, Murakami published the anthology Birthday Stories, which collects short stories on the theme of birthdays. The collection includes work by Russell Banks, Ethan Canin, Raymond Carver, David Foster Wallace, Denis Johnson, Claire Keegan, Andrea Lee, Daniel Lyons, Lynda Sexson, Paul Theroux, and William Trevor, as well as a story by Murakami himself. What I Talk About When I Talk About Running, containing tales about his experience as a marathon runner and a triathlete, was published in Japan in 2007, with English translations released in the U.K. and the U.S. in 2008. The title is a play on that of Raymond Carver's short story collection, What We Talk About When We Talk About Love.
Shinchosha Publishing published Murakami's novel 1Q84 in Japan on May 29, 2009. 1Q84 is pronounced "ichi kyū hachi yon", the same as 1984, as 9 is also pronounced "kyū" in Japanese. The book was longlisted for the Man Asian Literary Prize in 2011. However, after the 2012 anti-Japanese demonstrations in China, Murakami's books were removed from sale there, along with those of other Japanese authors. Murakami criticized the China–Japan political territorial dispute, characterizing the overwrought nationalistic response as "cheap liquor" which politicians were giving to the public. In April 2013, he published his novel Colorless Tsukuru Tazaki and His Years of Pilgrimage. It became an international bestseller but received mixed reviews.
Killing Commendatore (Kishidancho Goroshi) is Murakami's most recent work as of 2018. Published in Japan on February 24, 2017 and in the US in October 2018, the novel is a historical fiction that has caused controversy in Hong Kong. The novel was labeled under "Class II – indecent" in Hong Kong. This classification led to mass amounts of censorship. The publisher must not distribute the book to people under the age of 18, and must have a warning label printed on the cover.
Writing style
Most of Haruki Murakami's works use first-person narrative in the tradition of the Japanese I Novel. He states that because family plays a significant role in traditional Japanese literature, any main character who is independent becomes a man who values freedom and solitude over intimacy. Also notable is Murakami's unique humor, as seen in his 2000 short story collection, After the Quake. In the story "Superfrog Saves Tokyo", the protagonist is confronted with a 6-foot tall frog that talks about the destruction of Tokyo over a cup of tea. In spite of the story's sober tone, Murakami feels the reader should be entertained once the seriousness of a subject has been broached. Another notable feature of Murakami's stories are the comments that come from the main characters as to how strange the story presents itself. Murakami explains that his characters experience what he experiences as he writes, which could be compared to a movie set where the walls and props are all fake. He has further compared the process of writing to movies: "That is one of the joys of writing fiction—I'm making my own film made just for myself."
Many of his novels have themes and titles that evoke classical music, such as the three books making up The Wind-Up Bird Chronicle: The Thieving Magpie (after Rossini's opera), Bird as Prophet (after a piano piece by Robert Schumann usually known in English as The Prophet Bird), and The Bird-Catcher (a character in Mozart's opera The Magic Flute). Some of his novels take their titles from songs: Dance, Dance, Dance (after The Dells' 1957 B-side song, although it is often thought it was titled after the Beach Boys' 1964 tune), Norwegian Wood (after The Beatles' song) and South of the Border, West of the Sun (after the song "South of the Border").
Some analyses see aspects of shamanism in his writing. In a 2000 article, Susan Fisher connected Japanese folk religion or Japanese shamanism with some elements of The Wind-Up Bird Chronicle, such as a descent into a dry well. At an October 2013 symposium held at the University of Hawaii, associate professor of Japanese Nobuko Ochner opined "there were many descriptions of traveling in a parallel world as well as characters who have some connection to shamanism" in Murakami's works.
Recognition
Prizes for books
1979: Gunzo Award (best first novel) for Hear the Wind Sing
1982: Noma Literary Prize (best newcomer) for A Wild Sheep Chase
1985: Tanizaki Prize for Hard-Boiled Wonderland and the End of the World
1995: Yomiuri Prize (best novel) for The Wind-Up Bird Chronicle
1999: Kuwabara Takeo Prize for Underground
2006: World Fantasy Award (best novel) for Kafka on the Shore
2006: Frank O'Connor International Short Story Award for Blind Willow, Sleeping Woman
2016: Hans Christian Andersen Literature Award
2018: America Award in Literature for a lifetime contribution to international writing
Murakami was also awarded the 2007 Kiriyama Prize for Fiction for his collection of short stories Blind Willow, Sleeping Woman, but according to the prize's official website, Murakami "declined to accept the award for reasons of personal principle".
Personal prizes
In 2006, Murakami became the sixth recipient of the Franz Kafka Prize.
In September 2007, he received an honorary doctorate of Letters from the University of Liège, one from Princeton University in June 2008, and one from Tufts University in May 2014.
In January 2009, Murakami received the Jerusalem Prize, a biennial literary award given to writers whose work deals with themes of human freedom, society, politics, and government. There were protests in Japan and elsewhere against his attending the February award ceremony in Israel, including threats to boycott his work as a response against Israel's recent bombing of the Gaza. Murakami chose to attend the ceremony, but gave a speech to the gathered Israeli dignitaries harshly criticizing Israeli policies. Murakami said, "Each of us possesses a tangible living soul. The system has no such thing. We must not allow the system to exploit us."
In 2011, Murakami donated his €80,000 winnings from the International Catalunya Prize (from the Generalitat de Catalunya) to the victims of the March 11 earthquake and tsunami, and to those affected by the Fukushima nuclear disaster. Accepting the award, he said in his speech that the situation at the Fukushima plant was "the second major nuclear disaster that the Japanese people have experienced ... however, this time it was not a bomb being dropped upon us, but a mistake committed by our very own hands". According to Murakami, the Japanese people should have rejected nuclear power after having "learned through the sacrifice of the hibakusha just how badly radiation leaves scars on the world and human wellbeing".
In recent years, Haruki Murakami has often been mentioned as a possible recipient of the Nobel Prize in Literature. Nonetheless, since all nomination records are sealed for 50 years from the awarding of the prize, it is pure speculation. When asked about the possibility of being awarded the Nobel Prize, Murakami responded with a laugh saying "No, I don't want prizes. That means you're finished."
In October 2014, he was awarded the Welt-Literaturpreis.
In April 2015, Murakami was named one of the TIME 100's most influential people. In November 2016, he was awarded the Danish Hans Christian Andersen Literature Award, an award previously won by British author JK Rowling.
In 2018 he was nominated for the New Academy Prize in Literature. He requested that his nomination be withdrawn, saying he wanted to "concentrate on writing, away from media attention."
Archives
In 2018 Waseda University in Tokyo agreed to house the archives of Haruki Murakami, including his manuscripts, source documents, and music collection. The collection is intended to be open to scholars, and is set to open in October 2021.
In September 2021, architect Kengo Kuma announced the opening of a library dedicated entirely to Murakami's works at Waseda University. It will include more than 3,000 works by Murakami, including translations into more than 50 other languages.
Films and other adaptations
Murakami's first novel, Hear the Wind Sing (Kaze no uta o kike), was adapted by Japanese director Kazuki Ōmori. The film was released in 1981 and distributed by Art Theatre Guild. Naoto Yamakawa directed two short films, Attack on the Bakery (released in 1982) and A Girl, She is 100 Percent (released in 1983), based on Murakami's short stories "Bakery Attack" and "On Seeing the 100% Perfect Girl One Beautiful April Morning", respectively. Japanese director Jun Ichikawa adapted Murakami's short story "Tony Takitani" into a 75-minute feature. The film played at various film festivals and was released in New York and Los Angeles on July 29, 2005. The original short story, translated into English by Jay Rubin, is available in the April 15, 2002 issue of The New Yorker, as a stand-alone book published by Cloverfield Press, and part of Blind Willow, Sleeping Woman by Knopf. In 1998, the German film The Polar Bear (), written and directed by Granz Henman, used elements of Murakami's short story "The Second Bakery Attack" in three intersecting story lines. "The Second Bakery Attack" was also adapted as a short film in 2010, directed by Carlos Cuarón, starring Kirsten Dunst.
Murakami's work was also adapted for the stage in a 2003 play entitled The Elephant Vanishes, co-produced by Britain's Complicite company and Japan's Setagaya Public Theatre. The production, directed by Simon McBurney, adapted three of Murakami's short stories and received acclaim for its unique blending of multimedia (video, music, and innovative sound design) with actor-driven physical theater (mime, dance, and even acrobatic wire work). On tour, the play was performed in Japanese, with supertitle translations for European and American audiences.
Two stories from Murakami's book After The Quake"Honey Pie" and "Superfrog Saves Tokyo"have been adapted for the stage and directed by Frank Galati. Entitled after the quake, the play was first performed at the Steppenwolf Theatre Company in association with La Jolla Playhouse, and opened on October 12, 2007, at Berkeley Repertory Theatre. In 2008, Galati also adapted and directed a theatrical version of Kafka on the Shore, which first ran at Chicago's Steppenwolf Theatre Company from September to November.
On Max Richter's 2006 album Songs from Before, Robert Wyatt reads passages from Murakami's novels. In 2007, Robert Logevall adapted "All God's Children Can Dance" into a film, with a soundtrack composed by American jam band Sound Tribe Sector 9. In 2008, Tom Flint adapted "On Seeing the 100% Perfect Girl One Beautiful April Morning" into a short film. The film was screened at the 2008 CON-CAN Movie Festival. The film was viewed, voted, and commented upon as part of the audience award for the movie festival.
It was announced in July 2008 that French-Vietnamese director Tran Anh Hung would direct an adaptation of Murakami's novel Norwegian Wood. The film was released in Japan on December 11, 2010.
In 2010, Stephen Earnhart adapted The Wind-Up Bird Chronicle into a two-hour multimedia stage presentation. The show opened January 12, 2010, as part of the Public Theater's "Under the Radar" festival at the Ohio Theater in New York City, presented in association with The Asia Society and the Baryshnikov Arts Center. The show had its world premiere at the Edinburgh International Festival on August 21, 2011. The presentation incorporates live actors, video projection, traditional Japanese puppetry, and immersive soundscapes to render the surreal landscape of the original work.
"Memoranda", a 2017 video game had been inspired by several Murakami short stories, mainly from Blind Willow, Sleeping Woman and The Elephant Vanishes, and features several Murakami characters, including Mizuki Ando.
In 2018, "Barn Burning" from Murakami's short story collection The Elephant Vanishes was adapted into a film titled Burning by director Lee Chang-dong. The film was awarded the FIPRESCI International Critics’ Prize for best film, receiving the highest score to date. It was also South Korea’s submission for the Academy Award for Best International Feature Film in 2019.
A film based on the short story "Drive My Car" premiered at the 2021 Cannes Film Festival, where it won Best Screenplay, the FIPRESCI Prize, and the Prize of the Ecumenical Jury. The film went on to be nominated for four Academy Awards: Best Picture, Best Director, Best Adapted Screenplay, and Best International Feature. Directed by Ryusuke Hamaguchi, it also takes inspiration from "Scheherazade" and "Kino," two other stories in the collection Men Without Women.
Personal life
After receiving the Gunzo Award for his 1979 literary work Hear the Wind Sing, Murakami did not aspire to meet other writers. Aside from Sarah Lawrence's Mary Morris, whom he briefly mentions in his memoir What I Talk About When I Talk About Running alongside Joyce Carol Oates and Toni Morrison, Murakami was never a part of a community of writers, his reason being that he was a loner and was never fond of groups, schools, and literary circles. When working on a book, Murakami states that he relies on his wife, who is always his first reader. While he never acquainted himself with many writers, among the contemporary writers, he enjoys the work of Kazuo Ishiguro, Cormac McCarthy, Lee Child and Dag Solstad. While he does not read much contemporary Japanese literature, Murakami enjoys the works of Ryū Murakami and Banana Yoshimoto.
Haruki Murakami is a fan of crime novels. During his high school days while living in Kōbe, he would buy paperbacks from second hand book stores and learned to read English. The first book that he read in English was The Name is Archer, written by Ross Macdonald in 1955. Other writers he was interested in included Leo Tolstoy and Fyodor Dostoyevsky.
Murakami also has a passion for listening to music, especially classical and jazz. When he was around 15, he began to develop an interest in jazz after attending an Art Blakey and the Jazz Messengers concert in Kobe. He later opened the Peter Cat, a coffeehouse and jazz bar. Murakami has said that music, like writing, is a mental journey. At one time he aspired to be a musician, but because he could not play instruments well he decided to become a writer instead.
In an interview with The Guardian, Murakami stated his belief that his surreal books appeal to people especially in times of turmoil and political chaos. He stated that "I was so popular in the 1990s in Russia, at the time they were changing from the Soviet Union – there was big confusion, and people in confusion like my books" and “In Germany, when the Berlin Wall fell down, there was confusion – and people liked my books.”
Political views
Murakami stated that it is natural for China and the Koreas to continue to feel resentment towards Japan for its wartime aggressions. "Fundamentally, Japanese people tend not to have an idea that they were also assailants, and the tendency is getting clearer," he said. In another interview, Murakami stated: "The issue of historical understanding carries great significance, and I believe it is important that Japan makes straightforward apologies. I think that is all Japan can do – apologise until the countries say: 'We don't necessarily get over it completely, but you have apologised enough. Alright, let's leave it now.'"
In August 2021, during one of his radio shows, Murakami criticized prime minister Yoshihide Suga over the handling of the COVID-19 pandemic in Japan. Murakami quoted Suga as saying "an exit is now in our sight after a long tunnel" and added, in criticism, that "If he really saw an exit, his eyes must be extremely good for his age. I’m of the same age as Mr. Suga, but I don’t see any exit at all."
Bibliography
This is an incomplete bibliography as not all works published by Murakami in Japanese have been translated into English. Kanji titles are given with Hepburn romanization. (Original titles entirely in transcribed English are given as "katakana / romaji = English".)
Novels
Short stories
Collections
List of stories
Essays and nonfiction
Murakami has published more than 40 books of non-fiction. Among them are:
Other books include:
See also
Japanese literature
Surrealism
Weird fiction
References
Further reading
Pintor, Ivan. "David Lynch y Haruki Murakami, la llama en el umbral", in: VV.AA., Universo Lynch. Internacional Sitges Film Festival-Calamar 2007 ()
Rubin, Jay. Haruki Murakami and the Music of Words. Harvill Press, 2002 ()
Strecher, Matthew Carl. The Wind-Up Bird Chronicle Readers Guide. Continuum Pubublishing Group, 2002 ()
Strecher, Matthew Carl. Dances with Sheep: The Quest for Identity in the Fiction of Murakami Haruki. University of Michigan/Monographs in Japanese Studies, 2001 ()
Suter, Rebecca. The Japanization of Modernity: Murakami Haruki Between Japan and the United States. Harvard University Asian Center, 2008. ()
External links
Haruki Murakami at Random House
Haruki Murakami at The New Yorker (online essays, stories, excerpts)
Haruki Murakami at The New York Times (articles about, interviews with)
Haruki Murakami at Complete Review (international meta-reviews)
Haruki Murakami at The Encyclopedia of Science Fiction
Interviews
"Haruki Murakami: The Outsider" (by Laura Miller and Don George), Salon, December 1997 (about Wind-Up Bird and Underground)
"Haruki Murakami, The Art of Fiction No. 182" (by John Wray), The Paris Review, Summer 2004
Articles
"The reception of Murakami Haruki in Taiwan" (PDF), Yale University
"Haruki Murakami: How a Japanese writer conquered the world" (by Stephanie Hegarty), BBC News, October 17, 2011
"The 10 Best Haruki Murakami Books" (by Murakami scholar Matthew C. Strecher), Publishers Weekly, August 8, 2014
Multimedia
Video about Murakami's life and work at Psychology Today's blog The Literary Mind
1949 births
20th-century Japanese novelists
20th-century Japanese translators
21st-century Japanese translators
21st-century Japanese novelists
English–Japanese translators
Japanese essayists
Japanese male short story writers
Japanese psychological fiction writers
Japanese science fiction writers
Japanese ultramarathon runners
Jerusalem Prize recipients
Literary translators
Living people
Magic realism writers
Male ultramarathon runners
Order of Arts and Letters of Spain recipients
Postmodern writers
Princeton University faculty
Tufts University faculty
Waseda University alumni
Winners of the Yomiuri Prize
World Fantasy Award-winning writers
Writers from Kyoto
Weird fiction writers
Progressivism in Japan
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[
"My Lonesome Cowboy is a sculpture created in 1998 by Japanese artist Takashi Murakami. Produced during Murakami's so-called \"bodily fluids\" period, the statue depicts an anime-inspired figure ejaculating a large strand of semen. Like its companion piece Hiropon, My Lonesome Cowboy is an example of superflat art, an art movement founded by Murakami in the 1990s to criticize Japanese consumer culture. The sculpture is noted as among Murakami's most famous works.\n\nDescription\n\nMy Lonesome Cowboy is an sculpture depicting a smiling nude anime-inspired male figure with spiked hair. The figure's legs are spread, and he is gripping his large erect penis, which is ejaculating semen that circles around his body like a lasso.\n\nBoth My Lonesome Cowboy and its earlier companion piece Hiropon were produced during Murakami's so-called \"bodily fluids\" phase in the late 1990s, in which he depicted highly sexualized figures inspired by otaku culture. The sculpture is evocative of shunga (a type of historic erotic ukiyo-e which often depicted figures with exaggerated genitalia) and hentai (anime and manga pornography). Murakami hired commercial manufacturers to produce the sculpture in order to maintain fidelity to its otaku source material.\n\nMy Lonesome Cowboy is an example of superflat art, an art movement founded by Murakami in the 1990s to criticize Japanese consumer culture. Its title is a dual reference: first to the 1968 Andy Warhol film Lonesome Cowboys, in regards to the pop art movement the film belonged to that was similarly influenced by consumer culture. It additionally references the 1957 film Loving You, in which Elvis Presley performs the song \"Lonesome Cowboy\" in a pose that similarly emphasizes his thighs and pelvis.\n\nCasts\nMurakami produced three casts plus two artist's proofs of My Lonesome Cowboy, with the hair of the figure being of different colors in each of the casts. In 2008, the fourth numbered edition of My Lonesome Cowboy sold at an auction by Sotheby's for USD$15.1 million, nearly four times the amount at which it was valued. At the time, the sale made Murakami one of the most expensive living artists in the world.\n\nReception\nMy Lonesome Cowboy is noted as among Murakami's most famous works. New York Times art critic Roberta Smith wrote that both it and Hiropon \"mesmerize through an unsettling combination of innocence, carnal knowledge, beauty, exquisite artifice and arrested movement\", though argued that My Lonesome Cowboy is \"simplistically macho\" compared to the more \"nuanced\" Hiropon. She nonetheless assesses both pieces favorably, arguing \"after their shock value has declined, as all shock value must, they are still interesting to look at\", arguing that both pieces are more successful than the erotic sculptures of Jeff Koons and Allen Jones. Art scholar Grace McQuilten is more critical of the piece, calling it \"cute and colourful enough to appeal to a general audience at the same time as carrying off a semblance of social critique\", arguing that it merely \"reproduce[s] a popular fetish\" and does not \"challenge or modify the otaku stereotype\".\n\nReferences\n\n1998 sculptures\nJapanese contemporary art\nPop art\nSculptures of men\nNude sculptures\nSemen",
"is the sixth novel by Japanese writer Haruki Murakami. First published in 1988, it was translated into English by Alfred Birnbaum in 1994. The book is a sequel to Murakami's novel A Wild Sheep Chase. In 2001, Murakami said that writing Dance Dance Dance had been a healing act after his unexpected fame following the publication of Norwegian Wood and that, because of this, he had enjoyed writing Dance more than any other book.\n\nPlot summary\n\nThe novel follows the surreal misadventures of an unnamed protagonist who makes a living as a commercial writer. He is compelled to return to the Dolphin Hotel, a seedy establishment where he once stayed with a woman he loved, despite the fact he never even knew her real name. She has since disappeared without a trace and the Dolphin Hotel has been purchased by a large corporation and converted into a slick, fashionable, Western-style hotel.\n\nThe protagonist experiences dreams in which this woman and the Sheep Man—a strange individual dressed in an old sheep skin—appear to him and lead him to uncover two mysteries. The first is metaphysical in nature—how to survive the unsurvivable. The second is the murder of a call girl in which an old school friend of the protagonist, now a famous film actor, is involved circumstantially. Along the way, the protagonist meets a clairvoyant and troubled thirteen-year-old girl, her equally troubled parents, a one-armed poet, and a sympathetic receptionist who shares some of his disturbingly real visions.\n\nMajor themes\nSeveral of the novel's characters are hallmarks of Murakami's writing. Dance Dance Dance deals with themes of gender, sexuality, loss and abandonment, as do many of Murakami's other novels. Often, the male protagonist in a Murakami novel will lose a mother, spouse, or girlfriend. Other common Murakami themes this novel includes are technology, alienation, absurdity and the ultimate discovery of a human connection.\n\nThere is a character in the story named Hiraku Makimura, which is an anagram of \"Haruki Murakami\". The novel's Makimura is also a best-selling author and writer.\n\nDifferences in English translation\nThe supernatural character known as the Sheep Man speaks differently between the two versions. The character speaks normal Japanese in the original work, but in the English translations, his speech is written without any spaces between words. Written Japanese does not typically demarcate words with spaces.\n\nReception\nDance Dance Dance received a 69% rating from the book review aggregator iDreamBooks based on seven critics' reviews.\n\nBook information\nDance Dance Dance (English edition) by Haruki Murakami; translated by Alfred Birnbaum.\n\n Hardcover , published in January 1994 by Kodansha International\n Paperback , published on January 31, 1995 by Vintage Press\n\nReferences\n\nExternal links \n Exorcising Ghosts—Links to pages of reviews and articles\n Official Haruki Murakami Website\n\n1988 Japanese novels\nJapanese magic realism novels\nNovels by Haruki Murakami\nNovels set in Japan"
] |
[
"Fred Allen",
"Broadway"
] |
C_712b4ac7451d4a5fb8b4b9cb9fb76e4d_1
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What did Fred allen have to do with Broadway?
| 1 |
What did Fred Allen have to do with Broadway?
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Fred Allen
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Allen gave vaudeville itself a timeline of 1875-1925 in Much Ado About Me, but he actually left vaudeville a few years earlier, moving to work in such Shubert Brothers stage productions as The Passing Show in 1922. The show played well in its runup to Broadway but lasted only ten weeks at the Winter Garden Theatre. Allen did, however, take something far more lasting from the show: one of the show's chorus girls, Portland Hoffa, who became his wife in 1927 and remained with him until his death. He also took good notices for his comic work in several of the productions, particularly Vogues and Greenwich Village Follies, and continued to develop his comic writing, even writing a column for Variety called "Near Fun." A salary dispute ended the column; Allen wanted only $60 a week to give up his theater work to become a full-time columnist, but his editor tried a sleight-of-hand based on the paper's ad rates to deny him. He spent his summer in Boston, honed his comic and writing skills even further, worked in a respectfully received duo that billed themselves as Fink and Smith, and played a few of the dying vaudeville houses. Allen returned to New York to the pleasant surprise that Portland Hoffa was taking instruction to convert to Roman Catholicism. After the couple married, Allen began writing material for them to use together ("With a vaudeville act, Portland and I could be together, even if we couldn't find any work"), and the couple divided their time between the show business circuit, Allen's New England family home and Old Orchard Beach, Maine, in summers. CANNOTANSWER
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as The Passing Show in 1922. The show played well in its runup to Broadway but lasted only ten weeks at the Winter Garden Theatre.
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John Florence Sullivan (May 31, 1894 – March 17, 1956), known professionally as Fred Allen, was an American comedian. His absurdist, topically pointed radio program The Fred Allen Show (1932–1949) made him one of the most popular and forward-looking humorists in the Golden Age of American radio.
His best-remembered gag was his long-running mock feud with friend and fellow comedian Jack Benny, but it was only part of his appeal; radio historian John Dunning (in On the Air: The Encyclopedia of Old-Time Radio) wrote that Allen was perhaps radio's most admired comedian and most frequently censored. A master ad libber, Allen often tangled with his network's executives (and often barbed them on the air over the battles) while developing routines whose style and substance influenced fellow comic talents, including Groucho Marx, Stan Freberg, Henry Morgan, and Johnny Carson; his avowed fans also included President Franklin D. Roosevelt, humorist James Thurber, and novelists William Faulkner, John Steinbeck, and Herman Wouk (who began his career writing for Allen).
Allen was honored with stars on the Hollywood Walk of Fame for contributions to television and radio.
Childhood
John Florence Sullivan was born in Cambridge, Massachusetts, to Irish Catholic parents. Allen barely knew his mother, Cecilia Herlihy Sullivan, who died of pneumonia when he was not quite three years old. Along with his father, James Henry Sullivan, and his infant brother Robert, Allen was taken in by one of his mother's sisters, "my aunt Lizzie", around whom he focused the first chapter of his second memoir, Much Ado About Me. His father was so shattered by his mother's death that, according to Allen, he drank more heavily. His aunt suffered as well; her husband Michael was partially paralyzed by lead poisoning shortly after they married, leaving him mostly unable to work, something Allen remembered as causing contention among Lizzie's sisters. Eventually, Allen's father remarried and offered his sons the choice between coming with him and his new wife or staying with Aunt Lizzie. Allen's younger brother chose to go with their father, but Allen decided to stay with his aunt. "I never regretted it", he wrote.
Vaudeville
Allen took piano lessons as a boy, his father having brought an Emerson upright along when they moved in with his aunt. He learned exactly two songs – "Hiawatha" and "Pitter, Patter, Little Raindrops" – and would be asked to play "half or all my repertoire" when visitors came to the house. He also worked at the Boston Public Library, where he discovered a book about the origin and development of comedy. Enduring various upheavals at home (other aunts came and went, prompting several moves), Allen also took up juggling while learning as much as possible about comedy.
Some library co-workers planned to put on a show and asked him to do a bit of juggling and some of his comedy. When a girl in the crowd told him, "You're crazy to keep working here at the library; you ought to go on stage," Allen decided his career path was set.
In 1914, at the age of 20, Allen took a job with a local piano company, in addition to his library work. He appeared at a number of amateur night competitions, soon taking the stage name Fred St. James, and booking with the local vaudeville circuit at $30 a week, enough at that time to allow him to quit his jobs with the library and the piano company. Eventually he became "Freddy James," often billing himself as the world's worst juggler. Allen refined the mix of his deliberately clumsy juggling and the standard jokes and one-liners, directing much of the humor at his own poor juggling abilities. During a ten-year world tour, his vaudeville act evolved more toward monologic comedy and less juggling. In 1917, returning to the New York circuit, his stage name was changed to Fred Allen so that he would not be offered the same low salary that theater owners had been accustomed to paying him in his early career. His new surname came from Edgar Allen, a booker for the Fox theaters.
In 1922, Allen commissioned comic-strip artist Martin Branner to cover a theater curtain with an elaborate mural painting depicting a cemetery with a punchline on each gravestone. This was the "Old Joke Cemetery", where overworked gags go to die. In Allen's act, the audiences would see the curtain (and have several minutes to read its 46 punchlines) before Allen made his entrance. Audiences typically would be laughing at the curtain before Allen even appeared. Robert Taylor's biography of Allen includes an impressive full-length photo of Branner's curtain painting, and many of the punchlines are clearly legible in the photo.
Allen used a variety of gimmicks in his changing act, from a ventriloquist dummy to juggling to singing, but the focus was always on his comedy, which was heavy on wordplay. One recurring bit was to read a purported "letter from home" with material such as the following:
"The man next door has bought pigs; we got wind of it this morning. Your father had a terrible fight with him about it, and the man hit your father with a rock in the left ear. It didn't bother your father; he is stone deaf in that ear. The policeman who took him away said that he would get his hearing in the morning. The other man, the one who owns the pigs, was arrested for fragrancy... There is no other news except that our oil stove exploded yesterday and blew your father and me out into the backyard. It is the first time we have been out together for twenty years.
Allen's wit was at times not intended for the vaudeville audience but rather for other professionals in show business. After one of his appearances failed one day, Allen made the best of it by circulating an obituary of his act on black-bordered funeral stationery. He also mailed vials of his supposed flop sweat to newspapers as part of his comic self-promotion.
In 1921 Fred Allen and Nora Bayes toured with the company of Lew Fields. Their musical director was a nineteen-year-old Richard Rodgers. Many years later, when he and Oscar Hammerstein II appeared as mystery guests on What's My Line?, Rodgers recalled Allen's act, sitting on the edge of the stage, his legs dangling down, playing a banjo while telling jokes.
Broadway
Allen gave vaudeville itself a timeline of 1875–1925 in Much Ado About Me, but he actually left vaudeville a few years earlier, moving to work in such Shubert Brothers stage productions as The Passing Show in 1922. The show played well in its runup to Broadway but lasted only ten weeks at the Winter Garden Theatre. Allen did, however, take something far more lasting from the show: one of the show's chorus girls, Portland Hoffa, who became his wife in 1927 and remained with him until his death.
He also took good notices for his comic work in several of the productions, particularly Vogues and Greenwich Village Follies, and continued to develop his comic writing, even writing a column for Variety called "Near Fun." A salary dispute ended the column; Allen wanted only $60 a week to give up his theater work to become a full-time columnist, but his editor tried a sleight-of-hand based on the paper's ad rates to deny him. He spent his summer in Boston, honed his comic and writing skills even further, worked in a respectfully received duo that billed themselves as Fink and Smith, and played a few of the dying vaudeville houses.
Allen returned to New York to the pleasant surprise that Portland Hoffa was taking instruction to convert to Roman Catholicism. After the couple married, Allen began writing material for them to use together ("With a vaudeville act, Portland and I could be together, even if we couldn't find any work"), and the couple divided their time between the show business circuit, Allen's New England family home and Old Orchard Beach, Maine, in summers.
Radio
Fred Allen's first taste of radio came while he and Portland Hoffa waited for a promised slot in a new Arthur Hammerstein musical. In the interim, they appeared on a Chicago station's program, WLS Showboat, into which Allen recalled, "Portland and I were presented... to inject a little class into it." Their success in these appearances helped their theater reception; live audiences in the Midwest liked to see their radio favorites in person, even if Allen and Hoffa would be replaced by Bob Hope when the radio show moved to New York several months afterward.
The couple eventually got their Hammerstein show, Polly, which opened in Delaware and made the usual tour before hitting Broadway. Also in that cast was a young Englishman named Archie Leach, who received as many good notices for his romantic appeal as Allen got for his comic work. Hammerstein retooled the show before bringing it to New York, replacing everyone but two women and Allen. Leach decided to buy an old car and drive to Hollywood. "What Archie Leach didn't tell me," Allen remembered, "was that he was going to change his name to Cary Grant."
Polly never succeeded in spite of several retoolings, but Allen did go on to successful shows like The Little Show (1929–30) and Three's a Crowd (1930–31), which eventually led to his full-time entry to radio in 1932.
Town Hall Tonight
Allen first hosted The Linit Bath Club Revue on CBS, moving the show to NBC and becoming The Salad Bowl Revue (in a nod to new sponsor Hellmann's Mayonnaise, which was marketed by the parent company of Linit) later in the year. The show became The Sal Hepatica Revue (1933–34), The Hour of Smiles (1934–35), and finally Town Hall Tonight (1935–39). In 1939–40, however, sponsor Bristol-Myers, which advertised Ipana toothpaste as well as Sal Hepatica during the program, altered the title to The Fred Allen Show, over his objections. Allen's perfectionism (odd to some, considering his deft ad-libs) caused him to leap from sponsor to sponsor until Town Hall Tonight allowed him to set his chosen small-town milieu and establish himself as a bona fide radio star.
The hour-long show featured segments that would influence radio and, much later, television; news satires such as Rowan and Martin's Laugh-In'''s "Laugh-In Looks at the News" and Saturday Night Live's "Weekend Update" were influenced by Town Hall Tonight's "The News Reel", later renamed "Town Hall News" (and in 1939–40, as a sop to his sponsor, "Ipana News"). The Tonight Show Starring Johnny Carson's "Mighty Carson Art Players" routines referenced Allen's Mighty Allen Art Players, in name and sometimes in routines. Allen and company also satirized popular musical comedies and films of the day, including and especially Oklahoma!. Allen also did semi-satirical interpretations of well-known lives—including his own.
The show that became Town Hall Tonight was the longest-running hour-long comedy-based show in classic radio history. In 1940, Allen moved back to CBS Radio with a new sponsor and show name, Texaco Star Theater, airing every Wednesday at 9:00 pm ET on CBS, then Sundays at 9:00 pm in the fall of 1941. By 1942, he shortened the show to half an hour, at 9:30 pm ET—under network and sponsor edict, not his own. He also chafed under being forced to give up a Town Hall Tonight signature, using barely known and amateur guests effectively, in favor of booking more recognizable guests, though he liked many of those. Guests included singers from Kingston, New York, the original woman behind the "Aunt Jemima" on pancake boxes, and more guests up the road—from Saugerties, like the singer, Donald Gardner.
Back to NBC
He took over a year off due to hypertension and returned in 1945 with The Fred Allen Show on NBC, Sunday nights at 8:30 p.m. EST. Standard Brands' Blue Bonnet Margarine & Tenderleaf Tea, and later, Ford Motor Company, were the sponsors for the rest of the show's life. (Texaco revived Texaco Star Theater in 1948 on radio, and more successfully on television, making an American icon out of star Milton Berle).
Allen again made a few changes, including the singing DeMarco Sisters, to whom he'd been tipped by arranger-composer Gordon Jenkins. "We did four years with Mr. Allen and got one thousand dollars a week," Gloria DeMarco remembered. "Sunday night was the best night on radio." Sunday night with Fred Allen seemed incomplete on any night listeners didn't hear the DeMarco Sisters, whose breezy, harmonious style became as familiar as their cheerfully sung "Mr. Al-len, Mr. Alll-llennnn" in the show's opening theme. During the theme's brief pause, Allen would say something like, "It isn't the mayor of Anaheim, Azusa and Cucamonga, kiddies." That device became a signature for three of the four years.
Allen's Alley
The other change, born in the Texaco days and evolving from his earlier news spoofs, proved his most enduring, premiering December 6, 1942. The inspiration for the mythical Main Street of "Allen's Alley" came from the small-town heartland folks who were often profiled in the newspaper columns written by O. O. McIntyre (1884–1938), one of the most popular columnists of the 1930s with some seven million readers.
"Allen's Alley" followed a brief Allen monologue and comic segment with Portland Hoffa ("Misssss-ter Allll-llennnn!"), usually involving gags about her family which she instigated. Then a brief music interlude would symbolize the two making their way to the fictitious Alley.
The segment was always launched by a quick exchange that began with Hoffa asking Allen what he would ask the Alley denizens that week. After she implored him, "Shall we go?" Allen would reply with cracks like, "As the two drumsticks said when they spotted the tympani, let's beat it!'"; or "As one strapless gown said to the other strapless gown, 'What's holding us up?'"
A small host of stereotypical characters greeted Allen and Hoffa down the Alley, discussing Allen's question of the week, usually drawing on news items or popular happenings around town, whether gas rationing, traffic congestion, the Pulitzer Prizes, postwar holiday travel, or the annual Ringling Brothers and Barnum & Bailey Circus visit.
The Alley went through a few changes in the first installments. Early denizens included sarcastic John Doe (John Brown), self-possessed Senator Bloat and town drunk Sampson Souse (Jack Smart), dimwitted Socrates Mulligan (Charlie Cantor), pompous poet Falstaff Openshaw (Alan Reed), and wry Jewish housewife Pansy Nussbaum (Minerva Pious). By 1945, Pious and Reed were joined by two new Alley denizens: Parker Fennelly as stoic New England farmer Titus Moody, and Kenny Delmar, the new show's announcer, as bellowing Southern senator Beauregard Claghorn. Pious is credited with tipping Allen to Delmar, who based the character on a real-life person he had encountered while hitchhiking in 1928; Delmar had originally named the voice characterization "Dynamite Gus." Within weeks, Claghorn became one of the leading comedy characters of radio as listeners across the country began quoting his catchphrases: "Somebody, Ah say, somebody knocked"; "I'm from the South, Suh"; "That's a joke, son"; and "Pay attention, boy!" Claghorn served as the model for the Warner Bros. cartoon character Foghorn Leghorn, who first appeared the following August in the Oscar-nominated Walky Talky Hawky.
Other characters had catchphrases that were almost as famous as Claghorn's, such as Titus Moody's "Howdy, Bub", and Falstaff Openshaw's "That is precisely why I am here." Mrs. Nussbaum always greeted Allen by saying, "You were expecting maybe...", and then she would mispronounce the name of a glamorous film star, such as "Too-ra-loo-ra-loo-ra Bankhead?". The Alley sketches made only one further cast change, when Peter Donald's chipper Irishman Ajax Cassidy succeeded Reed's Falstaff.
Despite the ethnic diversity, the Alley characters seemed less citified and more akin with O. O. McIntyre's small-town America. Allen's topical humor is sometimes thought an acquired taste for audiences curious about his generation of radio stars; Dunning has written that when he "went into topical humor, he may have forfeited his only opportunity to be the Mark Twain of his century. He had flashes of undeniable brilliance. But the main body of his work deals with the day-to-day fodder of another time, and sons have seldom been amused by the embarrassments or tragedies of their fathers."
But others find many parallels to today's world and its absurdities. The "Allen's Alley" stereotypes make some cringe, as Allen biographer Robert Taylor noted (in Fred Allen: His Life and Wit), but others find them lancing more than lauding stereotypes, letting listeners make up their own minds about how foolish they could be. "Interestingly enough," wrote Frank Buxton and Bill Owen in The Big Broadcast 1920-1950, "[Claghorn, Nussbaum, Moody, and Cassidy] were never criticized as being anti-Southern, anti-Semitic, anti-New England or anti-Irish. The warmth and good humor with which they were presented made them acceptable even to the most sensitive listeners."
Allen employed a writing staff but they served as his sounding boards and early draft consultants as much as actual writers; it was Allen who had the final edit and rewrite of each week's script, working as long as twelve hours a day in his own right on ideas or sketches. His ad-libbing ability caused many a show to fade away behind the ending network identification, because Allen often ate up air time. It was not as unusual for him as for others to sign off with "We're a little late, so good night, folks." Allen's habit of signing off late affected fellow former vaudevillian Phil Baker, whose quiz show Take It or Leave It immediately followed the Allen show. Baker hatched a comic plan to remedy the situation. He kept track of how much time he was losing to Allen over a period of a few months, and when the total reached 15 minutes, Baker barged into the studio 15 minutes earlier than scheduled—while Allen was on the air—and took over the show, welcoming the audience to Take It or Leave It. Allen, aghast but amused, surrendered the microphone to Baker. Allen's parting shot was, "I'll write a letter to Senator Claghorn about this!"
Allen also "died" more eloquently than other radio comics, particularly in the later years. When a joke was greeted with an awkward silence, Allen would comment on the lack of response, with his ad-libbed "explanation" almost always funnier than the original joke, a technique later adopted successfully by Johnny Carson.
Closing the AlleyThe Fred Allen Show was radio's top-rated show of the 1946–47 season. Allen was able to negotiate a lucrative new contract as a result not only of the show's success, but thanks in large measure to NBC's anxiety to keep more of its stars from joining Jack Benny in a wholesale defection to CBS as well as to retain their services for their rapidly expanding television programming. The CBS talent raids broke up NBC's hit Sunday night, and Benny also convinced George Burns and Gracie Allen and Bing Crosby to join his move.
But a year later, he was knocked off his perch, not by a talent raid but by a show on a third rival network, ABC (the former NBC Blue network). The quiz show Stop the Music, hosted by Bert Parks (debuted 1948), required listeners to participate live by telephone. The show became a big enough hit to break into Allen's grip on that Sunday night time slot. At first, Allen fought fire with his own kind of fire: he offered $5,000 to any listener getting a call from Stop the Music or any similar game show while listening to The Fred Allen Show. He never had to pay up, nor was he shy about lampooning the game show phenomenon (especially a riotous parody of another quiz show Parks hosted, lancing Break the Bank in a routine called "Break the Contestant" in which players didn't receive a thing but were compelled to give up possessions when they blew a question).
Unfortunately, Allen fell to number 38 in the radio ratings, his fall compounded by the rise of television in many major cities. By this time, he had changed the show again somewhat, changing the famed "Allen's Alley" skits to take place on "Main Street," and rotating a new character or two in and out of the lineup. He stepped down from radio again in 1949, at the end of his show's regular season, as much under his doctor's orders as because of his slipping ratings. He decided to take a year off, but it did more for his health (he suffered from hypertension) than his career; after the June 26, 1949 show, on which Henry Morgan and Jack Benny guested, Fred Allen never hosted another radio show full-time again.
Feud
Good friends in real life, Fred Allen and Jack Benny inadvertently hatched a running gag in 1937 when a child prodigy, violinist Stuart Canin, gave a very credible performance on the Allen show, inspiring an Allen wisecrack about "a certain alleged violinist" who should hide in shame over his poor playing. Allen often mentioned his show-business friends on the air ("Mr. Jacob Haley of Newton Highlands, Massachusetts" was Allen's way of saying hello to his pal Jack Haley), and on the Canin broadcast Allen knew Benny would be listening. Benny, according to Allen biographer Taylor, burst out laughing, then responded in kind on his own program. The rivalry gag went on for a decade and convinced some fans that the two comedians really were blood enemies.
The Allen-Benny feud was the longest-playing, best-remembered dialogic running gag in classic radio history. The gag even pushed toward a boxing match between the two comedians and the promised event was a sellout, though the match never occurred. The pair even appeared together in films, including Love Thy Neighbor (1940) and It's in the Bag! (1945), Allen's only starring vehicle, also featuring William Bendix, Robert Benchley, and Jerry Colonna. He also starred with Oscar Levant in 20th Century-Fox's anthology film O. Henry's Full House, in The Ransom of Red Chief.
Some of the feud's highlights involved Al Boasberg, who is credited with helping Benny refine his character into what may have been America's first stand-up comedian. Boasberg was well known behind the scenes as a top comedy writer and script doctor, but he seldom received recognition in public. He worked, uncredited, on many films (including the Marx Brothers' hits A Night at the Opera and A Day at the Races). Steaming mad because of his long battles for recognition, Boasberg was said to have delivered a tirade that ended up (in slightly altered form) in an Allen-Benny feud routine:
Allen: Why, you fugitive from a Ripley cartoon ... I'll knock you flatter than the first eight minutes of this program.
Benny: You ought to do well in pictures, Mr. Allen, now that Boris Karloff is back in England.
Allen: Why, if I was a horse, a pony even, and found out that any part of my tail was used in your violin bow, I'd hang my head in my oatbag from then on.
Benny's side of the feud included a tart interpretation of Allen's Town Hall Tonight show, which Benny and company called "Clown Hall Tonight." A signature element of the feud was that, whenever one guested on the other's shows, the host would tend to hand the guest the best lines of the night. (Both Benny and Allen revealed later that each man's writers consulted with each other on routines involving the feud.)
They toned the gag down after 1941, though they kept it going often enough as the years continued, climaxing on Allen's May 26, 1946 show, in which a sketch called "King for a Day," satirizing big-money game shows, featured Benny pretending to be a contestant named Myron Proudfoot on Allen's new quiz show.
Allen: Tomorrow night, in your ermine robe, you will be whisked by bicycle to Orange, New Jersey, where you will be the judge in a chicken-cleaning contest.
Benny (rapturously): I'm KING for a Day!
[Allen proceeds to have Benny's clothes pressed:]
Allen: And that's not all!
Benny: There's more?
Allen: Yes! On our stage we have a Hoffman pressing machine.
Benny: Now wait a minute! Wait a minute!
Allen: An expert operating the Hoffman pressing machine will press your trousers in seconds.
Benny: NOW WAIT A MINUTE!!! (total audience hysteria and laughter, as Benny's pants are literally removed)
Allen: Quiet, King!
Benny: Come on, Allen, give me my pants!
Allen: Keep your shirt on, King.
Benny: You bet I'll keep my shirt on!
Allen: We're a little late, folks! Tune in next week –
Benny: Allen, this is a frame – (starts laughing himself) Where are my pants!
Allen: Benny, for 15 years I've been waiting to catch you like this!
Benny: Allen, you haven't seen the end of me!
Allen: It won't be long now!
Benny: I want my pants!
Allen and Benny couldn't resist one more play on the feud on Allen's final show. Benny appeared as a skinflint bank manager and mortgage company owner bedeviling Henry Morgan. Typically, Allen handed Benny the show's best crack: "Nobody ever made me this cheap on my own program!"
Benny even used the feud on his TV show, when Fred Allen appeared as a special guest in 1953. The program depicted Benny and Allen as rivals for the sponsor's favors. When the sponsor pointed out that Benny was also a musician, Allen countered with a passage on his clarinet.
As Benny said in his co-memoir, Sunday Nights at Seven: The Jack Benny Story (1990; his daughter, Joan, added her own recollections and published the book after Benny's death), "[T]he sky was the limit. Or rather, the mud was the limit."
Benny was profoundly shaken by Allen's sudden death by heart attack in 1956. In a statement released the day after Allen's death, Benny said, "People have often asked me if Fred Allen and I were really friends in real life. My answer is always the same. You couldn't have such a long-running and successful feud as we did, without having a deep and sincere friendship at the heart of it."
Censorship
Allen may have battled censors more than most of his radio contemporaries. "Fred Allen's fourteen-year battle with radio censorship," wrote the New York Herald-Tribune critic John Crosby, "was made particularly difficult for him by the fact that the man assigned to reviewing his scripts had little sense of humor and frankly admitted he didn't understand Allen's peculiar brand of humor at all." Among the blue pencils, according to Crosby, were:
Allen was barred from saying "Brenda never looked lovelier", at the time of socialite Brenda Frazier's wedding, unless he could get direct permission from the Frazier family.
Allen was ordered to change the Cockney accent he assigned the character of a first mate aboard the Queen Mary — on the grounds that the ship's first mate could only be a cultured man who might not like a Cockney accent.
Allen had to fight to keep Mrs. Nussbaum in the Allen's Alley routines because NBC feared Jewish-dialect humor "might offend all Jews" despite the fact that Jewish dialect humor had been a vaudeville and burlesque staple for years.
Allen was ordered to not even mention the fictitious town of North Wrinkle until or unless it could be proven that no such town actually did exist.
"Allen not only couldn't poke fun at individuals", Crosby wrote. "He also had to be careful not to step on their professions, their beliefs, and sometimes even their hobbies and amusements. Portland Hoffa was once given a line about wasting an afternoon at the rodeo. NBC objected to the implication that an afternoon at the rodeo was wasted and the line had to be changed. Another time, Allen gagged that a girl could have found a better husband in a cemetery. (The censor) thought this might hurt the feelings of people who own and operate cemeteries. Allen got the line cleared only after pointing out that cemeteries have been topics for comedy since the time of Aristophanes." Allen's constant and sometimes intense—as well as often ridiculous—battles with censors may have aggravated his longtime problems with hypertension.
Life after the Alley
After his own show ended, Allen became a regular attraction on NBC's The Big Show (1950–1952), hosted by Tallulah Bankhead. He appeared on 24 of the show's 57 installments, including the landmark premiere, and showed he had not lost his trademark ad-lib skill or his rapier wit. (The show's head writer, Goodman Ace, later told radio host Richard Lamparski that Allen's lucrative NBC contract was a large factor in getting him on the show, though Allen also wrote the segments on which he appeared and consulted with the respected Ace and staff on other portions of the show.)
In some ways, The Big Show was an offspring of the old Allen show; his one-time Texaco Star Theater announcer, Jimmy Wallington, was one of The Big Show's announcers, and Portland Hoffa made several appearances with him as well. On the show's premiere, Allen – with a little prodding from head writer Goodman Ace – could not resist one more play on the old Allen-Benny "feud," a riotous parody of Benny's show called "The Pinch Penny Program."
Television
It was also on The Big Show's premiere that Allen delivered perhaps his best-remembered crack about television: "You know, television is called a new medium, and I have discovered why they call it a medium – because nothing is well done." That did not stop the Museum of Broadcast Communications from considering Allen "the intellectual conscience of television." Aside from his famous crack about not liking furniture that talked, Allen observed that television allowed "people who haven't anything to do to watch people who can't do anything."
Allen tried three short-lived television projects of his own, including a bid to bring "Allen's Alley" to television in a visual setting similar to Our Town. NBC apparently rejected the idea out of hand. "Television is a triumph of equipment over people," Allen observed after that, "and the minds that control it are so small that you could put them in the navel of a flea and still have enough room beside them for a network vice president's heart." His other two TV tries were quiz shows. Judge for Yourself (subtitled The Fred Allen Show) was a game show incorporating musical acts. The idea was to allow Allen to ad-lib with guests à la Groucho Marx, but the complicated format had to be revamped in the middle of the run. (The star was "lost in the confusion of a half hour filled with too many people and too much activity," wrote Alan Havig.)
A comedy series, Fred Allen's Sketchbook, did not catch on. He landed a two-year stint as a panelist on the CBS quiz show What's My Line? from 1954 until his death on March 17, 1956. In July 1955 he took a week off from the show to have an emergency appendectomy. Allen's seat on the panel was taken by radio and TV humorist Robert Q. Lewis. The following week, Allen returned to the program—as the mystery guest. After the panel asked several questions, Lewis smiled and said, "I know who it is. Thank you for letting me work tonight!" Allen joked about the operation: "It was an emergency. The doctor needed some money hurriedly."
Allen also spent his final years as a newspaper columnist/humorist and as a memoirist, renting a small New York office to work six hours a day without distractions. He wrote Treadmill to Oblivion (1954, reviewing his radio and television years) and Much Ado About Me (1956, covering his childhood and his vaudeville and Broadway years, and detailing especially vaudeville at its height with surprising objectivity); the former—which included many of his vintage radio scripts—was the best-selling book on radio's classic period for many years. After the frustrations and failures of his attempts to succeed on television, the popularity of Treadmill revealed Allen's potential as a literary humorist.
Film
Allen had a relatively minor career on screen, appearing in seven full-length features and three shorts between 1929 and 1952. His first film, filmed by Paramount Pictures at its New York studio, was The Installment Collector (1929), a nine-minute adaptation of one of his vaudeville acts, in which he remits a succession of personal articles to an insistent debt collector. Allen followed this with two shorts for Vitaphone, also filmed in New York. Allen's first feature film was the 1935 Dick Powell musical comedy Thanks a Million, which The New York Times reviewed, naming only Allen in their headline. 1940's Love Thy Neighbor played off the comic feud with Jack Benny. His sole leading role was as flea circus impresario Fred F. Trumble Floogle, in the frenetic It's in the Bag!, a loose adaptation of Ilf and Petrov's novel The Twelve Chairs.
Death
Taking one of his regular late night strolls up New York's West 57th Street on Saturday night, March 17, 1956, Allen suffered a heart attack and died at the age of 61. A popular myth repeated for many years, first published in The New York Times story appearing the day after Allen's death, was that he had died while walking his dog. However, biographer Robert Taylor later revealed that Allen had never owned a dog. Allen died before he could complete the final chapter of his memoirs, and as a result the book was published as he had left it. He was a tireless letter writer, and his letters were edited by his wife into the publication of Fred Allen's Letters in 1965.
During the following night's regular Sunday broadcast of What's My Line? at 10:30 p.m., barely 24 hours following Allen's death, host John Daly preceded the program with a special message to the viewing audience. He stated that earlier in the day the producers had considered replacing the regular game play with a special memorial episode, but Allen's wife Portland Hoffa stated that she preferred the show be conducted as it always had been, indicating that this is what Allen would have wanted. The program then proceeded as normal, but with a noticeably subdued tone. Steve Allen (no relation) took Fred's chair on the panel. During the final ninety seconds of the program Steve Allen, Arlene Francis and Bennett Cerf (whose eyes began to tear) gave brief but heartfelt tributes to Fred. A somber Dorothy Kilgallen thanked Steve Allen for stepping in and helping them to carry on at a difficult moment; a similar on-air farewell would air after Kilgallen herself died unexpectedly in 1965.
Allen has two stars on the Hollywood Walk of Fame: a radio star at 6713 Hollywood Blvd. and a TV star at 7001 Hollywood Blvd. Allen was inducted into the National Radio Hall of Fame in 1988. A pedestrian passageway in the Boston Theater District, designated "Allen's Alley", also honors his memory.
Allen's widow, Portland Hoffa, married bandleader Joe Rines in 1959 and celebrated a second silver wedding anniversary well before her own death of natural causes in Los Angeles on Christmas Day, 1990. Allen and Hoffa are buried alongside each other in section 47 at Gate of Heaven Cemetery in Hawthorne, New York. Both Allen's real and stage names are engraved on the headstone.
Cultural legacy
Several late-'30s Warner Bros. Merrie Melodies cartoon shorts feature parodies of Allen. Friz Freleng's Toy Town Hall (1936) is a spoof of Allen's Town Hall Tonight, with toys that come to life in a boy's dreams and put on a variety show. Frank Tashlin's The Woods Are Full of Cuckoos (1937) features a Fred Allen fox screaming about being misinformed, hinting about his heated feuds with censors who were often at the last minute forcing script changes on his show because of its content. And Tex Avery's Thugs with Dirty Mugs (1938) features the main character addressing the audience and showing them his Fred Allen impersonation in one scene.
In Action Comics #50 (July 1942), Superman quips, "Fred Allen would get a kick out of this!" as he hops on to the side of a moving train.
Bibliography
Allen, Fred. Much Ado About Me (Boston: Little, Brown, 1956).
Allen, Fred. Treadmill to Oblivion (Boston: Little, Brown, 1954).
Allen, Fred, ed. by Joe McCarthy, Fred Allen's Letters (New York: Doubleday, 1965)
Allen, Fred, ed. by Stuart Hample, all the sincerity in hollywood... (New York: Fulcrum Publishing, 2001). (The lower-case of the title was a tribute to Allen's habit, later in his life, of typing his letters in all-lower case, à la poet E. E. Cummings.)
Smith, H. Allen, introduction by Fred Allen. Low Man on a Totem Pole, Doubleday, Doran, 1941.
See also
Colgate Comedy Hour (Fred Allen episodes)
References
Sources
Jack Benny and Joan Benny, Sunday Nights at Seven: The Jack Benny Story. (New York: Warner Books, 1990).
Frank Buxton and Bill Owen, The Big Broadcast: 1920-1950 (New York: Flare Books/Avon, 1972).
John Crosby, Out of the Blue: A Book About Radio and Television (New York: Simon and Schuster, 1952).
Alan Havig, Fred Allen's Radio Comedy (Philadelphia: Temple University Press, 1989).
Ben Schwartz, "The Man Who Invented Jack Benny" ('Written By', Writer's Guild of America, 2002)
Robert Taylor, Fred Allen: His Life and Wit (Boston: Little, Brown, 1989).
John Dunning, On the Air: The Encyclopedia of Old-Time Radio''. (New York: Oxford University Press, 1998).
Hilmes, M. (1997). Radio voices American broadcasting, 1922–1952. Minnesota Minneapolis: University of Minnesota Press.
External links
Fred Allen Fred Allen's Radio, television, and film appearances
Fred Allen In-depth Fred Allen Biographical Interview with Martin Gostainian
Laughterlog.com Biography with list of radio, television, film and record appearances
Irving Wallace on Fred Allen
Audio files
Internet Archives: The Fred Allen Show (150 episodes in MP3 format)
OTR Network Library: The Fred Allen Show (84 episodes)
Biography in Sound: "A Portrait of Fred Allen" (May 29, and December 18, 1956)
Zoot Radio, free old time radio show downloads of the 'Fred Allen' radio program
149 episodes.
1894 births
1956 deaths
American male comedians
Radio personalities from New York City
American satirists
Boston University alumni
Burials at Gate of Heaven Cemetery (Hawthorne, New York)
Peabody Award winners
People from Cambridge, Massachusetts
Vaudeville performers
American male film actors
Comedians from New York City
20th-century American comedians
20th-century American male actors
| true |
[
"Funny Face is a 1927 musical composed by George Gershwin, with lyrics by Ira Gershwin, and book by Fred Thompson and Paul Gerard Smith. When it opened on Broadway on November 22, 1927, as the first show performed in the newly built Alvin Theatre, it starred Fred Astaire and his sister Adele Astaire. It was in this show that Astaire first danced in evening clothes and a top hat.\n\nOriginally called Smarty, it first opened in Philadelphia on October 11, 1927, to poor reviews. This led to major rewrites and caused critic-humorist Robert Benchley, who had contributed to the script, to walk out. The rewrites and changes continued as the musical moved from Philadelphia to Washington D.C. (October 31); to Atlantic City (November 7); to Wilmington (November 14); before reaching Broadway and the Alvin Theatre on November 22, now renamed Funny Face. It became a major Broadway hit, and after 244 performances, the whole company transferred it to London, where Fred and Adele Astaire had had a successful run of Lady, Be Good! just before starting the rehearsals of Smarty in Philadelphia.\n\nThe London production opened at Princes Theatre on November 8, 1928, and ran there until January 29, 1929. After a short tour of the UK provinces, the musical re-opened at the Winter Garden Theatre in London on March 11, 1929, where it ran until June 1929, chalking up a total of 263 performances. Leslie Henson shared top billing with Fred and Adele Astaire.\n\nPlot\nJimmy Reeve is the legal guardian of three pretty sisters, Dora, June and Frankie, whose prize belongings he keeps in his safe. June's pearl necklace is locked in there, and so is Frankie's diary, after having been confiscated by Jimmy. However, the diary contains very incriminating things, so Frankie convinces the aviator Peter Thurston to steal it from the safe. But somehow he manages to steal the pearls instead, setting off a merry chase that takes the cast to the Atlantic City pier. And to make matters even more complicated, two bumbling burglars, Herbert and Dugsie, also try to break into the safe and are swept along in the chase. At one point, they have a falling out, but Herbert is unable to shoot Dugsie as he has forgotten to get a shooting license.\n\nOriginal Broadway production\nThe show opened at the Alvin Theatre on November 22, 1927, and ran for 244 performances. It was directed by Edgar MacGregor, with choreography by Bobby Connolly.\n\nMain cast\n\nFred Astaire as Jimmy Reeve\nAdele Astaire as Frankie\nGertrude McDonald as June\nBetty Compton as Dora\nAllen Kearns as Peter Thurston\nWilliam Kent as Dugsie Gibbs\nVictor Moore as Herbert\n\nSongs\n\nAct 1 \n \"Birthday Party\" - Dora, June and Guests\n \"Once\" - Dugsie Gibbs, Dora and Ensemble\n \"Funny Face\" - Frankie and Jimmy Reeve\n \"High Hat\" - Jimmy Reeve and Boys\n \"'S Wonderful\" - Frankie and Peter Thurston\n \"Let's Kiss and Make Up\" - Frankie, Jimmy Reeve and Ensemble\n \"Come Along, Let's Gamble\" - Entire Company\n\nAct 2\n \"In the Swim\" - Girls\n \"He Loves and She Loves\" - Frankie and Peter Thurston\n \"Tell the Doc\" - Dugsie Gibbs and Girls\n \"My One and Only (What Am I Going To Do?)\" - Jimmy Reeve, June, Dora and Girls\n \"Sing a Little Song\" - Pianists, Ritz Quartette, and Boys\n \"My One and Only (What Am I Going to Do?)\" (Reprise) - Dora, June and Chorus\n \"The Babbitt and the Bromide\" - Frankie and Jimmy Reeve\n\nAdaptions and inspirations\n The plot of 1936 British film She Knew What She Wanted is loosely based on the musical, but doesn't contain any of the music.\n The 1957 film musical Funny Face, which also starred Fred Astaire, featured just four songs from the stage musical, and the plot was totally different.\n The 1983 Broadway musical My One and Only was claimed to be a revival of the original musical, but contained only some of the songs and had a very different plot.\n\nReferences\nWebsite with extensive description of the show, with reprints from The Oxford Companion to American Theatre and various books\n\nExternal links\n\nReview of a 2000 revival\nPoster for the show with the original title, Smarty\nPoster for the show with the new title, Funny Face\n\n1927 musicals\nMusicals by George and Ira Gershwin\nBroadway musicals\nMusicals set in the Roaring Twenties\nMusicals by Fred Thompson (writer)",
"The Little Show was a musical revue with lyrics by Howard Dietz and music by Arthur Schwartz. It was the first of 11 musicals that featured the songs of Dietz and Schwartz. The revue opened at the Music Box Theatre on Broadway on April 30, 1929 and ran for 321 performances until February 1930.\n\nHistory\nThe show grew out of a number of Sunday evening variety shows co-produced by Tom Weatherly with James Pond at the\nSelwyn Theatre . Weatherly said that they were \"really nothing more than high-class vaudeville shows but they were far more artistic than the Sunday night variety programs being offered at the Winter Garden.\"\n\nRevue elements\n\"This was the first American revue to give wit precedence over spectacle.\" Fred Allen (who had been a vaudeville headliner as a juggler and ventriloquist) \"won acclaim with his sardonic banter\", \"torch singer Libby Holman smoldered.\" Clifton Webb, the debonair star, \"wanted a number that was more perverse, a number he could deliver all alone in full-dress suit and a spotlight...a lyric with suave romantic frustration.\" The song was \"I Guess I'll Have to Change My Plan,\" which was used again in the 1953 MGM musical The Band Wagon. The song \"Hammacher Schlemmer, I Love You\" was an \"open-hearted tribute\" to the hardware store.\n\nAccording to Kay Green, the funniest sketch was George S. Kaufman's \"The Still Alarm\" which concerns nonchalant hotel guests Webb and Fred Allen, completely oblivious to being in a raging fire. The most \"dramatic scene was the torrid dance Clifton Webb and Libby Holman performed after Miss Holman moaned \"Moanin' Low\" in a squalid Harlem tenement.\" Smith and Litton described another act: \"Fred Allen's monologues before the curtain held the audience transfixed, especially one about a little boy who shot both parents in order to be entitled to go to the orphans' picnic.\"\n\nKen Bloom wrote: \"The Little Show was one of the first intimate revues that proved to audiences that all the Ziegfeldian trappings were not necessary for the enjoyment of a revue.\"\n\nProduction\nProduced by William A. Brady, Jr. and Dwight Deere Wiman, in association with Tom Weatherly, the production opened on April 30, 1929 at the Music Box Theatre for a total of 321 performances. The revue was directed by Wiman, choreographed by Danny Dare, and had scenic design by Jo Mielziner. The cast included Fred Allen, Libby Holman, John McCauley, Romney Brent, and Clifton Webb.\n\nSongs\nSources: Steven Suskin for songs marked ≠ Kay Green for songs marked ‡; Chuck Denison, \"Can’t We Be Friends?\";Billboard for songs marked √; Ruth Benjamin and Arthur Rosenblatt for song marked ≈\n\nAct I\n Man About Town √\n Six Little Sinners (music by Frank Gorney; lyrics by Earle Crooker) ≈\n Get Up a New Routine ≠ √\n Caught in the Rain (music by Henry Sullivan; lyrics by Howard Dietz) √\n Or What Have You (music by Morris Hamilton; lyrics by Grace Henry) √\n I’ve Made a Habit of You ‡ ≠ √\n Can't We Be Friends? (music by Kay Swift; lyrics by Paul James) - Libby Holman √\n Little Old New York √\n Moanin' Low (music: Ralph Rainger) - Holman and Webb ‡ √\n Hammacher Schlemmer, I Love You ‡\n\nAct II\n Song of the Riveter (music by Arthur Schwartz; lyrics by Lew Levenson) ≠ √\n What Every Little Girl Should Know (music by Arthur Schwartz; lyrics by Henry Myers) √\n The Theme Song ≠ √\n A Little Hut in Hoboken (music and lyrics by Herman Hupfeld) ‡ √\n Stick to your Dancing, Mabel (music and lyrics by Charlotte Kent √\n I Guess I'll Have to Change My Plan ‡ ≠\n Work Alike (music by Frank Gray; lyrics by Earle Crooker\n\n‡\n\nNotes\n\nReferences\nGreen, Kay (1996). Broadway Musicals, Show By Show. Hal Leonard Corporation. \nGreen, Stanley (1984). The World of Musical Comedy. Da Capo Press.\n\nExternal links\n \n\n1929 musicals\nBroadway musicals\nRevues\nMusicals by Arthur Schwartz"
] |
[
"Fred Allen",
"Broadway",
"What did Fred allen have to do with Broadway?",
"as The Passing Show in 1922. The show played well in its runup to Broadway but lasted only ten weeks at the Winter Garden Theatre."
] |
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How long did Broadway run?
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How long did Broadway run?
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Fred Allen
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Allen gave vaudeville itself a timeline of 1875-1925 in Much Ado About Me, but he actually left vaudeville a few years earlier, moving to work in such Shubert Brothers stage productions as The Passing Show in 1922. The show played well in its runup to Broadway but lasted only ten weeks at the Winter Garden Theatre. Allen did, however, take something far more lasting from the show: one of the show's chorus girls, Portland Hoffa, who became his wife in 1927 and remained with him until his death. He also took good notices for his comic work in several of the productions, particularly Vogues and Greenwich Village Follies, and continued to develop his comic writing, even writing a column for Variety called "Near Fun." A salary dispute ended the column; Allen wanted only $60 a week to give up his theater work to become a full-time columnist, but his editor tried a sleight-of-hand based on the paper's ad rates to deny him. He spent his summer in Boston, honed his comic and writing skills even further, worked in a respectfully received duo that billed themselves as Fink and Smith, and played a few of the dying vaudeville houses. Allen returned to New York to the pleasant surprise that Portland Hoffa was taking instruction to convert to Roman Catholicism. After the couple married, Allen began writing material for them to use together ("With a vaudeville act, Portland and I could be together, even if we couldn't find any work"), and the couple divided their time between the show business circuit, Allen's New England family home and Old Orchard Beach, Maine, in summers. CANNOTANSWER
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lasted only ten weeks
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John Florence Sullivan (May 31, 1894 – March 17, 1956), known professionally as Fred Allen, was an American comedian. His absurdist, topically pointed radio program The Fred Allen Show (1932–1949) made him one of the most popular and forward-looking humorists in the Golden Age of American radio.
His best-remembered gag was his long-running mock feud with friend and fellow comedian Jack Benny, but it was only part of his appeal; radio historian John Dunning (in On the Air: The Encyclopedia of Old-Time Radio) wrote that Allen was perhaps radio's most admired comedian and most frequently censored. A master ad libber, Allen often tangled with his network's executives (and often barbed them on the air over the battles) while developing routines whose style and substance influenced fellow comic talents, including Groucho Marx, Stan Freberg, Henry Morgan, and Johnny Carson; his avowed fans also included President Franklin D. Roosevelt, humorist James Thurber, and novelists William Faulkner, John Steinbeck, and Herman Wouk (who began his career writing for Allen).
Allen was honored with stars on the Hollywood Walk of Fame for contributions to television and radio.
Childhood
John Florence Sullivan was born in Cambridge, Massachusetts, to Irish Catholic parents. Allen barely knew his mother, Cecilia Herlihy Sullivan, who died of pneumonia when he was not quite three years old. Along with his father, James Henry Sullivan, and his infant brother Robert, Allen was taken in by one of his mother's sisters, "my aunt Lizzie", around whom he focused the first chapter of his second memoir, Much Ado About Me. His father was so shattered by his mother's death that, according to Allen, he drank more heavily. His aunt suffered as well; her husband Michael was partially paralyzed by lead poisoning shortly after they married, leaving him mostly unable to work, something Allen remembered as causing contention among Lizzie's sisters. Eventually, Allen's father remarried and offered his sons the choice between coming with him and his new wife or staying with Aunt Lizzie. Allen's younger brother chose to go with their father, but Allen decided to stay with his aunt. "I never regretted it", he wrote.
Vaudeville
Allen took piano lessons as a boy, his father having brought an Emerson upright along when they moved in with his aunt. He learned exactly two songs – "Hiawatha" and "Pitter, Patter, Little Raindrops" – and would be asked to play "half or all my repertoire" when visitors came to the house. He also worked at the Boston Public Library, where he discovered a book about the origin and development of comedy. Enduring various upheavals at home (other aunts came and went, prompting several moves), Allen also took up juggling while learning as much as possible about comedy.
Some library co-workers planned to put on a show and asked him to do a bit of juggling and some of his comedy. When a girl in the crowd told him, "You're crazy to keep working here at the library; you ought to go on stage," Allen decided his career path was set.
In 1914, at the age of 20, Allen took a job with a local piano company, in addition to his library work. He appeared at a number of amateur night competitions, soon taking the stage name Fred St. James, and booking with the local vaudeville circuit at $30 a week, enough at that time to allow him to quit his jobs with the library and the piano company. Eventually he became "Freddy James," often billing himself as the world's worst juggler. Allen refined the mix of his deliberately clumsy juggling and the standard jokes and one-liners, directing much of the humor at his own poor juggling abilities. During a ten-year world tour, his vaudeville act evolved more toward monologic comedy and less juggling. In 1917, returning to the New York circuit, his stage name was changed to Fred Allen so that he would not be offered the same low salary that theater owners had been accustomed to paying him in his early career. His new surname came from Edgar Allen, a booker for the Fox theaters.
In 1922, Allen commissioned comic-strip artist Martin Branner to cover a theater curtain with an elaborate mural painting depicting a cemetery with a punchline on each gravestone. This was the "Old Joke Cemetery", where overworked gags go to die. In Allen's act, the audiences would see the curtain (and have several minutes to read its 46 punchlines) before Allen made his entrance. Audiences typically would be laughing at the curtain before Allen even appeared. Robert Taylor's biography of Allen includes an impressive full-length photo of Branner's curtain painting, and many of the punchlines are clearly legible in the photo.
Allen used a variety of gimmicks in his changing act, from a ventriloquist dummy to juggling to singing, but the focus was always on his comedy, which was heavy on wordplay. One recurring bit was to read a purported "letter from home" with material such as the following:
"The man next door has bought pigs; we got wind of it this morning. Your father had a terrible fight with him about it, and the man hit your father with a rock in the left ear. It didn't bother your father; he is stone deaf in that ear. The policeman who took him away said that he would get his hearing in the morning. The other man, the one who owns the pigs, was arrested for fragrancy... There is no other news except that our oil stove exploded yesterday and blew your father and me out into the backyard. It is the first time we have been out together for twenty years.
Allen's wit was at times not intended for the vaudeville audience but rather for other professionals in show business. After one of his appearances failed one day, Allen made the best of it by circulating an obituary of his act on black-bordered funeral stationery. He also mailed vials of his supposed flop sweat to newspapers as part of his comic self-promotion.
In 1921 Fred Allen and Nora Bayes toured with the company of Lew Fields. Their musical director was a nineteen-year-old Richard Rodgers. Many years later, when he and Oscar Hammerstein II appeared as mystery guests on What's My Line?, Rodgers recalled Allen's act, sitting on the edge of the stage, his legs dangling down, playing a banjo while telling jokes.
Broadway
Allen gave vaudeville itself a timeline of 1875–1925 in Much Ado About Me, but he actually left vaudeville a few years earlier, moving to work in such Shubert Brothers stage productions as The Passing Show in 1922. The show played well in its runup to Broadway but lasted only ten weeks at the Winter Garden Theatre. Allen did, however, take something far more lasting from the show: one of the show's chorus girls, Portland Hoffa, who became his wife in 1927 and remained with him until his death.
He also took good notices for his comic work in several of the productions, particularly Vogues and Greenwich Village Follies, and continued to develop his comic writing, even writing a column for Variety called "Near Fun." A salary dispute ended the column; Allen wanted only $60 a week to give up his theater work to become a full-time columnist, but his editor tried a sleight-of-hand based on the paper's ad rates to deny him. He spent his summer in Boston, honed his comic and writing skills even further, worked in a respectfully received duo that billed themselves as Fink and Smith, and played a few of the dying vaudeville houses.
Allen returned to New York to the pleasant surprise that Portland Hoffa was taking instruction to convert to Roman Catholicism. After the couple married, Allen began writing material for them to use together ("With a vaudeville act, Portland and I could be together, even if we couldn't find any work"), and the couple divided their time between the show business circuit, Allen's New England family home and Old Orchard Beach, Maine, in summers.
Radio
Fred Allen's first taste of radio came while he and Portland Hoffa waited for a promised slot in a new Arthur Hammerstein musical. In the interim, they appeared on a Chicago station's program, WLS Showboat, into which Allen recalled, "Portland and I were presented... to inject a little class into it." Their success in these appearances helped their theater reception; live audiences in the Midwest liked to see their radio favorites in person, even if Allen and Hoffa would be replaced by Bob Hope when the radio show moved to New York several months afterward.
The couple eventually got their Hammerstein show, Polly, which opened in Delaware and made the usual tour before hitting Broadway. Also in that cast was a young Englishman named Archie Leach, who received as many good notices for his romantic appeal as Allen got for his comic work. Hammerstein retooled the show before bringing it to New York, replacing everyone but two women and Allen. Leach decided to buy an old car and drive to Hollywood. "What Archie Leach didn't tell me," Allen remembered, "was that he was going to change his name to Cary Grant."
Polly never succeeded in spite of several retoolings, but Allen did go on to successful shows like The Little Show (1929–30) and Three's a Crowd (1930–31), which eventually led to his full-time entry to radio in 1932.
Town Hall Tonight
Allen first hosted The Linit Bath Club Revue on CBS, moving the show to NBC and becoming The Salad Bowl Revue (in a nod to new sponsor Hellmann's Mayonnaise, which was marketed by the parent company of Linit) later in the year. The show became The Sal Hepatica Revue (1933–34), The Hour of Smiles (1934–35), and finally Town Hall Tonight (1935–39). In 1939–40, however, sponsor Bristol-Myers, which advertised Ipana toothpaste as well as Sal Hepatica during the program, altered the title to The Fred Allen Show, over his objections. Allen's perfectionism (odd to some, considering his deft ad-libs) caused him to leap from sponsor to sponsor until Town Hall Tonight allowed him to set his chosen small-town milieu and establish himself as a bona fide radio star.
The hour-long show featured segments that would influence radio and, much later, television; news satires such as Rowan and Martin's Laugh-In'''s "Laugh-In Looks at the News" and Saturday Night Live's "Weekend Update" were influenced by Town Hall Tonight's "The News Reel", later renamed "Town Hall News" (and in 1939–40, as a sop to his sponsor, "Ipana News"). The Tonight Show Starring Johnny Carson's "Mighty Carson Art Players" routines referenced Allen's Mighty Allen Art Players, in name and sometimes in routines. Allen and company also satirized popular musical comedies and films of the day, including and especially Oklahoma!. Allen also did semi-satirical interpretations of well-known lives—including his own.
The show that became Town Hall Tonight was the longest-running hour-long comedy-based show in classic radio history. In 1940, Allen moved back to CBS Radio with a new sponsor and show name, Texaco Star Theater, airing every Wednesday at 9:00 pm ET on CBS, then Sundays at 9:00 pm in the fall of 1941. By 1942, he shortened the show to half an hour, at 9:30 pm ET—under network and sponsor edict, not his own. He also chafed under being forced to give up a Town Hall Tonight signature, using barely known and amateur guests effectively, in favor of booking more recognizable guests, though he liked many of those. Guests included singers from Kingston, New York, the original woman behind the "Aunt Jemima" on pancake boxes, and more guests up the road—from Saugerties, like the singer, Donald Gardner.
Back to NBC
He took over a year off due to hypertension and returned in 1945 with The Fred Allen Show on NBC, Sunday nights at 8:30 p.m. EST. Standard Brands' Blue Bonnet Margarine & Tenderleaf Tea, and later, Ford Motor Company, were the sponsors for the rest of the show's life. (Texaco revived Texaco Star Theater in 1948 on radio, and more successfully on television, making an American icon out of star Milton Berle).
Allen again made a few changes, including the singing DeMarco Sisters, to whom he'd been tipped by arranger-composer Gordon Jenkins. "We did four years with Mr. Allen and got one thousand dollars a week," Gloria DeMarco remembered. "Sunday night was the best night on radio." Sunday night with Fred Allen seemed incomplete on any night listeners didn't hear the DeMarco Sisters, whose breezy, harmonious style became as familiar as their cheerfully sung "Mr. Al-len, Mr. Alll-llennnn" in the show's opening theme. During the theme's brief pause, Allen would say something like, "It isn't the mayor of Anaheim, Azusa and Cucamonga, kiddies." That device became a signature for three of the four years.
Allen's Alley
The other change, born in the Texaco days and evolving from his earlier news spoofs, proved his most enduring, premiering December 6, 1942. The inspiration for the mythical Main Street of "Allen's Alley" came from the small-town heartland folks who were often profiled in the newspaper columns written by O. O. McIntyre (1884–1938), one of the most popular columnists of the 1930s with some seven million readers.
"Allen's Alley" followed a brief Allen monologue and comic segment with Portland Hoffa ("Misssss-ter Allll-llennnn!"), usually involving gags about her family which she instigated. Then a brief music interlude would symbolize the two making their way to the fictitious Alley.
The segment was always launched by a quick exchange that began with Hoffa asking Allen what he would ask the Alley denizens that week. After she implored him, "Shall we go?" Allen would reply with cracks like, "As the two drumsticks said when they spotted the tympani, let's beat it!'"; or "As one strapless gown said to the other strapless gown, 'What's holding us up?'"
A small host of stereotypical characters greeted Allen and Hoffa down the Alley, discussing Allen's question of the week, usually drawing on news items or popular happenings around town, whether gas rationing, traffic congestion, the Pulitzer Prizes, postwar holiday travel, or the annual Ringling Brothers and Barnum & Bailey Circus visit.
The Alley went through a few changes in the first installments. Early denizens included sarcastic John Doe (John Brown), self-possessed Senator Bloat and town drunk Sampson Souse (Jack Smart), dimwitted Socrates Mulligan (Charlie Cantor), pompous poet Falstaff Openshaw (Alan Reed), and wry Jewish housewife Pansy Nussbaum (Minerva Pious). By 1945, Pious and Reed were joined by two new Alley denizens: Parker Fennelly as stoic New England farmer Titus Moody, and Kenny Delmar, the new show's announcer, as bellowing Southern senator Beauregard Claghorn. Pious is credited with tipping Allen to Delmar, who based the character on a real-life person he had encountered while hitchhiking in 1928; Delmar had originally named the voice characterization "Dynamite Gus." Within weeks, Claghorn became one of the leading comedy characters of radio as listeners across the country began quoting his catchphrases: "Somebody, Ah say, somebody knocked"; "I'm from the South, Suh"; "That's a joke, son"; and "Pay attention, boy!" Claghorn served as the model for the Warner Bros. cartoon character Foghorn Leghorn, who first appeared the following August in the Oscar-nominated Walky Talky Hawky.
Other characters had catchphrases that were almost as famous as Claghorn's, such as Titus Moody's "Howdy, Bub", and Falstaff Openshaw's "That is precisely why I am here." Mrs. Nussbaum always greeted Allen by saying, "You were expecting maybe...", and then she would mispronounce the name of a glamorous film star, such as "Too-ra-loo-ra-loo-ra Bankhead?". The Alley sketches made only one further cast change, when Peter Donald's chipper Irishman Ajax Cassidy succeeded Reed's Falstaff.
Despite the ethnic diversity, the Alley characters seemed less citified and more akin with O. O. McIntyre's small-town America. Allen's topical humor is sometimes thought an acquired taste for audiences curious about his generation of radio stars; Dunning has written that when he "went into topical humor, he may have forfeited his only opportunity to be the Mark Twain of his century. He had flashes of undeniable brilliance. But the main body of his work deals with the day-to-day fodder of another time, and sons have seldom been amused by the embarrassments or tragedies of their fathers."
But others find many parallels to today's world and its absurdities. The "Allen's Alley" stereotypes make some cringe, as Allen biographer Robert Taylor noted (in Fred Allen: His Life and Wit), but others find them lancing more than lauding stereotypes, letting listeners make up their own minds about how foolish they could be. "Interestingly enough," wrote Frank Buxton and Bill Owen in The Big Broadcast 1920-1950, "[Claghorn, Nussbaum, Moody, and Cassidy] were never criticized as being anti-Southern, anti-Semitic, anti-New England or anti-Irish. The warmth and good humor with which they were presented made them acceptable even to the most sensitive listeners."
Allen employed a writing staff but they served as his sounding boards and early draft consultants as much as actual writers; it was Allen who had the final edit and rewrite of each week's script, working as long as twelve hours a day in his own right on ideas or sketches. His ad-libbing ability caused many a show to fade away behind the ending network identification, because Allen often ate up air time. It was not as unusual for him as for others to sign off with "We're a little late, so good night, folks." Allen's habit of signing off late affected fellow former vaudevillian Phil Baker, whose quiz show Take It or Leave It immediately followed the Allen show. Baker hatched a comic plan to remedy the situation. He kept track of how much time he was losing to Allen over a period of a few months, and when the total reached 15 minutes, Baker barged into the studio 15 minutes earlier than scheduled—while Allen was on the air—and took over the show, welcoming the audience to Take It or Leave It. Allen, aghast but amused, surrendered the microphone to Baker. Allen's parting shot was, "I'll write a letter to Senator Claghorn about this!"
Allen also "died" more eloquently than other radio comics, particularly in the later years. When a joke was greeted with an awkward silence, Allen would comment on the lack of response, with his ad-libbed "explanation" almost always funnier than the original joke, a technique later adopted successfully by Johnny Carson.
Closing the AlleyThe Fred Allen Show was radio's top-rated show of the 1946–47 season. Allen was able to negotiate a lucrative new contract as a result not only of the show's success, but thanks in large measure to NBC's anxiety to keep more of its stars from joining Jack Benny in a wholesale defection to CBS as well as to retain their services for their rapidly expanding television programming. The CBS talent raids broke up NBC's hit Sunday night, and Benny also convinced George Burns and Gracie Allen and Bing Crosby to join his move.
But a year later, he was knocked off his perch, not by a talent raid but by a show on a third rival network, ABC (the former NBC Blue network). The quiz show Stop the Music, hosted by Bert Parks (debuted 1948), required listeners to participate live by telephone. The show became a big enough hit to break into Allen's grip on that Sunday night time slot. At first, Allen fought fire with his own kind of fire: he offered $5,000 to any listener getting a call from Stop the Music or any similar game show while listening to The Fred Allen Show. He never had to pay up, nor was he shy about lampooning the game show phenomenon (especially a riotous parody of another quiz show Parks hosted, lancing Break the Bank in a routine called "Break the Contestant" in which players didn't receive a thing but were compelled to give up possessions when they blew a question).
Unfortunately, Allen fell to number 38 in the radio ratings, his fall compounded by the rise of television in many major cities. By this time, he had changed the show again somewhat, changing the famed "Allen's Alley" skits to take place on "Main Street," and rotating a new character or two in and out of the lineup. He stepped down from radio again in 1949, at the end of his show's regular season, as much under his doctor's orders as because of his slipping ratings. He decided to take a year off, but it did more for his health (he suffered from hypertension) than his career; after the June 26, 1949 show, on which Henry Morgan and Jack Benny guested, Fred Allen never hosted another radio show full-time again.
Feud
Good friends in real life, Fred Allen and Jack Benny inadvertently hatched a running gag in 1937 when a child prodigy, violinist Stuart Canin, gave a very credible performance on the Allen show, inspiring an Allen wisecrack about "a certain alleged violinist" who should hide in shame over his poor playing. Allen often mentioned his show-business friends on the air ("Mr. Jacob Haley of Newton Highlands, Massachusetts" was Allen's way of saying hello to his pal Jack Haley), and on the Canin broadcast Allen knew Benny would be listening. Benny, according to Allen biographer Taylor, burst out laughing, then responded in kind on his own program. The rivalry gag went on for a decade and convinced some fans that the two comedians really were blood enemies.
The Allen-Benny feud was the longest-playing, best-remembered dialogic running gag in classic radio history. The gag even pushed toward a boxing match between the two comedians and the promised event was a sellout, though the match never occurred. The pair even appeared together in films, including Love Thy Neighbor (1940) and It's in the Bag! (1945), Allen's only starring vehicle, also featuring William Bendix, Robert Benchley, and Jerry Colonna. He also starred with Oscar Levant in 20th Century-Fox's anthology film O. Henry's Full House, in The Ransom of Red Chief.
Some of the feud's highlights involved Al Boasberg, who is credited with helping Benny refine his character into what may have been America's first stand-up comedian. Boasberg was well known behind the scenes as a top comedy writer and script doctor, but he seldom received recognition in public. He worked, uncredited, on many films (including the Marx Brothers' hits A Night at the Opera and A Day at the Races). Steaming mad because of his long battles for recognition, Boasberg was said to have delivered a tirade that ended up (in slightly altered form) in an Allen-Benny feud routine:
Allen: Why, you fugitive from a Ripley cartoon ... I'll knock you flatter than the first eight minutes of this program.
Benny: You ought to do well in pictures, Mr. Allen, now that Boris Karloff is back in England.
Allen: Why, if I was a horse, a pony even, and found out that any part of my tail was used in your violin bow, I'd hang my head in my oatbag from then on.
Benny's side of the feud included a tart interpretation of Allen's Town Hall Tonight show, which Benny and company called "Clown Hall Tonight." A signature element of the feud was that, whenever one guested on the other's shows, the host would tend to hand the guest the best lines of the night. (Both Benny and Allen revealed later that each man's writers consulted with each other on routines involving the feud.)
They toned the gag down after 1941, though they kept it going often enough as the years continued, climaxing on Allen's May 26, 1946 show, in which a sketch called "King for a Day," satirizing big-money game shows, featured Benny pretending to be a contestant named Myron Proudfoot on Allen's new quiz show.
Allen: Tomorrow night, in your ermine robe, you will be whisked by bicycle to Orange, New Jersey, where you will be the judge in a chicken-cleaning contest.
Benny (rapturously): I'm KING for a Day!
[Allen proceeds to have Benny's clothes pressed:]
Allen: And that's not all!
Benny: There's more?
Allen: Yes! On our stage we have a Hoffman pressing machine.
Benny: Now wait a minute! Wait a minute!
Allen: An expert operating the Hoffman pressing machine will press your trousers in seconds.
Benny: NOW WAIT A MINUTE!!! (total audience hysteria and laughter, as Benny's pants are literally removed)
Allen: Quiet, King!
Benny: Come on, Allen, give me my pants!
Allen: Keep your shirt on, King.
Benny: You bet I'll keep my shirt on!
Allen: We're a little late, folks! Tune in next week –
Benny: Allen, this is a frame – (starts laughing himself) Where are my pants!
Allen: Benny, for 15 years I've been waiting to catch you like this!
Benny: Allen, you haven't seen the end of me!
Allen: It won't be long now!
Benny: I want my pants!
Allen and Benny couldn't resist one more play on the feud on Allen's final show. Benny appeared as a skinflint bank manager and mortgage company owner bedeviling Henry Morgan. Typically, Allen handed Benny the show's best crack: "Nobody ever made me this cheap on my own program!"
Benny even used the feud on his TV show, when Fred Allen appeared as a special guest in 1953. The program depicted Benny and Allen as rivals for the sponsor's favors. When the sponsor pointed out that Benny was also a musician, Allen countered with a passage on his clarinet.
As Benny said in his co-memoir, Sunday Nights at Seven: The Jack Benny Story (1990; his daughter, Joan, added her own recollections and published the book after Benny's death), "[T]he sky was the limit. Or rather, the mud was the limit."
Benny was profoundly shaken by Allen's sudden death by heart attack in 1956. In a statement released the day after Allen's death, Benny said, "People have often asked me if Fred Allen and I were really friends in real life. My answer is always the same. You couldn't have such a long-running and successful feud as we did, without having a deep and sincere friendship at the heart of it."
Censorship
Allen may have battled censors more than most of his radio contemporaries. "Fred Allen's fourteen-year battle with radio censorship," wrote the New York Herald-Tribune critic John Crosby, "was made particularly difficult for him by the fact that the man assigned to reviewing his scripts had little sense of humor and frankly admitted he didn't understand Allen's peculiar brand of humor at all." Among the blue pencils, according to Crosby, were:
Allen was barred from saying "Brenda never looked lovelier", at the time of socialite Brenda Frazier's wedding, unless he could get direct permission from the Frazier family.
Allen was ordered to change the Cockney accent he assigned the character of a first mate aboard the Queen Mary — on the grounds that the ship's first mate could only be a cultured man who might not like a Cockney accent.
Allen had to fight to keep Mrs. Nussbaum in the Allen's Alley routines because NBC feared Jewish-dialect humor "might offend all Jews" despite the fact that Jewish dialect humor had been a vaudeville and burlesque staple for years.
Allen was ordered to not even mention the fictitious town of North Wrinkle until or unless it could be proven that no such town actually did exist.
"Allen not only couldn't poke fun at individuals", Crosby wrote. "He also had to be careful not to step on their professions, their beliefs, and sometimes even their hobbies and amusements. Portland Hoffa was once given a line about wasting an afternoon at the rodeo. NBC objected to the implication that an afternoon at the rodeo was wasted and the line had to be changed. Another time, Allen gagged that a girl could have found a better husband in a cemetery. (The censor) thought this might hurt the feelings of people who own and operate cemeteries. Allen got the line cleared only after pointing out that cemeteries have been topics for comedy since the time of Aristophanes." Allen's constant and sometimes intense—as well as often ridiculous—battles with censors may have aggravated his longtime problems with hypertension.
Life after the Alley
After his own show ended, Allen became a regular attraction on NBC's The Big Show (1950–1952), hosted by Tallulah Bankhead. He appeared on 24 of the show's 57 installments, including the landmark premiere, and showed he had not lost his trademark ad-lib skill or his rapier wit. (The show's head writer, Goodman Ace, later told radio host Richard Lamparski that Allen's lucrative NBC contract was a large factor in getting him on the show, though Allen also wrote the segments on which he appeared and consulted with the respected Ace and staff on other portions of the show.)
In some ways, The Big Show was an offspring of the old Allen show; his one-time Texaco Star Theater announcer, Jimmy Wallington, was one of The Big Show's announcers, and Portland Hoffa made several appearances with him as well. On the show's premiere, Allen – with a little prodding from head writer Goodman Ace – could not resist one more play on the old Allen-Benny "feud," a riotous parody of Benny's show called "The Pinch Penny Program."
Television
It was also on The Big Show's premiere that Allen delivered perhaps his best-remembered crack about television: "You know, television is called a new medium, and I have discovered why they call it a medium – because nothing is well done." That did not stop the Museum of Broadcast Communications from considering Allen "the intellectual conscience of television." Aside from his famous crack about not liking furniture that talked, Allen observed that television allowed "people who haven't anything to do to watch people who can't do anything."
Allen tried three short-lived television projects of his own, including a bid to bring "Allen's Alley" to television in a visual setting similar to Our Town. NBC apparently rejected the idea out of hand. "Television is a triumph of equipment over people," Allen observed after that, "and the minds that control it are so small that you could put them in the navel of a flea and still have enough room beside them for a network vice president's heart." His other two TV tries were quiz shows. Judge for Yourself (subtitled The Fred Allen Show) was a game show incorporating musical acts. The idea was to allow Allen to ad-lib with guests à la Groucho Marx, but the complicated format had to be revamped in the middle of the run. (The star was "lost in the confusion of a half hour filled with too many people and too much activity," wrote Alan Havig.)
A comedy series, Fred Allen's Sketchbook, did not catch on. He landed a two-year stint as a panelist on the CBS quiz show What's My Line? from 1954 until his death on March 17, 1956. In July 1955 he took a week off from the show to have an emergency appendectomy. Allen's seat on the panel was taken by radio and TV humorist Robert Q. Lewis. The following week, Allen returned to the program—as the mystery guest. After the panel asked several questions, Lewis smiled and said, "I know who it is. Thank you for letting me work tonight!" Allen joked about the operation: "It was an emergency. The doctor needed some money hurriedly."
Allen also spent his final years as a newspaper columnist/humorist and as a memoirist, renting a small New York office to work six hours a day without distractions. He wrote Treadmill to Oblivion (1954, reviewing his radio and television years) and Much Ado About Me (1956, covering his childhood and his vaudeville and Broadway years, and detailing especially vaudeville at its height with surprising objectivity); the former—which included many of his vintage radio scripts—was the best-selling book on radio's classic period for many years. After the frustrations and failures of his attempts to succeed on television, the popularity of Treadmill revealed Allen's potential as a literary humorist.
Film
Allen had a relatively minor career on screen, appearing in seven full-length features and three shorts between 1929 and 1952. His first film, filmed by Paramount Pictures at its New York studio, was The Installment Collector (1929), a nine-minute adaptation of one of his vaudeville acts, in which he remits a succession of personal articles to an insistent debt collector. Allen followed this with two shorts for Vitaphone, also filmed in New York. Allen's first feature film was the 1935 Dick Powell musical comedy Thanks a Million, which The New York Times reviewed, naming only Allen in their headline. 1940's Love Thy Neighbor played off the comic feud with Jack Benny. His sole leading role was as flea circus impresario Fred F. Trumble Floogle, in the frenetic It's in the Bag!, a loose adaptation of Ilf and Petrov's novel The Twelve Chairs.
Death
Taking one of his regular late night strolls up New York's West 57th Street on Saturday night, March 17, 1956, Allen suffered a heart attack and died at the age of 61. A popular myth repeated for many years, first published in The New York Times story appearing the day after Allen's death, was that he had died while walking his dog. However, biographer Robert Taylor later revealed that Allen had never owned a dog. Allen died before he could complete the final chapter of his memoirs, and as a result the book was published as he had left it. He was a tireless letter writer, and his letters were edited by his wife into the publication of Fred Allen's Letters in 1965.
During the following night's regular Sunday broadcast of What's My Line? at 10:30 p.m., barely 24 hours following Allen's death, host John Daly preceded the program with a special message to the viewing audience. He stated that earlier in the day the producers had considered replacing the regular game play with a special memorial episode, but Allen's wife Portland Hoffa stated that she preferred the show be conducted as it always had been, indicating that this is what Allen would have wanted. The program then proceeded as normal, but with a noticeably subdued tone. Steve Allen (no relation) took Fred's chair on the panel. During the final ninety seconds of the program Steve Allen, Arlene Francis and Bennett Cerf (whose eyes began to tear) gave brief but heartfelt tributes to Fred. A somber Dorothy Kilgallen thanked Steve Allen for stepping in and helping them to carry on at a difficult moment; a similar on-air farewell would air after Kilgallen herself died unexpectedly in 1965.
Allen has two stars on the Hollywood Walk of Fame: a radio star at 6713 Hollywood Blvd. and a TV star at 7001 Hollywood Blvd. Allen was inducted into the National Radio Hall of Fame in 1988. A pedestrian passageway in the Boston Theater District, designated "Allen's Alley", also honors his memory.
Allen's widow, Portland Hoffa, married bandleader Joe Rines in 1959 and celebrated a second silver wedding anniversary well before her own death of natural causes in Los Angeles on Christmas Day, 1990. Allen and Hoffa are buried alongside each other in section 47 at Gate of Heaven Cemetery in Hawthorne, New York. Both Allen's real and stage names are engraved on the headstone.
Cultural legacy
Several late-'30s Warner Bros. Merrie Melodies cartoon shorts feature parodies of Allen. Friz Freleng's Toy Town Hall (1936) is a spoof of Allen's Town Hall Tonight, with toys that come to life in a boy's dreams and put on a variety show. Frank Tashlin's The Woods Are Full of Cuckoos (1937) features a Fred Allen fox screaming about being misinformed, hinting about his heated feuds with censors who were often at the last minute forcing script changes on his show because of its content. And Tex Avery's Thugs with Dirty Mugs (1938) features the main character addressing the audience and showing them his Fred Allen impersonation in one scene.
In Action Comics #50 (July 1942), Superman quips, "Fred Allen would get a kick out of this!" as he hops on to the side of a moving train.
Bibliography
Allen, Fred. Much Ado About Me (Boston: Little, Brown, 1956).
Allen, Fred. Treadmill to Oblivion (Boston: Little, Brown, 1954).
Allen, Fred, ed. by Joe McCarthy, Fred Allen's Letters (New York: Doubleday, 1965)
Allen, Fred, ed. by Stuart Hample, all the sincerity in hollywood... (New York: Fulcrum Publishing, 2001). (The lower-case of the title was a tribute to Allen's habit, later in his life, of typing his letters in all-lower case, à la poet E. E. Cummings.)
Smith, H. Allen, introduction by Fred Allen. Low Man on a Totem Pole, Doubleday, Doran, 1941.
See also
Colgate Comedy Hour (Fred Allen episodes)
References
Sources
Jack Benny and Joan Benny, Sunday Nights at Seven: The Jack Benny Story. (New York: Warner Books, 1990).
Frank Buxton and Bill Owen, The Big Broadcast: 1920-1950 (New York: Flare Books/Avon, 1972).
John Crosby, Out of the Blue: A Book About Radio and Television (New York: Simon and Schuster, 1952).
Alan Havig, Fred Allen's Radio Comedy (Philadelphia: Temple University Press, 1989).
Ben Schwartz, "The Man Who Invented Jack Benny" ('Written By', Writer's Guild of America, 2002)
Robert Taylor, Fred Allen: His Life and Wit (Boston: Little, Brown, 1989).
John Dunning, On the Air: The Encyclopedia of Old-Time Radio''. (New York: Oxford University Press, 1998).
Hilmes, M. (1997). Radio voices American broadcasting, 1922–1952. Minnesota Minneapolis: University of Minnesota Press.
External links
Fred Allen Fred Allen's Radio, television, and film appearances
Fred Allen In-depth Fred Allen Biographical Interview with Martin Gostainian
Laughterlog.com Biography with list of radio, television, film and record appearances
Irving Wallace on Fred Allen
Audio files
Internet Archives: The Fred Allen Show (150 episodes in MP3 format)
OTR Network Library: The Fred Allen Show (84 episodes)
Biography in Sound: "A Portrait of Fred Allen" (May 29, and December 18, 1956)
Zoot Radio, free old time radio show downloads of the 'Fred Allen' radio program
149 episodes.
1894 births
1956 deaths
American male comedians
Radio personalities from New York City
American satirists
Boston University alumni
Burials at Gate of Heaven Cemetery (Hawthorne, New York)
Peabody Award winners
People from Cambridge, Massachusetts
Vaudeville performers
American male film actors
Comedians from New York City
20th-century American comedians
20th-century American male actors
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[
"Run, Little Chillun or Run Little Chillun is a folk opera written by Hall Johnson. According to James Vernon Hatch and Leo Hamalian, it is one of the most successful musical dramas of the Harlem Renaissance. It was the first Broadway show directed by an African-American.\n\nDevelopment \nRun, Little Chillun or Run Little Chillun (the original score did not include the comma) is a folk opera play, or musical drama, written by Hall Johnson. The script was first published in 1996.\n\nPlot \nThe play contrasts pagan and Christian religious traditions among Blacks in the American South.\n\nProductions \nThe show premiered in 1933 on Broadway and ran for four months and 126 performances. It was revived in 1935–1937 by the Federal Theater Project and ran for two years in Los Angeles. It was directed by Clarence Edouard Muse. It was produced in 1939 in San Francisco at the Golden Gate International Exposition. In 1943 it was revived on Broadway at the Hudson Theatre. It was the first Broadway show with an African-American director, the first with an African-American composer, and the first African-American folk opera on Broadway.\n\nReception \nHatch and Hamalian called it \"buoyant in spirit\" and said it is considered one of the most successful musical dramas of the Harlem Renaissance. Kenneth Burke said the play allowed audiences to see how American Blacks had survived in a culture of oppression. According to Eileen Southern, \"the outstanding quality of the play was its music, particularly in two spectacular scenes—a revival meeting and a pagan religious orgy.\"\n\nReferences \n\n1930s musicals\n1933 musicals\nAfrican-American plays\nAmerican musicals\nAmerican plays\nBroadway musicals\nAll-Black cast Broadway shows\nFolk operas",
"Scuba Duba is a 1967 comedy play from Bruce Jay Friedman which was a success off-Broadway starring Jerry Orbach, Judd Hirsch, Conrad Bain and Cleavon Little in a production that ran for 692 performances. \n\nThe play was profiled in the William Goldman book The Season: A Candid Look at Broadway.\n\nAlthough the play did not run on Broadway, it had a second well received run in 1971 at the Studio Arena Theater in Buffalo starring F. Murray Abraham, John Newton, and Eve McVeagh.\n\nReferences\n\nExternal links\nScuba Duba at Internet Off Broadway Database\n\n1967 plays"
] |
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Fred Allen
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Allen gave vaudeville itself a timeline of 1875-1925 in Much Ado About Me, but he actually left vaudeville a few years earlier, moving to work in such Shubert Brothers stage productions as The Passing Show in 1922. The show played well in its runup to Broadway but lasted only ten weeks at the Winter Garden Theatre. Allen did, however, take something far more lasting from the show: one of the show's chorus girls, Portland Hoffa, who became his wife in 1927 and remained with him until his death. He also took good notices for his comic work in several of the productions, particularly Vogues and Greenwich Village Follies, and continued to develop his comic writing, even writing a column for Variety called "Near Fun." A salary dispute ended the column; Allen wanted only $60 a week to give up his theater work to become a full-time columnist, but his editor tried a sleight-of-hand based on the paper's ad rates to deny him. He spent his summer in Boston, honed his comic and writing skills even further, worked in a respectfully received duo that billed themselves as Fink and Smith, and played a few of the dying vaudeville houses. Allen returned to New York to the pleasant surprise that Portland Hoffa was taking instruction to convert to Roman Catholicism. After the couple married, Allen began writing material for them to use together ("With a vaudeville act, Portland and I could be together, even if we couldn't find any work"), and the couple divided their time between the show business circuit, Allen's New England family home and Old Orchard Beach, Maine, in summers. CANNOTANSWER
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The show played well in its runup to Broadway
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John Florence Sullivan (May 31, 1894 – March 17, 1956), known professionally as Fred Allen, was an American comedian. His absurdist, topically pointed radio program The Fred Allen Show (1932–1949) made him one of the most popular and forward-looking humorists in the Golden Age of American radio.
His best-remembered gag was his long-running mock feud with friend and fellow comedian Jack Benny, but it was only part of his appeal; radio historian John Dunning (in On the Air: The Encyclopedia of Old-Time Radio) wrote that Allen was perhaps radio's most admired comedian and most frequently censored. A master ad libber, Allen often tangled with his network's executives (and often barbed them on the air over the battles) while developing routines whose style and substance influenced fellow comic talents, including Groucho Marx, Stan Freberg, Henry Morgan, and Johnny Carson; his avowed fans also included President Franklin D. Roosevelt, humorist James Thurber, and novelists William Faulkner, John Steinbeck, and Herman Wouk (who began his career writing for Allen).
Allen was honored with stars on the Hollywood Walk of Fame for contributions to television and radio.
Childhood
John Florence Sullivan was born in Cambridge, Massachusetts, to Irish Catholic parents. Allen barely knew his mother, Cecilia Herlihy Sullivan, who died of pneumonia when he was not quite three years old. Along with his father, James Henry Sullivan, and his infant brother Robert, Allen was taken in by one of his mother's sisters, "my aunt Lizzie", around whom he focused the first chapter of his second memoir, Much Ado About Me. His father was so shattered by his mother's death that, according to Allen, he drank more heavily. His aunt suffered as well; her husband Michael was partially paralyzed by lead poisoning shortly after they married, leaving him mostly unable to work, something Allen remembered as causing contention among Lizzie's sisters. Eventually, Allen's father remarried and offered his sons the choice between coming with him and his new wife or staying with Aunt Lizzie. Allen's younger brother chose to go with their father, but Allen decided to stay with his aunt. "I never regretted it", he wrote.
Vaudeville
Allen took piano lessons as a boy, his father having brought an Emerson upright along when they moved in with his aunt. He learned exactly two songs – "Hiawatha" and "Pitter, Patter, Little Raindrops" – and would be asked to play "half or all my repertoire" when visitors came to the house. He also worked at the Boston Public Library, where he discovered a book about the origin and development of comedy. Enduring various upheavals at home (other aunts came and went, prompting several moves), Allen also took up juggling while learning as much as possible about comedy.
Some library co-workers planned to put on a show and asked him to do a bit of juggling and some of his comedy. When a girl in the crowd told him, "You're crazy to keep working here at the library; you ought to go on stage," Allen decided his career path was set.
In 1914, at the age of 20, Allen took a job with a local piano company, in addition to his library work. He appeared at a number of amateur night competitions, soon taking the stage name Fred St. James, and booking with the local vaudeville circuit at $30 a week, enough at that time to allow him to quit his jobs with the library and the piano company. Eventually he became "Freddy James," often billing himself as the world's worst juggler. Allen refined the mix of his deliberately clumsy juggling and the standard jokes and one-liners, directing much of the humor at his own poor juggling abilities. During a ten-year world tour, his vaudeville act evolved more toward monologic comedy and less juggling. In 1917, returning to the New York circuit, his stage name was changed to Fred Allen so that he would not be offered the same low salary that theater owners had been accustomed to paying him in his early career. His new surname came from Edgar Allen, a booker for the Fox theaters.
In 1922, Allen commissioned comic-strip artist Martin Branner to cover a theater curtain with an elaborate mural painting depicting a cemetery with a punchline on each gravestone. This was the "Old Joke Cemetery", where overworked gags go to die. In Allen's act, the audiences would see the curtain (and have several minutes to read its 46 punchlines) before Allen made his entrance. Audiences typically would be laughing at the curtain before Allen even appeared. Robert Taylor's biography of Allen includes an impressive full-length photo of Branner's curtain painting, and many of the punchlines are clearly legible in the photo.
Allen used a variety of gimmicks in his changing act, from a ventriloquist dummy to juggling to singing, but the focus was always on his comedy, which was heavy on wordplay. One recurring bit was to read a purported "letter from home" with material such as the following:
"The man next door has bought pigs; we got wind of it this morning. Your father had a terrible fight with him about it, and the man hit your father with a rock in the left ear. It didn't bother your father; he is stone deaf in that ear. The policeman who took him away said that he would get his hearing in the morning. The other man, the one who owns the pigs, was arrested for fragrancy... There is no other news except that our oil stove exploded yesterday and blew your father and me out into the backyard. It is the first time we have been out together for twenty years.
Allen's wit was at times not intended for the vaudeville audience but rather for other professionals in show business. After one of his appearances failed one day, Allen made the best of it by circulating an obituary of his act on black-bordered funeral stationery. He also mailed vials of his supposed flop sweat to newspapers as part of his comic self-promotion.
In 1921 Fred Allen and Nora Bayes toured with the company of Lew Fields. Their musical director was a nineteen-year-old Richard Rodgers. Many years later, when he and Oscar Hammerstein II appeared as mystery guests on What's My Line?, Rodgers recalled Allen's act, sitting on the edge of the stage, his legs dangling down, playing a banjo while telling jokes.
Broadway
Allen gave vaudeville itself a timeline of 1875–1925 in Much Ado About Me, but he actually left vaudeville a few years earlier, moving to work in such Shubert Brothers stage productions as The Passing Show in 1922. The show played well in its runup to Broadway but lasted only ten weeks at the Winter Garden Theatre. Allen did, however, take something far more lasting from the show: one of the show's chorus girls, Portland Hoffa, who became his wife in 1927 and remained with him until his death.
He also took good notices for his comic work in several of the productions, particularly Vogues and Greenwich Village Follies, and continued to develop his comic writing, even writing a column for Variety called "Near Fun." A salary dispute ended the column; Allen wanted only $60 a week to give up his theater work to become a full-time columnist, but his editor tried a sleight-of-hand based on the paper's ad rates to deny him. He spent his summer in Boston, honed his comic and writing skills even further, worked in a respectfully received duo that billed themselves as Fink and Smith, and played a few of the dying vaudeville houses.
Allen returned to New York to the pleasant surprise that Portland Hoffa was taking instruction to convert to Roman Catholicism. After the couple married, Allen began writing material for them to use together ("With a vaudeville act, Portland and I could be together, even if we couldn't find any work"), and the couple divided their time between the show business circuit, Allen's New England family home and Old Orchard Beach, Maine, in summers.
Radio
Fred Allen's first taste of radio came while he and Portland Hoffa waited for a promised slot in a new Arthur Hammerstein musical. In the interim, they appeared on a Chicago station's program, WLS Showboat, into which Allen recalled, "Portland and I were presented... to inject a little class into it." Their success in these appearances helped their theater reception; live audiences in the Midwest liked to see their radio favorites in person, even if Allen and Hoffa would be replaced by Bob Hope when the radio show moved to New York several months afterward.
The couple eventually got their Hammerstein show, Polly, which opened in Delaware and made the usual tour before hitting Broadway. Also in that cast was a young Englishman named Archie Leach, who received as many good notices for his romantic appeal as Allen got for his comic work. Hammerstein retooled the show before bringing it to New York, replacing everyone but two women and Allen. Leach decided to buy an old car and drive to Hollywood. "What Archie Leach didn't tell me," Allen remembered, "was that he was going to change his name to Cary Grant."
Polly never succeeded in spite of several retoolings, but Allen did go on to successful shows like The Little Show (1929–30) and Three's a Crowd (1930–31), which eventually led to his full-time entry to radio in 1932.
Town Hall Tonight
Allen first hosted The Linit Bath Club Revue on CBS, moving the show to NBC and becoming The Salad Bowl Revue (in a nod to new sponsor Hellmann's Mayonnaise, which was marketed by the parent company of Linit) later in the year. The show became The Sal Hepatica Revue (1933–34), The Hour of Smiles (1934–35), and finally Town Hall Tonight (1935–39). In 1939–40, however, sponsor Bristol-Myers, which advertised Ipana toothpaste as well as Sal Hepatica during the program, altered the title to The Fred Allen Show, over his objections. Allen's perfectionism (odd to some, considering his deft ad-libs) caused him to leap from sponsor to sponsor until Town Hall Tonight allowed him to set his chosen small-town milieu and establish himself as a bona fide radio star.
The hour-long show featured segments that would influence radio and, much later, television; news satires such as Rowan and Martin's Laugh-In'''s "Laugh-In Looks at the News" and Saturday Night Live's "Weekend Update" were influenced by Town Hall Tonight's "The News Reel", later renamed "Town Hall News" (and in 1939–40, as a sop to his sponsor, "Ipana News"). The Tonight Show Starring Johnny Carson's "Mighty Carson Art Players" routines referenced Allen's Mighty Allen Art Players, in name and sometimes in routines. Allen and company also satirized popular musical comedies and films of the day, including and especially Oklahoma!. Allen also did semi-satirical interpretations of well-known lives—including his own.
The show that became Town Hall Tonight was the longest-running hour-long comedy-based show in classic radio history. In 1940, Allen moved back to CBS Radio with a new sponsor and show name, Texaco Star Theater, airing every Wednesday at 9:00 pm ET on CBS, then Sundays at 9:00 pm in the fall of 1941. By 1942, he shortened the show to half an hour, at 9:30 pm ET—under network and sponsor edict, not his own. He also chafed under being forced to give up a Town Hall Tonight signature, using barely known and amateur guests effectively, in favor of booking more recognizable guests, though he liked many of those. Guests included singers from Kingston, New York, the original woman behind the "Aunt Jemima" on pancake boxes, and more guests up the road—from Saugerties, like the singer, Donald Gardner.
Back to NBC
He took over a year off due to hypertension and returned in 1945 with The Fred Allen Show on NBC, Sunday nights at 8:30 p.m. EST. Standard Brands' Blue Bonnet Margarine & Tenderleaf Tea, and later, Ford Motor Company, were the sponsors for the rest of the show's life. (Texaco revived Texaco Star Theater in 1948 on radio, and more successfully on television, making an American icon out of star Milton Berle).
Allen again made a few changes, including the singing DeMarco Sisters, to whom he'd been tipped by arranger-composer Gordon Jenkins. "We did four years with Mr. Allen and got one thousand dollars a week," Gloria DeMarco remembered. "Sunday night was the best night on radio." Sunday night with Fred Allen seemed incomplete on any night listeners didn't hear the DeMarco Sisters, whose breezy, harmonious style became as familiar as their cheerfully sung "Mr. Al-len, Mr. Alll-llennnn" in the show's opening theme. During the theme's brief pause, Allen would say something like, "It isn't the mayor of Anaheim, Azusa and Cucamonga, kiddies." That device became a signature for three of the four years.
Allen's Alley
The other change, born in the Texaco days and evolving from his earlier news spoofs, proved his most enduring, premiering December 6, 1942. The inspiration for the mythical Main Street of "Allen's Alley" came from the small-town heartland folks who were often profiled in the newspaper columns written by O. O. McIntyre (1884–1938), one of the most popular columnists of the 1930s with some seven million readers.
"Allen's Alley" followed a brief Allen monologue and comic segment with Portland Hoffa ("Misssss-ter Allll-llennnn!"), usually involving gags about her family which she instigated. Then a brief music interlude would symbolize the two making their way to the fictitious Alley.
The segment was always launched by a quick exchange that began with Hoffa asking Allen what he would ask the Alley denizens that week. After she implored him, "Shall we go?" Allen would reply with cracks like, "As the two drumsticks said when they spotted the tympani, let's beat it!'"; or "As one strapless gown said to the other strapless gown, 'What's holding us up?'"
A small host of stereotypical characters greeted Allen and Hoffa down the Alley, discussing Allen's question of the week, usually drawing on news items or popular happenings around town, whether gas rationing, traffic congestion, the Pulitzer Prizes, postwar holiday travel, or the annual Ringling Brothers and Barnum & Bailey Circus visit.
The Alley went through a few changes in the first installments. Early denizens included sarcastic John Doe (John Brown), self-possessed Senator Bloat and town drunk Sampson Souse (Jack Smart), dimwitted Socrates Mulligan (Charlie Cantor), pompous poet Falstaff Openshaw (Alan Reed), and wry Jewish housewife Pansy Nussbaum (Minerva Pious). By 1945, Pious and Reed were joined by two new Alley denizens: Parker Fennelly as stoic New England farmer Titus Moody, and Kenny Delmar, the new show's announcer, as bellowing Southern senator Beauregard Claghorn. Pious is credited with tipping Allen to Delmar, who based the character on a real-life person he had encountered while hitchhiking in 1928; Delmar had originally named the voice characterization "Dynamite Gus." Within weeks, Claghorn became one of the leading comedy characters of radio as listeners across the country began quoting his catchphrases: "Somebody, Ah say, somebody knocked"; "I'm from the South, Suh"; "That's a joke, son"; and "Pay attention, boy!" Claghorn served as the model for the Warner Bros. cartoon character Foghorn Leghorn, who first appeared the following August in the Oscar-nominated Walky Talky Hawky.
Other characters had catchphrases that were almost as famous as Claghorn's, such as Titus Moody's "Howdy, Bub", and Falstaff Openshaw's "That is precisely why I am here." Mrs. Nussbaum always greeted Allen by saying, "You were expecting maybe...", and then she would mispronounce the name of a glamorous film star, such as "Too-ra-loo-ra-loo-ra Bankhead?". The Alley sketches made only one further cast change, when Peter Donald's chipper Irishman Ajax Cassidy succeeded Reed's Falstaff.
Despite the ethnic diversity, the Alley characters seemed less citified and more akin with O. O. McIntyre's small-town America. Allen's topical humor is sometimes thought an acquired taste for audiences curious about his generation of radio stars; Dunning has written that when he "went into topical humor, he may have forfeited his only opportunity to be the Mark Twain of his century. He had flashes of undeniable brilliance. But the main body of his work deals with the day-to-day fodder of another time, and sons have seldom been amused by the embarrassments or tragedies of their fathers."
But others find many parallels to today's world and its absurdities. The "Allen's Alley" stereotypes make some cringe, as Allen biographer Robert Taylor noted (in Fred Allen: His Life and Wit), but others find them lancing more than lauding stereotypes, letting listeners make up their own minds about how foolish they could be. "Interestingly enough," wrote Frank Buxton and Bill Owen in The Big Broadcast 1920-1950, "[Claghorn, Nussbaum, Moody, and Cassidy] were never criticized as being anti-Southern, anti-Semitic, anti-New England or anti-Irish. The warmth and good humor with which they were presented made them acceptable even to the most sensitive listeners."
Allen employed a writing staff but they served as his sounding boards and early draft consultants as much as actual writers; it was Allen who had the final edit and rewrite of each week's script, working as long as twelve hours a day in his own right on ideas or sketches. His ad-libbing ability caused many a show to fade away behind the ending network identification, because Allen often ate up air time. It was not as unusual for him as for others to sign off with "We're a little late, so good night, folks." Allen's habit of signing off late affected fellow former vaudevillian Phil Baker, whose quiz show Take It or Leave It immediately followed the Allen show. Baker hatched a comic plan to remedy the situation. He kept track of how much time he was losing to Allen over a period of a few months, and when the total reached 15 minutes, Baker barged into the studio 15 minutes earlier than scheduled—while Allen was on the air—and took over the show, welcoming the audience to Take It or Leave It. Allen, aghast but amused, surrendered the microphone to Baker. Allen's parting shot was, "I'll write a letter to Senator Claghorn about this!"
Allen also "died" more eloquently than other radio comics, particularly in the later years. When a joke was greeted with an awkward silence, Allen would comment on the lack of response, with his ad-libbed "explanation" almost always funnier than the original joke, a technique later adopted successfully by Johnny Carson.
Closing the AlleyThe Fred Allen Show was radio's top-rated show of the 1946–47 season. Allen was able to negotiate a lucrative new contract as a result not only of the show's success, but thanks in large measure to NBC's anxiety to keep more of its stars from joining Jack Benny in a wholesale defection to CBS as well as to retain their services for their rapidly expanding television programming. The CBS talent raids broke up NBC's hit Sunday night, and Benny also convinced George Burns and Gracie Allen and Bing Crosby to join his move.
But a year later, he was knocked off his perch, not by a talent raid but by a show on a third rival network, ABC (the former NBC Blue network). The quiz show Stop the Music, hosted by Bert Parks (debuted 1948), required listeners to participate live by telephone. The show became a big enough hit to break into Allen's grip on that Sunday night time slot. At first, Allen fought fire with his own kind of fire: he offered $5,000 to any listener getting a call from Stop the Music or any similar game show while listening to The Fred Allen Show. He never had to pay up, nor was he shy about lampooning the game show phenomenon (especially a riotous parody of another quiz show Parks hosted, lancing Break the Bank in a routine called "Break the Contestant" in which players didn't receive a thing but were compelled to give up possessions when they blew a question).
Unfortunately, Allen fell to number 38 in the radio ratings, his fall compounded by the rise of television in many major cities. By this time, he had changed the show again somewhat, changing the famed "Allen's Alley" skits to take place on "Main Street," and rotating a new character or two in and out of the lineup. He stepped down from radio again in 1949, at the end of his show's regular season, as much under his doctor's orders as because of his slipping ratings. He decided to take a year off, but it did more for his health (he suffered from hypertension) than his career; after the June 26, 1949 show, on which Henry Morgan and Jack Benny guested, Fred Allen never hosted another radio show full-time again.
Feud
Good friends in real life, Fred Allen and Jack Benny inadvertently hatched a running gag in 1937 when a child prodigy, violinist Stuart Canin, gave a very credible performance on the Allen show, inspiring an Allen wisecrack about "a certain alleged violinist" who should hide in shame over his poor playing. Allen often mentioned his show-business friends on the air ("Mr. Jacob Haley of Newton Highlands, Massachusetts" was Allen's way of saying hello to his pal Jack Haley), and on the Canin broadcast Allen knew Benny would be listening. Benny, according to Allen biographer Taylor, burst out laughing, then responded in kind on his own program. The rivalry gag went on for a decade and convinced some fans that the two comedians really were blood enemies.
The Allen-Benny feud was the longest-playing, best-remembered dialogic running gag in classic radio history. The gag even pushed toward a boxing match between the two comedians and the promised event was a sellout, though the match never occurred. The pair even appeared together in films, including Love Thy Neighbor (1940) and It's in the Bag! (1945), Allen's only starring vehicle, also featuring William Bendix, Robert Benchley, and Jerry Colonna. He also starred with Oscar Levant in 20th Century-Fox's anthology film O. Henry's Full House, in The Ransom of Red Chief.
Some of the feud's highlights involved Al Boasberg, who is credited with helping Benny refine his character into what may have been America's first stand-up comedian. Boasberg was well known behind the scenes as a top comedy writer and script doctor, but he seldom received recognition in public. He worked, uncredited, on many films (including the Marx Brothers' hits A Night at the Opera and A Day at the Races). Steaming mad because of his long battles for recognition, Boasberg was said to have delivered a tirade that ended up (in slightly altered form) in an Allen-Benny feud routine:
Allen: Why, you fugitive from a Ripley cartoon ... I'll knock you flatter than the first eight minutes of this program.
Benny: You ought to do well in pictures, Mr. Allen, now that Boris Karloff is back in England.
Allen: Why, if I was a horse, a pony even, and found out that any part of my tail was used in your violin bow, I'd hang my head in my oatbag from then on.
Benny's side of the feud included a tart interpretation of Allen's Town Hall Tonight show, which Benny and company called "Clown Hall Tonight." A signature element of the feud was that, whenever one guested on the other's shows, the host would tend to hand the guest the best lines of the night. (Both Benny and Allen revealed later that each man's writers consulted with each other on routines involving the feud.)
They toned the gag down after 1941, though they kept it going often enough as the years continued, climaxing on Allen's May 26, 1946 show, in which a sketch called "King for a Day," satirizing big-money game shows, featured Benny pretending to be a contestant named Myron Proudfoot on Allen's new quiz show.
Allen: Tomorrow night, in your ermine robe, you will be whisked by bicycle to Orange, New Jersey, where you will be the judge in a chicken-cleaning contest.
Benny (rapturously): I'm KING for a Day!
[Allen proceeds to have Benny's clothes pressed:]
Allen: And that's not all!
Benny: There's more?
Allen: Yes! On our stage we have a Hoffman pressing machine.
Benny: Now wait a minute! Wait a minute!
Allen: An expert operating the Hoffman pressing machine will press your trousers in seconds.
Benny: NOW WAIT A MINUTE!!! (total audience hysteria and laughter, as Benny's pants are literally removed)
Allen: Quiet, King!
Benny: Come on, Allen, give me my pants!
Allen: Keep your shirt on, King.
Benny: You bet I'll keep my shirt on!
Allen: We're a little late, folks! Tune in next week –
Benny: Allen, this is a frame – (starts laughing himself) Where are my pants!
Allen: Benny, for 15 years I've been waiting to catch you like this!
Benny: Allen, you haven't seen the end of me!
Allen: It won't be long now!
Benny: I want my pants!
Allen and Benny couldn't resist one more play on the feud on Allen's final show. Benny appeared as a skinflint bank manager and mortgage company owner bedeviling Henry Morgan. Typically, Allen handed Benny the show's best crack: "Nobody ever made me this cheap on my own program!"
Benny even used the feud on his TV show, when Fred Allen appeared as a special guest in 1953. The program depicted Benny and Allen as rivals for the sponsor's favors. When the sponsor pointed out that Benny was also a musician, Allen countered with a passage on his clarinet.
As Benny said in his co-memoir, Sunday Nights at Seven: The Jack Benny Story (1990; his daughter, Joan, added her own recollections and published the book after Benny's death), "[T]he sky was the limit. Or rather, the mud was the limit."
Benny was profoundly shaken by Allen's sudden death by heart attack in 1956. In a statement released the day after Allen's death, Benny said, "People have often asked me if Fred Allen and I were really friends in real life. My answer is always the same. You couldn't have such a long-running and successful feud as we did, without having a deep and sincere friendship at the heart of it."
Censorship
Allen may have battled censors more than most of his radio contemporaries. "Fred Allen's fourteen-year battle with radio censorship," wrote the New York Herald-Tribune critic John Crosby, "was made particularly difficult for him by the fact that the man assigned to reviewing his scripts had little sense of humor and frankly admitted he didn't understand Allen's peculiar brand of humor at all." Among the blue pencils, according to Crosby, were:
Allen was barred from saying "Brenda never looked lovelier", at the time of socialite Brenda Frazier's wedding, unless he could get direct permission from the Frazier family.
Allen was ordered to change the Cockney accent he assigned the character of a first mate aboard the Queen Mary — on the grounds that the ship's first mate could only be a cultured man who might not like a Cockney accent.
Allen had to fight to keep Mrs. Nussbaum in the Allen's Alley routines because NBC feared Jewish-dialect humor "might offend all Jews" despite the fact that Jewish dialect humor had been a vaudeville and burlesque staple for years.
Allen was ordered to not even mention the fictitious town of North Wrinkle until or unless it could be proven that no such town actually did exist.
"Allen not only couldn't poke fun at individuals", Crosby wrote. "He also had to be careful not to step on their professions, their beliefs, and sometimes even their hobbies and amusements. Portland Hoffa was once given a line about wasting an afternoon at the rodeo. NBC objected to the implication that an afternoon at the rodeo was wasted and the line had to be changed. Another time, Allen gagged that a girl could have found a better husband in a cemetery. (The censor) thought this might hurt the feelings of people who own and operate cemeteries. Allen got the line cleared only after pointing out that cemeteries have been topics for comedy since the time of Aristophanes." Allen's constant and sometimes intense—as well as often ridiculous—battles with censors may have aggravated his longtime problems with hypertension.
Life after the Alley
After his own show ended, Allen became a regular attraction on NBC's The Big Show (1950–1952), hosted by Tallulah Bankhead. He appeared on 24 of the show's 57 installments, including the landmark premiere, and showed he had not lost his trademark ad-lib skill or his rapier wit. (The show's head writer, Goodman Ace, later told radio host Richard Lamparski that Allen's lucrative NBC contract was a large factor in getting him on the show, though Allen also wrote the segments on which he appeared and consulted with the respected Ace and staff on other portions of the show.)
In some ways, The Big Show was an offspring of the old Allen show; his one-time Texaco Star Theater announcer, Jimmy Wallington, was one of The Big Show's announcers, and Portland Hoffa made several appearances with him as well. On the show's premiere, Allen – with a little prodding from head writer Goodman Ace – could not resist one more play on the old Allen-Benny "feud," a riotous parody of Benny's show called "The Pinch Penny Program."
Television
It was also on The Big Show's premiere that Allen delivered perhaps his best-remembered crack about television: "You know, television is called a new medium, and I have discovered why they call it a medium – because nothing is well done." That did not stop the Museum of Broadcast Communications from considering Allen "the intellectual conscience of television." Aside from his famous crack about not liking furniture that talked, Allen observed that television allowed "people who haven't anything to do to watch people who can't do anything."
Allen tried three short-lived television projects of his own, including a bid to bring "Allen's Alley" to television in a visual setting similar to Our Town. NBC apparently rejected the idea out of hand. "Television is a triumph of equipment over people," Allen observed after that, "and the minds that control it are so small that you could put them in the navel of a flea and still have enough room beside them for a network vice president's heart." His other two TV tries were quiz shows. Judge for Yourself (subtitled The Fred Allen Show) was a game show incorporating musical acts. The idea was to allow Allen to ad-lib with guests à la Groucho Marx, but the complicated format had to be revamped in the middle of the run. (The star was "lost in the confusion of a half hour filled with too many people and too much activity," wrote Alan Havig.)
A comedy series, Fred Allen's Sketchbook, did not catch on. He landed a two-year stint as a panelist on the CBS quiz show What's My Line? from 1954 until his death on March 17, 1956. In July 1955 he took a week off from the show to have an emergency appendectomy. Allen's seat on the panel was taken by radio and TV humorist Robert Q. Lewis. The following week, Allen returned to the program—as the mystery guest. After the panel asked several questions, Lewis smiled and said, "I know who it is. Thank you for letting me work tonight!" Allen joked about the operation: "It was an emergency. The doctor needed some money hurriedly."
Allen also spent his final years as a newspaper columnist/humorist and as a memoirist, renting a small New York office to work six hours a day without distractions. He wrote Treadmill to Oblivion (1954, reviewing his radio and television years) and Much Ado About Me (1956, covering his childhood and his vaudeville and Broadway years, and detailing especially vaudeville at its height with surprising objectivity); the former—which included many of his vintage radio scripts—was the best-selling book on radio's classic period for many years. After the frustrations and failures of his attempts to succeed on television, the popularity of Treadmill revealed Allen's potential as a literary humorist.
Film
Allen had a relatively minor career on screen, appearing in seven full-length features and three shorts between 1929 and 1952. His first film, filmed by Paramount Pictures at its New York studio, was The Installment Collector (1929), a nine-minute adaptation of one of his vaudeville acts, in which he remits a succession of personal articles to an insistent debt collector. Allen followed this with two shorts for Vitaphone, also filmed in New York. Allen's first feature film was the 1935 Dick Powell musical comedy Thanks a Million, which The New York Times reviewed, naming only Allen in their headline. 1940's Love Thy Neighbor played off the comic feud with Jack Benny. His sole leading role was as flea circus impresario Fred F. Trumble Floogle, in the frenetic It's in the Bag!, a loose adaptation of Ilf and Petrov's novel The Twelve Chairs.
Death
Taking one of his regular late night strolls up New York's West 57th Street on Saturday night, March 17, 1956, Allen suffered a heart attack and died at the age of 61. A popular myth repeated for many years, first published in The New York Times story appearing the day after Allen's death, was that he had died while walking his dog. However, biographer Robert Taylor later revealed that Allen had never owned a dog. Allen died before he could complete the final chapter of his memoirs, and as a result the book was published as he had left it. He was a tireless letter writer, and his letters were edited by his wife into the publication of Fred Allen's Letters in 1965.
During the following night's regular Sunday broadcast of What's My Line? at 10:30 p.m., barely 24 hours following Allen's death, host John Daly preceded the program with a special message to the viewing audience. He stated that earlier in the day the producers had considered replacing the regular game play with a special memorial episode, but Allen's wife Portland Hoffa stated that she preferred the show be conducted as it always had been, indicating that this is what Allen would have wanted. The program then proceeded as normal, but with a noticeably subdued tone. Steve Allen (no relation) took Fred's chair on the panel. During the final ninety seconds of the program Steve Allen, Arlene Francis and Bennett Cerf (whose eyes began to tear) gave brief but heartfelt tributes to Fred. A somber Dorothy Kilgallen thanked Steve Allen for stepping in and helping them to carry on at a difficult moment; a similar on-air farewell would air after Kilgallen herself died unexpectedly in 1965.
Allen has two stars on the Hollywood Walk of Fame: a radio star at 6713 Hollywood Blvd. and a TV star at 7001 Hollywood Blvd. Allen was inducted into the National Radio Hall of Fame in 1988. A pedestrian passageway in the Boston Theater District, designated "Allen's Alley", also honors his memory.
Allen's widow, Portland Hoffa, married bandleader Joe Rines in 1959 and celebrated a second silver wedding anniversary well before her own death of natural causes in Los Angeles on Christmas Day, 1990. Allen and Hoffa are buried alongside each other in section 47 at Gate of Heaven Cemetery in Hawthorne, New York. Both Allen's real and stage names are engraved on the headstone.
Cultural legacy
Several late-'30s Warner Bros. Merrie Melodies cartoon shorts feature parodies of Allen. Friz Freleng's Toy Town Hall (1936) is a spoof of Allen's Town Hall Tonight, with toys that come to life in a boy's dreams and put on a variety show. Frank Tashlin's The Woods Are Full of Cuckoos (1937) features a Fred Allen fox screaming about being misinformed, hinting about his heated feuds with censors who were often at the last minute forcing script changes on his show because of its content. And Tex Avery's Thugs with Dirty Mugs (1938) features the main character addressing the audience and showing them his Fred Allen impersonation in one scene.
In Action Comics #50 (July 1942), Superman quips, "Fred Allen would get a kick out of this!" as he hops on to the side of a moving train.
Bibliography
Allen, Fred. Much Ado About Me (Boston: Little, Brown, 1956).
Allen, Fred. Treadmill to Oblivion (Boston: Little, Brown, 1954).
Allen, Fred, ed. by Joe McCarthy, Fred Allen's Letters (New York: Doubleday, 1965)
Allen, Fred, ed. by Stuart Hample, all the sincerity in hollywood... (New York: Fulcrum Publishing, 2001). (The lower-case of the title was a tribute to Allen's habit, later in his life, of typing his letters in all-lower case, à la poet E. E. Cummings.)
Smith, H. Allen, introduction by Fred Allen. Low Man on a Totem Pole, Doubleday, Doran, 1941.
See also
Colgate Comedy Hour (Fred Allen episodes)
References
Sources
Jack Benny and Joan Benny, Sunday Nights at Seven: The Jack Benny Story. (New York: Warner Books, 1990).
Frank Buxton and Bill Owen, The Big Broadcast: 1920-1950 (New York: Flare Books/Avon, 1972).
John Crosby, Out of the Blue: A Book About Radio and Television (New York: Simon and Schuster, 1952).
Alan Havig, Fred Allen's Radio Comedy (Philadelphia: Temple University Press, 1989).
Ben Schwartz, "The Man Who Invented Jack Benny" ('Written By', Writer's Guild of America, 2002)
Robert Taylor, Fred Allen: His Life and Wit (Boston: Little, Brown, 1989).
John Dunning, On the Air: The Encyclopedia of Old-Time Radio''. (New York: Oxford University Press, 1998).
Hilmes, M. (1997). Radio voices American broadcasting, 1922–1952. Minnesota Minneapolis: University of Minnesota Press.
External links
Fred Allen Fred Allen's Radio, television, and film appearances
Fred Allen In-depth Fred Allen Biographical Interview with Martin Gostainian
Laughterlog.com Biography with list of radio, television, film and record appearances
Irving Wallace on Fred Allen
Audio files
Internet Archives: The Fred Allen Show (150 episodes in MP3 format)
OTR Network Library: The Fred Allen Show (84 episodes)
Biography in Sound: "A Portrait of Fred Allen" (May 29, and December 18, 1956)
Zoot Radio, free old time radio show downloads of the 'Fred Allen' radio program
149 episodes.
1894 births
1956 deaths
American male comedians
Radio personalities from New York City
American satirists
Boston University alumni
Burials at Gate of Heaven Cemetery (Hawthorne, New York)
Peabody Award winners
People from Cambridge, Massachusetts
Vaudeville performers
American male film actors
Comedians from New York City
20th-century American comedians
20th-century American male actors
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"Ben James Peters (born Greenville, Mississippi, June 20, 1933; died Nashville, Tennessee, May 25, 2005) was an American country music songwriter who wrote many #1 songs. Charley Pride recorded 68 of his songs and 6 of them went to #1 on the American country charts. Peters was inducted into the Nashville Songwriters Hall of Fame in 1980.\n\nPeters was briefly a recording artist himself; his only charting hit was his own composition \"San Francisco is a Lonely Town\", which hit #46 on the country charts in 1969.\n\nNumber One Compositions in America\n\n\"Turn the World Around\" (1967) was a #1 Billboard chart country hit for Eddy Arnold & top 5 Billboard chart AC single.\n\"That's A No, No\" was a 1969 #1 Cashbox chart country hit for Lynn Anderson.\n\"Kiss an Angel Good Mornin'\" was a 1971 #1 Billboard chart country hit for Charley Pride; it also went to #21 on the American pop charts. It won Ben Peters the 1973 Grammy Award for Best Country Song.\n\"It's Gonna Take a Little Bit Longer\" was a 1972 #1 Billboard chart country hit for Charley Pride.\n\"Before the Next Teardrop Falls\" (w/Vivian Keith); first recorded in 1967 by Duane Dee in a version which reached #44 on the Billboard country singles chart early in 1968, the 1975 version by Freddy Fender was a #1 Billboard chart country and a #1 Billboard chart pop hit; it won a Country Music Association Award for Single of the Year in 1975.\n\"Love Put a Song in My Heart\" (1975) was a #1 Billboard chart country hit for Johnny Rodriguez.\n\"A Whole Lotta Things to Sing About\" was a #1 Billboard chart country hit for Charley Pride in 1976.\n\"Daytime Friends\" (1977) was a #1 Billboard chart country hit for Kenny Rogers. Westlife covered this song for a special BBC performance with Tony Brown as producer.\n\"Burgers and Fries\" was a 1978 #1 Billboard chart country hit for Charley Pride.\n\"Before My Time\" was a 1979 #1 Record World chart country hit for John Conlee and also a #1 hit on Canada's RPM'S country chart.\n\"You're So Good When You're Bad\" (1982) was a #1 Billboard chart country hit for Charley Pride.\n\nOther Number One Compositions\n I Want To Wake Up With You as recorded by Reggae singer, Boris Gardiner (1986-1987). This song was #1 in UK for 3 weeks. This song is one of the biggest hits in the history of reggae music.\n\"Living It Down\" went #1 in Canada's country music charts and it went to #2 as a Billboard chart country hit for Freddy Fender in 1976 in America.\n\nNotable Compositions\n\n\"If The Whole World Stopped Lovin'\" was a #3 pop hit in the UK in November 1967 for the Irish singer Val Doonican. It made #2 in Ireland.\n\"If The Whole World Stopped Lovin'\" was a #12 American Billboard chart hit in 1966 pop hit for Roy Drusky.\n\"Misty Memories\" was a Grammy Nominated country chart hit for Brenda Lee in 1971.\n\"I Need Somebody Bad\" was a #11 Billboard country chart hit for Jack Greene in 1973.\n\"Don't Give Up On Me\" was a #3 American Billboard country chart hit for Jerry Wallace in 1973.\n\"It's Time To Cross That Bridge\" was a #13 Billboard chart country hit for Jack Greene in 1973.\n\"I Can't Believe That It's All Over\" was a #13 Billboard chart country hit for Skeeter Davis in 1973.\n\"All Over Me\" was a 1975 #4 Billboard chart country hit in America for Charlie Rich.\n\"Lovin' On\" was a #20 American Billboard chart country hit for T.G. Sheppard in 1977.\n\"Before the Night is Over\" was recorded by Jerry Lee Lewis originally in 1977 and by Jerry Lee and BB King in 2006.\n\"Puttin' In Overtime At Home\" was a 1977 #8 Billboard chart country hit in America for Charlie Rich. It made #3 in Canada.\n\"Lovin' On\" was a #16 American Billboard chart country hit for Bellamy Brothers in 1978.\n\"Tell Me What It's Like\" (1979) was a #8 American Billboard chart Grammy Nominated country hit for Brenda Lee.\n\"Lost My Baby Blues\" was a 1982 top 5 Billboard chart country hit in America for David Frizzell. It made #5 in Canada.\n\"I'm Only a Woman\" recorded by Tammy Wynette.\n\nNotable History Making Albums\n\nPeters had 3 songs, \"The Little Town Square\", \"That's A No No\" and \"Satan Place\" on the million selling The Harper Valley P.T.A. album. This is a pop culture music album by Jeannie C. Riley released in 1968. This is Jeannie C. Riley's biggest album ever. The album was released by Plantation Records, and was very successful. The album reached No. 1 on the Billboard pop album chart, and No. 1 on the Billboard country album chart.\nPeters had 2 songs, \"Mr. Mistletoe\" and \"Soon It Will Be Christmas Day\" on The Christmas Album. This is a holiday music album by country music singer Lynn Anderson released in 1971. This was Lynn Anderson's first Christmas music album. The album was released by Columbia Records, and was very successful. The album reached No. 13 on the \"Billboard 200\" in 1971 (her highest chart position on that chart).\nPeters had 1 song, \"Daytime Friends\" on the 4 million selling 10 Years of Gold album. This is a collection of 10 years of Kenny Rogers hits. The album was released by United Artist, and went No. 1 on the Billboard country album chart in 1977.\nPeters had 1 song, \"Daytime Friends\" on the 4 million selling Kenny Rogers 20 Greatest Hits album. This is a collection of his hits prior to this project released in 1983. The album was released by Liberty Records, and was successful.\n\nReferences\n\nAmerican country songwriters\nAmerican male songwriters\nUniversity of Southern Mississippi alumni\n2005 deaths\n1933 births\nMusicians from Greenville, Mississippi\n20th-century American musicians\nSongwriters from Mississippi\n20th-century American male musicians",
"\"Close Your Eyes\" is a 1973 hit song recorded by Canadian trio Edward Bear. It was the lead single released from their fourth and final studio album, Close Your Eyes and was the biggest hit from the LP. The song was written by Larry Evoy, and was a sequel to their best-known hit, \"Last Song\".\n\n\"Close Your Eyes\" spent 12 weeks on the U.S. charts, and peaked at number 37 on the Billboard Hot 100. It was a major hit in their home nation, where it reached number three. It was a sizeable Adult Contemporary hit in both nations, reaching number 11 in the U.S. and number four in Canada. It was the group's final hit.\n\nThe song was included on their 1984 compilation LP, The Best Of The Bear.\n\nChart performance\n\nWeekly charts\n\nYear-end charts\n\nReferences\n\nExternal links\n Lyrics of this song\n \n\n1973 songs\n1973 singles\nCapitol Records singles\nCanadian soft rock songs\n1970s ballads\nEdward Bear songs"
] |
[
"Fred Allen",
"Broadway",
"What did Fred allen have to do with Broadway?",
"as The Passing Show in 1922. The show played well in its runup to Broadway but lasted only ten weeks at the Winter Garden Theatre.",
"How long did Broadway run?",
"lasted only ten weeks",
"Was it a hit?",
"The show played well in its runup to Broadway"
] |
C_712b4ac7451d4a5fb8b4b9cb9fb76e4d_1
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What show was a run up to Broadway?
| 4 |
What show was a run up to Broadway?
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Fred Allen
|
Allen gave vaudeville itself a timeline of 1875-1925 in Much Ado About Me, but he actually left vaudeville a few years earlier, moving to work in such Shubert Brothers stage productions as The Passing Show in 1922. The show played well in its runup to Broadway but lasted only ten weeks at the Winter Garden Theatre. Allen did, however, take something far more lasting from the show: one of the show's chorus girls, Portland Hoffa, who became his wife in 1927 and remained with him until his death. He also took good notices for his comic work in several of the productions, particularly Vogues and Greenwich Village Follies, and continued to develop his comic writing, even writing a column for Variety called "Near Fun." A salary dispute ended the column; Allen wanted only $60 a week to give up his theater work to become a full-time columnist, but his editor tried a sleight-of-hand based on the paper's ad rates to deny him. He spent his summer in Boston, honed his comic and writing skills even further, worked in a respectfully received duo that billed themselves as Fink and Smith, and played a few of the dying vaudeville houses. Allen returned to New York to the pleasant surprise that Portland Hoffa was taking instruction to convert to Roman Catholicism. After the couple married, Allen began writing material for them to use together ("With a vaudeville act, Portland and I could be together, even if we couldn't find any work"), and the couple divided their time between the show business circuit, Allen's New England family home and Old Orchard Beach, Maine, in summers. CANNOTANSWER
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He also took good notices for his comic work in several of the productions, particularly Vogues and Greenwich Village Follies,
|
John Florence Sullivan (May 31, 1894 – March 17, 1956), known professionally as Fred Allen, was an American comedian. His absurdist, topically pointed radio program The Fred Allen Show (1932–1949) made him one of the most popular and forward-looking humorists in the Golden Age of American radio.
His best-remembered gag was his long-running mock feud with friend and fellow comedian Jack Benny, but it was only part of his appeal; radio historian John Dunning (in On the Air: The Encyclopedia of Old-Time Radio) wrote that Allen was perhaps radio's most admired comedian and most frequently censored. A master ad libber, Allen often tangled with his network's executives (and often barbed them on the air over the battles) while developing routines whose style and substance influenced fellow comic talents, including Groucho Marx, Stan Freberg, Henry Morgan, and Johnny Carson; his avowed fans also included President Franklin D. Roosevelt, humorist James Thurber, and novelists William Faulkner, John Steinbeck, and Herman Wouk (who began his career writing for Allen).
Allen was honored with stars on the Hollywood Walk of Fame for contributions to television and radio.
Childhood
John Florence Sullivan was born in Cambridge, Massachusetts, to Irish Catholic parents. Allen barely knew his mother, Cecilia Herlihy Sullivan, who died of pneumonia when he was not quite three years old. Along with his father, James Henry Sullivan, and his infant brother Robert, Allen was taken in by one of his mother's sisters, "my aunt Lizzie", around whom he focused the first chapter of his second memoir, Much Ado About Me. His father was so shattered by his mother's death that, according to Allen, he drank more heavily. His aunt suffered as well; her husband Michael was partially paralyzed by lead poisoning shortly after they married, leaving him mostly unable to work, something Allen remembered as causing contention among Lizzie's sisters. Eventually, Allen's father remarried and offered his sons the choice between coming with him and his new wife or staying with Aunt Lizzie. Allen's younger brother chose to go with their father, but Allen decided to stay with his aunt. "I never regretted it", he wrote.
Vaudeville
Allen took piano lessons as a boy, his father having brought an Emerson upright along when they moved in with his aunt. He learned exactly two songs – "Hiawatha" and "Pitter, Patter, Little Raindrops" – and would be asked to play "half or all my repertoire" when visitors came to the house. He also worked at the Boston Public Library, where he discovered a book about the origin and development of comedy. Enduring various upheavals at home (other aunts came and went, prompting several moves), Allen also took up juggling while learning as much as possible about comedy.
Some library co-workers planned to put on a show and asked him to do a bit of juggling and some of his comedy. When a girl in the crowd told him, "You're crazy to keep working here at the library; you ought to go on stage," Allen decided his career path was set.
In 1914, at the age of 20, Allen took a job with a local piano company, in addition to his library work. He appeared at a number of amateur night competitions, soon taking the stage name Fred St. James, and booking with the local vaudeville circuit at $30 a week, enough at that time to allow him to quit his jobs with the library and the piano company. Eventually he became "Freddy James," often billing himself as the world's worst juggler. Allen refined the mix of his deliberately clumsy juggling and the standard jokes and one-liners, directing much of the humor at his own poor juggling abilities. During a ten-year world tour, his vaudeville act evolved more toward monologic comedy and less juggling. In 1917, returning to the New York circuit, his stage name was changed to Fred Allen so that he would not be offered the same low salary that theater owners had been accustomed to paying him in his early career. His new surname came from Edgar Allen, a booker for the Fox theaters.
In 1922, Allen commissioned comic-strip artist Martin Branner to cover a theater curtain with an elaborate mural painting depicting a cemetery with a punchline on each gravestone. This was the "Old Joke Cemetery", where overworked gags go to die. In Allen's act, the audiences would see the curtain (and have several minutes to read its 46 punchlines) before Allen made his entrance. Audiences typically would be laughing at the curtain before Allen even appeared. Robert Taylor's biography of Allen includes an impressive full-length photo of Branner's curtain painting, and many of the punchlines are clearly legible in the photo.
Allen used a variety of gimmicks in his changing act, from a ventriloquist dummy to juggling to singing, but the focus was always on his comedy, which was heavy on wordplay. One recurring bit was to read a purported "letter from home" with material such as the following:
"The man next door has bought pigs; we got wind of it this morning. Your father had a terrible fight with him about it, and the man hit your father with a rock in the left ear. It didn't bother your father; he is stone deaf in that ear. The policeman who took him away said that he would get his hearing in the morning. The other man, the one who owns the pigs, was arrested for fragrancy... There is no other news except that our oil stove exploded yesterday and blew your father and me out into the backyard. It is the first time we have been out together for twenty years.
Allen's wit was at times not intended for the vaudeville audience but rather for other professionals in show business. After one of his appearances failed one day, Allen made the best of it by circulating an obituary of his act on black-bordered funeral stationery. He also mailed vials of his supposed flop sweat to newspapers as part of his comic self-promotion.
In 1921 Fred Allen and Nora Bayes toured with the company of Lew Fields. Their musical director was a nineteen-year-old Richard Rodgers. Many years later, when he and Oscar Hammerstein II appeared as mystery guests on What's My Line?, Rodgers recalled Allen's act, sitting on the edge of the stage, his legs dangling down, playing a banjo while telling jokes.
Broadway
Allen gave vaudeville itself a timeline of 1875–1925 in Much Ado About Me, but he actually left vaudeville a few years earlier, moving to work in such Shubert Brothers stage productions as The Passing Show in 1922. The show played well in its runup to Broadway but lasted only ten weeks at the Winter Garden Theatre. Allen did, however, take something far more lasting from the show: one of the show's chorus girls, Portland Hoffa, who became his wife in 1927 and remained with him until his death.
He also took good notices for his comic work in several of the productions, particularly Vogues and Greenwich Village Follies, and continued to develop his comic writing, even writing a column for Variety called "Near Fun." A salary dispute ended the column; Allen wanted only $60 a week to give up his theater work to become a full-time columnist, but his editor tried a sleight-of-hand based on the paper's ad rates to deny him. He spent his summer in Boston, honed his comic and writing skills even further, worked in a respectfully received duo that billed themselves as Fink and Smith, and played a few of the dying vaudeville houses.
Allen returned to New York to the pleasant surprise that Portland Hoffa was taking instruction to convert to Roman Catholicism. After the couple married, Allen began writing material for them to use together ("With a vaudeville act, Portland and I could be together, even if we couldn't find any work"), and the couple divided their time between the show business circuit, Allen's New England family home and Old Orchard Beach, Maine, in summers.
Radio
Fred Allen's first taste of radio came while he and Portland Hoffa waited for a promised slot in a new Arthur Hammerstein musical. In the interim, they appeared on a Chicago station's program, WLS Showboat, into which Allen recalled, "Portland and I were presented... to inject a little class into it." Their success in these appearances helped their theater reception; live audiences in the Midwest liked to see their radio favorites in person, even if Allen and Hoffa would be replaced by Bob Hope when the radio show moved to New York several months afterward.
The couple eventually got their Hammerstein show, Polly, which opened in Delaware and made the usual tour before hitting Broadway. Also in that cast was a young Englishman named Archie Leach, who received as many good notices for his romantic appeal as Allen got for his comic work. Hammerstein retooled the show before bringing it to New York, replacing everyone but two women and Allen. Leach decided to buy an old car and drive to Hollywood. "What Archie Leach didn't tell me," Allen remembered, "was that he was going to change his name to Cary Grant."
Polly never succeeded in spite of several retoolings, but Allen did go on to successful shows like The Little Show (1929–30) and Three's a Crowd (1930–31), which eventually led to his full-time entry to radio in 1932.
Town Hall Tonight
Allen first hosted The Linit Bath Club Revue on CBS, moving the show to NBC and becoming The Salad Bowl Revue (in a nod to new sponsor Hellmann's Mayonnaise, which was marketed by the parent company of Linit) later in the year. The show became The Sal Hepatica Revue (1933–34), The Hour of Smiles (1934–35), and finally Town Hall Tonight (1935–39). In 1939–40, however, sponsor Bristol-Myers, which advertised Ipana toothpaste as well as Sal Hepatica during the program, altered the title to The Fred Allen Show, over his objections. Allen's perfectionism (odd to some, considering his deft ad-libs) caused him to leap from sponsor to sponsor until Town Hall Tonight allowed him to set his chosen small-town milieu and establish himself as a bona fide radio star.
The hour-long show featured segments that would influence radio and, much later, television; news satires such as Rowan and Martin's Laugh-In'''s "Laugh-In Looks at the News" and Saturday Night Live's "Weekend Update" were influenced by Town Hall Tonight's "The News Reel", later renamed "Town Hall News" (and in 1939–40, as a sop to his sponsor, "Ipana News"). The Tonight Show Starring Johnny Carson's "Mighty Carson Art Players" routines referenced Allen's Mighty Allen Art Players, in name and sometimes in routines. Allen and company also satirized popular musical comedies and films of the day, including and especially Oklahoma!. Allen also did semi-satirical interpretations of well-known lives—including his own.
The show that became Town Hall Tonight was the longest-running hour-long comedy-based show in classic radio history. In 1940, Allen moved back to CBS Radio with a new sponsor and show name, Texaco Star Theater, airing every Wednesday at 9:00 pm ET on CBS, then Sundays at 9:00 pm in the fall of 1941. By 1942, he shortened the show to half an hour, at 9:30 pm ET—under network and sponsor edict, not his own. He also chafed under being forced to give up a Town Hall Tonight signature, using barely known and amateur guests effectively, in favor of booking more recognizable guests, though he liked many of those. Guests included singers from Kingston, New York, the original woman behind the "Aunt Jemima" on pancake boxes, and more guests up the road—from Saugerties, like the singer, Donald Gardner.
Back to NBC
He took over a year off due to hypertension and returned in 1945 with The Fred Allen Show on NBC, Sunday nights at 8:30 p.m. EST. Standard Brands' Blue Bonnet Margarine & Tenderleaf Tea, and later, Ford Motor Company, were the sponsors for the rest of the show's life. (Texaco revived Texaco Star Theater in 1948 on radio, and more successfully on television, making an American icon out of star Milton Berle).
Allen again made a few changes, including the singing DeMarco Sisters, to whom he'd been tipped by arranger-composer Gordon Jenkins. "We did four years with Mr. Allen and got one thousand dollars a week," Gloria DeMarco remembered. "Sunday night was the best night on radio." Sunday night with Fred Allen seemed incomplete on any night listeners didn't hear the DeMarco Sisters, whose breezy, harmonious style became as familiar as their cheerfully sung "Mr. Al-len, Mr. Alll-llennnn" in the show's opening theme. During the theme's brief pause, Allen would say something like, "It isn't the mayor of Anaheim, Azusa and Cucamonga, kiddies." That device became a signature for three of the four years.
Allen's Alley
The other change, born in the Texaco days and evolving from his earlier news spoofs, proved his most enduring, premiering December 6, 1942. The inspiration for the mythical Main Street of "Allen's Alley" came from the small-town heartland folks who were often profiled in the newspaper columns written by O. O. McIntyre (1884–1938), one of the most popular columnists of the 1930s with some seven million readers.
"Allen's Alley" followed a brief Allen monologue and comic segment with Portland Hoffa ("Misssss-ter Allll-llennnn!"), usually involving gags about her family which she instigated. Then a brief music interlude would symbolize the two making their way to the fictitious Alley.
The segment was always launched by a quick exchange that began with Hoffa asking Allen what he would ask the Alley denizens that week. After she implored him, "Shall we go?" Allen would reply with cracks like, "As the two drumsticks said when they spotted the tympani, let's beat it!'"; or "As one strapless gown said to the other strapless gown, 'What's holding us up?'"
A small host of stereotypical characters greeted Allen and Hoffa down the Alley, discussing Allen's question of the week, usually drawing on news items or popular happenings around town, whether gas rationing, traffic congestion, the Pulitzer Prizes, postwar holiday travel, or the annual Ringling Brothers and Barnum & Bailey Circus visit.
The Alley went through a few changes in the first installments. Early denizens included sarcastic John Doe (John Brown), self-possessed Senator Bloat and town drunk Sampson Souse (Jack Smart), dimwitted Socrates Mulligan (Charlie Cantor), pompous poet Falstaff Openshaw (Alan Reed), and wry Jewish housewife Pansy Nussbaum (Minerva Pious). By 1945, Pious and Reed were joined by two new Alley denizens: Parker Fennelly as stoic New England farmer Titus Moody, and Kenny Delmar, the new show's announcer, as bellowing Southern senator Beauregard Claghorn. Pious is credited with tipping Allen to Delmar, who based the character on a real-life person he had encountered while hitchhiking in 1928; Delmar had originally named the voice characterization "Dynamite Gus." Within weeks, Claghorn became one of the leading comedy characters of radio as listeners across the country began quoting his catchphrases: "Somebody, Ah say, somebody knocked"; "I'm from the South, Suh"; "That's a joke, son"; and "Pay attention, boy!" Claghorn served as the model for the Warner Bros. cartoon character Foghorn Leghorn, who first appeared the following August in the Oscar-nominated Walky Talky Hawky.
Other characters had catchphrases that were almost as famous as Claghorn's, such as Titus Moody's "Howdy, Bub", and Falstaff Openshaw's "That is precisely why I am here." Mrs. Nussbaum always greeted Allen by saying, "You were expecting maybe...", and then she would mispronounce the name of a glamorous film star, such as "Too-ra-loo-ra-loo-ra Bankhead?". The Alley sketches made only one further cast change, when Peter Donald's chipper Irishman Ajax Cassidy succeeded Reed's Falstaff.
Despite the ethnic diversity, the Alley characters seemed less citified and more akin with O. O. McIntyre's small-town America. Allen's topical humor is sometimes thought an acquired taste for audiences curious about his generation of radio stars; Dunning has written that when he "went into topical humor, he may have forfeited his only opportunity to be the Mark Twain of his century. He had flashes of undeniable brilliance. But the main body of his work deals with the day-to-day fodder of another time, and sons have seldom been amused by the embarrassments or tragedies of their fathers."
But others find many parallels to today's world and its absurdities. The "Allen's Alley" stereotypes make some cringe, as Allen biographer Robert Taylor noted (in Fred Allen: His Life and Wit), but others find them lancing more than lauding stereotypes, letting listeners make up their own minds about how foolish they could be. "Interestingly enough," wrote Frank Buxton and Bill Owen in The Big Broadcast 1920-1950, "[Claghorn, Nussbaum, Moody, and Cassidy] were never criticized as being anti-Southern, anti-Semitic, anti-New England or anti-Irish. The warmth and good humor with which they were presented made them acceptable even to the most sensitive listeners."
Allen employed a writing staff but they served as his sounding boards and early draft consultants as much as actual writers; it was Allen who had the final edit and rewrite of each week's script, working as long as twelve hours a day in his own right on ideas or sketches. His ad-libbing ability caused many a show to fade away behind the ending network identification, because Allen often ate up air time. It was not as unusual for him as for others to sign off with "We're a little late, so good night, folks." Allen's habit of signing off late affected fellow former vaudevillian Phil Baker, whose quiz show Take It or Leave It immediately followed the Allen show. Baker hatched a comic plan to remedy the situation. He kept track of how much time he was losing to Allen over a period of a few months, and when the total reached 15 minutes, Baker barged into the studio 15 minutes earlier than scheduled—while Allen was on the air—and took over the show, welcoming the audience to Take It or Leave It. Allen, aghast but amused, surrendered the microphone to Baker. Allen's parting shot was, "I'll write a letter to Senator Claghorn about this!"
Allen also "died" more eloquently than other radio comics, particularly in the later years. When a joke was greeted with an awkward silence, Allen would comment on the lack of response, with his ad-libbed "explanation" almost always funnier than the original joke, a technique later adopted successfully by Johnny Carson.
Closing the AlleyThe Fred Allen Show was radio's top-rated show of the 1946–47 season. Allen was able to negotiate a lucrative new contract as a result not only of the show's success, but thanks in large measure to NBC's anxiety to keep more of its stars from joining Jack Benny in a wholesale defection to CBS as well as to retain their services for their rapidly expanding television programming. The CBS talent raids broke up NBC's hit Sunday night, and Benny also convinced George Burns and Gracie Allen and Bing Crosby to join his move.
But a year later, he was knocked off his perch, not by a talent raid but by a show on a third rival network, ABC (the former NBC Blue network). The quiz show Stop the Music, hosted by Bert Parks (debuted 1948), required listeners to participate live by telephone. The show became a big enough hit to break into Allen's grip on that Sunday night time slot. At first, Allen fought fire with his own kind of fire: he offered $5,000 to any listener getting a call from Stop the Music or any similar game show while listening to The Fred Allen Show. He never had to pay up, nor was he shy about lampooning the game show phenomenon (especially a riotous parody of another quiz show Parks hosted, lancing Break the Bank in a routine called "Break the Contestant" in which players didn't receive a thing but were compelled to give up possessions when they blew a question).
Unfortunately, Allen fell to number 38 in the radio ratings, his fall compounded by the rise of television in many major cities. By this time, he had changed the show again somewhat, changing the famed "Allen's Alley" skits to take place on "Main Street," and rotating a new character or two in and out of the lineup. He stepped down from radio again in 1949, at the end of his show's regular season, as much under his doctor's orders as because of his slipping ratings. He decided to take a year off, but it did more for his health (he suffered from hypertension) than his career; after the June 26, 1949 show, on which Henry Morgan and Jack Benny guested, Fred Allen never hosted another radio show full-time again.
Feud
Good friends in real life, Fred Allen and Jack Benny inadvertently hatched a running gag in 1937 when a child prodigy, violinist Stuart Canin, gave a very credible performance on the Allen show, inspiring an Allen wisecrack about "a certain alleged violinist" who should hide in shame over his poor playing. Allen often mentioned his show-business friends on the air ("Mr. Jacob Haley of Newton Highlands, Massachusetts" was Allen's way of saying hello to his pal Jack Haley), and on the Canin broadcast Allen knew Benny would be listening. Benny, according to Allen biographer Taylor, burst out laughing, then responded in kind on his own program. The rivalry gag went on for a decade and convinced some fans that the two comedians really were blood enemies.
The Allen-Benny feud was the longest-playing, best-remembered dialogic running gag in classic radio history. The gag even pushed toward a boxing match between the two comedians and the promised event was a sellout, though the match never occurred. The pair even appeared together in films, including Love Thy Neighbor (1940) and It's in the Bag! (1945), Allen's only starring vehicle, also featuring William Bendix, Robert Benchley, and Jerry Colonna. He also starred with Oscar Levant in 20th Century-Fox's anthology film O. Henry's Full House, in The Ransom of Red Chief.
Some of the feud's highlights involved Al Boasberg, who is credited with helping Benny refine his character into what may have been America's first stand-up comedian. Boasberg was well known behind the scenes as a top comedy writer and script doctor, but he seldom received recognition in public. He worked, uncredited, on many films (including the Marx Brothers' hits A Night at the Opera and A Day at the Races). Steaming mad because of his long battles for recognition, Boasberg was said to have delivered a tirade that ended up (in slightly altered form) in an Allen-Benny feud routine:
Allen: Why, you fugitive from a Ripley cartoon ... I'll knock you flatter than the first eight minutes of this program.
Benny: You ought to do well in pictures, Mr. Allen, now that Boris Karloff is back in England.
Allen: Why, if I was a horse, a pony even, and found out that any part of my tail was used in your violin bow, I'd hang my head in my oatbag from then on.
Benny's side of the feud included a tart interpretation of Allen's Town Hall Tonight show, which Benny and company called "Clown Hall Tonight." A signature element of the feud was that, whenever one guested on the other's shows, the host would tend to hand the guest the best lines of the night. (Both Benny and Allen revealed later that each man's writers consulted with each other on routines involving the feud.)
They toned the gag down after 1941, though they kept it going often enough as the years continued, climaxing on Allen's May 26, 1946 show, in which a sketch called "King for a Day," satirizing big-money game shows, featured Benny pretending to be a contestant named Myron Proudfoot on Allen's new quiz show.
Allen: Tomorrow night, in your ermine robe, you will be whisked by bicycle to Orange, New Jersey, where you will be the judge in a chicken-cleaning contest.
Benny (rapturously): I'm KING for a Day!
[Allen proceeds to have Benny's clothes pressed:]
Allen: And that's not all!
Benny: There's more?
Allen: Yes! On our stage we have a Hoffman pressing machine.
Benny: Now wait a minute! Wait a minute!
Allen: An expert operating the Hoffman pressing machine will press your trousers in seconds.
Benny: NOW WAIT A MINUTE!!! (total audience hysteria and laughter, as Benny's pants are literally removed)
Allen: Quiet, King!
Benny: Come on, Allen, give me my pants!
Allen: Keep your shirt on, King.
Benny: You bet I'll keep my shirt on!
Allen: We're a little late, folks! Tune in next week –
Benny: Allen, this is a frame – (starts laughing himself) Where are my pants!
Allen: Benny, for 15 years I've been waiting to catch you like this!
Benny: Allen, you haven't seen the end of me!
Allen: It won't be long now!
Benny: I want my pants!
Allen and Benny couldn't resist one more play on the feud on Allen's final show. Benny appeared as a skinflint bank manager and mortgage company owner bedeviling Henry Morgan. Typically, Allen handed Benny the show's best crack: "Nobody ever made me this cheap on my own program!"
Benny even used the feud on his TV show, when Fred Allen appeared as a special guest in 1953. The program depicted Benny and Allen as rivals for the sponsor's favors. When the sponsor pointed out that Benny was also a musician, Allen countered with a passage on his clarinet.
As Benny said in his co-memoir, Sunday Nights at Seven: The Jack Benny Story (1990; his daughter, Joan, added her own recollections and published the book after Benny's death), "[T]he sky was the limit. Or rather, the mud was the limit."
Benny was profoundly shaken by Allen's sudden death by heart attack in 1956. In a statement released the day after Allen's death, Benny said, "People have often asked me if Fred Allen and I were really friends in real life. My answer is always the same. You couldn't have such a long-running and successful feud as we did, without having a deep and sincere friendship at the heart of it."
Censorship
Allen may have battled censors more than most of his radio contemporaries. "Fred Allen's fourteen-year battle with radio censorship," wrote the New York Herald-Tribune critic John Crosby, "was made particularly difficult for him by the fact that the man assigned to reviewing his scripts had little sense of humor and frankly admitted he didn't understand Allen's peculiar brand of humor at all." Among the blue pencils, according to Crosby, were:
Allen was barred from saying "Brenda never looked lovelier", at the time of socialite Brenda Frazier's wedding, unless he could get direct permission from the Frazier family.
Allen was ordered to change the Cockney accent he assigned the character of a first mate aboard the Queen Mary — on the grounds that the ship's first mate could only be a cultured man who might not like a Cockney accent.
Allen had to fight to keep Mrs. Nussbaum in the Allen's Alley routines because NBC feared Jewish-dialect humor "might offend all Jews" despite the fact that Jewish dialect humor had been a vaudeville and burlesque staple for years.
Allen was ordered to not even mention the fictitious town of North Wrinkle until or unless it could be proven that no such town actually did exist.
"Allen not only couldn't poke fun at individuals", Crosby wrote. "He also had to be careful not to step on their professions, their beliefs, and sometimes even their hobbies and amusements. Portland Hoffa was once given a line about wasting an afternoon at the rodeo. NBC objected to the implication that an afternoon at the rodeo was wasted and the line had to be changed. Another time, Allen gagged that a girl could have found a better husband in a cemetery. (The censor) thought this might hurt the feelings of people who own and operate cemeteries. Allen got the line cleared only after pointing out that cemeteries have been topics for comedy since the time of Aristophanes." Allen's constant and sometimes intense—as well as often ridiculous—battles with censors may have aggravated his longtime problems with hypertension.
Life after the Alley
After his own show ended, Allen became a regular attraction on NBC's The Big Show (1950–1952), hosted by Tallulah Bankhead. He appeared on 24 of the show's 57 installments, including the landmark premiere, and showed he had not lost his trademark ad-lib skill or his rapier wit. (The show's head writer, Goodman Ace, later told radio host Richard Lamparski that Allen's lucrative NBC contract was a large factor in getting him on the show, though Allen also wrote the segments on which he appeared and consulted with the respected Ace and staff on other portions of the show.)
In some ways, The Big Show was an offspring of the old Allen show; his one-time Texaco Star Theater announcer, Jimmy Wallington, was one of The Big Show's announcers, and Portland Hoffa made several appearances with him as well. On the show's premiere, Allen – with a little prodding from head writer Goodman Ace – could not resist one more play on the old Allen-Benny "feud," a riotous parody of Benny's show called "The Pinch Penny Program."
Television
It was also on The Big Show's premiere that Allen delivered perhaps his best-remembered crack about television: "You know, television is called a new medium, and I have discovered why they call it a medium – because nothing is well done." That did not stop the Museum of Broadcast Communications from considering Allen "the intellectual conscience of television." Aside from his famous crack about not liking furniture that talked, Allen observed that television allowed "people who haven't anything to do to watch people who can't do anything."
Allen tried three short-lived television projects of his own, including a bid to bring "Allen's Alley" to television in a visual setting similar to Our Town. NBC apparently rejected the idea out of hand. "Television is a triumph of equipment over people," Allen observed after that, "and the minds that control it are so small that you could put them in the navel of a flea and still have enough room beside them for a network vice president's heart." His other two TV tries were quiz shows. Judge for Yourself (subtitled The Fred Allen Show) was a game show incorporating musical acts. The idea was to allow Allen to ad-lib with guests à la Groucho Marx, but the complicated format had to be revamped in the middle of the run. (The star was "lost in the confusion of a half hour filled with too many people and too much activity," wrote Alan Havig.)
A comedy series, Fred Allen's Sketchbook, did not catch on. He landed a two-year stint as a panelist on the CBS quiz show What's My Line? from 1954 until his death on March 17, 1956. In July 1955 he took a week off from the show to have an emergency appendectomy. Allen's seat on the panel was taken by radio and TV humorist Robert Q. Lewis. The following week, Allen returned to the program—as the mystery guest. After the panel asked several questions, Lewis smiled and said, "I know who it is. Thank you for letting me work tonight!" Allen joked about the operation: "It was an emergency. The doctor needed some money hurriedly."
Allen also spent his final years as a newspaper columnist/humorist and as a memoirist, renting a small New York office to work six hours a day without distractions. He wrote Treadmill to Oblivion (1954, reviewing his radio and television years) and Much Ado About Me (1956, covering his childhood and his vaudeville and Broadway years, and detailing especially vaudeville at its height with surprising objectivity); the former—which included many of his vintage radio scripts—was the best-selling book on radio's classic period for many years. After the frustrations and failures of his attempts to succeed on television, the popularity of Treadmill revealed Allen's potential as a literary humorist.
Film
Allen had a relatively minor career on screen, appearing in seven full-length features and three shorts between 1929 and 1952. His first film, filmed by Paramount Pictures at its New York studio, was The Installment Collector (1929), a nine-minute adaptation of one of his vaudeville acts, in which he remits a succession of personal articles to an insistent debt collector. Allen followed this with two shorts for Vitaphone, also filmed in New York. Allen's first feature film was the 1935 Dick Powell musical comedy Thanks a Million, which The New York Times reviewed, naming only Allen in their headline. 1940's Love Thy Neighbor played off the comic feud with Jack Benny. His sole leading role was as flea circus impresario Fred F. Trumble Floogle, in the frenetic It's in the Bag!, a loose adaptation of Ilf and Petrov's novel The Twelve Chairs.
Death
Taking one of his regular late night strolls up New York's West 57th Street on Saturday night, March 17, 1956, Allen suffered a heart attack and died at the age of 61. A popular myth repeated for many years, first published in The New York Times story appearing the day after Allen's death, was that he had died while walking his dog. However, biographer Robert Taylor later revealed that Allen had never owned a dog. Allen died before he could complete the final chapter of his memoirs, and as a result the book was published as he had left it. He was a tireless letter writer, and his letters were edited by his wife into the publication of Fred Allen's Letters in 1965.
During the following night's regular Sunday broadcast of What's My Line? at 10:30 p.m., barely 24 hours following Allen's death, host John Daly preceded the program with a special message to the viewing audience. He stated that earlier in the day the producers had considered replacing the regular game play with a special memorial episode, but Allen's wife Portland Hoffa stated that she preferred the show be conducted as it always had been, indicating that this is what Allen would have wanted. The program then proceeded as normal, but with a noticeably subdued tone. Steve Allen (no relation) took Fred's chair on the panel. During the final ninety seconds of the program Steve Allen, Arlene Francis and Bennett Cerf (whose eyes began to tear) gave brief but heartfelt tributes to Fred. A somber Dorothy Kilgallen thanked Steve Allen for stepping in and helping them to carry on at a difficult moment; a similar on-air farewell would air after Kilgallen herself died unexpectedly in 1965.
Allen has two stars on the Hollywood Walk of Fame: a radio star at 6713 Hollywood Blvd. and a TV star at 7001 Hollywood Blvd. Allen was inducted into the National Radio Hall of Fame in 1988. A pedestrian passageway in the Boston Theater District, designated "Allen's Alley", also honors his memory.
Allen's widow, Portland Hoffa, married bandleader Joe Rines in 1959 and celebrated a second silver wedding anniversary well before her own death of natural causes in Los Angeles on Christmas Day, 1990. Allen and Hoffa are buried alongside each other in section 47 at Gate of Heaven Cemetery in Hawthorne, New York. Both Allen's real and stage names are engraved on the headstone.
Cultural legacy
Several late-'30s Warner Bros. Merrie Melodies cartoon shorts feature parodies of Allen. Friz Freleng's Toy Town Hall (1936) is a spoof of Allen's Town Hall Tonight, with toys that come to life in a boy's dreams and put on a variety show. Frank Tashlin's The Woods Are Full of Cuckoos (1937) features a Fred Allen fox screaming about being misinformed, hinting about his heated feuds with censors who were often at the last minute forcing script changes on his show because of its content. And Tex Avery's Thugs with Dirty Mugs (1938) features the main character addressing the audience and showing them his Fred Allen impersonation in one scene.
In Action Comics #50 (July 1942), Superman quips, "Fred Allen would get a kick out of this!" as he hops on to the side of a moving train.
Bibliography
Allen, Fred. Much Ado About Me (Boston: Little, Brown, 1956).
Allen, Fred. Treadmill to Oblivion (Boston: Little, Brown, 1954).
Allen, Fred, ed. by Joe McCarthy, Fred Allen's Letters (New York: Doubleday, 1965)
Allen, Fred, ed. by Stuart Hample, all the sincerity in hollywood... (New York: Fulcrum Publishing, 2001). (The lower-case of the title was a tribute to Allen's habit, later in his life, of typing his letters in all-lower case, à la poet E. E. Cummings.)
Smith, H. Allen, introduction by Fred Allen. Low Man on a Totem Pole, Doubleday, Doran, 1941.
See also
Colgate Comedy Hour (Fred Allen episodes)
References
Sources
Jack Benny and Joan Benny, Sunday Nights at Seven: The Jack Benny Story. (New York: Warner Books, 1990).
Frank Buxton and Bill Owen, The Big Broadcast: 1920-1950 (New York: Flare Books/Avon, 1972).
John Crosby, Out of the Blue: A Book About Radio and Television (New York: Simon and Schuster, 1952).
Alan Havig, Fred Allen's Radio Comedy (Philadelphia: Temple University Press, 1989).
Ben Schwartz, "The Man Who Invented Jack Benny" ('Written By', Writer's Guild of America, 2002)
Robert Taylor, Fred Allen: His Life and Wit (Boston: Little, Brown, 1989).
John Dunning, On the Air: The Encyclopedia of Old-Time Radio''. (New York: Oxford University Press, 1998).
Hilmes, M. (1997). Radio voices American broadcasting, 1922–1952. Minnesota Minneapolis: University of Minnesota Press.
External links
Fred Allen Fred Allen's Radio, television, and film appearances
Fred Allen In-depth Fred Allen Biographical Interview with Martin Gostainian
Laughterlog.com Biography with list of radio, television, film and record appearances
Irving Wallace on Fred Allen
Audio files
Internet Archives: The Fred Allen Show (150 episodes in MP3 format)
OTR Network Library: The Fred Allen Show (84 episodes)
Biography in Sound: "A Portrait of Fred Allen" (May 29, and December 18, 1956)
Zoot Radio, free old time radio show downloads of the 'Fred Allen' radio program
149 episodes.
1894 births
1956 deaths
American male comedians
Radio personalities from New York City
American satirists
Boston University alumni
Burials at Gate of Heaven Cemetery (Hawthorne, New York)
Peabody Award winners
People from Cambridge, Massachusetts
Vaudeville performers
American male film actors
Comedians from New York City
20th-century American comedians
20th-century American male actors
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[
"Thoughts of a Colored Man is a play written by Keenan Scott II that opened on Broadway on October 13, 2021. It is Scott's Broadway debut, and the play is the first Broadway show that was written and directed by Black men (Steve Broadnax III) with a Black man in the lead role. It was slated to be one of seven plays by Black playwrights during the Fall 2021 season. The show uses slam poetry, prose and songs to tell the story of Black life in America through the stories of seven multi generational men living in the same Brooklyn neighborhood.\n\nThe show ran at the Golden Theatre until December 22, 2021 when it was forced to close due to the COVID-19 pandemic, even though the playwright stepped in to cover one performance. It was originally slated to end March 2022.\n\nScott began working on what is now Thoughts of a Colored Man fifteen years earlier when he was a Frostburg State University student. Prior to its Broadway engagement, the show had an out-of-town tryout at Syracuse Stage and Baltimore Center Stage. A December performance of the show was recorded for preservation in the New York Public Library Theatre on Film and Tape Archive.\n\nReferences\n\nExternal links\n\nBroadway plays\n2021 plays",
"Parade is an musical revue with book, music, and lyrics by Jerry Herman.\n\nThe original production was produced by Lawrence Kasha that opened originally at the Showplace in New York and moved off-Broadway to The Players Theatre on January 20, 1960.\n\nProductions\n\nOriginal Production \nIn addition to writing the book, music and lyrics, Jerry Herman directed the show with choreography and staging by Richard Tone. The costumes were by Nilo and the production was designed by Gary Smith. The cast included Dody Goodman, Richard Tone, Fia Karin, Charles Nelson Reilly, and Lester James. Some of the songs from Parade were later used by Herman in Mame and Mack and Mabel. For example, Herman used the song \"Show Tune\" with a new lyric and stronger B section, as \"It's Today in Mame.\n\nOriginal Cast \n\n Dody Goodman\n Richard Tone\n Fia Karin\n Charles Nelson Reilly\n Lester James\n\nMusical Numbers \nThe songs and sketches reflected some topical and local subjects, such as Goodman and Reilly portraying New York Governor Nelson Rockefeller and his wife, explaining why he decided not to run for president in the 1960 election. \"Jolly Theatrical Season\" made fun of overly serious plays. In \"Save the Village\" Goodman poked fun at people who wanted to save Greenwich Village. William Ruhlman wrote that the romantic ballads – \"Your Hand in Mine,\" \"The Next Time I Love,\" \"Another Candle\" – \"might have had a chance to live beyond the show if it had been more successful.\"\n\n \"Show Tune\" - The Company\n \"Your Hand in Mind\" - Lester James and Fia Karin \n \"Maria in Spats\" - Dody Goodman\n \"Confession to a Park Avenue Mother\" - Charles Nelson Reilly \n \"Save the Village\" - Dody Goodman \n \"Jolly Theatrical Season\" - Dody Goodman and Charles Nelson Reilly\n \"Two a Day\" - Richard Tone\n\n \"Just Plain Folks\" - Dody Goodman and Charles Nelson Reilly\n \"The Antique Man\" - Lester James\n \"The Next Time I Love\" - Fia Karin\n \"Your Good Morning\" - Lester James and Fia Karin\n \"Another Candle\" - Fia Karin\n Finale: \"Parade\" - Company\n\nRecording \nAn original cast recording was released by Decca Records.\n\nReception \nThe show failed to make much of an impression. According to Steven Suskin, \" 'Parade'...didn't cause much of a stir over the course of its 95-performance run.\" Dan Dietz noted that Brooks Atkinson \"was somewhat cool to Jerry Herman's contributiions...\", Atkinson writing that the revue was more \"in the style of 'Little Broadway' than 'Off-Broadway'.\" Dan Dietz wrote that the song \"Maria in Spats\", about the opera diva Maria Callas, sung by Dody Goodman was \"memorable.\" Stephen Citron observed that \"what these songs lack in craft is made up for in élan....The show end [s] with what would become a Herman trademark, a reprise of most of the revue's twelve songs.... In spite of the Times pan, Parade was Herman's steppingstone to Broadway.\"\n\nReferences \n\nRevues\n1960 musicals\nMusicals by Jerry Herman\nOff-Broadway musicals"
] |
[
"Fred Allen",
"Broadway",
"What did Fred allen have to do with Broadway?",
"as The Passing Show in 1922. The show played well in its runup to Broadway but lasted only ten weeks at the Winter Garden Theatre.",
"How long did Broadway run?",
"lasted only ten weeks",
"Was it a hit?",
"The show played well in its runup to Broadway",
"What show was a run up to Broadway?",
"He also took good notices for his comic work in several of the productions, particularly Vogues and Greenwich Village Follies,"
] |
C_712b4ac7451d4a5fb8b4b9cb9fb76e4d_1
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What else do you find interesting about Broadway?
| 5 |
Besides Fred Allen having took good notices for his comic work in several of the productions, what else do you find interesting about Broadway?
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Fred Allen
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Allen gave vaudeville itself a timeline of 1875-1925 in Much Ado About Me, but he actually left vaudeville a few years earlier, moving to work in such Shubert Brothers stage productions as The Passing Show in 1922. The show played well in its runup to Broadway but lasted only ten weeks at the Winter Garden Theatre. Allen did, however, take something far more lasting from the show: one of the show's chorus girls, Portland Hoffa, who became his wife in 1927 and remained with him until his death. He also took good notices for his comic work in several of the productions, particularly Vogues and Greenwich Village Follies, and continued to develop his comic writing, even writing a column for Variety called "Near Fun." A salary dispute ended the column; Allen wanted only $60 a week to give up his theater work to become a full-time columnist, but his editor tried a sleight-of-hand based on the paper's ad rates to deny him. He spent his summer in Boston, honed his comic and writing skills even further, worked in a respectfully received duo that billed themselves as Fink and Smith, and played a few of the dying vaudeville houses. Allen returned to New York to the pleasant surprise that Portland Hoffa was taking instruction to convert to Roman Catholicism. After the couple married, Allen began writing material for them to use together ("With a vaudeville act, Portland and I could be together, even if we couldn't find any work"), and the couple divided their time between the show business circuit, Allen's New England family home and Old Orchard Beach, Maine, in summers. CANNOTANSWER
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He also took good notices for his comic work in several of the productions, particularly Vogues and Greenwich Village Follies, and continued to develop his comic writing,
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John Florence Sullivan (May 31, 1894 – March 17, 1956), known professionally as Fred Allen, was an American comedian. His absurdist, topically pointed radio program The Fred Allen Show (1932–1949) made him one of the most popular and forward-looking humorists in the Golden Age of American radio.
His best-remembered gag was his long-running mock feud with friend and fellow comedian Jack Benny, but it was only part of his appeal; radio historian John Dunning (in On the Air: The Encyclopedia of Old-Time Radio) wrote that Allen was perhaps radio's most admired comedian and most frequently censored. A master ad libber, Allen often tangled with his network's executives (and often barbed them on the air over the battles) while developing routines whose style and substance influenced fellow comic talents, including Groucho Marx, Stan Freberg, Henry Morgan, and Johnny Carson; his avowed fans also included President Franklin D. Roosevelt, humorist James Thurber, and novelists William Faulkner, John Steinbeck, and Herman Wouk (who began his career writing for Allen).
Allen was honored with stars on the Hollywood Walk of Fame for contributions to television and radio.
Childhood
John Florence Sullivan was born in Cambridge, Massachusetts, to Irish Catholic parents. Allen barely knew his mother, Cecilia Herlihy Sullivan, who died of pneumonia when he was not quite three years old. Along with his father, James Henry Sullivan, and his infant brother Robert, Allen was taken in by one of his mother's sisters, "my aunt Lizzie", around whom he focused the first chapter of his second memoir, Much Ado About Me. His father was so shattered by his mother's death that, according to Allen, he drank more heavily. His aunt suffered as well; her husband Michael was partially paralyzed by lead poisoning shortly after they married, leaving him mostly unable to work, something Allen remembered as causing contention among Lizzie's sisters. Eventually, Allen's father remarried and offered his sons the choice between coming with him and his new wife or staying with Aunt Lizzie. Allen's younger brother chose to go with their father, but Allen decided to stay with his aunt. "I never regretted it", he wrote.
Vaudeville
Allen took piano lessons as a boy, his father having brought an Emerson upright along when they moved in with his aunt. He learned exactly two songs – "Hiawatha" and "Pitter, Patter, Little Raindrops" – and would be asked to play "half or all my repertoire" when visitors came to the house. He also worked at the Boston Public Library, where he discovered a book about the origin and development of comedy. Enduring various upheavals at home (other aunts came and went, prompting several moves), Allen also took up juggling while learning as much as possible about comedy.
Some library co-workers planned to put on a show and asked him to do a bit of juggling and some of his comedy. When a girl in the crowd told him, "You're crazy to keep working here at the library; you ought to go on stage," Allen decided his career path was set.
In 1914, at the age of 20, Allen took a job with a local piano company, in addition to his library work. He appeared at a number of amateur night competitions, soon taking the stage name Fred St. James, and booking with the local vaudeville circuit at $30 a week, enough at that time to allow him to quit his jobs with the library and the piano company. Eventually he became "Freddy James," often billing himself as the world's worst juggler. Allen refined the mix of his deliberately clumsy juggling and the standard jokes and one-liners, directing much of the humor at his own poor juggling abilities. During a ten-year world tour, his vaudeville act evolved more toward monologic comedy and less juggling. In 1917, returning to the New York circuit, his stage name was changed to Fred Allen so that he would not be offered the same low salary that theater owners had been accustomed to paying him in his early career. His new surname came from Edgar Allen, a booker for the Fox theaters.
In 1922, Allen commissioned comic-strip artist Martin Branner to cover a theater curtain with an elaborate mural painting depicting a cemetery with a punchline on each gravestone. This was the "Old Joke Cemetery", where overworked gags go to die. In Allen's act, the audiences would see the curtain (and have several minutes to read its 46 punchlines) before Allen made his entrance. Audiences typically would be laughing at the curtain before Allen even appeared. Robert Taylor's biography of Allen includes an impressive full-length photo of Branner's curtain painting, and many of the punchlines are clearly legible in the photo.
Allen used a variety of gimmicks in his changing act, from a ventriloquist dummy to juggling to singing, but the focus was always on his comedy, which was heavy on wordplay. One recurring bit was to read a purported "letter from home" with material such as the following:
"The man next door has bought pigs; we got wind of it this morning. Your father had a terrible fight with him about it, and the man hit your father with a rock in the left ear. It didn't bother your father; he is stone deaf in that ear. The policeman who took him away said that he would get his hearing in the morning. The other man, the one who owns the pigs, was arrested for fragrancy... There is no other news except that our oil stove exploded yesterday and blew your father and me out into the backyard. It is the first time we have been out together for twenty years.
Allen's wit was at times not intended for the vaudeville audience but rather for other professionals in show business. After one of his appearances failed one day, Allen made the best of it by circulating an obituary of his act on black-bordered funeral stationery. He also mailed vials of his supposed flop sweat to newspapers as part of his comic self-promotion.
In 1921 Fred Allen and Nora Bayes toured with the company of Lew Fields. Their musical director was a nineteen-year-old Richard Rodgers. Many years later, when he and Oscar Hammerstein II appeared as mystery guests on What's My Line?, Rodgers recalled Allen's act, sitting on the edge of the stage, his legs dangling down, playing a banjo while telling jokes.
Broadway
Allen gave vaudeville itself a timeline of 1875–1925 in Much Ado About Me, but he actually left vaudeville a few years earlier, moving to work in such Shubert Brothers stage productions as The Passing Show in 1922. The show played well in its runup to Broadway but lasted only ten weeks at the Winter Garden Theatre. Allen did, however, take something far more lasting from the show: one of the show's chorus girls, Portland Hoffa, who became his wife in 1927 and remained with him until his death.
He also took good notices for his comic work in several of the productions, particularly Vogues and Greenwich Village Follies, and continued to develop his comic writing, even writing a column for Variety called "Near Fun." A salary dispute ended the column; Allen wanted only $60 a week to give up his theater work to become a full-time columnist, but his editor tried a sleight-of-hand based on the paper's ad rates to deny him. He spent his summer in Boston, honed his comic and writing skills even further, worked in a respectfully received duo that billed themselves as Fink and Smith, and played a few of the dying vaudeville houses.
Allen returned to New York to the pleasant surprise that Portland Hoffa was taking instruction to convert to Roman Catholicism. After the couple married, Allen began writing material for them to use together ("With a vaudeville act, Portland and I could be together, even if we couldn't find any work"), and the couple divided their time between the show business circuit, Allen's New England family home and Old Orchard Beach, Maine, in summers.
Radio
Fred Allen's first taste of radio came while he and Portland Hoffa waited for a promised slot in a new Arthur Hammerstein musical. In the interim, they appeared on a Chicago station's program, WLS Showboat, into which Allen recalled, "Portland and I were presented... to inject a little class into it." Their success in these appearances helped their theater reception; live audiences in the Midwest liked to see their radio favorites in person, even if Allen and Hoffa would be replaced by Bob Hope when the radio show moved to New York several months afterward.
The couple eventually got their Hammerstein show, Polly, which opened in Delaware and made the usual tour before hitting Broadway. Also in that cast was a young Englishman named Archie Leach, who received as many good notices for his romantic appeal as Allen got for his comic work. Hammerstein retooled the show before bringing it to New York, replacing everyone but two women and Allen. Leach decided to buy an old car and drive to Hollywood. "What Archie Leach didn't tell me," Allen remembered, "was that he was going to change his name to Cary Grant."
Polly never succeeded in spite of several retoolings, but Allen did go on to successful shows like The Little Show (1929–30) and Three's a Crowd (1930–31), which eventually led to his full-time entry to radio in 1932.
Town Hall Tonight
Allen first hosted The Linit Bath Club Revue on CBS, moving the show to NBC and becoming The Salad Bowl Revue (in a nod to new sponsor Hellmann's Mayonnaise, which was marketed by the parent company of Linit) later in the year. The show became The Sal Hepatica Revue (1933–34), The Hour of Smiles (1934–35), and finally Town Hall Tonight (1935–39). In 1939–40, however, sponsor Bristol-Myers, which advertised Ipana toothpaste as well as Sal Hepatica during the program, altered the title to The Fred Allen Show, over his objections. Allen's perfectionism (odd to some, considering his deft ad-libs) caused him to leap from sponsor to sponsor until Town Hall Tonight allowed him to set his chosen small-town milieu and establish himself as a bona fide radio star.
The hour-long show featured segments that would influence radio and, much later, television; news satires such as Rowan and Martin's Laugh-In'''s "Laugh-In Looks at the News" and Saturday Night Live's "Weekend Update" were influenced by Town Hall Tonight's "The News Reel", later renamed "Town Hall News" (and in 1939–40, as a sop to his sponsor, "Ipana News"). The Tonight Show Starring Johnny Carson's "Mighty Carson Art Players" routines referenced Allen's Mighty Allen Art Players, in name and sometimes in routines. Allen and company also satirized popular musical comedies and films of the day, including and especially Oklahoma!. Allen also did semi-satirical interpretations of well-known lives—including his own.
The show that became Town Hall Tonight was the longest-running hour-long comedy-based show in classic radio history. In 1940, Allen moved back to CBS Radio with a new sponsor and show name, Texaco Star Theater, airing every Wednesday at 9:00 pm ET on CBS, then Sundays at 9:00 pm in the fall of 1941. By 1942, he shortened the show to half an hour, at 9:30 pm ET—under network and sponsor edict, not his own. He also chafed under being forced to give up a Town Hall Tonight signature, using barely known and amateur guests effectively, in favor of booking more recognizable guests, though he liked many of those. Guests included singers from Kingston, New York, the original woman behind the "Aunt Jemima" on pancake boxes, and more guests up the road—from Saugerties, like the singer, Donald Gardner.
Back to NBC
He took over a year off due to hypertension and returned in 1945 with The Fred Allen Show on NBC, Sunday nights at 8:30 p.m. EST. Standard Brands' Blue Bonnet Margarine & Tenderleaf Tea, and later, Ford Motor Company, were the sponsors for the rest of the show's life. (Texaco revived Texaco Star Theater in 1948 on radio, and more successfully on television, making an American icon out of star Milton Berle).
Allen again made a few changes, including the singing DeMarco Sisters, to whom he'd been tipped by arranger-composer Gordon Jenkins. "We did four years with Mr. Allen and got one thousand dollars a week," Gloria DeMarco remembered. "Sunday night was the best night on radio." Sunday night with Fred Allen seemed incomplete on any night listeners didn't hear the DeMarco Sisters, whose breezy, harmonious style became as familiar as their cheerfully sung "Mr. Al-len, Mr. Alll-llennnn" in the show's opening theme. During the theme's brief pause, Allen would say something like, "It isn't the mayor of Anaheim, Azusa and Cucamonga, kiddies." That device became a signature for three of the four years.
Allen's Alley
The other change, born in the Texaco days and evolving from his earlier news spoofs, proved his most enduring, premiering December 6, 1942. The inspiration for the mythical Main Street of "Allen's Alley" came from the small-town heartland folks who were often profiled in the newspaper columns written by O. O. McIntyre (1884–1938), one of the most popular columnists of the 1930s with some seven million readers.
"Allen's Alley" followed a brief Allen monologue and comic segment with Portland Hoffa ("Misssss-ter Allll-llennnn!"), usually involving gags about her family which she instigated. Then a brief music interlude would symbolize the two making their way to the fictitious Alley.
The segment was always launched by a quick exchange that began with Hoffa asking Allen what he would ask the Alley denizens that week. After she implored him, "Shall we go?" Allen would reply with cracks like, "As the two drumsticks said when they spotted the tympani, let's beat it!'"; or "As one strapless gown said to the other strapless gown, 'What's holding us up?'"
A small host of stereotypical characters greeted Allen and Hoffa down the Alley, discussing Allen's question of the week, usually drawing on news items or popular happenings around town, whether gas rationing, traffic congestion, the Pulitzer Prizes, postwar holiday travel, or the annual Ringling Brothers and Barnum & Bailey Circus visit.
The Alley went through a few changes in the first installments. Early denizens included sarcastic John Doe (John Brown), self-possessed Senator Bloat and town drunk Sampson Souse (Jack Smart), dimwitted Socrates Mulligan (Charlie Cantor), pompous poet Falstaff Openshaw (Alan Reed), and wry Jewish housewife Pansy Nussbaum (Minerva Pious). By 1945, Pious and Reed were joined by two new Alley denizens: Parker Fennelly as stoic New England farmer Titus Moody, and Kenny Delmar, the new show's announcer, as bellowing Southern senator Beauregard Claghorn. Pious is credited with tipping Allen to Delmar, who based the character on a real-life person he had encountered while hitchhiking in 1928; Delmar had originally named the voice characterization "Dynamite Gus." Within weeks, Claghorn became one of the leading comedy characters of radio as listeners across the country began quoting his catchphrases: "Somebody, Ah say, somebody knocked"; "I'm from the South, Suh"; "That's a joke, son"; and "Pay attention, boy!" Claghorn served as the model for the Warner Bros. cartoon character Foghorn Leghorn, who first appeared the following August in the Oscar-nominated Walky Talky Hawky.
Other characters had catchphrases that were almost as famous as Claghorn's, such as Titus Moody's "Howdy, Bub", and Falstaff Openshaw's "That is precisely why I am here." Mrs. Nussbaum always greeted Allen by saying, "You were expecting maybe...", and then she would mispronounce the name of a glamorous film star, such as "Too-ra-loo-ra-loo-ra Bankhead?". The Alley sketches made only one further cast change, when Peter Donald's chipper Irishman Ajax Cassidy succeeded Reed's Falstaff.
Despite the ethnic diversity, the Alley characters seemed less citified and more akin with O. O. McIntyre's small-town America. Allen's topical humor is sometimes thought an acquired taste for audiences curious about his generation of radio stars; Dunning has written that when he "went into topical humor, he may have forfeited his only opportunity to be the Mark Twain of his century. He had flashes of undeniable brilliance. But the main body of his work deals with the day-to-day fodder of another time, and sons have seldom been amused by the embarrassments or tragedies of their fathers."
But others find many parallels to today's world and its absurdities. The "Allen's Alley" stereotypes make some cringe, as Allen biographer Robert Taylor noted (in Fred Allen: His Life and Wit), but others find them lancing more than lauding stereotypes, letting listeners make up their own minds about how foolish they could be. "Interestingly enough," wrote Frank Buxton and Bill Owen in The Big Broadcast 1920-1950, "[Claghorn, Nussbaum, Moody, and Cassidy] were never criticized as being anti-Southern, anti-Semitic, anti-New England or anti-Irish. The warmth and good humor with which they were presented made them acceptable even to the most sensitive listeners."
Allen employed a writing staff but they served as his sounding boards and early draft consultants as much as actual writers; it was Allen who had the final edit and rewrite of each week's script, working as long as twelve hours a day in his own right on ideas or sketches. His ad-libbing ability caused many a show to fade away behind the ending network identification, because Allen often ate up air time. It was not as unusual for him as for others to sign off with "We're a little late, so good night, folks." Allen's habit of signing off late affected fellow former vaudevillian Phil Baker, whose quiz show Take It or Leave It immediately followed the Allen show. Baker hatched a comic plan to remedy the situation. He kept track of how much time he was losing to Allen over a period of a few months, and when the total reached 15 minutes, Baker barged into the studio 15 minutes earlier than scheduled—while Allen was on the air—and took over the show, welcoming the audience to Take It or Leave It. Allen, aghast but amused, surrendered the microphone to Baker. Allen's parting shot was, "I'll write a letter to Senator Claghorn about this!"
Allen also "died" more eloquently than other radio comics, particularly in the later years. When a joke was greeted with an awkward silence, Allen would comment on the lack of response, with his ad-libbed "explanation" almost always funnier than the original joke, a technique later adopted successfully by Johnny Carson.
Closing the AlleyThe Fred Allen Show was radio's top-rated show of the 1946–47 season. Allen was able to negotiate a lucrative new contract as a result not only of the show's success, but thanks in large measure to NBC's anxiety to keep more of its stars from joining Jack Benny in a wholesale defection to CBS as well as to retain their services for their rapidly expanding television programming. The CBS talent raids broke up NBC's hit Sunday night, and Benny also convinced George Burns and Gracie Allen and Bing Crosby to join his move.
But a year later, he was knocked off his perch, not by a talent raid but by a show on a third rival network, ABC (the former NBC Blue network). The quiz show Stop the Music, hosted by Bert Parks (debuted 1948), required listeners to participate live by telephone. The show became a big enough hit to break into Allen's grip on that Sunday night time slot. At first, Allen fought fire with his own kind of fire: he offered $5,000 to any listener getting a call from Stop the Music or any similar game show while listening to The Fred Allen Show. He never had to pay up, nor was he shy about lampooning the game show phenomenon (especially a riotous parody of another quiz show Parks hosted, lancing Break the Bank in a routine called "Break the Contestant" in which players didn't receive a thing but were compelled to give up possessions when they blew a question).
Unfortunately, Allen fell to number 38 in the radio ratings, his fall compounded by the rise of television in many major cities. By this time, he had changed the show again somewhat, changing the famed "Allen's Alley" skits to take place on "Main Street," and rotating a new character or two in and out of the lineup. He stepped down from radio again in 1949, at the end of his show's regular season, as much under his doctor's orders as because of his slipping ratings. He decided to take a year off, but it did more for his health (he suffered from hypertension) than his career; after the June 26, 1949 show, on which Henry Morgan and Jack Benny guested, Fred Allen never hosted another radio show full-time again.
Feud
Good friends in real life, Fred Allen and Jack Benny inadvertently hatched a running gag in 1937 when a child prodigy, violinist Stuart Canin, gave a very credible performance on the Allen show, inspiring an Allen wisecrack about "a certain alleged violinist" who should hide in shame over his poor playing. Allen often mentioned his show-business friends on the air ("Mr. Jacob Haley of Newton Highlands, Massachusetts" was Allen's way of saying hello to his pal Jack Haley), and on the Canin broadcast Allen knew Benny would be listening. Benny, according to Allen biographer Taylor, burst out laughing, then responded in kind on his own program. The rivalry gag went on for a decade and convinced some fans that the two comedians really were blood enemies.
The Allen-Benny feud was the longest-playing, best-remembered dialogic running gag in classic radio history. The gag even pushed toward a boxing match between the two comedians and the promised event was a sellout, though the match never occurred. The pair even appeared together in films, including Love Thy Neighbor (1940) and It's in the Bag! (1945), Allen's only starring vehicle, also featuring William Bendix, Robert Benchley, and Jerry Colonna. He also starred with Oscar Levant in 20th Century-Fox's anthology film O. Henry's Full House, in The Ransom of Red Chief.
Some of the feud's highlights involved Al Boasberg, who is credited with helping Benny refine his character into what may have been America's first stand-up comedian. Boasberg was well known behind the scenes as a top comedy writer and script doctor, but he seldom received recognition in public. He worked, uncredited, on many films (including the Marx Brothers' hits A Night at the Opera and A Day at the Races). Steaming mad because of his long battles for recognition, Boasberg was said to have delivered a tirade that ended up (in slightly altered form) in an Allen-Benny feud routine:
Allen: Why, you fugitive from a Ripley cartoon ... I'll knock you flatter than the first eight minutes of this program.
Benny: You ought to do well in pictures, Mr. Allen, now that Boris Karloff is back in England.
Allen: Why, if I was a horse, a pony even, and found out that any part of my tail was used in your violin bow, I'd hang my head in my oatbag from then on.
Benny's side of the feud included a tart interpretation of Allen's Town Hall Tonight show, which Benny and company called "Clown Hall Tonight." A signature element of the feud was that, whenever one guested on the other's shows, the host would tend to hand the guest the best lines of the night. (Both Benny and Allen revealed later that each man's writers consulted with each other on routines involving the feud.)
They toned the gag down after 1941, though they kept it going often enough as the years continued, climaxing on Allen's May 26, 1946 show, in which a sketch called "King for a Day," satirizing big-money game shows, featured Benny pretending to be a contestant named Myron Proudfoot on Allen's new quiz show.
Allen: Tomorrow night, in your ermine robe, you will be whisked by bicycle to Orange, New Jersey, where you will be the judge in a chicken-cleaning contest.
Benny (rapturously): I'm KING for a Day!
[Allen proceeds to have Benny's clothes pressed:]
Allen: And that's not all!
Benny: There's more?
Allen: Yes! On our stage we have a Hoffman pressing machine.
Benny: Now wait a minute! Wait a minute!
Allen: An expert operating the Hoffman pressing machine will press your trousers in seconds.
Benny: NOW WAIT A MINUTE!!! (total audience hysteria and laughter, as Benny's pants are literally removed)
Allen: Quiet, King!
Benny: Come on, Allen, give me my pants!
Allen: Keep your shirt on, King.
Benny: You bet I'll keep my shirt on!
Allen: We're a little late, folks! Tune in next week –
Benny: Allen, this is a frame – (starts laughing himself) Where are my pants!
Allen: Benny, for 15 years I've been waiting to catch you like this!
Benny: Allen, you haven't seen the end of me!
Allen: It won't be long now!
Benny: I want my pants!
Allen and Benny couldn't resist one more play on the feud on Allen's final show. Benny appeared as a skinflint bank manager and mortgage company owner bedeviling Henry Morgan. Typically, Allen handed Benny the show's best crack: "Nobody ever made me this cheap on my own program!"
Benny even used the feud on his TV show, when Fred Allen appeared as a special guest in 1953. The program depicted Benny and Allen as rivals for the sponsor's favors. When the sponsor pointed out that Benny was also a musician, Allen countered with a passage on his clarinet.
As Benny said in his co-memoir, Sunday Nights at Seven: The Jack Benny Story (1990; his daughter, Joan, added her own recollections and published the book after Benny's death), "[T]he sky was the limit. Or rather, the mud was the limit."
Benny was profoundly shaken by Allen's sudden death by heart attack in 1956. In a statement released the day after Allen's death, Benny said, "People have often asked me if Fred Allen and I were really friends in real life. My answer is always the same. You couldn't have such a long-running and successful feud as we did, without having a deep and sincere friendship at the heart of it."
Censorship
Allen may have battled censors more than most of his radio contemporaries. "Fred Allen's fourteen-year battle with radio censorship," wrote the New York Herald-Tribune critic John Crosby, "was made particularly difficult for him by the fact that the man assigned to reviewing his scripts had little sense of humor and frankly admitted he didn't understand Allen's peculiar brand of humor at all." Among the blue pencils, according to Crosby, were:
Allen was barred from saying "Brenda never looked lovelier", at the time of socialite Brenda Frazier's wedding, unless he could get direct permission from the Frazier family.
Allen was ordered to change the Cockney accent he assigned the character of a first mate aboard the Queen Mary — on the grounds that the ship's first mate could only be a cultured man who might not like a Cockney accent.
Allen had to fight to keep Mrs. Nussbaum in the Allen's Alley routines because NBC feared Jewish-dialect humor "might offend all Jews" despite the fact that Jewish dialect humor had been a vaudeville and burlesque staple for years.
Allen was ordered to not even mention the fictitious town of North Wrinkle until or unless it could be proven that no such town actually did exist.
"Allen not only couldn't poke fun at individuals", Crosby wrote. "He also had to be careful not to step on their professions, their beliefs, and sometimes even their hobbies and amusements. Portland Hoffa was once given a line about wasting an afternoon at the rodeo. NBC objected to the implication that an afternoon at the rodeo was wasted and the line had to be changed. Another time, Allen gagged that a girl could have found a better husband in a cemetery. (The censor) thought this might hurt the feelings of people who own and operate cemeteries. Allen got the line cleared only after pointing out that cemeteries have been topics for comedy since the time of Aristophanes." Allen's constant and sometimes intense—as well as often ridiculous—battles with censors may have aggravated his longtime problems with hypertension.
Life after the Alley
After his own show ended, Allen became a regular attraction on NBC's The Big Show (1950–1952), hosted by Tallulah Bankhead. He appeared on 24 of the show's 57 installments, including the landmark premiere, and showed he had not lost his trademark ad-lib skill or his rapier wit. (The show's head writer, Goodman Ace, later told radio host Richard Lamparski that Allen's lucrative NBC contract was a large factor in getting him on the show, though Allen also wrote the segments on which he appeared and consulted with the respected Ace and staff on other portions of the show.)
In some ways, The Big Show was an offspring of the old Allen show; his one-time Texaco Star Theater announcer, Jimmy Wallington, was one of The Big Show's announcers, and Portland Hoffa made several appearances with him as well. On the show's premiere, Allen – with a little prodding from head writer Goodman Ace – could not resist one more play on the old Allen-Benny "feud," a riotous parody of Benny's show called "The Pinch Penny Program."
Television
It was also on The Big Show's premiere that Allen delivered perhaps his best-remembered crack about television: "You know, television is called a new medium, and I have discovered why they call it a medium – because nothing is well done." That did not stop the Museum of Broadcast Communications from considering Allen "the intellectual conscience of television." Aside from his famous crack about not liking furniture that talked, Allen observed that television allowed "people who haven't anything to do to watch people who can't do anything."
Allen tried three short-lived television projects of his own, including a bid to bring "Allen's Alley" to television in a visual setting similar to Our Town. NBC apparently rejected the idea out of hand. "Television is a triumph of equipment over people," Allen observed after that, "and the minds that control it are so small that you could put them in the navel of a flea and still have enough room beside them for a network vice president's heart." His other two TV tries were quiz shows. Judge for Yourself (subtitled The Fred Allen Show) was a game show incorporating musical acts. The idea was to allow Allen to ad-lib with guests à la Groucho Marx, but the complicated format had to be revamped in the middle of the run. (The star was "lost in the confusion of a half hour filled with too many people and too much activity," wrote Alan Havig.)
A comedy series, Fred Allen's Sketchbook, did not catch on. He landed a two-year stint as a panelist on the CBS quiz show What's My Line? from 1954 until his death on March 17, 1956. In July 1955 he took a week off from the show to have an emergency appendectomy. Allen's seat on the panel was taken by radio and TV humorist Robert Q. Lewis. The following week, Allen returned to the program—as the mystery guest. After the panel asked several questions, Lewis smiled and said, "I know who it is. Thank you for letting me work tonight!" Allen joked about the operation: "It was an emergency. The doctor needed some money hurriedly."
Allen also spent his final years as a newspaper columnist/humorist and as a memoirist, renting a small New York office to work six hours a day without distractions. He wrote Treadmill to Oblivion (1954, reviewing his radio and television years) and Much Ado About Me (1956, covering his childhood and his vaudeville and Broadway years, and detailing especially vaudeville at its height with surprising objectivity); the former—which included many of his vintage radio scripts—was the best-selling book on radio's classic period for many years. After the frustrations and failures of his attempts to succeed on television, the popularity of Treadmill revealed Allen's potential as a literary humorist.
Film
Allen had a relatively minor career on screen, appearing in seven full-length features and three shorts between 1929 and 1952. His first film, filmed by Paramount Pictures at its New York studio, was The Installment Collector (1929), a nine-minute adaptation of one of his vaudeville acts, in which he remits a succession of personal articles to an insistent debt collector. Allen followed this with two shorts for Vitaphone, also filmed in New York. Allen's first feature film was the 1935 Dick Powell musical comedy Thanks a Million, which The New York Times reviewed, naming only Allen in their headline. 1940's Love Thy Neighbor played off the comic feud with Jack Benny. His sole leading role was as flea circus impresario Fred F. Trumble Floogle, in the frenetic It's in the Bag!, a loose adaptation of Ilf and Petrov's novel The Twelve Chairs.
Death
Taking one of his regular late night strolls up New York's West 57th Street on Saturday night, March 17, 1956, Allen suffered a heart attack and died at the age of 61. A popular myth repeated for many years, first published in The New York Times story appearing the day after Allen's death, was that he had died while walking his dog. However, biographer Robert Taylor later revealed that Allen had never owned a dog. Allen died before he could complete the final chapter of his memoirs, and as a result the book was published as he had left it. He was a tireless letter writer, and his letters were edited by his wife into the publication of Fred Allen's Letters in 1965.
During the following night's regular Sunday broadcast of What's My Line? at 10:30 p.m., barely 24 hours following Allen's death, host John Daly preceded the program with a special message to the viewing audience. He stated that earlier in the day the producers had considered replacing the regular game play with a special memorial episode, but Allen's wife Portland Hoffa stated that she preferred the show be conducted as it always had been, indicating that this is what Allen would have wanted. The program then proceeded as normal, but with a noticeably subdued tone. Steve Allen (no relation) took Fred's chair on the panel. During the final ninety seconds of the program Steve Allen, Arlene Francis and Bennett Cerf (whose eyes began to tear) gave brief but heartfelt tributes to Fred. A somber Dorothy Kilgallen thanked Steve Allen for stepping in and helping them to carry on at a difficult moment; a similar on-air farewell would air after Kilgallen herself died unexpectedly in 1965.
Allen has two stars on the Hollywood Walk of Fame: a radio star at 6713 Hollywood Blvd. and a TV star at 7001 Hollywood Blvd. Allen was inducted into the National Radio Hall of Fame in 1988. A pedestrian passageway in the Boston Theater District, designated "Allen's Alley", also honors his memory.
Allen's widow, Portland Hoffa, married bandleader Joe Rines in 1959 and celebrated a second silver wedding anniversary well before her own death of natural causes in Los Angeles on Christmas Day, 1990. Allen and Hoffa are buried alongside each other in section 47 at Gate of Heaven Cemetery in Hawthorne, New York. Both Allen's real and stage names are engraved on the headstone.
Cultural legacy
Several late-'30s Warner Bros. Merrie Melodies cartoon shorts feature parodies of Allen. Friz Freleng's Toy Town Hall (1936) is a spoof of Allen's Town Hall Tonight, with toys that come to life in a boy's dreams and put on a variety show. Frank Tashlin's The Woods Are Full of Cuckoos (1937) features a Fred Allen fox screaming about being misinformed, hinting about his heated feuds with censors who were often at the last minute forcing script changes on his show because of its content. And Tex Avery's Thugs with Dirty Mugs (1938) features the main character addressing the audience and showing them his Fred Allen impersonation in one scene.
In Action Comics #50 (July 1942), Superman quips, "Fred Allen would get a kick out of this!" as he hops on to the side of a moving train.
Bibliography
Allen, Fred. Much Ado About Me (Boston: Little, Brown, 1956).
Allen, Fred. Treadmill to Oblivion (Boston: Little, Brown, 1954).
Allen, Fred, ed. by Joe McCarthy, Fred Allen's Letters (New York: Doubleday, 1965)
Allen, Fred, ed. by Stuart Hample, all the sincerity in hollywood... (New York: Fulcrum Publishing, 2001). (The lower-case of the title was a tribute to Allen's habit, later in his life, of typing his letters in all-lower case, à la poet E. E. Cummings.)
Smith, H. Allen, introduction by Fred Allen. Low Man on a Totem Pole, Doubleday, Doran, 1941.
See also
Colgate Comedy Hour (Fred Allen episodes)
References
Sources
Jack Benny and Joan Benny, Sunday Nights at Seven: The Jack Benny Story. (New York: Warner Books, 1990).
Frank Buxton and Bill Owen, The Big Broadcast: 1920-1950 (New York: Flare Books/Avon, 1972).
John Crosby, Out of the Blue: A Book About Radio and Television (New York: Simon and Schuster, 1952).
Alan Havig, Fred Allen's Radio Comedy (Philadelphia: Temple University Press, 1989).
Ben Schwartz, "The Man Who Invented Jack Benny" ('Written By', Writer's Guild of America, 2002)
Robert Taylor, Fred Allen: His Life and Wit (Boston: Little, Brown, 1989).
John Dunning, On the Air: The Encyclopedia of Old-Time Radio''. (New York: Oxford University Press, 1998).
Hilmes, M. (1997). Radio voices American broadcasting, 1922–1952. Minnesota Minneapolis: University of Minnesota Press.
External links
Fred Allen Fred Allen's Radio, television, and film appearances
Fred Allen In-depth Fred Allen Biographical Interview with Martin Gostainian
Laughterlog.com Biography with list of radio, television, film and record appearances
Irving Wallace on Fred Allen
Audio files
Internet Archives: The Fred Allen Show (150 episodes in MP3 format)
OTR Network Library: The Fred Allen Show (84 episodes)
Biography in Sound: "A Portrait of Fred Allen" (May 29, and December 18, 1956)
Zoot Radio, free old time radio show downloads of the 'Fred Allen' radio program
149 episodes.
1894 births
1956 deaths
American male comedians
Radio personalities from New York City
American satirists
Boston University alumni
Burials at Gate of Heaven Cemetery (Hawthorne, New York)
Peabody Award winners
People from Cambridge, Massachusetts
Vaudeville performers
American male film actors
Comedians from New York City
20th-century American comedians
20th-century American male actors
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[
"The Body in the Seine is an original \"album musical\" created by songwriter David M. Lippincott and given a limited release in 1954. Because of its rarity, many collectors of original cast albums consider it \"the holy grail\" of recordings.\n\nAlthough The Body in the Seine (subtitled \"A Musical Tour de Force Through Paris\") sounds like the cast album of a Broadway musical, it actually was complete in itself, with no accompanying stage show. Lippincott, was working as a jingle writer (Coke, Fig Newton, etc.) at McCann-Erickson, a New York advertising agency, when he released this collection of twelve songs, hoping to find an experienced writer who would create a book to accompany his tunes. A note on the back of the album read: \"Help Wanted. Musical score requires immediate services of bright, clever \"book.\" Must be mature, sophisticated and willing to travel.\"\n\nWhat makes The Body in the Seine interesting to collectors of Broadway cast albums is the theatrical performers assembled for the recording, including Alice Pearce, George S. Irving, Barbara Ashley and future U.S. Congressman, Jim Symington. The album's orchestrators, Joseph Glover and Ralph Norman Wilkinson, were both experienced music arrangers, and Buster Davis, who conducted the orchestra and chorus, had worked on such Broadway musicals as High Button Shoes, Gentlemen Prefer Blondes, Top Banana and Make a Wish.\n\nTrack listing\n Opening: See The World\n A Lady Like You\n Chacun à son Goût\n You Really Didn't Have To Do That\n But Wonderful\n Love On The Left Bank's A Wild, Wild Thing\n The Body in the Seine\n A Little Change of Scene\n Where Do I Go From Here?\n Dirge\n Why Can't You Be You?\n Finale: What The Hell Is So Wide About the World?\n\nReferences\n\nCast recordings\n1954 albums\nTheatre soundtracks",
"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"
] |
[
"Fred Allen",
"Broadway",
"What did Fred allen have to do with Broadway?",
"as The Passing Show in 1922. The show played well in its runup to Broadway but lasted only ten weeks at the Winter Garden Theatre.",
"How long did Broadway run?",
"lasted only ten weeks",
"Was it a hit?",
"The show played well in its runup to Broadway",
"What show was a run up to Broadway?",
"He also took good notices for his comic work in several of the productions, particularly Vogues and Greenwich Village Follies,",
"What else do you find interesting about Broadway?",
"He also took good notices for his comic work in several of the productions, particularly Vogues and Greenwich Village Follies, and continued to develop his comic writing,"
] |
C_712b4ac7451d4a5fb8b4b9cb9fb76e4d_1
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What other comic writing did he do?
| 6 |
Besides Vogues and Greenwich Village Follies, what other comic writing did Fred Allen do?
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Fred Allen
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Allen gave vaudeville itself a timeline of 1875-1925 in Much Ado About Me, but he actually left vaudeville a few years earlier, moving to work in such Shubert Brothers stage productions as The Passing Show in 1922. The show played well in its runup to Broadway but lasted only ten weeks at the Winter Garden Theatre. Allen did, however, take something far more lasting from the show: one of the show's chorus girls, Portland Hoffa, who became his wife in 1927 and remained with him until his death. He also took good notices for his comic work in several of the productions, particularly Vogues and Greenwich Village Follies, and continued to develop his comic writing, even writing a column for Variety called "Near Fun." A salary dispute ended the column; Allen wanted only $60 a week to give up his theater work to become a full-time columnist, but his editor tried a sleight-of-hand based on the paper's ad rates to deny him. He spent his summer in Boston, honed his comic and writing skills even further, worked in a respectfully received duo that billed themselves as Fink and Smith, and played a few of the dying vaudeville houses. Allen returned to New York to the pleasant surprise that Portland Hoffa was taking instruction to convert to Roman Catholicism. After the couple married, Allen began writing material for them to use together ("With a vaudeville act, Portland and I could be together, even if we couldn't find any work"), and the couple divided their time between the show business circuit, Allen's New England family home and Old Orchard Beach, Maine, in summers. CANNOTANSWER
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writing a column for Variety called "Near Fun.
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John Florence Sullivan (May 31, 1894 – March 17, 1956), known professionally as Fred Allen, was an American comedian. His absurdist, topically pointed radio program The Fred Allen Show (1932–1949) made him one of the most popular and forward-looking humorists in the Golden Age of American radio.
His best-remembered gag was his long-running mock feud with friend and fellow comedian Jack Benny, but it was only part of his appeal; radio historian John Dunning (in On the Air: The Encyclopedia of Old-Time Radio) wrote that Allen was perhaps radio's most admired comedian and most frequently censored. A master ad libber, Allen often tangled with his network's executives (and often barbed them on the air over the battles) while developing routines whose style and substance influenced fellow comic talents, including Groucho Marx, Stan Freberg, Henry Morgan, and Johnny Carson; his avowed fans also included President Franklin D. Roosevelt, humorist James Thurber, and novelists William Faulkner, John Steinbeck, and Herman Wouk (who began his career writing for Allen).
Allen was honored with stars on the Hollywood Walk of Fame for contributions to television and radio.
Childhood
John Florence Sullivan was born in Cambridge, Massachusetts, to Irish Catholic parents. Allen barely knew his mother, Cecilia Herlihy Sullivan, who died of pneumonia when he was not quite three years old. Along with his father, James Henry Sullivan, and his infant brother Robert, Allen was taken in by one of his mother's sisters, "my aunt Lizzie", around whom he focused the first chapter of his second memoir, Much Ado About Me. His father was so shattered by his mother's death that, according to Allen, he drank more heavily. His aunt suffered as well; her husband Michael was partially paralyzed by lead poisoning shortly after they married, leaving him mostly unable to work, something Allen remembered as causing contention among Lizzie's sisters. Eventually, Allen's father remarried and offered his sons the choice between coming with him and his new wife or staying with Aunt Lizzie. Allen's younger brother chose to go with their father, but Allen decided to stay with his aunt. "I never regretted it", he wrote.
Vaudeville
Allen took piano lessons as a boy, his father having brought an Emerson upright along when they moved in with his aunt. He learned exactly two songs – "Hiawatha" and "Pitter, Patter, Little Raindrops" – and would be asked to play "half or all my repertoire" when visitors came to the house. He also worked at the Boston Public Library, where he discovered a book about the origin and development of comedy. Enduring various upheavals at home (other aunts came and went, prompting several moves), Allen also took up juggling while learning as much as possible about comedy.
Some library co-workers planned to put on a show and asked him to do a bit of juggling and some of his comedy. When a girl in the crowd told him, "You're crazy to keep working here at the library; you ought to go on stage," Allen decided his career path was set.
In 1914, at the age of 20, Allen took a job with a local piano company, in addition to his library work. He appeared at a number of amateur night competitions, soon taking the stage name Fred St. James, and booking with the local vaudeville circuit at $30 a week, enough at that time to allow him to quit his jobs with the library and the piano company. Eventually he became "Freddy James," often billing himself as the world's worst juggler. Allen refined the mix of his deliberately clumsy juggling and the standard jokes and one-liners, directing much of the humor at his own poor juggling abilities. During a ten-year world tour, his vaudeville act evolved more toward monologic comedy and less juggling. In 1917, returning to the New York circuit, his stage name was changed to Fred Allen so that he would not be offered the same low salary that theater owners had been accustomed to paying him in his early career. His new surname came from Edgar Allen, a booker for the Fox theaters.
In 1922, Allen commissioned comic-strip artist Martin Branner to cover a theater curtain with an elaborate mural painting depicting a cemetery with a punchline on each gravestone. This was the "Old Joke Cemetery", where overworked gags go to die. In Allen's act, the audiences would see the curtain (and have several minutes to read its 46 punchlines) before Allen made his entrance. Audiences typically would be laughing at the curtain before Allen even appeared. Robert Taylor's biography of Allen includes an impressive full-length photo of Branner's curtain painting, and many of the punchlines are clearly legible in the photo.
Allen used a variety of gimmicks in his changing act, from a ventriloquist dummy to juggling to singing, but the focus was always on his comedy, which was heavy on wordplay. One recurring bit was to read a purported "letter from home" with material such as the following:
"The man next door has bought pigs; we got wind of it this morning. Your father had a terrible fight with him about it, and the man hit your father with a rock in the left ear. It didn't bother your father; he is stone deaf in that ear. The policeman who took him away said that he would get his hearing in the morning. The other man, the one who owns the pigs, was arrested for fragrancy... There is no other news except that our oil stove exploded yesterday and blew your father and me out into the backyard. It is the first time we have been out together for twenty years.
Allen's wit was at times not intended for the vaudeville audience but rather for other professionals in show business. After one of his appearances failed one day, Allen made the best of it by circulating an obituary of his act on black-bordered funeral stationery. He also mailed vials of his supposed flop sweat to newspapers as part of his comic self-promotion.
In 1921 Fred Allen and Nora Bayes toured with the company of Lew Fields. Their musical director was a nineteen-year-old Richard Rodgers. Many years later, when he and Oscar Hammerstein II appeared as mystery guests on What's My Line?, Rodgers recalled Allen's act, sitting on the edge of the stage, his legs dangling down, playing a banjo while telling jokes.
Broadway
Allen gave vaudeville itself a timeline of 1875–1925 in Much Ado About Me, but he actually left vaudeville a few years earlier, moving to work in such Shubert Brothers stage productions as The Passing Show in 1922. The show played well in its runup to Broadway but lasted only ten weeks at the Winter Garden Theatre. Allen did, however, take something far more lasting from the show: one of the show's chorus girls, Portland Hoffa, who became his wife in 1927 and remained with him until his death.
He also took good notices for his comic work in several of the productions, particularly Vogues and Greenwich Village Follies, and continued to develop his comic writing, even writing a column for Variety called "Near Fun." A salary dispute ended the column; Allen wanted only $60 a week to give up his theater work to become a full-time columnist, but his editor tried a sleight-of-hand based on the paper's ad rates to deny him. He spent his summer in Boston, honed his comic and writing skills even further, worked in a respectfully received duo that billed themselves as Fink and Smith, and played a few of the dying vaudeville houses.
Allen returned to New York to the pleasant surprise that Portland Hoffa was taking instruction to convert to Roman Catholicism. After the couple married, Allen began writing material for them to use together ("With a vaudeville act, Portland and I could be together, even if we couldn't find any work"), and the couple divided their time between the show business circuit, Allen's New England family home and Old Orchard Beach, Maine, in summers.
Radio
Fred Allen's first taste of radio came while he and Portland Hoffa waited for a promised slot in a new Arthur Hammerstein musical. In the interim, they appeared on a Chicago station's program, WLS Showboat, into which Allen recalled, "Portland and I were presented... to inject a little class into it." Their success in these appearances helped their theater reception; live audiences in the Midwest liked to see their radio favorites in person, even if Allen and Hoffa would be replaced by Bob Hope when the radio show moved to New York several months afterward.
The couple eventually got their Hammerstein show, Polly, which opened in Delaware and made the usual tour before hitting Broadway. Also in that cast was a young Englishman named Archie Leach, who received as many good notices for his romantic appeal as Allen got for his comic work. Hammerstein retooled the show before bringing it to New York, replacing everyone but two women and Allen. Leach decided to buy an old car and drive to Hollywood. "What Archie Leach didn't tell me," Allen remembered, "was that he was going to change his name to Cary Grant."
Polly never succeeded in spite of several retoolings, but Allen did go on to successful shows like The Little Show (1929–30) and Three's a Crowd (1930–31), which eventually led to his full-time entry to radio in 1932.
Town Hall Tonight
Allen first hosted The Linit Bath Club Revue on CBS, moving the show to NBC and becoming The Salad Bowl Revue (in a nod to new sponsor Hellmann's Mayonnaise, which was marketed by the parent company of Linit) later in the year. The show became The Sal Hepatica Revue (1933–34), The Hour of Smiles (1934–35), and finally Town Hall Tonight (1935–39). In 1939–40, however, sponsor Bristol-Myers, which advertised Ipana toothpaste as well as Sal Hepatica during the program, altered the title to The Fred Allen Show, over his objections. Allen's perfectionism (odd to some, considering his deft ad-libs) caused him to leap from sponsor to sponsor until Town Hall Tonight allowed him to set his chosen small-town milieu and establish himself as a bona fide radio star.
The hour-long show featured segments that would influence radio and, much later, television; news satires such as Rowan and Martin's Laugh-In'''s "Laugh-In Looks at the News" and Saturday Night Live's "Weekend Update" were influenced by Town Hall Tonight's "The News Reel", later renamed "Town Hall News" (and in 1939–40, as a sop to his sponsor, "Ipana News"). The Tonight Show Starring Johnny Carson's "Mighty Carson Art Players" routines referenced Allen's Mighty Allen Art Players, in name and sometimes in routines. Allen and company also satirized popular musical comedies and films of the day, including and especially Oklahoma!. Allen also did semi-satirical interpretations of well-known lives—including his own.
The show that became Town Hall Tonight was the longest-running hour-long comedy-based show in classic radio history. In 1940, Allen moved back to CBS Radio with a new sponsor and show name, Texaco Star Theater, airing every Wednesday at 9:00 pm ET on CBS, then Sundays at 9:00 pm in the fall of 1941. By 1942, he shortened the show to half an hour, at 9:30 pm ET—under network and sponsor edict, not his own. He also chafed under being forced to give up a Town Hall Tonight signature, using barely known and amateur guests effectively, in favor of booking more recognizable guests, though he liked many of those. Guests included singers from Kingston, New York, the original woman behind the "Aunt Jemima" on pancake boxes, and more guests up the road—from Saugerties, like the singer, Donald Gardner.
Back to NBC
He took over a year off due to hypertension and returned in 1945 with The Fred Allen Show on NBC, Sunday nights at 8:30 p.m. EST. Standard Brands' Blue Bonnet Margarine & Tenderleaf Tea, and later, Ford Motor Company, were the sponsors for the rest of the show's life. (Texaco revived Texaco Star Theater in 1948 on radio, and more successfully on television, making an American icon out of star Milton Berle).
Allen again made a few changes, including the singing DeMarco Sisters, to whom he'd been tipped by arranger-composer Gordon Jenkins. "We did four years with Mr. Allen and got one thousand dollars a week," Gloria DeMarco remembered. "Sunday night was the best night on radio." Sunday night with Fred Allen seemed incomplete on any night listeners didn't hear the DeMarco Sisters, whose breezy, harmonious style became as familiar as their cheerfully sung "Mr. Al-len, Mr. Alll-llennnn" in the show's opening theme. During the theme's brief pause, Allen would say something like, "It isn't the mayor of Anaheim, Azusa and Cucamonga, kiddies." That device became a signature for three of the four years.
Allen's Alley
The other change, born in the Texaco days and evolving from his earlier news spoofs, proved his most enduring, premiering December 6, 1942. The inspiration for the mythical Main Street of "Allen's Alley" came from the small-town heartland folks who were often profiled in the newspaper columns written by O. O. McIntyre (1884–1938), one of the most popular columnists of the 1930s with some seven million readers.
"Allen's Alley" followed a brief Allen monologue and comic segment with Portland Hoffa ("Misssss-ter Allll-llennnn!"), usually involving gags about her family which she instigated. Then a brief music interlude would symbolize the two making their way to the fictitious Alley.
The segment was always launched by a quick exchange that began with Hoffa asking Allen what he would ask the Alley denizens that week. After she implored him, "Shall we go?" Allen would reply with cracks like, "As the two drumsticks said when they spotted the tympani, let's beat it!'"; or "As one strapless gown said to the other strapless gown, 'What's holding us up?'"
A small host of stereotypical characters greeted Allen and Hoffa down the Alley, discussing Allen's question of the week, usually drawing on news items or popular happenings around town, whether gas rationing, traffic congestion, the Pulitzer Prizes, postwar holiday travel, or the annual Ringling Brothers and Barnum & Bailey Circus visit.
The Alley went through a few changes in the first installments. Early denizens included sarcastic John Doe (John Brown), self-possessed Senator Bloat and town drunk Sampson Souse (Jack Smart), dimwitted Socrates Mulligan (Charlie Cantor), pompous poet Falstaff Openshaw (Alan Reed), and wry Jewish housewife Pansy Nussbaum (Minerva Pious). By 1945, Pious and Reed were joined by two new Alley denizens: Parker Fennelly as stoic New England farmer Titus Moody, and Kenny Delmar, the new show's announcer, as bellowing Southern senator Beauregard Claghorn. Pious is credited with tipping Allen to Delmar, who based the character on a real-life person he had encountered while hitchhiking in 1928; Delmar had originally named the voice characterization "Dynamite Gus." Within weeks, Claghorn became one of the leading comedy characters of radio as listeners across the country began quoting his catchphrases: "Somebody, Ah say, somebody knocked"; "I'm from the South, Suh"; "That's a joke, son"; and "Pay attention, boy!" Claghorn served as the model for the Warner Bros. cartoon character Foghorn Leghorn, who first appeared the following August in the Oscar-nominated Walky Talky Hawky.
Other characters had catchphrases that were almost as famous as Claghorn's, such as Titus Moody's "Howdy, Bub", and Falstaff Openshaw's "That is precisely why I am here." Mrs. Nussbaum always greeted Allen by saying, "You were expecting maybe...", and then she would mispronounce the name of a glamorous film star, such as "Too-ra-loo-ra-loo-ra Bankhead?". The Alley sketches made only one further cast change, when Peter Donald's chipper Irishman Ajax Cassidy succeeded Reed's Falstaff.
Despite the ethnic diversity, the Alley characters seemed less citified and more akin with O. O. McIntyre's small-town America. Allen's topical humor is sometimes thought an acquired taste for audiences curious about his generation of radio stars; Dunning has written that when he "went into topical humor, he may have forfeited his only opportunity to be the Mark Twain of his century. He had flashes of undeniable brilliance. But the main body of his work deals with the day-to-day fodder of another time, and sons have seldom been amused by the embarrassments or tragedies of their fathers."
But others find many parallels to today's world and its absurdities. The "Allen's Alley" stereotypes make some cringe, as Allen biographer Robert Taylor noted (in Fred Allen: His Life and Wit), but others find them lancing more than lauding stereotypes, letting listeners make up their own minds about how foolish they could be. "Interestingly enough," wrote Frank Buxton and Bill Owen in The Big Broadcast 1920-1950, "[Claghorn, Nussbaum, Moody, and Cassidy] were never criticized as being anti-Southern, anti-Semitic, anti-New England or anti-Irish. The warmth and good humor with which they were presented made them acceptable even to the most sensitive listeners."
Allen employed a writing staff but they served as his sounding boards and early draft consultants as much as actual writers; it was Allen who had the final edit and rewrite of each week's script, working as long as twelve hours a day in his own right on ideas or sketches. His ad-libbing ability caused many a show to fade away behind the ending network identification, because Allen often ate up air time. It was not as unusual for him as for others to sign off with "We're a little late, so good night, folks." Allen's habit of signing off late affected fellow former vaudevillian Phil Baker, whose quiz show Take It or Leave It immediately followed the Allen show. Baker hatched a comic plan to remedy the situation. He kept track of how much time he was losing to Allen over a period of a few months, and when the total reached 15 minutes, Baker barged into the studio 15 minutes earlier than scheduled—while Allen was on the air—and took over the show, welcoming the audience to Take It or Leave It. Allen, aghast but amused, surrendered the microphone to Baker. Allen's parting shot was, "I'll write a letter to Senator Claghorn about this!"
Allen also "died" more eloquently than other radio comics, particularly in the later years. When a joke was greeted with an awkward silence, Allen would comment on the lack of response, with his ad-libbed "explanation" almost always funnier than the original joke, a technique later adopted successfully by Johnny Carson.
Closing the AlleyThe Fred Allen Show was radio's top-rated show of the 1946–47 season. Allen was able to negotiate a lucrative new contract as a result not only of the show's success, but thanks in large measure to NBC's anxiety to keep more of its stars from joining Jack Benny in a wholesale defection to CBS as well as to retain their services for their rapidly expanding television programming. The CBS talent raids broke up NBC's hit Sunday night, and Benny also convinced George Burns and Gracie Allen and Bing Crosby to join his move.
But a year later, he was knocked off his perch, not by a talent raid but by a show on a third rival network, ABC (the former NBC Blue network). The quiz show Stop the Music, hosted by Bert Parks (debuted 1948), required listeners to participate live by telephone. The show became a big enough hit to break into Allen's grip on that Sunday night time slot. At first, Allen fought fire with his own kind of fire: he offered $5,000 to any listener getting a call from Stop the Music or any similar game show while listening to The Fred Allen Show. He never had to pay up, nor was he shy about lampooning the game show phenomenon (especially a riotous parody of another quiz show Parks hosted, lancing Break the Bank in a routine called "Break the Contestant" in which players didn't receive a thing but were compelled to give up possessions when they blew a question).
Unfortunately, Allen fell to number 38 in the radio ratings, his fall compounded by the rise of television in many major cities. By this time, he had changed the show again somewhat, changing the famed "Allen's Alley" skits to take place on "Main Street," and rotating a new character or two in and out of the lineup. He stepped down from radio again in 1949, at the end of his show's regular season, as much under his doctor's orders as because of his slipping ratings. He decided to take a year off, but it did more for his health (he suffered from hypertension) than his career; after the June 26, 1949 show, on which Henry Morgan and Jack Benny guested, Fred Allen never hosted another radio show full-time again.
Feud
Good friends in real life, Fred Allen and Jack Benny inadvertently hatched a running gag in 1937 when a child prodigy, violinist Stuart Canin, gave a very credible performance on the Allen show, inspiring an Allen wisecrack about "a certain alleged violinist" who should hide in shame over his poor playing. Allen often mentioned his show-business friends on the air ("Mr. Jacob Haley of Newton Highlands, Massachusetts" was Allen's way of saying hello to his pal Jack Haley), and on the Canin broadcast Allen knew Benny would be listening. Benny, according to Allen biographer Taylor, burst out laughing, then responded in kind on his own program. The rivalry gag went on for a decade and convinced some fans that the two comedians really were blood enemies.
The Allen-Benny feud was the longest-playing, best-remembered dialogic running gag in classic radio history. The gag even pushed toward a boxing match between the two comedians and the promised event was a sellout, though the match never occurred. The pair even appeared together in films, including Love Thy Neighbor (1940) and It's in the Bag! (1945), Allen's only starring vehicle, also featuring William Bendix, Robert Benchley, and Jerry Colonna. He also starred with Oscar Levant in 20th Century-Fox's anthology film O. Henry's Full House, in The Ransom of Red Chief.
Some of the feud's highlights involved Al Boasberg, who is credited with helping Benny refine his character into what may have been America's first stand-up comedian. Boasberg was well known behind the scenes as a top comedy writer and script doctor, but he seldom received recognition in public. He worked, uncredited, on many films (including the Marx Brothers' hits A Night at the Opera and A Day at the Races). Steaming mad because of his long battles for recognition, Boasberg was said to have delivered a tirade that ended up (in slightly altered form) in an Allen-Benny feud routine:
Allen: Why, you fugitive from a Ripley cartoon ... I'll knock you flatter than the first eight minutes of this program.
Benny: You ought to do well in pictures, Mr. Allen, now that Boris Karloff is back in England.
Allen: Why, if I was a horse, a pony even, and found out that any part of my tail was used in your violin bow, I'd hang my head in my oatbag from then on.
Benny's side of the feud included a tart interpretation of Allen's Town Hall Tonight show, which Benny and company called "Clown Hall Tonight." A signature element of the feud was that, whenever one guested on the other's shows, the host would tend to hand the guest the best lines of the night. (Both Benny and Allen revealed later that each man's writers consulted with each other on routines involving the feud.)
They toned the gag down after 1941, though they kept it going often enough as the years continued, climaxing on Allen's May 26, 1946 show, in which a sketch called "King for a Day," satirizing big-money game shows, featured Benny pretending to be a contestant named Myron Proudfoot on Allen's new quiz show.
Allen: Tomorrow night, in your ermine robe, you will be whisked by bicycle to Orange, New Jersey, where you will be the judge in a chicken-cleaning contest.
Benny (rapturously): I'm KING for a Day!
[Allen proceeds to have Benny's clothes pressed:]
Allen: And that's not all!
Benny: There's more?
Allen: Yes! On our stage we have a Hoffman pressing machine.
Benny: Now wait a minute! Wait a minute!
Allen: An expert operating the Hoffman pressing machine will press your trousers in seconds.
Benny: NOW WAIT A MINUTE!!! (total audience hysteria and laughter, as Benny's pants are literally removed)
Allen: Quiet, King!
Benny: Come on, Allen, give me my pants!
Allen: Keep your shirt on, King.
Benny: You bet I'll keep my shirt on!
Allen: We're a little late, folks! Tune in next week –
Benny: Allen, this is a frame – (starts laughing himself) Where are my pants!
Allen: Benny, for 15 years I've been waiting to catch you like this!
Benny: Allen, you haven't seen the end of me!
Allen: It won't be long now!
Benny: I want my pants!
Allen and Benny couldn't resist one more play on the feud on Allen's final show. Benny appeared as a skinflint bank manager and mortgage company owner bedeviling Henry Morgan. Typically, Allen handed Benny the show's best crack: "Nobody ever made me this cheap on my own program!"
Benny even used the feud on his TV show, when Fred Allen appeared as a special guest in 1953. The program depicted Benny and Allen as rivals for the sponsor's favors. When the sponsor pointed out that Benny was also a musician, Allen countered with a passage on his clarinet.
As Benny said in his co-memoir, Sunday Nights at Seven: The Jack Benny Story (1990; his daughter, Joan, added her own recollections and published the book after Benny's death), "[T]he sky was the limit. Or rather, the mud was the limit."
Benny was profoundly shaken by Allen's sudden death by heart attack in 1956. In a statement released the day after Allen's death, Benny said, "People have often asked me if Fred Allen and I were really friends in real life. My answer is always the same. You couldn't have such a long-running and successful feud as we did, without having a deep and sincere friendship at the heart of it."
Censorship
Allen may have battled censors more than most of his radio contemporaries. "Fred Allen's fourteen-year battle with radio censorship," wrote the New York Herald-Tribune critic John Crosby, "was made particularly difficult for him by the fact that the man assigned to reviewing his scripts had little sense of humor and frankly admitted he didn't understand Allen's peculiar brand of humor at all." Among the blue pencils, according to Crosby, were:
Allen was barred from saying "Brenda never looked lovelier", at the time of socialite Brenda Frazier's wedding, unless he could get direct permission from the Frazier family.
Allen was ordered to change the Cockney accent he assigned the character of a first mate aboard the Queen Mary — on the grounds that the ship's first mate could only be a cultured man who might not like a Cockney accent.
Allen had to fight to keep Mrs. Nussbaum in the Allen's Alley routines because NBC feared Jewish-dialect humor "might offend all Jews" despite the fact that Jewish dialect humor had been a vaudeville and burlesque staple for years.
Allen was ordered to not even mention the fictitious town of North Wrinkle until or unless it could be proven that no such town actually did exist.
"Allen not only couldn't poke fun at individuals", Crosby wrote. "He also had to be careful not to step on their professions, their beliefs, and sometimes even their hobbies and amusements. Portland Hoffa was once given a line about wasting an afternoon at the rodeo. NBC objected to the implication that an afternoon at the rodeo was wasted and the line had to be changed. Another time, Allen gagged that a girl could have found a better husband in a cemetery. (The censor) thought this might hurt the feelings of people who own and operate cemeteries. Allen got the line cleared only after pointing out that cemeteries have been topics for comedy since the time of Aristophanes." Allen's constant and sometimes intense—as well as often ridiculous—battles with censors may have aggravated his longtime problems with hypertension.
Life after the Alley
After his own show ended, Allen became a regular attraction on NBC's The Big Show (1950–1952), hosted by Tallulah Bankhead. He appeared on 24 of the show's 57 installments, including the landmark premiere, and showed he had not lost his trademark ad-lib skill or his rapier wit. (The show's head writer, Goodman Ace, later told radio host Richard Lamparski that Allen's lucrative NBC contract was a large factor in getting him on the show, though Allen also wrote the segments on which he appeared and consulted with the respected Ace and staff on other portions of the show.)
In some ways, The Big Show was an offspring of the old Allen show; his one-time Texaco Star Theater announcer, Jimmy Wallington, was one of The Big Show's announcers, and Portland Hoffa made several appearances with him as well. On the show's premiere, Allen – with a little prodding from head writer Goodman Ace – could not resist one more play on the old Allen-Benny "feud," a riotous parody of Benny's show called "The Pinch Penny Program."
Television
It was also on The Big Show's premiere that Allen delivered perhaps his best-remembered crack about television: "You know, television is called a new medium, and I have discovered why they call it a medium – because nothing is well done." That did not stop the Museum of Broadcast Communications from considering Allen "the intellectual conscience of television." Aside from his famous crack about not liking furniture that talked, Allen observed that television allowed "people who haven't anything to do to watch people who can't do anything."
Allen tried three short-lived television projects of his own, including a bid to bring "Allen's Alley" to television in a visual setting similar to Our Town. NBC apparently rejected the idea out of hand. "Television is a triumph of equipment over people," Allen observed after that, "and the minds that control it are so small that you could put them in the navel of a flea and still have enough room beside them for a network vice president's heart." His other two TV tries were quiz shows. Judge for Yourself (subtitled The Fred Allen Show) was a game show incorporating musical acts. The idea was to allow Allen to ad-lib with guests à la Groucho Marx, but the complicated format had to be revamped in the middle of the run. (The star was "lost in the confusion of a half hour filled with too many people and too much activity," wrote Alan Havig.)
A comedy series, Fred Allen's Sketchbook, did not catch on. He landed a two-year stint as a panelist on the CBS quiz show What's My Line? from 1954 until his death on March 17, 1956. In July 1955 he took a week off from the show to have an emergency appendectomy. Allen's seat on the panel was taken by radio and TV humorist Robert Q. Lewis. The following week, Allen returned to the program—as the mystery guest. After the panel asked several questions, Lewis smiled and said, "I know who it is. Thank you for letting me work tonight!" Allen joked about the operation: "It was an emergency. The doctor needed some money hurriedly."
Allen also spent his final years as a newspaper columnist/humorist and as a memoirist, renting a small New York office to work six hours a day without distractions. He wrote Treadmill to Oblivion (1954, reviewing his radio and television years) and Much Ado About Me (1956, covering his childhood and his vaudeville and Broadway years, and detailing especially vaudeville at its height with surprising objectivity); the former—which included many of his vintage radio scripts—was the best-selling book on radio's classic period for many years. After the frustrations and failures of his attempts to succeed on television, the popularity of Treadmill revealed Allen's potential as a literary humorist.
Film
Allen had a relatively minor career on screen, appearing in seven full-length features and three shorts between 1929 and 1952. His first film, filmed by Paramount Pictures at its New York studio, was The Installment Collector (1929), a nine-minute adaptation of one of his vaudeville acts, in which he remits a succession of personal articles to an insistent debt collector. Allen followed this with two shorts for Vitaphone, also filmed in New York. Allen's first feature film was the 1935 Dick Powell musical comedy Thanks a Million, which The New York Times reviewed, naming only Allen in their headline. 1940's Love Thy Neighbor played off the comic feud with Jack Benny. His sole leading role was as flea circus impresario Fred F. Trumble Floogle, in the frenetic It's in the Bag!, a loose adaptation of Ilf and Petrov's novel The Twelve Chairs.
Death
Taking one of his regular late night strolls up New York's West 57th Street on Saturday night, March 17, 1956, Allen suffered a heart attack and died at the age of 61. A popular myth repeated for many years, first published in The New York Times story appearing the day after Allen's death, was that he had died while walking his dog. However, biographer Robert Taylor later revealed that Allen had never owned a dog. Allen died before he could complete the final chapter of his memoirs, and as a result the book was published as he had left it. He was a tireless letter writer, and his letters were edited by his wife into the publication of Fred Allen's Letters in 1965.
During the following night's regular Sunday broadcast of What's My Line? at 10:30 p.m., barely 24 hours following Allen's death, host John Daly preceded the program with a special message to the viewing audience. He stated that earlier in the day the producers had considered replacing the regular game play with a special memorial episode, but Allen's wife Portland Hoffa stated that she preferred the show be conducted as it always had been, indicating that this is what Allen would have wanted. The program then proceeded as normal, but with a noticeably subdued tone. Steve Allen (no relation) took Fred's chair on the panel. During the final ninety seconds of the program Steve Allen, Arlene Francis and Bennett Cerf (whose eyes began to tear) gave brief but heartfelt tributes to Fred. A somber Dorothy Kilgallen thanked Steve Allen for stepping in and helping them to carry on at a difficult moment; a similar on-air farewell would air after Kilgallen herself died unexpectedly in 1965.
Allen has two stars on the Hollywood Walk of Fame: a radio star at 6713 Hollywood Blvd. and a TV star at 7001 Hollywood Blvd. Allen was inducted into the National Radio Hall of Fame in 1988. A pedestrian passageway in the Boston Theater District, designated "Allen's Alley", also honors his memory.
Allen's widow, Portland Hoffa, married bandleader Joe Rines in 1959 and celebrated a second silver wedding anniversary well before her own death of natural causes in Los Angeles on Christmas Day, 1990. Allen and Hoffa are buried alongside each other in section 47 at Gate of Heaven Cemetery in Hawthorne, New York. Both Allen's real and stage names are engraved on the headstone.
Cultural legacy
Several late-'30s Warner Bros. Merrie Melodies cartoon shorts feature parodies of Allen. Friz Freleng's Toy Town Hall (1936) is a spoof of Allen's Town Hall Tonight, with toys that come to life in a boy's dreams and put on a variety show. Frank Tashlin's The Woods Are Full of Cuckoos (1937) features a Fred Allen fox screaming about being misinformed, hinting about his heated feuds with censors who were often at the last minute forcing script changes on his show because of its content. And Tex Avery's Thugs with Dirty Mugs (1938) features the main character addressing the audience and showing them his Fred Allen impersonation in one scene.
In Action Comics #50 (July 1942), Superman quips, "Fred Allen would get a kick out of this!" as he hops on to the side of a moving train.
Bibliography
Allen, Fred. Much Ado About Me (Boston: Little, Brown, 1956).
Allen, Fred. Treadmill to Oblivion (Boston: Little, Brown, 1954).
Allen, Fred, ed. by Joe McCarthy, Fred Allen's Letters (New York: Doubleday, 1965)
Allen, Fred, ed. by Stuart Hample, all the sincerity in hollywood... (New York: Fulcrum Publishing, 2001). (The lower-case of the title was a tribute to Allen's habit, later in his life, of typing his letters in all-lower case, à la poet E. E. Cummings.)
Smith, H. Allen, introduction by Fred Allen. Low Man on a Totem Pole, Doubleday, Doran, 1941.
See also
Colgate Comedy Hour (Fred Allen episodes)
References
Sources
Jack Benny and Joan Benny, Sunday Nights at Seven: The Jack Benny Story. (New York: Warner Books, 1990).
Frank Buxton and Bill Owen, The Big Broadcast: 1920-1950 (New York: Flare Books/Avon, 1972).
John Crosby, Out of the Blue: A Book About Radio and Television (New York: Simon and Schuster, 1952).
Alan Havig, Fred Allen's Radio Comedy (Philadelphia: Temple University Press, 1989).
Ben Schwartz, "The Man Who Invented Jack Benny" ('Written By', Writer's Guild of America, 2002)
Robert Taylor, Fred Allen: His Life and Wit (Boston: Little, Brown, 1989).
John Dunning, On the Air: The Encyclopedia of Old-Time Radio''. (New York: Oxford University Press, 1998).
Hilmes, M. (1997). Radio voices American broadcasting, 1922–1952. Minnesota Minneapolis: University of Minnesota Press.
External links
Fred Allen Fred Allen's Radio, television, and film appearances
Fred Allen In-depth Fred Allen Biographical Interview with Martin Gostainian
Laughterlog.com Biography with list of radio, television, film and record appearances
Irving Wallace on Fred Allen
Audio files
Internet Archives: The Fred Allen Show (150 episodes in MP3 format)
OTR Network Library: The Fred Allen Show (84 episodes)
Biography in Sound: "A Portrait of Fred Allen" (May 29, and December 18, 1956)
Zoot Radio, free old time radio show downloads of the 'Fred Allen' radio program
149 episodes.
1894 births
1956 deaths
American male comedians
Radio personalities from New York City
American satirists
Boston University alumni
Burials at Gate of Heaven Cemetery (Hawthorne, New York)
Peabody Award winners
People from Cambridge, Massachusetts
Vaudeville performers
American male film actors
Comedians from New York City
20th-century American comedians
20th-century American male actors
| true |
[
"Colin Campbell Dawkins (September 8, 1922 - November 27, 1986) was an American writer for advertising and comic books, notably for EC Comics. He was a vice-president of the J. Walter Thompson ad agency.\n\nBorn on an Indian reservation near Tulsa, Oklahoma, Dawkins grew up in New York City, where he studied art with plans to become a portrait painter. He met John Severin when both attended the High School of Music & Art and their close friendship continued throughout their lives. In 1943, he worked with WABC radio's wartime all-night record operation. Joining the Air Corps that year, he graduated from private to corporal while working in public relations and on corps newspapers. Returning to New York after the end of World War II, he began his 34-year career at J. Walter Thompson Company as a mailroom messenger, advancing to market research clerk and copywriter. From 1949 to 1951, he worked in JWT's office in London, where he married Patricia Horan, an American who worked in the art department of the London office. After a period in Montreal, he rejoined the New York office, where he became the Vice President in 1965. In 1972, he was Creative Director in JWT's Paris office.\n\nComic books\nJohn Severin and Dawkins collaborated on the \"American Eagle\" stories for Prize Comics Western. In 1954, they were the uncredited co-editors of Two-Fisted Tales #36-39. Dawkins provided the writing for the majority of the title's 1954-55 stories. For Two-Fisted Tales, Severin and Dawkins created the action-adventure character Ruby Ed Coffey, as Severin recalled:\nThose were written completely by Dawkins. Those were characters he dreamed up. I did the designing and that was all I had to do with this. He did the writing, everything on that. I loved them. I like what I did. I drew them, and I love them. He was a good writer. Too bad he was in advertising... I related his stories to the stories I had read, the real Doc Savage in the pulps, not the stuff they have in the comics. Colin had talked to me long before we had ever thought about getting together and doing this sort of thing. Ruby Ed, and he’d have a worldwide network of people that he could work with, and so on and so forth. It sounded good to me. It sounded like my old Doc Savage stuff. I liked that... I’ll tell you one thing though, one of those characters was based on Ham—Doc Savage had that lawyer... And the other guy was based on Captain Easy.\n\nDawkins also contributed to 1981-82 issues of Warren Publishing's The Rook.\n\nBooks\nIn 1978, Dawkins began writing a history of advertising with the emphasis on J. Walter Thompson. Although the completed work, Ain't It Hell on a Windy Day (1981), was never published, the manuscript is located in the JWT files.\n\nHe retired from JWT in 1981 and died in Pennsylvania in 1986.\n\nReferences\n\nExternal links\nComic Book Database: Colin Dawkins\n\n1922 births\n1986 deaths\nAmerican comics writers\nEC Comics",
"Josh Trujillo is an American writer known for his work on comic book franchises such as Adventure Time, Captain America, and Rick and Morty.\n\nCareer\n\nTrujillio was born and lives in Los Angeles. He did not attend college, but began freelance writing in his 20s. \n\nHe first major credit came in 2016, when he contributed the story Tonight to the anthology Love is Love, produced by IDW Publishing and DC Comics. Later that year he was hired by BOOM! Studios to author three Adventure Time graphic novels, all published in 2016 as well: The Three Castles, Princess Bubblegum, and Brain Robbers.\n\nTrujillo's self-published romance anthology Love Machines touched on stories of technology intersection with romance. \"The Most Beautiful Woman In The World\" told the tale of Vincente Minelli and Lester Gaba, as well as Cynthia the \"Gaba Girl\". In 2018 he wrote his first comic book for the Rick and Morty series, Rick and Morty Issue 36, and he has since authored several others. Trujillo has also written for a number of Superhero franchises, including The Flash, Wonder Woman, Superman, Hulkling and Wiccan.\n\nIn addition to working for comic studios, Trujillo has also contributed writing to several video games, including Marvel’s Guardians of the Galaxy: The Telltale Series, Destruction AllStars, and Batman: The Enemy Within. In 2018 he authored his own four-issue comic book with BOOM! Studios entitled Dodge City, and in 2020 he wrote the children’s book Lost Beast, Found Friend.\n\nTrujillo's work appears in the Ringo Award-winning anthology, MINE! A Celebration of Planned Parenthood, and the Ignatz Award-winning Be Gay, Do Comics. \n\nIn 2021, Trujillo co-created the character of Aaron Fischer with writer Christopher Cantwell and artist Jan Bazaldua. Fischer, a gay teenage runaway, is a new hero taking on the mantle of Captain America. In September of 2021 it was announced he will be the writer of a one-off superhero-themed comic book about the YouTube stars known as FaZe Clan. \n\nHe is currently writing a comic biography of Baron von Steuben for Mariko Tamaki's Surely imprint.\n\nPersonal life\n\nTrujillio is openly gay, and has been involved in activism relating to LGBTQ and Latino issues in comics and entertainment. Much of his work centers features gay characters, or introducing gay themes to existing properties. In 2015, he moderated San Diego Comic Con’s first panel on queer gaming.\n\nWriter Sina Grace has claimed that the character of \"Softboy\" in his comic Rockstar and Softboy is based on Trujillio.\n\nReferences\n\nAmerican comics writers\nYear of birth missing (living people)\nLiving people"
] |
[
"Fred Allen",
"Broadway",
"What did Fred allen have to do with Broadway?",
"as The Passing Show in 1922. The show played well in its runup to Broadway but lasted only ten weeks at the Winter Garden Theatre.",
"How long did Broadway run?",
"lasted only ten weeks",
"Was it a hit?",
"The show played well in its runup to Broadway",
"What show was a run up to Broadway?",
"He also took good notices for his comic work in several of the productions, particularly Vogues and Greenwich Village Follies,",
"What else do you find interesting about Broadway?",
"He also took good notices for his comic work in several of the productions, particularly Vogues and Greenwich Village Follies, and continued to develop his comic writing,",
"What other comic writing did he do?",
"writing a column for Variety called \"Near Fun."
] |
C_712b4ac7451d4a5fb8b4b9cb9fb76e4d_1
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Did he get any awards?
| 7 |
Did Fred Allen get any awards?
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Fred Allen
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Allen gave vaudeville itself a timeline of 1875-1925 in Much Ado About Me, but he actually left vaudeville a few years earlier, moving to work in such Shubert Brothers stage productions as The Passing Show in 1922. The show played well in its runup to Broadway but lasted only ten weeks at the Winter Garden Theatre. Allen did, however, take something far more lasting from the show: one of the show's chorus girls, Portland Hoffa, who became his wife in 1927 and remained with him until his death. He also took good notices for his comic work in several of the productions, particularly Vogues and Greenwich Village Follies, and continued to develop his comic writing, even writing a column for Variety called "Near Fun." A salary dispute ended the column; Allen wanted only $60 a week to give up his theater work to become a full-time columnist, but his editor tried a sleight-of-hand based on the paper's ad rates to deny him. He spent his summer in Boston, honed his comic and writing skills even further, worked in a respectfully received duo that billed themselves as Fink and Smith, and played a few of the dying vaudeville houses. Allen returned to New York to the pleasant surprise that Portland Hoffa was taking instruction to convert to Roman Catholicism. After the couple married, Allen began writing material for them to use together ("With a vaudeville act, Portland and I could be together, even if we couldn't find any work"), and the couple divided their time between the show business circuit, Allen's New England family home and Old Orchard Beach, Maine, in summers. CANNOTANSWER
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CANNOTANSWER
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John Florence Sullivan (May 31, 1894 – March 17, 1956), known professionally as Fred Allen, was an American comedian. His absurdist, topically pointed radio program The Fred Allen Show (1932–1949) made him one of the most popular and forward-looking humorists in the Golden Age of American radio.
His best-remembered gag was his long-running mock feud with friend and fellow comedian Jack Benny, but it was only part of his appeal; radio historian John Dunning (in On the Air: The Encyclopedia of Old-Time Radio) wrote that Allen was perhaps radio's most admired comedian and most frequently censored. A master ad libber, Allen often tangled with his network's executives (and often barbed them on the air over the battles) while developing routines whose style and substance influenced fellow comic talents, including Groucho Marx, Stan Freberg, Henry Morgan, and Johnny Carson; his avowed fans also included President Franklin D. Roosevelt, humorist James Thurber, and novelists William Faulkner, John Steinbeck, and Herman Wouk (who began his career writing for Allen).
Allen was honored with stars on the Hollywood Walk of Fame for contributions to television and radio.
Childhood
John Florence Sullivan was born in Cambridge, Massachusetts, to Irish Catholic parents. Allen barely knew his mother, Cecilia Herlihy Sullivan, who died of pneumonia when he was not quite three years old. Along with his father, James Henry Sullivan, and his infant brother Robert, Allen was taken in by one of his mother's sisters, "my aunt Lizzie", around whom he focused the first chapter of his second memoir, Much Ado About Me. His father was so shattered by his mother's death that, according to Allen, he drank more heavily. His aunt suffered as well; her husband Michael was partially paralyzed by lead poisoning shortly after they married, leaving him mostly unable to work, something Allen remembered as causing contention among Lizzie's sisters. Eventually, Allen's father remarried and offered his sons the choice between coming with him and his new wife or staying with Aunt Lizzie. Allen's younger brother chose to go with their father, but Allen decided to stay with his aunt. "I never regretted it", he wrote.
Vaudeville
Allen took piano lessons as a boy, his father having brought an Emerson upright along when they moved in with his aunt. He learned exactly two songs – "Hiawatha" and "Pitter, Patter, Little Raindrops" – and would be asked to play "half or all my repertoire" when visitors came to the house. He also worked at the Boston Public Library, where he discovered a book about the origin and development of comedy. Enduring various upheavals at home (other aunts came and went, prompting several moves), Allen also took up juggling while learning as much as possible about comedy.
Some library co-workers planned to put on a show and asked him to do a bit of juggling and some of his comedy. When a girl in the crowd told him, "You're crazy to keep working here at the library; you ought to go on stage," Allen decided his career path was set.
In 1914, at the age of 20, Allen took a job with a local piano company, in addition to his library work. He appeared at a number of amateur night competitions, soon taking the stage name Fred St. James, and booking with the local vaudeville circuit at $30 a week, enough at that time to allow him to quit his jobs with the library and the piano company. Eventually he became "Freddy James," often billing himself as the world's worst juggler. Allen refined the mix of his deliberately clumsy juggling and the standard jokes and one-liners, directing much of the humor at his own poor juggling abilities. During a ten-year world tour, his vaudeville act evolved more toward monologic comedy and less juggling. In 1917, returning to the New York circuit, his stage name was changed to Fred Allen so that he would not be offered the same low salary that theater owners had been accustomed to paying him in his early career. His new surname came from Edgar Allen, a booker for the Fox theaters.
In 1922, Allen commissioned comic-strip artist Martin Branner to cover a theater curtain with an elaborate mural painting depicting a cemetery with a punchline on each gravestone. This was the "Old Joke Cemetery", where overworked gags go to die. In Allen's act, the audiences would see the curtain (and have several minutes to read its 46 punchlines) before Allen made his entrance. Audiences typically would be laughing at the curtain before Allen even appeared. Robert Taylor's biography of Allen includes an impressive full-length photo of Branner's curtain painting, and many of the punchlines are clearly legible in the photo.
Allen used a variety of gimmicks in his changing act, from a ventriloquist dummy to juggling to singing, but the focus was always on his comedy, which was heavy on wordplay. One recurring bit was to read a purported "letter from home" with material such as the following:
"The man next door has bought pigs; we got wind of it this morning. Your father had a terrible fight with him about it, and the man hit your father with a rock in the left ear. It didn't bother your father; he is stone deaf in that ear. The policeman who took him away said that he would get his hearing in the morning. The other man, the one who owns the pigs, was arrested for fragrancy... There is no other news except that our oil stove exploded yesterday and blew your father and me out into the backyard. It is the first time we have been out together for twenty years.
Allen's wit was at times not intended for the vaudeville audience but rather for other professionals in show business. After one of his appearances failed one day, Allen made the best of it by circulating an obituary of his act on black-bordered funeral stationery. He also mailed vials of his supposed flop sweat to newspapers as part of his comic self-promotion.
In 1921 Fred Allen and Nora Bayes toured with the company of Lew Fields. Their musical director was a nineteen-year-old Richard Rodgers. Many years later, when he and Oscar Hammerstein II appeared as mystery guests on What's My Line?, Rodgers recalled Allen's act, sitting on the edge of the stage, his legs dangling down, playing a banjo while telling jokes.
Broadway
Allen gave vaudeville itself a timeline of 1875–1925 in Much Ado About Me, but he actually left vaudeville a few years earlier, moving to work in such Shubert Brothers stage productions as The Passing Show in 1922. The show played well in its runup to Broadway but lasted only ten weeks at the Winter Garden Theatre. Allen did, however, take something far more lasting from the show: one of the show's chorus girls, Portland Hoffa, who became his wife in 1927 and remained with him until his death.
He also took good notices for his comic work in several of the productions, particularly Vogues and Greenwich Village Follies, and continued to develop his comic writing, even writing a column for Variety called "Near Fun." A salary dispute ended the column; Allen wanted only $60 a week to give up his theater work to become a full-time columnist, but his editor tried a sleight-of-hand based on the paper's ad rates to deny him. He spent his summer in Boston, honed his comic and writing skills even further, worked in a respectfully received duo that billed themselves as Fink and Smith, and played a few of the dying vaudeville houses.
Allen returned to New York to the pleasant surprise that Portland Hoffa was taking instruction to convert to Roman Catholicism. After the couple married, Allen began writing material for them to use together ("With a vaudeville act, Portland and I could be together, even if we couldn't find any work"), and the couple divided their time between the show business circuit, Allen's New England family home and Old Orchard Beach, Maine, in summers.
Radio
Fred Allen's first taste of radio came while he and Portland Hoffa waited for a promised slot in a new Arthur Hammerstein musical. In the interim, they appeared on a Chicago station's program, WLS Showboat, into which Allen recalled, "Portland and I were presented... to inject a little class into it." Their success in these appearances helped their theater reception; live audiences in the Midwest liked to see their radio favorites in person, even if Allen and Hoffa would be replaced by Bob Hope when the radio show moved to New York several months afterward.
The couple eventually got their Hammerstein show, Polly, which opened in Delaware and made the usual tour before hitting Broadway. Also in that cast was a young Englishman named Archie Leach, who received as many good notices for his romantic appeal as Allen got for his comic work. Hammerstein retooled the show before bringing it to New York, replacing everyone but two women and Allen. Leach decided to buy an old car and drive to Hollywood. "What Archie Leach didn't tell me," Allen remembered, "was that he was going to change his name to Cary Grant."
Polly never succeeded in spite of several retoolings, but Allen did go on to successful shows like The Little Show (1929–30) and Three's a Crowd (1930–31), which eventually led to his full-time entry to radio in 1932.
Town Hall Tonight
Allen first hosted The Linit Bath Club Revue on CBS, moving the show to NBC and becoming The Salad Bowl Revue (in a nod to new sponsor Hellmann's Mayonnaise, which was marketed by the parent company of Linit) later in the year. The show became The Sal Hepatica Revue (1933–34), The Hour of Smiles (1934–35), and finally Town Hall Tonight (1935–39). In 1939–40, however, sponsor Bristol-Myers, which advertised Ipana toothpaste as well as Sal Hepatica during the program, altered the title to The Fred Allen Show, over his objections. Allen's perfectionism (odd to some, considering his deft ad-libs) caused him to leap from sponsor to sponsor until Town Hall Tonight allowed him to set his chosen small-town milieu and establish himself as a bona fide radio star.
The hour-long show featured segments that would influence radio and, much later, television; news satires such as Rowan and Martin's Laugh-In'''s "Laugh-In Looks at the News" and Saturday Night Live's "Weekend Update" were influenced by Town Hall Tonight's "The News Reel", later renamed "Town Hall News" (and in 1939–40, as a sop to his sponsor, "Ipana News"). The Tonight Show Starring Johnny Carson's "Mighty Carson Art Players" routines referenced Allen's Mighty Allen Art Players, in name and sometimes in routines. Allen and company also satirized popular musical comedies and films of the day, including and especially Oklahoma!. Allen also did semi-satirical interpretations of well-known lives—including his own.
The show that became Town Hall Tonight was the longest-running hour-long comedy-based show in classic radio history. In 1940, Allen moved back to CBS Radio with a new sponsor and show name, Texaco Star Theater, airing every Wednesday at 9:00 pm ET on CBS, then Sundays at 9:00 pm in the fall of 1941. By 1942, he shortened the show to half an hour, at 9:30 pm ET—under network and sponsor edict, not his own. He also chafed under being forced to give up a Town Hall Tonight signature, using barely known and amateur guests effectively, in favor of booking more recognizable guests, though he liked many of those. Guests included singers from Kingston, New York, the original woman behind the "Aunt Jemima" on pancake boxes, and more guests up the road—from Saugerties, like the singer, Donald Gardner.
Back to NBC
He took over a year off due to hypertension and returned in 1945 with The Fred Allen Show on NBC, Sunday nights at 8:30 p.m. EST. Standard Brands' Blue Bonnet Margarine & Tenderleaf Tea, and later, Ford Motor Company, were the sponsors for the rest of the show's life. (Texaco revived Texaco Star Theater in 1948 on radio, and more successfully on television, making an American icon out of star Milton Berle).
Allen again made a few changes, including the singing DeMarco Sisters, to whom he'd been tipped by arranger-composer Gordon Jenkins. "We did four years with Mr. Allen and got one thousand dollars a week," Gloria DeMarco remembered. "Sunday night was the best night on radio." Sunday night with Fred Allen seemed incomplete on any night listeners didn't hear the DeMarco Sisters, whose breezy, harmonious style became as familiar as their cheerfully sung "Mr. Al-len, Mr. Alll-llennnn" in the show's opening theme. During the theme's brief pause, Allen would say something like, "It isn't the mayor of Anaheim, Azusa and Cucamonga, kiddies." That device became a signature for three of the four years.
Allen's Alley
The other change, born in the Texaco days and evolving from his earlier news spoofs, proved his most enduring, premiering December 6, 1942. The inspiration for the mythical Main Street of "Allen's Alley" came from the small-town heartland folks who were often profiled in the newspaper columns written by O. O. McIntyre (1884–1938), one of the most popular columnists of the 1930s with some seven million readers.
"Allen's Alley" followed a brief Allen monologue and comic segment with Portland Hoffa ("Misssss-ter Allll-llennnn!"), usually involving gags about her family which she instigated. Then a brief music interlude would symbolize the two making their way to the fictitious Alley.
The segment was always launched by a quick exchange that began with Hoffa asking Allen what he would ask the Alley denizens that week. After she implored him, "Shall we go?" Allen would reply with cracks like, "As the two drumsticks said when they spotted the tympani, let's beat it!'"; or "As one strapless gown said to the other strapless gown, 'What's holding us up?'"
A small host of stereotypical characters greeted Allen and Hoffa down the Alley, discussing Allen's question of the week, usually drawing on news items or popular happenings around town, whether gas rationing, traffic congestion, the Pulitzer Prizes, postwar holiday travel, or the annual Ringling Brothers and Barnum & Bailey Circus visit.
The Alley went through a few changes in the first installments. Early denizens included sarcastic John Doe (John Brown), self-possessed Senator Bloat and town drunk Sampson Souse (Jack Smart), dimwitted Socrates Mulligan (Charlie Cantor), pompous poet Falstaff Openshaw (Alan Reed), and wry Jewish housewife Pansy Nussbaum (Minerva Pious). By 1945, Pious and Reed were joined by two new Alley denizens: Parker Fennelly as stoic New England farmer Titus Moody, and Kenny Delmar, the new show's announcer, as bellowing Southern senator Beauregard Claghorn. Pious is credited with tipping Allen to Delmar, who based the character on a real-life person he had encountered while hitchhiking in 1928; Delmar had originally named the voice characterization "Dynamite Gus." Within weeks, Claghorn became one of the leading comedy characters of radio as listeners across the country began quoting his catchphrases: "Somebody, Ah say, somebody knocked"; "I'm from the South, Suh"; "That's a joke, son"; and "Pay attention, boy!" Claghorn served as the model for the Warner Bros. cartoon character Foghorn Leghorn, who first appeared the following August in the Oscar-nominated Walky Talky Hawky.
Other characters had catchphrases that were almost as famous as Claghorn's, such as Titus Moody's "Howdy, Bub", and Falstaff Openshaw's "That is precisely why I am here." Mrs. Nussbaum always greeted Allen by saying, "You were expecting maybe...", and then she would mispronounce the name of a glamorous film star, such as "Too-ra-loo-ra-loo-ra Bankhead?". The Alley sketches made only one further cast change, when Peter Donald's chipper Irishman Ajax Cassidy succeeded Reed's Falstaff.
Despite the ethnic diversity, the Alley characters seemed less citified and more akin with O. O. McIntyre's small-town America. Allen's topical humor is sometimes thought an acquired taste for audiences curious about his generation of radio stars; Dunning has written that when he "went into topical humor, he may have forfeited his only opportunity to be the Mark Twain of his century. He had flashes of undeniable brilliance. But the main body of his work deals with the day-to-day fodder of another time, and sons have seldom been amused by the embarrassments or tragedies of their fathers."
But others find many parallels to today's world and its absurdities. The "Allen's Alley" stereotypes make some cringe, as Allen biographer Robert Taylor noted (in Fred Allen: His Life and Wit), but others find them lancing more than lauding stereotypes, letting listeners make up their own minds about how foolish they could be. "Interestingly enough," wrote Frank Buxton and Bill Owen in The Big Broadcast 1920-1950, "[Claghorn, Nussbaum, Moody, and Cassidy] were never criticized as being anti-Southern, anti-Semitic, anti-New England or anti-Irish. The warmth and good humor with which they were presented made them acceptable even to the most sensitive listeners."
Allen employed a writing staff but they served as his sounding boards and early draft consultants as much as actual writers; it was Allen who had the final edit and rewrite of each week's script, working as long as twelve hours a day in his own right on ideas or sketches. His ad-libbing ability caused many a show to fade away behind the ending network identification, because Allen often ate up air time. It was not as unusual for him as for others to sign off with "We're a little late, so good night, folks." Allen's habit of signing off late affected fellow former vaudevillian Phil Baker, whose quiz show Take It or Leave It immediately followed the Allen show. Baker hatched a comic plan to remedy the situation. He kept track of how much time he was losing to Allen over a period of a few months, and when the total reached 15 minutes, Baker barged into the studio 15 minutes earlier than scheduled—while Allen was on the air—and took over the show, welcoming the audience to Take It or Leave It. Allen, aghast but amused, surrendered the microphone to Baker. Allen's parting shot was, "I'll write a letter to Senator Claghorn about this!"
Allen also "died" more eloquently than other radio comics, particularly in the later years. When a joke was greeted with an awkward silence, Allen would comment on the lack of response, with his ad-libbed "explanation" almost always funnier than the original joke, a technique later adopted successfully by Johnny Carson.
Closing the AlleyThe Fred Allen Show was radio's top-rated show of the 1946–47 season. Allen was able to negotiate a lucrative new contract as a result not only of the show's success, but thanks in large measure to NBC's anxiety to keep more of its stars from joining Jack Benny in a wholesale defection to CBS as well as to retain their services for their rapidly expanding television programming. The CBS talent raids broke up NBC's hit Sunday night, and Benny also convinced George Burns and Gracie Allen and Bing Crosby to join his move.
But a year later, he was knocked off his perch, not by a talent raid but by a show on a third rival network, ABC (the former NBC Blue network). The quiz show Stop the Music, hosted by Bert Parks (debuted 1948), required listeners to participate live by telephone. The show became a big enough hit to break into Allen's grip on that Sunday night time slot. At first, Allen fought fire with his own kind of fire: he offered $5,000 to any listener getting a call from Stop the Music or any similar game show while listening to The Fred Allen Show. He never had to pay up, nor was he shy about lampooning the game show phenomenon (especially a riotous parody of another quiz show Parks hosted, lancing Break the Bank in a routine called "Break the Contestant" in which players didn't receive a thing but were compelled to give up possessions when they blew a question).
Unfortunately, Allen fell to number 38 in the radio ratings, his fall compounded by the rise of television in many major cities. By this time, he had changed the show again somewhat, changing the famed "Allen's Alley" skits to take place on "Main Street," and rotating a new character or two in and out of the lineup. He stepped down from radio again in 1949, at the end of his show's regular season, as much under his doctor's orders as because of his slipping ratings. He decided to take a year off, but it did more for his health (he suffered from hypertension) than his career; after the June 26, 1949 show, on which Henry Morgan and Jack Benny guested, Fred Allen never hosted another radio show full-time again.
Feud
Good friends in real life, Fred Allen and Jack Benny inadvertently hatched a running gag in 1937 when a child prodigy, violinist Stuart Canin, gave a very credible performance on the Allen show, inspiring an Allen wisecrack about "a certain alleged violinist" who should hide in shame over his poor playing. Allen often mentioned his show-business friends on the air ("Mr. Jacob Haley of Newton Highlands, Massachusetts" was Allen's way of saying hello to his pal Jack Haley), and on the Canin broadcast Allen knew Benny would be listening. Benny, according to Allen biographer Taylor, burst out laughing, then responded in kind on his own program. The rivalry gag went on for a decade and convinced some fans that the two comedians really were blood enemies.
The Allen-Benny feud was the longest-playing, best-remembered dialogic running gag in classic radio history. The gag even pushed toward a boxing match between the two comedians and the promised event was a sellout, though the match never occurred. The pair even appeared together in films, including Love Thy Neighbor (1940) and It's in the Bag! (1945), Allen's only starring vehicle, also featuring William Bendix, Robert Benchley, and Jerry Colonna. He also starred with Oscar Levant in 20th Century-Fox's anthology film O. Henry's Full House, in The Ransom of Red Chief.
Some of the feud's highlights involved Al Boasberg, who is credited with helping Benny refine his character into what may have been America's first stand-up comedian. Boasberg was well known behind the scenes as a top comedy writer and script doctor, but he seldom received recognition in public. He worked, uncredited, on many films (including the Marx Brothers' hits A Night at the Opera and A Day at the Races). Steaming mad because of his long battles for recognition, Boasberg was said to have delivered a tirade that ended up (in slightly altered form) in an Allen-Benny feud routine:
Allen: Why, you fugitive from a Ripley cartoon ... I'll knock you flatter than the first eight minutes of this program.
Benny: You ought to do well in pictures, Mr. Allen, now that Boris Karloff is back in England.
Allen: Why, if I was a horse, a pony even, and found out that any part of my tail was used in your violin bow, I'd hang my head in my oatbag from then on.
Benny's side of the feud included a tart interpretation of Allen's Town Hall Tonight show, which Benny and company called "Clown Hall Tonight." A signature element of the feud was that, whenever one guested on the other's shows, the host would tend to hand the guest the best lines of the night. (Both Benny and Allen revealed later that each man's writers consulted with each other on routines involving the feud.)
They toned the gag down after 1941, though they kept it going often enough as the years continued, climaxing on Allen's May 26, 1946 show, in which a sketch called "King for a Day," satirizing big-money game shows, featured Benny pretending to be a contestant named Myron Proudfoot on Allen's new quiz show.
Allen: Tomorrow night, in your ermine robe, you will be whisked by bicycle to Orange, New Jersey, where you will be the judge in a chicken-cleaning contest.
Benny (rapturously): I'm KING for a Day!
[Allen proceeds to have Benny's clothes pressed:]
Allen: And that's not all!
Benny: There's more?
Allen: Yes! On our stage we have a Hoffman pressing machine.
Benny: Now wait a minute! Wait a minute!
Allen: An expert operating the Hoffman pressing machine will press your trousers in seconds.
Benny: NOW WAIT A MINUTE!!! (total audience hysteria and laughter, as Benny's pants are literally removed)
Allen: Quiet, King!
Benny: Come on, Allen, give me my pants!
Allen: Keep your shirt on, King.
Benny: You bet I'll keep my shirt on!
Allen: We're a little late, folks! Tune in next week –
Benny: Allen, this is a frame – (starts laughing himself) Where are my pants!
Allen: Benny, for 15 years I've been waiting to catch you like this!
Benny: Allen, you haven't seen the end of me!
Allen: It won't be long now!
Benny: I want my pants!
Allen and Benny couldn't resist one more play on the feud on Allen's final show. Benny appeared as a skinflint bank manager and mortgage company owner bedeviling Henry Morgan. Typically, Allen handed Benny the show's best crack: "Nobody ever made me this cheap on my own program!"
Benny even used the feud on his TV show, when Fred Allen appeared as a special guest in 1953. The program depicted Benny and Allen as rivals for the sponsor's favors. When the sponsor pointed out that Benny was also a musician, Allen countered with a passage on his clarinet.
As Benny said in his co-memoir, Sunday Nights at Seven: The Jack Benny Story (1990; his daughter, Joan, added her own recollections and published the book after Benny's death), "[T]he sky was the limit. Or rather, the mud was the limit."
Benny was profoundly shaken by Allen's sudden death by heart attack in 1956. In a statement released the day after Allen's death, Benny said, "People have often asked me if Fred Allen and I were really friends in real life. My answer is always the same. You couldn't have such a long-running and successful feud as we did, without having a deep and sincere friendship at the heart of it."
Censorship
Allen may have battled censors more than most of his radio contemporaries. "Fred Allen's fourteen-year battle with radio censorship," wrote the New York Herald-Tribune critic John Crosby, "was made particularly difficult for him by the fact that the man assigned to reviewing his scripts had little sense of humor and frankly admitted he didn't understand Allen's peculiar brand of humor at all." Among the blue pencils, according to Crosby, were:
Allen was barred from saying "Brenda never looked lovelier", at the time of socialite Brenda Frazier's wedding, unless he could get direct permission from the Frazier family.
Allen was ordered to change the Cockney accent he assigned the character of a first mate aboard the Queen Mary — on the grounds that the ship's first mate could only be a cultured man who might not like a Cockney accent.
Allen had to fight to keep Mrs. Nussbaum in the Allen's Alley routines because NBC feared Jewish-dialect humor "might offend all Jews" despite the fact that Jewish dialect humor had been a vaudeville and burlesque staple for years.
Allen was ordered to not even mention the fictitious town of North Wrinkle until or unless it could be proven that no such town actually did exist.
"Allen not only couldn't poke fun at individuals", Crosby wrote. "He also had to be careful not to step on their professions, their beliefs, and sometimes even their hobbies and amusements. Portland Hoffa was once given a line about wasting an afternoon at the rodeo. NBC objected to the implication that an afternoon at the rodeo was wasted and the line had to be changed. Another time, Allen gagged that a girl could have found a better husband in a cemetery. (The censor) thought this might hurt the feelings of people who own and operate cemeteries. Allen got the line cleared only after pointing out that cemeteries have been topics for comedy since the time of Aristophanes." Allen's constant and sometimes intense—as well as often ridiculous—battles with censors may have aggravated his longtime problems with hypertension.
Life after the Alley
After his own show ended, Allen became a regular attraction on NBC's The Big Show (1950–1952), hosted by Tallulah Bankhead. He appeared on 24 of the show's 57 installments, including the landmark premiere, and showed he had not lost his trademark ad-lib skill or his rapier wit. (The show's head writer, Goodman Ace, later told radio host Richard Lamparski that Allen's lucrative NBC contract was a large factor in getting him on the show, though Allen also wrote the segments on which he appeared and consulted with the respected Ace and staff on other portions of the show.)
In some ways, The Big Show was an offspring of the old Allen show; his one-time Texaco Star Theater announcer, Jimmy Wallington, was one of The Big Show's announcers, and Portland Hoffa made several appearances with him as well. On the show's premiere, Allen – with a little prodding from head writer Goodman Ace – could not resist one more play on the old Allen-Benny "feud," a riotous parody of Benny's show called "The Pinch Penny Program."
Television
It was also on The Big Show's premiere that Allen delivered perhaps his best-remembered crack about television: "You know, television is called a new medium, and I have discovered why they call it a medium – because nothing is well done." That did not stop the Museum of Broadcast Communications from considering Allen "the intellectual conscience of television." Aside from his famous crack about not liking furniture that talked, Allen observed that television allowed "people who haven't anything to do to watch people who can't do anything."
Allen tried three short-lived television projects of his own, including a bid to bring "Allen's Alley" to television in a visual setting similar to Our Town. NBC apparently rejected the idea out of hand. "Television is a triumph of equipment over people," Allen observed after that, "and the minds that control it are so small that you could put them in the navel of a flea and still have enough room beside them for a network vice president's heart." His other two TV tries were quiz shows. Judge for Yourself (subtitled The Fred Allen Show) was a game show incorporating musical acts. The idea was to allow Allen to ad-lib with guests à la Groucho Marx, but the complicated format had to be revamped in the middle of the run. (The star was "lost in the confusion of a half hour filled with too many people and too much activity," wrote Alan Havig.)
A comedy series, Fred Allen's Sketchbook, did not catch on. He landed a two-year stint as a panelist on the CBS quiz show What's My Line? from 1954 until his death on March 17, 1956. In July 1955 he took a week off from the show to have an emergency appendectomy. Allen's seat on the panel was taken by radio and TV humorist Robert Q. Lewis. The following week, Allen returned to the program—as the mystery guest. After the panel asked several questions, Lewis smiled and said, "I know who it is. Thank you for letting me work tonight!" Allen joked about the operation: "It was an emergency. The doctor needed some money hurriedly."
Allen also spent his final years as a newspaper columnist/humorist and as a memoirist, renting a small New York office to work six hours a day without distractions. He wrote Treadmill to Oblivion (1954, reviewing his radio and television years) and Much Ado About Me (1956, covering his childhood and his vaudeville and Broadway years, and detailing especially vaudeville at its height with surprising objectivity); the former—which included many of his vintage radio scripts—was the best-selling book on radio's classic period for many years. After the frustrations and failures of his attempts to succeed on television, the popularity of Treadmill revealed Allen's potential as a literary humorist.
Film
Allen had a relatively minor career on screen, appearing in seven full-length features and three shorts between 1929 and 1952. His first film, filmed by Paramount Pictures at its New York studio, was The Installment Collector (1929), a nine-minute adaptation of one of his vaudeville acts, in which he remits a succession of personal articles to an insistent debt collector. Allen followed this with two shorts for Vitaphone, also filmed in New York. Allen's first feature film was the 1935 Dick Powell musical comedy Thanks a Million, which The New York Times reviewed, naming only Allen in their headline. 1940's Love Thy Neighbor played off the comic feud with Jack Benny. His sole leading role was as flea circus impresario Fred F. Trumble Floogle, in the frenetic It's in the Bag!, a loose adaptation of Ilf and Petrov's novel The Twelve Chairs.
Death
Taking one of his regular late night strolls up New York's West 57th Street on Saturday night, March 17, 1956, Allen suffered a heart attack and died at the age of 61. A popular myth repeated for many years, first published in The New York Times story appearing the day after Allen's death, was that he had died while walking his dog. However, biographer Robert Taylor later revealed that Allen had never owned a dog. Allen died before he could complete the final chapter of his memoirs, and as a result the book was published as he had left it. He was a tireless letter writer, and his letters were edited by his wife into the publication of Fred Allen's Letters in 1965.
During the following night's regular Sunday broadcast of What's My Line? at 10:30 p.m., barely 24 hours following Allen's death, host John Daly preceded the program with a special message to the viewing audience. He stated that earlier in the day the producers had considered replacing the regular game play with a special memorial episode, but Allen's wife Portland Hoffa stated that she preferred the show be conducted as it always had been, indicating that this is what Allen would have wanted. The program then proceeded as normal, but with a noticeably subdued tone. Steve Allen (no relation) took Fred's chair on the panel. During the final ninety seconds of the program Steve Allen, Arlene Francis and Bennett Cerf (whose eyes began to tear) gave brief but heartfelt tributes to Fred. A somber Dorothy Kilgallen thanked Steve Allen for stepping in and helping them to carry on at a difficult moment; a similar on-air farewell would air after Kilgallen herself died unexpectedly in 1965.
Allen has two stars on the Hollywood Walk of Fame: a radio star at 6713 Hollywood Blvd. and a TV star at 7001 Hollywood Blvd. Allen was inducted into the National Radio Hall of Fame in 1988. A pedestrian passageway in the Boston Theater District, designated "Allen's Alley", also honors his memory.
Allen's widow, Portland Hoffa, married bandleader Joe Rines in 1959 and celebrated a second silver wedding anniversary well before her own death of natural causes in Los Angeles on Christmas Day, 1990. Allen and Hoffa are buried alongside each other in section 47 at Gate of Heaven Cemetery in Hawthorne, New York. Both Allen's real and stage names are engraved on the headstone.
Cultural legacy
Several late-'30s Warner Bros. Merrie Melodies cartoon shorts feature parodies of Allen. Friz Freleng's Toy Town Hall (1936) is a spoof of Allen's Town Hall Tonight, with toys that come to life in a boy's dreams and put on a variety show. Frank Tashlin's The Woods Are Full of Cuckoos (1937) features a Fred Allen fox screaming about being misinformed, hinting about his heated feuds with censors who were often at the last minute forcing script changes on his show because of its content. And Tex Avery's Thugs with Dirty Mugs (1938) features the main character addressing the audience and showing them his Fred Allen impersonation in one scene.
In Action Comics #50 (July 1942), Superman quips, "Fred Allen would get a kick out of this!" as he hops on to the side of a moving train.
Bibliography
Allen, Fred. Much Ado About Me (Boston: Little, Brown, 1956).
Allen, Fred. Treadmill to Oblivion (Boston: Little, Brown, 1954).
Allen, Fred, ed. by Joe McCarthy, Fred Allen's Letters (New York: Doubleday, 1965)
Allen, Fred, ed. by Stuart Hample, all the sincerity in hollywood... (New York: Fulcrum Publishing, 2001). (The lower-case of the title was a tribute to Allen's habit, later in his life, of typing his letters in all-lower case, à la poet E. E. Cummings.)
Smith, H. Allen, introduction by Fred Allen. Low Man on a Totem Pole, Doubleday, Doran, 1941.
See also
Colgate Comedy Hour (Fred Allen episodes)
References
Sources
Jack Benny and Joan Benny, Sunday Nights at Seven: The Jack Benny Story. (New York: Warner Books, 1990).
Frank Buxton and Bill Owen, The Big Broadcast: 1920-1950 (New York: Flare Books/Avon, 1972).
John Crosby, Out of the Blue: A Book About Radio and Television (New York: Simon and Schuster, 1952).
Alan Havig, Fred Allen's Radio Comedy (Philadelphia: Temple University Press, 1989).
Ben Schwartz, "The Man Who Invented Jack Benny" ('Written By', Writer's Guild of America, 2002)
Robert Taylor, Fred Allen: His Life and Wit (Boston: Little, Brown, 1989).
John Dunning, On the Air: The Encyclopedia of Old-Time Radio''. (New York: Oxford University Press, 1998).
Hilmes, M. (1997). Radio voices American broadcasting, 1922–1952. Minnesota Minneapolis: University of Minnesota Press.
External links
Fred Allen Fred Allen's Radio, television, and film appearances
Fred Allen In-depth Fred Allen Biographical Interview with Martin Gostainian
Laughterlog.com Biography with list of radio, television, film and record appearances
Irving Wallace on Fred Allen
Audio files
Internet Archives: The Fred Allen Show (150 episodes in MP3 format)
OTR Network Library: The Fred Allen Show (84 episodes)
Biography in Sound: "A Portrait of Fred Allen" (May 29, and December 18, 1956)
Zoot Radio, free old time radio show downloads of the 'Fred Allen' radio program
149 episodes.
1894 births
1956 deaths
American male comedians
Radio personalities from New York City
American satirists
Boston University alumni
Burials at Gate of Heaven Cemetery (Hawthorne, New York)
Peabody Award winners
People from Cambridge, Massachusetts
Vaudeville performers
American male film actors
Comedians from New York City
20th-century American comedians
20th-century American male actors
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[
"Pyramix is the first remix album and sixth album by rapper/DJ, Egyptian Lover. The album was released in 1993 for Egyptian Empire Records and was produced by The Egyptian Lover himself. The album was both a commercial and critical failure and did not make it to any billboard charts or feature any hit singles.\n\nTrack listing\n\"Pyramix\" – 1:56\n\"Dance\" – 1:53\n\"The Lover\" – 5:26\n\"I Want Cha\" – 2:19\n\"Computer Power (Version II)\" – 5:25\n\"Kinky Nation (Kingdom Kum)\" – 2:34\n\"Egypt, Egypt\" – 6:44\n\"Planet E (Remix)\" – 7:04\n\"Egypt's Revenge (Mega Mix)\" – 5:27\n\"Get High, Get X'D, Get Drunk, Get Sex'd\" – 5:48\n\nReferences\n\nEgyptian Lover albums\nAlbums produced by Egyptian Lover\n1993 remix albums",
"Active Pensionists (Danish: Aktive Pensionister) was a political party in Denmark.\n\nHistory\nActive Pensionists was established in 1997. The party ran in 2001 in Copenhagen (507 votes), Frederikshavn (212 votes) and Skagen Municipality (19 votes). They did not get any municipal seats.\n\nIn 2005, Active Pensionists ran in Greve Municipality (43 votes), Vejle Municipality (158 votes), Fredericia Municipality (679) and Copenhagen Municipality (232 votes). They did not manage to get any municipal seats.\n\nThe party has not run for municipal elections since 2005, and is assumedly dissolved.\n\nElection results\n\nMunicipal elections\n\nReferences\n\nPolitical parties in Denmark\nPensioners' parties\n1997 establishments in Denmark\nPolitical parties established in 1997\nDefunct political parties in Denmark"
] |
[
"Idlewild (band)",
"Solo work"
] |
C_af21f0b963dc44fcad908a703383277c_0
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did any of the band members do any solo work?
| 1 |
Did any of Idlewild's band members do any solo work?
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Idlewild (band)
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Jones released his debut solo album, A Sentimental Education, in 2009. In 2010, Jones founded The Fruit Tree Foundation, alongside Emma Pollock (The Delgados), in order to raise awareness of mental health problems. Jones released his second solo album, A Generation Innocence, in August 2012; however, while writing for the second album, Jones encountered a hurdle at the halfway mark, as he discovered that he was not satisfied with any of the material that he had written thus far. In 2011, Jones explained, "I was a bit fed up with the whole folk music thing - I mean every man and his dog was doing the faux folk thing"--Jones then proceeded to learn the drums and eventually formed the band, The Birthday Suit, to record the material that he had created in the period following the drumming diversion. In late 2011, Jones formed The Birthday Suit and described the band as "essentially a solo project ... It's an ever-changing bistro of musicians." The band released its debut album, The Eleventh Hour, in October 2011. The Birthday Suit's second studio album, A Conversation Well Rehearsed was released on 3 December 2012. The album was listed in 19th place in the Clean Slate Music website's "Top 21 Albums of 2012" list, although the website wrote that the second album "doesn't carry the punch" of the band's debut album. In 2006, Woomble worked with several musicians including Kate Rusby, his wife Ailidh Lennon, songwriter Karine Polwart (to whom he presented the Horizon Award at the BBC Folk Awards 2005, and with whom he performed at Celtic Connections) and Idlewild guitarist Rod Jones on his debut solo album My Secret is My Silence, produced by John McCusker. The album was released in July 2006, and Woomble toured the United Kingdom in support of the album's release. My Secret is my Silence reached number one in the UK Folk Charts, and a year later, on 10 July 2007, My Secret is my Silence was released in the United States on 7-10 Music. Woomble's follow-up album, Before the Ruin, written and recorded with Kris Drever and John McCusker, was released on 15 September 2008 through Navigator Records. In March 2011, Woomble released his second solo album, The Impossible Song & Other Songs. CANNOTANSWER
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Jones released his debut solo album, A Sentimental Education, in 2009.
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Idlewild are a Scottish rock band formed in Edinburgh in 1995. The band's line-up consists of Roddy Woomble (lead vocals), Rod Jones (guitar, backing vocals), Colin Newton (drums), Andrew Mitchell (bass), and Luciano Rossi (keyboards). To date, Idlewild have released nine full-length studio albums.
Initially, Idlewild's sound was faster and more dissonant than many of their 1990s indie rock contemporaries. However, it developed over time from an edgy and angular sound (as heard in their early material—once described by the NME as "the sound of a flight of stairs falling down a flight of stairs") to a sweeping, melodic rock sound as displayed on The Remote Part and Warnings/Promises.
In 2010, the band entered an indefinite hiatus, but reunited in late 2013 to record their seventh album, Everything Ever Written, released in 2015. This was followed by Interview Music in 2019.
History
Beginnings (1995–1996)
Idlewild, named after the quiet meeting place in Anne of Green Gables, formed in December 1995 in Edinburgh, Scotland when a 19-year-old Roddy Woomble met drummer Colin Newton at a party. The two discovered that they had much in common, including similar musical interests and record collections. By the end of the night, they had discussed forming a band together. On the same night, the two were introduced to guitarist Rod Jones and the three kept in contact afterwards, meeting up to listen to music. Soon, the trio began writing songs together, and, in need of a bassist, they brought Phil Scanlon into the fold, due to the fact that he owned a bass guitar.
Idlewild played their first show on 16 January 1996, at the Subway Club in Edinburgh to a crowd of thirty friends, which led to many more shows around Edinburgh throughout the course of the year. In May 1996 the band, now with over twenty songs written, entered Split Level Studios to record. The tape of these recordings earned the band many bookings at various venues around Scotland, including Glasgow. Local publications that heard the tape reviewed it favourably.
Phil Scanlon decided to leave the band in February 1997 to concentrate on his studies. Since leaving Idlewild, he has become a highly successful chemical engineer and currently resides outside San Francisco. Woomble asked Bob Fairfoull to replace the departing bassist. Fairfoull had been present at every Idlewild show since the middle of 1996, and had impressed the others with his spoken-word, solo acoustic shows as well as his performances with Edinburgh band, Pussy Hoover. Fairfoull's debut with the band took place on 28 February at Glasgow bar, Nice N' Sleazy's.
Captain and Hope is Important (1997–1998)
The band's debut single "Queen of the Troubled Teens" was released on 17 March 1997, and built upon the chaotic reputation of their shows. Along with 'Self Healer', 'Satan Polaroid' and 'A Film for the Future', the song was included in a live session on Jeff Cooper's show 'XS' (now Radio2XS) on Sheffield's Hallam FM. It was also supported by BBC Radio Scotland DJ Peter Easton, and influential Radio One DJ Steve Lamacq. Lamacq was particularly impressed with the track "Self Healer" and asked, on the air, that if anyone knew anything about the band, they should contact him. In the summer of 1997, Idlewild played their first London shows which were attended by the likes of Lamacq, and representatives from Deceptive Records. Reviews at this time, in the pages of NME and Melody Maker compared their live gigs to "a flight of stairs falling down a flight of stairs". The band were soon asked to record a single for Fierce Panda and to record an EP/mini-album with Deceptive Records. In October 1997, the band spent six days with producer Paul Tipler in South London. The result was Captain, which the band describes as "an innocent, frank nugget of noise pop magic". After the release of the "Chandelier" single, the band signed a deal with Food Records/EMI in December. Following the record deal, the members quit their respective jobs or university courses.
1998 marked the year where the public became actively aware of Idlewild, who kicked off the year with their first UK tour, supporting the band Midget. The release of Captain, on 18 January, received positive reviews in the NME, Melody Maker and Kerrang!. In February the band re-entered the studio, again with Paul Tipler, to record their first full-length album for Food Records. Two singles were released before the album's release, "A Film for the Future" (compared to "Smells Like Teen Spirit" by one journalist) and "Everyone Says You're So Fragile". Both singles helped to expand the band's growing fanbase alongside notable appearances at summer festivals. October marked the arrival of their debut album Hope Is Important which the band now describes as "a confused, skewered, noisy, sad pop record". Further singles from the album included, "I'm a Message" and fan favourite, "When I Argue I See Shapes". Tours supporting Ash, Placebo and Manic Street Preachers followed the release.
100 Broken Windows (1999–2001)
Idlewild eventually returned to Edinburgh in 1999 to begin writing new songs, and contacted engineer Bob Weston, from Chicago, who recorded six songs with them in London. These songs held a more aggressive, emptier sound than those previously, and the band were pleased with the results; however, they remained unsure of their direction. During the summer, Idlewild were invited to play at the opening of the Scottish Parliament in Edinburgh, a momentous day for Scottish history. Scotland is where the band would remain for a while, letting the surrounding environment influence their songwriting and letting the songs represent the band as they were. Hitting a stride, the band returned to the studio with producer Dave Eringa and recorded "Little Discourage" and "Roseability" in their first session. Very happy with the results, the band continued to record what would become their second full-length album, 100 Broken Windows. The song "Little Discourage" was released in September and brought Idlewild a larger fan-base and much more radio play. Hope Is Important was released in America, and to support it, the band performed a small number of tour dates on the East Coast. The remainder of the year was spent mixing the new album in Glasgow.
In March the following year, the band released "Actually it's Darkness" and embarked on their biggest UK tour to date. Jeremy Mills joined the band on tour, playing guitar and keyboards. Their sound had now evolved from simplistic punk-rock to a more mature sound resembling R.E.M., Echo & the Bunnymen, and The Smiths. 100 Broken Windows reached silver status in the UK and the band went on tour in Europe and North America. Further singles released from the album included "These Wooden Ideas" and "Roseability".
As 2001 began, the band re-entered the studio, this time with producer Stephen Street, to record songs written in the last half of 2000. While happy with the results the band put their next album aside to tour America. American music magazine Spin named 100 Broken Windows the "number one album you didn't hear in 2000" and the album received other rave reviews in the American press on its release in April. Whilst touring the album in America, Allan Stewart replaced Jeremy Mills as touring guitarist. Readers of The Skinny magazine in Scotland would retrospectively vote 100 Broken Windows 'The Scottish Album of the Decade' in December 2009.
The Remote Part (2002–2003)
Idlewild eventually moved up to the highlands of Scotland and began the writing and demoing process of what would become The Remote Part. Both Allan and Jeremy joined the band in a cottage in Inchnadamph, Sutherland. Woomble began a friendship with Scottish Makar (poet laureate) Edwin Morgan who would eventually end up on the song "Scottish Fiction," the album's closing track. The remainder of the year was spent recording and mixing the album in various locations with producer Dave Eringa. This period marked the band's longest absence from performing.
The first single from the album, "You Held the World in Your Arms", became 'A-listed' on Radio One and entered the UK Singles Chart at number nine, marking the band's biggest hit to date. A UK tour followed with Ikara Colt supporting and a second single, "American English", was released. On release, The Remote Part entered the album charts at number three, and was considered a record of considerable depth, as well as one of the most melodic records of the year. The album went gold in the UK and a third single, "Live in a Hiding Place", was released as the band embarked upon a four-month European tour in September, which included supporting dates with Coldplay.
On 30 September 2002, Idlewild took to the stage in Cologne with their guitar tech Alex Grant playing bass instead of Bob Fairfoull, with Roddy Woomble commenting during the show that Fairfoull had left the band. On 3 October, Idlewild officially announced the departure of Fairfoull due to “personal problems”. Fairfoull had become increasingly distant from the band over the past year, often being absent during the recording of The Remote Part, and his drinking habits were having a negative impact on his bass playing. Things came to a head with Fairfoull in an argument after a show in Amsterdam, with Woomble later commenting that dismissing Fairfoull “was the best thing that could have happened to the band,” and that “it meant we all finally agreed on how we were going to move forward.” The band and Fairfoull remained friends, with Fairfoull going on to play bass with Edinburgh-based band Degrassi and Paper Beats Rock.
In the immediate aftermath of Fairfoull's departure, Idlewild fulfilled their tour dates for the rest of the year with Grant on bass. On 20 November, Idlewild unveiled Gavin Fox of the Irish band Turn as their new bassist, with touring guitarist Allan Stewart also becoming a permanent member of the band. Fairfoull approved of being replaced as Idlewild bassist by his good friend Fox, though he also added, "It felt a bit like if you left your wife, and a week later she started shagging your brother. But I realised there’s no point being bitter, they’ve got to continue as a band."
2002 was Idlewild's most successful year, with The Remote Part entering many 'Best of the Year' lists. With Fox and Stewart officially in the band, Idlewild spent January of the following year writing songs and practising in an old lighthouse outside Edinburgh. A final single from The Remote Part, "A Modern Way of Letting Go", introduced the new line-up to the UK via several television appearances and another short tour of Britain and Ireland.
The Remote Part received its US release in March 2003 and the band embarked upon a cross-continent, nine-week headline tour playing their biggest US shows in New York City and Los Angeles. The band then returned to America in May at the request of Pearl Jam, who asked the band to open one leg of their Riot Act world tour. These were the biggest venues Idlewild had played in, and they found friends in Pearl Jam, even playing with them onstage on the final night in Chicago. Subsequently, in June 2007 Pearl Jam requested Idlewild to support them for a one-off date at Wembley Arena.
Warnings/Promises (2004–2005)
As 2004 began, Idlewild spent the first four months of the year writing and demoing new songs up in the Scottish Highlands, and in Roddy's flat in London. The band chose to work with American producer Tony Hoffer and flew out to Los Angeles and spent the next three months recording and mixing the new songs. This marked the first time Idlewild had recorded an album all in one go.
The band finished up the record in October 2004 in New York with mixer Michael Brauer. Roddy rented a room on the Lower East Side and stayed there for the remainder of the year, listening to the album they'd just made. 2004 became the first in the band's existence devoted almost entirely to writing and recording an album. At the end of this year they titled it Warnings/Promises.
2005 began with a series of acoustic shows around the UK. The first single from Warnings/Promises, entitled "Love Steals Us from Loneliness", appeared in February and became Idlewild's fourth Top 20 single. The album followed two weeks later and debuted within the UK Top Ten. Warnings/Promises received mainly positive reviews; however, some critics and fans disliked the band's direction with this album.
In the UK, the band embarked upon an extensive UK tour, changing the setlist every night and revisiting songs from each of their albums. In the summer, Idlewild played a number of festivals and opened shows for U2, R.E.M. and the Pixies.
In November, the band announced that they had parted ways with their record company Parlophone after fulfilling their contractual obligation over eight years, leaving them without a record deal. However, despite rumours that they were breaking up, the band claimed that they were looking forward to the future.
The year ended with a Christmas show at Barrowlands, a famed Glasgow venue and the band's "spiritual home". After this gig, Gavin Fox left the band, with Woomble citing Fox's reluctance to be in a touring rock band and eagerness to stay home in Ireland where he would write songs and sing for his own band, Curse of Cain. Fox was replaced by former Astrid bassist Gareth Russell.
Make Another World (2006–2007)
In July 2006, Roddy Woomble released an album of folk music under his own name titled My Secret is My Silence. Woomble's solo material was written alongside Rod Jones, friend Michael Angus and folksinger Karine Polwart, and produced by folk musician John McCusker. Roddy toured the album in July and August. Jones meanwhile worked on an album with Inara George called George Is Jones
The band spent many months writing new material, which was recorded with 100 Broken Windows and The Remote Part producer Dave Eringa in their rehearsal room. The album Make Another World was released on 5 March 2007 by 1960s label Sequel, which was reactivated by music group Sanctuary.. "If It Takes You Home" was the first single released from it and was available as a download and 7" single. "No Emotion" was the second single released; it went to No. 36 in the UK Top 40 chart. "A Ghost in the Arcade" was the next single, released on 18 June, though only as an internet-downloadable track and not available on physical CD.
The 19 March 2007 Aberdeen concert on the Make Another World UK Tour was filmed for a live DVD release. This was released in October 2007 as part of a special edition of a greatest hits album, Scottish Fiction - Best of 1997-2007, on former label Parlophone. A second, download-only, compilation album was also the same month. A Distant History - Rarities 1997-2007 included the band's early singles as well as many B-sides.
Post Electric Blues and hiatus (2008–2010)
The band continued to play more gigs while working on their next album. Meanwhile, Woomble started writing a column for Scottish newspaper The Sunday Herald and released an album with Kris Drever and John McCusker, entitled Before the Ruin, in September 2008.
In December 2008 the band played five shows at King Tut's Wah Wah Hut, playing each of their studio albums in full. Roddy Woomble noted that the band were "going to try to play every track [they'd] ever written – including B-sides – which has to be more than 100 songs." In February 2009, they announced that they would be staging a similar residency at Dingwalls in Camden, London.
A new song, "City Hall", appeared in a setlist, and the band entered the studio in January 2009. On his online diary, Roddy Woomble noted that he had: "been trying to work on lyrics for the new Idlewild record. At the moment it has the possibility of being about anything, so I've been trying to narrow that down a bit. I've been re-reading Jack Kerouac's novels and following this US election, and keeping up with all the new US groups, so maybe it'll take on a Stars and stripes theme. It'll probably end up being about mountains and Islands though."
On 21 November the band sent an email to fans on the mailing list offering them a chance to preorder the new album (along with "exclusive packaging & including at least one bonus track") to be "shipped within weeks of completion". All fans who bought the album this way would also have their name appear in the CD booklet and on a roll call on the band's official website. On 9 May 2009, Roddy confirmed in his online diary that the new album would be entitled Post Electric Blues. The album was performed in full on 19 May.
Initial emails indicated a release date to fans who had pre-ordered the album of mid-April, but the album was eventually mailed out on 10 June 2009. Fans who pre-ordered the album were also allowed to download their choice of live tracks that the band had recorded at the King Tut's series of shows. The album was officially released in October, preceded by the single "Readers & Writers". In April 2010, Woomble announced that the band would enter a hiatus following the band's tour in support of Post Electric Blues. However this comment only referred to the writing and recording of new material as Woomble later suggested. Idlewild announced their first American tour since 2005 and a short UK tour in support of the EMI re-release of 100 Broken Windows. During the UK shows (as well as a New York and Los Angeles show) the album was to be played in its entirety. However, due to an injury to Rod Jones, the American dates were cancelled. The 100 Broken Windows reissue was released on 8 November 2010 and featured a second disc of B-Sides and unreleased material.
Renewed activity (2013–present)
An end to the band's hiatus was made public in September 2013, by which point Gareth Russell and Allan Stewart had left to be replaced by multi-instrumentalist Luciano Rossi. The band started recording a new album in January 2014. Seventh studio album, Everything Ever Written, was released in February 2015. In addition to Woomble, Jones and Newton, the album also included contributions from new members Rossi and bassist Andrew Mitchell of The Hazey Janes.
Idlewild marked the 15th anniversary of The Remote Part by playing the album in full at two Christmas 2017 shows at the ABC in Glasgow, which sold out within a day, and KOKO in London. The second Glasgow show was notable for surprise guest appearances by former Idlewild members Allan Stewart and Bob Fairfoull.The band then spent 2018 working on a new album, and playing another The Remote Part anniversary show in Edinburgh with Fairfoull once again appearing as a special guest. The resultant album, Interview Music, was released on 5 April 2019, and Allan Stewart rejoined on second guitar for the live shows.
In March 2020, Idlewild announced a November tour of UK and Ireland to mark the band's 25th anniversary but due to the COVID-19 pandemic the dates were rescheduled for November 2021. In February 2021 a retrospective book written by Woomble, In the Beginning There Were Answers: 25 Years of Idlewild, was published.
Solo work
Jones released his debut solo album, A Sentimental Education, in 2009. In 2010, Jones founded The Fruit Tree Foundation, alongside Emma Pollock (The Delgados), in order to raise awareness of mental health problems. Jones released his second solo album, A Generation Innocence, in August 2012; however, while writing for the second album, Jones encountered a hurdle at the halfway mark, as he discovered that he was not satisfied with any of the material that he had written thus far. In 2011, Jones explained, "I was a bit fed up with the whole folk music thing – I mean every man and his dog was doing the faux folk thing"—Jones then proceeded to learn the drums and eventually formed the band, The Birthday Suit, to record the material that he had created in the period following the drumming diversion.
In late 2011, Jones formed The Birthday Suit and described the band as "essentially a solo project ... It's an ever-changing bistro of musicians." The band released its debut album, The Eleventh Hour, in October 2011. The Birthday Suit's second studio album, A Conversation Well Rehearsed was released on 3 December 2012. The album was listed in 19th place in the Clean Slate Music website's "Top 21 Albums of 2012" list, although the website wrote that the second album "doesn't carry the punch" of the band's debut album.
In 2006, Woomble worked with several musicians including Kate Rusby, his wife Ailidh Lennon, songwriter Karine Polwart (to whom he presented the Horizon Award at the BBC Folk Awards 2005, and with whom he performed at Celtic Connections) and Idlewild guitarist Rod Jones on his debut solo album My Secret is My Silence, produced by John McCusker. The album was released in July 2006, and Woomble toured the United Kingdom in support of the album's release. My Secret is my Silence reached number one in the UK Folk Charts, and a year later, on 10 July 2007, My Secret is my Silence was released in the United States on 7–10 Music. Woomble's follow-up album, Before the Ruin, written and recorded with Kris Drever and John McCusker, was released on 15 September 2008 through Navigator Records. In March 2011, Woomble released his second solo album, The Impossible Song & Other Songs.
Members
Current members
Roddy Woomble – lead vocals (1995–2010, 2013–present)
Rod Jones – guitar, backing vocals, keyboards (1995–2010, 2013–present)
Colin Newton – drums (1995–2010, 2013–present)
Andrew Mitchell – bass, guitar, backing vocals (2014–present)
Luciano "Lucci" Rossi – keyboards, backing vocals (2014–present)
Current touring musicians
Hannah Fisher – fiddle (2013–present)
Allan Stewart – guitar (2001–2002, 2019–present; official member 2003–2010)
Former members
Phil Scanlon – bass (1995–1997)
Bob Fairfoull – bass (1997–2002)
Gavin Fox – bass (2003–2005)
Gareth Russell – bass (2006–2010)
Former touring musicians
Jeremy Mills – guitar (1999–2001)
Alex Grant – bass (2002)
Timeline
Discography
Studio albums
Captain (1998)
Hope Is Important (1998)
100 Broken Windows (2000)
The Remote Part (2002)
Warnings/Promises (2005)
Make Another World (2007)
Post Electric Blues (2009)
Everything Ever Written (2015)
Interview Music (2019)
See also
Scottish music (2000–2010)
Edinburgh culture
Scottish literature
Music of Scotland
References
External links
Musical groups established in 1995
Scottish indie rock groups
1995 establishments in Scotland
Musical groups from Edinburgh
Capitol Records artists
Parlophone artists
Musical quintets
Post-Britpop groups
Sanctuary Records artists
| true |
[
"Do-The-Undo is the solo outfit of Anne Soldaat, former main singer of Daryll-Ann. The band released its self-titled debut record in January 2007 on Excelsior Recordings.\n\nBiography\nWhen Daryll-Ann dissolved in 2004 its members all went their separate ways. Anne Soldaat, the band’s guitar player, does not waste any time and immediately starts making new music. His first project is for Cat-A-Day Tales, a book on cats that is accompanied by an album. Soldaat writes and sings several songs for the album. The package is released 2004.\n\nThroughout 2005 Soldaat coaches the band GEM during the recording sessions of their second album ‘Escapades’, assisting in songwriting.\n\nIn the meantime he composes new songs for his new solo project, Do-The-Undo. Throughout 2006 Soldaat records with producer Frans Hagenaars. He asks former Daryll-Ann bandmate Dick Brouwers to help out on bass guitar. Also Henk Jonkers (Hallo Venray) and Matthijs van Duijvenbode lend a hand on organ. Soldaat sings and plays guitar.\n\nSoldaat and crew finish their recordings in September 2006. Following this Do-The-Undo gears up for some touring. The band plays as support act for Solo and is one of the main bands of the Fine Fine Music tour in December. The band’s self-titled debut album is released in January 2007.\n\nIn 2009 Soldaat releases his second solo album 'In Another Life', but now the Do-the-Undo moniker is replaced for 'Anne Soldaat'.\n\nCurrent members\n Anne Soldaat – vocals and guitars\n Mourits Westerik - vocals and guitars\n Reyer Zwart – bass guitar\n Thijs van Duijvenbode – organ, piano and vocals\n Marcel van As - drums\n\nDiscography\n Do-The-Undo (2007)\n In Another Life (2009)\n\nExternal links\n \n Biography at The Dutch Pop Institute (dutch)\n\nDutch rock music groups\nDutch alternative rock groups",
"\"Hold My Hand\" is a song and single recorded and written by Dave Davies. The song is Davies' fourth solo single.\n\nRecording\n\nLike the previous three Dave Davies singles, \"Hold My Hand\" featured Dave Davies' band members from the Kinks providing the backing. It was recorded in 1968 (in and around the Kinks' critically acclaimed LP, The Kinks Are the Village Green Preservation Society.) It was also one of the last tracks that featured the Kinks' longtime bassist, Pete Quaife.\n\nRelease and reception\n\nDave Davies said in an interview prior to the song's release, \"[I]f 'Hold My Hand' does click, I'll be free to do my own cabaret act if I want. I would use all new material, except maybe, a couple of the Kinks' hit records, but given a different treatment so that it suited a solo voice. Probably work with a small group. I'd love to have a go at this sort of act, but you know how things get talked about, then flop off.\" The single did indeed flop, receiving scant promotion from PYE and only modest airplay, not helped that the off-shore pirate radio stations had been taken off air by then.\n\nAfter the disappointment of its predecessor, \"Lincoln County\", the Kinks management still thought a Dave Davies solo career was viable. Therefore \"Hold My Hand\" was released in 1969 as a standalone single, backed with \"Creeping Jean\" (which, although it wasn't released on any Kinks albums, it has been a live favourite of Dave Davies' since he started performing solo in the late '90s.) \"Hold My Hand\" did not chart in any country, even in European countries such as Germany and Holland where Kinks sales had historically held up. \"Hold My Hand\" would have likely appeared on any Dave Davies solo album had it appeared in the second half of the 1960s, but an album was never released. It however has since appeared on numerous compilations including The Album That Never Was and the reissues of Arthur (Or the Decline and Fall of the British Empire) from 1997 onwards. Most notably it appeared on 2011's Hidden Treasures in remastered stereo and demo form, this album finally brought the whole tortured saga of the lost 1960s Dave Davies solo album into full public gaze. Dave Davies put his solo career on hold, not releasing any new material non-related to the Kinks until 1980.\n\nWriter Andy Miller named the \"Hold My Hand\" single \"fabulous.\"\n\nReferences\n\n1969 singles\nThe Kinks songs\nSongs written by Dave Davies\nPye Records singles\n1969 songs"
] |
[
"Idlewild (band)",
"Solo work",
"did any of the band members do any solo work?",
"Jones released his debut solo album, A Sentimental Education, in 2009."
] |
C_af21f0b963dc44fcad908a703383277c_0
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did any other members do any solo work?
| 2 |
Did any other members of Idlewild do any solo work other than Jones?
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Idlewild (band)
|
Jones released his debut solo album, A Sentimental Education, in 2009. In 2010, Jones founded The Fruit Tree Foundation, alongside Emma Pollock (The Delgados), in order to raise awareness of mental health problems. Jones released his second solo album, A Generation Innocence, in August 2012; however, while writing for the second album, Jones encountered a hurdle at the halfway mark, as he discovered that he was not satisfied with any of the material that he had written thus far. In 2011, Jones explained, "I was a bit fed up with the whole folk music thing - I mean every man and his dog was doing the faux folk thing"--Jones then proceeded to learn the drums and eventually formed the band, The Birthday Suit, to record the material that he had created in the period following the drumming diversion. In late 2011, Jones formed The Birthday Suit and described the band as "essentially a solo project ... It's an ever-changing bistro of musicians." The band released its debut album, The Eleventh Hour, in October 2011. The Birthday Suit's second studio album, A Conversation Well Rehearsed was released on 3 December 2012. The album was listed in 19th place in the Clean Slate Music website's "Top 21 Albums of 2012" list, although the website wrote that the second album "doesn't carry the punch" of the band's debut album. In 2006, Woomble worked with several musicians including Kate Rusby, his wife Ailidh Lennon, songwriter Karine Polwart (to whom he presented the Horizon Award at the BBC Folk Awards 2005, and with whom he performed at Celtic Connections) and Idlewild guitarist Rod Jones on his debut solo album My Secret is My Silence, produced by John McCusker. The album was released in July 2006, and Woomble toured the United Kingdom in support of the album's release. My Secret is my Silence reached number one in the UK Folk Charts, and a year later, on 10 July 2007, My Secret is my Silence was released in the United States on 7-10 Music. Woomble's follow-up album, Before the Ruin, written and recorded with Kris Drever and John McCusker, was released on 15 September 2008 through Navigator Records. In March 2011, Woomble released his second solo album, The Impossible Song & Other Songs. CANNOTANSWER
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In 2006, Woomble worked with several musicians including Kate Rusby, his wife Ailidh Lennon, songwriter Karine Polwart (
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Idlewild are a Scottish rock band formed in Edinburgh in 1995. The band's line-up consists of Roddy Woomble (lead vocals), Rod Jones (guitar, backing vocals), Colin Newton (drums), Andrew Mitchell (bass), and Luciano Rossi (keyboards). To date, Idlewild have released nine full-length studio albums.
Initially, Idlewild's sound was faster and more dissonant than many of their 1990s indie rock contemporaries. However, it developed over time from an edgy and angular sound (as heard in their early material—once described by the NME as "the sound of a flight of stairs falling down a flight of stairs") to a sweeping, melodic rock sound as displayed on The Remote Part and Warnings/Promises.
In 2010, the band entered an indefinite hiatus, but reunited in late 2013 to record their seventh album, Everything Ever Written, released in 2015. This was followed by Interview Music in 2019.
History
Beginnings (1995–1996)
Idlewild, named after the quiet meeting place in Anne of Green Gables, formed in December 1995 in Edinburgh, Scotland when a 19-year-old Roddy Woomble met drummer Colin Newton at a party. The two discovered that they had much in common, including similar musical interests and record collections. By the end of the night, they had discussed forming a band together. On the same night, the two were introduced to guitarist Rod Jones and the three kept in contact afterwards, meeting up to listen to music. Soon, the trio began writing songs together, and, in need of a bassist, they brought Phil Scanlon into the fold, due to the fact that he owned a bass guitar.
Idlewild played their first show on 16 January 1996, at the Subway Club in Edinburgh to a crowd of thirty friends, which led to many more shows around Edinburgh throughout the course of the year. In May 1996 the band, now with over twenty songs written, entered Split Level Studios to record. The tape of these recordings earned the band many bookings at various venues around Scotland, including Glasgow. Local publications that heard the tape reviewed it favourably.
Phil Scanlon decided to leave the band in February 1997 to concentrate on his studies. Since leaving Idlewild, he has become a highly successful chemical engineer and currently resides outside San Francisco. Woomble asked Bob Fairfoull to replace the departing bassist. Fairfoull had been present at every Idlewild show since the middle of 1996, and had impressed the others with his spoken-word, solo acoustic shows as well as his performances with Edinburgh band, Pussy Hoover. Fairfoull's debut with the band took place on 28 February at Glasgow bar, Nice N' Sleazy's.
Captain and Hope is Important (1997–1998)
The band's debut single "Queen of the Troubled Teens" was released on 17 March 1997, and built upon the chaotic reputation of their shows. Along with 'Self Healer', 'Satan Polaroid' and 'A Film for the Future', the song was included in a live session on Jeff Cooper's show 'XS' (now Radio2XS) on Sheffield's Hallam FM. It was also supported by BBC Radio Scotland DJ Peter Easton, and influential Radio One DJ Steve Lamacq. Lamacq was particularly impressed with the track "Self Healer" and asked, on the air, that if anyone knew anything about the band, they should contact him. In the summer of 1997, Idlewild played their first London shows which were attended by the likes of Lamacq, and representatives from Deceptive Records. Reviews at this time, in the pages of NME and Melody Maker compared their live gigs to "a flight of stairs falling down a flight of stairs". The band were soon asked to record a single for Fierce Panda and to record an EP/mini-album with Deceptive Records. In October 1997, the band spent six days with producer Paul Tipler in South London. The result was Captain, which the band describes as "an innocent, frank nugget of noise pop magic". After the release of the "Chandelier" single, the band signed a deal with Food Records/EMI in December. Following the record deal, the members quit their respective jobs or university courses.
1998 marked the year where the public became actively aware of Idlewild, who kicked off the year with their first UK tour, supporting the band Midget. The release of Captain, on 18 January, received positive reviews in the NME, Melody Maker and Kerrang!. In February the band re-entered the studio, again with Paul Tipler, to record their first full-length album for Food Records. Two singles were released before the album's release, "A Film for the Future" (compared to "Smells Like Teen Spirit" by one journalist) and "Everyone Says You're So Fragile". Both singles helped to expand the band's growing fanbase alongside notable appearances at summer festivals. October marked the arrival of their debut album Hope Is Important which the band now describes as "a confused, skewered, noisy, sad pop record". Further singles from the album included, "I'm a Message" and fan favourite, "When I Argue I See Shapes". Tours supporting Ash, Placebo and Manic Street Preachers followed the release.
100 Broken Windows (1999–2001)
Idlewild eventually returned to Edinburgh in 1999 to begin writing new songs, and contacted engineer Bob Weston, from Chicago, who recorded six songs with them in London. These songs held a more aggressive, emptier sound than those previously, and the band were pleased with the results; however, they remained unsure of their direction. During the summer, Idlewild were invited to play at the opening of the Scottish Parliament in Edinburgh, a momentous day for Scottish history. Scotland is where the band would remain for a while, letting the surrounding environment influence their songwriting and letting the songs represent the band as they were. Hitting a stride, the band returned to the studio with producer Dave Eringa and recorded "Little Discourage" and "Roseability" in their first session. Very happy with the results, the band continued to record what would become their second full-length album, 100 Broken Windows. The song "Little Discourage" was released in September and brought Idlewild a larger fan-base and much more radio play. Hope Is Important was released in America, and to support it, the band performed a small number of tour dates on the East Coast. The remainder of the year was spent mixing the new album in Glasgow.
In March the following year, the band released "Actually it's Darkness" and embarked on their biggest UK tour to date. Jeremy Mills joined the band on tour, playing guitar and keyboards. Their sound had now evolved from simplistic punk-rock to a more mature sound resembling R.E.M., Echo & the Bunnymen, and The Smiths. 100 Broken Windows reached silver status in the UK and the band went on tour in Europe and North America. Further singles released from the album included "These Wooden Ideas" and "Roseability".
As 2001 began, the band re-entered the studio, this time with producer Stephen Street, to record songs written in the last half of 2000. While happy with the results the band put their next album aside to tour America. American music magazine Spin named 100 Broken Windows the "number one album you didn't hear in 2000" and the album received other rave reviews in the American press on its release in April. Whilst touring the album in America, Allan Stewart replaced Jeremy Mills as touring guitarist. Readers of The Skinny magazine in Scotland would retrospectively vote 100 Broken Windows 'The Scottish Album of the Decade' in December 2009.
The Remote Part (2002–2003)
Idlewild eventually moved up to the highlands of Scotland and began the writing and demoing process of what would become The Remote Part. Both Allan and Jeremy joined the band in a cottage in Inchnadamph, Sutherland. Woomble began a friendship with Scottish Makar (poet laureate) Edwin Morgan who would eventually end up on the song "Scottish Fiction," the album's closing track. The remainder of the year was spent recording and mixing the album in various locations with producer Dave Eringa. This period marked the band's longest absence from performing.
The first single from the album, "You Held the World in Your Arms", became 'A-listed' on Radio One and entered the UK Singles Chart at number nine, marking the band's biggest hit to date. A UK tour followed with Ikara Colt supporting and a second single, "American English", was released. On release, The Remote Part entered the album charts at number three, and was considered a record of considerable depth, as well as one of the most melodic records of the year. The album went gold in the UK and a third single, "Live in a Hiding Place", was released as the band embarked upon a four-month European tour in September, which included supporting dates with Coldplay.
On 30 September 2002, Idlewild took to the stage in Cologne with their guitar tech Alex Grant playing bass instead of Bob Fairfoull, with Roddy Woomble commenting during the show that Fairfoull had left the band. On 3 October, Idlewild officially announced the departure of Fairfoull due to “personal problems”. Fairfoull had become increasingly distant from the band over the past year, often being absent during the recording of The Remote Part, and his drinking habits were having a negative impact on his bass playing. Things came to a head with Fairfoull in an argument after a show in Amsterdam, with Woomble later commenting that dismissing Fairfoull “was the best thing that could have happened to the band,” and that “it meant we all finally agreed on how we were going to move forward.” The band and Fairfoull remained friends, with Fairfoull going on to play bass with Edinburgh-based band Degrassi and Paper Beats Rock.
In the immediate aftermath of Fairfoull's departure, Idlewild fulfilled their tour dates for the rest of the year with Grant on bass. On 20 November, Idlewild unveiled Gavin Fox of the Irish band Turn as their new bassist, with touring guitarist Allan Stewart also becoming a permanent member of the band. Fairfoull approved of being replaced as Idlewild bassist by his good friend Fox, though he also added, "It felt a bit like if you left your wife, and a week later she started shagging your brother. But I realised there’s no point being bitter, they’ve got to continue as a band."
2002 was Idlewild's most successful year, with The Remote Part entering many 'Best of the Year' lists. With Fox and Stewart officially in the band, Idlewild spent January of the following year writing songs and practising in an old lighthouse outside Edinburgh. A final single from The Remote Part, "A Modern Way of Letting Go", introduced the new line-up to the UK via several television appearances and another short tour of Britain and Ireland.
The Remote Part received its US release in March 2003 and the band embarked upon a cross-continent, nine-week headline tour playing their biggest US shows in New York City and Los Angeles. The band then returned to America in May at the request of Pearl Jam, who asked the band to open one leg of their Riot Act world tour. These were the biggest venues Idlewild had played in, and they found friends in Pearl Jam, even playing with them onstage on the final night in Chicago. Subsequently, in June 2007 Pearl Jam requested Idlewild to support them for a one-off date at Wembley Arena.
Warnings/Promises (2004–2005)
As 2004 began, Idlewild spent the first four months of the year writing and demoing new songs up in the Scottish Highlands, and in Roddy's flat in London. The band chose to work with American producer Tony Hoffer and flew out to Los Angeles and spent the next three months recording and mixing the new songs. This marked the first time Idlewild had recorded an album all in one go.
The band finished up the record in October 2004 in New York with mixer Michael Brauer. Roddy rented a room on the Lower East Side and stayed there for the remainder of the year, listening to the album they'd just made. 2004 became the first in the band's existence devoted almost entirely to writing and recording an album. At the end of this year they titled it Warnings/Promises.
2005 began with a series of acoustic shows around the UK. The first single from Warnings/Promises, entitled "Love Steals Us from Loneliness", appeared in February and became Idlewild's fourth Top 20 single. The album followed two weeks later and debuted within the UK Top Ten. Warnings/Promises received mainly positive reviews; however, some critics and fans disliked the band's direction with this album.
In the UK, the band embarked upon an extensive UK tour, changing the setlist every night and revisiting songs from each of their albums. In the summer, Idlewild played a number of festivals and opened shows for U2, R.E.M. and the Pixies.
In November, the band announced that they had parted ways with their record company Parlophone after fulfilling their contractual obligation over eight years, leaving them without a record deal. However, despite rumours that they were breaking up, the band claimed that they were looking forward to the future.
The year ended with a Christmas show at Barrowlands, a famed Glasgow venue and the band's "spiritual home". After this gig, Gavin Fox left the band, with Woomble citing Fox's reluctance to be in a touring rock band and eagerness to stay home in Ireland where he would write songs and sing for his own band, Curse of Cain. Fox was replaced by former Astrid bassist Gareth Russell.
Make Another World (2006–2007)
In July 2006, Roddy Woomble released an album of folk music under his own name titled My Secret is My Silence. Woomble's solo material was written alongside Rod Jones, friend Michael Angus and folksinger Karine Polwart, and produced by folk musician John McCusker. Roddy toured the album in July and August. Jones meanwhile worked on an album with Inara George called George Is Jones
The band spent many months writing new material, which was recorded with 100 Broken Windows and The Remote Part producer Dave Eringa in their rehearsal room. The album Make Another World was released on 5 March 2007 by 1960s label Sequel, which was reactivated by music group Sanctuary.. "If It Takes You Home" was the first single released from it and was available as a download and 7" single. "No Emotion" was the second single released; it went to No. 36 in the UK Top 40 chart. "A Ghost in the Arcade" was the next single, released on 18 June, though only as an internet-downloadable track and not available on physical CD.
The 19 March 2007 Aberdeen concert on the Make Another World UK Tour was filmed for a live DVD release. This was released in October 2007 as part of a special edition of a greatest hits album, Scottish Fiction - Best of 1997-2007, on former label Parlophone. A second, download-only, compilation album was also the same month. A Distant History - Rarities 1997-2007 included the band's early singles as well as many B-sides.
Post Electric Blues and hiatus (2008–2010)
The band continued to play more gigs while working on their next album. Meanwhile, Woomble started writing a column for Scottish newspaper The Sunday Herald and released an album with Kris Drever and John McCusker, entitled Before the Ruin, in September 2008.
In December 2008 the band played five shows at King Tut's Wah Wah Hut, playing each of their studio albums in full. Roddy Woomble noted that the band were "going to try to play every track [they'd] ever written – including B-sides – which has to be more than 100 songs." In February 2009, they announced that they would be staging a similar residency at Dingwalls in Camden, London.
A new song, "City Hall", appeared in a setlist, and the band entered the studio in January 2009. On his online diary, Roddy Woomble noted that he had: "been trying to work on lyrics for the new Idlewild record. At the moment it has the possibility of being about anything, so I've been trying to narrow that down a bit. I've been re-reading Jack Kerouac's novels and following this US election, and keeping up with all the new US groups, so maybe it'll take on a Stars and stripes theme. It'll probably end up being about mountains and Islands though."
On 21 November the band sent an email to fans on the mailing list offering them a chance to preorder the new album (along with "exclusive packaging & including at least one bonus track") to be "shipped within weeks of completion". All fans who bought the album this way would also have their name appear in the CD booklet and on a roll call on the band's official website. On 9 May 2009, Roddy confirmed in his online diary that the new album would be entitled Post Electric Blues. The album was performed in full on 19 May.
Initial emails indicated a release date to fans who had pre-ordered the album of mid-April, but the album was eventually mailed out on 10 June 2009. Fans who pre-ordered the album were also allowed to download their choice of live tracks that the band had recorded at the King Tut's series of shows. The album was officially released in October, preceded by the single "Readers & Writers". In April 2010, Woomble announced that the band would enter a hiatus following the band's tour in support of Post Electric Blues. However this comment only referred to the writing and recording of new material as Woomble later suggested. Idlewild announced their first American tour since 2005 and a short UK tour in support of the EMI re-release of 100 Broken Windows. During the UK shows (as well as a New York and Los Angeles show) the album was to be played in its entirety. However, due to an injury to Rod Jones, the American dates were cancelled. The 100 Broken Windows reissue was released on 8 November 2010 and featured a second disc of B-Sides and unreleased material.
Renewed activity (2013–present)
An end to the band's hiatus was made public in September 2013, by which point Gareth Russell and Allan Stewart had left to be replaced by multi-instrumentalist Luciano Rossi. The band started recording a new album in January 2014. Seventh studio album, Everything Ever Written, was released in February 2015. In addition to Woomble, Jones and Newton, the album also included contributions from new members Rossi and bassist Andrew Mitchell of The Hazey Janes.
Idlewild marked the 15th anniversary of The Remote Part by playing the album in full at two Christmas 2017 shows at the ABC in Glasgow, which sold out within a day, and KOKO in London. The second Glasgow show was notable for surprise guest appearances by former Idlewild members Allan Stewart and Bob Fairfoull.The band then spent 2018 working on a new album, and playing another The Remote Part anniversary show in Edinburgh with Fairfoull once again appearing as a special guest. The resultant album, Interview Music, was released on 5 April 2019, and Allan Stewart rejoined on second guitar for the live shows.
In March 2020, Idlewild announced a November tour of UK and Ireland to mark the band's 25th anniversary but due to the COVID-19 pandemic the dates were rescheduled for November 2021. In February 2021 a retrospective book written by Woomble, In the Beginning There Were Answers: 25 Years of Idlewild, was published.
Solo work
Jones released his debut solo album, A Sentimental Education, in 2009. In 2010, Jones founded The Fruit Tree Foundation, alongside Emma Pollock (The Delgados), in order to raise awareness of mental health problems. Jones released his second solo album, A Generation Innocence, in August 2012; however, while writing for the second album, Jones encountered a hurdle at the halfway mark, as he discovered that he was not satisfied with any of the material that he had written thus far. In 2011, Jones explained, "I was a bit fed up with the whole folk music thing – I mean every man and his dog was doing the faux folk thing"—Jones then proceeded to learn the drums and eventually formed the band, The Birthday Suit, to record the material that he had created in the period following the drumming diversion.
In late 2011, Jones formed The Birthday Suit and described the band as "essentially a solo project ... It's an ever-changing bistro of musicians." The band released its debut album, The Eleventh Hour, in October 2011. The Birthday Suit's second studio album, A Conversation Well Rehearsed was released on 3 December 2012. The album was listed in 19th place in the Clean Slate Music website's "Top 21 Albums of 2012" list, although the website wrote that the second album "doesn't carry the punch" of the band's debut album.
In 2006, Woomble worked with several musicians including Kate Rusby, his wife Ailidh Lennon, songwriter Karine Polwart (to whom he presented the Horizon Award at the BBC Folk Awards 2005, and with whom he performed at Celtic Connections) and Idlewild guitarist Rod Jones on his debut solo album My Secret is My Silence, produced by John McCusker. The album was released in July 2006, and Woomble toured the United Kingdom in support of the album's release. My Secret is my Silence reached number one in the UK Folk Charts, and a year later, on 10 July 2007, My Secret is my Silence was released in the United States on 7–10 Music. Woomble's follow-up album, Before the Ruin, written and recorded with Kris Drever and John McCusker, was released on 15 September 2008 through Navigator Records. In March 2011, Woomble released his second solo album, The Impossible Song & Other Songs.
Members
Current members
Roddy Woomble – lead vocals (1995–2010, 2013–present)
Rod Jones – guitar, backing vocals, keyboards (1995–2010, 2013–present)
Colin Newton – drums (1995–2010, 2013–present)
Andrew Mitchell – bass, guitar, backing vocals (2014–present)
Luciano "Lucci" Rossi – keyboards, backing vocals (2014–present)
Current touring musicians
Hannah Fisher – fiddle (2013–present)
Allan Stewart – guitar (2001–2002, 2019–present; official member 2003–2010)
Former members
Phil Scanlon – bass (1995–1997)
Bob Fairfoull – bass (1997–2002)
Gavin Fox – bass (2003–2005)
Gareth Russell – bass (2006–2010)
Former touring musicians
Jeremy Mills – guitar (1999–2001)
Alex Grant – bass (2002)
Timeline
Discography
Studio albums
Captain (1998)
Hope Is Important (1998)
100 Broken Windows (2000)
The Remote Part (2002)
Warnings/Promises (2005)
Make Another World (2007)
Post Electric Blues (2009)
Everything Ever Written (2015)
Interview Music (2019)
See also
Scottish music (2000–2010)
Edinburgh culture
Scottish literature
Music of Scotland
References
External links
Musical groups established in 1995
Scottish indie rock groups
1995 establishments in Scotland
Musical groups from Edinburgh
Capitol Records artists
Parlophone artists
Musical quintets
Post-Britpop groups
Sanctuary Records artists
| true |
[
"This is a discography of records (primarily albums) produced, engineered, and/or mixed by Glyn Johns for various acts. Though Johns is best known for his work as an engineer and producer for other artists, he recorded several singles as a solo act in the 1960s. At the end of this article, there is a brief section devoted to Johns' work as a solo artist.\n\nAlbums (as producer, recording engineer, and/or mixing engineer)\n\nAll information presented in this section, unless otherwise indicated, is taken from the discography compiled by Andrew Alburn on pp. 291–300 in Glyn Johns' autobiography, Sound Man, and \"Glyn Johns Credits\" (AllMusic).\n\nDiscography as a solo artist\nIn the 1960s Johns recorded several singles as a solo artist. The information in this section is taken from Johns' autobiography and from 45Cat. Johns did not produce or engineer any of his solo records.\n\nNotes\n\nReferences\n\nBibliography\n\nJohns, Glyn",
"\"Hold My Hand\" is a song and single recorded and written by Dave Davies. The song is Davies' fourth solo single.\n\nRecording\n\nLike the previous three Dave Davies singles, \"Hold My Hand\" featured Dave Davies' band members from the Kinks providing the backing. It was recorded in 1968 (in and around the Kinks' critically acclaimed LP, The Kinks Are the Village Green Preservation Society.) It was also one of the last tracks that featured the Kinks' longtime bassist, Pete Quaife.\n\nRelease and reception\n\nDave Davies said in an interview prior to the song's release, \"[I]f 'Hold My Hand' does click, I'll be free to do my own cabaret act if I want. I would use all new material, except maybe, a couple of the Kinks' hit records, but given a different treatment so that it suited a solo voice. Probably work with a small group. I'd love to have a go at this sort of act, but you know how things get talked about, then flop off.\" The single did indeed flop, receiving scant promotion from PYE and only modest airplay, not helped that the off-shore pirate radio stations had been taken off air by then.\n\nAfter the disappointment of its predecessor, \"Lincoln County\", the Kinks management still thought a Dave Davies solo career was viable. Therefore \"Hold My Hand\" was released in 1969 as a standalone single, backed with \"Creeping Jean\" (which, although it wasn't released on any Kinks albums, it has been a live favourite of Dave Davies' since he started performing solo in the late '90s.) \"Hold My Hand\" did not chart in any country, even in European countries such as Germany and Holland where Kinks sales had historically held up. \"Hold My Hand\" would have likely appeared on any Dave Davies solo album had it appeared in the second half of the 1960s, but an album was never released. It however has since appeared on numerous compilations including The Album That Never Was and the reissues of Arthur (Or the Decline and Fall of the British Empire) from 1997 onwards. Most notably it appeared on 2011's Hidden Treasures in remastered stereo and demo form, this album finally brought the whole tortured saga of the lost 1960s Dave Davies solo album into full public gaze. Dave Davies put his solo career on hold, not releasing any new material non-related to the Kinks until 1980.\n\nWriter Andy Miller named the \"Hold My Hand\" single \"fabulous.\"\n\nReferences\n\n1969 singles\nThe Kinks songs\nSongs written by Dave Davies\nPye Records singles\n1969 songs"
] |
[
"Idlewild (band)",
"Solo work",
"did any of the band members do any solo work?",
"Jones released his debut solo album, A Sentimental Education, in 2009.",
"did any other members do any solo work?",
"In 2006, Woomble worked with several musicians including Kate Rusby, his wife Ailidh Lennon, songwriter Karine Polwart ("
] |
C_af21f0b963dc44fcad908a703383277c_0
|
were the solo songs every released on an album?
| 3 |
Were the solo songs that Woomble from Idlewild made with musicians including Kate Rusby, his wife Ailidh Lennon, and songwriter Karine Polwart in 2006 ever released on an album?
|
Idlewild (band)
|
Jones released his debut solo album, A Sentimental Education, in 2009. In 2010, Jones founded The Fruit Tree Foundation, alongside Emma Pollock (The Delgados), in order to raise awareness of mental health problems. Jones released his second solo album, A Generation Innocence, in August 2012; however, while writing for the second album, Jones encountered a hurdle at the halfway mark, as he discovered that he was not satisfied with any of the material that he had written thus far. In 2011, Jones explained, "I was a bit fed up with the whole folk music thing - I mean every man and his dog was doing the faux folk thing"--Jones then proceeded to learn the drums and eventually formed the band, The Birthday Suit, to record the material that he had created in the period following the drumming diversion. In late 2011, Jones formed The Birthday Suit and described the band as "essentially a solo project ... It's an ever-changing bistro of musicians." The band released its debut album, The Eleventh Hour, in October 2011. The Birthday Suit's second studio album, A Conversation Well Rehearsed was released on 3 December 2012. The album was listed in 19th place in the Clean Slate Music website's "Top 21 Albums of 2012" list, although the website wrote that the second album "doesn't carry the punch" of the band's debut album. In 2006, Woomble worked with several musicians including Kate Rusby, his wife Ailidh Lennon, songwriter Karine Polwart (to whom he presented the Horizon Award at the BBC Folk Awards 2005, and with whom he performed at Celtic Connections) and Idlewild guitarist Rod Jones on his debut solo album My Secret is My Silence, produced by John McCusker. The album was released in July 2006, and Woomble toured the United Kingdom in support of the album's release. My Secret is my Silence reached number one in the UK Folk Charts, and a year later, on 10 July 2007, My Secret is my Silence was released in the United States on 7-10 Music. Woomble's follow-up album, Before the Ruin, written and recorded with Kris Drever and John McCusker, was released on 15 September 2008 through Navigator Records. In March 2011, Woomble released his second solo album, The Impossible Song & Other Songs. CANNOTANSWER
|
Jones released his second solo album, A Generation Innocence, in August 2012;
|
Idlewild are a Scottish rock band formed in Edinburgh in 1995. The band's line-up consists of Roddy Woomble (lead vocals), Rod Jones (guitar, backing vocals), Colin Newton (drums), Andrew Mitchell (bass), and Luciano Rossi (keyboards). To date, Idlewild have released nine full-length studio albums.
Initially, Idlewild's sound was faster and more dissonant than many of their 1990s indie rock contemporaries. However, it developed over time from an edgy and angular sound (as heard in their early material—once described by the NME as "the sound of a flight of stairs falling down a flight of stairs") to a sweeping, melodic rock sound as displayed on The Remote Part and Warnings/Promises.
In 2010, the band entered an indefinite hiatus, but reunited in late 2013 to record their seventh album, Everything Ever Written, released in 2015. This was followed by Interview Music in 2019.
History
Beginnings (1995–1996)
Idlewild, named after the quiet meeting place in Anne of Green Gables, formed in December 1995 in Edinburgh, Scotland when a 19-year-old Roddy Woomble met drummer Colin Newton at a party. The two discovered that they had much in common, including similar musical interests and record collections. By the end of the night, they had discussed forming a band together. On the same night, the two were introduced to guitarist Rod Jones and the three kept in contact afterwards, meeting up to listen to music. Soon, the trio began writing songs together, and, in need of a bassist, they brought Phil Scanlon into the fold, due to the fact that he owned a bass guitar.
Idlewild played their first show on 16 January 1996, at the Subway Club in Edinburgh to a crowd of thirty friends, which led to many more shows around Edinburgh throughout the course of the year. In May 1996 the band, now with over twenty songs written, entered Split Level Studios to record. The tape of these recordings earned the band many bookings at various venues around Scotland, including Glasgow. Local publications that heard the tape reviewed it favourably.
Phil Scanlon decided to leave the band in February 1997 to concentrate on his studies. Since leaving Idlewild, he has become a highly successful chemical engineer and currently resides outside San Francisco. Woomble asked Bob Fairfoull to replace the departing bassist. Fairfoull had been present at every Idlewild show since the middle of 1996, and had impressed the others with his spoken-word, solo acoustic shows as well as his performances with Edinburgh band, Pussy Hoover. Fairfoull's debut with the band took place on 28 February at Glasgow bar, Nice N' Sleazy's.
Captain and Hope is Important (1997–1998)
The band's debut single "Queen of the Troubled Teens" was released on 17 March 1997, and built upon the chaotic reputation of their shows. Along with 'Self Healer', 'Satan Polaroid' and 'A Film for the Future', the song was included in a live session on Jeff Cooper's show 'XS' (now Radio2XS) on Sheffield's Hallam FM. It was also supported by BBC Radio Scotland DJ Peter Easton, and influential Radio One DJ Steve Lamacq. Lamacq was particularly impressed with the track "Self Healer" and asked, on the air, that if anyone knew anything about the band, they should contact him. In the summer of 1997, Idlewild played their first London shows which were attended by the likes of Lamacq, and representatives from Deceptive Records. Reviews at this time, in the pages of NME and Melody Maker compared their live gigs to "a flight of stairs falling down a flight of stairs". The band were soon asked to record a single for Fierce Panda and to record an EP/mini-album with Deceptive Records. In October 1997, the band spent six days with producer Paul Tipler in South London. The result was Captain, which the band describes as "an innocent, frank nugget of noise pop magic". After the release of the "Chandelier" single, the band signed a deal with Food Records/EMI in December. Following the record deal, the members quit their respective jobs or university courses.
1998 marked the year where the public became actively aware of Idlewild, who kicked off the year with their first UK tour, supporting the band Midget. The release of Captain, on 18 January, received positive reviews in the NME, Melody Maker and Kerrang!. In February the band re-entered the studio, again with Paul Tipler, to record their first full-length album for Food Records. Two singles were released before the album's release, "A Film for the Future" (compared to "Smells Like Teen Spirit" by one journalist) and "Everyone Says You're So Fragile". Both singles helped to expand the band's growing fanbase alongside notable appearances at summer festivals. October marked the arrival of their debut album Hope Is Important which the band now describes as "a confused, skewered, noisy, sad pop record". Further singles from the album included, "I'm a Message" and fan favourite, "When I Argue I See Shapes". Tours supporting Ash, Placebo and Manic Street Preachers followed the release.
100 Broken Windows (1999–2001)
Idlewild eventually returned to Edinburgh in 1999 to begin writing new songs, and contacted engineer Bob Weston, from Chicago, who recorded six songs with them in London. These songs held a more aggressive, emptier sound than those previously, and the band were pleased with the results; however, they remained unsure of their direction. During the summer, Idlewild were invited to play at the opening of the Scottish Parliament in Edinburgh, a momentous day for Scottish history. Scotland is where the band would remain for a while, letting the surrounding environment influence their songwriting and letting the songs represent the band as they were. Hitting a stride, the band returned to the studio with producer Dave Eringa and recorded "Little Discourage" and "Roseability" in their first session. Very happy with the results, the band continued to record what would become their second full-length album, 100 Broken Windows. The song "Little Discourage" was released in September and brought Idlewild a larger fan-base and much more radio play. Hope Is Important was released in America, and to support it, the band performed a small number of tour dates on the East Coast. The remainder of the year was spent mixing the new album in Glasgow.
In March the following year, the band released "Actually it's Darkness" and embarked on their biggest UK tour to date. Jeremy Mills joined the band on tour, playing guitar and keyboards. Their sound had now evolved from simplistic punk-rock to a more mature sound resembling R.E.M., Echo & the Bunnymen, and The Smiths. 100 Broken Windows reached silver status in the UK and the band went on tour in Europe and North America. Further singles released from the album included "These Wooden Ideas" and "Roseability".
As 2001 began, the band re-entered the studio, this time with producer Stephen Street, to record songs written in the last half of 2000. While happy with the results the band put their next album aside to tour America. American music magazine Spin named 100 Broken Windows the "number one album you didn't hear in 2000" and the album received other rave reviews in the American press on its release in April. Whilst touring the album in America, Allan Stewart replaced Jeremy Mills as touring guitarist. Readers of The Skinny magazine in Scotland would retrospectively vote 100 Broken Windows 'The Scottish Album of the Decade' in December 2009.
The Remote Part (2002–2003)
Idlewild eventually moved up to the highlands of Scotland and began the writing and demoing process of what would become The Remote Part. Both Allan and Jeremy joined the band in a cottage in Inchnadamph, Sutherland. Woomble began a friendship with Scottish Makar (poet laureate) Edwin Morgan who would eventually end up on the song "Scottish Fiction," the album's closing track. The remainder of the year was spent recording and mixing the album in various locations with producer Dave Eringa. This period marked the band's longest absence from performing.
The first single from the album, "You Held the World in Your Arms", became 'A-listed' on Radio One and entered the UK Singles Chart at number nine, marking the band's biggest hit to date. A UK tour followed with Ikara Colt supporting and a second single, "American English", was released. On release, The Remote Part entered the album charts at number three, and was considered a record of considerable depth, as well as one of the most melodic records of the year. The album went gold in the UK and a third single, "Live in a Hiding Place", was released as the band embarked upon a four-month European tour in September, which included supporting dates with Coldplay.
On 30 September 2002, Idlewild took to the stage in Cologne with their guitar tech Alex Grant playing bass instead of Bob Fairfoull, with Roddy Woomble commenting during the show that Fairfoull had left the band. On 3 October, Idlewild officially announced the departure of Fairfoull due to “personal problems”. Fairfoull had become increasingly distant from the band over the past year, often being absent during the recording of The Remote Part, and his drinking habits were having a negative impact on his bass playing. Things came to a head with Fairfoull in an argument after a show in Amsterdam, with Woomble later commenting that dismissing Fairfoull “was the best thing that could have happened to the band,” and that “it meant we all finally agreed on how we were going to move forward.” The band and Fairfoull remained friends, with Fairfoull going on to play bass with Edinburgh-based band Degrassi and Paper Beats Rock.
In the immediate aftermath of Fairfoull's departure, Idlewild fulfilled their tour dates for the rest of the year with Grant on bass. On 20 November, Idlewild unveiled Gavin Fox of the Irish band Turn as their new bassist, with touring guitarist Allan Stewart also becoming a permanent member of the band. Fairfoull approved of being replaced as Idlewild bassist by his good friend Fox, though he also added, "It felt a bit like if you left your wife, and a week later she started shagging your brother. But I realised there’s no point being bitter, they’ve got to continue as a band."
2002 was Idlewild's most successful year, with The Remote Part entering many 'Best of the Year' lists. With Fox and Stewart officially in the band, Idlewild spent January of the following year writing songs and practising in an old lighthouse outside Edinburgh. A final single from The Remote Part, "A Modern Way of Letting Go", introduced the new line-up to the UK via several television appearances and another short tour of Britain and Ireland.
The Remote Part received its US release in March 2003 and the band embarked upon a cross-continent, nine-week headline tour playing their biggest US shows in New York City and Los Angeles. The band then returned to America in May at the request of Pearl Jam, who asked the band to open one leg of their Riot Act world tour. These were the biggest venues Idlewild had played in, and they found friends in Pearl Jam, even playing with them onstage on the final night in Chicago. Subsequently, in June 2007 Pearl Jam requested Idlewild to support them for a one-off date at Wembley Arena.
Warnings/Promises (2004–2005)
As 2004 began, Idlewild spent the first four months of the year writing and demoing new songs up in the Scottish Highlands, and in Roddy's flat in London. The band chose to work with American producer Tony Hoffer and flew out to Los Angeles and spent the next three months recording and mixing the new songs. This marked the first time Idlewild had recorded an album all in one go.
The band finished up the record in October 2004 in New York with mixer Michael Brauer. Roddy rented a room on the Lower East Side and stayed there for the remainder of the year, listening to the album they'd just made. 2004 became the first in the band's existence devoted almost entirely to writing and recording an album. At the end of this year they titled it Warnings/Promises.
2005 began with a series of acoustic shows around the UK. The first single from Warnings/Promises, entitled "Love Steals Us from Loneliness", appeared in February and became Idlewild's fourth Top 20 single. The album followed two weeks later and debuted within the UK Top Ten. Warnings/Promises received mainly positive reviews; however, some critics and fans disliked the band's direction with this album.
In the UK, the band embarked upon an extensive UK tour, changing the setlist every night and revisiting songs from each of their albums. In the summer, Idlewild played a number of festivals and opened shows for U2, R.E.M. and the Pixies.
In November, the band announced that they had parted ways with their record company Parlophone after fulfilling their contractual obligation over eight years, leaving them without a record deal. However, despite rumours that they were breaking up, the band claimed that they were looking forward to the future.
The year ended with a Christmas show at Barrowlands, a famed Glasgow venue and the band's "spiritual home". After this gig, Gavin Fox left the band, with Woomble citing Fox's reluctance to be in a touring rock band and eagerness to stay home in Ireland where he would write songs and sing for his own band, Curse of Cain. Fox was replaced by former Astrid bassist Gareth Russell.
Make Another World (2006–2007)
In July 2006, Roddy Woomble released an album of folk music under his own name titled My Secret is My Silence. Woomble's solo material was written alongside Rod Jones, friend Michael Angus and folksinger Karine Polwart, and produced by folk musician John McCusker. Roddy toured the album in July and August. Jones meanwhile worked on an album with Inara George called George Is Jones
The band spent many months writing new material, which was recorded with 100 Broken Windows and The Remote Part producer Dave Eringa in their rehearsal room. The album Make Another World was released on 5 March 2007 by 1960s label Sequel, which was reactivated by music group Sanctuary.. "If It Takes You Home" was the first single released from it and was available as a download and 7" single. "No Emotion" was the second single released; it went to No. 36 in the UK Top 40 chart. "A Ghost in the Arcade" was the next single, released on 18 June, though only as an internet-downloadable track and not available on physical CD.
The 19 March 2007 Aberdeen concert on the Make Another World UK Tour was filmed for a live DVD release. This was released in October 2007 as part of a special edition of a greatest hits album, Scottish Fiction - Best of 1997-2007, on former label Parlophone. A second, download-only, compilation album was also the same month. A Distant History - Rarities 1997-2007 included the band's early singles as well as many B-sides.
Post Electric Blues and hiatus (2008–2010)
The band continued to play more gigs while working on their next album. Meanwhile, Woomble started writing a column for Scottish newspaper The Sunday Herald and released an album with Kris Drever and John McCusker, entitled Before the Ruin, in September 2008.
In December 2008 the band played five shows at King Tut's Wah Wah Hut, playing each of their studio albums in full. Roddy Woomble noted that the band were "going to try to play every track [they'd] ever written – including B-sides – which has to be more than 100 songs." In February 2009, they announced that they would be staging a similar residency at Dingwalls in Camden, London.
A new song, "City Hall", appeared in a setlist, and the band entered the studio in January 2009. On his online diary, Roddy Woomble noted that he had: "been trying to work on lyrics for the new Idlewild record. At the moment it has the possibility of being about anything, so I've been trying to narrow that down a bit. I've been re-reading Jack Kerouac's novels and following this US election, and keeping up with all the new US groups, so maybe it'll take on a Stars and stripes theme. It'll probably end up being about mountains and Islands though."
On 21 November the band sent an email to fans on the mailing list offering them a chance to preorder the new album (along with "exclusive packaging & including at least one bonus track") to be "shipped within weeks of completion". All fans who bought the album this way would also have their name appear in the CD booklet and on a roll call on the band's official website. On 9 May 2009, Roddy confirmed in his online diary that the new album would be entitled Post Electric Blues. The album was performed in full on 19 May.
Initial emails indicated a release date to fans who had pre-ordered the album of mid-April, but the album was eventually mailed out on 10 June 2009. Fans who pre-ordered the album were also allowed to download their choice of live tracks that the band had recorded at the King Tut's series of shows. The album was officially released in October, preceded by the single "Readers & Writers". In April 2010, Woomble announced that the band would enter a hiatus following the band's tour in support of Post Electric Blues. However this comment only referred to the writing and recording of new material as Woomble later suggested. Idlewild announced their first American tour since 2005 and a short UK tour in support of the EMI re-release of 100 Broken Windows. During the UK shows (as well as a New York and Los Angeles show) the album was to be played in its entirety. However, due to an injury to Rod Jones, the American dates were cancelled. The 100 Broken Windows reissue was released on 8 November 2010 and featured a second disc of B-Sides and unreleased material.
Renewed activity (2013–present)
An end to the band's hiatus was made public in September 2013, by which point Gareth Russell and Allan Stewart had left to be replaced by multi-instrumentalist Luciano Rossi. The band started recording a new album in January 2014. Seventh studio album, Everything Ever Written, was released in February 2015. In addition to Woomble, Jones and Newton, the album also included contributions from new members Rossi and bassist Andrew Mitchell of The Hazey Janes.
Idlewild marked the 15th anniversary of The Remote Part by playing the album in full at two Christmas 2017 shows at the ABC in Glasgow, which sold out within a day, and KOKO in London. The second Glasgow show was notable for surprise guest appearances by former Idlewild members Allan Stewart and Bob Fairfoull.The band then spent 2018 working on a new album, and playing another The Remote Part anniversary show in Edinburgh with Fairfoull once again appearing as a special guest. The resultant album, Interview Music, was released on 5 April 2019, and Allan Stewart rejoined on second guitar for the live shows.
In March 2020, Idlewild announced a November tour of UK and Ireland to mark the band's 25th anniversary but due to the COVID-19 pandemic the dates were rescheduled for November 2021. In February 2021 a retrospective book written by Woomble, In the Beginning There Were Answers: 25 Years of Idlewild, was published.
Solo work
Jones released his debut solo album, A Sentimental Education, in 2009. In 2010, Jones founded The Fruit Tree Foundation, alongside Emma Pollock (The Delgados), in order to raise awareness of mental health problems. Jones released his second solo album, A Generation Innocence, in August 2012; however, while writing for the second album, Jones encountered a hurdle at the halfway mark, as he discovered that he was not satisfied with any of the material that he had written thus far. In 2011, Jones explained, "I was a bit fed up with the whole folk music thing – I mean every man and his dog was doing the faux folk thing"—Jones then proceeded to learn the drums and eventually formed the band, The Birthday Suit, to record the material that he had created in the period following the drumming diversion.
In late 2011, Jones formed The Birthday Suit and described the band as "essentially a solo project ... It's an ever-changing bistro of musicians." The band released its debut album, The Eleventh Hour, in October 2011. The Birthday Suit's second studio album, A Conversation Well Rehearsed was released on 3 December 2012. The album was listed in 19th place in the Clean Slate Music website's "Top 21 Albums of 2012" list, although the website wrote that the second album "doesn't carry the punch" of the band's debut album.
In 2006, Woomble worked with several musicians including Kate Rusby, his wife Ailidh Lennon, songwriter Karine Polwart (to whom he presented the Horizon Award at the BBC Folk Awards 2005, and with whom he performed at Celtic Connections) and Idlewild guitarist Rod Jones on his debut solo album My Secret is My Silence, produced by John McCusker. The album was released in July 2006, and Woomble toured the United Kingdom in support of the album's release. My Secret is my Silence reached number one in the UK Folk Charts, and a year later, on 10 July 2007, My Secret is my Silence was released in the United States on 7–10 Music. Woomble's follow-up album, Before the Ruin, written and recorded with Kris Drever and John McCusker, was released on 15 September 2008 through Navigator Records. In March 2011, Woomble released his second solo album, The Impossible Song & Other Songs.
Members
Current members
Roddy Woomble – lead vocals (1995–2010, 2013–present)
Rod Jones – guitar, backing vocals, keyboards (1995–2010, 2013–present)
Colin Newton – drums (1995–2010, 2013–present)
Andrew Mitchell – bass, guitar, backing vocals (2014–present)
Luciano "Lucci" Rossi – keyboards, backing vocals (2014–present)
Current touring musicians
Hannah Fisher – fiddle (2013–present)
Allan Stewart – guitar (2001–2002, 2019–present; official member 2003–2010)
Former members
Phil Scanlon – bass (1995–1997)
Bob Fairfoull – bass (1997–2002)
Gavin Fox – bass (2003–2005)
Gareth Russell – bass (2006–2010)
Former touring musicians
Jeremy Mills – guitar (1999–2001)
Alex Grant – bass (2002)
Timeline
Discography
Studio albums
Captain (1998)
Hope Is Important (1998)
100 Broken Windows (2000)
The Remote Part (2002)
Warnings/Promises (2005)
Make Another World (2007)
Post Electric Blues (2009)
Everything Ever Written (2015)
Interview Music (2019)
See also
Scottish music (2000–2010)
Edinburgh culture
Scottish literature
Music of Scotland
References
External links
Musical groups established in 1995
Scottish indie rock groups
1995 establishments in Scotland
Musical groups from Edinburgh
Capitol Records artists
Parlophone artists
Musical quintets
Post-Britpop groups
Sanctuary Records artists
| true |
[
"Songbook is an acoustic live album by American musician and Soundgarden vocalist Chris Cornell, released on November 21, 2011. The live album features songs recorded during Cornell's Songbook Tour, an acoustic solo tour which took place from March to May 2011 in the US and Canada, and is his first live album as a solo artist.\n\nThe songs on the tour varied in every show, and the album was recorded during various shows on the tour, and includes songs from Cornell's whole career: solo material, Soundgarden songs, Audioslave songs, Temple of the Dog songs, as well as covers of Led Zeppelin's \"Thank You\" and John Lennon's \"Imagine\".\n\nThe album debuted on the Billboard 200 at No. 69. It has sold 86,000 copies in the US as of August 2015.\n\nSong Information\nThe album includes a new song by Chris Cornell, entitled \"The Keeper\"; the song was written exclusively for the Marc Forster directed 2011 film, Machine Gun Preacher, and released as the lead track from the film's soundtrack in August 2011. Another new song on the album is \"Cleaning My Gun\", a song Cornell had been playing live during his acoustic shows for years but was never previously released on an album.\n\nThe first track on the album \"As Hope and Promise Fade\", was previously released as a hidden track on Cornell's third solo album, Scream, under the title \"Two Drink Minimum\".\n\nTrack listing\n\nCharts\n\nReferences\n\n2011 live albums\nChris Cornell albums",
"Return to Santa Monica is a 2011 album by the band Everclear. It is the band's first album with label Cleopatra Records. The album consists of a mix of re-recorded Everclear originals and covers of other bands' hits.\n\nGreatest Hits\nA variation of the album titled Greatest Hits was released December 27, 2011 in digital formats only. It omits two of the covers from Return to Santa Monica, The Police's Every Breath You Take and the Steve Miller Band's The Joker.\n\nTrack listing\n \"Santa Monica\" – 3:14\n (Originally released on the album Sparkle and Fade.)\n \"Wonderful\" – 4:23\n (Originally released on the album Songs from an American Movie Vol. One: Learning How to Smile.)\n \"Father of Mine\" – 3:55\n (Originally released on the album So Much For The Afterglow.)\n \"I Will Buy You A New Life\" – 3:54\n (Originally released on the album So Much For The Afterglow.)\n \"Everything to Everyone\" – 3:21\n (Originally released on the album So Much For the Afterglow.)\n \"I Won't Back Down\" – 3:06\n (Cover of the song originally released on the Tom Petty solo album Full Moon Fever.)\n \"Unemployed Boyfriend\" – 4:06\n (Originally released on the album Songs from an American Movie Vol. One: Learning How to Smile.)\n \"The Joker\" – 4:58\n (Cover of the Steve Miller Band song originally released on the album The Joker.)\n \"I Will Follow You Into the Dark\" – 2:38\n (Cover of the Death Cab for Cutie song originally released on the album Plans.)\n \"Every Breath You Take\" – 3:20\n (Cover of The Police song originally released on the album Synchronicity.)\n \"AM Radio\" – 3:56\n (Originally released on the album Songs from an American Movie Vol. One: Learning How to Smile.)\n \"Brown Eyed Girl\" – 4:11\n (Originally released on the album Songs from an American Movie Vol. One: Learning How to Smile and a cover of the Van Morrison song from the album Blowin' Your Mind.)\n\nPersonnel\nArt Alexakis – lead vocals, guitar\nDave French – guitar, backing vocals\nFreddy Herrera – bass, backing vocals\nSean Winchester – drums, percussion, keyboards, backing vocals\n\nReferences\n\n2011 albums\nEverclear (band) albums"
] |
[
"Idlewild (band)",
"Solo work",
"did any of the band members do any solo work?",
"Jones released his debut solo album, A Sentimental Education, in 2009.",
"did any other members do any solo work?",
"In 2006, Woomble worked with several musicians including Kate Rusby, his wife Ailidh Lennon, songwriter Karine Polwart (",
"were the solo songs every released on an album?",
"Jones released his second solo album, A Generation Innocence, in August 2012;"
] |
C_af21f0b963dc44fcad908a703383277c_0
|
did any band member give a reason for doing solo work?
| 4 |
Did any band member of Idlewild give a reason for doing solo work?
|
Idlewild (band)
|
Jones released his debut solo album, A Sentimental Education, in 2009. In 2010, Jones founded The Fruit Tree Foundation, alongside Emma Pollock (The Delgados), in order to raise awareness of mental health problems. Jones released his second solo album, A Generation Innocence, in August 2012; however, while writing for the second album, Jones encountered a hurdle at the halfway mark, as he discovered that he was not satisfied with any of the material that he had written thus far. In 2011, Jones explained, "I was a bit fed up with the whole folk music thing - I mean every man and his dog was doing the faux folk thing"--Jones then proceeded to learn the drums and eventually formed the band, The Birthday Suit, to record the material that he had created in the period following the drumming diversion. In late 2011, Jones formed The Birthday Suit and described the band as "essentially a solo project ... It's an ever-changing bistro of musicians." The band released its debut album, The Eleventh Hour, in October 2011. The Birthday Suit's second studio album, A Conversation Well Rehearsed was released on 3 December 2012. The album was listed in 19th place in the Clean Slate Music website's "Top 21 Albums of 2012" list, although the website wrote that the second album "doesn't carry the punch" of the band's debut album. In 2006, Woomble worked with several musicians including Kate Rusby, his wife Ailidh Lennon, songwriter Karine Polwart (to whom he presented the Horizon Award at the BBC Folk Awards 2005, and with whom he performed at Celtic Connections) and Idlewild guitarist Rod Jones on his debut solo album My Secret is My Silence, produced by John McCusker. The album was released in July 2006, and Woomble toured the United Kingdom in support of the album's release. My Secret is my Silence reached number one in the UK Folk Charts, and a year later, on 10 July 2007, My Secret is my Silence was released in the United States on 7-10 Music. Woomble's follow-up album, Before the Ruin, written and recorded with Kris Drever and John McCusker, was released on 15 September 2008 through Navigator Records. In March 2011, Woomble released his second solo album, The Impossible Song & Other Songs. CANNOTANSWER
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In 2011, Jones explained, "I was a bit fed up with the whole folk music thing
|
Idlewild are a Scottish rock band formed in Edinburgh in 1995. The band's line-up consists of Roddy Woomble (lead vocals), Rod Jones (guitar, backing vocals), Colin Newton (drums), Andrew Mitchell (bass), and Luciano Rossi (keyboards). To date, Idlewild have released nine full-length studio albums.
Initially, Idlewild's sound was faster and more dissonant than many of their 1990s indie rock contemporaries. However, it developed over time from an edgy and angular sound (as heard in their early material—once described by the NME as "the sound of a flight of stairs falling down a flight of stairs") to a sweeping, melodic rock sound as displayed on The Remote Part and Warnings/Promises.
In 2010, the band entered an indefinite hiatus, but reunited in late 2013 to record their seventh album, Everything Ever Written, released in 2015. This was followed by Interview Music in 2019.
History
Beginnings (1995–1996)
Idlewild, named after the quiet meeting place in Anne of Green Gables, formed in December 1995 in Edinburgh, Scotland when a 19-year-old Roddy Woomble met drummer Colin Newton at a party. The two discovered that they had much in common, including similar musical interests and record collections. By the end of the night, they had discussed forming a band together. On the same night, the two were introduced to guitarist Rod Jones and the three kept in contact afterwards, meeting up to listen to music. Soon, the trio began writing songs together, and, in need of a bassist, they brought Phil Scanlon into the fold, due to the fact that he owned a bass guitar.
Idlewild played their first show on 16 January 1996, at the Subway Club in Edinburgh to a crowd of thirty friends, which led to many more shows around Edinburgh throughout the course of the year. In May 1996 the band, now with over twenty songs written, entered Split Level Studios to record. The tape of these recordings earned the band many bookings at various venues around Scotland, including Glasgow. Local publications that heard the tape reviewed it favourably.
Phil Scanlon decided to leave the band in February 1997 to concentrate on his studies. Since leaving Idlewild, he has become a highly successful chemical engineer and currently resides outside San Francisco. Woomble asked Bob Fairfoull to replace the departing bassist. Fairfoull had been present at every Idlewild show since the middle of 1996, and had impressed the others with his spoken-word, solo acoustic shows as well as his performances with Edinburgh band, Pussy Hoover. Fairfoull's debut with the band took place on 28 February at Glasgow bar, Nice N' Sleazy's.
Captain and Hope is Important (1997–1998)
The band's debut single "Queen of the Troubled Teens" was released on 17 March 1997, and built upon the chaotic reputation of their shows. Along with 'Self Healer', 'Satan Polaroid' and 'A Film for the Future', the song was included in a live session on Jeff Cooper's show 'XS' (now Radio2XS) on Sheffield's Hallam FM. It was also supported by BBC Radio Scotland DJ Peter Easton, and influential Radio One DJ Steve Lamacq. Lamacq was particularly impressed with the track "Self Healer" and asked, on the air, that if anyone knew anything about the band, they should contact him. In the summer of 1997, Idlewild played their first London shows which were attended by the likes of Lamacq, and representatives from Deceptive Records. Reviews at this time, in the pages of NME and Melody Maker compared their live gigs to "a flight of stairs falling down a flight of stairs". The band were soon asked to record a single for Fierce Panda and to record an EP/mini-album with Deceptive Records. In October 1997, the band spent six days with producer Paul Tipler in South London. The result was Captain, which the band describes as "an innocent, frank nugget of noise pop magic". After the release of the "Chandelier" single, the band signed a deal with Food Records/EMI in December. Following the record deal, the members quit their respective jobs or university courses.
1998 marked the year where the public became actively aware of Idlewild, who kicked off the year with their first UK tour, supporting the band Midget. The release of Captain, on 18 January, received positive reviews in the NME, Melody Maker and Kerrang!. In February the band re-entered the studio, again with Paul Tipler, to record their first full-length album for Food Records. Two singles were released before the album's release, "A Film for the Future" (compared to "Smells Like Teen Spirit" by one journalist) and "Everyone Says You're So Fragile". Both singles helped to expand the band's growing fanbase alongside notable appearances at summer festivals. October marked the arrival of their debut album Hope Is Important which the band now describes as "a confused, skewered, noisy, sad pop record". Further singles from the album included, "I'm a Message" and fan favourite, "When I Argue I See Shapes". Tours supporting Ash, Placebo and Manic Street Preachers followed the release.
100 Broken Windows (1999–2001)
Idlewild eventually returned to Edinburgh in 1999 to begin writing new songs, and contacted engineer Bob Weston, from Chicago, who recorded six songs with them in London. These songs held a more aggressive, emptier sound than those previously, and the band were pleased with the results; however, they remained unsure of their direction. During the summer, Idlewild were invited to play at the opening of the Scottish Parliament in Edinburgh, a momentous day for Scottish history. Scotland is where the band would remain for a while, letting the surrounding environment influence their songwriting and letting the songs represent the band as they were. Hitting a stride, the band returned to the studio with producer Dave Eringa and recorded "Little Discourage" and "Roseability" in their first session. Very happy with the results, the band continued to record what would become their second full-length album, 100 Broken Windows. The song "Little Discourage" was released in September and brought Idlewild a larger fan-base and much more radio play. Hope Is Important was released in America, and to support it, the band performed a small number of tour dates on the East Coast. The remainder of the year was spent mixing the new album in Glasgow.
In March the following year, the band released "Actually it's Darkness" and embarked on their biggest UK tour to date. Jeremy Mills joined the band on tour, playing guitar and keyboards. Their sound had now evolved from simplistic punk-rock to a more mature sound resembling R.E.M., Echo & the Bunnymen, and The Smiths. 100 Broken Windows reached silver status in the UK and the band went on tour in Europe and North America. Further singles released from the album included "These Wooden Ideas" and "Roseability".
As 2001 began, the band re-entered the studio, this time with producer Stephen Street, to record songs written in the last half of 2000. While happy with the results the band put their next album aside to tour America. American music magazine Spin named 100 Broken Windows the "number one album you didn't hear in 2000" and the album received other rave reviews in the American press on its release in April. Whilst touring the album in America, Allan Stewart replaced Jeremy Mills as touring guitarist. Readers of The Skinny magazine in Scotland would retrospectively vote 100 Broken Windows 'The Scottish Album of the Decade' in December 2009.
The Remote Part (2002–2003)
Idlewild eventually moved up to the highlands of Scotland and began the writing and demoing process of what would become The Remote Part. Both Allan and Jeremy joined the band in a cottage in Inchnadamph, Sutherland. Woomble began a friendship with Scottish Makar (poet laureate) Edwin Morgan who would eventually end up on the song "Scottish Fiction," the album's closing track. The remainder of the year was spent recording and mixing the album in various locations with producer Dave Eringa. This period marked the band's longest absence from performing.
The first single from the album, "You Held the World in Your Arms", became 'A-listed' on Radio One and entered the UK Singles Chart at number nine, marking the band's biggest hit to date. A UK tour followed with Ikara Colt supporting and a second single, "American English", was released. On release, The Remote Part entered the album charts at number three, and was considered a record of considerable depth, as well as one of the most melodic records of the year. The album went gold in the UK and a third single, "Live in a Hiding Place", was released as the band embarked upon a four-month European tour in September, which included supporting dates with Coldplay.
On 30 September 2002, Idlewild took to the stage in Cologne with their guitar tech Alex Grant playing bass instead of Bob Fairfoull, with Roddy Woomble commenting during the show that Fairfoull had left the band. On 3 October, Idlewild officially announced the departure of Fairfoull due to “personal problems”. Fairfoull had become increasingly distant from the band over the past year, often being absent during the recording of The Remote Part, and his drinking habits were having a negative impact on his bass playing. Things came to a head with Fairfoull in an argument after a show in Amsterdam, with Woomble later commenting that dismissing Fairfoull “was the best thing that could have happened to the band,” and that “it meant we all finally agreed on how we were going to move forward.” The band and Fairfoull remained friends, with Fairfoull going on to play bass with Edinburgh-based band Degrassi and Paper Beats Rock.
In the immediate aftermath of Fairfoull's departure, Idlewild fulfilled their tour dates for the rest of the year with Grant on bass. On 20 November, Idlewild unveiled Gavin Fox of the Irish band Turn as their new bassist, with touring guitarist Allan Stewart also becoming a permanent member of the band. Fairfoull approved of being replaced as Idlewild bassist by his good friend Fox, though he also added, "It felt a bit like if you left your wife, and a week later she started shagging your brother. But I realised there’s no point being bitter, they’ve got to continue as a band."
2002 was Idlewild's most successful year, with The Remote Part entering many 'Best of the Year' lists. With Fox and Stewart officially in the band, Idlewild spent January of the following year writing songs and practising in an old lighthouse outside Edinburgh. A final single from The Remote Part, "A Modern Way of Letting Go", introduced the new line-up to the UK via several television appearances and another short tour of Britain and Ireland.
The Remote Part received its US release in March 2003 and the band embarked upon a cross-continent, nine-week headline tour playing their biggest US shows in New York City and Los Angeles. The band then returned to America in May at the request of Pearl Jam, who asked the band to open one leg of their Riot Act world tour. These were the biggest venues Idlewild had played in, and they found friends in Pearl Jam, even playing with them onstage on the final night in Chicago. Subsequently, in June 2007 Pearl Jam requested Idlewild to support them for a one-off date at Wembley Arena.
Warnings/Promises (2004–2005)
As 2004 began, Idlewild spent the first four months of the year writing and demoing new songs up in the Scottish Highlands, and in Roddy's flat in London. The band chose to work with American producer Tony Hoffer and flew out to Los Angeles and spent the next three months recording and mixing the new songs. This marked the first time Idlewild had recorded an album all in one go.
The band finished up the record in October 2004 in New York with mixer Michael Brauer. Roddy rented a room on the Lower East Side and stayed there for the remainder of the year, listening to the album they'd just made. 2004 became the first in the band's existence devoted almost entirely to writing and recording an album. At the end of this year they titled it Warnings/Promises.
2005 began with a series of acoustic shows around the UK. The first single from Warnings/Promises, entitled "Love Steals Us from Loneliness", appeared in February and became Idlewild's fourth Top 20 single. The album followed two weeks later and debuted within the UK Top Ten. Warnings/Promises received mainly positive reviews; however, some critics and fans disliked the band's direction with this album.
In the UK, the band embarked upon an extensive UK tour, changing the setlist every night and revisiting songs from each of their albums. In the summer, Idlewild played a number of festivals and opened shows for U2, R.E.M. and the Pixies.
In November, the band announced that they had parted ways with their record company Parlophone after fulfilling their contractual obligation over eight years, leaving them without a record deal. However, despite rumours that they were breaking up, the band claimed that they were looking forward to the future.
The year ended with a Christmas show at Barrowlands, a famed Glasgow venue and the band's "spiritual home". After this gig, Gavin Fox left the band, with Woomble citing Fox's reluctance to be in a touring rock band and eagerness to stay home in Ireland where he would write songs and sing for his own band, Curse of Cain. Fox was replaced by former Astrid bassist Gareth Russell.
Make Another World (2006–2007)
In July 2006, Roddy Woomble released an album of folk music under his own name titled My Secret is My Silence. Woomble's solo material was written alongside Rod Jones, friend Michael Angus and folksinger Karine Polwart, and produced by folk musician John McCusker. Roddy toured the album in July and August. Jones meanwhile worked on an album with Inara George called George Is Jones
The band spent many months writing new material, which was recorded with 100 Broken Windows and The Remote Part producer Dave Eringa in their rehearsal room. The album Make Another World was released on 5 March 2007 by 1960s label Sequel, which was reactivated by music group Sanctuary.. "If It Takes You Home" was the first single released from it and was available as a download and 7" single. "No Emotion" was the second single released; it went to No. 36 in the UK Top 40 chart. "A Ghost in the Arcade" was the next single, released on 18 June, though only as an internet-downloadable track and not available on physical CD.
The 19 March 2007 Aberdeen concert on the Make Another World UK Tour was filmed for a live DVD release. This was released in October 2007 as part of a special edition of a greatest hits album, Scottish Fiction - Best of 1997-2007, on former label Parlophone. A second, download-only, compilation album was also the same month. A Distant History - Rarities 1997-2007 included the band's early singles as well as many B-sides.
Post Electric Blues and hiatus (2008–2010)
The band continued to play more gigs while working on their next album. Meanwhile, Woomble started writing a column for Scottish newspaper The Sunday Herald and released an album with Kris Drever and John McCusker, entitled Before the Ruin, in September 2008.
In December 2008 the band played five shows at King Tut's Wah Wah Hut, playing each of their studio albums in full. Roddy Woomble noted that the band were "going to try to play every track [they'd] ever written – including B-sides – which has to be more than 100 songs." In February 2009, they announced that they would be staging a similar residency at Dingwalls in Camden, London.
A new song, "City Hall", appeared in a setlist, and the band entered the studio in January 2009. On his online diary, Roddy Woomble noted that he had: "been trying to work on lyrics for the new Idlewild record. At the moment it has the possibility of being about anything, so I've been trying to narrow that down a bit. I've been re-reading Jack Kerouac's novels and following this US election, and keeping up with all the new US groups, so maybe it'll take on a Stars and stripes theme. It'll probably end up being about mountains and Islands though."
On 21 November the band sent an email to fans on the mailing list offering them a chance to preorder the new album (along with "exclusive packaging & including at least one bonus track") to be "shipped within weeks of completion". All fans who bought the album this way would also have their name appear in the CD booklet and on a roll call on the band's official website. On 9 May 2009, Roddy confirmed in his online diary that the new album would be entitled Post Electric Blues. The album was performed in full on 19 May.
Initial emails indicated a release date to fans who had pre-ordered the album of mid-April, but the album was eventually mailed out on 10 June 2009. Fans who pre-ordered the album were also allowed to download their choice of live tracks that the band had recorded at the King Tut's series of shows. The album was officially released in October, preceded by the single "Readers & Writers". In April 2010, Woomble announced that the band would enter a hiatus following the band's tour in support of Post Electric Blues. However this comment only referred to the writing and recording of new material as Woomble later suggested. Idlewild announced their first American tour since 2005 and a short UK tour in support of the EMI re-release of 100 Broken Windows. During the UK shows (as well as a New York and Los Angeles show) the album was to be played in its entirety. However, due to an injury to Rod Jones, the American dates were cancelled. The 100 Broken Windows reissue was released on 8 November 2010 and featured a second disc of B-Sides and unreleased material.
Renewed activity (2013–present)
An end to the band's hiatus was made public in September 2013, by which point Gareth Russell and Allan Stewart had left to be replaced by multi-instrumentalist Luciano Rossi. The band started recording a new album in January 2014. Seventh studio album, Everything Ever Written, was released in February 2015. In addition to Woomble, Jones and Newton, the album also included contributions from new members Rossi and bassist Andrew Mitchell of The Hazey Janes.
Idlewild marked the 15th anniversary of The Remote Part by playing the album in full at two Christmas 2017 shows at the ABC in Glasgow, which sold out within a day, and KOKO in London. The second Glasgow show was notable for surprise guest appearances by former Idlewild members Allan Stewart and Bob Fairfoull.The band then spent 2018 working on a new album, and playing another The Remote Part anniversary show in Edinburgh with Fairfoull once again appearing as a special guest. The resultant album, Interview Music, was released on 5 April 2019, and Allan Stewart rejoined on second guitar for the live shows.
In March 2020, Idlewild announced a November tour of UK and Ireland to mark the band's 25th anniversary but due to the COVID-19 pandemic the dates were rescheduled for November 2021. In February 2021 a retrospective book written by Woomble, In the Beginning There Were Answers: 25 Years of Idlewild, was published.
Solo work
Jones released his debut solo album, A Sentimental Education, in 2009. In 2010, Jones founded The Fruit Tree Foundation, alongside Emma Pollock (The Delgados), in order to raise awareness of mental health problems. Jones released his second solo album, A Generation Innocence, in August 2012; however, while writing for the second album, Jones encountered a hurdle at the halfway mark, as he discovered that he was not satisfied with any of the material that he had written thus far. In 2011, Jones explained, "I was a bit fed up with the whole folk music thing – I mean every man and his dog was doing the faux folk thing"—Jones then proceeded to learn the drums and eventually formed the band, The Birthday Suit, to record the material that he had created in the period following the drumming diversion.
In late 2011, Jones formed The Birthday Suit and described the band as "essentially a solo project ... It's an ever-changing bistro of musicians." The band released its debut album, The Eleventh Hour, in October 2011. The Birthday Suit's second studio album, A Conversation Well Rehearsed was released on 3 December 2012. The album was listed in 19th place in the Clean Slate Music website's "Top 21 Albums of 2012" list, although the website wrote that the second album "doesn't carry the punch" of the band's debut album.
In 2006, Woomble worked with several musicians including Kate Rusby, his wife Ailidh Lennon, songwriter Karine Polwart (to whom he presented the Horizon Award at the BBC Folk Awards 2005, and with whom he performed at Celtic Connections) and Idlewild guitarist Rod Jones on his debut solo album My Secret is My Silence, produced by John McCusker. The album was released in July 2006, and Woomble toured the United Kingdom in support of the album's release. My Secret is my Silence reached number one in the UK Folk Charts, and a year later, on 10 July 2007, My Secret is my Silence was released in the United States on 7–10 Music. Woomble's follow-up album, Before the Ruin, written and recorded with Kris Drever and John McCusker, was released on 15 September 2008 through Navigator Records. In March 2011, Woomble released his second solo album, The Impossible Song & Other Songs.
Members
Current members
Roddy Woomble – lead vocals (1995–2010, 2013–present)
Rod Jones – guitar, backing vocals, keyboards (1995–2010, 2013–present)
Colin Newton – drums (1995–2010, 2013–present)
Andrew Mitchell – bass, guitar, backing vocals (2014–present)
Luciano "Lucci" Rossi – keyboards, backing vocals (2014–present)
Current touring musicians
Hannah Fisher – fiddle (2013–present)
Allan Stewart – guitar (2001–2002, 2019–present; official member 2003–2010)
Former members
Phil Scanlon – bass (1995–1997)
Bob Fairfoull – bass (1997–2002)
Gavin Fox – bass (2003–2005)
Gareth Russell – bass (2006–2010)
Former touring musicians
Jeremy Mills – guitar (1999–2001)
Alex Grant – bass (2002)
Timeline
Discography
Studio albums
Captain (1998)
Hope Is Important (1998)
100 Broken Windows (2000)
The Remote Part (2002)
Warnings/Promises (2005)
Make Another World (2007)
Post Electric Blues (2009)
Everything Ever Written (2015)
Interview Music (2019)
See also
Scottish music (2000–2010)
Edinburgh culture
Scottish literature
Music of Scotland
References
External links
Musical groups established in 1995
Scottish indie rock groups
1995 establishments in Scotland
Musical groups from Edinburgh
Capitol Records artists
Parlophone artists
Musical quintets
Post-Britpop groups
Sanctuary Records artists
| true |
[
"edIT (born Edward Ma) is an American electronic music producer and DJ based in Los Angeles, California. He is a member of The Glitch Mob.\n\nHistory\nAfter growing up in Boston, Edward Ma began his career as a DJ and got into music production while he was studying at the University of Southern California. From there, he built his name in the Los Angeles underground and began his career in the late 1990s as The Con Artist. He was a resident DJ at Konkrete Jungle in Los Angeles and he hosted a Dublab radio show. He has produced tracks for underground hip hop artists such as Sole and Busdriver. He has also worked with P.E.A.C.E. and Myka 9 of Freestyle Fellowship, Daddy Kev, Hive, Dntel, Emanon and Phoenix Orion.\n\nHe is an old friend of Aloe Blacc and Daedelus and has contributed a remix of \"Dumbfound\" to Daedelus' single \"Something Bells\" in 2004.\n\nHis debut solo album, Crying Over Pros for No Reason, was released on Planet Mu in 2004.\n\nFollowing the release of his debut, Ma continued to work at the fringes of hip hop and electronic music. In 2006, he co-founded The Glitch Mob with band members Josh Mayer (Ooah) and Justin Boreta (Boreta).\n\nHis second solo album, Certified Air Raid Material, was released on Alpha Pup Records in 2007. It features guest appearances from Abstract Rude, The Grouch, TTC, Busdriver and D-Styles.\n\nTen years after his debut solo album release, Crying Over Pros for No Reason (2004), edIT released Crying Over Pros For No Reason (Deluxe Edition) through The Glitch Mob's Glass Air Records imprint on December 9, 2014. The anniversary re-issue included five new tracks and was released in digital and vinyl formats.\nHis works are also featuring in Season 2 of the TV series, Shadowhunters.\n\nAlthough he has stated in 2015 that there will be no more solo projects as edIT, in 2020 he said will release a new solo album as edIT called \"Come to Grips\"\n\nDiscography\n\nAlbums\n Crying Over Pros for No Reason (2004)\n Certified Air Raid Material (2007)\n Crying Over Pros for No Reason (Deluxe Edition) (2014)\n Come To Grips (2021)\n\nSingles\n \"Battling Go-Go Yubari in Downtown L.A.\" b/w \"Crunk De Gaulle\" (2007)\n \"The Game Is Not Over\" b/w \"More Lazers\" (2008)\n\nProductions\n Sole - \"Uck rt\" from Uck rt (2001)\n Busdriver - \"Somethingness\" from Temporary Forever (2002)\n Acid Reign - \"Acid Hip-Hop\" from Time & Change (2008)\n Travis Barker - \"Cool Head\" from Give The Drummer Some (2011)\n\nReferences\n\nExternal links\n \n edIT on Alpha Pup Records\n edIT on Discogs\n\nAmerican musicians of Asian descent\nAmerican electronic musicians\nIntelligent dance musicians\nLiving people\nMusicians from Los Angeles\nThornton School of Music alumni\nYear of birth missing (living people)\nAmerican musicians of Chinese descent\nPlanet Mu artists",
"TUG Entertainment (TUG stands for The Ultimate Group), was a record label/Management Company that was once home to such artists as B2K, Omarion, Marques Houston, Mila J, O'Ryan, Jhené Aiko, One Luv, 2 Much and NLT, Simon Phenix/Rawwtunez for Universal Records. TUG CEO Chris Stokes is responsible for many films involving TUG roster members e.g. You Got Served, and his most recent project is Somebody Help Me, a horror film which includes in its cast Omarion and Marques Houston.\n\nThe label is currently defunct.\n\nArtist\n\nFormer artists \n B2K - 4 Member Boy Band\n TG4 - 4 Member Girl Band\n Marques Houston - Solo Male Singer\n Young Rome - Solo Male rapper\n Omarion - Solo Male Singer\n O'Ryan - Solo Male Singer\n Ashley Rose - Solo Female Singer\n N2U - 4 Member Boy Band \n Willie \"Simon Phenix\" Hill- Songwriter, Producer, Vocal Arranger\n Jane 3 - 3 Member Girl Band\n 2 Much - 4 Member Boy Band\n Emmalyn Estrada - Solo Female Singer\n IMx - 3 Member Boy Band\n Monteco - Solo Male Singer\n Quindon Tarver - Solo Male Singer\n Gyrl - 3 Member Girl Band\n Dame - 4 Member Girl Band\n Jhené Aiko - Solo Female Singer\n Mila J - Solo Female Singer\n Juanita Stokes - Solo Female rapper/singer\n Timothy Hodge - Solo Male Singer\n NLT - 4 Member Boy Band\n\nFilms\n House Party 4: Down to the Last Minute (2001)\n You Got Served (2004)\n Somebody Help Me (2007)\n Somebody Help Me 2 (2010)\n\nExternal links\n TUG Official Site\n Simon Phenix Official Site\n\nAmerican record labels\nHip hop record labels"
] |
[
"Idlewild (band)",
"Solo work",
"did any of the band members do any solo work?",
"Jones released his debut solo album, A Sentimental Education, in 2009.",
"did any other members do any solo work?",
"In 2006, Woomble worked with several musicians including Kate Rusby, his wife Ailidh Lennon, songwriter Karine Polwart (",
"were the solo songs every released on an album?",
"Jones released his second solo album, A Generation Innocence, in August 2012;",
"did any band member give a reason for doing solo work?",
"In 2011, Jones explained, \"I was a bit fed up with the whole folk music thing"
] |
C_af21f0b963dc44fcad908a703383277c_0
|
were any specific musical instruments used?
| 5 |
Were any specific musical instruments used Idlewild?
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Idlewild (band)
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Jones released his debut solo album, A Sentimental Education, in 2009. In 2010, Jones founded The Fruit Tree Foundation, alongside Emma Pollock (The Delgados), in order to raise awareness of mental health problems. Jones released his second solo album, A Generation Innocence, in August 2012; however, while writing for the second album, Jones encountered a hurdle at the halfway mark, as he discovered that he was not satisfied with any of the material that he had written thus far. In 2011, Jones explained, "I was a bit fed up with the whole folk music thing - I mean every man and his dog was doing the faux folk thing"--Jones then proceeded to learn the drums and eventually formed the band, The Birthday Suit, to record the material that he had created in the period following the drumming diversion. In late 2011, Jones formed The Birthday Suit and described the band as "essentially a solo project ... It's an ever-changing bistro of musicians." The band released its debut album, The Eleventh Hour, in October 2011. The Birthday Suit's second studio album, A Conversation Well Rehearsed was released on 3 December 2012. The album was listed in 19th place in the Clean Slate Music website's "Top 21 Albums of 2012" list, although the website wrote that the second album "doesn't carry the punch" of the band's debut album. In 2006, Woomble worked with several musicians including Kate Rusby, his wife Ailidh Lennon, songwriter Karine Polwart (to whom he presented the Horizon Award at the BBC Folk Awards 2005, and with whom he performed at Celtic Connections) and Idlewild guitarist Rod Jones on his debut solo album My Secret is My Silence, produced by John McCusker. The album was released in July 2006, and Woomble toured the United Kingdom in support of the album's release. My Secret is my Silence reached number one in the UK Folk Charts, and a year later, on 10 July 2007, My Secret is my Silence was released in the United States on 7-10 Music. Woomble's follow-up album, Before the Ruin, written and recorded with Kris Drever and John McCusker, was released on 15 September 2008 through Navigator Records. In March 2011, Woomble released his second solo album, The Impossible Song & Other Songs. CANNOTANSWER
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Jones then proceeded to learn the drums and eventually formed the band, The Birthday Suit,
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Idlewild are a Scottish rock band formed in Edinburgh in 1995. The band's line-up consists of Roddy Woomble (lead vocals), Rod Jones (guitar, backing vocals), Colin Newton (drums), Andrew Mitchell (bass), and Luciano Rossi (keyboards). To date, Idlewild have released nine full-length studio albums.
Initially, Idlewild's sound was faster and more dissonant than many of their 1990s indie rock contemporaries. However, it developed over time from an edgy and angular sound (as heard in their early material—once described by the NME as "the sound of a flight of stairs falling down a flight of stairs") to a sweeping, melodic rock sound as displayed on The Remote Part and Warnings/Promises.
In 2010, the band entered an indefinite hiatus, but reunited in late 2013 to record their seventh album, Everything Ever Written, released in 2015. This was followed by Interview Music in 2019.
History
Beginnings (1995–1996)
Idlewild, named after the quiet meeting place in Anne of Green Gables, formed in December 1995 in Edinburgh, Scotland when a 19-year-old Roddy Woomble met drummer Colin Newton at a party. The two discovered that they had much in common, including similar musical interests and record collections. By the end of the night, they had discussed forming a band together. On the same night, the two were introduced to guitarist Rod Jones and the three kept in contact afterwards, meeting up to listen to music. Soon, the trio began writing songs together, and, in need of a bassist, they brought Phil Scanlon into the fold, due to the fact that he owned a bass guitar.
Idlewild played their first show on 16 January 1996, at the Subway Club in Edinburgh to a crowd of thirty friends, which led to many more shows around Edinburgh throughout the course of the year. In May 1996 the band, now with over twenty songs written, entered Split Level Studios to record. The tape of these recordings earned the band many bookings at various venues around Scotland, including Glasgow. Local publications that heard the tape reviewed it favourably.
Phil Scanlon decided to leave the band in February 1997 to concentrate on his studies. Since leaving Idlewild, he has become a highly successful chemical engineer and currently resides outside San Francisco. Woomble asked Bob Fairfoull to replace the departing bassist. Fairfoull had been present at every Idlewild show since the middle of 1996, and had impressed the others with his spoken-word, solo acoustic shows as well as his performances with Edinburgh band, Pussy Hoover. Fairfoull's debut with the band took place on 28 February at Glasgow bar, Nice N' Sleazy's.
Captain and Hope is Important (1997–1998)
The band's debut single "Queen of the Troubled Teens" was released on 17 March 1997, and built upon the chaotic reputation of their shows. Along with 'Self Healer', 'Satan Polaroid' and 'A Film for the Future', the song was included in a live session on Jeff Cooper's show 'XS' (now Radio2XS) on Sheffield's Hallam FM. It was also supported by BBC Radio Scotland DJ Peter Easton, and influential Radio One DJ Steve Lamacq. Lamacq was particularly impressed with the track "Self Healer" and asked, on the air, that if anyone knew anything about the band, they should contact him. In the summer of 1997, Idlewild played their first London shows which were attended by the likes of Lamacq, and representatives from Deceptive Records. Reviews at this time, in the pages of NME and Melody Maker compared their live gigs to "a flight of stairs falling down a flight of stairs". The band were soon asked to record a single for Fierce Panda and to record an EP/mini-album with Deceptive Records. In October 1997, the band spent six days with producer Paul Tipler in South London. The result was Captain, which the band describes as "an innocent, frank nugget of noise pop magic". After the release of the "Chandelier" single, the band signed a deal with Food Records/EMI in December. Following the record deal, the members quit their respective jobs or university courses.
1998 marked the year where the public became actively aware of Idlewild, who kicked off the year with their first UK tour, supporting the band Midget. The release of Captain, on 18 January, received positive reviews in the NME, Melody Maker and Kerrang!. In February the band re-entered the studio, again with Paul Tipler, to record their first full-length album for Food Records. Two singles were released before the album's release, "A Film for the Future" (compared to "Smells Like Teen Spirit" by one journalist) and "Everyone Says You're So Fragile". Both singles helped to expand the band's growing fanbase alongside notable appearances at summer festivals. October marked the arrival of their debut album Hope Is Important which the band now describes as "a confused, skewered, noisy, sad pop record". Further singles from the album included, "I'm a Message" and fan favourite, "When I Argue I See Shapes". Tours supporting Ash, Placebo and Manic Street Preachers followed the release.
100 Broken Windows (1999–2001)
Idlewild eventually returned to Edinburgh in 1999 to begin writing new songs, and contacted engineer Bob Weston, from Chicago, who recorded six songs with them in London. These songs held a more aggressive, emptier sound than those previously, and the band were pleased with the results; however, they remained unsure of their direction. During the summer, Idlewild were invited to play at the opening of the Scottish Parliament in Edinburgh, a momentous day for Scottish history. Scotland is where the band would remain for a while, letting the surrounding environment influence their songwriting and letting the songs represent the band as they were. Hitting a stride, the band returned to the studio with producer Dave Eringa and recorded "Little Discourage" and "Roseability" in their first session. Very happy with the results, the band continued to record what would become their second full-length album, 100 Broken Windows. The song "Little Discourage" was released in September and brought Idlewild a larger fan-base and much more radio play. Hope Is Important was released in America, and to support it, the band performed a small number of tour dates on the East Coast. The remainder of the year was spent mixing the new album in Glasgow.
In March the following year, the band released "Actually it's Darkness" and embarked on their biggest UK tour to date. Jeremy Mills joined the band on tour, playing guitar and keyboards. Their sound had now evolved from simplistic punk-rock to a more mature sound resembling R.E.M., Echo & the Bunnymen, and The Smiths. 100 Broken Windows reached silver status in the UK and the band went on tour in Europe and North America. Further singles released from the album included "These Wooden Ideas" and "Roseability".
As 2001 began, the band re-entered the studio, this time with producer Stephen Street, to record songs written in the last half of 2000. While happy with the results the band put their next album aside to tour America. American music magazine Spin named 100 Broken Windows the "number one album you didn't hear in 2000" and the album received other rave reviews in the American press on its release in April. Whilst touring the album in America, Allan Stewart replaced Jeremy Mills as touring guitarist. Readers of The Skinny magazine in Scotland would retrospectively vote 100 Broken Windows 'The Scottish Album of the Decade' in December 2009.
The Remote Part (2002–2003)
Idlewild eventually moved up to the highlands of Scotland and began the writing and demoing process of what would become The Remote Part. Both Allan and Jeremy joined the band in a cottage in Inchnadamph, Sutherland. Woomble began a friendship with Scottish Makar (poet laureate) Edwin Morgan who would eventually end up on the song "Scottish Fiction," the album's closing track. The remainder of the year was spent recording and mixing the album in various locations with producer Dave Eringa. This period marked the band's longest absence from performing.
The first single from the album, "You Held the World in Your Arms", became 'A-listed' on Radio One and entered the UK Singles Chart at number nine, marking the band's biggest hit to date. A UK tour followed with Ikara Colt supporting and a second single, "American English", was released. On release, The Remote Part entered the album charts at number three, and was considered a record of considerable depth, as well as one of the most melodic records of the year. The album went gold in the UK and a third single, "Live in a Hiding Place", was released as the band embarked upon a four-month European tour in September, which included supporting dates with Coldplay.
On 30 September 2002, Idlewild took to the stage in Cologne with their guitar tech Alex Grant playing bass instead of Bob Fairfoull, with Roddy Woomble commenting during the show that Fairfoull had left the band. On 3 October, Idlewild officially announced the departure of Fairfoull due to “personal problems”. Fairfoull had become increasingly distant from the band over the past year, often being absent during the recording of The Remote Part, and his drinking habits were having a negative impact on his bass playing. Things came to a head with Fairfoull in an argument after a show in Amsterdam, with Woomble later commenting that dismissing Fairfoull “was the best thing that could have happened to the band,” and that “it meant we all finally agreed on how we were going to move forward.” The band and Fairfoull remained friends, with Fairfoull going on to play bass with Edinburgh-based band Degrassi and Paper Beats Rock.
In the immediate aftermath of Fairfoull's departure, Idlewild fulfilled their tour dates for the rest of the year with Grant on bass. On 20 November, Idlewild unveiled Gavin Fox of the Irish band Turn as their new bassist, with touring guitarist Allan Stewart also becoming a permanent member of the band. Fairfoull approved of being replaced as Idlewild bassist by his good friend Fox, though he also added, "It felt a bit like if you left your wife, and a week later she started shagging your brother. But I realised there’s no point being bitter, they’ve got to continue as a band."
2002 was Idlewild's most successful year, with The Remote Part entering many 'Best of the Year' lists. With Fox and Stewart officially in the band, Idlewild spent January of the following year writing songs and practising in an old lighthouse outside Edinburgh. A final single from The Remote Part, "A Modern Way of Letting Go", introduced the new line-up to the UK via several television appearances and another short tour of Britain and Ireland.
The Remote Part received its US release in March 2003 and the band embarked upon a cross-continent, nine-week headline tour playing their biggest US shows in New York City and Los Angeles. The band then returned to America in May at the request of Pearl Jam, who asked the band to open one leg of their Riot Act world tour. These were the biggest venues Idlewild had played in, and they found friends in Pearl Jam, even playing with them onstage on the final night in Chicago. Subsequently, in June 2007 Pearl Jam requested Idlewild to support them for a one-off date at Wembley Arena.
Warnings/Promises (2004–2005)
As 2004 began, Idlewild spent the first four months of the year writing and demoing new songs up in the Scottish Highlands, and in Roddy's flat in London. The band chose to work with American producer Tony Hoffer and flew out to Los Angeles and spent the next three months recording and mixing the new songs. This marked the first time Idlewild had recorded an album all in one go.
The band finished up the record in October 2004 in New York with mixer Michael Brauer. Roddy rented a room on the Lower East Side and stayed there for the remainder of the year, listening to the album they'd just made. 2004 became the first in the band's existence devoted almost entirely to writing and recording an album. At the end of this year they titled it Warnings/Promises.
2005 began with a series of acoustic shows around the UK. The first single from Warnings/Promises, entitled "Love Steals Us from Loneliness", appeared in February and became Idlewild's fourth Top 20 single. The album followed two weeks later and debuted within the UK Top Ten. Warnings/Promises received mainly positive reviews; however, some critics and fans disliked the band's direction with this album.
In the UK, the band embarked upon an extensive UK tour, changing the setlist every night and revisiting songs from each of their albums. In the summer, Idlewild played a number of festivals and opened shows for U2, R.E.M. and the Pixies.
In November, the band announced that they had parted ways with their record company Parlophone after fulfilling their contractual obligation over eight years, leaving them without a record deal. However, despite rumours that they were breaking up, the band claimed that they were looking forward to the future.
The year ended with a Christmas show at Barrowlands, a famed Glasgow venue and the band's "spiritual home". After this gig, Gavin Fox left the band, with Woomble citing Fox's reluctance to be in a touring rock band and eagerness to stay home in Ireland where he would write songs and sing for his own band, Curse of Cain. Fox was replaced by former Astrid bassist Gareth Russell.
Make Another World (2006–2007)
In July 2006, Roddy Woomble released an album of folk music under his own name titled My Secret is My Silence. Woomble's solo material was written alongside Rod Jones, friend Michael Angus and folksinger Karine Polwart, and produced by folk musician John McCusker. Roddy toured the album in July and August. Jones meanwhile worked on an album with Inara George called George Is Jones
The band spent many months writing new material, which was recorded with 100 Broken Windows and The Remote Part producer Dave Eringa in their rehearsal room. The album Make Another World was released on 5 March 2007 by 1960s label Sequel, which was reactivated by music group Sanctuary.. "If It Takes You Home" was the first single released from it and was available as a download and 7" single. "No Emotion" was the second single released; it went to No. 36 in the UK Top 40 chart. "A Ghost in the Arcade" was the next single, released on 18 June, though only as an internet-downloadable track and not available on physical CD.
The 19 March 2007 Aberdeen concert on the Make Another World UK Tour was filmed for a live DVD release. This was released in October 2007 as part of a special edition of a greatest hits album, Scottish Fiction - Best of 1997-2007, on former label Parlophone. A second, download-only, compilation album was also the same month. A Distant History - Rarities 1997-2007 included the band's early singles as well as many B-sides.
Post Electric Blues and hiatus (2008–2010)
The band continued to play more gigs while working on their next album. Meanwhile, Woomble started writing a column for Scottish newspaper The Sunday Herald and released an album with Kris Drever and John McCusker, entitled Before the Ruin, in September 2008.
In December 2008 the band played five shows at King Tut's Wah Wah Hut, playing each of their studio albums in full. Roddy Woomble noted that the band were "going to try to play every track [they'd] ever written – including B-sides – which has to be more than 100 songs." In February 2009, they announced that they would be staging a similar residency at Dingwalls in Camden, London.
A new song, "City Hall", appeared in a setlist, and the band entered the studio in January 2009. On his online diary, Roddy Woomble noted that he had: "been trying to work on lyrics for the new Idlewild record. At the moment it has the possibility of being about anything, so I've been trying to narrow that down a bit. I've been re-reading Jack Kerouac's novels and following this US election, and keeping up with all the new US groups, so maybe it'll take on a Stars and stripes theme. It'll probably end up being about mountains and Islands though."
On 21 November the band sent an email to fans on the mailing list offering them a chance to preorder the new album (along with "exclusive packaging & including at least one bonus track") to be "shipped within weeks of completion". All fans who bought the album this way would also have their name appear in the CD booklet and on a roll call on the band's official website. On 9 May 2009, Roddy confirmed in his online diary that the new album would be entitled Post Electric Blues. The album was performed in full on 19 May.
Initial emails indicated a release date to fans who had pre-ordered the album of mid-April, but the album was eventually mailed out on 10 June 2009. Fans who pre-ordered the album were also allowed to download their choice of live tracks that the band had recorded at the King Tut's series of shows. The album was officially released in October, preceded by the single "Readers & Writers". In April 2010, Woomble announced that the band would enter a hiatus following the band's tour in support of Post Electric Blues. However this comment only referred to the writing and recording of new material as Woomble later suggested. Idlewild announced their first American tour since 2005 and a short UK tour in support of the EMI re-release of 100 Broken Windows. During the UK shows (as well as a New York and Los Angeles show) the album was to be played in its entirety. However, due to an injury to Rod Jones, the American dates were cancelled. The 100 Broken Windows reissue was released on 8 November 2010 and featured a second disc of B-Sides and unreleased material.
Renewed activity (2013–present)
An end to the band's hiatus was made public in September 2013, by which point Gareth Russell and Allan Stewart had left to be replaced by multi-instrumentalist Luciano Rossi. The band started recording a new album in January 2014. Seventh studio album, Everything Ever Written, was released in February 2015. In addition to Woomble, Jones and Newton, the album also included contributions from new members Rossi and bassist Andrew Mitchell of The Hazey Janes.
Idlewild marked the 15th anniversary of The Remote Part by playing the album in full at two Christmas 2017 shows at the ABC in Glasgow, which sold out within a day, and KOKO in London. The second Glasgow show was notable for surprise guest appearances by former Idlewild members Allan Stewart and Bob Fairfoull.The band then spent 2018 working on a new album, and playing another The Remote Part anniversary show in Edinburgh with Fairfoull once again appearing as a special guest. The resultant album, Interview Music, was released on 5 April 2019, and Allan Stewart rejoined on second guitar for the live shows.
In March 2020, Idlewild announced a November tour of UK and Ireland to mark the band's 25th anniversary but due to the COVID-19 pandemic the dates were rescheduled for November 2021. In February 2021 a retrospective book written by Woomble, In the Beginning There Were Answers: 25 Years of Idlewild, was published.
Solo work
Jones released his debut solo album, A Sentimental Education, in 2009. In 2010, Jones founded The Fruit Tree Foundation, alongside Emma Pollock (The Delgados), in order to raise awareness of mental health problems. Jones released his second solo album, A Generation Innocence, in August 2012; however, while writing for the second album, Jones encountered a hurdle at the halfway mark, as he discovered that he was not satisfied with any of the material that he had written thus far. In 2011, Jones explained, "I was a bit fed up with the whole folk music thing – I mean every man and his dog was doing the faux folk thing"—Jones then proceeded to learn the drums and eventually formed the band, The Birthday Suit, to record the material that he had created in the period following the drumming diversion.
In late 2011, Jones formed The Birthday Suit and described the band as "essentially a solo project ... It's an ever-changing bistro of musicians." The band released its debut album, The Eleventh Hour, in October 2011. The Birthday Suit's second studio album, A Conversation Well Rehearsed was released on 3 December 2012. The album was listed in 19th place in the Clean Slate Music website's "Top 21 Albums of 2012" list, although the website wrote that the second album "doesn't carry the punch" of the band's debut album.
In 2006, Woomble worked with several musicians including Kate Rusby, his wife Ailidh Lennon, songwriter Karine Polwart (to whom he presented the Horizon Award at the BBC Folk Awards 2005, and with whom he performed at Celtic Connections) and Idlewild guitarist Rod Jones on his debut solo album My Secret is My Silence, produced by John McCusker. The album was released in July 2006, and Woomble toured the United Kingdom in support of the album's release. My Secret is my Silence reached number one in the UK Folk Charts, and a year later, on 10 July 2007, My Secret is my Silence was released in the United States on 7–10 Music. Woomble's follow-up album, Before the Ruin, written and recorded with Kris Drever and John McCusker, was released on 15 September 2008 through Navigator Records. In March 2011, Woomble released his second solo album, The Impossible Song & Other Songs.
Members
Current members
Roddy Woomble – lead vocals (1995–2010, 2013–present)
Rod Jones – guitar, backing vocals, keyboards (1995–2010, 2013–present)
Colin Newton – drums (1995–2010, 2013–present)
Andrew Mitchell – bass, guitar, backing vocals (2014–present)
Luciano "Lucci" Rossi – keyboards, backing vocals (2014–present)
Current touring musicians
Hannah Fisher – fiddle (2013–present)
Allan Stewart – guitar (2001–2002, 2019–present; official member 2003–2010)
Former members
Phil Scanlon – bass (1995–1997)
Bob Fairfoull – bass (1997–2002)
Gavin Fox – bass (2003–2005)
Gareth Russell – bass (2006–2010)
Former touring musicians
Jeremy Mills – guitar (1999–2001)
Alex Grant – bass (2002)
Timeline
Discography
Studio albums
Captain (1998)
Hope Is Important (1998)
100 Broken Windows (2000)
The Remote Part (2002)
Warnings/Promises (2005)
Make Another World (2007)
Post Electric Blues (2009)
Everything Ever Written (2015)
Interview Music (2019)
See also
Scottish music (2000–2010)
Edinburgh culture
Scottish literature
Music of Scotland
References
External links
Musical groups established in 1995
Scottish indie rock groups
1995 establishments in Scotland
Musical groups from Edinburgh
Capitol Records artists
Parlophone artists
Musical quintets
Post-Britpop groups
Sanctuary Records artists
| true |
[
"The botija (botijuela; bunga) is a Caribbean musical instrument of the aerophone type. The botija is a potbellied earthenware jug or jar with two openings and was used in the early son sextetos in Cuba as a bass instrument.\n\nOrigin\nThe botija was used to hold kerosene brought from Spain. Botijas were then used to hide money underground and were buried to prevent humidity from reaching the floors. Later, botijas were dug up and used as musical instruments in the late 19th century in the Caribbean island of Cuba.\n\nUse in Cuban son\nCuban son originated in eastern Cuba in the late 19th century. The music's defining characteristic was a pulsing or anticipated bass that falls between the downbeat, leading to the creation of many bass instruments including the botija. Other instruments included a marímbula, serrucho, contrabajo and bajo. Other bass instruments were used according to the size of the musical arrangement or timbre of the bass instrument needed. The marímbula, for example, was used mainly for smaller ensembles because it was not easily heard, whereas the bajo, an electrical bass, could be easily projected and heard over many other instruments.\n\nThe botijas contained two openings, one at the top and one of the side, and were blown into to create bass notes. To crate specific pitches, they were filled to specific levels with water. Another technique includes inserting a reed into the opening while the player blows into the reed.\n\nUse of the botija throughout parts of Cuba ended after the early 20th century and was replaced by the double bass.\n\nIn popular culture \n\nIn Brazil, there is an expression called \"pego(a) com a boca na botija\" (caught with his/her mouth on the milk jug), with similar meaning as \"caught with his hand in the cookie jar\".\n\nSee also\nUdu\nGhatam\nSon\n\nReferences \n\nCaribbean musical instruments\nCuban musical instruments\nPlosive aerophones\nChangüí",
"Bongai also known as Rentak Kuda, is a traditional folk music genre from the Malaysian state of Negeri Sembilan. It can be sung as a solo, a duet or in a group with or without musical accompaniment.\n\nHistory \nBongai reached its peak of fame in the 1950s where it was considered a must in any ceremony held especially wedding ceremonies in Negeri Sembilan. It is also performed for specific purposes, especially as entertainment during the evenings, after work. Bongai simply refers to the ceremony of reciting a poem through song, it is sometimes accompanied by instrumentation. It was historically performed at night.\n\nInstruments\nThe musical instruments used in Bongai include: violin, rebana, gong, gendang, salung and tumbuk kalang. Besides these basic instruments, other instruments such as caklempong, bangsi, accordion and others can also be used. \n\nExample of songs sung as part of Bongai include:\n\"Anak Bocek\"\n\"Budu Landai\"\n\"Cantik Manis\"\n\"Donak Donai\"\n\"Kapeh\"\n\nSee also \n\n Gamelan\n Kulintangan\n\nReferences\n\nMalay culture\nMalaysian culture\nMalaysian music"
] |
[
"Idlewild (band)",
"Solo work",
"did any of the band members do any solo work?",
"Jones released his debut solo album, A Sentimental Education, in 2009.",
"did any other members do any solo work?",
"In 2006, Woomble worked with several musicians including Kate Rusby, his wife Ailidh Lennon, songwriter Karine Polwart (",
"were the solo songs every released on an album?",
"Jones released his second solo album, A Generation Innocence, in August 2012;",
"did any band member give a reason for doing solo work?",
"In 2011, Jones explained, \"I was a bit fed up with the whole folk music thing",
"were any specific musical instruments used?",
"Jones then proceeded to learn the drums and eventually formed the band, The Birthday Suit,"
] |
C_af21f0b963dc44fcad908a703383277c_0
|
in what years did they do some of the solo work?
| 6 |
In what years did Jones and Woomble from Idlewild do some of the solo work?
|
Idlewild (band)
|
Jones released his debut solo album, A Sentimental Education, in 2009. In 2010, Jones founded The Fruit Tree Foundation, alongside Emma Pollock (The Delgados), in order to raise awareness of mental health problems. Jones released his second solo album, A Generation Innocence, in August 2012; however, while writing for the second album, Jones encountered a hurdle at the halfway mark, as he discovered that he was not satisfied with any of the material that he had written thus far. In 2011, Jones explained, "I was a bit fed up with the whole folk music thing - I mean every man and his dog was doing the faux folk thing"--Jones then proceeded to learn the drums and eventually formed the band, The Birthday Suit, to record the material that he had created in the period following the drumming diversion. In late 2011, Jones formed The Birthday Suit and described the band as "essentially a solo project ... It's an ever-changing bistro of musicians." The band released its debut album, The Eleventh Hour, in October 2011. The Birthday Suit's second studio album, A Conversation Well Rehearsed was released on 3 December 2012. The album was listed in 19th place in the Clean Slate Music website's "Top 21 Albums of 2012" list, although the website wrote that the second album "doesn't carry the punch" of the band's debut album. In 2006, Woomble worked with several musicians including Kate Rusby, his wife Ailidh Lennon, songwriter Karine Polwart (to whom he presented the Horizon Award at the BBC Folk Awards 2005, and with whom he performed at Celtic Connections) and Idlewild guitarist Rod Jones on his debut solo album My Secret is My Silence, produced by John McCusker. The album was released in July 2006, and Woomble toured the United Kingdom in support of the album's release. My Secret is my Silence reached number one in the UK Folk Charts, and a year later, on 10 July 2007, My Secret is my Silence was released in the United States on 7-10 Music. Woomble's follow-up album, Before the Ruin, written and recorded with Kris Drever and John McCusker, was released on 15 September 2008 through Navigator Records. In March 2011, Woomble released his second solo album, The Impossible Song & Other Songs. CANNOTANSWER
|
In late 2011, Jones formed The Birthday Suit and described the band as "essentially a solo project ... It's an ever-changing bistro of musicians.
|
Idlewild are a Scottish rock band formed in Edinburgh in 1995. The band's line-up consists of Roddy Woomble (lead vocals), Rod Jones (guitar, backing vocals), Colin Newton (drums), Andrew Mitchell (bass), and Luciano Rossi (keyboards). To date, Idlewild have released nine full-length studio albums.
Initially, Idlewild's sound was faster and more dissonant than many of their 1990s indie rock contemporaries. However, it developed over time from an edgy and angular sound (as heard in their early material—once described by the NME as "the sound of a flight of stairs falling down a flight of stairs") to a sweeping, melodic rock sound as displayed on The Remote Part and Warnings/Promises.
In 2010, the band entered an indefinite hiatus, but reunited in late 2013 to record their seventh album, Everything Ever Written, released in 2015. This was followed by Interview Music in 2019.
History
Beginnings (1995–1996)
Idlewild, named after the quiet meeting place in Anne of Green Gables, formed in December 1995 in Edinburgh, Scotland when a 19-year-old Roddy Woomble met drummer Colin Newton at a party. The two discovered that they had much in common, including similar musical interests and record collections. By the end of the night, they had discussed forming a band together. On the same night, the two were introduced to guitarist Rod Jones and the three kept in contact afterwards, meeting up to listen to music. Soon, the trio began writing songs together, and, in need of a bassist, they brought Phil Scanlon into the fold, due to the fact that he owned a bass guitar.
Idlewild played their first show on 16 January 1996, at the Subway Club in Edinburgh to a crowd of thirty friends, which led to many more shows around Edinburgh throughout the course of the year. In May 1996 the band, now with over twenty songs written, entered Split Level Studios to record. The tape of these recordings earned the band many bookings at various venues around Scotland, including Glasgow. Local publications that heard the tape reviewed it favourably.
Phil Scanlon decided to leave the band in February 1997 to concentrate on his studies. Since leaving Idlewild, he has become a highly successful chemical engineer and currently resides outside San Francisco. Woomble asked Bob Fairfoull to replace the departing bassist. Fairfoull had been present at every Idlewild show since the middle of 1996, and had impressed the others with his spoken-word, solo acoustic shows as well as his performances with Edinburgh band, Pussy Hoover. Fairfoull's debut with the band took place on 28 February at Glasgow bar, Nice N' Sleazy's.
Captain and Hope is Important (1997–1998)
The band's debut single "Queen of the Troubled Teens" was released on 17 March 1997, and built upon the chaotic reputation of their shows. Along with 'Self Healer', 'Satan Polaroid' and 'A Film for the Future', the song was included in a live session on Jeff Cooper's show 'XS' (now Radio2XS) on Sheffield's Hallam FM. It was also supported by BBC Radio Scotland DJ Peter Easton, and influential Radio One DJ Steve Lamacq. Lamacq was particularly impressed with the track "Self Healer" and asked, on the air, that if anyone knew anything about the band, they should contact him. In the summer of 1997, Idlewild played their first London shows which were attended by the likes of Lamacq, and representatives from Deceptive Records. Reviews at this time, in the pages of NME and Melody Maker compared their live gigs to "a flight of stairs falling down a flight of stairs". The band were soon asked to record a single for Fierce Panda and to record an EP/mini-album with Deceptive Records. In October 1997, the band spent six days with producer Paul Tipler in South London. The result was Captain, which the band describes as "an innocent, frank nugget of noise pop magic". After the release of the "Chandelier" single, the band signed a deal with Food Records/EMI in December. Following the record deal, the members quit their respective jobs or university courses.
1998 marked the year where the public became actively aware of Idlewild, who kicked off the year with their first UK tour, supporting the band Midget. The release of Captain, on 18 January, received positive reviews in the NME, Melody Maker and Kerrang!. In February the band re-entered the studio, again with Paul Tipler, to record their first full-length album for Food Records. Two singles were released before the album's release, "A Film for the Future" (compared to "Smells Like Teen Spirit" by one journalist) and "Everyone Says You're So Fragile". Both singles helped to expand the band's growing fanbase alongside notable appearances at summer festivals. October marked the arrival of their debut album Hope Is Important which the band now describes as "a confused, skewered, noisy, sad pop record". Further singles from the album included, "I'm a Message" and fan favourite, "When I Argue I See Shapes". Tours supporting Ash, Placebo and Manic Street Preachers followed the release.
100 Broken Windows (1999–2001)
Idlewild eventually returned to Edinburgh in 1999 to begin writing new songs, and contacted engineer Bob Weston, from Chicago, who recorded six songs with them in London. These songs held a more aggressive, emptier sound than those previously, and the band were pleased with the results; however, they remained unsure of their direction. During the summer, Idlewild were invited to play at the opening of the Scottish Parliament in Edinburgh, a momentous day for Scottish history. Scotland is where the band would remain for a while, letting the surrounding environment influence their songwriting and letting the songs represent the band as they were. Hitting a stride, the band returned to the studio with producer Dave Eringa and recorded "Little Discourage" and "Roseability" in their first session. Very happy with the results, the band continued to record what would become their second full-length album, 100 Broken Windows. The song "Little Discourage" was released in September and brought Idlewild a larger fan-base and much more radio play. Hope Is Important was released in America, and to support it, the band performed a small number of tour dates on the East Coast. The remainder of the year was spent mixing the new album in Glasgow.
In March the following year, the band released "Actually it's Darkness" and embarked on their biggest UK tour to date. Jeremy Mills joined the band on tour, playing guitar and keyboards. Their sound had now evolved from simplistic punk-rock to a more mature sound resembling R.E.M., Echo & the Bunnymen, and The Smiths. 100 Broken Windows reached silver status in the UK and the band went on tour in Europe and North America. Further singles released from the album included "These Wooden Ideas" and "Roseability".
As 2001 began, the band re-entered the studio, this time with producer Stephen Street, to record songs written in the last half of 2000. While happy with the results the band put their next album aside to tour America. American music magazine Spin named 100 Broken Windows the "number one album you didn't hear in 2000" and the album received other rave reviews in the American press on its release in April. Whilst touring the album in America, Allan Stewart replaced Jeremy Mills as touring guitarist. Readers of The Skinny magazine in Scotland would retrospectively vote 100 Broken Windows 'The Scottish Album of the Decade' in December 2009.
The Remote Part (2002–2003)
Idlewild eventually moved up to the highlands of Scotland and began the writing and demoing process of what would become The Remote Part. Both Allan and Jeremy joined the band in a cottage in Inchnadamph, Sutherland. Woomble began a friendship with Scottish Makar (poet laureate) Edwin Morgan who would eventually end up on the song "Scottish Fiction," the album's closing track. The remainder of the year was spent recording and mixing the album in various locations with producer Dave Eringa. This period marked the band's longest absence from performing.
The first single from the album, "You Held the World in Your Arms", became 'A-listed' on Radio One and entered the UK Singles Chart at number nine, marking the band's biggest hit to date. A UK tour followed with Ikara Colt supporting and a second single, "American English", was released. On release, The Remote Part entered the album charts at number three, and was considered a record of considerable depth, as well as one of the most melodic records of the year. The album went gold in the UK and a third single, "Live in a Hiding Place", was released as the band embarked upon a four-month European tour in September, which included supporting dates with Coldplay.
On 30 September 2002, Idlewild took to the stage in Cologne with their guitar tech Alex Grant playing bass instead of Bob Fairfoull, with Roddy Woomble commenting during the show that Fairfoull had left the band. On 3 October, Idlewild officially announced the departure of Fairfoull due to “personal problems”. Fairfoull had become increasingly distant from the band over the past year, often being absent during the recording of The Remote Part, and his drinking habits were having a negative impact on his bass playing. Things came to a head with Fairfoull in an argument after a show in Amsterdam, with Woomble later commenting that dismissing Fairfoull “was the best thing that could have happened to the band,” and that “it meant we all finally agreed on how we were going to move forward.” The band and Fairfoull remained friends, with Fairfoull going on to play bass with Edinburgh-based band Degrassi and Paper Beats Rock.
In the immediate aftermath of Fairfoull's departure, Idlewild fulfilled their tour dates for the rest of the year with Grant on bass. On 20 November, Idlewild unveiled Gavin Fox of the Irish band Turn as their new bassist, with touring guitarist Allan Stewart also becoming a permanent member of the band. Fairfoull approved of being replaced as Idlewild bassist by his good friend Fox, though he also added, "It felt a bit like if you left your wife, and a week later she started shagging your brother. But I realised there’s no point being bitter, they’ve got to continue as a band."
2002 was Idlewild's most successful year, with The Remote Part entering many 'Best of the Year' lists. With Fox and Stewart officially in the band, Idlewild spent January of the following year writing songs and practising in an old lighthouse outside Edinburgh. A final single from The Remote Part, "A Modern Way of Letting Go", introduced the new line-up to the UK via several television appearances and another short tour of Britain and Ireland.
The Remote Part received its US release in March 2003 and the band embarked upon a cross-continent, nine-week headline tour playing their biggest US shows in New York City and Los Angeles. The band then returned to America in May at the request of Pearl Jam, who asked the band to open one leg of their Riot Act world tour. These were the biggest venues Idlewild had played in, and they found friends in Pearl Jam, even playing with them onstage on the final night in Chicago. Subsequently, in June 2007 Pearl Jam requested Idlewild to support them for a one-off date at Wembley Arena.
Warnings/Promises (2004–2005)
As 2004 began, Idlewild spent the first four months of the year writing and demoing new songs up in the Scottish Highlands, and in Roddy's flat in London. The band chose to work with American producer Tony Hoffer and flew out to Los Angeles and spent the next three months recording and mixing the new songs. This marked the first time Idlewild had recorded an album all in one go.
The band finished up the record in October 2004 in New York with mixer Michael Brauer. Roddy rented a room on the Lower East Side and stayed there for the remainder of the year, listening to the album they'd just made. 2004 became the first in the band's existence devoted almost entirely to writing and recording an album. At the end of this year they titled it Warnings/Promises.
2005 began with a series of acoustic shows around the UK. The first single from Warnings/Promises, entitled "Love Steals Us from Loneliness", appeared in February and became Idlewild's fourth Top 20 single. The album followed two weeks later and debuted within the UK Top Ten. Warnings/Promises received mainly positive reviews; however, some critics and fans disliked the band's direction with this album.
In the UK, the band embarked upon an extensive UK tour, changing the setlist every night and revisiting songs from each of their albums. In the summer, Idlewild played a number of festivals and opened shows for U2, R.E.M. and the Pixies.
In November, the band announced that they had parted ways with their record company Parlophone after fulfilling their contractual obligation over eight years, leaving them without a record deal. However, despite rumours that they were breaking up, the band claimed that they were looking forward to the future.
The year ended with a Christmas show at Barrowlands, a famed Glasgow venue and the band's "spiritual home". After this gig, Gavin Fox left the band, with Woomble citing Fox's reluctance to be in a touring rock band and eagerness to stay home in Ireland where he would write songs and sing for his own band, Curse of Cain. Fox was replaced by former Astrid bassist Gareth Russell.
Make Another World (2006–2007)
In July 2006, Roddy Woomble released an album of folk music under his own name titled My Secret is My Silence. Woomble's solo material was written alongside Rod Jones, friend Michael Angus and folksinger Karine Polwart, and produced by folk musician John McCusker. Roddy toured the album in July and August. Jones meanwhile worked on an album with Inara George called George Is Jones
The band spent many months writing new material, which was recorded with 100 Broken Windows and The Remote Part producer Dave Eringa in their rehearsal room. The album Make Another World was released on 5 March 2007 by 1960s label Sequel, which was reactivated by music group Sanctuary.. "If It Takes You Home" was the first single released from it and was available as a download and 7" single. "No Emotion" was the second single released; it went to No. 36 in the UK Top 40 chart. "A Ghost in the Arcade" was the next single, released on 18 June, though only as an internet-downloadable track and not available on physical CD.
The 19 March 2007 Aberdeen concert on the Make Another World UK Tour was filmed for a live DVD release. This was released in October 2007 as part of a special edition of a greatest hits album, Scottish Fiction - Best of 1997-2007, on former label Parlophone. A second, download-only, compilation album was also the same month. A Distant History - Rarities 1997-2007 included the band's early singles as well as many B-sides.
Post Electric Blues and hiatus (2008–2010)
The band continued to play more gigs while working on their next album. Meanwhile, Woomble started writing a column for Scottish newspaper The Sunday Herald and released an album with Kris Drever and John McCusker, entitled Before the Ruin, in September 2008.
In December 2008 the band played five shows at King Tut's Wah Wah Hut, playing each of their studio albums in full. Roddy Woomble noted that the band were "going to try to play every track [they'd] ever written – including B-sides – which has to be more than 100 songs." In February 2009, they announced that they would be staging a similar residency at Dingwalls in Camden, London.
A new song, "City Hall", appeared in a setlist, and the band entered the studio in January 2009. On his online diary, Roddy Woomble noted that he had: "been trying to work on lyrics for the new Idlewild record. At the moment it has the possibility of being about anything, so I've been trying to narrow that down a bit. I've been re-reading Jack Kerouac's novels and following this US election, and keeping up with all the new US groups, so maybe it'll take on a Stars and stripes theme. It'll probably end up being about mountains and Islands though."
On 21 November the band sent an email to fans on the mailing list offering them a chance to preorder the new album (along with "exclusive packaging & including at least one bonus track") to be "shipped within weeks of completion". All fans who bought the album this way would also have their name appear in the CD booklet and on a roll call on the band's official website. On 9 May 2009, Roddy confirmed in his online diary that the new album would be entitled Post Electric Blues. The album was performed in full on 19 May.
Initial emails indicated a release date to fans who had pre-ordered the album of mid-April, but the album was eventually mailed out on 10 June 2009. Fans who pre-ordered the album were also allowed to download their choice of live tracks that the band had recorded at the King Tut's series of shows. The album was officially released in October, preceded by the single "Readers & Writers". In April 2010, Woomble announced that the band would enter a hiatus following the band's tour in support of Post Electric Blues. However this comment only referred to the writing and recording of new material as Woomble later suggested. Idlewild announced their first American tour since 2005 and a short UK tour in support of the EMI re-release of 100 Broken Windows. During the UK shows (as well as a New York and Los Angeles show) the album was to be played in its entirety. However, due to an injury to Rod Jones, the American dates were cancelled. The 100 Broken Windows reissue was released on 8 November 2010 and featured a second disc of B-Sides and unreleased material.
Renewed activity (2013–present)
An end to the band's hiatus was made public in September 2013, by which point Gareth Russell and Allan Stewart had left to be replaced by multi-instrumentalist Luciano Rossi. The band started recording a new album in January 2014. Seventh studio album, Everything Ever Written, was released in February 2015. In addition to Woomble, Jones and Newton, the album also included contributions from new members Rossi and bassist Andrew Mitchell of The Hazey Janes.
Idlewild marked the 15th anniversary of The Remote Part by playing the album in full at two Christmas 2017 shows at the ABC in Glasgow, which sold out within a day, and KOKO in London. The second Glasgow show was notable for surprise guest appearances by former Idlewild members Allan Stewart and Bob Fairfoull.The band then spent 2018 working on a new album, and playing another The Remote Part anniversary show in Edinburgh with Fairfoull once again appearing as a special guest. The resultant album, Interview Music, was released on 5 April 2019, and Allan Stewart rejoined on second guitar for the live shows.
In March 2020, Idlewild announced a November tour of UK and Ireland to mark the band's 25th anniversary but due to the COVID-19 pandemic the dates were rescheduled for November 2021. In February 2021 a retrospective book written by Woomble, In the Beginning There Were Answers: 25 Years of Idlewild, was published.
Solo work
Jones released his debut solo album, A Sentimental Education, in 2009. In 2010, Jones founded The Fruit Tree Foundation, alongside Emma Pollock (The Delgados), in order to raise awareness of mental health problems. Jones released his second solo album, A Generation Innocence, in August 2012; however, while writing for the second album, Jones encountered a hurdle at the halfway mark, as he discovered that he was not satisfied with any of the material that he had written thus far. In 2011, Jones explained, "I was a bit fed up with the whole folk music thing – I mean every man and his dog was doing the faux folk thing"—Jones then proceeded to learn the drums and eventually formed the band, The Birthday Suit, to record the material that he had created in the period following the drumming diversion.
In late 2011, Jones formed The Birthday Suit and described the band as "essentially a solo project ... It's an ever-changing bistro of musicians." The band released its debut album, The Eleventh Hour, in October 2011. The Birthday Suit's second studio album, A Conversation Well Rehearsed was released on 3 December 2012. The album was listed in 19th place in the Clean Slate Music website's "Top 21 Albums of 2012" list, although the website wrote that the second album "doesn't carry the punch" of the band's debut album.
In 2006, Woomble worked with several musicians including Kate Rusby, his wife Ailidh Lennon, songwriter Karine Polwart (to whom he presented the Horizon Award at the BBC Folk Awards 2005, and with whom he performed at Celtic Connections) and Idlewild guitarist Rod Jones on his debut solo album My Secret is My Silence, produced by John McCusker. The album was released in July 2006, and Woomble toured the United Kingdom in support of the album's release. My Secret is my Silence reached number one in the UK Folk Charts, and a year later, on 10 July 2007, My Secret is my Silence was released in the United States on 7–10 Music. Woomble's follow-up album, Before the Ruin, written and recorded with Kris Drever and John McCusker, was released on 15 September 2008 through Navigator Records. In March 2011, Woomble released his second solo album, The Impossible Song & Other Songs.
Members
Current members
Roddy Woomble – lead vocals (1995–2010, 2013–present)
Rod Jones – guitar, backing vocals, keyboards (1995–2010, 2013–present)
Colin Newton – drums (1995–2010, 2013–present)
Andrew Mitchell – bass, guitar, backing vocals (2014–present)
Luciano "Lucci" Rossi – keyboards, backing vocals (2014–present)
Current touring musicians
Hannah Fisher – fiddle (2013–present)
Allan Stewart – guitar (2001–2002, 2019–present; official member 2003–2010)
Former members
Phil Scanlon – bass (1995–1997)
Bob Fairfoull – bass (1997–2002)
Gavin Fox – bass (2003–2005)
Gareth Russell – bass (2006–2010)
Former touring musicians
Jeremy Mills – guitar (1999–2001)
Alex Grant – bass (2002)
Timeline
Discography
Studio albums
Captain (1998)
Hope Is Important (1998)
100 Broken Windows (2000)
The Remote Part (2002)
Warnings/Promises (2005)
Make Another World (2007)
Post Electric Blues (2009)
Everything Ever Written (2015)
Interview Music (2019)
See also
Scottish music (2000–2010)
Edinburgh culture
Scottish literature
Music of Scotland
References
External links
Musical groups established in 1995
Scottish indie rock groups
1995 establishments in Scotland
Musical groups from Edinburgh
Capitol Records artists
Parlophone artists
Musical quintets
Post-Britpop groups
Sanctuary Records artists
| true |
[
"Solo is a live album by violinist / composer Leroy Jenkins. It was recorded in October 1992 at the Contemporary Arts Center in Santa Fe, New Mexico, and was released by Lovely Music in 1998. The album documents a solo concert that featured nine original compositions, some of which had appeared in his solo performances for years but were never previously recorded, plus pieces by Dizzy Gillespie and John Coltrane. This is Jenkins's second solo record, the first being Solo Concert (India Navigation, 1977).\n\nWhen asked about his interest in presenting solo recitals, Jenkins acknowledged the influence of Anthony Braxton, stating: \"It was his idea at first to do this. You know that recording he did for Delmark? He did this solo album [For Alto]. I thought he was crazy when he did it, boy, but it turned out so beautifully. It's a great idea. So as a result of that, I went into it.\"\n\nConcerning the concert venue, Jenkins remarked: \"That's typical of what I do a lot. I play a lot of contemporary museums, alternative performance spaces. I do quite a bit of that throughout America. Not too much in Europe, but throughout America. In just about every little town and big town...\" Regarding his performance of \"Giant Steps\", Jenkins commented: \"I kept the melody in my head... I played my version of that tune. My version was not about playing the chord changes. Don't get me wrong, I love the piece. I love to hear Coltrane playing it. It's personal to Coltrane's ideology at that time. But, my version isn't about that. I probably had more fun playing it than Coltrane did.\"\n\nReception\n\nThe authors of the Penguin Guide to Jazz Recordings awarded the album 4 stars, stating: \"There is a grizzled majesty... a confident conflation of traditions. Tackling 'Giant Steps' and Dizzy's 'Wouldn't You' on solo fiddle and viola bespeaks some courage, but Jenkins skates across those familiar harmonics with breathtaking ease. The recording is up-close and very personal, and anyone who has not encountered his work previously will be captivated.\" Writing for AllMusic, \"Blue\" Gene Tyranny called it \"an extraordinary CD of solo violin and viola improvisations.\"\n\nTrack listing\nAll compositions by Leroy Jenkins except where indicated.\n\n \"Blues #1\" - 6:42\n \"Um Cha Chi Chum\" - 3:58\n \"Hipnosis\" - 3:37\n \"Big Wood\" - 7:48\n \"Folk Song\" - 5:41\n \"Off The Top Of My Head\" - 4:52\n \"Wouldn't You\" (Dizzy Gillespie) - 3:27\n \"Dive For The Oyster, Dip For The Pearl\" - 4:15\n \"Keep On Trucking Brother\" - 2:50\n \"Festival Finale\" - 5:31\n \"Giant Steps\" (John Coltrane) - 4:07\n\n Recorded October 24, 1992 at the Contemporary Arts Center, Santa Fe, New Mexico\n\nPersonnel \n Leroy Jenkins – violin, viola\n\nReferences\n\n1998 albums\nLovely Music albums\nLeroy Jenkins (jazz musician) albums",
"\"Do What You Do\" is a song by American R&B singer Jermaine Jackson, sibling of singers Michael and Janet Jackson and former member of The Jackson 5. It was released as the second single from his 1984 album, entitled Jermaine Jackson in the United States but marketed as Dynamite in the United Kingdom and other countries.\n\nThis was one of Jermaine's first releases with Arista Records after a long recording career with Motown Records, first as a member of The Jackson 5, then later as a solo artist. Although Jermaine Jackson never achieved the same level of solo success as sister Janet or brother Michael, \"Do What You Do\" was one of six top 20 solo hits on the Billboard Hot 100 chart for the singer. The song peaked at No. 13 on the Hot 100, No. 14 on the Billboard R&B chart, and spent three weeks atop the Billboard adult contemporary chart. In Canada it peaked on the RPM Top Singles chart at No. 29. The song was one of Jackson's biggest hits in the UK, where it reached No. 6 on the UK Singles Chart.\n\nIn the ballad, Jackson is requesting that his lover continue with certain enjoyable events they have both experienced in the past: Why don't you do what you do / when you did what you did to me?\n\nSamples and covers\nThe song was sampled by Lil Wayne for \"How Could Something\" and by Chamillionaire for \"Void In My Life\".\n\nMusic video\nThe music video was an imitation of The Godfather and supermodel Iman played Jackson's love interest who eventually betrays him by trying to shoot him. After his henchmen take her away, it is not revealed what happened to her.\n\nCharts\n\nWeekly charts\n\nYear-end charts\n\nCertifications\n\nSee also\n List of number-one adult contemporary singles of 1984 (U.S.)\n\nReferences\n\n1984 singles\nJermaine Jackson songs\nMusic videos directed by Bob Giraldi\nContemporary R&B ballads\n1984 songs\n1980s ballads"
] |
[
"Exile (American band)",
"1970s - First chart success"
] |
C_dfe788e479674c2abd2afd9372a49ebc_0
|
What was the name of their first released single?
| 1 |
What was Coldplay's first song?
|
Exile (American band)
|
The band changed musical styles throughout the late 1960s and early 1970s. They shortened their name to Exile in 1973 and released their eponymous debut album through Wooden Nickel Records that same year. Singles released from the album proved unsuccessful, and it would be a good five years before the band released a full-length follow-up album. In 1977, the band released the single "Try it On" on Atco Records, and it became a minor hit. The following year, Mike Chapman, an Australian who had established himself as a record producer in the UK, came to the United States in search of an experienced group who wrote their own material. Chapman heard an Exile demo and went to their next concert. Chapman evidently enjoyed what he saw. He and Exile decided to collaborate and together they produced the Mixed Emotions album on Warner/Curb Records. The first single release from that album was Kiss You All Over. The single reached Billboard's Top 40 on 5 August 1978. It remained on the chart for seventeen weeks and was No. 1 for four weeks in September. It was a best-seller for six months. Their follow up single, "You Thrill Me," also from the Mixed Emotions LP did not fare as well, although it did reach the Top 40 for one week on 3 February 1979. The band toured with Aerosmith, Heart, Dave Mason, Boston, Seals & Crofts and other hot pop acts of the late seventies throughout the United States, Europe and Africa. All There Is, the group's second Warner Bros. Records album, recorded a year later with a distinct disco beat, yielded a foreign hit, "The Part Of Me That Needs You Most." This single did particularly well in Europe and South Africa. Don't Leave Me This Way, their third album, produced by Peter Coleman, yielded two more singles, "Take Me Down" and "Smooth Sailing." Once again, it did well in Europe and South Africa although their popularity in the United States waned. Numerous personnel changes took place in 1979. Perhaps most significantly, Stokley would leave the group that year, forcing remaining members guitarist/vocalist J.P. Pennington, keyboardist Buzz Cornelison, keyboardist/vocalist Marlon Hargis, bassist/vocalist Sonny Lemaire and drummers Steve Goetzman and Gary Freeman to search for a new lead singer. A young singer, Les Taylor, accepted an invitation to join the group and shared lead vocal duties with Pennington. By the early 1980s, other lineup changes took place, including the exit of original member Buzz Cornelison, plus keyboardist Mark Gray, who co-wrote "The Closer You Get" and "Take Me Down", both of which became hits for the group Alabama, played a short stint from 1980 to 1982. CANNOTANSWER
|
In 1977, the band released the single "Try it On" on Atco Records, and it became a minor hit.
|
Exile is an American band originally formed in 1963. In the 1970s, they were known as a rock band that had a major hit single with "Kiss You All Over" in 1978. After several lineup changes, the band was re-launched as a country act that achieved additional success in the 1980s and '90s. J.P. Pennington is the only current member of the band remaining from its early days.
Career
Early years
The origins of Exile were with a high school band in Richmond, Kentucky, called the Fascinations, which featured singer Jimmy Stokley. In 1963, the Fascinations merged with another local band and became Jimmy Stokley and the Exiles, with singer/guitarist J.P. Pennington, then age 14, joining a short time later. They toured regionally with the Dick Clark Caravan of Stars in 1965. Their name was later shortened to The Exiles, apparently to show support for Cuban refugees.
After high school, the band moved to Lexington, Kentucky, and recorded several singles for small labels between 1968 and 1973. In 1973 the name was shortened again to Exile, with Stokley on lead vocals, Pennington on vocals and guitar, Buzz Cornelison on keyboards, Kenny Weir on bass, and Bobby Johns on drums. This version of the band released a self-titled album on Wooden Nickel Records in 1973. They toured regionally for the next several years and had a minor pop hit with "Try It On" in 1977.
Late 1970s pop success
In 1978, Exile consisted of Stokley, Pennington, and Cornelison, plus second keyboardist Marlon Hargis, bassist Sonny LeMaire, and drummer Steve Goetzman. This lineup signed with Warner Brothers and released the album Mixed Emotions. The disco-influenced single "Kiss You All Over", written by the album's producer Mike Chapman and his songwriting partner Nicky Chinn, topped the American singles chart for four weeks and also reached the top ten in a dozen European countries. The song attracted some controversy for its risqué lyrics, while Stokley gained media attention as a flamboyant and charismatic frontman.
The success of "Kiss You All Over" resulted in invitations for Exile to tour with Heart, Aerosmith, Fleetwood Mac, and other leading rock acts of the period. The follow-up album All There Is yielded the minor hit single "The Part of Me That Needs You Most", which reached the top ten in South Africa and New Zealand in 1979.
Transition to country music
Jimmy Stokley left the band in 1980 and was replaced by Les Taylor prior to recording sessions for the band's next album, Don't Leave Me this Way. Stokley died at age 41 on August 13, 1985 due to complications from hepatitis, and was later inducted into the Kentucky Music Hall of Fame with a speech by J.P. Pennington. Another longtime member, keyboardist Buzz Cornelison, also departed in the early 1980s. Meanwhile, in 1981, the band released their final album under the Warner Brothers label, Heart and Soul, featuring their original recording of the Chapman/Chinn-penned title track, which would become a big hit for Huey Lewis and the News several years later. Exile's version was released as a single but failed to crack the Hot 100.
At this point, under the leadership of Pennington, Exile was revamped as a country band with a southern rock flavor. This version of the band signed with Epic Records in 1983 and had a top 40 country single with their first Epic release, "High Cost of Leaving". Some of their songs were covered by other country artists, including Janie Fricke and Alabama, who would turn Exile's "The Closer You Get" (from their 1980 album Don't Leave Me This Way) into a #1 Country & Western single in 1983. Starting in 1983, Exile had three consecutive top ten albums on the Billboard Country Albums chart (Exile, Kentucky Hearts, and Hang On to Your Heart, with the second of those reaching number one), and from 1983 to 1987 ten out of eleven singles reached number one on the Billboard Country Singles chart, making them one of the biggest country artists of the decade. They also received thirteen award nominations from the Academy of Country Music and the Country Music Association.
Pennington and Taylor left the band in 1990, leaving it with no remaining members from its rock period. A new lineup featuring singer/guitarist Paul Martin signed with Arista Records and scored some more country hit singles, but they were dropped by Arista after the 1991 album Justice and disbanded in 1993. Twenty-one former members gathered for a farewell concert at the Grand Ole Opry.
Reformation
After leaving Exile in 1990, J.P. Pennington and Les Taylor both signed solo deals and achieved minor hit singles on the U.S. country charts. Pennington and Taylor performed together on stage in 1995 and decided to resurrect the Exile name. The new version of the band, led by Pennington and Taylor with a shifting cast of sidemen, continued to tour the nostalgia circuit. Since the 1990s the group has released several live albums, plus the new album Wrapped Up in Your Arms for Christmas in 2016.
Discography
Studio albums
Exile (1973)
Stage Pass (1978)
Mixed Emotions (1978)
All There Is (1979)
Don't Leave Me This Way / Keeping It Country (1980)
Heart and Soul (1981)
Exile (1983)
Kentucky Hearts (1984)
Hang On to Your Heart (1985)
Shelter from the Night (1987)
Still Standing (1990)
Justice (1991)
Wrapped Up In Your Arms for Christmas (2016)
References
Bibliography
Eve Nicole Lemaire, Life in Exile: A Journey Home, (2013), CreateSpace Independent Publishing.
Randy Westbrook, 50 Years of Exile (2013), Acclaim Press.
External links
American country rock groups
American soft rock music groups
Arista Nashville artists
Musical groups established in 1963
Rock music groups from Kentucky
Warner Records artists
1963 establishments in Kentucky
Epic Records artists
Country music groups from Kentucky
| false |
[
"Re:T-ara (stylized as Re:T-ARA) is the second single album by South Korean girl group T-ara. The album was released on November 15, 2021 by Dingo Music, and distributed by Dreamus. The album marks the group's first release after a 4 year hiatus following the EP What's My Name? (2017). The album consists of two tracks: \"All Kill\" and the lead single \"Tiki Taka\".\n\nBackground\nOn July 29, it was announced through the group's 12th anniversary V-Live that they would be making their first comeback in four years before the winter of 2021. It was later revealed that the group will collaborate with Dingo Music to make their comeback with the single album Re:T-ara on November 15, 2021. The album consists of two tracks: \"All Kill\" and \"Tiki Taka\".\n\nRelease\nThe album was released on November 15 through many Korean online music services, including Melon. For the global market, the album was made available on iTunes. It was also released in physical format.\n\nMusic video \nOn November 12, a first teaser for the music video of \"Tiki Taka\" was released. On November 14, the second teaser for the music video was released. On November 15, The official music video of \"Tiki Taka\" was released.\n\nTrack listing \nCredits adapted from Naver.\n\nCharts\n\nRelease history\n\nReferences\n\nSingle albums\n2021 EPs\nT-ara albums",
"\"What Went Down\" is a single by the British rock band Foals. It is the title track from their fourth studio album of the same name and was debuted and released as its lead single on 16 June 2015 via DJ Annie Mac's BBC Radio 1 show.\n\nTrack listing\n\nCharts\n\nCertifications\n\nBandwidth remix \n\nOn 16 September 2015, a remix of \"What Went Down\" was released featuring remixing from Justin Chancellor (Tool) and Scott Kirkland of The Crystal Method. The single was released for streaming and digital download.\n\nReferences\n\nExternal links \n \n\n2015 singles\n2015 songs\nFoals songs\nTransgressive Records singles\nWarner Records singles\nSongs written by Yannis Philippakis"
] |
[
"Exile (American band)",
"1970s - First chart success",
"What was the name of their first released single?",
"In 1977, the band released the single \"Try it On\" on Atco Records, and it became a minor hit."
] |
C_dfe788e479674c2abd2afd9372a49ebc_0
|
What did the band do before they released "Try it on"?
| 2 |
When should you release a single?
|
Exile (American band)
|
The band changed musical styles throughout the late 1960s and early 1970s. They shortened their name to Exile in 1973 and released their eponymous debut album through Wooden Nickel Records that same year. Singles released from the album proved unsuccessful, and it would be a good five years before the band released a full-length follow-up album. In 1977, the band released the single "Try it On" on Atco Records, and it became a minor hit. The following year, Mike Chapman, an Australian who had established himself as a record producer in the UK, came to the United States in search of an experienced group who wrote their own material. Chapman heard an Exile demo and went to their next concert. Chapman evidently enjoyed what he saw. He and Exile decided to collaborate and together they produced the Mixed Emotions album on Warner/Curb Records. The first single release from that album was Kiss You All Over. The single reached Billboard's Top 40 on 5 August 1978. It remained on the chart for seventeen weeks and was No. 1 for four weeks in September. It was a best-seller for six months. Their follow up single, "You Thrill Me," also from the Mixed Emotions LP did not fare as well, although it did reach the Top 40 for one week on 3 February 1979. The band toured with Aerosmith, Heart, Dave Mason, Boston, Seals & Crofts and other hot pop acts of the late seventies throughout the United States, Europe and Africa. All There Is, the group's second Warner Bros. Records album, recorded a year later with a distinct disco beat, yielded a foreign hit, "The Part Of Me That Needs You Most." This single did particularly well in Europe and South Africa. Don't Leave Me This Way, their third album, produced by Peter Coleman, yielded two more singles, "Take Me Down" and "Smooth Sailing." Once again, it did well in Europe and South Africa although their popularity in the United States waned. Numerous personnel changes took place in 1979. Perhaps most significantly, Stokley would leave the group that year, forcing remaining members guitarist/vocalist J.P. Pennington, keyboardist Buzz Cornelison, keyboardist/vocalist Marlon Hargis, bassist/vocalist Sonny Lemaire and drummers Steve Goetzman and Gary Freeman to search for a new lead singer. A young singer, Les Taylor, accepted an invitation to join the group and shared lead vocal duties with Pennington. By the early 1980s, other lineup changes took place, including the exit of original member Buzz Cornelison, plus keyboardist Mark Gray, who co-wrote "The Closer You Get" and "Take Me Down", both of which became hits for the group Alabama, played a short stint from 1980 to 1982. CANNOTANSWER
|
The band changed musical styles throughout the late 1960s and early 1970s. They shortened their name to Exile in 1973
|
Exile is an American band originally formed in 1963. In the 1970s, they were known as a rock band that had a major hit single with "Kiss You All Over" in 1978. After several lineup changes, the band was re-launched as a country act that achieved additional success in the 1980s and '90s. J.P. Pennington is the only current member of the band remaining from its early days.
Career
Early years
The origins of Exile were with a high school band in Richmond, Kentucky, called the Fascinations, which featured singer Jimmy Stokley. In 1963, the Fascinations merged with another local band and became Jimmy Stokley and the Exiles, with singer/guitarist J.P. Pennington, then age 14, joining a short time later. They toured regionally with the Dick Clark Caravan of Stars in 1965. Their name was later shortened to The Exiles, apparently to show support for Cuban refugees.
After high school, the band moved to Lexington, Kentucky, and recorded several singles for small labels between 1968 and 1973. In 1973 the name was shortened again to Exile, with Stokley on lead vocals, Pennington on vocals and guitar, Buzz Cornelison on keyboards, Kenny Weir on bass, and Bobby Johns on drums. This version of the band released a self-titled album on Wooden Nickel Records in 1973. They toured regionally for the next several years and had a minor pop hit with "Try It On" in 1977.
Late 1970s pop success
In 1978, Exile consisted of Stokley, Pennington, and Cornelison, plus second keyboardist Marlon Hargis, bassist Sonny LeMaire, and drummer Steve Goetzman. This lineup signed with Warner Brothers and released the album Mixed Emotions. The disco-influenced single "Kiss You All Over", written by the album's producer Mike Chapman and his songwriting partner Nicky Chinn, topped the American singles chart for four weeks and also reached the top ten in a dozen European countries. The song attracted some controversy for its risqué lyrics, while Stokley gained media attention as a flamboyant and charismatic frontman.
The success of "Kiss You All Over" resulted in invitations for Exile to tour with Heart, Aerosmith, Fleetwood Mac, and other leading rock acts of the period. The follow-up album All There Is yielded the minor hit single "The Part of Me That Needs You Most", which reached the top ten in South Africa and New Zealand in 1979.
Transition to country music
Jimmy Stokley left the band in 1980 and was replaced by Les Taylor prior to recording sessions for the band's next album, Don't Leave Me this Way. Stokley died at age 41 on August 13, 1985 due to complications from hepatitis, and was later inducted into the Kentucky Music Hall of Fame with a speech by J.P. Pennington. Another longtime member, keyboardist Buzz Cornelison, also departed in the early 1980s. Meanwhile, in 1981, the band released their final album under the Warner Brothers label, Heart and Soul, featuring their original recording of the Chapman/Chinn-penned title track, which would become a big hit for Huey Lewis and the News several years later. Exile's version was released as a single but failed to crack the Hot 100.
At this point, under the leadership of Pennington, Exile was revamped as a country band with a southern rock flavor. This version of the band signed with Epic Records in 1983 and had a top 40 country single with their first Epic release, "High Cost of Leaving". Some of their songs were covered by other country artists, including Janie Fricke and Alabama, who would turn Exile's "The Closer You Get" (from their 1980 album Don't Leave Me This Way) into a #1 Country & Western single in 1983. Starting in 1983, Exile had three consecutive top ten albums on the Billboard Country Albums chart (Exile, Kentucky Hearts, and Hang On to Your Heart, with the second of those reaching number one), and from 1983 to 1987 ten out of eleven singles reached number one on the Billboard Country Singles chart, making them one of the biggest country artists of the decade. They also received thirteen award nominations from the Academy of Country Music and the Country Music Association.
Pennington and Taylor left the band in 1990, leaving it with no remaining members from its rock period. A new lineup featuring singer/guitarist Paul Martin signed with Arista Records and scored some more country hit singles, but they were dropped by Arista after the 1991 album Justice and disbanded in 1993. Twenty-one former members gathered for a farewell concert at the Grand Ole Opry.
Reformation
After leaving Exile in 1990, J.P. Pennington and Les Taylor both signed solo deals and achieved minor hit singles on the U.S. country charts. Pennington and Taylor performed together on stage in 1995 and decided to resurrect the Exile name. The new version of the band, led by Pennington and Taylor with a shifting cast of sidemen, continued to tour the nostalgia circuit. Since the 1990s the group has released several live albums, plus the new album Wrapped Up in Your Arms for Christmas in 2016.
Discography
Studio albums
Exile (1973)
Stage Pass (1978)
Mixed Emotions (1978)
All There Is (1979)
Don't Leave Me This Way / Keeping It Country (1980)
Heart and Soul (1981)
Exile (1983)
Kentucky Hearts (1984)
Hang On to Your Heart (1985)
Shelter from the Night (1987)
Still Standing (1990)
Justice (1991)
Wrapped Up In Your Arms for Christmas (2016)
References
Bibliography
Eve Nicole Lemaire, Life in Exile: A Journey Home, (2013), CreateSpace Independent Publishing.
Randy Westbrook, 50 Years of Exile (2013), Acclaim Press.
External links
American country rock groups
American soft rock music groups
Arista Nashville artists
Musical groups established in 1963
Rock music groups from Kentucky
Warner Records artists
1963 establishments in Kentucky
Epic Records artists
Country music groups from Kentucky
| false |
[
"\"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",
"The Real Donovan is the first compilation album from Scottish singer-songwriter Donovan. It was released in the US (Hickory LPM 135 (monaural) /LPS 135 (stereo)) in September 1966.\n\nHistory\nWhen Donovan signed a contract with Epic Records, he became entangled in a legal dispute with Pye Records over the rights to his music. These legal proceedings withheld any new Donovan releases in the United Kingdom until late 1966. In the meantime, Pye Records' United States distributor Hickory Records compiled The Real Donovan from Donovan's Pye Records releases, choosing several songs that had not yet appeared on any United States release.\n\nThe Real Donovan was released within the same month as Donovan's first Epic Records album Sunshine Superman. Both albums were intended to capitalize on the success of the \"Sunshine Superman\" single, which hit No. 1 on the Billboard charts in the United States. While it did not match the Billboard chart success and sales of Sunshine Superman, The Real Donovan did chart, ultimately reaching No. 96.\n\nAlbum origins of tracks\nThe following is a list explaining the original releases of each song. Tracks that were previously unreleased in the United States are noted with *, followed by explanations of their origin.\n\n \"Turquoise\" (UK single, released 30 October 1965; Released in U.S. as b-side to \"To Try for the Sun\" in January 1966)\n \"Oh Deed I Do\"* (from UK version of Fairytale, released 22 October 1965)\n \"Catch the Wind\" (from What's Bin Did and What's Bin Hid, released 14 May 1965)\n \"Remember the Alamo\" (from What's Bin Did and What's Bin Hid, released 14 May 1965)\n \"Ballad of a Crystal Man\"* (from The Universal Soldier EP, released 15 August 1965)\n \"Colours\" (from Fairytale, released 22 October 1965)\n \"Hey Gyp (Dig the Slowness)\"* (b-side of \"Turquoise\", released 30 October 1965)\n \"Belated Forgiveness Plea\" (from Fairytale, released 22 October 1965)\n \"Ramblin' Boy\" (from What's Bin Did and What's Bin Hid, released 14 May 1965)\n \"The War Drags On\"* (from The Universal Soldier EP, released 15 August 1965)\n \"Josie\" (from What's Bin Did and What's Bin Hid, released 14 May 1965)\n \"To Try for the Sun\" (from Fairytale, released 22 October 1965)\n\nTrack listing\nAll tracks by Donovan Leitch, except where noted.\n\nSide one\n\n\"Turquoise\"\n\"Oh Deed I Do\" (Bert Jansch)\n\"Catch the Wind\"\n\"Remember the Alamo\" (Jane Bowers)\n\"Ballad of a Crystal Man\"\n\"Colours\"\n\nSide two\n\n\"Hey Gyp (Dig the Slowness)\"\n\"Belated Forgiveness Plea\"\n\"Rambin' Boy\"\n\"The War Drags On\" (Mick Softley)\n\"Josie\"\n\"To Try for the Sun\"\n\nExternal links\n The Real Donovan – Donovan Unofficial Site\n\nReal Donovan\nReal Donovan\nHickory Records compilation albums"
] |
[
"Exile (American band)",
"1970s - First chart success",
"What was the name of their first released single?",
"In 1977, the band released the single \"Try it On\" on Atco Records, and it became a minor hit.",
"What did the band do before they released \"Try it on\"?",
"The band changed musical styles throughout the late 1960s and early 1970s. They shortened their name to Exile in 1973"
] |
C_dfe788e479674c2abd2afd9372a49ebc_0
|
What was their name before they shortened it?
| 3 |
How did Alice in Chains get their name?
|
Exile (American band)
|
The band changed musical styles throughout the late 1960s and early 1970s. They shortened their name to Exile in 1973 and released their eponymous debut album through Wooden Nickel Records that same year. Singles released from the album proved unsuccessful, and it would be a good five years before the band released a full-length follow-up album. In 1977, the band released the single "Try it On" on Atco Records, and it became a minor hit. The following year, Mike Chapman, an Australian who had established himself as a record producer in the UK, came to the United States in search of an experienced group who wrote their own material. Chapman heard an Exile demo and went to their next concert. Chapman evidently enjoyed what he saw. He and Exile decided to collaborate and together they produced the Mixed Emotions album on Warner/Curb Records. The first single release from that album was Kiss You All Over. The single reached Billboard's Top 40 on 5 August 1978. It remained on the chart for seventeen weeks and was No. 1 for four weeks in September. It was a best-seller for six months. Their follow up single, "You Thrill Me," also from the Mixed Emotions LP did not fare as well, although it did reach the Top 40 for one week on 3 February 1979. The band toured with Aerosmith, Heart, Dave Mason, Boston, Seals & Crofts and other hot pop acts of the late seventies throughout the United States, Europe and Africa. All There Is, the group's second Warner Bros. Records album, recorded a year later with a distinct disco beat, yielded a foreign hit, "The Part Of Me That Needs You Most." This single did particularly well in Europe and South Africa. Don't Leave Me This Way, their third album, produced by Peter Coleman, yielded two more singles, "Take Me Down" and "Smooth Sailing." Once again, it did well in Europe and South Africa although their popularity in the United States waned. Numerous personnel changes took place in 1979. Perhaps most significantly, Stokley would leave the group that year, forcing remaining members guitarist/vocalist J.P. Pennington, keyboardist Buzz Cornelison, keyboardist/vocalist Marlon Hargis, bassist/vocalist Sonny Lemaire and drummers Steve Goetzman and Gary Freeman to search for a new lead singer. A young singer, Les Taylor, accepted an invitation to join the group and shared lead vocal duties with Pennington. By the early 1980s, other lineup changes took place, including the exit of original member Buzz Cornelison, plus keyboardist Mark Gray, who co-wrote "The Closer You Get" and "Take Me Down", both of which became hits for the group Alabama, played a short stint from 1980 to 1982. CANNOTANSWER
|
CANNOTANSWER
|
Exile is an American band originally formed in 1963. In the 1970s, they were known as a rock band that had a major hit single with "Kiss You All Over" in 1978. After several lineup changes, the band was re-launched as a country act that achieved additional success in the 1980s and '90s. J.P. Pennington is the only current member of the band remaining from its early days.
Career
Early years
The origins of Exile were with a high school band in Richmond, Kentucky, called the Fascinations, which featured singer Jimmy Stokley. In 1963, the Fascinations merged with another local band and became Jimmy Stokley and the Exiles, with singer/guitarist J.P. Pennington, then age 14, joining a short time later. They toured regionally with the Dick Clark Caravan of Stars in 1965. Their name was later shortened to The Exiles, apparently to show support for Cuban refugees.
After high school, the band moved to Lexington, Kentucky, and recorded several singles for small labels between 1968 and 1973. In 1973 the name was shortened again to Exile, with Stokley on lead vocals, Pennington on vocals and guitar, Buzz Cornelison on keyboards, Kenny Weir on bass, and Bobby Johns on drums. This version of the band released a self-titled album on Wooden Nickel Records in 1973. They toured regionally for the next several years and had a minor pop hit with "Try It On" in 1977.
Late 1970s pop success
In 1978, Exile consisted of Stokley, Pennington, and Cornelison, plus second keyboardist Marlon Hargis, bassist Sonny LeMaire, and drummer Steve Goetzman. This lineup signed with Warner Brothers and released the album Mixed Emotions. The disco-influenced single "Kiss You All Over", written by the album's producer Mike Chapman and his songwriting partner Nicky Chinn, topped the American singles chart for four weeks and also reached the top ten in a dozen European countries. The song attracted some controversy for its risqué lyrics, while Stokley gained media attention as a flamboyant and charismatic frontman.
The success of "Kiss You All Over" resulted in invitations for Exile to tour with Heart, Aerosmith, Fleetwood Mac, and other leading rock acts of the period. The follow-up album All There Is yielded the minor hit single "The Part of Me That Needs You Most", which reached the top ten in South Africa and New Zealand in 1979.
Transition to country music
Jimmy Stokley left the band in 1980 and was replaced by Les Taylor prior to recording sessions for the band's next album, Don't Leave Me this Way. Stokley died at age 41 on August 13, 1985 due to complications from hepatitis, and was later inducted into the Kentucky Music Hall of Fame with a speech by J.P. Pennington. Another longtime member, keyboardist Buzz Cornelison, also departed in the early 1980s. Meanwhile, in 1981, the band released their final album under the Warner Brothers label, Heart and Soul, featuring their original recording of the Chapman/Chinn-penned title track, which would become a big hit for Huey Lewis and the News several years later. Exile's version was released as a single but failed to crack the Hot 100.
At this point, under the leadership of Pennington, Exile was revamped as a country band with a southern rock flavor. This version of the band signed with Epic Records in 1983 and had a top 40 country single with their first Epic release, "High Cost of Leaving". Some of their songs were covered by other country artists, including Janie Fricke and Alabama, who would turn Exile's "The Closer You Get" (from their 1980 album Don't Leave Me This Way) into a #1 Country & Western single in 1983. Starting in 1983, Exile had three consecutive top ten albums on the Billboard Country Albums chart (Exile, Kentucky Hearts, and Hang On to Your Heart, with the second of those reaching number one), and from 1983 to 1987 ten out of eleven singles reached number one on the Billboard Country Singles chart, making them one of the biggest country artists of the decade. They also received thirteen award nominations from the Academy of Country Music and the Country Music Association.
Pennington and Taylor left the band in 1990, leaving it with no remaining members from its rock period. A new lineup featuring singer/guitarist Paul Martin signed with Arista Records and scored some more country hit singles, but they were dropped by Arista after the 1991 album Justice and disbanded in 1993. Twenty-one former members gathered for a farewell concert at the Grand Ole Opry.
Reformation
After leaving Exile in 1990, J.P. Pennington and Les Taylor both signed solo deals and achieved minor hit singles on the U.S. country charts. Pennington and Taylor performed together on stage in 1995 and decided to resurrect the Exile name. The new version of the band, led by Pennington and Taylor with a shifting cast of sidemen, continued to tour the nostalgia circuit. Since the 1990s the group has released several live albums, plus the new album Wrapped Up in Your Arms for Christmas in 2016.
Discography
Studio albums
Exile (1973)
Stage Pass (1978)
Mixed Emotions (1978)
All There Is (1979)
Don't Leave Me This Way / Keeping It Country (1980)
Heart and Soul (1981)
Exile (1983)
Kentucky Hearts (1984)
Hang On to Your Heart (1985)
Shelter from the Night (1987)
Still Standing (1990)
Justice (1991)
Wrapped Up In Your Arms for Christmas (2016)
References
Bibliography
Eve Nicole Lemaire, Life in Exile: A Journey Home, (2013), CreateSpace Independent Publishing.
Randy Westbrook, 50 Years of Exile (2013), Acclaim Press.
External links
American country rock groups
American soft rock music groups
Arista Nashville artists
Musical groups established in 1963
Rock music groups from Kentucky
Warner Records artists
1963 establishments in Kentucky
Epic Records artists
Country music groups from Kentucky
| false |
[
"Spider is a steel spinning roller coaster made by Maurer Söhne of Germany. The ride is located at the Lagoon Amusement Park in Farmington, Utah. Spider was installed at Lagoon in 2003.\nSpider features spinning ride vehicles that can seat two sets of two passengers, facing in opposite directions. The vehicles feature the name of \"The Spider and the Fly\" for that was what this coaster was going to be named. During development of this ride, the named was shortened to \"The Spider\" because of unknown reasons. The spinning vehicles were already painted before the name change, thus has the developing name.\n\nIn the 2016 season, Spider was repainted and the cement below the coaster was replaced. Its track was repainted red and black as opposed to respectively, pink and purple.\n\nReferences\n\nRoller coasters in Utah\nLagoon (amusement park)\n2003 establishments in Utah",
"S-K-O, originally known as Schuyler, Knobloch and Overstreet, was an American country music group, composed of Thom Schuyler, J. Fred Knobloch and Paul Overstreet. The original line-up recorded one album for MTM Records and charted three country hits, including the number one, \"Baby's Got a New Baby\". After Overstreet departed in 1987 for a solo career, he was replaced with Craig Bickhardt, and the group was renamed S-K-B. S-K-B released one album and four singles before disbanding in 1989.\n\nBiography\nThom Schuyler, J. Fred Knobloch and Paul Overstreet were three well-known songwriters who got together to form a band, Schuyler, Knobloch & Overstreet. After the release of their first single, they shortened their name simply to S-K-O. When Overstreet left the group in 1987 to pursue a solo career, he was replaced by Craig Bickhardt (who had almost joined the country-rock band Southern Pacific early that same year) and they changed their name to Schuyler, Knobloch & Bickhardt. The similarly shortened S-K-B disbanded when their record label, MTM Records, shut down in 1989. Since then, Thom Schuyler became the vice president of RCA Nashville (a position from which he retired in 1994), while Knobloch and Bickhardt continued their songwriting careers.\n\nDiscography\n\nAlbums\n\nSingles\n\nMusic videos\n\nReferences\n\nExternal links\nThom Schuyler's official website\nPaul Overstreet's official website\nCraig Bickhardt's official website\nJ Fred Knobloch's official website\n\nCountry music groups from Tennessee\nMusical groups established in 1986\nAmerican musical trios\nMTM Records artists\n1986 establishments in Tennessee"
] |
[
"Exile (American band)",
"1970s - First chart success",
"What was the name of their first released single?",
"In 1977, the band released the single \"Try it On\" on Atco Records, and it became a minor hit.",
"What did the band do before they released \"Try it on\"?",
"The band changed musical styles throughout the late 1960s and early 1970s. They shortened their name to Exile in 1973",
"What was their name before they shortened it?",
"I don't know."
] |
C_dfe788e479674c2abd2afd9372a49ebc_0
|
Did they have an album after "try it on"?
| 4 |
Did tool come out with a new album?
|
Exile (American band)
|
The band changed musical styles throughout the late 1960s and early 1970s. They shortened their name to Exile in 1973 and released their eponymous debut album through Wooden Nickel Records that same year. Singles released from the album proved unsuccessful, and it would be a good five years before the band released a full-length follow-up album. In 1977, the band released the single "Try it On" on Atco Records, and it became a minor hit. The following year, Mike Chapman, an Australian who had established himself as a record producer in the UK, came to the United States in search of an experienced group who wrote their own material. Chapman heard an Exile demo and went to their next concert. Chapman evidently enjoyed what he saw. He and Exile decided to collaborate and together they produced the Mixed Emotions album on Warner/Curb Records. The first single release from that album was Kiss You All Over. The single reached Billboard's Top 40 on 5 August 1978. It remained on the chart for seventeen weeks and was No. 1 for four weeks in September. It was a best-seller for six months. Their follow up single, "You Thrill Me," also from the Mixed Emotions LP did not fare as well, although it did reach the Top 40 for one week on 3 February 1979. The band toured with Aerosmith, Heart, Dave Mason, Boston, Seals & Crofts and other hot pop acts of the late seventies throughout the United States, Europe and Africa. All There Is, the group's second Warner Bros. Records album, recorded a year later with a distinct disco beat, yielded a foreign hit, "The Part Of Me That Needs You Most." This single did particularly well in Europe and South Africa. Don't Leave Me This Way, their third album, produced by Peter Coleman, yielded two more singles, "Take Me Down" and "Smooth Sailing." Once again, it did well in Europe and South Africa although their popularity in the United States waned. Numerous personnel changes took place in 1979. Perhaps most significantly, Stokley would leave the group that year, forcing remaining members guitarist/vocalist J.P. Pennington, keyboardist Buzz Cornelison, keyboardist/vocalist Marlon Hargis, bassist/vocalist Sonny Lemaire and drummers Steve Goetzman and Gary Freeman to search for a new lead singer. A young singer, Les Taylor, accepted an invitation to join the group and shared lead vocal duties with Pennington. By the early 1980s, other lineup changes took place, including the exit of original member Buzz Cornelison, plus keyboardist Mark Gray, who co-wrote "The Closer You Get" and "Take Me Down", both of which became hits for the group Alabama, played a short stint from 1980 to 1982. CANNOTANSWER
|
He and Exile decided to collaborate and together they produced the Mixed Emotions album on Warner/Curb Records.
|
Exile is an American band originally formed in 1963. In the 1970s, they were known as a rock band that had a major hit single with "Kiss You All Over" in 1978. After several lineup changes, the band was re-launched as a country act that achieved additional success in the 1980s and '90s. J.P. Pennington is the only current member of the band remaining from its early days.
Career
Early years
The origins of Exile were with a high school band in Richmond, Kentucky, called the Fascinations, which featured singer Jimmy Stokley. In 1963, the Fascinations merged with another local band and became Jimmy Stokley and the Exiles, with singer/guitarist J.P. Pennington, then age 14, joining a short time later. They toured regionally with the Dick Clark Caravan of Stars in 1965. Their name was later shortened to The Exiles, apparently to show support for Cuban refugees.
After high school, the band moved to Lexington, Kentucky, and recorded several singles for small labels between 1968 and 1973. In 1973 the name was shortened again to Exile, with Stokley on lead vocals, Pennington on vocals and guitar, Buzz Cornelison on keyboards, Kenny Weir on bass, and Bobby Johns on drums. This version of the band released a self-titled album on Wooden Nickel Records in 1973. They toured regionally for the next several years and had a minor pop hit with "Try It On" in 1977.
Late 1970s pop success
In 1978, Exile consisted of Stokley, Pennington, and Cornelison, plus second keyboardist Marlon Hargis, bassist Sonny LeMaire, and drummer Steve Goetzman. This lineup signed with Warner Brothers and released the album Mixed Emotions. The disco-influenced single "Kiss You All Over", written by the album's producer Mike Chapman and his songwriting partner Nicky Chinn, topped the American singles chart for four weeks and also reached the top ten in a dozen European countries. The song attracted some controversy for its risqué lyrics, while Stokley gained media attention as a flamboyant and charismatic frontman.
The success of "Kiss You All Over" resulted in invitations for Exile to tour with Heart, Aerosmith, Fleetwood Mac, and other leading rock acts of the period. The follow-up album All There Is yielded the minor hit single "The Part of Me That Needs You Most", which reached the top ten in South Africa and New Zealand in 1979.
Transition to country music
Jimmy Stokley left the band in 1980 and was replaced by Les Taylor prior to recording sessions for the band's next album, Don't Leave Me this Way. Stokley died at age 41 on August 13, 1985 due to complications from hepatitis, and was later inducted into the Kentucky Music Hall of Fame with a speech by J.P. Pennington. Another longtime member, keyboardist Buzz Cornelison, also departed in the early 1980s. Meanwhile, in 1981, the band released their final album under the Warner Brothers label, Heart and Soul, featuring their original recording of the Chapman/Chinn-penned title track, which would become a big hit for Huey Lewis and the News several years later. Exile's version was released as a single but failed to crack the Hot 100.
At this point, under the leadership of Pennington, Exile was revamped as a country band with a southern rock flavor. This version of the band signed with Epic Records in 1983 and had a top 40 country single with their first Epic release, "High Cost of Leaving". Some of their songs were covered by other country artists, including Janie Fricke and Alabama, who would turn Exile's "The Closer You Get" (from their 1980 album Don't Leave Me This Way) into a #1 Country & Western single in 1983. Starting in 1983, Exile had three consecutive top ten albums on the Billboard Country Albums chart (Exile, Kentucky Hearts, and Hang On to Your Heart, with the second of those reaching number one), and from 1983 to 1987 ten out of eleven singles reached number one on the Billboard Country Singles chart, making them one of the biggest country artists of the decade. They also received thirteen award nominations from the Academy of Country Music and the Country Music Association.
Pennington and Taylor left the band in 1990, leaving it with no remaining members from its rock period. A new lineup featuring singer/guitarist Paul Martin signed with Arista Records and scored some more country hit singles, but they were dropped by Arista after the 1991 album Justice and disbanded in 1993. Twenty-one former members gathered for a farewell concert at the Grand Ole Opry.
Reformation
After leaving Exile in 1990, J.P. Pennington and Les Taylor both signed solo deals and achieved minor hit singles on the U.S. country charts. Pennington and Taylor performed together on stage in 1995 and decided to resurrect the Exile name. The new version of the band, led by Pennington and Taylor with a shifting cast of sidemen, continued to tour the nostalgia circuit. Since the 1990s the group has released several live albums, plus the new album Wrapped Up in Your Arms for Christmas in 2016.
Discography
Studio albums
Exile (1973)
Stage Pass (1978)
Mixed Emotions (1978)
All There Is (1979)
Don't Leave Me This Way / Keeping It Country (1980)
Heart and Soul (1981)
Exile (1983)
Kentucky Hearts (1984)
Hang On to Your Heart (1985)
Shelter from the Night (1987)
Still Standing (1990)
Justice (1991)
Wrapped Up In Your Arms for Christmas (2016)
References
Bibliography
Eve Nicole Lemaire, Life in Exile: A Journey Home, (2013), CreateSpace Independent Publishing.
Randy Westbrook, 50 Years of Exile (2013), Acclaim Press.
External links
American country rock groups
American soft rock music groups
Arista Nashville artists
Musical groups established in 1963
Rock music groups from Kentucky
Warner Records artists
1963 establishments in Kentucky
Epic Records artists
Country music groups from Kentucky
| false |
[
"Try Me is the fourth studio album by the American rock band Self Defense Family and first under this moniker — previous studio albums were released under the name End of a Year. The album was released on January 7, 2014 through Deathwish Inc. In November 2013, the band released a lyric video for the track \"Turn the Fan On.\" The album was available on the digital music streaming service Spotify over a month before its official release date.\n\nBackground\nTry Me features an approximately 40-minute-long interview with the 1980s pornographic actress Angelique Bernstein (known by industry name, Jeanna Fine), split between two tracks titled \"Angelique, Pt. 1\" and \"Angelique, Pt. 2\". The interview was conducted by Self Defense Family vocalist Patrick Kindlon and guitarist Andrew Duggan in a motel in New York City, and the original recording is over three hours long. The portion of the interview that appears on Try Me tells Bernstein's early life, including as Lukas Hodge of Noisey puts it, her \"fatherless, bullied, sexually confused childhood, to living on couches and in doorways, to an abusive relationship, told in disturbing detail, in which she essentially becomes a prisoner,\" but ends before she can get into her porn career. About the interview Kindlon said, \"She's just an interesting person. She has an amazing personal history and you don't need an interest in pornography to find her story compelling. You just need an interest in human beings.\"\n\nCritical reception\n\nUpon its release, Try Me received generally positive reviews from music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from critics, the album received an average score of 81, which indicates \"universal acclaim\", based on 4 reviews. At Alternative Press, Brian Shultz rated the album four stars out of five, and stated that \"the entire thing is a cathartic art project that feels like the moment of forced calm after an exhausting sob.\" AbsolutePunk staff critic Drew Beringer described Try Me as \"one of the most unique, reflective, darkly humorous, and brilliant records to grace ears in a while.\" Pitchfork's Jason Heller stated: \"Although most tracks on Try Me are taut and concise, they’re built around churning, sprawling riffs that feel far larger than the songs that contain them.\" Chris Conaton of PopMatters wrote: \"Try Me is an album that does things completely on its own rather difficult terms and succeeds on those terms.\"\n\nTrack listing\n\nReferences\n\n2014 albums\nSelf Defense Family albums\nDeathwish Inc. albums",
"Try Me may refer to:\n\nAlbums\nTry Me!, an album by James Brown and The Famous Flames\nTry Me (Rosie Gaines album), 1994\nTry Me (Self Defense Family album), 2014\n\nSongs\n\"Try Me\" (Dej Loaf song), 2014\n\"Try Me\" (DJ Snake song), 2019\n\"Try Me\" (James Brown song), 1958\n\"Try Me\" (Jasmine Guy song), 1990\n\"Try Me\" (Jason Derulo song), featuring Jennifer Lopez and Matoma, 2015\n\"Try Me\" (John Entwistle song), 1981\n\"Try Me (Watashi wo Shinjite)\", the fifth single by Namie Amuro with Super Monkey's\n\"Try Me\", by The Grass Roots on their album Powers of the Night, 1982\n\"Try Me\", by McLean\n\"Try Me\", by UFO on their album Lights Out, 1977\n\"Try Me\", by Plastic Toy and DJ Snake from the latter's album Carte Blanche, 2019\n\nOther\nTry Me Records, a record label founded by James Brown\n\nSee also\nTry (disambiguation)\n\"Try to Find Me\", a song by Gorky Park, 1989"
] |
[
"Exile (American band)",
"1970s - First chart success",
"What was the name of their first released single?",
"In 1977, the band released the single \"Try it On\" on Atco Records, and it became a minor hit.",
"What did the band do before they released \"Try it on\"?",
"The band changed musical styles throughout the late 1960s and early 1970s. They shortened their name to Exile in 1973",
"What was their name before they shortened it?",
"I don't know.",
"Did they have an album after \"try it on\"?",
"He and Exile decided to collaborate and together they produced the Mixed Emotions album on Warner/Curb Records."
] |
C_dfe788e479674c2abd2afd9372a49ebc_0
|
Was mixed emotions a success?
| 5 |
Was mixed emotions a success?
|
Exile (American band)
|
The band changed musical styles throughout the late 1960s and early 1970s. They shortened their name to Exile in 1973 and released their eponymous debut album through Wooden Nickel Records that same year. Singles released from the album proved unsuccessful, and it would be a good five years before the band released a full-length follow-up album. In 1977, the band released the single "Try it On" on Atco Records, and it became a minor hit. The following year, Mike Chapman, an Australian who had established himself as a record producer in the UK, came to the United States in search of an experienced group who wrote their own material. Chapman heard an Exile demo and went to their next concert. Chapman evidently enjoyed what he saw. He and Exile decided to collaborate and together they produced the Mixed Emotions album on Warner/Curb Records. The first single release from that album was Kiss You All Over. The single reached Billboard's Top 40 on 5 August 1978. It remained on the chart for seventeen weeks and was No. 1 for four weeks in September. It was a best-seller for six months. Their follow up single, "You Thrill Me," also from the Mixed Emotions LP did not fare as well, although it did reach the Top 40 for one week on 3 February 1979. The band toured with Aerosmith, Heart, Dave Mason, Boston, Seals & Crofts and other hot pop acts of the late seventies throughout the United States, Europe and Africa. All There Is, the group's second Warner Bros. Records album, recorded a year later with a distinct disco beat, yielded a foreign hit, "The Part Of Me That Needs You Most." This single did particularly well in Europe and South Africa. Don't Leave Me This Way, their third album, produced by Peter Coleman, yielded two more singles, "Take Me Down" and "Smooth Sailing." Once again, it did well in Europe and South Africa although their popularity in the United States waned. Numerous personnel changes took place in 1979. Perhaps most significantly, Stokley would leave the group that year, forcing remaining members guitarist/vocalist J.P. Pennington, keyboardist Buzz Cornelison, keyboardist/vocalist Marlon Hargis, bassist/vocalist Sonny Lemaire and drummers Steve Goetzman and Gary Freeman to search for a new lead singer. A young singer, Les Taylor, accepted an invitation to join the group and shared lead vocal duties with Pennington. By the early 1980s, other lineup changes took place, including the exit of original member Buzz Cornelison, plus keyboardist Mark Gray, who co-wrote "The Closer You Get" and "Take Me Down", both of which became hits for the group Alabama, played a short stint from 1980 to 1982. CANNOTANSWER
|
The first single release from that album was Kiss You All Over. The single reached Billboard's Top 40 on 5 August 1978.
|
Exile is an American band originally formed in 1963. In the 1970s, they were known as a rock band that had a major hit single with "Kiss You All Over" in 1978. After several lineup changes, the band was re-launched as a country act that achieved additional success in the 1980s and '90s. J.P. Pennington is the only current member of the band remaining from its early days.
Career
Early years
The origins of Exile were with a high school band in Richmond, Kentucky, called the Fascinations, which featured singer Jimmy Stokley. In 1963, the Fascinations merged with another local band and became Jimmy Stokley and the Exiles, with singer/guitarist J.P. Pennington, then age 14, joining a short time later. They toured regionally with the Dick Clark Caravan of Stars in 1965. Their name was later shortened to The Exiles, apparently to show support for Cuban refugees.
After high school, the band moved to Lexington, Kentucky, and recorded several singles for small labels between 1968 and 1973. In 1973 the name was shortened again to Exile, with Stokley on lead vocals, Pennington on vocals and guitar, Buzz Cornelison on keyboards, Kenny Weir on bass, and Bobby Johns on drums. This version of the band released a self-titled album on Wooden Nickel Records in 1973. They toured regionally for the next several years and had a minor pop hit with "Try It On" in 1977.
Late 1970s pop success
In 1978, Exile consisted of Stokley, Pennington, and Cornelison, plus second keyboardist Marlon Hargis, bassist Sonny LeMaire, and drummer Steve Goetzman. This lineup signed with Warner Brothers and released the album Mixed Emotions. The disco-influenced single "Kiss You All Over", written by the album's producer Mike Chapman and his songwriting partner Nicky Chinn, topped the American singles chart for four weeks and also reached the top ten in a dozen European countries. The song attracted some controversy for its risqué lyrics, while Stokley gained media attention as a flamboyant and charismatic frontman.
The success of "Kiss You All Over" resulted in invitations for Exile to tour with Heart, Aerosmith, Fleetwood Mac, and other leading rock acts of the period. The follow-up album All There Is yielded the minor hit single "The Part of Me That Needs You Most", which reached the top ten in South Africa and New Zealand in 1979.
Transition to country music
Jimmy Stokley left the band in 1980 and was replaced by Les Taylor prior to recording sessions for the band's next album, Don't Leave Me this Way. Stokley died at age 41 on August 13, 1985 due to complications from hepatitis, and was later inducted into the Kentucky Music Hall of Fame with a speech by J.P. Pennington. Another longtime member, keyboardist Buzz Cornelison, also departed in the early 1980s. Meanwhile, in 1981, the band released their final album under the Warner Brothers label, Heart and Soul, featuring their original recording of the Chapman/Chinn-penned title track, which would become a big hit for Huey Lewis and the News several years later. Exile's version was released as a single but failed to crack the Hot 100.
At this point, under the leadership of Pennington, Exile was revamped as a country band with a southern rock flavor. This version of the band signed with Epic Records in 1983 and had a top 40 country single with their first Epic release, "High Cost of Leaving". Some of their songs were covered by other country artists, including Janie Fricke and Alabama, who would turn Exile's "The Closer You Get" (from their 1980 album Don't Leave Me This Way) into a #1 Country & Western single in 1983. Starting in 1983, Exile had three consecutive top ten albums on the Billboard Country Albums chart (Exile, Kentucky Hearts, and Hang On to Your Heart, with the second of those reaching number one), and from 1983 to 1987 ten out of eleven singles reached number one on the Billboard Country Singles chart, making them one of the biggest country artists of the decade. They also received thirteen award nominations from the Academy of Country Music and the Country Music Association.
Pennington and Taylor left the band in 1990, leaving it with no remaining members from its rock period. A new lineup featuring singer/guitarist Paul Martin signed with Arista Records and scored some more country hit singles, but they were dropped by Arista after the 1991 album Justice and disbanded in 1993. Twenty-one former members gathered for a farewell concert at the Grand Ole Opry.
Reformation
After leaving Exile in 1990, J.P. Pennington and Les Taylor both signed solo deals and achieved minor hit singles on the U.S. country charts. Pennington and Taylor performed together on stage in 1995 and decided to resurrect the Exile name. The new version of the band, led by Pennington and Taylor with a shifting cast of sidemen, continued to tour the nostalgia circuit. Since the 1990s the group has released several live albums, plus the new album Wrapped Up in Your Arms for Christmas in 2016.
Discography
Studio albums
Exile (1973)
Stage Pass (1978)
Mixed Emotions (1978)
All There Is (1979)
Don't Leave Me This Way / Keeping It Country (1980)
Heart and Soul (1981)
Exile (1983)
Kentucky Hearts (1984)
Hang On to Your Heart (1985)
Shelter from the Night (1987)
Still Standing (1990)
Justice (1991)
Wrapped Up In Your Arms for Christmas (2016)
References
Bibliography
Eve Nicole Lemaire, Life in Exile: A Journey Home, (2013), CreateSpace Independent Publishing.
Randy Westbrook, 50 Years of Exile (2013), Acclaim Press.
External links
American country rock groups
American soft rock music groups
Arista Nashville artists
Musical groups established in 1963
Rock music groups from Kentucky
Warner Records artists
1963 establishments in Kentucky
Epic Records artists
Country music groups from Kentucky
| false |
[
"\"I Miss You\" is a ballad performed by British singer Beverley Craven, from her third album Mixed Emotions.\n\nDetails\n\nThe song was originally written for the 1996 film The Adventures of Pinocchio, and was written from the point of view of Geppetto after Pinocchio leaves him. The song however was rejected by the film's producers.\n \nEventually, the song was released on her next album Mixed Emotions, and was chosen as the first single. The song was sent to radios as a promotional single when the album was released on May 1999. A commercial release of the single was planned for the end of July, however the label refused to give it a full release, possibly due to the underperformance of the album on the UK charts and all promotion was halted soon afterwards.\n\nThe song become a huge radio hit in Poland, peaking #1 on the airplay chart. As a result of this success two more songs from the album, \"We Found A Place\" and \"Say You're Sorry\", were released as promo radio singles there.\n\nVideo\n\nThe music video features Craven playing the piano against a white background and singing the song. The Mixed Emotions album cover was taken from shots of this video.\n\nTrack listings\n\n CD Single\n \"I Miss You\" 4:40\n\n1999 singles\n1990s ballads\nBeverley Craven songs\n1996 songs\nEpic Records singles",
"Mixed Emotions was a German pop music group formed in 1986 by vocalists Drafi Deutscher (9 May 1946 – 9 June 2006) and Oliver Simon (14 May 1957 – 31 July 2013). Deutscher sang, wrote/co-wrote and produced/co-produced all Mixed Emotions' songs, many of which were co-written with regular producer and musical contributor Christopher Evans Ironside.\n\nTheir best known hit is probably that from their first year, the song \"You Want Love (Maria, Maria)\". Other well-known songs are \"Bring Back (Sha Na Na)\", \"Sweetheart - Darlin' My Dear\", \"Just for You\" and \"I Never Give Up\". After five best selling singles and two successful albums, the group split in 1989.\n\nIn 1991, Drafi Deutscher decided to continue with a new member, Andreas Martin, under a slightly changed name – New Mixed Emotions. The new line-up released an album called Side By Side and two singles.\n\nIn 1999, the original line-up of Drafi Deutscher and Oliver Simon reunited under the original name the Mixed Emotions for a new album called We Belong Together consisting of two new songs and 11 remakes (new music, new vocals) of their old hits. They had a number of successful TV appearances. Following this album the group disbanded again.\n\nDrafi Deutscher died of heart failure in Frankfurt am Main on 9 June 2006. He was 60.\n\nOliver Simon was born in Wolfratshausen. He died of a brain tumor on 31 July 2013. He was 56.\n\nDiscography\n\nSingles\n\n You Want Love (Maria, Maria) 1986]\n Bring Back (Sha Na Na) 1987\n Sweetheart – Darlin' – My Dear (Lisa My Love) 1987\n Just For You 1988\n I Never Give Up 1989\n Sensuality (When I Touch You) (as 'New Mixed Emotions') 1991\n Lonely Lover (as 'New Mixed Emotions') 1991\n You Want Love '99 1999\n Bring Back '99 1999\n\nAlbums\n\n Deep From The Heart 1987\n Just For You 1988\n Side By Side (as 'New Mixed Emotions') 1991\n We Belong Together 1999\n\nCompilations\n\n Mixed Emotions (Best Of) (Compilation) 1990\n The Essential Drafi Deutscher / Mixed Emotions (Compilation) 2004\n My Star (Compilation) 2020\n\nOther\n\"You Want Love (Maria, Maria)\" was also re-recorded with Norwegian lyrics by Norwegian artist Rune Rudberg in 1988, when he released \"Ut Mot Havet\", his definite breakthrough song.\n\nReferences\n\nGerman pop music groups"
] |
[
"Exile (American band)",
"1970s - First chart success",
"What was the name of their first released single?",
"In 1977, the band released the single \"Try it On\" on Atco Records, and it became a minor hit.",
"What did the band do before they released \"Try it on\"?",
"The band changed musical styles throughout the late 1960s and early 1970s. They shortened their name to Exile in 1973",
"What was their name before they shortened it?",
"I don't know.",
"Did they have an album after \"try it on\"?",
"He and Exile decided to collaborate and together they produced the Mixed Emotions album on Warner/Curb Records.",
"Was mixed emotions a success?",
"The first single release from that album was Kiss You All Over. The single reached Billboard's Top 40 on 5 August 1978."
] |
C_dfe788e479674c2abd2afd9372a49ebc_0
|
Did it ever reach number one?
| 6 |
Who has the most number 1 hits ever?
|
Exile (American band)
|
The band changed musical styles throughout the late 1960s and early 1970s. They shortened their name to Exile in 1973 and released their eponymous debut album through Wooden Nickel Records that same year. Singles released from the album proved unsuccessful, and it would be a good five years before the band released a full-length follow-up album. In 1977, the band released the single "Try it On" on Atco Records, and it became a minor hit. The following year, Mike Chapman, an Australian who had established himself as a record producer in the UK, came to the United States in search of an experienced group who wrote their own material. Chapman heard an Exile demo and went to their next concert. Chapman evidently enjoyed what he saw. He and Exile decided to collaborate and together they produced the Mixed Emotions album on Warner/Curb Records. The first single release from that album was Kiss You All Over. The single reached Billboard's Top 40 on 5 August 1978. It remained on the chart for seventeen weeks and was No. 1 for four weeks in September. It was a best-seller for six months. Their follow up single, "You Thrill Me," also from the Mixed Emotions LP did not fare as well, although it did reach the Top 40 for one week on 3 February 1979. The band toured with Aerosmith, Heart, Dave Mason, Boston, Seals & Crofts and other hot pop acts of the late seventies throughout the United States, Europe and Africa. All There Is, the group's second Warner Bros. Records album, recorded a year later with a distinct disco beat, yielded a foreign hit, "The Part Of Me That Needs You Most." This single did particularly well in Europe and South Africa. Don't Leave Me This Way, their third album, produced by Peter Coleman, yielded two more singles, "Take Me Down" and "Smooth Sailing." Once again, it did well in Europe and South Africa although their popularity in the United States waned. Numerous personnel changes took place in 1979. Perhaps most significantly, Stokley would leave the group that year, forcing remaining members guitarist/vocalist J.P. Pennington, keyboardist Buzz Cornelison, keyboardist/vocalist Marlon Hargis, bassist/vocalist Sonny Lemaire and drummers Steve Goetzman and Gary Freeman to search for a new lead singer. A young singer, Les Taylor, accepted an invitation to join the group and shared lead vocal duties with Pennington. By the early 1980s, other lineup changes took place, including the exit of original member Buzz Cornelison, plus keyboardist Mark Gray, who co-wrote "The Closer You Get" and "Take Me Down", both of which became hits for the group Alabama, played a short stint from 1980 to 1982. CANNOTANSWER
|
It remained on the chart for seventeen weeks and was No. 1 for four weeks in September. It was a best-seller for six months.
|
Exile is an American band originally formed in 1963. In the 1970s, they were known as a rock band that had a major hit single with "Kiss You All Over" in 1978. After several lineup changes, the band was re-launched as a country act that achieved additional success in the 1980s and '90s. J.P. Pennington is the only current member of the band remaining from its early days.
Career
Early years
The origins of Exile were with a high school band in Richmond, Kentucky, called the Fascinations, which featured singer Jimmy Stokley. In 1963, the Fascinations merged with another local band and became Jimmy Stokley and the Exiles, with singer/guitarist J.P. Pennington, then age 14, joining a short time later. They toured regionally with the Dick Clark Caravan of Stars in 1965. Their name was later shortened to The Exiles, apparently to show support for Cuban refugees.
After high school, the band moved to Lexington, Kentucky, and recorded several singles for small labels between 1968 and 1973. In 1973 the name was shortened again to Exile, with Stokley on lead vocals, Pennington on vocals and guitar, Buzz Cornelison on keyboards, Kenny Weir on bass, and Bobby Johns on drums. This version of the band released a self-titled album on Wooden Nickel Records in 1973. They toured regionally for the next several years and had a minor pop hit with "Try It On" in 1977.
Late 1970s pop success
In 1978, Exile consisted of Stokley, Pennington, and Cornelison, plus second keyboardist Marlon Hargis, bassist Sonny LeMaire, and drummer Steve Goetzman. This lineup signed with Warner Brothers and released the album Mixed Emotions. The disco-influenced single "Kiss You All Over", written by the album's producer Mike Chapman and his songwriting partner Nicky Chinn, topped the American singles chart for four weeks and also reached the top ten in a dozen European countries. The song attracted some controversy for its risqué lyrics, while Stokley gained media attention as a flamboyant and charismatic frontman.
The success of "Kiss You All Over" resulted in invitations for Exile to tour with Heart, Aerosmith, Fleetwood Mac, and other leading rock acts of the period. The follow-up album All There Is yielded the minor hit single "The Part of Me That Needs You Most", which reached the top ten in South Africa and New Zealand in 1979.
Transition to country music
Jimmy Stokley left the band in 1980 and was replaced by Les Taylor prior to recording sessions for the band's next album, Don't Leave Me this Way. Stokley died at age 41 on August 13, 1985 due to complications from hepatitis, and was later inducted into the Kentucky Music Hall of Fame with a speech by J.P. Pennington. Another longtime member, keyboardist Buzz Cornelison, also departed in the early 1980s. Meanwhile, in 1981, the band released their final album under the Warner Brothers label, Heart and Soul, featuring their original recording of the Chapman/Chinn-penned title track, which would become a big hit for Huey Lewis and the News several years later. Exile's version was released as a single but failed to crack the Hot 100.
At this point, under the leadership of Pennington, Exile was revamped as a country band with a southern rock flavor. This version of the band signed with Epic Records in 1983 and had a top 40 country single with their first Epic release, "High Cost of Leaving". Some of their songs were covered by other country artists, including Janie Fricke and Alabama, who would turn Exile's "The Closer You Get" (from their 1980 album Don't Leave Me This Way) into a #1 Country & Western single in 1983. Starting in 1983, Exile had three consecutive top ten albums on the Billboard Country Albums chart (Exile, Kentucky Hearts, and Hang On to Your Heart, with the second of those reaching number one), and from 1983 to 1987 ten out of eleven singles reached number one on the Billboard Country Singles chart, making them one of the biggest country artists of the decade. They also received thirteen award nominations from the Academy of Country Music and the Country Music Association.
Pennington and Taylor left the band in 1990, leaving it with no remaining members from its rock period. A new lineup featuring singer/guitarist Paul Martin signed with Arista Records and scored some more country hit singles, but they were dropped by Arista after the 1991 album Justice and disbanded in 1993. Twenty-one former members gathered for a farewell concert at the Grand Ole Opry.
Reformation
After leaving Exile in 1990, J.P. Pennington and Les Taylor both signed solo deals and achieved minor hit singles on the U.S. country charts. Pennington and Taylor performed together on stage in 1995 and decided to resurrect the Exile name. The new version of the band, led by Pennington and Taylor with a shifting cast of sidemen, continued to tour the nostalgia circuit. Since the 1990s the group has released several live albums, plus the new album Wrapped Up in Your Arms for Christmas in 2016.
Discography
Studio albums
Exile (1973)
Stage Pass (1978)
Mixed Emotions (1978)
All There Is (1979)
Don't Leave Me This Way / Keeping It Country (1980)
Heart and Soul (1981)
Exile (1983)
Kentucky Hearts (1984)
Hang On to Your Heart (1985)
Shelter from the Night (1987)
Still Standing (1990)
Justice (1991)
Wrapped Up In Your Arms for Christmas (2016)
References
Bibliography
Eve Nicole Lemaire, Life in Exile: A Journey Home, (2013), CreateSpace Independent Publishing.
Randy Westbrook, 50 Years of Exile (2013), Acclaim Press.
External links
American country rock groups
American soft rock music groups
Arista Nashville artists
Musical groups established in 1963
Rock music groups from Kentucky
Warner Records artists
1963 establishments in Kentucky
Epic Records artists
Country music groups from Kentucky
| false |
[
"They Only Come Out at Night is 1984 dance single by Peter Brown. The single was his first number one on the dance chart, where it stayed for one week. \"They Only Come Out at Night\", also peaked at number fifty on the soul singles chart, but unlike previous Peter Brown entries, it did not make the Hot 100. It did, however, reach No. 102 on the Billboard Bubbling Under the Hot 100 chart.\n\nReferences\n\n1984 singles\n1984 songs",
"\"Did You Ever See a Lassie?\" is a folk song, nursery rhyme, and singing game. It has a Roud Folk Song Index number of 5040.\n\nLyrics\nModern versions of the lyrics include:\n\nDid you ever see a lassie,\nA lassie, a lassie?\nDid you ever see a lassie,\nGo this way and that?\nGo this way and that way,\nGo this way and that way.\nDid you ever see a lassie,\nGo this way and that?\n\nDid you ever see a laddie,\nA laddie, a laddie?\nDid you ever see a laddie,\nGo this way and that?\nGo this way and that way,\nGo this way and that way.\nDid you ever see a laddie,\nGo this way and that?\n\nOrigins\nThe use of the terms \"lassie\" and \"laddie\" mean that this song is often attributed to possible origins in Scotland (by various forms of media; see \"references\" section), but it was first collected in the United States in the last decade of the nineteenth century and was not found in Great Britain until the mid-twentieth century. However, it can be surmised that the words to the song may have come from Scottish immigrants or Scottish-Americans because of the aforementioned terms.\n\nAlong with \"The More We Get Together\", it is generally sung to the same tune as \"Oh du lieber Augustin\", a song written in Germany or Vienna in the late seventeenth century.\n\nIt was first published in 1909, in Games for the Playground, Home, School and Gymnasium by Jessie Hubbell Bancroft.\n\nAs a game\nThe song is often accompanied by a circle singing game. Players form a circle and dance around one player. When they reach the end of the verse they stop, the single in the middle performs an action (such as Highland dancing), which everyone then imitates, before starting the verse again, often changing the single player to a boy, or a boy can join the center player - thus creating an extra verse in the song (\"Did you ever see some children...\").\n\nReferences in popular culture and children's media\nThe song is featured in the 1963 motion picture Ladybug, Ladybug. In the movie, children sing the song as part of a game while walking home from school during a nuclear bomb attack drill.\n\nThe song, as sung by children, was used in a 1990 commercial for Maidenform, and played over a succession of pictures of women in uncomfortable-looking clothing, was followed by the tag-line, \"Isn't it nice to live in a time when women aren't being pushed around so much anymore?\"\n\nThe song is featured in an episode of The Simpsons, \"The Otto Show\", and was titled \"Hail to the Bus Driver\".\n\nReferences\n\nScottish folk songs\nEnglish children's songs\nTraditional children's songs\nAmerican nursery rhymes\nEnglish nursery rhymes\nSinging games\nNursery rhymes of uncertain origin\nYear of song unknown\nSongwriter unknown"
] |
[
"Exile (American band)",
"1970s - First chart success",
"What was the name of their first released single?",
"In 1977, the band released the single \"Try it On\" on Atco Records, and it became a minor hit.",
"What did the band do before they released \"Try it on\"?",
"The band changed musical styles throughout the late 1960s and early 1970s. They shortened their name to Exile in 1973",
"What was their name before they shortened it?",
"I don't know.",
"Did they have an album after \"try it on\"?",
"He and Exile decided to collaborate and together they produced the Mixed Emotions album on Warner/Curb Records.",
"Was mixed emotions a success?",
"The first single release from that album was Kiss You All Over. The single reached Billboard's Top 40 on 5 August 1978.",
"Did it ever reach number one?",
"It remained on the chart for seventeen weeks and was No. 1 for four weeks in September. It was a best-seller for six months."
] |
C_dfe788e479674c2abd2afd9372a49ebc_0
|
Did they have any other releases from that album?
| 7 |
besides of any other releases from the album?
|
Exile (American band)
|
The band changed musical styles throughout the late 1960s and early 1970s. They shortened their name to Exile in 1973 and released their eponymous debut album through Wooden Nickel Records that same year. Singles released from the album proved unsuccessful, and it would be a good five years before the band released a full-length follow-up album. In 1977, the band released the single "Try it On" on Atco Records, and it became a minor hit. The following year, Mike Chapman, an Australian who had established himself as a record producer in the UK, came to the United States in search of an experienced group who wrote their own material. Chapman heard an Exile demo and went to their next concert. Chapman evidently enjoyed what he saw. He and Exile decided to collaborate and together they produced the Mixed Emotions album on Warner/Curb Records. The first single release from that album was Kiss You All Over. The single reached Billboard's Top 40 on 5 August 1978. It remained on the chart for seventeen weeks and was No. 1 for four weeks in September. It was a best-seller for six months. Their follow up single, "You Thrill Me," also from the Mixed Emotions LP did not fare as well, although it did reach the Top 40 for one week on 3 February 1979. The band toured with Aerosmith, Heart, Dave Mason, Boston, Seals & Crofts and other hot pop acts of the late seventies throughout the United States, Europe and Africa. All There Is, the group's second Warner Bros. Records album, recorded a year later with a distinct disco beat, yielded a foreign hit, "The Part Of Me That Needs You Most." This single did particularly well in Europe and South Africa. Don't Leave Me This Way, their third album, produced by Peter Coleman, yielded two more singles, "Take Me Down" and "Smooth Sailing." Once again, it did well in Europe and South Africa although their popularity in the United States waned. Numerous personnel changes took place in 1979. Perhaps most significantly, Stokley would leave the group that year, forcing remaining members guitarist/vocalist J.P. Pennington, keyboardist Buzz Cornelison, keyboardist/vocalist Marlon Hargis, bassist/vocalist Sonny Lemaire and drummers Steve Goetzman and Gary Freeman to search for a new lead singer. A young singer, Les Taylor, accepted an invitation to join the group and shared lead vocal duties with Pennington. By the early 1980s, other lineup changes took place, including the exit of original member Buzz Cornelison, plus keyboardist Mark Gray, who co-wrote "The Closer You Get" and "Take Me Down", both of which became hits for the group Alabama, played a short stint from 1980 to 1982. CANNOTANSWER
|
Their follow up single, "You Thrill Me," also from the Mixed Emotions LP did not fare as well,
|
Exile is an American band originally formed in 1963. In the 1970s, they were known as a rock band that had a major hit single with "Kiss You All Over" in 1978. After several lineup changes, the band was re-launched as a country act that achieved additional success in the 1980s and '90s. J.P. Pennington is the only current member of the band remaining from its early days.
Career
Early years
The origins of Exile were with a high school band in Richmond, Kentucky, called the Fascinations, which featured singer Jimmy Stokley. In 1963, the Fascinations merged with another local band and became Jimmy Stokley and the Exiles, with singer/guitarist J.P. Pennington, then age 14, joining a short time later. They toured regionally with the Dick Clark Caravan of Stars in 1965. Their name was later shortened to The Exiles, apparently to show support for Cuban refugees.
After high school, the band moved to Lexington, Kentucky, and recorded several singles for small labels between 1968 and 1973. In 1973 the name was shortened again to Exile, with Stokley on lead vocals, Pennington on vocals and guitar, Buzz Cornelison on keyboards, Kenny Weir on bass, and Bobby Johns on drums. This version of the band released a self-titled album on Wooden Nickel Records in 1973. They toured regionally for the next several years and had a minor pop hit with "Try It On" in 1977.
Late 1970s pop success
In 1978, Exile consisted of Stokley, Pennington, and Cornelison, plus second keyboardist Marlon Hargis, bassist Sonny LeMaire, and drummer Steve Goetzman. This lineup signed with Warner Brothers and released the album Mixed Emotions. The disco-influenced single "Kiss You All Over", written by the album's producer Mike Chapman and his songwriting partner Nicky Chinn, topped the American singles chart for four weeks and also reached the top ten in a dozen European countries. The song attracted some controversy for its risqué lyrics, while Stokley gained media attention as a flamboyant and charismatic frontman.
The success of "Kiss You All Over" resulted in invitations for Exile to tour with Heart, Aerosmith, Fleetwood Mac, and other leading rock acts of the period. The follow-up album All There Is yielded the minor hit single "The Part of Me That Needs You Most", which reached the top ten in South Africa and New Zealand in 1979.
Transition to country music
Jimmy Stokley left the band in 1980 and was replaced by Les Taylor prior to recording sessions for the band's next album, Don't Leave Me this Way. Stokley died at age 41 on August 13, 1985 due to complications from hepatitis, and was later inducted into the Kentucky Music Hall of Fame with a speech by J.P. Pennington. Another longtime member, keyboardist Buzz Cornelison, also departed in the early 1980s. Meanwhile, in 1981, the band released their final album under the Warner Brothers label, Heart and Soul, featuring their original recording of the Chapman/Chinn-penned title track, which would become a big hit for Huey Lewis and the News several years later. Exile's version was released as a single but failed to crack the Hot 100.
At this point, under the leadership of Pennington, Exile was revamped as a country band with a southern rock flavor. This version of the band signed with Epic Records in 1983 and had a top 40 country single with their first Epic release, "High Cost of Leaving". Some of their songs were covered by other country artists, including Janie Fricke and Alabama, who would turn Exile's "The Closer You Get" (from their 1980 album Don't Leave Me This Way) into a #1 Country & Western single in 1983. Starting in 1983, Exile had three consecutive top ten albums on the Billboard Country Albums chart (Exile, Kentucky Hearts, and Hang On to Your Heart, with the second of those reaching number one), and from 1983 to 1987 ten out of eleven singles reached number one on the Billboard Country Singles chart, making them one of the biggest country artists of the decade. They also received thirteen award nominations from the Academy of Country Music and the Country Music Association.
Pennington and Taylor left the band in 1990, leaving it with no remaining members from its rock period. A new lineup featuring singer/guitarist Paul Martin signed with Arista Records and scored some more country hit singles, but they were dropped by Arista after the 1991 album Justice and disbanded in 1993. Twenty-one former members gathered for a farewell concert at the Grand Ole Opry.
Reformation
After leaving Exile in 1990, J.P. Pennington and Les Taylor both signed solo deals and achieved minor hit singles on the U.S. country charts. Pennington and Taylor performed together on stage in 1995 and decided to resurrect the Exile name. The new version of the band, led by Pennington and Taylor with a shifting cast of sidemen, continued to tour the nostalgia circuit. Since the 1990s the group has released several live albums, plus the new album Wrapped Up in Your Arms for Christmas in 2016.
Discography
Studio albums
Exile (1973)
Stage Pass (1978)
Mixed Emotions (1978)
All There Is (1979)
Don't Leave Me This Way / Keeping It Country (1980)
Heart and Soul (1981)
Exile (1983)
Kentucky Hearts (1984)
Hang On to Your Heart (1985)
Shelter from the Night (1987)
Still Standing (1990)
Justice (1991)
Wrapped Up In Your Arms for Christmas (2016)
References
Bibliography
Eve Nicole Lemaire, Life in Exile: A Journey Home, (2013), CreateSpace Independent Publishing.
Randy Westbrook, 50 Years of Exile (2013), Acclaim Press.
External links
American country rock groups
American soft rock music groups
Arista Nashville artists
Musical groups established in 1963
Rock music groups from Kentucky
Warner Records artists
1963 establishments in Kentucky
Epic Records artists
Country music groups from Kentucky
| false |
[
"t.A.T.u. Remixes, or simply Remixes, is an official compilation of remixes from t.A.T.u. The album features remixes from 200 Po Vstrechnoy as well as from 200 km/h in the Wrong Lane and some new remixes. The Russian release included one CD format, other one includes two CDs and one DVD that featured music videos, video remixes and live performances, however, other releases did not include an extra CD or DVD.\n\nThere were two singles from the album; \"Prostye Dvizhenia\" and \"Ne Ver', Ne Boysia\". \"Prostye Dvizhenia\" was released first. The song did not chart in any country, and the official release was cancelled, due to the lack of promotion of the single. To date, this album is the only album to have \"Prostye Dvizheniya\".\n\n\"Ne Ver, Ne Boysia, Ne Prosi\" was released as a single as well. The song was used for the Eurovision Song Contest in 2003. The group represented Russia in Riga, Latvia. The group were placed third. A music video was released on their official YouTube account. The song was also used on their greatest hits album The Best (2006).\n\nTrack listing \n\n Also contains a photo gallery.\n\nCharts\n\nWeekly charts\n\nMonthly charts\n\nCertifications\n\nReferences\n\nT.A.T.u. albums\n2003 remix albums\n2003 video albums\nMusic video compilation albums\nInterscope Records remix albums\nInterscope Records compilation albums\nInterscope Records video albums\n2003 compilation albums\nUniversal Records compilation albums\nUniversal Records remix albums\nUniversal Records video albums",
"The discography of 116, formerly known as 116 Clique, a Christian hip hop collective originating from Dallas, Texas, consists of six studio albums, one of which was a remix album, one remixed extended play (EP), twenty singles, seven music videos, and one video album. The collective formed in 2005 under the auspices of Reach Records, and released its first album, The Compilation Album, that year on December 27. The following year, a remixed version of the album by DJ Primo was released on July 6. A third album, 13 Letters, followed on June 19, 2007, which charted at No. 10 on the Billboard Top Gospel Albums chart and No. 29 on the Billboard Top Christian Albums chart, as well as the remix EP Amped on August 28. Man Up was released on September 27, 2011. A Christmas album, The Gift: A Christmas Compilation, was released on November 23, 2018, and charted at No. 27 on the Christian Albums chart. The Gift: Live Sessions, a live video album recorded at the 1971 studios in Atlanta, was released on November 28, 2019. The sixth album from the collective, Sin Vergüenza, a collaboration between Reach and No Apologies Music and a combination of continental United States hip hop and Latin American urbano, was released on October 23, 2020. All twelve tracks from the recording were released as singles.\n\nStudio albums \n\"—\" denotes releases that did not chart\n\nEPs\n\nSingles \n\"—\" denotes releases that did not chart\n\nOther charted songs \n\"—\" denotes releases that did not chart\n\nGuest appearances\n\nMusic videos\n\nVideo albums\n\nReferences \n\nHip hop discographies\nDiscographies of American artists\nChristian music discographies"
] |
[
"Exile (American band)",
"1970s - First chart success",
"What was the name of their first released single?",
"In 1977, the band released the single \"Try it On\" on Atco Records, and it became a minor hit.",
"What did the band do before they released \"Try it on\"?",
"The band changed musical styles throughout the late 1960s and early 1970s. They shortened their name to Exile in 1973",
"What was their name before they shortened it?",
"I don't know.",
"Did they have an album after \"try it on\"?",
"He and Exile decided to collaborate and together they produced the Mixed Emotions album on Warner/Curb Records.",
"Was mixed emotions a success?",
"The first single release from that album was Kiss You All Over. The single reached Billboard's Top 40 on 5 August 1978.",
"Did it ever reach number one?",
"It remained on the chart for seventeen weeks and was No. 1 for four weeks in September. It was a best-seller for six months.",
"Did they have any other releases from that album?",
"Their follow up single, \"You Thrill Me,\" also from the Mixed Emotions LP did not fare as well,"
] |
C_dfe788e479674c2abd2afd9372a49ebc_0
|
Did they have any major changes during this time?
| 8 |
What are some major life changes?
|
Exile (American band)
|
The band changed musical styles throughout the late 1960s and early 1970s. They shortened their name to Exile in 1973 and released their eponymous debut album through Wooden Nickel Records that same year. Singles released from the album proved unsuccessful, and it would be a good five years before the band released a full-length follow-up album. In 1977, the band released the single "Try it On" on Atco Records, and it became a minor hit. The following year, Mike Chapman, an Australian who had established himself as a record producer in the UK, came to the United States in search of an experienced group who wrote their own material. Chapman heard an Exile demo and went to their next concert. Chapman evidently enjoyed what he saw. He and Exile decided to collaborate and together they produced the Mixed Emotions album on Warner/Curb Records. The first single release from that album was Kiss You All Over. The single reached Billboard's Top 40 on 5 August 1978. It remained on the chart for seventeen weeks and was No. 1 for four weeks in September. It was a best-seller for six months. Their follow up single, "You Thrill Me," also from the Mixed Emotions LP did not fare as well, although it did reach the Top 40 for one week on 3 February 1979. The band toured with Aerosmith, Heart, Dave Mason, Boston, Seals & Crofts and other hot pop acts of the late seventies throughout the United States, Europe and Africa. All There Is, the group's second Warner Bros. Records album, recorded a year later with a distinct disco beat, yielded a foreign hit, "The Part Of Me That Needs You Most." This single did particularly well in Europe and South Africa. Don't Leave Me This Way, their third album, produced by Peter Coleman, yielded two more singles, "Take Me Down" and "Smooth Sailing." Once again, it did well in Europe and South Africa although their popularity in the United States waned. Numerous personnel changes took place in 1979. Perhaps most significantly, Stokley would leave the group that year, forcing remaining members guitarist/vocalist J.P. Pennington, keyboardist Buzz Cornelison, keyboardist/vocalist Marlon Hargis, bassist/vocalist Sonny Lemaire and drummers Steve Goetzman and Gary Freeman to search for a new lead singer. A young singer, Les Taylor, accepted an invitation to join the group and shared lead vocal duties with Pennington. By the early 1980s, other lineup changes took place, including the exit of original member Buzz Cornelison, plus keyboardist Mark Gray, who co-wrote "The Closer You Get" and "Take Me Down", both of which became hits for the group Alabama, played a short stint from 1980 to 1982. CANNOTANSWER
|
Numerous personnel changes took place in 1979.
|
Exile is an American band originally formed in 1963. In the 1970s, they were known as a rock band that had a major hit single with "Kiss You All Over" in 1978. After several lineup changes, the band was re-launched as a country act that achieved additional success in the 1980s and '90s. J.P. Pennington is the only current member of the band remaining from its early days.
Career
Early years
The origins of Exile were with a high school band in Richmond, Kentucky, called the Fascinations, which featured singer Jimmy Stokley. In 1963, the Fascinations merged with another local band and became Jimmy Stokley and the Exiles, with singer/guitarist J.P. Pennington, then age 14, joining a short time later. They toured regionally with the Dick Clark Caravan of Stars in 1965. Their name was later shortened to The Exiles, apparently to show support for Cuban refugees.
After high school, the band moved to Lexington, Kentucky, and recorded several singles for small labels between 1968 and 1973. In 1973 the name was shortened again to Exile, with Stokley on lead vocals, Pennington on vocals and guitar, Buzz Cornelison on keyboards, Kenny Weir on bass, and Bobby Johns on drums. This version of the band released a self-titled album on Wooden Nickel Records in 1973. They toured regionally for the next several years and had a minor pop hit with "Try It On" in 1977.
Late 1970s pop success
In 1978, Exile consisted of Stokley, Pennington, and Cornelison, plus second keyboardist Marlon Hargis, bassist Sonny LeMaire, and drummer Steve Goetzman. This lineup signed with Warner Brothers and released the album Mixed Emotions. The disco-influenced single "Kiss You All Over", written by the album's producer Mike Chapman and his songwriting partner Nicky Chinn, topped the American singles chart for four weeks and also reached the top ten in a dozen European countries. The song attracted some controversy for its risqué lyrics, while Stokley gained media attention as a flamboyant and charismatic frontman.
The success of "Kiss You All Over" resulted in invitations for Exile to tour with Heart, Aerosmith, Fleetwood Mac, and other leading rock acts of the period. The follow-up album All There Is yielded the minor hit single "The Part of Me That Needs You Most", which reached the top ten in South Africa and New Zealand in 1979.
Transition to country music
Jimmy Stokley left the band in 1980 and was replaced by Les Taylor prior to recording sessions for the band's next album, Don't Leave Me this Way. Stokley died at age 41 on August 13, 1985 due to complications from hepatitis, and was later inducted into the Kentucky Music Hall of Fame with a speech by J.P. Pennington. Another longtime member, keyboardist Buzz Cornelison, also departed in the early 1980s. Meanwhile, in 1981, the band released their final album under the Warner Brothers label, Heart and Soul, featuring their original recording of the Chapman/Chinn-penned title track, which would become a big hit for Huey Lewis and the News several years later. Exile's version was released as a single but failed to crack the Hot 100.
At this point, under the leadership of Pennington, Exile was revamped as a country band with a southern rock flavor. This version of the band signed with Epic Records in 1983 and had a top 40 country single with their first Epic release, "High Cost of Leaving". Some of their songs were covered by other country artists, including Janie Fricke and Alabama, who would turn Exile's "The Closer You Get" (from their 1980 album Don't Leave Me This Way) into a #1 Country & Western single in 1983. Starting in 1983, Exile had three consecutive top ten albums on the Billboard Country Albums chart (Exile, Kentucky Hearts, and Hang On to Your Heart, with the second of those reaching number one), and from 1983 to 1987 ten out of eleven singles reached number one on the Billboard Country Singles chart, making them one of the biggest country artists of the decade. They also received thirteen award nominations from the Academy of Country Music and the Country Music Association.
Pennington and Taylor left the band in 1990, leaving it with no remaining members from its rock period. A new lineup featuring singer/guitarist Paul Martin signed with Arista Records and scored some more country hit singles, but they were dropped by Arista after the 1991 album Justice and disbanded in 1993. Twenty-one former members gathered for a farewell concert at the Grand Ole Opry.
Reformation
After leaving Exile in 1990, J.P. Pennington and Les Taylor both signed solo deals and achieved minor hit singles on the U.S. country charts. Pennington and Taylor performed together on stage in 1995 and decided to resurrect the Exile name. The new version of the band, led by Pennington and Taylor with a shifting cast of sidemen, continued to tour the nostalgia circuit. Since the 1990s the group has released several live albums, plus the new album Wrapped Up in Your Arms for Christmas in 2016.
Discography
Studio albums
Exile (1973)
Stage Pass (1978)
Mixed Emotions (1978)
All There Is (1979)
Don't Leave Me This Way / Keeping It Country (1980)
Heart and Soul (1981)
Exile (1983)
Kentucky Hearts (1984)
Hang On to Your Heart (1985)
Shelter from the Night (1987)
Still Standing (1990)
Justice (1991)
Wrapped Up In Your Arms for Christmas (2016)
References
Bibliography
Eve Nicole Lemaire, Life in Exile: A Journey Home, (2013), CreateSpace Independent Publishing.
Randy Westbrook, 50 Years of Exile (2013), Acclaim Press.
External links
American country rock groups
American soft rock music groups
Arista Nashville artists
Musical groups established in 1963
Rock music groups from Kentucky
Warner Records artists
1963 establishments in Kentucky
Epic Records artists
Country music groups from Kentucky
| false |
[
"The 2015 Major League Baseball Home Run Derby (known through sponsorship as the Gillette Home Run Derby presented by Head & Shoulders) was a home run hitting contest between eight batters from Major League Baseball (MLB). The derby was held on July 13, 2015, at Great American Ball Park in Cincinnati, Ohio, the site of the 2015 MLB All-Star Game. \n\nThe contest saw several rule changes from MLB in an attempt to enliven the event and draw more interest to it. Batters faced off in a single-elimination, bracket-style competition, and each round was timed, rather than limited by number of outs. Todd Frazier was the winner, defeating Joc Pederson in the final round, 15–14, winning the derby in front of his hometown crowd.\n\nRule changes\nAs announced by Major League Baseball, there were changes to the format of the Home Run Derby in 2015. Eight players participated in the derby in a bracket-style, single-elimination timed event. Each player had five minutes to hit as many home runs as possible. Hitters were also awarded bonus time for hitting long home runs. Hitters were awarded an additional minute if they hit two home runs over 420 feet and an additional 30 seconds if they hit a home run over 475 feet. Hitters were also allowed one 45 second \"timeout\" to stop the clock. Flex balls came into play during the final minute (bonus time included); any homer meant a $10,000 donation by Gillette & MLB.\n\nThe eight competing players were seeded 1-8 based on their home run totals as of July 7. The higher seed hit second in any round, and the round ended if the higher seed surpassed the total of the first hitter. In the event of a tie, the two hitters competed in a 90-second swing-off (with no timeouts nor bonus time awarded). If there remained a tie, the hitters engaged in three swing-off rounds; thereafter, sudden-death swing-off rounds until a winner was determined.\n\nFurther rule changes\nDue to the threat of rain, changes were announced to the Home Run Derby rules.\n The five-minute time limit was shortened to four minutes.\n The 1-minute bonus time was changed, with players receiving a 30-second bonus if they hit two home runs over 425 feet.\n\nResults\n\nReferences\n\n2015\nMajor League Baseball Home Run Derby, 2015\nBaseball in Cincinnati\nMajor League Baseball Home Run Derby\n21st century in Cincinnati",
"In the field of computer science, an atomic commit is an operation that applies a set of distinct changes as a single operation. If the changes are applied, then the atomic commit is said to have succeeded. If there is a failure before the atomic commit can be completed, then all of the changes completed in the atomic commit are reversed. This ensures that the system is always left in a consistent state. The other key property of isolation comes from their nature as atomic operations. Isolation ensures that only one atomic commit is processed at a time. The most common uses of atomic commits are in database systems and version control systems.\n\nThe problem with atomic commits is that they require coordination between multiple systems. As computer networks are unreliable services, this means no algorithm can coordinate with all systems as proven in the Two Generals Problem. As databases become more and more distributed, this coordination will increase the difficulty of making truly atomic commits.\n\nUsage\nAtomic commits are essential for multi-step updates to data. This can be clearly shown in a simple example of a money transfer between two checking accounts.\n\nThis example is complicated by a transaction to check the balance of account Y during a transaction for transferring 100 dollars from account X to Y. To start, first 100 dollars is removed from account X. Second, 100 dollars is added to account Y. If the entire operation is not completed as one atomic commit, then several problems could occur. If the system fails in the middle of the operation, after removing the money from X and before adding into Y, then 100 dollars has just disappeared. Another issue is if the balance of Y is checked before the 100 dollars is added, the wrong balance for Y will be reported.\n\nWith atomic commits neither of these cases can happen, in the first case of the system failure, the atomic commit would be rolled back and the money returned to X. In the second case, the request of the balance of Y cannot occur until the atomic commit is fully completed.\n\nDatabase systems\nAtomic commits in database systems fulfil two of the key properties of ACID, atomicity and consistency. Consistency is only achieved if each change in the atomic commit is consistent.\n\nAs shown in the example atomic commits are critical to multistep operations in databases. Due to modern hardware design of the physical disk on which the database resides true atomic commits cannot exist. The smallest area that can be written to on disk is known as a sector. A single database entry may span several different sectors. Only one sector can be written at a time. This writing limit is why true atomic commits are not possible. After the database entries in memory have been modified they are queued up to be written to disk. This means the same problems identified in the example have reoccurred. Any algorithmic solution to this problem will still encounter the Two Generals’ Problem. The two-phase commit protocol and three-phase commit protocol attempt to solve this and some of the other problems associated with atomic commits.\n\nThe two-phase commit protocol requires a coordinator to maintain all the information needed to recover the original state of the database if something goes wrong. As the name indicates there are two phases, voting and commit.\n\nDuring the voting phase each node writes the changes in the atomic commit to its own disk. The nodes then report their status to the coordinator. If any node does not report to the coordinator or their status message is lost the coordinator assumes the node's write failed. Once all of the nodes have reported to the coordinator the second phase begins.\n\nDuring the commit phase the coordinator sends a commit message to each of the nodes to record in their individual logs. Until this message is added to a node's log, any changes made will be recorded as incomplete. If any of the nodes reported a failure the coordinator will instead send a rollback message. This will remove any changes the nodes have written to disk.\n\nThe three-phase commit protocol seeks to remove the main problem with the two phase commit protocol, which occurs if a coordinator and another node fail at the same time during the commit phase neither can tell what action should occur. To solve this problem a third phase is added to the protocol. The prepare to commit phase occurs after the voting phase and before the commit phase.\n\nIn the voting phase, similar to the two-phase commit, the coordinator requests that each node is ready to commit. If any node fails the coordinator will timeout while waiting for the failed node. If this happens the coordinator sends an abort message to every node. The same action will be undertaken if any of the nodes return a failure message.\n\nUpon receiving success messages from each node in the voting phase the prepare to commit phase begins. During this phase the coordinator sends a prepare message to each node. Each node must acknowledge the prepare message and reply. If any reply is missed or any node return that they are not prepared then the coordinator sends an abort message. Any node that does not receive a prepare message before the timeout expires aborts the commit.\n\nAfter all nodes have replied to the prepare message then the commit phase begins. In this phase the coordinator sends a\ncommit message to each node. When each node receives this message it performs the actual commit. If the commit message does not reach a node due to the message being lost or the coordinator fails they will perform the commit if the timeout expires. If the coordinator fails upon recovery it will send a commit message to each node.\n\nRevision control\nAtomic commits are a common feature of version control software, and crucial for maintaining a consistent state in the repository. Most version control software will not apply any part of a commit that fails. Notable exceptions are CVS, VSS and IBM Rational ClearCase (when in UCM mode).\n\nFor instance, if version control software encounters a merge conflict that can not be automatically resolved, then no part of the changeset is merged. Instead, the developer is given an opportunity to either revert their changes or manually resolve the conflict.\n\nThis prevents the entire project from entering a broken state due to a partially applied change set, where one file from a commit is successfully committed, but another file with dependent changes fails.\n\nAtomic commits may also refer to the ability to simultaneously make changes across multiple projects using version control software in a single operation, using a version control software development strategy known as a monorepo.\n\nAtomic commit convention\nWhen using a revision control systems a common convention is to use small commits. These are sometimes referred to as atomic commits as they (ideally) only affect a single aspect of the system. These atomic commits allow for greater understandability, less effort to roll back changes, easier bug identification.\n\nThe greater understandability comes from the small size and focused nature of the commit. It is much easier to understand what is changed and reasoning behind the changes if one is only looking for one kind of change. This becomes especially important when making format changes to the source code. If format and functional changes are combined it becomes very difficult to identify useful changes. Imagine if the spacing in a file is changed from using tabs to three spaces every tab in the file will show as having been changed. This becomes critical if some functional changes are also made as a reviewer may simply not see the functional changes.\n\nIf only atomic commits are made then commits that introduce errors become much simpler to identify. One need not look through every commit to see if it was the cause of the error, only the commits dealing with that functionality need to be examined. If the error is to be rolled back, atomic commits again make the job much simpler. Instead of having to revert to the offending revision and remove the changes manually before integrating any later changes; the developer can simply revert any changes in the identified commit. This also reduces the risk of a developer accidentally removing unrelated changes that happened to be in the same commit.\n\nAtomic commits also allow bug fixes to be easily reviewed if only a single bug fix is committed at a time. Instead of having to check multiple potentially unrelated files the reviewer must only check files and changes that directly impact the bug being fixed. This also means that bug fixes can be easily packaged for testing as only the changes that fix the bug are in the commit.\n\nSee also\nTwo-phase commit protocol\nThree-phase commit protocol\nCommit (data management)\nAtomic operation\n\nReferences\n\nTransaction processing\nVersion control systems\nDistributed computing problems"
] |
[
"Exile (American band)",
"1970s - First chart success",
"What was the name of their first released single?",
"In 1977, the band released the single \"Try it On\" on Atco Records, and it became a minor hit.",
"What did the band do before they released \"Try it on\"?",
"The band changed musical styles throughout the late 1960s and early 1970s. They shortened their name to Exile in 1973",
"What was their name before they shortened it?",
"I don't know.",
"Did they have an album after \"try it on\"?",
"He and Exile decided to collaborate and together they produced the Mixed Emotions album on Warner/Curb Records.",
"Was mixed emotions a success?",
"The first single release from that album was Kiss You All Over. The single reached Billboard's Top 40 on 5 August 1978.",
"Did it ever reach number one?",
"It remained on the chart for seventeen weeks and was No. 1 for four weeks in September. It was a best-seller for six months.",
"Did they have any other releases from that album?",
"Their follow up single, \"You Thrill Me,\" also from the Mixed Emotions LP did not fare as well,",
"Did they have any major changes during this time?",
"Numerous personnel changes took place in 1979."
] |
C_dfe788e479674c2abd2afd9372a49ebc_0
|
Where there any major changes in 1979?
| 9 |
Where there any major changes in 1979?
|
Exile (American band)
|
The band changed musical styles throughout the late 1960s and early 1970s. They shortened their name to Exile in 1973 and released their eponymous debut album through Wooden Nickel Records that same year. Singles released from the album proved unsuccessful, and it would be a good five years before the band released a full-length follow-up album. In 1977, the band released the single "Try it On" on Atco Records, and it became a minor hit. The following year, Mike Chapman, an Australian who had established himself as a record producer in the UK, came to the United States in search of an experienced group who wrote their own material. Chapman heard an Exile demo and went to their next concert. Chapman evidently enjoyed what he saw. He and Exile decided to collaborate and together they produced the Mixed Emotions album on Warner/Curb Records. The first single release from that album was Kiss You All Over. The single reached Billboard's Top 40 on 5 August 1978. It remained on the chart for seventeen weeks and was No. 1 for four weeks in September. It was a best-seller for six months. Their follow up single, "You Thrill Me," also from the Mixed Emotions LP did not fare as well, although it did reach the Top 40 for one week on 3 February 1979. The band toured with Aerosmith, Heart, Dave Mason, Boston, Seals & Crofts and other hot pop acts of the late seventies throughout the United States, Europe and Africa. All There Is, the group's second Warner Bros. Records album, recorded a year later with a distinct disco beat, yielded a foreign hit, "The Part Of Me That Needs You Most." This single did particularly well in Europe and South Africa. Don't Leave Me This Way, their third album, produced by Peter Coleman, yielded two more singles, "Take Me Down" and "Smooth Sailing." Once again, it did well in Europe and South Africa although their popularity in the United States waned. Numerous personnel changes took place in 1979. Perhaps most significantly, Stokley would leave the group that year, forcing remaining members guitarist/vocalist J.P. Pennington, keyboardist Buzz Cornelison, keyboardist/vocalist Marlon Hargis, bassist/vocalist Sonny Lemaire and drummers Steve Goetzman and Gary Freeman to search for a new lead singer. A young singer, Les Taylor, accepted an invitation to join the group and shared lead vocal duties with Pennington. By the early 1980s, other lineup changes took place, including the exit of original member Buzz Cornelison, plus keyboardist Mark Gray, who co-wrote "The Closer You Get" and "Take Me Down", both of which became hits for the group Alabama, played a short stint from 1980 to 1982. CANNOTANSWER
|
Stokley would leave the group that year,
|
Exile is an American band originally formed in 1963. In the 1970s, they were known as a rock band that had a major hit single with "Kiss You All Over" in 1978. After several lineup changes, the band was re-launched as a country act that achieved additional success in the 1980s and '90s. J.P. Pennington is the only current member of the band remaining from its early days.
Career
Early years
The origins of Exile were with a high school band in Richmond, Kentucky, called the Fascinations, which featured singer Jimmy Stokley. In 1963, the Fascinations merged with another local band and became Jimmy Stokley and the Exiles, with singer/guitarist J.P. Pennington, then age 14, joining a short time later. They toured regionally with the Dick Clark Caravan of Stars in 1965. Their name was later shortened to The Exiles, apparently to show support for Cuban refugees.
After high school, the band moved to Lexington, Kentucky, and recorded several singles for small labels between 1968 and 1973. In 1973 the name was shortened again to Exile, with Stokley on lead vocals, Pennington on vocals and guitar, Buzz Cornelison on keyboards, Kenny Weir on bass, and Bobby Johns on drums. This version of the band released a self-titled album on Wooden Nickel Records in 1973. They toured regionally for the next several years and had a minor pop hit with "Try It On" in 1977.
Late 1970s pop success
In 1978, Exile consisted of Stokley, Pennington, and Cornelison, plus second keyboardist Marlon Hargis, bassist Sonny LeMaire, and drummer Steve Goetzman. This lineup signed with Warner Brothers and released the album Mixed Emotions. The disco-influenced single "Kiss You All Over", written by the album's producer Mike Chapman and his songwriting partner Nicky Chinn, topped the American singles chart for four weeks and also reached the top ten in a dozen European countries. The song attracted some controversy for its risqué lyrics, while Stokley gained media attention as a flamboyant and charismatic frontman.
The success of "Kiss You All Over" resulted in invitations for Exile to tour with Heart, Aerosmith, Fleetwood Mac, and other leading rock acts of the period. The follow-up album All There Is yielded the minor hit single "The Part of Me That Needs You Most", which reached the top ten in South Africa and New Zealand in 1979.
Transition to country music
Jimmy Stokley left the band in 1980 and was replaced by Les Taylor prior to recording sessions for the band's next album, Don't Leave Me this Way. Stokley died at age 41 on August 13, 1985 due to complications from hepatitis, and was later inducted into the Kentucky Music Hall of Fame with a speech by J.P. Pennington. Another longtime member, keyboardist Buzz Cornelison, also departed in the early 1980s. Meanwhile, in 1981, the band released their final album under the Warner Brothers label, Heart and Soul, featuring their original recording of the Chapman/Chinn-penned title track, which would become a big hit for Huey Lewis and the News several years later. Exile's version was released as a single but failed to crack the Hot 100.
At this point, under the leadership of Pennington, Exile was revamped as a country band with a southern rock flavor. This version of the band signed with Epic Records in 1983 and had a top 40 country single with their first Epic release, "High Cost of Leaving". Some of their songs were covered by other country artists, including Janie Fricke and Alabama, who would turn Exile's "The Closer You Get" (from their 1980 album Don't Leave Me This Way) into a #1 Country & Western single in 1983. Starting in 1983, Exile had three consecutive top ten albums on the Billboard Country Albums chart (Exile, Kentucky Hearts, and Hang On to Your Heart, with the second of those reaching number one), and from 1983 to 1987 ten out of eleven singles reached number one on the Billboard Country Singles chart, making them one of the biggest country artists of the decade. They also received thirteen award nominations from the Academy of Country Music and the Country Music Association.
Pennington and Taylor left the band in 1990, leaving it with no remaining members from its rock period. A new lineup featuring singer/guitarist Paul Martin signed with Arista Records and scored some more country hit singles, but they were dropped by Arista after the 1991 album Justice and disbanded in 1993. Twenty-one former members gathered for a farewell concert at the Grand Ole Opry.
Reformation
After leaving Exile in 1990, J.P. Pennington and Les Taylor both signed solo deals and achieved minor hit singles on the U.S. country charts. Pennington and Taylor performed together on stage in 1995 and decided to resurrect the Exile name. The new version of the band, led by Pennington and Taylor with a shifting cast of sidemen, continued to tour the nostalgia circuit. Since the 1990s the group has released several live albums, plus the new album Wrapped Up in Your Arms for Christmas in 2016.
Discography
Studio albums
Exile (1973)
Stage Pass (1978)
Mixed Emotions (1978)
All There Is (1979)
Don't Leave Me This Way / Keeping It Country (1980)
Heart and Soul (1981)
Exile (1983)
Kentucky Hearts (1984)
Hang On to Your Heart (1985)
Shelter from the Night (1987)
Still Standing (1990)
Justice (1991)
Wrapped Up In Your Arms for Christmas (2016)
References
Bibliography
Eve Nicole Lemaire, Life in Exile: A Journey Home, (2013), CreateSpace Independent Publishing.
Randy Westbrook, 50 Years of Exile (2013), Acclaim Press.
External links
American country rock groups
American soft rock music groups
Arista Nashville artists
Musical groups established in 1963
Rock music groups from Kentucky
Warner Records artists
1963 establishments in Kentucky
Epic Records artists
Country music groups from Kentucky
| false |
[
"The 2015 Major League Baseball Home Run Derby (known through sponsorship as the Gillette Home Run Derby presented by Head & Shoulders) was a home run hitting contest between eight batters from Major League Baseball (MLB). The derby was held on July 13, 2015, at Great American Ball Park in Cincinnati, Ohio, the site of the 2015 MLB All-Star Game. \n\nThe contest saw several rule changes from MLB in an attempt to enliven the event and draw more interest to it. Batters faced off in a single-elimination, bracket-style competition, and each round was timed, rather than limited by number of outs. Todd Frazier was the winner, defeating Joc Pederson in the final round, 15–14, winning the derby in front of his hometown crowd.\n\nRule changes\nAs announced by Major League Baseball, there were changes to the format of the Home Run Derby in 2015. Eight players participated in the derby in a bracket-style, single-elimination timed event. Each player had five minutes to hit as many home runs as possible. Hitters were also awarded bonus time for hitting long home runs. Hitters were awarded an additional minute if they hit two home runs over 420 feet and an additional 30 seconds if they hit a home run over 475 feet. Hitters were also allowed one 45 second \"timeout\" to stop the clock. Flex balls came into play during the final minute (bonus time included); any homer meant a $10,000 donation by Gillette & MLB.\n\nThe eight competing players were seeded 1-8 based on their home run totals as of July 7. The higher seed hit second in any round, and the round ended if the higher seed surpassed the total of the first hitter. In the event of a tie, the two hitters competed in a 90-second swing-off (with no timeouts nor bonus time awarded). If there remained a tie, the hitters engaged in three swing-off rounds; thereafter, sudden-death swing-off rounds until a winner was determined.\n\nFurther rule changes\nDue to the threat of rain, changes were announced to the Home Run Derby rules.\n The five-minute time limit was shortened to four minutes.\n The 1-minute bonus time was changed, with players receiving a 30-second bonus if they hit two home runs over 425 feet.\n\nResults\n\nReferences\n\n2015\nMajor League Baseball Home Run Derby, 2015\nBaseball in Cincinnati\nMajor League Baseball Home Run Derby\n21st century in Cincinnati",
"The 1935–36 NCAA men's basketball season began in December 1935, progressed through the regular season and conference tournaments, and concluded in March 1936.\n\nRule changes\nA new rule prohibited any offensive player with the ball from standing in the free-throw lane (also known as the \"key\") for more than three seconds. Previously, this rule had applied only to a player who had possession of the ball.\n\nSeason headlines \n\n In February 1943, the Helms Athletic Foundation retroactively selected Notre Dame as its national champion for the 1935–36 season.\n In 1995, the Premo-Porretta Power Poll retroactively selected Long Island as its national champion for the 1935–36 season.\n\nConference membership changes\n\nRegular season\n\nConference winners and tournaments\n\nStatistical leaders\n\nAwards\n\nConsensus All-American team\n\nMajor player of the year awards \n\n Helms Player of the Year: John Moir, Notre Dame (retroactive selection in 1944)\n\nOther major awards \n\n Haggerty Award (Top player in New York City metro area): Jules Bender, Long Island\n\nCoaching changes\n\nReferences"
] |
[
"Exile (American band)",
"1970s - First chart success",
"What was the name of their first released single?",
"In 1977, the band released the single \"Try it On\" on Atco Records, and it became a minor hit.",
"What did the band do before they released \"Try it on\"?",
"The band changed musical styles throughout the late 1960s and early 1970s. They shortened their name to Exile in 1973",
"What was their name before they shortened it?",
"I don't know.",
"Did they have an album after \"try it on\"?",
"He and Exile decided to collaborate and together they produced the Mixed Emotions album on Warner/Curb Records.",
"Was mixed emotions a success?",
"The first single release from that album was Kiss You All Over. The single reached Billboard's Top 40 on 5 August 1978.",
"Did it ever reach number one?",
"It remained on the chart for seventeen weeks and was No. 1 for four weeks in September. It was a best-seller for six months.",
"Did they have any other releases from that album?",
"Their follow up single, \"You Thrill Me,\" also from the Mixed Emotions LP did not fare as well,",
"Did they have any major changes during this time?",
"Numerous personnel changes took place in 1979.",
"Where there any major changes in 1979?",
"Stokley would leave the group that year,"
] |
C_dfe788e479674c2abd2afd9372a49ebc_0
|
Who was his replacement?
| 10 |
When did the replacements break up
|
Exile (American band)
|
The band changed musical styles throughout the late 1960s and early 1970s. They shortened their name to Exile in 1973 and released their eponymous debut album through Wooden Nickel Records that same year. Singles released from the album proved unsuccessful, and it would be a good five years before the band released a full-length follow-up album. In 1977, the band released the single "Try it On" on Atco Records, and it became a minor hit. The following year, Mike Chapman, an Australian who had established himself as a record producer in the UK, came to the United States in search of an experienced group who wrote their own material. Chapman heard an Exile demo and went to their next concert. Chapman evidently enjoyed what he saw. He and Exile decided to collaborate and together they produced the Mixed Emotions album on Warner/Curb Records. The first single release from that album was Kiss You All Over. The single reached Billboard's Top 40 on 5 August 1978. It remained on the chart for seventeen weeks and was No. 1 for four weeks in September. It was a best-seller for six months. Their follow up single, "You Thrill Me," also from the Mixed Emotions LP did not fare as well, although it did reach the Top 40 for one week on 3 February 1979. The band toured with Aerosmith, Heart, Dave Mason, Boston, Seals & Crofts and other hot pop acts of the late seventies throughout the United States, Europe and Africa. All There Is, the group's second Warner Bros. Records album, recorded a year later with a distinct disco beat, yielded a foreign hit, "The Part Of Me That Needs You Most." This single did particularly well in Europe and South Africa. Don't Leave Me This Way, their third album, produced by Peter Coleman, yielded two more singles, "Take Me Down" and "Smooth Sailing." Once again, it did well in Europe and South Africa although their popularity in the United States waned. Numerous personnel changes took place in 1979. Perhaps most significantly, Stokley would leave the group that year, forcing remaining members guitarist/vocalist J.P. Pennington, keyboardist Buzz Cornelison, keyboardist/vocalist Marlon Hargis, bassist/vocalist Sonny Lemaire and drummers Steve Goetzman and Gary Freeman to search for a new lead singer. A young singer, Les Taylor, accepted an invitation to join the group and shared lead vocal duties with Pennington. By the early 1980s, other lineup changes took place, including the exit of original member Buzz Cornelison, plus keyboardist Mark Gray, who co-wrote "The Closer You Get" and "Take Me Down", both of which became hits for the group Alabama, played a short stint from 1980 to 1982. CANNOTANSWER
|
A young singer, Les Taylor, accepted an invitation to join the group and shared lead vocal duties with Pennington.
|
Exile is an American band originally formed in 1963. In the 1970s, they were known as a rock band that had a major hit single with "Kiss You All Over" in 1978. After several lineup changes, the band was re-launched as a country act that achieved additional success in the 1980s and '90s. J.P. Pennington is the only current member of the band remaining from its early days.
Career
Early years
The origins of Exile were with a high school band in Richmond, Kentucky, called the Fascinations, which featured singer Jimmy Stokley. In 1963, the Fascinations merged with another local band and became Jimmy Stokley and the Exiles, with singer/guitarist J.P. Pennington, then age 14, joining a short time later. They toured regionally with the Dick Clark Caravan of Stars in 1965. Their name was later shortened to The Exiles, apparently to show support for Cuban refugees.
After high school, the band moved to Lexington, Kentucky, and recorded several singles for small labels between 1968 and 1973. In 1973 the name was shortened again to Exile, with Stokley on lead vocals, Pennington on vocals and guitar, Buzz Cornelison on keyboards, Kenny Weir on bass, and Bobby Johns on drums. This version of the band released a self-titled album on Wooden Nickel Records in 1973. They toured regionally for the next several years and had a minor pop hit with "Try It On" in 1977.
Late 1970s pop success
In 1978, Exile consisted of Stokley, Pennington, and Cornelison, plus second keyboardist Marlon Hargis, bassist Sonny LeMaire, and drummer Steve Goetzman. This lineup signed with Warner Brothers and released the album Mixed Emotions. The disco-influenced single "Kiss You All Over", written by the album's producer Mike Chapman and his songwriting partner Nicky Chinn, topped the American singles chart for four weeks and also reached the top ten in a dozen European countries. The song attracted some controversy for its risqué lyrics, while Stokley gained media attention as a flamboyant and charismatic frontman.
The success of "Kiss You All Over" resulted in invitations for Exile to tour with Heart, Aerosmith, Fleetwood Mac, and other leading rock acts of the period. The follow-up album All There Is yielded the minor hit single "The Part of Me That Needs You Most", which reached the top ten in South Africa and New Zealand in 1979.
Transition to country music
Jimmy Stokley left the band in 1980 and was replaced by Les Taylor prior to recording sessions for the band's next album, Don't Leave Me this Way. Stokley died at age 41 on August 13, 1985 due to complications from hepatitis, and was later inducted into the Kentucky Music Hall of Fame with a speech by J.P. Pennington. Another longtime member, keyboardist Buzz Cornelison, also departed in the early 1980s. Meanwhile, in 1981, the band released their final album under the Warner Brothers label, Heart and Soul, featuring their original recording of the Chapman/Chinn-penned title track, which would become a big hit for Huey Lewis and the News several years later. Exile's version was released as a single but failed to crack the Hot 100.
At this point, under the leadership of Pennington, Exile was revamped as a country band with a southern rock flavor. This version of the band signed with Epic Records in 1983 and had a top 40 country single with their first Epic release, "High Cost of Leaving". Some of their songs were covered by other country artists, including Janie Fricke and Alabama, who would turn Exile's "The Closer You Get" (from their 1980 album Don't Leave Me This Way) into a #1 Country & Western single in 1983. Starting in 1983, Exile had three consecutive top ten albums on the Billboard Country Albums chart (Exile, Kentucky Hearts, and Hang On to Your Heart, with the second of those reaching number one), and from 1983 to 1987 ten out of eleven singles reached number one on the Billboard Country Singles chart, making them one of the biggest country artists of the decade. They also received thirteen award nominations from the Academy of Country Music and the Country Music Association.
Pennington and Taylor left the band in 1990, leaving it with no remaining members from its rock period. A new lineup featuring singer/guitarist Paul Martin signed with Arista Records and scored some more country hit singles, but they were dropped by Arista after the 1991 album Justice and disbanded in 1993. Twenty-one former members gathered for a farewell concert at the Grand Ole Opry.
Reformation
After leaving Exile in 1990, J.P. Pennington and Les Taylor both signed solo deals and achieved minor hit singles on the U.S. country charts. Pennington and Taylor performed together on stage in 1995 and decided to resurrect the Exile name. The new version of the band, led by Pennington and Taylor with a shifting cast of sidemen, continued to tour the nostalgia circuit. Since the 1990s the group has released several live albums, plus the new album Wrapped Up in Your Arms for Christmas in 2016.
Discography
Studio albums
Exile (1973)
Stage Pass (1978)
Mixed Emotions (1978)
All There Is (1979)
Don't Leave Me This Way / Keeping It Country (1980)
Heart and Soul (1981)
Exile (1983)
Kentucky Hearts (1984)
Hang On to Your Heart (1985)
Shelter from the Night (1987)
Still Standing (1990)
Justice (1991)
Wrapped Up In Your Arms for Christmas (2016)
References
Bibliography
Eve Nicole Lemaire, Life in Exile: A Journey Home, (2013), CreateSpace Independent Publishing.
Randy Westbrook, 50 Years of Exile (2013), Acclaim Press.
External links
American country rock groups
American soft rock music groups
Arista Nashville artists
Musical groups established in 1963
Rock music groups from Kentucky
Warner Records artists
1963 establishments in Kentucky
Epic Records artists
Country music groups from Kentucky
| false |
[
"The 13th Parliament of Sri Lanka was a meeting of the Parliament of Sri Lanka, with the membership determined by the results of the 2004 parliamentary election held on 2 April 2004. The parliament met for the first time on 22 April 2004 and was dissolved on 9 February 2010.\n\nElection\n\nThe 13th parliamentary election was held on 2 April 2004. The United People's Freedom Alliance (UPFA), a newly formed opposition alliance, became the largest group in Parliament by winning 105 of the 225 seats. The incumbent United National Front (UNF) won 82 seats. The minority Tamil party Tamil National Alliance (TNA) won 22 seats. Smaller parties won the remaining 16 seats.\n\nResults\n\nThe new parliament was sworn in on 22 April 2004. W. J. M. Lokubandara, the opposition's candidate, was elected Speaker after three dramatic rounds of voting in Parliament. The parliament reconvened on 18 May 2004 to elect unopposed Gitanjana Gunawardena as Deputy Speaker and M. Satchithanandan as the Deputy Chairman of Committees.\n\nGovernment\n\nThe UPFA was able to form a minority government with the support of the sole Eelam People's Democratic Party MP.\n\nOn 6 April 2004, President Chandrika Kumaratunga appointed Mahinda Rajapaksa, the leader of the UPFA, as the new Prime Minister. The rest of the government, comprising 30 Ministers and 31 Deputy Ministers, were sworn in on 10 April 2004. President Kumaratunga retained control of the important ministries of Defence, Public Security, Law & Order, Highways, Education and Buddha Sasana.\n\nAfter that a number of defections and counter-defections from the opposition increased the number of government MPs to 129, most of whom were rewarded with ministerial posts. This allowed the UPFA form a stable government for six years.\n\nFollowing the expiration of the second term of President Kumaratunge, Prime Minister Mahinda Rajapakse defeated the leader of the United National Party and former Prime Minister Ranil Wickremasinghe in the 2005 Presidential election. He was succeeded as Prime Minister by Ratnasiri Wickremanayake.\n\nBy January 2007 the government had grown to 104 (52 Ministers + 33 Non-Cabinet Ministers + 19 Deputy Ministers). Only a handful of UPFA MPs didn't have a ministerial position. The government was labelled the \"Jumbo Cabinet\" due to the high number of ministers. It was the largest government in Sri Lanka's history and proportionally one of the largest in the world. By the end of the 13th Parliament the number of ministers had grown further to 109.\n\nChanges in party/alliance affiliations\nThe 13th parliament saw a number of defections and counter-defections:\n\n18 May 2004: One Sri Lanka Muslim Congress (SLMC) MP (Hussain Ahamed Bhaila) joins the UPFA.\n9 August 2004: Two SLMC MPs (M. N. Abdul Majeed, Rishad Bathiudeen) join UPFA.\n3 September 2004: Ceylon Workers' Congress (eight MPs) joins UPFA, giving it a majority in parliament.\n16 June 2005: Janatha Vimukthi Peramuna (JVP) (39 MPs) quits UPFA.\n14 December 2005: One CWC MP (Vadivel Suresh) joins UPFA.\n25 January 2006: Two United National Party MPs (Keheliya Rambukwella, Mahinda Samarasinghe) join UPFA.\n28 January 2007: 18 UNP MPs (Lakshman Yapa Abeywardena, Rohitha Bogollagama, P. Dayaratna, R. M. Dharmadasa Banda, Navin Dissanayake, Edward Gunaserkara, Bandula Gunawardane, Karu Jayasuriya, Gamini Lokuge, M. H. Mohamed, Milinda Moragoda, M. Mohamed Musthaffa, Hemakumara Nanayakkara, Neomal Perera, G. L. Peiris, Rajitha Senaratne, C. A. Suriyaarachchi, Mano Wijeyeratne, Mahinda Wijesekara) and 6 SLMC MPs join UPFA.\n30 January 2007: Jathika Hela Urumaya (eight MPs) joins UPFA.\n12 December 2007: Four SLMC MPs (Hasen Ali, Cassim Faizal, Rauff Hakeem, Basheer Segu Dawood) quit the UPFA.\n28 December 2008: 12 MPs, who had left the JVP in May 2008 to form the National Freedom Front, join the UPFA.\n\nDeaths and resignations\nThe 13th parliament saw numerous deaths and resignations:\n18 April 2004: Kingsley Rasanayagam (TNA-BAT) resigned shortly after being elected (before being sworn in). His replacement Pakkiyaselvam Ariyanethiran (TNA-BAT) was sworn in on 18 May 2004.\n23 April 2004: Mary Lucida (UPFA-NAT), Janadasa Peiris (UPFA-NAT) and E. A. D. C. Weerasekera (UPFA-NAT) resigned. Their replacements Mervyn Silva (UPFA-NAT), Ratnasiri Wickremanayake (UPFA-NAT) and Wijeyadasa Rajapakshe (UPFA-NAT) were sworn in on 18 May 2004.\n9 May 2004: Kataluwe Ratanasiya (JHU-COL) resigned. His replacement Akmeemana Dayarathana (JHU-COL) was sworn in on 8 June 2008.\n19 May 2004: W. P. S. Pushpakumara (UNF-NAT) resigned. His replacement Basheer Segu Dawood (UNF-NAT) was sworn in on 20 July 2004.\n20 May 2004: Ismail Mohammed Quddus (UNF-NAT) resigned. His replacement S. Nijamudeen (UNF-NAT) was sworn in on 20 July 2004.\n24 May 2004: Philipps Kumarasinghe Sri Liyanage (UPFA-NAT) resigned. His replacement Mohamed Mussammil (UPFA-NAT) was sworn in on 20 July 2004.\n27 May 2004: Mahipala Herath (UPFA-KEG) resigned to contest the Sabaragamuwa provincial council elections. His replacement H. R. Mithrapala (UPFA-KEG) was sworn in on 20 July 2004.\n28 May 2004: Reginald Cooray (UPFA-KAL) resigned to contest the Western provincial council elections. His replacement Nirmala Kotalawala (UPFA-KAL) was sworn in on 20 July 2004.\n23 June 2004: Seyed Ali Zahir Moulana (UNF-NAT) resigned. His replacement M. Mohamed Musthaffa (UNF-NAT) was sworn in on 20 July 2004.\n8 October 2004: Kolonnawe Sri Sumangala (JHU-GAM) resigned. His replacement was Alawwe Nandaloka (JHU-GAM).\n7 December 2004: S. B. Dissanayake (UNF-NUW) vacated his seat after being jailed by the Sri Lankan Supreme Court for contempt of court. His replacement Renuka Herath (UNF-NUW) was sworn in on 30 January 2006.\n12 August 2005: Lakshman Kadirgamar (UPFA-NAT) murdered. His replacement Dullas Alahapperuma (UPFA-NAT) was sworn in on 19 December 2005.\n19 November 2005: Mahinda Rajapaksa (UPFA-HAM) resigned to take up presidency. His replacement Nirupama Rajapaksa (UPFA-HAM) was sworn in on 25 November 2005.\n25 December 2005: Joseph Pararajasingham (TNA-NAT) murdered. His replacement Chandra Nehru Chandrakanthan was sworn in on 27 September 2006.\n19 April 2006: Siripala Amarasingha (JVP-GAM) resigned. His replacement was Sarath Kumara Gunaratna (UPFA-GAM).\n10 November 2006: Nadarajah Raviraj (TNA-JAF) murdered. His replacement Nallathamby Srikantha (TNA-JAF) was sworn in on 30 November 2006.\n31 January 2007: Omalpe Sobhita (JHU-NAT) resigned. His replacement was Champika Ranawaka (JHU-NAT).\n13 September 2007: Anwar Ismail (UPFA-NAT) died. His replacement Basil Rajapaksa (UPFA-NAT) was sworn in on 19 September 2007.\n14 December 2007: M. K. Eelaventhan (TNA-NAT) vacated his seat due to non-attendance. His replacement Raseen Mohammed Imam (TNA-NAT) was sworn in on 5 February 2008.\n1 January 2008: T. Maheswaran (UNF-COL) murdered. His replacement Mohamed Rajabdeen (UNF-COL) was sworn in on 8 January 2008.\n8 January 2008: D. M. Dassanayake (UPF-PUT) murdered. His replacement Piyankara Jayaratne (UPFA-PUT) was sworn in on 5 February 2008.\n9 February 2008: Sripathi Sooriyaarachchi (UPFA-GAM) killed. His replacement Reggie Ranatunga (UPFA-GAM) was sworn in on 21 February 2008.\n6 March 2008: K. Sivanesan (TNA-JAF) murdered. His replacement Solomon Cyril (TNA-JAF) was sworn in on 9 April 2008.\n16 March 2008: Anura Bandaranaike (UPFA-GAM) died. His replacement Sarana Gunawardena (UPFA-GAM) was sworn in on 6 May 2008.\n2 April 2008: Hasen Ali (SLMC-NAT), Rauff Hakeem (SLMC-AMP) and Basheer Segu Dawood (UNF-NAT) resigned to contest the Eastern provincial council elections. Hakeem's replacement A. M. M. Naoshad (SLMC-AMP) was sworn in on 9 April 2008. Segu Dawood's replacement Rauff Hakeem (UNF-NAT) was sworn in on 10 July 2008. Ali replaced himself and was sworn in on 22 July 2008.\n6 April 2008: Jeyaraj Fernandopulle (UPFA-GAM) murdered. His replacement Dulip Wijeysekara (UPFA-GAM) was sworn in on 6 May 2008.\n31 May 2008: Reggie Ranatunga (UPFA-GAM) died. His replacement Neil Rupasinghe (UPFA-GAM) was sworn in on 6 June 2008.\n30 June 2008: H. M. Wasantha Samarasinghe (JVP-NAT) resigned to contest the North Central provincial council elections. His replacement Vinayagamoorthy Muralitharan (UPFA-NAT) was sworn in on 7 October 2008.\n3 September 2008: Anuruddha Polgampola (UPFA-KEG) resigned. His replacement Lalith Dissanayake (UPFA-KEG) was sworn in on 12 September 2008.\n17 May 2009: Alick Aluvihare (UNF-MTL) died. His replacement Nandimithra Ekanayake (UNF-MTL) was sworn in on 9 June 2009.\n21 May 2009: Kanagasabai Pathmanathan (TNA-AMP) died. His replacement Thomas Thangathurai William (TNA-AMP) was sworn in on 12 June 2009.\n30 May 2009: Amarasiri Dodangoda (UPFA-GAL) died. His replacement Chandima Weerakkody (UPFA-GAL) was sworn in on 9 June 2009.\n25 July 2009: Sarath Ranawaka (UNF-KAL) died. His replacement Ananda Lakshman Wijemanna (UNF-KAL) was sworn in on 6 August 2009.\n1 January 2010: Periyasamy Chandrasekaran (UCPF-NUW) died. His replacement Santhanam Arulsamy (WLF-NUW) was sworn in on 5 February 2010.\n\nMembers\n\nReferences\n\nParliament of Sri Lanka\n2004 Sri Lankan parliamentary election",
"This is a list of elected members of the Australian Capital Territory Advisory Council from its creation in 1930 until its replacement by the Australian Capital Territory House of Assembly in 1974.\n\nFirst Council, May 1930 – May 1931\n\nSecond Council, May 1931 – September 1935\n\n1 Frederick Gell (Independent) resigned in August 1933. H. C. Green (Independent) was appointed as his replacement in September 1933.\n\nThird Council, September 1935 – September 1937\n\nFourth Council, September 1937 – September 1939\n\n1 Thomas Shakespeare (Independent) died in September 1938. John Muir (Labor) was appointed to replace him.\n\nFifth Council, September 1939 – September 1941\n\nSixth Council, September 1941 – September 1943\n\nSeventh Council, September 1943 – September 1945\n\nEighth Council, September 1945 – September 1947\n\nNinth Council, September 1947 – September 1949\n\nTenth Council, September 1949 – September 1951\n\n1 Lewis Nott (Independent) resigned in December 1949 to run for the House of Representatives at the federal election. Arthur Shakespeare (Independent) was appointed as his replacement.\n2 Jim Fraser (Labor) resigned in May 1951 to run for the House of Representatives at the federal election. Oliver Bourke (Labor) was appointed as his replacement.\n3 Ulrich Ellis (Independent) resigned in June 1951. Lewis Nott (Independent), who had been defeated by Fraser for his federal seat, was appointed as his replacement.\n\nEleventh Council, September 1951 – September 1953\n\n1 The Council was expanded in September 1952. R. G. Bailey (Independent) and Oliver Bourke (Labor) were appointed to fill the two new seats.\n\nTwelfth Council, September 1953 – September 1955\n\nThirteenth Council, September 1955 – September 1957\n\nFourteenth Council, September 1957 – September 1959\n\n1 Day resigned from the Liberal Party in 1957 and was re-elected as an Independent.\n\nFifteenth Council, September 1959 – September 1961\n\n1 William McIntyre Campbell (Independent) resigned in July 1960. Bill Pye (Independent) was appointed as his replacement.\n2 Heinz Arndt (Labor) resigned in September 1960. Herbert Blair (Labor) was appointed as his replacement.\n\nSixteenth Council, September 1961 – September 1964\n\n1 Bert Blair (Labor) died in November 1963. Bill Spellman (Labor) was appointed as his replacement in December.\n\nSeventeenth Council, September 1964 – September 1967\n\nEighteenth Council, September 1967 – September 1970\n\n1 Lyndall Ryan (Labor) resigned in December 1968. Fred McCauley (Labor) was appointed as her replacement.\n\n2 By 1967 the Australian Capital Territory Progress and Welfare Council had dissolved, and Pead thereafter stood as an Independent candidate.\n\nNineteenth Council, September 1970 – September 1974\n\nReferences\n\nElected Members of the ACT Advisory Council\n\nMembers of Australian Capital Territory parliaments by term\n20th-century Australian politicians"
] |
[
"Bob Crane",
"Hogan's Heroes (1965-71)"
] |
C_77158f59faff4edfb3339296247f1f98_1
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what was Hogan's heroes?
| 1 |
what was Hogan's heroes?
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Bob Crane
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In 1965, Crane was offered the starring role in a television situation comedy about a German POW camp. Hogan's Heroes became a hit and finished in the top 10 in its first year on the air. The distinctive military-style snare drum rhythm that introduces the show's theme song was played by Crane himself. The series lasted for six seasons, and Crane was nominated for an Emmy Award twice, in 1966 and 1967. In 1968, he became romantically involved with cast member Patricia Olson, who played Hilda under the stage name Sigrid Valdis. He divorced Anne in 1970, just prior to their 21st anniversary, and married Olson on the set of the show later that year. Their son, Scotty, was born June 4, 1971, and they later adopted a daughter, Ana Marie. The couple separated in 1977, but according to several family members, reconciled shortly before Crane's death. In 1968, Crane and series costars Werner Klemperer, Leon Askin, and John Banner appeared with Elke Sommer in a feature film, The Wicked Dreams of Paula Schultz, set in the divided city of Berlin during the Cold War. In 1969, Crane starred with Abby Dalton in a dinner theater production of Cactus Flower. Crane frequently videotaped and photographed his own sexual escapades. During the run of Hogan's Heroes, Richard Dawson introduced Crane to John Henry Carpenter, a regional sales manager for Sony Electronics, who often helped famous clients with their video equipment. The two men struck up a friendship and began going to bars together. Crane attracted women due to his celebrity status and introduced Carpenter as his manager. Later, they would videotape their sexual encounters. While Crane's son Robert later insisted that all of the women were aware of the videotaping and consented to it, some, according to one source, had no idea that they had been filmed until informed by Scottsdale police after Crane's murder. Carpenter later became national sales manager at Akai, and arranged his business trips to coincide with Crane's dinner-theater touring schedule so that the two could continue seducing and videotaping women after Hogan's Heroes had run its course. CANNOTANSWER
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Hogan's Heroes became a hit and finished in the top 10 in its first year on the air.
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Robert Edward Crane (July 13, 1928 – June 29, 1978) was an American actor, drummer, radio personality, and disc jockey known for starring in the CBS situation comedy Hogan's Heroes.
Crane was a drummer from age 11, and he began his career as a radio personality, first in New York City and then in Connecticut. He then moved to Los Angeles where he hosted the number-one rated morning show. In the early 1960s, he moved into acting, eventually landing the lead role of Colonel Robert Hogan in Hogan's Heroes. The series aired from 1965 to 1971, and Crane received two Emmy Award nominations.
Crane's career declined after Hogan's Heroes. He became frustrated with the few roles that he was being offered and began performing in dinner theater. In 1975, he returned to television in the NBC series The Bob Crane Show, but the series received poor ratings and was cancelled after 13 weeks. Afterward, Crane returned to performing in dinner theaters and also appeared in occasional guest spots on television.
Crane was found bludgeoned to death in his Scottsdale, Arizona, apartment while on tour in June 1978 for a dinner theater production of Beginner's Luck. The homicide remains officially unsolved. His previously uncontroversial public image suffered due to the suspicious nature of his death, and posthumous revelations about his personal life.
Early life
Crane was born in Waterbury, Connecticut, the youngest of two sons of Alfred Thomas Crane and Rose Mary Ksenich Crane - the original spelling of the family name was Crean. He spent his childhood and teenaged years in Stamford. Crane began playing drums, and by junior high was organizing local drum and bugle parades with his neighborhood friends. He joined his high school's orchestra and its marching and jazz bands. Crane also played for the Connecticut and Norwalk Symphony Orchestras as part of their youth orchestra program. He graduated from Stamford High School in 1946. In 1948, he enlisted for two years in the Connecticut Army National Guard, and was honorably discharged in 1950.
In 1949, Crane married his high-school sweetheart, Anne Terzian. They had three children – Robert David, Deborah Anne, and Karen Leslie.
Career
Early career
In 1950, Crane began his career in radio broadcasting at WLEA in Hornell, New York. He soon moved to Connecticut stations WBIS in Bristol, and then WICC in Bridgeport, a 1,000-watt operation with a signal covering the northeastern portion of the New York metropolitan area. In 1956, Crane was hired by CBS Radio to host the morning show at its West Coast flagship KNX in Los Angeles, California, partly to re-energize that station's ratings and partly to halt his erosion of suburban ratings at WCBS in New York City. In California, Crane filled the broadcast with sly wit, drumming, and such guests as Marilyn Monroe, Frank Sinatra, and Bob Hope. His show quickly topped the morning ratings with adult listeners in the Los Angeles area, and Crane became "king of the Los Angeles airwaves".
Crane's acting ambitions led to guest-hosting for Johnny Carson on the daytime game show Who Do You Trust? and appearances on The Twilight Zone (uncredited), Channing, Alfred Hitchcock Presents, and General Electric Theater. After Carl Reiner appeared on his radio show, Crane persuaded Reiner to book him for a guest appearance on The Dick Van Dyke Show.
The Donna Reed Show (1963–1964)
After seeing Crane's performance on The Dick Van Dyke Show, Donna Reed offered him a guest shot on her program. After the success of that episode, his character, Dr. David Kelsey, was incorporated into the show's storyline, and Crane became a regular cast member, beginning with the episode "Friends and Neighbors". Ann McCrea was cast in the series as his wife, Midge Kelsey. Crane continued to work full-time at KNX during his stint on The Donna Reed Show, running back and forth from the KNX studio at Columbia Square to Columbia Studios. He left the show in December 1964.
Hogan's Heroes (1965–1971)
In 1965, Crane was offered the starring role in a television sitcom set in a World War II POW camp. Hogan's Heroes involved the sabotage and espionage missions of Allied soldiers, led by Hogan, from under the noses of the oblivious Germans guarding them. The show was a hit, finishing in the top 10 in its first year. The distinctive military-style snare drum rhythm that introduces the show's theme song was played by Crane himself. The series lasted for six seasons, and Crane was nominated for an Emmy Award in 1966 and 1967. After having an affair with costar Cynthia Lynn, the actress who played Helga, Crane became romantically involved with Lynn's replacement Patricia Olson in 1968, who played Hilda under the stage name Sigrid Valdis. Crane divorced Terzian in 1970, just before their 21st anniversary, and married Olson on the set of the show later that year, with Richard Dawson serving as best man.
Their son, Scotty, was born in 1971, and they later adopted a daughter, Ana Marie. The couple separated in 1977, but according to several family members, reconciled shortly before Crane's death.
After Hogan's Heroes
In 1968, Crane and series co-stars Werner Klemperer, Leon Askin, and John Banner appeared with Elke Sommer in a feature film, The Wicked Dreams of Paula Schultz, set in the divided city of Berlin during the Cold War. In 1969, Crane starred with Abby Dalton in a dinner theater production of Cactus Flower.
Following the cancellation of Hogan's Heroes in 1971, Crane appeared in two Disney films: Superdad (1973), in the title role, and Gus (1976). In 1973, he purchased the rights to a comedy play called Beginner's Luck and began touring it, as its star and director, at the Showboat Dinner Theatre in St. Petersburg, Florida; the La Mirada Civic Theatre in California; the Windmill Dinner Theatre in Scottsdale, Arizona; and other dinner theaters around the country.
Between theater engagements, Crane guest-starred in a number of TV shows, including Police Woman, Gibbsville, Quincy, M.E., and The Love Boat. In 1975, he returned to television with his own series, The Bob Crane Show on NBC, which was cancelled after 14 episodes. In early 1978, Crane taped a travel documentary in Hawaii and recorded an appearance on the Canadian cooking show Celebrity Cooks. Neither aired in the U.S. following his death. His appearance on Celebrity Cooks did air in Canada in late 1978, and was recreated in the biopic film Auto Focus.
Private life and murder
Crane frequently videotaped and photographed his own sexual escapades. During the run of Hogan's Heroes, Richard Dawson introduced him to John Henry Carpenter, a regional sales manager for Sony Electronics, who often helped famous clients with their video equipment. The two men struck up a friendship and began going to bars together. Crane attracted many women due to his celebrity status, and he introduced Carpenter to them as his manager. Crane and Carpenter videotaped their joint sexual encounters. Crane's son Robert later insisted that all of the women were aware of the videotaping and consented to it, but some said they had no idea that they had been recorded until they were informed by Scottsdale police after Crane's murder. Carpenter later became national sales manager at Akai, and he arranged his business trips to coincide with Crane's dinner-theater touring schedule so that the two could continue videotaping their sexual encounters with women.
In June 1978, Crane was living in the Winfield Place Apartments in Scottsdale during a run of Beginner's Luck at the Windmill Dinner Theatre. On the afternoon of June 29, his co-star Victoria Ann Berry entered his apartment after he failed to show up for a lunch meeting, and discovered his body. Crane was bludgeoned with a weapon that was never identified, though investigators believed it to be a camera tripod. An electrical cord had been tied around his neck.
Crane's funeral was held on July 5, 1978, at St. Paul the Apostle Catholic Church in Westwood, Los Angeles. An estimated 200 family members and friends attended, including Patty Duke, John Astin, and Carroll O'Connor. Pallbearers included Hogan's Heroes producer Edward Feldman, co-stars Larry Hovis and Robert Clary, and Crane's son Robert. He was interred in Oakwood Memorial Park in Chatsworth, California. Patricia Olson later had his remains relocated to Westwood Village Memorial Park in Westwood, and she was buried beside him in 2007 under her stage name Sigrid Valdis.
Investigation
The Scottsdale Police Department had no homicide division at the time, so it was ill-equipped to handle such a high-profile murder investigation. The crime scene yielded few clues; no evidence was found of forced entry, and nothing of value was missing. Detectives examined Crane's extensive videotape collection, which led them to Carpenter, who had flown to Phoenix on June 25 to spend a few days with Crane. Carpenter's rental car was impounded and searched. Several blood smears were found that matched Crane's blood type; no one else of that blood type was known to have been in the car, including Carpenter. DNA testing was not yet available, and the Maricopa County Attorney declined to file charges.
In 1990, Scottsdale Police Detective Barry Vassall and Maricopa County Attorney's Office Investigator Jim Raines re-examined the evidence from 1978 and persuaded the county attorney to reopen the case. DNA testing was inconclusive on the blood found in Carpenter's rental car, but Raines did discover an evidence photograph of the car's interior that appeared to show a piece of brain tissue. The actual tissue samples recovered from the car had been lost, but an Arizona judge ruled that the new evidence was admissible. In June 1992, Carpenter was arrested and charged with Crane's murder.
Trial
At the 1994 trial, Crane's son Robert testified that in the weeks before his father's death, Crane had repeatedly expressed a desire to sever his friendship with Carpenter. He said that Carpenter had become "a hanger-on" and "a nuisance to the point of being obnoxious". "My dad expressed that he just didn't need Carpenter kind of hanging around him anymore," he said. Robert testified that Crane had called Carpenter the night before the murder and ended their friendship.
Carpenter's attorneys attacked the prosecution's case as circumstantial and inconclusive. They presented evidence that Carpenter and Crane were still the best of friends, including witnesses from the restaurant where the two men had dined the evening before the murder. They noted that the murder weapon had never been identified nor found; the prosecution's camera tripod theory was sheer speculation, they said, based solely on Carpenter's occupation. They disputed the claim that the newly discovered evidence photo showed brain tissue, and presented many examples of "sloppy work" by police, such as the mishandling and misplacing of evidence—including the crucial tissue sample itself. They pointed out that Crane had been videotaped and photographed in sexual relations with numerous women, implying that any one of them might have been the killer. Other potential suspects proposed by defense attorneys included angry husbands and boyfriends of the women, and an actor who had sworn vengeance after a violent argument with Crane in Texas several months earlier.
Carpenter was acquitted, and he continued to maintain his innocence until his death in 1998. After the trial, Robert Crane speculated publicly that Olson, his father's widow, might have had a role in instigating the crime. "Nobody got a dime out of [the murder]," he said, "except for one person," alluding to Crane's will, which excluded him, his siblings, and his mother, with the entire estate left to Olson. He repeated his suspicions in the 2015 book Crane: Sex, Celebrity, and My Father's Unsolved Murder. Maricopa County District Attorney Rick Romley responded, "We never characterized Patty as a suspect," adding "I am convinced John Carpenter murdered Bob Crane." Officially, Crane's murder remains unsolved.
Later DNA testing
In November 2016, the Maricopa County Attorney's Office permitted Phoenix television reporter John Hook to submit the 1978 blood samples from Carpenter's rental car for retesting, using a more advanced DNA technique than the one used in 1990. Two sequences were identified, one from an unknown male, and the other too degraded to reach a conclusion. This testing consumed all of the remaining DNA from the rental car, making further tests impossible. Authorities tried to get DNA samples from Crane and Carpenter's remains, but their families refuse permission to exhume them.
Auto Focus
Crane's life and murder were the subject of the 2002 film Auto Focus, directed by Paul Schrader and starring Greg Kinnear as Crane. The film, based on a book on Crane's murder written by Zodiac author Robert Graysmith, was described as "brilliant" by critic Roger Ebert. The film portrays Crane as a happily married, church-going family man and popular Los Angeles disc jockey, who succumbs to Hollywood's celebrity lifestyle after becoming a television star. When he meets Carpenter, played by Willem Dafoe, and as a result of their friendship learns about then-new home video technology, he descends into a life of strip clubs, BDSM, and sex addiction.
Crane's son with Olson, Scotty, challenged the film's accuracy in an October 2002 review. "During the last twelve years of his life," he wrote, "[Crane] went to church three times: when I was baptized, when his father died, and when he was buried." His son further stated that Crane was a sex addict long before he became a star, and that he may have begun recording his sexual encounters as early as 1956. There was no evidence, he said, that Crane engaged in BDSM; there were no such scenes in any of his hundreds of home movies, and Schrader admitted that the film's BDSM scene was based on his own experience (while writing Hardcore). Before production on Auto Focus was announced, Scotty and Olson had shopped a rival script alternatively titled F-Stop or Take Off Your Clothes and Smile, but interest ceased after Auto Focus was announced.
In June 2001, Scotty launched the website bobcrane.com. It included a paid section featuring photographs, outtakes from his father's sex films, and Crane's autopsy report that proved, he said, that his father did not have a penile implant as stated in Auto Focus. The site was renamed "Bob Crane: The Official Web Site", but is now abandoned. The "official" Bob Crane website was maintained by CMG Worldwide. The website no longer exists.
Filmography
Film
Television
Awards and nominations
References
Further reading
Hook, John. "Who Killed Bob Crane? The Final Close-Up". Brisance Books Group (2016).
Crane, Robert and Fryer, Christopher. Crane: Sex, Celebrity, and My Father's Unsolved Murder. University Press of Kentucky (2015).
Crime and Investigation Network. "Murder in Scottsdale : The Death of Bob Crane". Video. Published May 30, 2014.
Ford, Carol M., Young, Dee, and Groundwater, Linda. Bob Crane: The Definitive Biography. AuthorMike Ink (2015).
Fox 10 Phoenix (KSAZ-TV). Who killed Bob Crane? A closer look at evidence in the 1978 murder investigation. Videos. Published November 14, 2016.
Graysmith, Robert. The Murder of Bob Crane: Who Killed the Star of Hogan's Heroes?. Crown Publishers, New York (1993).
Scott, A.O. "The Bob Crane Story: Everything but a Hero". The New York Times, October 4, 2002
External links
1928 births
1978 deaths
1978 murders in the United States
20th-century American male actors
Male actors from Connecticut
American male film actors
American radio DJs
American male stage actors
American male television actors
Burials at Westwood Village Memorial Park Cemetery
Deaths by beating in the United States
Actors from Waterbury, Connecticut
People murdered in Arizona
Connecticut National Guard personnel
United States Army soldiers
Unsolved murders in the United States
20th-century American musicians
Connecticut Republicans
Deaths from bleeding
Deaths from head injury
American murder victims
Stamford High School (Stamford, Connecticut) alumni
| false |
[
"Hogan's Heroes is the eponymously titled second studio album by the American hardcore punk band Hogan's Heroes and was released on May 18, 1990, through New Red Archives. It was recorded at Saatchi & Saatchi's Sonic Edge Studios. It was Produced by Hogan's Heroes and Ryk Oakley.\n\nAlbum information\nThe album was recorded in 1989 at advertising agency Saatchi & Saatchi, in New York City. In August 1989 after recording basic tracks, Cuccinello moved to Florida for ten months, Hogan's Heroes (Barberio, Scandiffio, Hoefling) produced the Import/Caroline/Rough Trade distributed release with Ryk Oakley (Kraut, UK Subs). After a summer of shows, in August 1990, Cuccinello (bass) left the group for Florida and was replaced by Brian Brain Mooney. Hogan's Heroes continued to play gigs eventually parting with Tony Scandiffio (drums) May 1991.\n\nThe album's cover showed a live aid concert . The visual effect is of a painted upside down photo.\n\nReception\nIn Maximum RockNRolls', The Record Review, Tim Yohannan, founder of Maximum Rocknroll (MRR), said about Hogan's Heroes ...... \"This is their second, on which they do HC, reggae, rock and metal influenced punk and more. Varied, well done...\"\n\nIn the January Top 10 issue East Coast Rocker said Hogan's Heroes \"Top 10 New Jersey, Independent Release of 1990...\"\n\nSongs\nWith the exception of, \"First\", \"Let's Rock\", \"Righteous\", \"Breaking Your Rules\", \"Kalm\", \"She's Gone\", and \"Full On\", all of the material for Hogan's Heroes was written before 1989.\n\nTrack listing\n\nCompilation bonus track\n\nPersonnel\nGeorge Barberio – lead guitar, vocals\nJohn Cuccinello – bass\nTony Scandiffio – drums, vocals\nSkip Hoefling – vocals\n\nProduction\nProduced by Hogan's Heroes (Barberio, Scandiffio, Hoefling) and Ryk Oakley\nRecorded and mixed by Ryk Oakley\n\nReferences\n\nExternal links\n Hogan's Heroes at Rhapsody\n Hogan's Heroes at MTV\n\n1990 albums\nHogan's Heroes (band) albums\nNew Red Archives albums",
"Built to Last is the debut album by American hardcore punk band Hogan's Heroes. It was recorded at Waterfront Studios.\n\nAlbum information\nThe album was recorded at Lenny Kravitz / Henry Hirsch Waterfront Studios, Hoboken, New Jersey and engineered by Rae Dileo. The album was originally released on Straight-On Records in 1988. It was reissued in May 1989 through Caroline Records.\n\nReception\n\nEast Coast Rockers''' Makin' Waves said of \"Built to Last \"...hardcore roots\" \"...there's some really cool true blue rock 'n' roll on Built to Last...\"\n\nKent McClard's No Answers No. 6 said \"Built to Last'' contained \"...scathing hardcore with extremely metallic guitar riffing\" and that it was \"explosive sounding\".\n\nTrack listing\n\nPersonnel\nGeorge Barberio – lead guitar, vocals\nJohn Cuccinello – bass, vocals\nTony Scandiffio – drums, vocals\nSkip Hoefling – vocals\n\nProduction\nProduced by Hogan's Heroes\nRecorded and mixed by Rae Dileo\n\nReferences\n\n1988 debut albums\nNew Red Archives albums\nHogan's Heroes (band) albums"
] |
[
"Bob Crane",
"Hogan's Heroes (1965-71)",
"what was Hogan's heroes?",
"Hogan's Heroes became a hit and finished in the top 10 in its first year on the air."
] |
C_77158f59faff4edfb3339296247f1f98_1
|
Was it an album?
| 2 |
Was Hogan's heroes an album?
|
Bob Crane
|
In 1965, Crane was offered the starring role in a television situation comedy about a German POW camp. Hogan's Heroes became a hit and finished in the top 10 in its first year on the air. The distinctive military-style snare drum rhythm that introduces the show's theme song was played by Crane himself. The series lasted for six seasons, and Crane was nominated for an Emmy Award twice, in 1966 and 1967. In 1968, he became romantically involved with cast member Patricia Olson, who played Hilda under the stage name Sigrid Valdis. He divorced Anne in 1970, just prior to their 21st anniversary, and married Olson on the set of the show later that year. Their son, Scotty, was born June 4, 1971, and they later adopted a daughter, Ana Marie. The couple separated in 1977, but according to several family members, reconciled shortly before Crane's death. In 1968, Crane and series costars Werner Klemperer, Leon Askin, and John Banner appeared with Elke Sommer in a feature film, The Wicked Dreams of Paula Schultz, set in the divided city of Berlin during the Cold War. In 1969, Crane starred with Abby Dalton in a dinner theater production of Cactus Flower. Crane frequently videotaped and photographed his own sexual escapades. During the run of Hogan's Heroes, Richard Dawson introduced Crane to John Henry Carpenter, a regional sales manager for Sony Electronics, who often helped famous clients with their video equipment. The two men struck up a friendship and began going to bars together. Crane attracted women due to his celebrity status and introduced Carpenter as his manager. Later, they would videotape their sexual encounters. While Crane's son Robert later insisted that all of the women were aware of the videotaping and consented to it, some, according to one source, had no idea that they had been filmed until informed by Scottsdale police after Crane's murder. Carpenter later became national sales manager at Akai, and arranged his business trips to coincide with Crane's dinner-theater touring schedule so that the two could continue seducing and videotaping women after Hogan's Heroes had run its course. CANNOTANSWER
|
The distinctive military-style snare drum rhythm that introduces the show's theme song was played by Crane himself.
|
Robert Edward Crane (July 13, 1928 – June 29, 1978) was an American actor, drummer, radio personality, and disc jockey known for starring in the CBS situation comedy Hogan's Heroes.
Crane was a drummer from age 11, and he began his career as a radio personality, first in New York City and then in Connecticut. He then moved to Los Angeles where he hosted the number-one rated morning show. In the early 1960s, he moved into acting, eventually landing the lead role of Colonel Robert Hogan in Hogan's Heroes. The series aired from 1965 to 1971, and Crane received two Emmy Award nominations.
Crane's career declined after Hogan's Heroes. He became frustrated with the few roles that he was being offered and began performing in dinner theater. In 1975, he returned to television in the NBC series The Bob Crane Show, but the series received poor ratings and was cancelled after 13 weeks. Afterward, Crane returned to performing in dinner theaters and also appeared in occasional guest spots on television.
Crane was found bludgeoned to death in his Scottsdale, Arizona, apartment while on tour in June 1978 for a dinner theater production of Beginner's Luck. The homicide remains officially unsolved. His previously uncontroversial public image suffered due to the suspicious nature of his death, and posthumous revelations about his personal life.
Early life
Crane was born in Waterbury, Connecticut, the youngest of two sons of Alfred Thomas Crane and Rose Mary Ksenich Crane - the original spelling of the family name was Crean. He spent his childhood and teenaged years in Stamford. Crane began playing drums, and by junior high was organizing local drum and bugle parades with his neighborhood friends. He joined his high school's orchestra and its marching and jazz bands. Crane also played for the Connecticut and Norwalk Symphony Orchestras as part of their youth orchestra program. He graduated from Stamford High School in 1946. In 1948, he enlisted for two years in the Connecticut Army National Guard, and was honorably discharged in 1950.
In 1949, Crane married his high-school sweetheart, Anne Terzian. They had three children – Robert David, Deborah Anne, and Karen Leslie.
Career
Early career
In 1950, Crane began his career in radio broadcasting at WLEA in Hornell, New York. He soon moved to Connecticut stations WBIS in Bristol, and then WICC in Bridgeport, a 1,000-watt operation with a signal covering the northeastern portion of the New York metropolitan area. In 1956, Crane was hired by CBS Radio to host the morning show at its West Coast flagship KNX in Los Angeles, California, partly to re-energize that station's ratings and partly to halt his erosion of suburban ratings at WCBS in New York City. In California, Crane filled the broadcast with sly wit, drumming, and such guests as Marilyn Monroe, Frank Sinatra, and Bob Hope. His show quickly topped the morning ratings with adult listeners in the Los Angeles area, and Crane became "king of the Los Angeles airwaves".
Crane's acting ambitions led to guest-hosting for Johnny Carson on the daytime game show Who Do You Trust? and appearances on The Twilight Zone (uncredited), Channing, Alfred Hitchcock Presents, and General Electric Theater. After Carl Reiner appeared on his radio show, Crane persuaded Reiner to book him for a guest appearance on The Dick Van Dyke Show.
The Donna Reed Show (1963–1964)
After seeing Crane's performance on The Dick Van Dyke Show, Donna Reed offered him a guest shot on her program. After the success of that episode, his character, Dr. David Kelsey, was incorporated into the show's storyline, and Crane became a regular cast member, beginning with the episode "Friends and Neighbors". Ann McCrea was cast in the series as his wife, Midge Kelsey. Crane continued to work full-time at KNX during his stint on The Donna Reed Show, running back and forth from the KNX studio at Columbia Square to Columbia Studios. He left the show in December 1964.
Hogan's Heroes (1965–1971)
In 1965, Crane was offered the starring role in a television sitcom set in a World War II POW camp. Hogan's Heroes involved the sabotage and espionage missions of Allied soldiers, led by Hogan, from under the noses of the oblivious Germans guarding them. The show was a hit, finishing in the top 10 in its first year. The distinctive military-style snare drum rhythm that introduces the show's theme song was played by Crane himself. The series lasted for six seasons, and Crane was nominated for an Emmy Award in 1966 and 1967. After having an affair with costar Cynthia Lynn, the actress who played Helga, Crane became romantically involved with Lynn's replacement Patricia Olson in 1968, who played Hilda under the stage name Sigrid Valdis. Crane divorced Terzian in 1970, just before their 21st anniversary, and married Olson on the set of the show later that year, with Richard Dawson serving as best man.
Their son, Scotty, was born in 1971, and they later adopted a daughter, Ana Marie. The couple separated in 1977, but according to several family members, reconciled shortly before Crane's death.
After Hogan's Heroes
In 1968, Crane and series co-stars Werner Klemperer, Leon Askin, and John Banner appeared with Elke Sommer in a feature film, The Wicked Dreams of Paula Schultz, set in the divided city of Berlin during the Cold War. In 1969, Crane starred with Abby Dalton in a dinner theater production of Cactus Flower.
Following the cancellation of Hogan's Heroes in 1971, Crane appeared in two Disney films: Superdad (1973), in the title role, and Gus (1976). In 1973, he purchased the rights to a comedy play called Beginner's Luck and began touring it, as its star and director, at the Showboat Dinner Theatre in St. Petersburg, Florida; the La Mirada Civic Theatre in California; the Windmill Dinner Theatre in Scottsdale, Arizona; and other dinner theaters around the country.
Between theater engagements, Crane guest-starred in a number of TV shows, including Police Woman, Gibbsville, Quincy, M.E., and The Love Boat. In 1975, he returned to television with his own series, The Bob Crane Show on NBC, which was cancelled after 14 episodes. In early 1978, Crane taped a travel documentary in Hawaii and recorded an appearance on the Canadian cooking show Celebrity Cooks. Neither aired in the U.S. following his death. His appearance on Celebrity Cooks did air in Canada in late 1978, and was recreated in the biopic film Auto Focus.
Private life and murder
Crane frequently videotaped and photographed his own sexual escapades. During the run of Hogan's Heroes, Richard Dawson introduced him to John Henry Carpenter, a regional sales manager for Sony Electronics, who often helped famous clients with their video equipment. The two men struck up a friendship and began going to bars together. Crane attracted many women due to his celebrity status, and he introduced Carpenter to them as his manager. Crane and Carpenter videotaped their joint sexual encounters. Crane's son Robert later insisted that all of the women were aware of the videotaping and consented to it, but some said they had no idea that they had been recorded until they were informed by Scottsdale police after Crane's murder. Carpenter later became national sales manager at Akai, and he arranged his business trips to coincide with Crane's dinner-theater touring schedule so that the two could continue videotaping their sexual encounters with women.
In June 1978, Crane was living in the Winfield Place Apartments in Scottsdale during a run of Beginner's Luck at the Windmill Dinner Theatre. On the afternoon of June 29, his co-star Victoria Ann Berry entered his apartment after he failed to show up for a lunch meeting, and discovered his body. Crane was bludgeoned with a weapon that was never identified, though investigators believed it to be a camera tripod. An electrical cord had been tied around his neck.
Crane's funeral was held on July 5, 1978, at St. Paul the Apostle Catholic Church in Westwood, Los Angeles. An estimated 200 family members and friends attended, including Patty Duke, John Astin, and Carroll O'Connor. Pallbearers included Hogan's Heroes producer Edward Feldman, co-stars Larry Hovis and Robert Clary, and Crane's son Robert. He was interred in Oakwood Memorial Park in Chatsworth, California. Patricia Olson later had his remains relocated to Westwood Village Memorial Park in Westwood, and she was buried beside him in 2007 under her stage name Sigrid Valdis.
Investigation
The Scottsdale Police Department had no homicide division at the time, so it was ill-equipped to handle such a high-profile murder investigation. The crime scene yielded few clues; no evidence was found of forced entry, and nothing of value was missing. Detectives examined Crane's extensive videotape collection, which led them to Carpenter, who had flown to Phoenix on June 25 to spend a few days with Crane. Carpenter's rental car was impounded and searched. Several blood smears were found that matched Crane's blood type; no one else of that blood type was known to have been in the car, including Carpenter. DNA testing was not yet available, and the Maricopa County Attorney declined to file charges.
In 1990, Scottsdale Police Detective Barry Vassall and Maricopa County Attorney's Office Investigator Jim Raines re-examined the evidence from 1978 and persuaded the county attorney to reopen the case. DNA testing was inconclusive on the blood found in Carpenter's rental car, but Raines did discover an evidence photograph of the car's interior that appeared to show a piece of brain tissue. The actual tissue samples recovered from the car had been lost, but an Arizona judge ruled that the new evidence was admissible. In June 1992, Carpenter was arrested and charged with Crane's murder.
Trial
At the 1994 trial, Crane's son Robert testified that in the weeks before his father's death, Crane had repeatedly expressed a desire to sever his friendship with Carpenter. He said that Carpenter had become "a hanger-on" and "a nuisance to the point of being obnoxious". "My dad expressed that he just didn't need Carpenter kind of hanging around him anymore," he said. Robert testified that Crane had called Carpenter the night before the murder and ended their friendship.
Carpenter's attorneys attacked the prosecution's case as circumstantial and inconclusive. They presented evidence that Carpenter and Crane were still the best of friends, including witnesses from the restaurant where the two men had dined the evening before the murder. They noted that the murder weapon had never been identified nor found; the prosecution's camera tripod theory was sheer speculation, they said, based solely on Carpenter's occupation. They disputed the claim that the newly discovered evidence photo showed brain tissue, and presented many examples of "sloppy work" by police, such as the mishandling and misplacing of evidence—including the crucial tissue sample itself. They pointed out that Crane had been videotaped and photographed in sexual relations with numerous women, implying that any one of them might have been the killer. Other potential suspects proposed by defense attorneys included angry husbands and boyfriends of the women, and an actor who had sworn vengeance after a violent argument with Crane in Texas several months earlier.
Carpenter was acquitted, and he continued to maintain his innocence until his death in 1998. After the trial, Robert Crane speculated publicly that Olson, his father's widow, might have had a role in instigating the crime. "Nobody got a dime out of [the murder]," he said, "except for one person," alluding to Crane's will, which excluded him, his siblings, and his mother, with the entire estate left to Olson. He repeated his suspicions in the 2015 book Crane: Sex, Celebrity, and My Father's Unsolved Murder. Maricopa County District Attorney Rick Romley responded, "We never characterized Patty as a suspect," adding "I am convinced John Carpenter murdered Bob Crane." Officially, Crane's murder remains unsolved.
Later DNA testing
In November 2016, the Maricopa County Attorney's Office permitted Phoenix television reporter John Hook to submit the 1978 blood samples from Carpenter's rental car for retesting, using a more advanced DNA technique than the one used in 1990. Two sequences were identified, one from an unknown male, and the other too degraded to reach a conclusion. This testing consumed all of the remaining DNA from the rental car, making further tests impossible. Authorities tried to get DNA samples from Crane and Carpenter's remains, but their families refuse permission to exhume them.
Auto Focus
Crane's life and murder were the subject of the 2002 film Auto Focus, directed by Paul Schrader and starring Greg Kinnear as Crane. The film, based on a book on Crane's murder written by Zodiac author Robert Graysmith, was described as "brilliant" by critic Roger Ebert. The film portrays Crane as a happily married, church-going family man and popular Los Angeles disc jockey, who succumbs to Hollywood's celebrity lifestyle after becoming a television star. When he meets Carpenter, played by Willem Dafoe, and as a result of their friendship learns about then-new home video technology, he descends into a life of strip clubs, BDSM, and sex addiction.
Crane's son with Olson, Scotty, challenged the film's accuracy in an October 2002 review. "During the last twelve years of his life," he wrote, "[Crane] went to church three times: when I was baptized, when his father died, and when he was buried." His son further stated that Crane was a sex addict long before he became a star, and that he may have begun recording his sexual encounters as early as 1956. There was no evidence, he said, that Crane engaged in BDSM; there were no such scenes in any of his hundreds of home movies, and Schrader admitted that the film's BDSM scene was based on his own experience (while writing Hardcore). Before production on Auto Focus was announced, Scotty and Olson had shopped a rival script alternatively titled F-Stop or Take Off Your Clothes and Smile, but interest ceased after Auto Focus was announced.
In June 2001, Scotty launched the website bobcrane.com. It included a paid section featuring photographs, outtakes from his father's sex films, and Crane's autopsy report that proved, he said, that his father did not have a penile implant as stated in Auto Focus. The site was renamed "Bob Crane: The Official Web Site", but is now abandoned. The "official" Bob Crane website was maintained by CMG Worldwide. The website no longer exists.
Filmography
Film
Television
Awards and nominations
References
Further reading
Hook, John. "Who Killed Bob Crane? The Final Close-Up". Brisance Books Group (2016).
Crane, Robert and Fryer, Christopher. Crane: Sex, Celebrity, and My Father's Unsolved Murder. University Press of Kentucky (2015).
Crime and Investigation Network. "Murder in Scottsdale : The Death of Bob Crane". Video. Published May 30, 2014.
Ford, Carol M., Young, Dee, and Groundwater, Linda. Bob Crane: The Definitive Biography. AuthorMike Ink (2015).
Fox 10 Phoenix (KSAZ-TV). Who killed Bob Crane? A closer look at evidence in the 1978 murder investigation. Videos. Published November 14, 2016.
Graysmith, Robert. The Murder of Bob Crane: Who Killed the Star of Hogan's Heroes?. Crown Publishers, New York (1993).
Scott, A.O. "The Bob Crane Story: Everything but a Hero". The New York Times, October 4, 2002
External links
1928 births
1978 deaths
1978 murders in the United States
20th-century American male actors
Male actors from Connecticut
American male film actors
American radio DJs
American male stage actors
American male television actors
Burials at Westwood Village Memorial Park Cemetery
Deaths by beating in the United States
Actors from Waterbury, Connecticut
People murdered in Arizona
Connecticut National Guard personnel
United States Army soldiers
Unsolved murders in the United States
20th-century American musicians
Connecticut Republicans
Deaths from bleeding
Deaths from head injury
American murder victims
Stamford High School (Stamford, Connecticut) alumni
| true |
[
"That Was Then This Is Now may refer to:\n\nThat Was Then, This Is Now, a 1971 novel by S. E. Hinton\nThat Was Then... This Is Now, a 1985 film based on Hinton's novel\nThat Was Then, This Is Now (radio series), a BBC Radio 2 comedy sketch series\n\nMusic \nThat Was Then, This Is Now (Tha Dogg Pound album), 2009\n\"That Was Then, This Is Now\" (The James Cleaver Quintet album), 2011\nThat Was Then This Is Now (Wain McFarlane album), 2001\nThat Was Then, This Is Now, Vol. 1 (1999) and That Was Then, This Is Now, Vol. 2 (2000), studio albums by American rapper Frost\nThat Was Then, This Is Now (Andy Timmons album), an album by Andy Timmons\n\"That Was Then, This Is Now\" (song), a 1986 song by The Mosquitos, also covered by The Monkees\nThat Was Then, This Is Now, an album by Chasen\nThat Was Then, This Is Now (Josh Wilson album), 2015\n\nSee also\n\"That Was Then but This Is Now\", a 1983 song by ABC\nIf Not Now Then When?, an album by Ethan Johns\nIf Not Now Then When, an album by The Motels\nIf Not Now, When? (disambiguation)",
"Kilroy was here is an American expression that became popular during World War II, typically seen in graffiti.\n\nKilroy Was Here may also refer to:\n Kilroy Was Here (album), a 1983 album by Styx\n Kilroy Was Here (1947 film), an American comedy film\n Kilroy Was Here (1983 film), a short film made to tie in with the Styx album\n Killroy Was Here (upcoming film), an upcoming American horror anthology film based on the graffiti phenomenon"
] |
[
"Bob Crane",
"Hogan's Heroes (1965-71)",
"what was Hogan's heroes?",
"Hogan's Heroes became a hit and finished in the top 10 in its first year on the air.",
"Was it an album?",
"The distinctive military-style snare drum rhythm that introduces the show's theme song was played by Crane himself."
] |
C_77158f59faff4edfb3339296247f1f98_1
|
What did the media thing about it?
| 3 |
What did the media thing about Hogan's heroes?
|
Bob Crane
|
In 1965, Crane was offered the starring role in a television situation comedy about a German POW camp. Hogan's Heroes became a hit and finished in the top 10 in its first year on the air. The distinctive military-style snare drum rhythm that introduces the show's theme song was played by Crane himself. The series lasted for six seasons, and Crane was nominated for an Emmy Award twice, in 1966 and 1967. In 1968, he became romantically involved with cast member Patricia Olson, who played Hilda under the stage name Sigrid Valdis. He divorced Anne in 1970, just prior to their 21st anniversary, and married Olson on the set of the show later that year. Their son, Scotty, was born June 4, 1971, and they later adopted a daughter, Ana Marie. The couple separated in 1977, but according to several family members, reconciled shortly before Crane's death. In 1968, Crane and series costars Werner Klemperer, Leon Askin, and John Banner appeared with Elke Sommer in a feature film, The Wicked Dreams of Paula Schultz, set in the divided city of Berlin during the Cold War. In 1969, Crane starred with Abby Dalton in a dinner theater production of Cactus Flower. Crane frequently videotaped and photographed his own sexual escapades. During the run of Hogan's Heroes, Richard Dawson introduced Crane to John Henry Carpenter, a regional sales manager for Sony Electronics, who often helped famous clients with their video equipment. The two men struck up a friendship and began going to bars together. Crane attracted women due to his celebrity status and introduced Carpenter as his manager. Later, they would videotape their sexual encounters. While Crane's son Robert later insisted that all of the women were aware of the videotaping and consented to it, some, according to one source, had no idea that they had been filmed until informed by Scottsdale police after Crane's murder. Carpenter later became national sales manager at Akai, and arranged his business trips to coincide with Crane's dinner-theater touring schedule so that the two could continue seducing and videotaping women after Hogan's Heroes had run its course. CANNOTANSWER
|
CANNOTANSWER
|
Robert Edward Crane (July 13, 1928 – June 29, 1978) was an American actor, drummer, radio personality, and disc jockey known for starring in the CBS situation comedy Hogan's Heroes.
Crane was a drummer from age 11, and he began his career as a radio personality, first in New York City and then in Connecticut. He then moved to Los Angeles where he hosted the number-one rated morning show. In the early 1960s, he moved into acting, eventually landing the lead role of Colonel Robert Hogan in Hogan's Heroes. The series aired from 1965 to 1971, and Crane received two Emmy Award nominations.
Crane's career declined after Hogan's Heroes. He became frustrated with the few roles that he was being offered and began performing in dinner theater. In 1975, he returned to television in the NBC series The Bob Crane Show, but the series received poor ratings and was cancelled after 13 weeks. Afterward, Crane returned to performing in dinner theaters and also appeared in occasional guest spots on television.
Crane was found bludgeoned to death in his Scottsdale, Arizona, apartment while on tour in June 1978 for a dinner theater production of Beginner's Luck. The homicide remains officially unsolved. His previously uncontroversial public image suffered due to the suspicious nature of his death, and posthumous revelations about his personal life.
Early life
Crane was born in Waterbury, Connecticut, the youngest of two sons of Alfred Thomas Crane and Rose Mary Ksenich Crane - the original spelling of the family name was Crean. He spent his childhood and teenaged years in Stamford. Crane began playing drums, and by junior high was organizing local drum and bugle parades with his neighborhood friends. He joined his high school's orchestra and its marching and jazz bands. Crane also played for the Connecticut and Norwalk Symphony Orchestras as part of their youth orchestra program. He graduated from Stamford High School in 1946. In 1948, he enlisted for two years in the Connecticut Army National Guard, and was honorably discharged in 1950.
In 1949, Crane married his high-school sweetheart, Anne Terzian. They had three children – Robert David, Deborah Anne, and Karen Leslie.
Career
Early career
In 1950, Crane began his career in radio broadcasting at WLEA in Hornell, New York. He soon moved to Connecticut stations WBIS in Bristol, and then WICC in Bridgeport, a 1,000-watt operation with a signal covering the northeastern portion of the New York metropolitan area. In 1956, Crane was hired by CBS Radio to host the morning show at its West Coast flagship KNX in Los Angeles, California, partly to re-energize that station's ratings and partly to halt his erosion of suburban ratings at WCBS in New York City. In California, Crane filled the broadcast with sly wit, drumming, and such guests as Marilyn Monroe, Frank Sinatra, and Bob Hope. His show quickly topped the morning ratings with adult listeners in the Los Angeles area, and Crane became "king of the Los Angeles airwaves".
Crane's acting ambitions led to guest-hosting for Johnny Carson on the daytime game show Who Do You Trust? and appearances on The Twilight Zone (uncredited), Channing, Alfred Hitchcock Presents, and General Electric Theater. After Carl Reiner appeared on his radio show, Crane persuaded Reiner to book him for a guest appearance on The Dick Van Dyke Show.
The Donna Reed Show (1963–1964)
After seeing Crane's performance on The Dick Van Dyke Show, Donna Reed offered him a guest shot on her program. After the success of that episode, his character, Dr. David Kelsey, was incorporated into the show's storyline, and Crane became a regular cast member, beginning with the episode "Friends and Neighbors". Ann McCrea was cast in the series as his wife, Midge Kelsey. Crane continued to work full-time at KNX during his stint on The Donna Reed Show, running back and forth from the KNX studio at Columbia Square to Columbia Studios. He left the show in December 1964.
Hogan's Heroes (1965–1971)
In 1965, Crane was offered the starring role in a television sitcom set in a World War II POW camp. Hogan's Heroes involved the sabotage and espionage missions of Allied soldiers, led by Hogan, from under the noses of the oblivious Germans guarding them. The show was a hit, finishing in the top 10 in its first year. The distinctive military-style snare drum rhythm that introduces the show's theme song was played by Crane himself. The series lasted for six seasons, and Crane was nominated for an Emmy Award in 1966 and 1967. After having an affair with costar Cynthia Lynn, the actress who played Helga, Crane became romantically involved with Lynn's replacement Patricia Olson in 1968, who played Hilda under the stage name Sigrid Valdis. Crane divorced Terzian in 1970, just before their 21st anniversary, and married Olson on the set of the show later that year, with Richard Dawson serving as best man.
Their son, Scotty, was born in 1971, and they later adopted a daughter, Ana Marie. The couple separated in 1977, but according to several family members, reconciled shortly before Crane's death.
After Hogan's Heroes
In 1968, Crane and series co-stars Werner Klemperer, Leon Askin, and John Banner appeared with Elke Sommer in a feature film, The Wicked Dreams of Paula Schultz, set in the divided city of Berlin during the Cold War. In 1969, Crane starred with Abby Dalton in a dinner theater production of Cactus Flower.
Following the cancellation of Hogan's Heroes in 1971, Crane appeared in two Disney films: Superdad (1973), in the title role, and Gus (1976). In 1973, he purchased the rights to a comedy play called Beginner's Luck and began touring it, as its star and director, at the Showboat Dinner Theatre in St. Petersburg, Florida; the La Mirada Civic Theatre in California; the Windmill Dinner Theatre in Scottsdale, Arizona; and other dinner theaters around the country.
Between theater engagements, Crane guest-starred in a number of TV shows, including Police Woman, Gibbsville, Quincy, M.E., and The Love Boat. In 1975, he returned to television with his own series, The Bob Crane Show on NBC, which was cancelled after 14 episodes. In early 1978, Crane taped a travel documentary in Hawaii and recorded an appearance on the Canadian cooking show Celebrity Cooks. Neither aired in the U.S. following his death. His appearance on Celebrity Cooks did air in Canada in late 1978, and was recreated in the biopic film Auto Focus.
Private life and murder
Crane frequently videotaped and photographed his own sexual escapades. During the run of Hogan's Heroes, Richard Dawson introduced him to John Henry Carpenter, a regional sales manager for Sony Electronics, who often helped famous clients with their video equipment. The two men struck up a friendship and began going to bars together. Crane attracted many women due to his celebrity status, and he introduced Carpenter to them as his manager. Crane and Carpenter videotaped their joint sexual encounters. Crane's son Robert later insisted that all of the women were aware of the videotaping and consented to it, but some said they had no idea that they had been recorded until they were informed by Scottsdale police after Crane's murder. Carpenter later became national sales manager at Akai, and he arranged his business trips to coincide with Crane's dinner-theater touring schedule so that the two could continue videotaping their sexual encounters with women.
In June 1978, Crane was living in the Winfield Place Apartments in Scottsdale during a run of Beginner's Luck at the Windmill Dinner Theatre. On the afternoon of June 29, his co-star Victoria Ann Berry entered his apartment after he failed to show up for a lunch meeting, and discovered his body. Crane was bludgeoned with a weapon that was never identified, though investigators believed it to be a camera tripod. An electrical cord had been tied around his neck.
Crane's funeral was held on July 5, 1978, at St. Paul the Apostle Catholic Church in Westwood, Los Angeles. An estimated 200 family members and friends attended, including Patty Duke, John Astin, and Carroll O'Connor. Pallbearers included Hogan's Heroes producer Edward Feldman, co-stars Larry Hovis and Robert Clary, and Crane's son Robert. He was interred in Oakwood Memorial Park in Chatsworth, California. Patricia Olson later had his remains relocated to Westwood Village Memorial Park in Westwood, and she was buried beside him in 2007 under her stage name Sigrid Valdis.
Investigation
The Scottsdale Police Department had no homicide division at the time, so it was ill-equipped to handle such a high-profile murder investigation. The crime scene yielded few clues; no evidence was found of forced entry, and nothing of value was missing. Detectives examined Crane's extensive videotape collection, which led them to Carpenter, who had flown to Phoenix on June 25 to spend a few days with Crane. Carpenter's rental car was impounded and searched. Several blood smears were found that matched Crane's blood type; no one else of that blood type was known to have been in the car, including Carpenter. DNA testing was not yet available, and the Maricopa County Attorney declined to file charges.
In 1990, Scottsdale Police Detective Barry Vassall and Maricopa County Attorney's Office Investigator Jim Raines re-examined the evidence from 1978 and persuaded the county attorney to reopen the case. DNA testing was inconclusive on the blood found in Carpenter's rental car, but Raines did discover an evidence photograph of the car's interior that appeared to show a piece of brain tissue. The actual tissue samples recovered from the car had been lost, but an Arizona judge ruled that the new evidence was admissible. In June 1992, Carpenter was arrested and charged with Crane's murder.
Trial
At the 1994 trial, Crane's son Robert testified that in the weeks before his father's death, Crane had repeatedly expressed a desire to sever his friendship with Carpenter. He said that Carpenter had become "a hanger-on" and "a nuisance to the point of being obnoxious". "My dad expressed that he just didn't need Carpenter kind of hanging around him anymore," he said. Robert testified that Crane had called Carpenter the night before the murder and ended their friendship.
Carpenter's attorneys attacked the prosecution's case as circumstantial and inconclusive. They presented evidence that Carpenter and Crane were still the best of friends, including witnesses from the restaurant where the two men had dined the evening before the murder. They noted that the murder weapon had never been identified nor found; the prosecution's camera tripod theory was sheer speculation, they said, based solely on Carpenter's occupation. They disputed the claim that the newly discovered evidence photo showed brain tissue, and presented many examples of "sloppy work" by police, such as the mishandling and misplacing of evidence—including the crucial tissue sample itself. They pointed out that Crane had been videotaped and photographed in sexual relations with numerous women, implying that any one of them might have been the killer. Other potential suspects proposed by defense attorneys included angry husbands and boyfriends of the women, and an actor who had sworn vengeance after a violent argument with Crane in Texas several months earlier.
Carpenter was acquitted, and he continued to maintain his innocence until his death in 1998. After the trial, Robert Crane speculated publicly that Olson, his father's widow, might have had a role in instigating the crime. "Nobody got a dime out of [the murder]," he said, "except for one person," alluding to Crane's will, which excluded him, his siblings, and his mother, with the entire estate left to Olson. He repeated his suspicions in the 2015 book Crane: Sex, Celebrity, and My Father's Unsolved Murder. Maricopa County District Attorney Rick Romley responded, "We never characterized Patty as a suspect," adding "I am convinced John Carpenter murdered Bob Crane." Officially, Crane's murder remains unsolved.
Later DNA testing
In November 2016, the Maricopa County Attorney's Office permitted Phoenix television reporter John Hook to submit the 1978 blood samples from Carpenter's rental car for retesting, using a more advanced DNA technique than the one used in 1990. Two sequences were identified, one from an unknown male, and the other too degraded to reach a conclusion. This testing consumed all of the remaining DNA from the rental car, making further tests impossible. Authorities tried to get DNA samples from Crane and Carpenter's remains, but their families refuse permission to exhume them.
Auto Focus
Crane's life and murder were the subject of the 2002 film Auto Focus, directed by Paul Schrader and starring Greg Kinnear as Crane. The film, based on a book on Crane's murder written by Zodiac author Robert Graysmith, was described as "brilliant" by critic Roger Ebert. The film portrays Crane as a happily married, church-going family man and popular Los Angeles disc jockey, who succumbs to Hollywood's celebrity lifestyle after becoming a television star. When he meets Carpenter, played by Willem Dafoe, and as a result of their friendship learns about then-new home video technology, he descends into a life of strip clubs, BDSM, and sex addiction.
Crane's son with Olson, Scotty, challenged the film's accuracy in an October 2002 review. "During the last twelve years of his life," he wrote, "[Crane] went to church three times: when I was baptized, when his father died, and when he was buried." His son further stated that Crane was a sex addict long before he became a star, and that he may have begun recording his sexual encounters as early as 1956. There was no evidence, he said, that Crane engaged in BDSM; there were no such scenes in any of his hundreds of home movies, and Schrader admitted that the film's BDSM scene was based on his own experience (while writing Hardcore). Before production on Auto Focus was announced, Scotty and Olson had shopped a rival script alternatively titled F-Stop or Take Off Your Clothes and Smile, but interest ceased after Auto Focus was announced.
In June 2001, Scotty launched the website bobcrane.com. It included a paid section featuring photographs, outtakes from his father's sex films, and Crane's autopsy report that proved, he said, that his father did not have a penile implant as stated in Auto Focus. The site was renamed "Bob Crane: The Official Web Site", but is now abandoned. The "official" Bob Crane website was maintained by CMG Worldwide. The website no longer exists.
Filmography
Film
Television
Awards and nominations
References
Further reading
Hook, John. "Who Killed Bob Crane? The Final Close-Up". Brisance Books Group (2016).
Crane, Robert and Fryer, Christopher. Crane: Sex, Celebrity, and My Father's Unsolved Murder. University Press of Kentucky (2015).
Crime and Investigation Network. "Murder in Scottsdale : The Death of Bob Crane". Video. Published May 30, 2014.
Ford, Carol M., Young, Dee, and Groundwater, Linda. Bob Crane: The Definitive Biography. AuthorMike Ink (2015).
Fox 10 Phoenix (KSAZ-TV). Who killed Bob Crane? A closer look at evidence in the 1978 murder investigation. Videos. Published November 14, 2016.
Graysmith, Robert. The Murder of Bob Crane: Who Killed the Star of Hogan's Heroes?. Crown Publishers, New York (1993).
Scott, A.O. "The Bob Crane Story: Everything but a Hero". The New York Times, October 4, 2002
External links
1928 births
1978 deaths
1978 murders in the United States
20th-century American male actors
Male actors from Connecticut
American male film actors
American radio DJs
American male stage actors
American male television actors
Burials at Westwood Village Memorial Park Cemetery
Deaths by beating in the United States
Actors from Waterbury, Connecticut
People murdered in Arizona
Connecticut National Guard personnel
United States Army soldiers
Unsolved murders in the United States
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Connecticut Republicans
Deaths from bleeding
Deaths from head injury
American murder victims
Stamford High School (Stamford, Connecticut) alumni
| false |
[
"Ray Hunt (August 31, 1929 – March 12, 2009) was an American horse trainer and clinician of significant influence in the natural horsemanship field. He had chronic obstructive pulmonary disease.\n\nNatural horsemanship\nHunt is widely regarded as one of the original proponents of what became known as natural horsemanship. His views about horse-human relations were embraced by inspirational writers about human relations. Lance Secretan wrote that \"We may respect a leader, but the ones we love are servant-leaders.\" In the beginning, Hunt said,\"I was working in the mind of a lot of people who didnt want to believe the horse had a mind. Get a bigger bit. Get a bigger stick. That was their approach.\" \n\nRay Hunt is said to be Tom Dorrance's best-known student. They met around 1960, at a fair in Elko, Nevada. While Dorrance avoided media attention and clinics, by the mid 1970s Hunt was giving clinics far and wide. Ray Hunt is famous for starting each clinic with the statement \"I'm here for the horse, to help him get a better deal.\" He also liked to say \"make the wrong thing difficult and the right thing easy.\" His philosophy has been interpreted as \"If you get bucked off or kicked or bitten, you obviously did something wrong . . . The horse, on the other hand, is never wrong\".\n\nThe idea that \"the horse is never wrong\" is often misunderstood by people who think Ray was talking about the horse's behaviour, he was rather meaning the horse's reaction to human behaviour. The horse always interprets human actions in the moment, they don't think about the past or future in the way that people do. So, their reactions to what is happening in the moment is always pure, they reflect what the human did with the utmost integrity. If we want to change the horse, we should first change ourselves. As Ray said \"it's easy to change the horse, but it's hard to change the human\".\n\nRay Hunt was a mentor and teacher of Buck Brannaman.\n\nWorks\n1978 Think Harmony with Horses: An In-depth Study of Horse/man Relationship\n1992 Turning loose with Ray Hunt (video)\n1996 Colt starting with Ray Hunt (video)\n2001 The Fort Worth Benefit with Ray Hunt (video)\nBack To The Beginning (video)\nRay Hunt Appreciation Clinic: 2005 Western Horseman of the Year (video)\nRay Hunt: Cowboy Logic\n\nSee also\nTom and Bill Dorrance\n\nReferences\n\nFurther reading\n\nExternal links\nOfficial website\n\nAmerican horse trainers\n1929 births\n2009 deaths",
"The Thing is an international net-community of artists and art-related projects that was started in 1991 by Wolfgang Staehle. The Thing was launched as a mailbox system accessible over the telephone network in New York feeding a Bulletin Board System (BBS) in 1991 before their website was launched in 1995 on the World Wide Web. By the late 1990s, The Thing grew into a diverse online community made up of dozens of members' Web sites, mailing lists, a successful Web hosting service, a community studio in Chelsea (NYC), and the first Web site devoted to Net Art: bbs.thing.net.\n\nHistory\n\nThe Thing BBS (1991)\nIn 1991, The Thing began as a Bulletin Board System (BBS) focusing on contemporary art and cultural theory. In 1990, the writer and critic Blackhawk (having recently produced the film Cyberpunk) taught Wolfgang Staehle many of the abilities he needed to start the original The Thing BBS. Blackhawk was the first person Staehle turned to after conceiving the idea for an electronic culture resource based on the model of Joseph Beuys's Social sculpture. Blackhawk and Wolfgang jointly set up the editorial structure of the original BBS and planned for many of the then experimental activities that took place. Other people who helped develop and shape the content of the early BBS included Josefina Ayerza, Dike Blair, Donald Newman, the original programmer, Jordan Crandall, David Platzker, Josh Decter, Rainer Ganahl, Julia Scher, Barry Schwabsky, Morgan Garwood, Franz von Stauffenberg and Benjamin Weil.\n\nA second node, The Thing Cologne, was added in 1992, followed by The Thing Vienna in November 1993. Nodes in Berlin and elsewhere were soon to follow.\n\nThe Thing on the Web (1995)\nThe Thing changed its form when a website was created for a presentation at the 1995 Ars Electronica. Credits on the 1995 website also name Nicky Chaikin, John F. Simon Jr., Wolfgang Staehle, Rob Keenan, Darryl Erentzen and John Rabasa.\n\nIn 1995 The Thing set up an independent art network with hardware of its own that offered arts communities ways to establish themselves, to send information to one another and also to conceive of new artistic practices deriving from conceptual art and from performance art. The idea was that working with the Internet was a way to operate around the institutions of art distribution of the day.\n\nIn 1998 Max Kossatz designed The Thing Communicator a website mimicking many functions of the original BBS including member login, chat and messaging.\n\nThe most interactive area of The Thing consisted of various message boards offering forums for art theory debate, news and gossip, ongoing dialogue and an open-access flow of information as well as several online versions of art journals.\n\nAlongside discussion forums The Thing has offered artworks in the form of graphics downloadable to the home personal computer – for example by Peter Halley.\n\nthing.net communities\nThe Thing has enabled a diverse group of artists, critics, curators, and activists to use the internet in its early stages. At its core, The Thing is a social network, made up of individuals from diverse backgrounds with a wide range of expert knowledge. From this social hub, The Thing has built an array of programs and initiatives, in both technological and cultural networks. During its first five years, TT became widely recognized as one of the founding and leading online centers for new media culture. Its activities include hosting artists' projects and mailing lists - as well as publishing cultural criticism.\n\nThe Thing has also organized many public events and symposia on such topics as the state of new media arts, the preservation of online privacy, artistic innovations in robotics, and the possibilities of community empowerment through wireless technologies.\n\nIn 1997, thing.net communications, LLC, an Internet Service Provider (ISP) was incorporated by Wolfgang Staehle, Gisela Ehrenfried and Max Kossatz. The ISP was to provide a financial backbone for The Thing Inc. (a 501 c 3 non profit organization). thing.net has hosted arts and activist groups and publications including P.S.1 Contemporary Art Center, Artforum, Mabou Mines, Willoughby Sharp Gallery, Zingmagazine, Journal of Contemporary Art, RTMark and Tenant.net.\n\nAmong many others, artists and projects associated with thing.net have included Sawad Brooks, Heath Bunting, Cercle Ramo Nash, Vuk Cosic, Ricardo Dominguez, Ursula Endlicher, etoy, GH Hovagimyan, Jérôme Joy, John Klima, Jenny Marketou, Mariko Mori, Olivier Mosset, Prema Murty, Mark Napier, Joseph Nechvatal, Phil Niblock, Daniel Pflumm, Francesca da Rimini, Beat Streuli and Beth Stryker.\n\nThe Thing global\nThe Thing Amsterdam was founded by Walter van der Cruijsen\nThe Thing Basel was founded by Barbara Strebel and Rik Gelles\nThe Thing Berlin was founded by Ulf Schleth\nThe Thing Cologne was founded by Michael Krome\nThe Thing Düsseldorf was founded by Jörg Sasse\nThe Thing Frankfurt was founded by Andreas Kallfelz\nThe Thing Hamburg (1993–94) was founded by Hans-Joachim Lenger\nThe Thing Hamburg (2006–2009) was founded by the local art association \"THE THING HAMBURG\"\nThe Thing London was founded by Andreas Ruethi\nThe Thing New York was founded by Wolfgang Staehle\nThe Thing Stockholm was founded by Magnus Borg\nThe Thing Vienna was founded by Helmut Mark and Max Kossatz\nThe Thing Roma was founded by Marco Deseriis and Giuseppe Marano\n\nFootnotes\n This article incorporates text from \"About: The Thing\" and \"Wolfgang Staehle: Resume\", publications released into public domain by their author.\n\nReferences\n Josephine Bosma, 'Constructing Media Spaces', in: 'Media Art Net 2', Wien, Springer Verlag, 2005. \n Dieter Daniels, Gunther Reisinger (Eds.) Net Pioneers 1.0: Contextualizing Early Net-Based Art, Sternberg. 2010.\n Christiane Paul, Digital Art, London: Thames & Hudson Ltd., p. 111\n Edward A. Shanken, Art and Electronic Media. London: Phaidon, 2009. , p. 50\n Mark Tribe and Reena Jana. New Media Art. Cologne: Taschen Verlag. pp. 22–23\n\nExternal links \nhttp://thing.net/ (current url)\nhttp://old.thing.net/ (1995)\nhttp://bbs.thing.net / (1997)\nhttp://www.thething.it/\nhttp://www.ecn.org/thingnet/frameset.html (Roma)\nhttp://www.thing-hamburg.de/ (Hamburg)\nhttp://www.thing-frankfurt.de/ (http://www.thing-net.de/) (Frankfurt)\nhttp://www.thing.de/ (Berlin)\nhttp://www.thing.at/ (Vienna)\nhttp://www.thing.desk.nl/ (Amsterdam)\nhttp://www.thing.ch/ (Basel, closed)\n\nContemporary art\nNet.artists\nConceptual art\nPostmodern art\nDigital artists\nMass media theorists\nAmerican artist groups and collectives\nConceptual artists\nPostmodern artists\nArtists from New York (state)\nDigital art\nInternet art\nNew media artists"
] |
[
"Bob Crane",
"Hogan's Heroes (1965-71)",
"what was Hogan's heroes?",
"Hogan's Heroes became a hit and finished in the top 10 in its first year on the air.",
"Was it an album?",
"The distinctive military-style snare drum rhythm that introduces the show's theme song was played by Crane himself.",
"What did the media thing about it?",
"I don't know."
] |
C_77158f59faff4edfb3339296247f1f98_1
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What are some other interesting aspects of this article?
| 4 |
Other than Hogan's heroes, what are some other interesting aspects of this article?
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Bob Crane
|
In 1965, Crane was offered the starring role in a television situation comedy about a German POW camp. Hogan's Heroes became a hit and finished in the top 10 in its first year on the air. The distinctive military-style snare drum rhythm that introduces the show's theme song was played by Crane himself. The series lasted for six seasons, and Crane was nominated for an Emmy Award twice, in 1966 and 1967. In 1968, he became romantically involved with cast member Patricia Olson, who played Hilda under the stage name Sigrid Valdis. He divorced Anne in 1970, just prior to their 21st anniversary, and married Olson on the set of the show later that year. Their son, Scotty, was born June 4, 1971, and they later adopted a daughter, Ana Marie. The couple separated in 1977, but according to several family members, reconciled shortly before Crane's death. In 1968, Crane and series costars Werner Klemperer, Leon Askin, and John Banner appeared with Elke Sommer in a feature film, The Wicked Dreams of Paula Schultz, set in the divided city of Berlin during the Cold War. In 1969, Crane starred with Abby Dalton in a dinner theater production of Cactus Flower. Crane frequently videotaped and photographed his own sexual escapades. During the run of Hogan's Heroes, Richard Dawson introduced Crane to John Henry Carpenter, a regional sales manager for Sony Electronics, who often helped famous clients with their video equipment. The two men struck up a friendship and began going to bars together. Crane attracted women due to his celebrity status and introduced Carpenter as his manager. Later, they would videotape their sexual encounters. While Crane's son Robert later insisted that all of the women were aware of the videotaping and consented to it, some, according to one source, had no idea that they had been filmed until informed by Scottsdale police after Crane's murder. Carpenter later became national sales manager at Akai, and arranged his business trips to coincide with Crane's dinner-theater touring schedule so that the two could continue seducing and videotaping women after Hogan's Heroes had run its course. CANNOTANSWER
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Carpenter later became national sales manager at Akai,
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Robert Edward Crane (July 13, 1928 – June 29, 1978) was an American actor, drummer, radio personality, and disc jockey known for starring in the CBS situation comedy Hogan's Heroes.
Crane was a drummer from age 11, and he began his career as a radio personality, first in New York City and then in Connecticut. He then moved to Los Angeles where he hosted the number-one rated morning show. In the early 1960s, he moved into acting, eventually landing the lead role of Colonel Robert Hogan in Hogan's Heroes. The series aired from 1965 to 1971, and Crane received two Emmy Award nominations.
Crane's career declined after Hogan's Heroes. He became frustrated with the few roles that he was being offered and began performing in dinner theater. In 1975, he returned to television in the NBC series The Bob Crane Show, but the series received poor ratings and was cancelled after 13 weeks. Afterward, Crane returned to performing in dinner theaters and also appeared in occasional guest spots on television.
Crane was found bludgeoned to death in his Scottsdale, Arizona, apartment while on tour in June 1978 for a dinner theater production of Beginner's Luck. The homicide remains officially unsolved. His previously uncontroversial public image suffered due to the suspicious nature of his death, and posthumous revelations about his personal life.
Early life
Crane was born in Waterbury, Connecticut, the youngest of two sons of Alfred Thomas Crane and Rose Mary Ksenich Crane - the original spelling of the family name was Crean. He spent his childhood and teenaged years in Stamford. Crane began playing drums, and by junior high was organizing local drum and bugle parades with his neighborhood friends. He joined his high school's orchestra and its marching and jazz bands. Crane also played for the Connecticut and Norwalk Symphony Orchestras as part of their youth orchestra program. He graduated from Stamford High School in 1946. In 1948, he enlisted for two years in the Connecticut Army National Guard, and was honorably discharged in 1950.
In 1949, Crane married his high-school sweetheart, Anne Terzian. They had three children – Robert David, Deborah Anne, and Karen Leslie.
Career
Early career
In 1950, Crane began his career in radio broadcasting at WLEA in Hornell, New York. He soon moved to Connecticut stations WBIS in Bristol, and then WICC in Bridgeport, a 1,000-watt operation with a signal covering the northeastern portion of the New York metropolitan area. In 1956, Crane was hired by CBS Radio to host the morning show at its West Coast flagship KNX in Los Angeles, California, partly to re-energize that station's ratings and partly to halt his erosion of suburban ratings at WCBS in New York City. In California, Crane filled the broadcast with sly wit, drumming, and such guests as Marilyn Monroe, Frank Sinatra, and Bob Hope. His show quickly topped the morning ratings with adult listeners in the Los Angeles area, and Crane became "king of the Los Angeles airwaves".
Crane's acting ambitions led to guest-hosting for Johnny Carson on the daytime game show Who Do You Trust? and appearances on The Twilight Zone (uncredited), Channing, Alfred Hitchcock Presents, and General Electric Theater. After Carl Reiner appeared on his radio show, Crane persuaded Reiner to book him for a guest appearance on The Dick Van Dyke Show.
The Donna Reed Show (1963–1964)
After seeing Crane's performance on The Dick Van Dyke Show, Donna Reed offered him a guest shot on her program. After the success of that episode, his character, Dr. David Kelsey, was incorporated into the show's storyline, and Crane became a regular cast member, beginning with the episode "Friends and Neighbors". Ann McCrea was cast in the series as his wife, Midge Kelsey. Crane continued to work full-time at KNX during his stint on The Donna Reed Show, running back and forth from the KNX studio at Columbia Square to Columbia Studios. He left the show in December 1964.
Hogan's Heroes (1965–1971)
In 1965, Crane was offered the starring role in a television sitcom set in a World War II POW camp. Hogan's Heroes involved the sabotage and espionage missions of Allied soldiers, led by Hogan, from under the noses of the oblivious Germans guarding them. The show was a hit, finishing in the top 10 in its first year. The distinctive military-style snare drum rhythm that introduces the show's theme song was played by Crane himself. The series lasted for six seasons, and Crane was nominated for an Emmy Award in 1966 and 1967. After having an affair with costar Cynthia Lynn, the actress who played Helga, Crane became romantically involved with Lynn's replacement Patricia Olson in 1968, who played Hilda under the stage name Sigrid Valdis. Crane divorced Terzian in 1970, just before their 21st anniversary, and married Olson on the set of the show later that year, with Richard Dawson serving as best man.
Their son, Scotty, was born in 1971, and they later adopted a daughter, Ana Marie. The couple separated in 1977, but according to several family members, reconciled shortly before Crane's death.
After Hogan's Heroes
In 1968, Crane and series co-stars Werner Klemperer, Leon Askin, and John Banner appeared with Elke Sommer in a feature film, The Wicked Dreams of Paula Schultz, set in the divided city of Berlin during the Cold War. In 1969, Crane starred with Abby Dalton in a dinner theater production of Cactus Flower.
Following the cancellation of Hogan's Heroes in 1971, Crane appeared in two Disney films: Superdad (1973), in the title role, and Gus (1976). In 1973, he purchased the rights to a comedy play called Beginner's Luck and began touring it, as its star and director, at the Showboat Dinner Theatre in St. Petersburg, Florida; the La Mirada Civic Theatre in California; the Windmill Dinner Theatre in Scottsdale, Arizona; and other dinner theaters around the country.
Between theater engagements, Crane guest-starred in a number of TV shows, including Police Woman, Gibbsville, Quincy, M.E., and The Love Boat. In 1975, he returned to television with his own series, The Bob Crane Show on NBC, which was cancelled after 14 episodes. In early 1978, Crane taped a travel documentary in Hawaii and recorded an appearance on the Canadian cooking show Celebrity Cooks. Neither aired in the U.S. following his death. His appearance on Celebrity Cooks did air in Canada in late 1978, and was recreated in the biopic film Auto Focus.
Private life and murder
Crane frequently videotaped and photographed his own sexual escapades. During the run of Hogan's Heroes, Richard Dawson introduced him to John Henry Carpenter, a regional sales manager for Sony Electronics, who often helped famous clients with their video equipment. The two men struck up a friendship and began going to bars together. Crane attracted many women due to his celebrity status, and he introduced Carpenter to them as his manager. Crane and Carpenter videotaped their joint sexual encounters. Crane's son Robert later insisted that all of the women were aware of the videotaping and consented to it, but some said they had no idea that they had been recorded until they were informed by Scottsdale police after Crane's murder. Carpenter later became national sales manager at Akai, and he arranged his business trips to coincide with Crane's dinner-theater touring schedule so that the two could continue videotaping their sexual encounters with women.
In June 1978, Crane was living in the Winfield Place Apartments in Scottsdale during a run of Beginner's Luck at the Windmill Dinner Theatre. On the afternoon of June 29, his co-star Victoria Ann Berry entered his apartment after he failed to show up for a lunch meeting, and discovered his body. Crane was bludgeoned with a weapon that was never identified, though investigators believed it to be a camera tripod. An electrical cord had been tied around his neck.
Crane's funeral was held on July 5, 1978, at St. Paul the Apostle Catholic Church in Westwood, Los Angeles. An estimated 200 family members and friends attended, including Patty Duke, John Astin, and Carroll O'Connor. Pallbearers included Hogan's Heroes producer Edward Feldman, co-stars Larry Hovis and Robert Clary, and Crane's son Robert. He was interred in Oakwood Memorial Park in Chatsworth, California. Patricia Olson later had his remains relocated to Westwood Village Memorial Park in Westwood, and she was buried beside him in 2007 under her stage name Sigrid Valdis.
Investigation
The Scottsdale Police Department had no homicide division at the time, so it was ill-equipped to handle such a high-profile murder investigation. The crime scene yielded few clues; no evidence was found of forced entry, and nothing of value was missing. Detectives examined Crane's extensive videotape collection, which led them to Carpenter, who had flown to Phoenix on June 25 to spend a few days with Crane. Carpenter's rental car was impounded and searched. Several blood smears were found that matched Crane's blood type; no one else of that blood type was known to have been in the car, including Carpenter. DNA testing was not yet available, and the Maricopa County Attorney declined to file charges.
In 1990, Scottsdale Police Detective Barry Vassall and Maricopa County Attorney's Office Investigator Jim Raines re-examined the evidence from 1978 and persuaded the county attorney to reopen the case. DNA testing was inconclusive on the blood found in Carpenter's rental car, but Raines did discover an evidence photograph of the car's interior that appeared to show a piece of brain tissue. The actual tissue samples recovered from the car had been lost, but an Arizona judge ruled that the new evidence was admissible. In June 1992, Carpenter was arrested and charged with Crane's murder.
Trial
At the 1994 trial, Crane's son Robert testified that in the weeks before his father's death, Crane had repeatedly expressed a desire to sever his friendship with Carpenter. He said that Carpenter had become "a hanger-on" and "a nuisance to the point of being obnoxious". "My dad expressed that he just didn't need Carpenter kind of hanging around him anymore," he said. Robert testified that Crane had called Carpenter the night before the murder and ended their friendship.
Carpenter's attorneys attacked the prosecution's case as circumstantial and inconclusive. They presented evidence that Carpenter and Crane were still the best of friends, including witnesses from the restaurant where the two men had dined the evening before the murder. They noted that the murder weapon had never been identified nor found; the prosecution's camera tripod theory was sheer speculation, they said, based solely on Carpenter's occupation. They disputed the claim that the newly discovered evidence photo showed brain tissue, and presented many examples of "sloppy work" by police, such as the mishandling and misplacing of evidence—including the crucial tissue sample itself. They pointed out that Crane had been videotaped and photographed in sexual relations with numerous women, implying that any one of them might have been the killer. Other potential suspects proposed by defense attorneys included angry husbands and boyfriends of the women, and an actor who had sworn vengeance after a violent argument with Crane in Texas several months earlier.
Carpenter was acquitted, and he continued to maintain his innocence until his death in 1998. After the trial, Robert Crane speculated publicly that Olson, his father's widow, might have had a role in instigating the crime. "Nobody got a dime out of [the murder]," he said, "except for one person," alluding to Crane's will, which excluded him, his siblings, and his mother, with the entire estate left to Olson. He repeated his suspicions in the 2015 book Crane: Sex, Celebrity, and My Father's Unsolved Murder. Maricopa County District Attorney Rick Romley responded, "We never characterized Patty as a suspect," adding "I am convinced John Carpenter murdered Bob Crane." Officially, Crane's murder remains unsolved.
Later DNA testing
In November 2016, the Maricopa County Attorney's Office permitted Phoenix television reporter John Hook to submit the 1978 blood samples from Carpenter's rental car for retesting, using a more advanced DNA technique than the one used in 1990. Two sequences were identified, one from an unknown male, and the other too degraded to reach a conclusion. This testing consumed all of the remaining DNA from the rental car, making further tests impossible. Authorities tried to get DNA samples from Crane and Carpenter's remains, but their families refuse permission to exhume them.
Auto Focus
Crane's life and murder were the subject of the 2002 film Auto Focus, directed by Paul Schrader and starring Greg Kinnear as Crane. The film, based on a book on Crane's murder written by Zodiac author Robert Graysmith, was described as "brilliant" by critic Roger Ebert. The film portrays Crane as a happily married, church-going family man and popular Los Angeles disc jockey, who succumbs to Hollywood's celebrity lifestyle after becoming a television star. When he meets Carpenter, played by Willem Dafoe, and as a result of their friendship learns about then-new home video technology, he descends into a life of strip clubs, BDSM, and sex addiction.
Crane's son with Olson, Scotty, challenged the film's accuracy in an October 2002 review. "During the last twelve years of his life," he wrote, "[Crane] went to church three times: when I was baptized, when his father died, and when he was buried." His son further stated that Crane was a sex addict long before he became a star, and that he may have begun recording his sexual encounters as early as 1956. There was no evidence, he said, that Crane engaged in BDSM; there were no such scenes in any of his hundreds of home movies, and Schrader admitted that the film's BDSM scene was based on his own experience (while writing Hardcore). Before production on Auto Focus was announced, Scotty and Olson had shopped a rival script alternatively titled F-Stop or Take Off Your Clothes and Smile, but interest ceased after Auto Focus was announced.
In June 2001, Scotty launched the website bobcrane.com. It included a paid section featuring photographs, outtakes from his father's sex films, and Crane's autopsy report that proved, he said, that his father did not have a penile implant as stated in Auto Focus. The site was renamed "Bob Crane: The Official Web Site", but is now abandoned. The "official" Bob Crane website was maintained by CMG Worldwide. The website no longer exists.
Filmography
Film
Television
Awards and nominations
References
Further reading
Hook, John. "Who Killed Bob Crane? The Final Close-Up". Brisance Books Group (2016).
Crane, Robert and Fryer, Christopher. Crane: Sex, Celebrity, and My Father's Unsolved Murder. University Press of Kentucky (2015).
Crime and Investigation Network. "Murder in Scottsdale : The Death of Bob Crane". Video. Published May 30, 2014.
Ford, Carol M., Young, Dee, and Groundwater, Linda. Bob Crane: The Definitive Biography. AuthorMike Ink (2015).
Fox 10 Phoenix (KSAZ-TV). Who killed Bob Crane? A closer look at evidence in the 1978 murder investigation. Videos. Published November 14, 2016.
Graysmith, Robert. The Murder of Bob Crane: Who Killed the Star of Hogan's Heroes?. Crown Publishers, New York (1993).
Scott, A.O. "The Bob Crane Story: Everything but a Hero". The New York Times, October 4, 2002
External links
1928 births
1978 deaths
1978 murders in the United States
20th-century American male actors
Male actors from Connecticut
American male film actors
American radio DJs
American male stage actors
American male television actors
Burials at Westwood Village Memorial Park Cemetery
Deaths by beating in the United States
Actors from Waterbury, Connecticut
People murdered in Arizona
Connecticut National Guard personnel
United States Army soldiers
Unsolved murders in the United States
20th-century American musicians
Connecticut Republicans
Deaths from bleeding
Deaths from head injury
American murder victims
Stamford High School (Stamford, Connecticut) alumni
| true |
[
"Přírodní park Třebíčsko (before Oblast klidu Třebíčsko) is a natural park near Třebíč in the Czech Republic. There are many interesting plants. The park was founded in 1983.\n\nKobylinec and Ptáčovský kopeček\n\nKobylinec is a natural monument situated ca 0,5 km from the village of Trnava.\nThe area of this monument is 0,44 ha. Pulsatilla grandis can be found here and in the Ptáčovský kopeček park near Ptáčov near Třebíč. Both monuments are very popular for tourists.\n\nPonds\n\nIn the natural park there are some interesting ponds such as Velký Bor, Malý Bor, Buršík near Přeckov and a brook Březinka. Dams on the brook are examples of European beaver activity.\n\nSyenitové skály near Pocoucov\n\nSyenitové skály (rocks of syenit) near Pocoucov is one of famed locations. There are interesting granite boulders. The area of the reservation is 0,77 ha.\n\nExternal links\nParts of this article or all article was translated from Czech. The original article is :cs:Přírodní park Třebíčsko.\n\nReferences\n\nExternal links\nNature near the village Trnava which is there\n\nTřebíč\nParks in the Czech Republic\nTourist attractions in the Vysočina Region",
"Towards Artsakh () is an Armenian Entertainment television program. The series premiered on Armenia 1 on September 21, 2014.\nEach series of the TV program presents some area of life of today's hospitable Artsakh and reveals its most interesting aspects. What is Artsakh famous for? What has remained in the shadow up today? The program covers these questions as well as refers to the interests of young people and concerns of the older generation. \nArtsakh's legends and true stories are presented through the eyes of eyewitnesses.\n\nExternal links\n\n \n Towards Artsakh on Armenia 1\n\nArmenian-language television shows\nNonlinear narrative television series\nArmenia 1 television shows\nNagorno-Karabakh\n2010s Armenian television series"
] |
[
"Bob Crane",
"Hogan's Heroes (1965-71)",
"what was Hogan's heroes?",
"Hogan's Heroes became a hit and finished in the top 10 in its first year on the air.",
"Was it an album?",
"The distinctive military-style snare drum rhythm that introduces the show's theme song was played by Crane himself.",
"What did the media thing about it?",
"I don't know.",
"What are some other interesting aspects of this article?",
"Carpenter later became national sales manager at Akai,"
] |
C_77158f59faff4edfb3339296247f1f98_1
|
Why did carpenter become a sales manager?
| 5 |
Why did carpenter become a sales manager at Akai?
|
Bob Crane
|
In 1965, Crane was offered the starring role in a television situation comedy about a German POW camp. Hogan's Heroes became a hit and finished in the top 10 in its first year on the air. The distinctive military-style snare drum rhythm that introduces the show's theme song was played by Crane himself. The series lasted for six seasons, and Crane was nominated for an Emmy Award twice, in 1966 and 1967. In 1968, he became romantically involved with cast member Patricia Olson, who played Hilda under the stage name Sigrid Valdis. He divorced Anne in 1970, just prior to their 21st anniversary, and married Olson on the set of the show later that year. Their son, Scotty, was born June 4, 1971, and they later adopted a daughter, Ana Marie. The couple separated in 1977, but according to several family members, reconciled shortly before Crane's death. In 1968, Crane and series costars Werner Klemperer, Leon Askin, and John Banner appeared with Elke Sommer in a feature film, The Wicked Dreams of Paula Schultz, set in the divided city of Berlin during the Cold War. In 1969, Crane starred with Abby Dalton in a dinner theater production of Cactus Flower. Crane frequently videotaped and photographed his own sexual escapades. During the run of Hogan's Heroes, Richard Dawson introduced Crane to John Henry Carpenter, a regional sales manager for Sony Electronics, who often helped famous clients with their video equipment. The two men struck up a friendship and began going to bars together. Crane attracted women due to his celebrity status and introduced Carpenter as his manager. Later, they would videotape their sexual encounters. While Crane's son Robert later insisted that all of the women were aware of the videotaping and consented to it, some, according to one source, had no idea that they had been filmed until informed by Scottsdale police after Crane's murder. Carpenter later became national sales manager at Akai, and arranged his business trips to coincide with Crane's dinner-theater touring schedule so that the two could continue seducing and videotaping women after Hogan's Heroes had run its course. CANNOTANSWER
|
often helped famous clients with their video equipment.
|
Robert Edward Crane (July 13, 1928 – June 29, 1978) was an American actor, drummer, radio personality, and disc jockey known for starring in the CBS situation comedy Hogan's Heroes.
Crane was a drummer from age 11, and he began his career as a radio personality, first in New York City and then in Connecticut. He then moved to Los Angeles where he hosted the number-one rated morning show. In the early 1960s, he moved into acting, eventually landing the lead role of Colonel Robert Hogan in Hogan's Heroes. The series aired from 1965 to 1971, and Crane received two Emmy Award nominations.
Crane's career declined after Hogan's Heroes. He became frustrated with the few roles that he was being offered and began performing in dinner theater. In 1975, he returned to television in the NBC series The Bob Crane Show, but the series received poor ratings and was cancelled after 13 weeks. Afterward, Crane returned to performing in dinner theaters and also appeared in occasional guest spots on television.
Crane was found bludgeoned to death in his Scottsdale, Arizona, apartment while on tour in June 1978 for a dinner theater production of Beginner's Luck. The homicide remains officially unsolved. His previously uncontroversial public image suffered due to the suspicious nature of his death, and posthumous revelations about his personal life.
Early life
Crane was born in Waterbury, Connecticut, the youngest of two sons of Alfred Thomas Crane and Rose Mary Ksenich Crane - the original spelling of the family name was Crean. He spent his childhood and teenaged years in Stamford. Crane began playing drums, and by junior high was organizing local drum and bugle parades with his neighborhood friends. He joined his high school's orchestra and its marching and jazz bands. Crane also played for the Connecticut and Norwalk Symphony Orchestras as part of their youth orchestra program. He graduated from Stamford High School in 1946. In 1948, he enlisted for two years in the Connecticut Army National Guard, and was honorably discharged in 1950.
In 1949, Crane married his high-school sweetheart, Anne Terzian. They had three children – Robert David, Deborah Anne, and Karen Leslie.
Career
Early career
In 1950, Crane began his career in radio broadcasting at WLEA in Hornell, New York. He soon moved to Connecticut stations WBIS in Bristol, and then WICC in Bridgeport, a 1,000-watt operation with a signal covering the northeastern portion of the New York metropolitan area. In 1956, Crane was hired by CBS Radio to host the morning show at its West Coast flagship KNX in Los Angeles, California, partly to re-energize that station's ratings and partly to halt his erosion of suburban ratings at WCBS in New York City. In California, Crane filled the broadcast with sly wit, drumming, and such guests as Marilyn Monroe, Frank Sinatra, and Bob Hope. His show quickly topped the morning ratings with adult listeners in the Los Angeles area, and Crane became "king of the Los Angeles airwaves".
Crane's acting ambitions led to guest-hosting for Johnny Carson on the daytime game show Who Do You Trust? and appearances on The Twilight Zone (uncredited), Channing, Alfred Hitchcock Presents, and General Electric Theater. After Carl Reiner appeared on his radio show, Crane persuaded Reiner to book him for a guest appearance on The Dick Van Dyke Show.
The Donna Reed Show (1963–1964)
After seeing Crane's performance on The Dick Van Dyke Show, Donna Reed offered him a guest shot on her program. After the success of that episode, his character, Dr. David Kelsey, was incorporated into the show's storyline, and Crane became a regular cast member, beginning with the episode "Friends and Neighbors". Ann McCrea was cast in the series as his wife, Midge Kelsey. Crane continued to work full-time at KNX during his stint on The Donna Reed Show, running back and forth from the KNX studio at Columbia Square to Columbia Studios. He left the show in December 1964.
Hogan's Heroes (1965–1971)
In 1965, Crane was offered the starring role in a television sitcom set in a World War II POW camp. Hogan's Heroes involved the sabotage and espionage missions of Allied soldiers, led by Hogan, from under the noses of the oblivious Germans guarding them. The show was a hit, finishing in the top 10 in its first year. The distinctive military-style snare drum rhythm that introduces the show's theme song was played by Crane himself. The series lasted for six seasons, and Crane was nominated for an Emmy Award in 1966 and 1967. After having an affair with costar Cynthia Lynn, the actress who played Helga, Crane became romantically involved with Lynn's replacement Patricia Olson in 1968, who played Hilda under the stage name Sigrid Valdis. Crane divorced Terzian in 1970, just before their 21st anniversary, and married Olson on the set of the show later that year, with Richard Dawson serving as best man.
Their son, Scotty, was born in 1971, and they later adopted a daughter, Ana Marie. The couple separated in 1977, but according to several family members, reconciled shortly before Crane's death.
After Hogan's Heroes
In 1968, Crane and series co-stars Werner Klemperer, Leon Askin, and John Banner appeared with Elke Sommer in a feature film, The Wicked Dreams of Paula Schultz, set in the divided city of Berlin during the Cold War. In 1969, Crane starred with Abby Dalton in a dinner theater production of Cactus Flower.
Following the cancellation of Hogan's Heroes in 1971, Crane appeared in two Disney films: Superdad (1973), in the title role, and Gus (1976). In 1973, he purchased the rights to a comedy play called Beginner's Luck and began touring it, as its star and director, at the Showboat Dinner Theatre in St. Petersburg, Florida; the La Mirada Civic Theatre in California; the Windmill Dinner Theatre in Scottsdale, Arizona; and other dinner theaters around the country.
Between theater engagements, Crane guest-starred in a number of TV shows, including Police Woman, Gibbsville, Quincy, M.E., and The Love Boat. In 1975, he returned to television with his own series, The Bob Crane Show on NBC, which was cancelled after 14 episodes. In early 1978, Crane taped a travel documentary in Hawaii and recorded an appearance on the Canadian cooking show Celebrity Cooks. Neither aired in the U.S. following his death. His appearance on Celebrity Cooks did air in Canada in late 1978, and was recreated in the biopic film Auto Focus.
Private life and murder
Crane frequently videotaped and photographed his own sexual escapades. During the run of Hogan's Heroes, Richard Dawson introduced him to John Henry Carpenter, a regional sales manager for Sony Electronics, who often helped famous clients with their video equipment. The two men struck up a friendship and began going to bars together. Crane attracted many women due to his celebrity status, and he introduced Carpenter to them as his manager. Crane and Carpenter videotaped their joint sexual encounters. Crane's son Robert later insisted that all of the women were aware of the videotaping and consented to it, but some said they had no idea that they had been recorded until they were informed by Scottsdale police after Crane's murder. Carpenter later became national sales manager at Akai, and he arranged his business trips to coincide with Crane's dinner-theater touring schedule so that the two could continue videotaping their sexual encounters with women.
In June 1978, Crane was living in the Winfield Place Apartments in Scottsdale during a run of Beginner's Luck at the Windmill Dinner Theatre. On the afternoon of June 29, his co-star Victoria Ann Berry entered his apartment after he failed to show up for a lunch meeting, and discovered his body. Crane was bludgeoned with a weapon that was never identified, though investigators believed it to be a camera tripod. An electrical cord had been tied around his neck.
Crane's funeral was held on July 5, 1978, at St. Paul the Apostle Catholic Church in Westwood, Los Angeles. An estimated 200 family members and friends attended, including Patty Duke, John Astin, and Carroll O'Connor. Pallbearers included Hogan's Heroes producer Edward Feldman, co-stars Larry Hovis and Robert Clary, and Crane's son Robert. He was interred in Oakwood Memorial Park in Chatsworth, California. Patricia Olson later had his remains relocated to Westwood Village Memorial Park in Westwood, and she was buried beside him in 2007 under her stage name Sigrid Valdis.
Investigation
The Scottsdale Police Department had no homicide division at the time, so it was ill-equipped to handle such a high-profile murder investigation. The crime scene yielded few clues; no evidence was found of forced entry, and nothing of value was missing. Detectives examined Crane's extensive videotape collection, which led them to Carpenter, who had flown to Phoenix on June 25 to spend a few days with Crane. Carpenter's rental car was impounded and searched. Several blood smears were found that matched Crane's blood type; no one else of that blood type was known to have been in the car, including Carpenter. DNA testing was not yet available, and the Maricopa County Attorney declined to file charges.
In 1990, Scottsdale Police Detective Barry Vassall and Maricopa County Attorney's Office Investigator Jim Raines re-examined the evidence from 1978 and persuaded the county attorney to reopen the case. DNA testing was inconclusive on the blood found in Carpenter's rental car, but Raines did discover an evidence photograph of the car's interior that appeared to show a piece of brain tissue. The actual tissue samples recovered from the car had been lost, but an Arizona judge ruled that the new evidence was admissible. In June 1992, Carpenter was arrested and charged with Crane's murder.
Trial
At the 1994 trial, Crane's son Robert testified that in the weeks before his father's death, Crane had repeatedly expressed a desire to sever his friendship with Carpenter. He said that Carpenter had become "a hanger-on" and "a nuisance to the point of being obnoxious". "My dad expressed that he just didn't need Carpenter kind of hanging around him anymore," he said. Robert testified that Crane had called Carpenter the night before the murder and ended their friendship.
Carpenter's attorneys attacked the prosecution's case as circumstantial and inconclusive. They presented evidence that Carpenter and Crane were still the best of friends, including witnesses from the restaurant where the two men had dined the evening before the murder. They noted that the murder weapon had never been identified nor found; the prosecution's camera tripod theory was sheer speculation, they said, based solely on Carpenter's occupation. They disputed the claim that the newly discovered evidence photo showed brain tissue, and presented many examples of "sloppy work" by police, such as the mishandling and misplacing of evidence—including the crucial tissue sample itself. They pointed out that Crane had been videotaped and photographed in sexual relations with numerous women, implying that any one of them might have been the killer. Other potential suspects proposed by defense attorneys included angry husbands and boyfriends of the women, and an actor who had sworn vengeance after a violent argument with Crane in Texas several months earlier.
Carpenter was acquitted, and he continued to maintain his innocence until his death in 1998. After the trial, Robert Crane speculated publicly that Olson, his father's widow, might have had a role in instigating the crime. "Nobody got a dime out of [the murder]," he said, "except for one person," alluding to Crane's will, which excluded him, his siblings, and his mother, with the entire estate left to Olson. He repeated his suspicions in the 2015 book Crane: Sex, Celebrity, and My Father's Unsolved Murder. Maricopa County District Attorney Rick Romley responded, "We never characterized Patty as a suspect," adding "I am convinced John Carpenter murdered Bob Crane." Officially, Crane's murder remains unsolved.
Later DNA testing
In November 2016, the Maricopa County Attorney's Office permitted Phoenix television reporter John Hook to submit the 1978 blood samples from Carpenter's rental car for retesting, using a more advanced DNA technique than the one used in 1990. Two sequences were identified, one from an unknown male, and the other too degraded to reach a conclusion. This testing consumed all of the remaining DNA from the rental car, making further tests impossible. Authorities tried to get DNA samples from Crane and Carpenter's remains, but their families refuse permission to exhume them.
Auto Focus
Crane's life and murder were the subject of the 2002 film Auto Focus, directed by Paul Schrader and starring Greg Kinnear as Crane. The film, based on a book on Crane's murder written by Zodiac author Robert Graysmith, was described as "brilliant" by critic Roger Ebert. The film portrays Crane as a happily married, church-going family man and popular Los Angeles disc jockey, who succumbs to Hollywood's celebrity lifestyle after becoming a television star. When he meets Carpenter, played by Willem Dafoe, and as a result of their friendship learns about then-new home video technology, he descends into a life of strip clubs, BDSM, and sex addiction.
Crane's son with Olson, Scotty, challenged the film's accuracy in an October 2002 review. "During the last twelve years of his life," he wrote, "[Crane] went to church three times: when I was baptized, when his father died, and when he was buried." His son further stated that Crane was a sex addict long before he became a star, and that he may have begun recording his sexual encounters as early as 1956. There was no evidence, he said, that Crane engaged in BDSM; there were no such scenes in any of his hundreds of home movies, and Schrader admitted that the film's BDSM scene was based on his own experience (while writing Hardcore). Before production on Auto Focus was announced, Scotty and Olson had shopped a rival script alternatively titled F-Stop or Take Off Your Clothes and Smile, but interest ceased after Auto Focus was announced.
In June 2001, Scotty launched the website bobcrane.com. It included a paid section featuring photographs, outtakes from his father's sex films, and Crane's autopsy report that proved, he said, that his father did not have a penile implant as stated in Auto Focus. The site was renamed "Bob Crane: The Official Web Site", but is now abandoned. The "official" Bob Crane website was maintained by CMG Worldwide. The website no longer exists.
Filmography
Film
Television
Awards and nominations
References
Further reading
Hook, John. "Who Killed Bob Crane? The Final Close-Up". Brisance Books Group (2016).
Crane, Robert and Fryer, Christopher. Crane: Sex, Celebrity, and My Father's Unsolved Murder. University Press of Kentucky (2015).
Crime and Investigation Network. "Murder in Scottsdale : The Death of Bob Crane". Video. Published May 30, 2014.
Ford, Carol M., Young, Dee, and Groundwater, Linda. Bob Crane: The Definitive Biography. AuthorMike Ink (2015).
Fox 10 Phoenix (KSAZ-TV). Who killed Bob Crane? A closer look at evidence in the 1978 murder investigation. Videos. Published November 14, 2016.
Graysmith, Robert. The Murder of Bob Crane: Who Killed the Star of Hogan's Heroes?. Crown Publishers, New York (1993).
Scott, A.O. "The Bob Crane Story: Everything but a Hero". The New York Times, October 4, 2002
External links
1928 births
1978 deaths
1978 murders in the United States
20th-century American male actors
Male actors from Connecticut
American male film actors
American radio DJs
American male stage actors
American male television actors
Burials at Westwood Village Memorial Park Cemetery
Deaths by beating in the United States
Actors from Waterbury, Connecticut
People murdered in Arizona
Connecticut National Guard personnel
United States Army soldiers
Unsolved murders in the United States
20th-century American musicians
Connecticut Republicans
Deaths from bleeding
Deaths from head injury
American murder victims
Stamford High School (Stamford, Connecticut) alumni
| true |
[
"John Henry Carpenter (April 24, 1928 – September 4, 1998) was an American video equipment salesman, most widely known as the friend and accused murderer of actor Bob Crane in 1978.\n\nBiography\nCarpenter was of Native American and Spanish heritage. He was born on the Morongo Band of Mission Indians reservation where as a teenager he often earned money as a migrant worker harvesting apricots.\n\nCarpenter served in the U.S. Army and was married twice. Following his retirement from the Army he took a job marketing video technology, achieving expertise in that field and becoming head of the video wing of a new Japanese electronics company debuting in the United States called Sonycom, later to be known simply as Sony. John had a child, John Michael Carpenter, from his first marriage who was adopted with the last name of Merrill. John Carpenter had three grandchildren from his first marriage and six great grandchildren.\n\nRelationship with Bob Crane\nDuring the run of Hogan's Heroes, Richard Dawson introduced Crane to Carpenter, a regional sales manager for Sony Electronics, who often helped famous clients with video and audio equipment. The two men struck up a friendship and began going to bars together. Crane attracted women due to his celebrity status and introduced Carpenter as his manager. Later, they would videotape their sexual encounters. While Crane's son Robert later insisted that all of the women were aware of the videotaping and consented to it, some, according to one source, had no idea they had been recorded until informed by Scottsdale police after Crane's murder. Carpenter later became national sales manager at Akai, and arranged his business trips to coincide with Crane's dinner-theater touring schedule so that the two could continue seducing and videotaping women after Hogan's Heroes had run its course.\n\nTrial\nIn 1994, Crane's murder case was re-opened and Carpenter was tried and eventually acquitted. As a result of the accusation, he was fired from work as National Service Manager at the electronics firm Kenwood USA. \nHe always maintained his innocence, and later said he felt a huge relief after his name had been cleared. One jury member later said in an interview that the jury believed there was insufficient proof to determine Carpenter's guilt and that \"you cannot prove someone guilty on speculation.\"\nCarpenter's acquittal was spearheaded by defense attorney Dan Roth. The Law Offices of Roth and Roth were located in Scottsdale, Arizona. Carpenter's acquittal subsequently propelled Roth's reputation as one of Arizona's most sought-after defense attorneys.\n\nPortrayal in Auto Focus\n\nIn the 2002 biopic Auto Focus, Carpenter was played by Willem Dafoe.\n\nThe film strongly suggests that Carpenter was bisexual and was sexually attracted to Crane, which was presented by the prosecution's case as Carpenter's motive for the crime. No witnesses or evidence were presented to support the prosecution's claims. In the special features section of the DVD, a documentary extra has Carpenter's second wife adamantly asserting that Carpenter was completely heterosexual. The film also portrays Carpenter as suffering from colorblindness.\n\nReferences\n\nExternal links\n\nRichard Dawson interview – Richard Dawson talks about Carpenter, see Part 2, starting at 29:25.\n\n1928 births\n1998 deaths\n1978 murders in the United States\nAmerican salespeople\nPeople acquitted of murder\nNative American people\nAmerican people of Spanish descent\nUnited States Army soldiers",
"\"Looking for Love!!\" is a song released under Karen Carpenter's name. It is regarded as the first release by what was to become The Carpenters. The music was written by Karen's brother, Richard Carpenter. It was recorded in 1966 and released on record label Magic Lamp, a small label with a limited budget. Even though Richard Carpenter does participate on the recording, it is printed \"Karen Carpenter\" on the recording contract and record label.\n\nThe record has now become a collectors' item and is worth between $2,000 to $2,500 as only 500 copies of the 45 rpm single were pressed. The single did not chart commercially and no music video was shot for the song (because promotional music videos were in their infancy at the time). This process led Magic Lamp to defunct, but the song, along with its B-side \"I'll Be Yours\", were later included on the 1991 4-CD box set From the Top. According to the liner notes for the album From the Top, the master tapes for this recording and its flip side were lost in a fire at Joe Osborn's house in 1974. All CD reissues have been made from a 45rpm copy owned by Richard Carpenter.\n\nReferences\n\n1966 debut singles\n1966 songs\nKaren Carpenter songs\nSongs written by Richard Carpenter (musician)"
] |
[
"Margaret Cho",
"1995-2002: Stand-up, acting, and writing"
] |
C_7d596c991d904f3980cef0a20b6da5fb_1
|
What happened in 1995?
| 1 |
What happened to Margaret Cho in 1995?
|
Margaret Cho
|
Though her career and personal life were challenging after the cancellation of the show, Cho eventually sobered up, refocused her energy, and developed new material. She hosted the New Year's Rockin' Eve 95 show with Steve Harvey. In 1997, she had a supporting role in the thriller filmFace/Off starring Nicolas Cage and John Travolta, playing the role of Wanda, one of the fellow FBI agents of Travolta's primary character. In 1999, she wrote about her struggles with the show in her first one-woman show, I'm the One That I Want. That year, I'm the One That I Want won New York magazine's Performance of the Year award and was named one of the Great Performances of the year by Entertainment Weekly. At the same time, Cho wrote and published an autobiographical book with the same title, and the show itself was filmed and released as a concert film in 2000. Her material dealt with her difficulties breaking into show business because of her ethnicity and weight and her resulting struggle with and triumph over body image issues and drug and alcohol addiction. Cho also appeared in an episode of the HBO comedy Sex and the City's fourth season. The episode, titled "The Real Me," first aired on June 3, 2001, and also guest-starred Heidi Klum. In 2004, the show Notorious C.H.O. (the title was derived from slain rapper The Notorious B.I.G.) dealt with the comedian having been reared in 1970s San Francisco and her bisexuality. After completing Notorious C.H.O., Cho made another stand-up film, Revolution, which was released in 2004, and subsequently work on her first self-written film in which she starred. Bam Bam and Celeste, a low-budget comedy about a "fag hag" and her gay best friend, co-starred Cho's friend and co-touring act Bruce Daniels. The film premiered at the Toronto International Film Festival in 2005. On Valentine's Day of 2004, Cho spoke at the Marriage Equality Rally at the California State Capitol. Her speech can be seen in the documentary Freedom to Marry. CANNOTANSWER
|
She hosted the New Year's Rockin' Eve 95 show with Steve Harvey.
|
Margaret Moran Cho (; born December 5, 1968) is an American stand-up comedian, actress, musician, fashion designer, and author. Cho is best known for her stand-up routines, through which she critiques social and political problems, especially regarding race and sexuality. She rose to prominence after creating and starring in the ABC sitcom All-American Girl (1994–95), and became an established stand-up comic in the subsequent years.
She has also had endeavors in fashion and music, and has her own clothing line. Cho has also frequently supported LGBT rights and has won awards for her humanitarian efforts on behalf of women, Asian Americans, and the LGBT community.
As an actress, she has acted in such roles as Charlene Lee in It's My Party and John Travolta's FBI colleague in the action movie Face/Off. Cho was part of the cast of the TV series Drop Dead Diva on Lifetime Television, in which she appeared as Teri Lee, a paralegal assistant. For her portrayal of Dictator Kim Jong-il on 30 Rock, she was nominated for the Primetime Emmy Award for Outstanding Guest Actress in a Comedy Series in 2012.
Early life
Cho was born in 1968 into a Korean family in San Francisco, California. Her grandfather was a Christian minister who ran an orphanage in Seoul during the Korean War and, according to Cho, she "grew up in the church." She was raised in a racially diverse neighborhood near the Ocean Beach section of San Francisco, which she described as a community of "old hippies, ex-druggies, burn-outs from the 1960s, drag queens, Chinese people, and Koreans. To say it was a melting pot – that's the least of it. It was a really confusing, enlightening, wonderful time." Cho's parents, Young-Hie and Seung-Hoon Cho, ran Paperback Traffic, a bookstore on Polk Street at California Street in San Francisco. Her father writes joke books and a newspaper column in Seoul, South Korea.
At school, Cho was bullied, saying that "I was hurt because I was different, and so sharing my experience of being beaten and hated and called fat and queer and foreign and perverse and gluttonous and lazy and filthy and dishonest and yet all the while remaining invisible heals me, and heals others when they hear it – those who are suffering right now."
Between the ages of five and twelve, Cho was "sexually molested by a family friend". On the Loveline May 21, 1997 show with Adam Carolla and Dr. Drew Pinsky, she talks about being raped by her uncle, while during the same time period he was raping his three-year-old daughter. She often skipped class and got bad grades in ninth and tenth grades, resulting in her expulsion from Lowell High School. Cho said she was "raped continuously through my youngest years" (by another acquaintance), and that when she told someone else about it and her classmates found out, she received hostile remarks justifying it, including accusations of being "so fat" that only a crazy person would have sex with her.
After Cho expressed an interest in performance, she auditioned and was accepted into the San Francisco School of the Arts, a San Francisco public high school for the arts. While at the school, she became involved with the school's improvisational comedy group alongside actors Sam Rockwell and Aisha Tyler.
At age 15, she worked as a phone sex operator, and she later worked as a dominatrix. After graduating from high school, Cho attended San Francisco State University, studying drama; she did not graduate.
Career
1994–97: Early stand-up and All-American Girl
After doing several shows in a club adjacent to her parents' bookstore, Cho launched a stand-up career and spent several years developing her material in clubs. Cho's career began to build after appearances on television and university campuses. In 1992, she appeared on the unsuccessful Golden Girls spin-off The Golden Palace in a small role. In 1994, Cho won the American Comedy Award for Best Female Comedian. In 2010, on The View, she discussed her nervousness about doing The Golden Palace and thanked the late Rue McClanahan for her help with rehearsing. She also secured a coveted spot as opening act for Jerry Seinfeld; at about this time, she was featured on a Bob Hope special, and was also a frequent visitor to The Arsenio Hall Show.
That same year, ABC developed and aired a sitcom based on Cho's stand-up routine. The show, titled All-American Girl, was initially promoted as the first show prominently featuring an East Asian family, although the short lived sitcom Mr. T and Tina, which had starred Noriyuki "Pat" Morita as Mr. T., preceded it by nearly two decades.
Cho has expressed subsequent regret for much of what transpired during the production of the show, specifically:
After network executives, especially executive producer Gail Berman, criticized her appearance and the roundness of her face, Cho starved herself for several weeks. Her rapid weight loss, done to modify her appearance by the time the pilot episode was filmed, caused kidney failure.
The show suffered criticism from within the U.S. East Asian community over its perception of stereotyping. Producers told Cho at different times during production both that she was "too Asian" and that she was "not Asian enough." At one point during the course of the show, producers hired a coach to teach Cho how to "be more Asian."
Much of the humor was broad and coarse, and at times, stereotypical portrayals of her close Korean relatives and gay bookshop customers were employed.
The show was canceled after suffering poor ratings and the effect of major content changes over the course of its single season (19 episodes).
After the show's 1995 cancellation, Cho became addicted to drugs and alcohol. As detailed in her 2002 autobiography, I'm the One That I Want, in 1995, her substance abuse was evident during a performance in Monroe, Louisiana, where she was booed off the stage by 800 college students after going on the stage drunk.
1995–2002: Stand-up, acting, and writing
Though her career and personal life were challenging after the show's cancellation, Cho eventually sobered up, refocused her energy, and developed new material. She hosted the New Year's Rockin' Eve 95 show with Steve Harvey. In 1997, she had a supporting role in the thriller film Face/Off starring Nicolas Cage and John Travolta, playing Wanda, one of the fellow FBI agents of Travolta's primary character.
In 1999, she wrote about her struggles with All-American Girl in her first one-woman show, I'm the One That I Want. That year, I'm the One That I Want won New York magazine's Performance of the Year award and was named one of the Great Performances of the year by Entertainment Weekly. At the same time, Cho wrote and published an autobiographical book with the same title, and the show itself was filmed and released as a concert film in 2000. Her material dealt with her difficulties breaking into show business because of her ethnicity and weight and her resulting struggle with and triumph over body image issues and drug and alcohol addiction. Cho also appeared in an episode of the HBO comedy Sex and the City's fourth season. The episode, titled "The Real Me," first aired on June 3, 2001, and also guest-starred Heidi Klum.
In 2004, the show Notorious C.H.O. (the title was derived from slain rapper The Notorious B.I.G.) referred to the comedian having been reared in 1970s San Francisco and her bisexuality. After completing Notorious C.H.O., she made another stand-up film, Revolution, released in 2004, and subsequently work on her first self-written film in which she starred. Bam Bam and Celeste, a low-budget comedy about a "fag hag" and her gay best friend, co-starred Cho's friend and co-touring act Bruce Daniels. The film premiered at the Toronto International Film Festival in 2005. On Valentine's Day of 2004, Cho spoke at the Marriage Equality Rally at the California State Capitol. Her speech can be seen in the documentary Freedom to Marry.
2005–2010: Other projects and television
In 2005, Cho released her second book, I Have Chosen to Stay and Fight, a compilation of essays and prose about global politics, human rights, and other topical issues. Cho launched a national book tour in support of the collection. An audio reading of the book was also released. A DVD of a live taping of her Assassin tour was released in conjunction with the book. The same year, Cho started promoting and touring with her new show, Assassin. The show became her fourth live concert film and premiered on the gay and lesbian premium cable network Here! TV in September 2005. In this DVD, she notably includes herself when talking about gay people, saying "we" and "our community." Posters for Assassin featured Cho in paratrooper gear and holding a microphone in the style of an automatic rifle, a reference to the infamous 1974 photo of heiress Patty Hearst.
Cho launched "The Sensuous Woman," a burlesque-style variety show tour, in Los Angeles on August 10, 2007, with tour dates scheduled through November 3, as of October 10. Scheduled tour stops meant to follow Los Angeles were Chicago, Illinois and New York City. On August 10, 2007 the San Francisco Chronicle reviewed the show, Cho's work, key events in her personal life and characterized the show thus: "In fact, as bawdy and bad-behaving as the cast gets, the whole show feels more like a crazy family reunion than a performance."
Also in 2007, Cho appeared in The Dresden Dolls' video of their song "Shores of California," which was MCed by Amanda Palmer and in The Cliks's video for "Eyes in the Back of My Head," in which she appeared as Lucas Silveira's lover. She also provided the character voice for a character named Condie Ling on the Logo animated series Rick & Steve: The Happiest Gay Couple in All the World. Her episodes began airing in 2007.
The premiere performance of Cho's "Beautiful" tour was on February 28, 2008, in Sydney, Australia as part of the Gay and Lesbian Mardi Gras Festival. Cho was also the Chief of Parade for the festival's annual parade along Oxford Street on March 1. During her stay in Sydney, Cho was filmed shopping for parade outfits in a drag store with Kathy Griffin and Cyndi Lauper for Griffin's Bravo series My Life on the D-List. The episode featuring Cho aired on June 26, 2008.
Cho and her family and friends appeared in an episode of NBC's series Celebrity Family Feud, which premiered on June 24, 2008. Later that summer, she appeared in her own semi-scripted reality sitcom for VH1, The Cho Show, which premiered on August 21, 2008 and lasted one season. She next appeared in the supporting cast of the series Drop Dead Diva, which debuted in July 2009.
2011–present: Further appearances and tours
In April 2011, Cho guest starred on the comedy 30 Rock in the episode "Everything Sunny All the Time Always." She portrayed Kim Jong-Il, then the leader of North Korea, that required her to speak both Korean and English. She was nominated for a Primetime Emmy Award for Outstanding Guest Actress in a Comedy Series. She later returned to portray Kim Jong-Il's son, Kim Jong-Un. [S:6, E:21] In 2010, Cho was a contestant on the 11th season of Dancing with the Stars.
Also in 2011, online human rights awareness project America 2049 had Margaret appear as one of the main characters, whose videos were played as part of the main storyline. The Facebook-interfaced game uses a fictional, fractioned future to highlight today's social inequities.
Since January 2013, Cho has been the co-host of the weekly podcast Monsters of Talk along with Jim Short. Cho embarked on her "Mother" tour in the fall of 2013 and slated it for engagements in Europe in 2014. The title of the tour refers not to Cho's impressions of her own mother, but to Cho herself. It is her nickname for the figure she has played to her many gay friends over the years. In 2014, she participated in Do I Sound Gay?, a documentary film directed and produced by David Thorpe. The film is about stereotypes of gay men's speech patterns.
In January 2019, Cho competed in season one of The Masked Singer as "Poodle". She was eliminated in Episode 4.
In July 2019, Cho started a solo podcast called The Margaret Cho, which features guests who primarily work in show business. Guests have included Queer Eye'''s Jonathan Van Ness, tattooist and reality TV figure Kat Von D, screenwriter Diablo Cody, drag queen Jackie Beat, and comedian and TV host Michael Yo. Cho has a chapter giving advice in Tim Ferriss' book Tools of Titans.
Comedic style and political advocacy
Cho is also well known for discussing her relationship with her mother, particularly in imitating her mother's heavily accented speech. Her depictions of "Mommy" have become a popular part of her routine. Cho's comedy routines are often explicit. She has covered substance abuse, eating disorders, her bisexuality and obsession with gay men, and Asian-American stereotypes, among other subjects, in her stand-up routines.
A substantial segment of her material and advocacy addresses LGBT issues. In addition to her shows, Cho also developed an additional outlet for her advocacy with the advent of her website and her daily blog. When San Francisco Mayor Gavin Newsom directed that San Francisco's city hall issue marriage licenses to same-sex couples in San Francisco in 2004 (until reversed by the state supreme court), Cho started Love is Love is Love, a website promoting the legalization of gay marriage in the United States.
Cho's material often features commentary on politics and contemporary American culture. She has also been outspoken about her dislike of former President George W. Bush. She began to draw intense fire from conservatives over her fiercely anti-Bush commentary; a live performance in Houston, Texas was threatened with picketing. Although protesters never showed up, she held a counter protest outside the club until security told her she had to go inside.
In 2004, Cho was performing at a corporate event in a hotel when, after ten minutes, her microphone was cut off and a band was instructed to begin playing. Cho claims that this was because the manager of the hotel was offended by anti-Bush administration comments. Cho's payment, which was issued by way of check directly to a non-profit organization, a defense fund for the West Memphis Three, initially bounced but was eventually honored.
In July 2004, during the Democratic National Convention, Cho was disinvited to speak at a Human Rights Campaign/National Stonewall Democrats fundraiser out of fear that her comments might cause controversy. In November 2005, she campaigned to pardon Stanley Tookie Williams, an early Crips gang leader, for his death sentence for four murders, but this campaign failed; on December 13, 2005, after exhausting all forms of appeal, Williams was executed by lethal injection at San Quentin State Prison, California.
In 2007, Cho hosted the multi-artist True Colors Tour, which traveled through 15 cities in the United States and Canada. The tour, sponsored by the Logo channel, began on June 8, 2007. Headlined by Cyndi Lauper, the tour also included Debbie Harry, Erasure, The Gossip, Rufus Wainwright, The Dresden Dolls, The MisShapes, Rosie O'Donnell, Indigo Girls, The Cliks, and other special guests. Profits from the tour helped to benefit the Human Rights Campaign as well as PFLAG and The Matthew Shepard Foundation.
On January 25, 2008, Cho officially gave her support to Barack Obama for the nomination on the Democratic ticket for the 2008 U.S. presidential election. After Republican Presidential candidate John McCain announced his running mate, Governor Sarah Palin of Alaska, Cho said of her, "I think [Palin] is the worst thing to happen to America since 9/11."
After same-sex marriage became legal in California in May 2008, Cho was deputized by the City of San Francisco to perform marriages there.
Other ventures
Fashion and burlesque
In 2003, Cho founded a clothing line with friend and fashion designer Ava Stander called High Class Cho. The company eventually went defunct.
In 2004, Cho took up bellydancing and in 2006 started her own line of bellydancing belts and accessories called Hip Wear; these she sold through her website. She also had extensive tattooing done to cover the majority of her back.
In November 2006, Cho joined the board of Good Vibrations, a sex toy retailer. With fellow comedian Diana Yanez, she co-wrote "My Puss", a rap song which they recorded as the duo of "Maureen and Angela." Cho appeared in and directed the music video for the song. In December 2006, Cho appeared on the Sci-Fi Channel's miniseries The Lost Room as Suzie Kang.
On an episode of The Hour with host George Stroumboulopoulos, Cho mentioned that she loved Broken Social Scene and wishes to be a part of the band (offering to play the rainstick or the triangle). On air, Stroumboulopoulos called band member Kevin Drew from his cell phone, and Cho made her request to join the band via his voicemail.
In April 2009, Cho was photographed by photographer Austin Young and appeared in a Bettie Page–inspired "Heaven Bound" art show.
Music
In September 2008, Cho released her single, "I Cho Am a Woman," on iTunes. The song, produced by Desmond Child, was featured on her VH1 series.
Throughout 2010, she worked on a full-length album, going through the titles "Guitarded" and "Banjovi" before finally settling on Cho Dependent. Released on August 24, 2010, the album was supported by music videos for "I'm Sorry," "Eat Shit and Die," and "My Lil' Wayne;" Liam Kyle Sullivan directed the first two. It was nominated for a 2010 Grammy award for Best Comedy Album. In 2011 Showtime released a stand-up comedy special, titled Margaret Cho: Cho Dependent, which featured musical performances from the album.
In May 2010, Cho directed, and appeared in, the music video for "I Wanna Be a Bear," a song by "Pixie Herculon," a pseudonym of Jill Sobule. In 2011, Cho sang the Bob Mould song "Your Favorite Thing" at the tribute concert See A Little Light with Grant-Lee Phillips.
In July 2014, she appeared in "Weird Al" Yankovic's music video for "Tacky."
In April 2016, Cho released her second album, American Myth.
In May 2016, she rapped on and made an appearance in the music video for "Green Tea", a song by rapper Awkwafina. Both play with stereotypes of people of Asian descent in hopes that "women of color embrace their quirkiness, their sexuality, their inner-child and their creativity with passion."
Also in 2016, Cho featured on the track "Ride or Die" on the album Sweet T by American drag queen and singer/artist Ginger Minj.
Podcast
In July 2019, Cho started a podcast called The Margaret Cho. It features guests who primarily work in show business and features original music by Garrison Starr.
Personal life
Cho married Al Ridenour, an artist involved in The Cacophony Society and the Art of Bleeding, in 2003. Cho was featured in an Art of Bleeding performance in March 2006. She described her marriage as "very conventional and conservative, I think. I mean we're such weird people that people just can't imagine that we would have a conventional marriage. But, yeah, we are very conventional." They were separated in September 2014 and Cho confirmed their separation in December. Cho referred to herself as "divorced" in an April 2015 profile in The New York Times, but actually filed for divorce in August 2015.La Ferla, Ruth. "For Margaret Cho, Nothing Is Too Private for a Punch Line". The New York Times. April 10, 2015.
, Cho was living in Peachtree City, Georgia, as Drop Dead Diva was filmed in the Atlanta area.
Cho is openly bisexual, and has stated that she has had "a lot of experience in the area of polyamory and alternative sexuality in general." When discussing her sexuality in a 2018 Huffington Post interview, Cho said, "I don't know using 'bisexual' is right because that indicates that there's only two genders, and I don't believe that. I've been with people all across the spectrum of gender and who have all kinds of different expressions of gender, so it's so hard to say. Maybe 'pansexual' is technically the more correct term but I like 'bisexual' because it's kind of '70s."
, Cho identifies as a Christian.
Cho was a guest on comedian Bobby Lee's Tigerbelly Podcast Episode 71, which was uploaded on December 16, 2016. In that episode, she recounted an incident between her and actress Tilda Swinton. According to Cho, Swinton contacted her via email to discuss the Asian American community's reaction to the news that Swinton had been cast to play the character Ancient One, who in the comic book is Tibetan, in the movie version of Doctor Strange. Cho found the inquiry strange since she did not know Swinton and had never talked to her before, nor did she have anything to do with the movie or casting. On December 21, Swinton released the email exchange between she and Cho to the website Jezebel. According to Swinton, she contacted Cho to better understand why Asian Americans were upset about the casting. In response to the release, Cho stated that she stands by her words both on TigerBelly and in the email exchange.
Cho revealed in a panel discussion that after doing genealogy testing, she discovered she was ethnically Chinese.
Accolades
In 2000, her "E! Celebrity Profile" won a Gracie Allen Award from the American Women in Radio and Television organization acknowledging its "superior quality and effective portrayal of the changing roles and concerns of women."
The same year, the Gay & Lesbian Alliance Against Defamation (GLAAD) awarded her with a Golden Gate Award and described her as an entertainer who, "as a pioneer, has made a significant difference in promoting equal rights for all, regardless of sexual orientation or gender identity."
In 2001, she was given a Lambda Liberty Award by Lambda Legal for "pressing us to see how false constructions of race, sexuality, and gender operate similarly to obscure and demean identity."
In 2003, she was given an Intrepid Award by the National Organization for Women.
In 2004, she was awarded with the First Amendment Award from the American Civil Liberties Union.
In 2007, she won for Outstanding Comedy Performance in AZN's Asian Excellence Awards.
April 30, 2008 was declared "Margaret Cho Day" in San Francisco.
In 2015, Joan Juliet Buck, writing in W, called Cho a modern-day femme fatale, writing:
[N]ot all women comedians are dangerous; some are just very funny: Tina Fey and Amy Poehler are too relatable, Joan Rivers was too firmly ensconced in the society that she mocked. Amy Schumer relies a little too much on the word "pussy" to be any kind of threat, though she would like very much to be a bad person. On the other hand, ... Margaret Cho know[s] no boundaries and inspire[s] palpable fear anytime [she] begin[s] one of [her] riffs.
Tours
"I'm the One That I Want" (1999)
"Notorious C.H.O." (2002)
"Revolution" (2003)
"State of Emergency" (2004)
"Assassin" (2005)
"True Colors" (2007–2008)
"Beautiful" (2008)
"Cho Dependent" (2010)
"Mother!" (2013)
"The 'There's No I in Team but there is a Cho in PsyCHO' Tour" (Often referred to simply as "The PsyCHO Tour") (2015)
"Fresh Off The Bloat Tour" (2017)
Filmography
Film
Television
Comedy Specials
Web
Podcasts
Monsters of Talk
2013-2015: Co-hosted w/ Jim Short, 131 episodes
The Margaret Cho
Bibliography
Discography
Comedy albums
Music albums
Singles
Appearances
Videography
Music videos as main artist
Directed by
References
External links
Alternet.org video
Margaret Cho Video produced by Makers: Women Who Make America''
Margaret Cho Wilbur Theatre in Boston, MA review and photos by Jen Vesp
Interview with MEAWW
1968 births
Living people
Activists from California
Actresses from San Francisco
American actresses of Korean descent
American musicians of Korean descent
American stand-up comedians
American women comedians
American comedians of Asian descent
Asian-American feminists
Bisexual actresses
Bisexual feminists
Comedians from California
Feminist comedians
Feminist musicians
LGBT American people of Asian descent
Bisexual comedians
LGBT fashion designers
LGBT musicians from the United States
LGBT people from California
LGBT songwriters
LGBT rights activists from the United States
Lowell High School (San Francisco) alumni
Participants in American reality television series
People from Peachtree City, Georgia
San Francisco State University alumni
20th-century American actresses
21st-century American actresses
20th-century American comedians
21st-century American comedians
Polyamorous people
LGBT actors from the United States
American bisexual actors
| true |
[
"Don Juan Manuel's Tales of Count Lucanor, in Spanish Libro de los ejemplos del conde Lucanor y de Patronio (Book of the Examples of Count Lucanor and of Patronio), also commonly known as El Conde Lucanor, Libro de Patronio, or Libro de los ejemplos (original Old Castilian: Libro de los enxiemplos del Conde Lucanor et de Patronio), is one of the earliest works of prose in Castilian Spanish. It was first written in 1335.\n\nThe book is divided into four parts. The first and most well-known part is a series of 51 short stories (some no more than a page or two) drawn from various sources, such as Aesop and other classical writers, and Arabic folktales.\n\nTales of Count Lucanor was first printed in 1575 when it was published at Seville under the auspices of Argote de Molina. It was again printed at Madrid in 1642, after which it lay forgotten for nearly two centuries.\n\nPurpose and structure\n\nA didactic, moralistic purpose, which would color so much of the Spanish literature to follow (see Novela picaresca), is the mark of this book. Count Lucanor engages in conversation with his advisor Patronio, putting to him a problem (\"Some man has made me a proposition...\" or \"I fear that such and such person intends to...\") and asking for advice. Patronio responds always with the greatest humility, claiming not to wish to offer advice to so illustrious a person as the Count, but offering to tell him a story of which the Count's problem reminds him. (Thus, the stories are \"examples\" [ejemplos] of wise action.) At the end he advises the Count to do as the protagonist of his story did.\n\nEach chapter ends in more or less the same way, with slight variations on: \"And this pleased the Count greatly and he did just so, and found it well. And Don Johán (Juan) saw that this example was very good, and had it written in this book, and composed the following verses.\" A rhymed couplet closes, giving the moral of the story.\n\nOrigin of stories and influence on later literature\nMany of the stories written in the book are the first examples written in a modern European language of various stories, which many other writers would use in the proceeding centuries. Many of the stories he included were themselves derived from other stories, coming from western and Arab sources.\n\nShakespeare's The Taming of the Shrew has the basic elements of Tale 35, \"What Happened to a Young Man Who Married a Strong and Ill-tempered Woman\".\n\nTale 32, \"What Happened to the King and the Tricksters Who Made Cloth\" tells the story that Hans Christian Andersen made popular as The Emperor's New Clothes.\n\nStory 7, \"What Happened to a Woman Named Truhana\", a version of Aesop's The Milkmaid and Her Pail, was claimed by Max Müller to originate in the Hindu cycle Panchatantra.\n\nTale 2, \"What happened to a good Man and his Son, leading a beast to market,\" is the familiar fable The miller, his son and the donkey.\n\nIn 2016, Baroque Decay released a game under the name \"The Count Lucanor\". As well as some protagonists' names, certain events from the books inspired past events in the game.\n\nThe stories\n\nThe book opens with a prologue which introduces the characters of the Count and Patronio. The titles in the following list are those given in Keller and Keating's 1977 translation into English. James York's 1868 translation into English gives a significantly different ordering of the stories and omits the fifty-first.\n\n What Happened to a King and His Favorite \n What Happened to a Good Man and His Son \n How King Richard of England Leapt into the Sea against the Moors\n What a Genoese Said to His Soul When He Was about to Die \n What Happened to a Fox and a Crow Who Had a Piece of Cheese in His Beak\n How the Swallow Warned the Other Birds When She Saw Flax Being Sown \n What Happened to a Woman Named Truhana \n What Happened to a Man Whose Liver Had to Be Washed \n What Happened to Two Horses Which Were Thrown to the Lion \n What Happened to a Man Who on Account of Poverty and Lack of Other Food Was Eating Bitter Lentils \n What Happened to a Dean of Santiago de Compostela and Don Yllán, the Grand Master of Toledo\n What Happened to the Fox and the Rooster \n What Happened to a Man Who Was Hunting Partridges \n The Miracle of Saint Dominick When He Preached against the Usurer \n What Happened to Lorenzo Suárez at the Siege of Seville \n The Reply that count Fernán González Gave to His Relative Núño Laynes \n What Happened to a Very Hungry Man Who Was Half-heartedly Invited to Dinner \n What Happened to Pero Meléndez de Valdés When He Broke His Leg \n What Happened to the Crows and the Owls \n What Happened to a King for Whom a Man Promised to Perform Alchemy \n What Happened to a Young King and a Philosopher to Whom his Father Commended Him \n What Happened to the Lion and the Bull \n How the Ants Provide for Themselves \n What Happened to the King Who Wanted to Test His Three Sons \n What Happened to the Count of Provence and How He Was Freed from Prison by the Advice of Saladin\n What Happened to the Tree of Lies \n What Happened to an Emperor and to Don Alvarfáñez Minaya and Their Wives \n What Happened in Granada to Don Lorenzo Suárez Gallinato When He Beheaded the Renegade Chaplain \n What Happened to a Fox Who Lay down in the Street to Play Dead \n What Happened to King Abenabet of Seville and Ramayquía His Wife \n How a Cardinal Judged between the Canons of Paris and the Friars Minor \n What Happened to the King and the Tricksters Who Made Cloth \n What Happened to Don Juan Manuel's Saker Falcon and an Eagle and a Heron \n What Happened to a Blind Man Who Was Leading Another \n What Happened to a Young Man Who Married a Strong and Ill-tempered Woman\n What Happened to a Merchant When He Found His Son and His Wife Sleeping Together \n What Happened to Count Fernán González with His Men after He Had Won the Battle of Hacinas \n What Happened to a Man Who Was Loaded down with Precious Stones and Drowned in the River \n What Happened to a Man and a Swallow and a Sparrow \n Why the Seneschal of Carcassonne Lost His Soul \n What Happened to a King of Córdova Named Al-Haquem \n What Happened to a Woman of Sham Piety \n What Happened to Good and Evil and the Wise Man and the Madman \n What Happened to Don Pero Núñez the Loyal, to Don Ruy González de Zavallos, and to Don Gutier Roiz de Blaguiello with Don Rodrigo the Generous \n What Happened to a Man Who Became the Devil's Friend and Vassal \n What Happened to a Philosopher who by Accident Went down a Street Where Prostitutes Lived \n What Befell a Moor and His Sister Who Pretended That She Was Timid \n What Happened to a Man Who Tested His Friends \n What Happened to the Man Whom They Cast out Naked on an Island When They Took away from Him the Kingdom He Ruled \n What Happened to Saladin and a Lady, the Wife of a Knight Who Was His Vassal \n What Happened to a Christian King Who Was Very Powerful and Haughty\n\nReferences\n\nNotes\n\nBibliography\n\n Sturm, Harlan\n\n Wacks, David\n\nExternal links\n\nThe Internet Archive provides free access to the 1868 translation by James York.\nJSTOR has the to the 1977 translation by Keller and Keating.\nSelections in English and Spanish (pedagogical edition) with introduction, notes, and bibliography in Open Iberia/América (open access teaching anthology)\n\n14th-century books\nSpanish literature\n1335 books",
"\"What Happened to Us\" is a song by Australian recording artist Jessica Mauboy, featuring English recording artist Jay Sean. It was written by Sean, Josh Alexander, Billy Steinberg, Jeremy Skaller, Rob Larow, Khaled Rohaim and Israel Cruz. \"What Happened to Us\" was leaked online in October 2010, and was released on 10 March 2011, as the third single from Mauboy's second studio album, Get 'Em Girls (2010). The song received positive reviews from critics.\n\nA remix of \"What Happened to Us\" made by production team OFM, was released on 11 April 2011. A different version of the song which features Stan Walker, was released on 29 May 2011. \"What Happened to Us\" charted on the ARIA Singles Chart at number 14 and was certified platinum by the Australian Recording Industry Association (ARIA). An accompanying music video was directed by Mark Alston, and reminisces on a former relationship between Mauboy and Sean.\n\nProduction and release\n\n\"What Happened to Us\" was written by Josh Alexander, Billy Steinberg, Jeremy Skaller, Rob Larow, Khaled Rohaim, Israel Cruz and Jay Sean. It was produced by Skaller, Cruz, Rohaim and Bobby Bass. The song uses C, D, and B minor chords in the chorus. \"What Happened to Us\" was sent to contemporary hit radio in Australia on 14 February 2011. The cover art for the song was revealed on 22 February on Mauboy's official Facebook page. A CD release was available for purchase via her official website on 10 March, for one week only. It was released digitally the following day.\n\nReception\nMajhid Heath from ABC Online Indigenous called the song a \"Jordin Sparks-esque duet\", and wrote that it \"has a nice innocence to it that rings true to the experience of losing a first love.\" Chris Urankar from Nine to Five wrote that it as a \"mid-tempo duet ballad\" which signifies Mauboy's strength as a global player. On 21 March 2011, \"What Happened to Us\" debuted at number 30 on the ARIA Singles Chart, and peaked at number 14 the following week. The song was certified platinum by the Australian Recording Industry Association (ARIA), for selling 70,000 copies. \"What Happened to Us\" spent a total of ten weeks in the ARIA top fifty.\n\nMusic video\n\nBackground\nThe music video for the song was shot in the Elizabeth Bay House in Sydney on 26 November 2010. The video was shot during Sean's visit to Australia for the Summerbeatz tour. During an interview with The Daily Telegraph while on the set of the video, Sean said \"the song is sick! ... Jessica's voice is amazing and we're shooting [the video] in this ridiculously beautiful mansion overlooking the harbour.\" The video was directed by Mark Alston, who had previously directed the video for Mauboy's single \"Let Me Be Me\" (2009). It premiered on YouTube on 10 February 2011.\n\nSynopsis and reception\nThe video begins showing Mauboy who appears to be sitting on a yellow antique couch in a mansion, wearing a purple dress. As the video progresses, scenes of memories are displayed of Mauboy and her love interest, played by Sean, spending time there previously. It then cuts to the scenes where Sean appears in the main entrance room of the mansion. The final scene shows Mauboy outdoors in a gold dress, surrounded by green grass and trees. She is later joined by Sean who appears in a black suit and a white shirt, and together they sing the chorus of the song to each other. David Lim of Feed Limmy wrote that the video is \"easily the best thing our R&B princess has committed to film – ever\" and praised the \"mansion and wondrous interior décor\". He also commended Mauboy for choosing Australian talent to direct the video instead of American directors, which she had used for her previous two music videos. Since its release, the video has received over two million views on Vevo.\n\nLive performances\nMauboy performed \"What Happened to Us\" live for the first time during her YouTube Live Sessions program on 4 December 2010. She also appeared on Adam Hills in Gordon Street Tonight on 23 February 2011 for an interview and later performed the song. On 15 March 2011, Mauboy performed \"What Happened to Us\" on Sunrise. She also performed the song with Stan Walker during the Australian leg of Chris Brown's F.A.M.E. Tour in April 2011. Mauboy and Walker later performed \"What Happened to Us\" on Dancing with the Stars Australia on 29 May 2011. From November 2013 to February 2014, \"What Happened to Us\" was part of the set list of the To the End of the Earth Tour, Mauboy's second headlining tour of Australia, with Nathaniel Willemse singing Sean's part.\n\nTrack listing\n\nDigital download\n \"What Happened to Us\" featuring Jay Sean – 3:19\n \"What Happened to Us\" featuring Jay Sean (Sgt Slick Remix) – 6:33\n \"What Happened to Us\" featuring Jay Sean (Just Witness Remix) – 3:45\n\nCD single\n \"What Happened to Us\" featuring Jay Sean (Album Version) – 3:19\n \"What Happened to Us\" featuring Jay Sean (Sgt Slick Remix) – 6:33\n \"What Happened to Us\" featuring Jay Sean (OFM Remix) – 3:39\n\nDigital download – Remix\n \"What Happened to Us\" featuring Jay Sean (OFM Remix) – 3:38\n\nDigital download\n \"What Happened to Us\" featuring Stan Walker – 3:20\n\nPersonnel\nSongwriting – Josh Alexander, Billy Steinberg, Jeremy Skaller, Rob Larow, Khaled Rohaim, Israel Cruz, Jay Sean\nProduction – Jeremy Skaller, Bobby Bass\nAdditional production – Israel Cruz, Khaled Rohaim\nLead vocals – Jessica Mauboy, Jay Sean\nMixing – Phil Tan\nAdditional mixing – Damien Lewis\nMastering – Tom Coyne \nSource:\n\nCharts\n\nWeekly chart\n\nYear-end chart\n\nCertification\n\nRadio dates and release history\n\nReferences\n\n2010 songs\n2011 singles\nJessica Mauboy songs\nJay Sean songs\nSongs written by Billy Steinberg\nSongs written by Jay Sean\nSongs written by Josh Alexander\nSongs written by Israel Cruz\nVocal duets\nSony Music Australia singles\nSongs written by Khaled Rohaim"
] |
[
"Margaret Cho",
"1995-2002: Stand-up, acting, and writing",
"What happened in 1995?",
"She hosted the New Year's Rockin' Eve 95 show with Steve Harvey."
] |
C_7d596c991d904f3980cef0a20b6da5fb_1
|
What happened in 1996?
| 2 |
What happened to Margaret Cho in 1996?
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Margaret Cho
|
Though her career and personal life were challenging after the cancellation of the show, Cho eventually sobered up, refocused her energy, and developed new material. She hosted the New Year's Rockin' Eve 95 show with Steve Harvey. In 1997, she had a supporting role in the thriller filmFace/Off starring Nicolas Cage and John Travolta, playing the role of Wanda, one of the fellow FBI agents of Travolta's primary character. In 1999, she wrote about her struggles with the show in her first one-woman show, I'm the One That I Want. That year, I'm the One That I Want won New York magazine's Performance of the Year award and was named one of the Great Performances of the year by Entertainment Weekly. At the same time, Cho wrote and published an autobiographical book with the same title, and the show itself was filmed and released as a concert film in 2000. Her material dealt with her difficulties breaking into show business because of her ethnicity and weight and her resulting struggle with and triumph over body image issues and drug and alcohol addiction. Cho also appeared in an episode of the HBO comedy Sex and the City's fourth season. The episode, titled "The Real Me," first aired on June 3, 2001, and also guest-starred Heidi Klum. In 2004, the show Notorious C.H.O. (the title was derived from slain rapper The Notorious B.I.G.) dealt with the comedian having been reared in 1970s San Francisco and her bisexuality. After completing Notorious C.H.O., Cho made another stand-up film, Revolution, which was released in 2004, and subsequently work on her first self-written film in which she starred. Bam Bam and Celeste, a low-budget comedy about a "fag hag" and her gay best friend, co-starred Cho's friend and co-touring act Bruce Daniels. The film premiered at the Toronto International Film Festival in 2005. On Valentine's Day of 2004, Cho spoke at the Marriage Equality Rally at the California State Capitol. Her speech can be seen in the documentary Freedom to Marry. CANNOTANSWER
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CANNOTANSWER
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Margaret Moran Cho (; born December 5, 1968) is an American stand-up comedian, actress, musician, fashion designer, and author. Cho is best known for her stand-up routines, through which she critiques social and political problems, especially regarding race and sexuality. She rose to prominence after creating and starring in the ABC sitcom All-American Girl (1994–95), and became an established stand-up comic in the subsequent years.
She has also had endeavors in fashion and music, and has her own clothing line. Cho has also frequently supported LGBT rights and has won awards for her humanitarian efforts on behalf of women, Asian Americans, and the LGBT community.
As an actress, she has acted in such roles as Charlene Lee in It's My Party and John Travolta's FBI colleague in the action movie Face/Off. Cho was part of the cast of the TV series Drop Dead Diva on Lifetime Television, in which she appeared as Teri Lee, a paralegal assistant. For her portrayal of Dictator Kim Jong-il on 30 Rock, she was nominated for the Primetime Emmy Award for Outstanding Guest Actress in a Comedy Series in 2012.
Early life
Cho was born in 1968 into a Korean family in San Francisco, California. Her grandfather was a Christian minister who ran an orphanage in Seoul during the Korean War and, according to Cho, she "grew up in the church." She was raised in a racially diverse neighborhood near the Ocean Beach section of San Francisco, which she described as a community of "old hippies, ex-druggies, burn-outs from the 1960s, drag queens, Chinese people, and Koreans. To say it was a melting pot – that's the least of it. It was a really confusing, enlightening, wonderful time." Cho's parents, Young-Hie and Seung-Hoon Cho, ran Paperback Traffic, a bookstore on Polk Street at California Street in San Francisco. Her father writes joke books and a newspaper column in Seoul, South Korea.
At school, Cho was bullied, saying that "I was hurt because I was different, and so sharing my experience of being beaten and hated and called fat and queer and foreign and perverse and gluttonous and lazy and filthy and dishonest and yet all the while remaining invisible heals me, and heals others when they hear it – those who are suffering right now."
Between the ages of five and twelve, Cho was "sexually molested by a family friend". On the Loveline May 21, 1997 show with Adam Carolla and Dr. Drew Pinsky, she talks about being raped by her uncle, while during the same time period he was raping his three-year-old daughter. She often skipped class and got bad grades in ninth and tenth grades, resulting in her expulsion from Lowell High School. Cho said she was "raped continuously through my youngest years" (by another acquaintance), and that when she told someone else about it and her classmates found out, she received hostile remarks justifying it, including accusations of being "so fat" that only a crazy person would have sex with her.
After Cho expressed an interest in performance, she auditioned and was accepted into the San Francisco School of the Arts, a San Francisco public high school for the arts. While at the school, she became involved with the school's improvisational comedy group alongside actors Sam Rockwell and Aisha Tyler.
At age 15, she worked as a phone sex operator, and she later worked as a dominatrix. After graduating from high school, Cho attended San Francisco State University, studying drama; she did not graduate.
Career
1994–97: Early stand-up and All-American Girl
After doing several shows in a club adjacent to her parents' bookstore, Cho launched a stand-up career and spent several years developing her material in clubs. Cho's career began to build after appearances on television and university campuses. In 1992, she appeared on the unsuccessful Golden Girls spin-off The Golden Palace in a small role. In 1994, Cho won the American Comedy Award for Best Female Comedian. In 2010, on The View, she discussed her nervousness about doing The Golden Palace and thanked the late Rue McClanahan for her help with rehearsing. She also secured a coveted spot as opening act for Jerry Seinfeld; at about this time, she was featured on a Bob Hope special, and was also a frequent visitor to The Arsenio Hall Show.
That same year, ABC developed and aired a sitcom based on Cho's stand-up routine. The show, titled All-American Girl, was initially promoted as the first show prominently featuring an East Asian family, although the short lived sitcom Mr. T and Tina, which had starred Noriyuki "Pat" Morita as Mr. T., preceded it by nearly two decades.
Cho has expressed subsequent regret for much of what transpired during the production of the show, specifically:
After network executives, especially executive producer Gail Berman, criticized her appearance and the roundness of her face, Cho starved herself for several weeks. Her rapid weight loss, done to modify her appearance by the time the pilot episode was filmed, caused kidney failure.
The show suffered criticism from within the U.S. East Asian community over its perception of stereotyping. Producers told Cho at different times during production both that she was "too Asian" and that she was "not Asian enough." At one point during the course of the show, producers hired a coach to teach Cho how to "be more Asian."
Much of the humor was broad and coarse, and at times, stereotypical portrayals of her close Korean relatives and gay bookshop customers were employed.
The show was canceled after suffering poor ratings and the effect of major content changes over the course of its single season (19 episodes).
After the show's 1995 cancellation, Cho became addicted to drugs and alcohol. As detailed in her 2002 autobiography, I'm the One That I Want, in 1995, her substance abuse was evident during a performance in Monroe, Louisiana, where she was booed off the stage by 800 college students after going on the stage drunk.
1995–2002: Stand-up, acting, and writing
Though her career and personal life were challenging after the show's cancellation, Cho eventually sobered up, refocused her energy, and developed new material. She hosted the New Year's Rockin' Eve 95 show with Steve Harvey. In 1997, she had a supporting role in the thriller film Face/Off starring Nicolas Cage and John Travolta, playing Wanda, one of the fellow FBI agents of Travolta's primary character.
In 1999, she wrote about her struggles with All-American Girl in her first one-woman show, I'm the One That I Want. That year, I'm the One That I Want won New York magazine's Performance of the Year award and was named one of the Great Performances of the year by Entertainment Weekly. At the same time, Cho wrote and published an autobiographical book with the same title, and the show itself was filmed and released as a concert film in 2000. Her material dealt with her difficulties breaking into show business because of her ethnicity and weight and her resulting struggle with and triumph over body image issues and drug and alcohol addiction. Cho also appeared in an episode of the HBO comedy Sex and the City's fourth season. The episode, titled "The Real Me," first aired on June 3, 2001, and also guest-starred Heidi Klum.
In 2004, the show Notorious C.H.O. (the title was derived from slain rapper The Notorious B.I.G.) referred to the comedian having been reared in 1970s San Francisco and her bisexuality. After completing Notorious C.H.O., she made another stand-up film, Revolution, released in 2004, and subsequently work on her first self-written film in which she starred. Bam Bam and Celeste, a low-budget comedy about a "fag hag" and her gay best friend, co-starred Cho's friend and co-touring act Bruce Daniels. The film premiered at the Toronto International Film Festival in 2005. On Valentine's Day of 2004, Cho spoke at the Marriage Equality Rally at the California State Capitol. Her speech can be seen in the documentary Freedom to Marry.
2005–2010: Other projects and television
In 2005, Cho released her second book, I Have Chosen to Stay and Fight, a compilation of essays and prose about global politics, human rights, and other topical issues. Cho launched a national book tour in support of the collection. An audio reading of the book was also released. A DVD of a live taping of her Assassin tour was released in conjunction with the book. The same year, Cho started promoting and touring with her new show, Assassin. The show became her fourth live concert film and premiered on the gay and lesbian premium cable network Here! TV in September 2005. In this DVD, she notably includes herself when talking about gay people, saying "we" and "our community." Posters for Assassin featured Cho in paratrooper gear and holding a microphone in the style of an automatic rifle, a reference to the infamous 1974 photo of heiress Patty Hearst.
Cho launched "The Sensuous Woman," a burlesque-style variety show tour, in Los Angeles on August 10, 2007, with tour dates scheduled through November 3, as of October 10. Scheduled tour stops meant to follow Los Angeles were Chicago, Illinois and New York City. On August 10, 2007 the San Francisco Chronicle reviewed the show, Cho's work, key events in her personal life and characterized the show thus: "In fact, as bawdy and bad-behaving as the cast gets, the whole show feels more like a crazy family reunion than a performance."
Also in 2007, Cho appeared in The Dresden Dolls' video of their song "Shores of California," which was MCed by Amanda Palmer and in The Cliks's video for "Eyes in the Back of My Head," in which she appeared as Lucas Silveira's lover. She also provided the character voice for a character named Condie Ling on the Logo animated series Rick & Steve: The Happiest Gay Couple in All the World. Her episodes began airing in 2007.
The premiere performance of Cho's "Beautiful" tour was on February 28, 2008, in Sydney, Australia as part of the Gay and Lesbian Mardi Gras Festival. Cho was also the Chief of Parade for the festival's annual parade along Oxford Street on March 1. During her stay in Sydney, Cho was filmed shopping for parade outfits in a drag store with Kathy Griffin and Cyndi Lauper for Griffin's Bravo series My Life on the D-List. The episode featuring Cho aired on June 26, 2008.
Cho and her family and friends appeared in an episode of NBC's series Celebrity Family Feud, which premiered on June 24, 2008. Later that summer, she appeared in her own semi-scripted reality sitcom for VH1, The Cho Show, which premiered on August 21, 2008 and lasted one season. She next appeared in the supporting cast of the series Drop Dead Diva, which debuted in July 2009.
2011–present: Further appearances and tours
In April 2011, Cho guest starred on the comedy 30 Rock in the episode "Everything Sunny All the Time Always." She portrayed Kim Jong-Il, then the leader of North Korea, that required her to speak both Korean and English. She was nominated for a Primetime Emmy Award for Outstanding Guest Actress in a Comedy Series. She later returned to portray Kim Jong-Il's son, Kim Jong-Un. [S:6, E:21] In 2010, Cho was a contestant on the 11th season of Dancing with the Stars.
Also in 2011, online human rights awareness project America 2049 had Margaret appear as one of the main characters, whose videos were played as part of the main storyline. The Facebook-interfaced game uses a fictional, fractioned future to highlight today's social inequities.
Since January 2013, Cho has been the co-host of the weekly podcast Monsters of Talk along with Jim Short. Cho embarked on her "Mother" tour in the fall of 2013 and slated it for engagements in Europe in 2014. The title of the tour refers not to Cho's impressions of her own mother, but to Cho herself. It is her nickname for the figure she has played to her many gay friends over the years. In 2014, she participated in Do I Sound Gay?, a documentary film directed and produced by David Thorpe. The film is about stereotypes of gay men's speech patterns.
In January 2019, Cho competed in season one of The Masked Singer as "Poodle". She was eliminated in Episode 4.
In July 2019, Cho started a solo podcast called The Margaret Cho, which features guests who primarily work in show business. Guests have included Queer Eye'''s Jonathan Van Ness, tattooist and reality TV figure Kat Von D, screenwriter Diablo Cody, drag queen Jackie Beat, and comedian and TV host Michael Yo. Cho has a chapter giving advice in Tim Ferriss' book Tools of Titans.
Comedic style and political advocacy
Cho is also well known for discussing her relationship with her mother, particularly in imitating her mother's heavily accented speech. Her depictions of "Mommy" have become a popular part of her routine. Cho's comedy routines are often explicit. She has covered substance abuse, eating disorders, her bisexuality and obsession with gay men, and Asian-American stereotypes, among other subjects, in her stand-up routines.
A substantial segment of her material and advocacy addresses LGBT issues. In addition to her shows, Cho also developed an additional outlet for her advocacy with the advent of her website and her daily blog. When San Francisco Mayor Gavin Newsom directed that San Francisco's city hall issue marriage licenses to same-sex couples in San Francisco in 2004 (until reversed by the state supreme court), Cho started Love is Love is Love, a website promoting the legalization of gay marriage in the United States.
Cho's material often features commentary on politics and contemporary American culture. She has also been outspoken about her dislike of former President George W. Bush. She began to draw intense fire from conservatives over her fiercely anti-Bush commentary; a live performance in Houston, Texas was threatened with picketing. Although protesters never showed up, she held a counter protest outside the club until security told her she had to go inside.
In 2004, Cho was performing at a corporate event in a hotel when, after ten minutes, her microphone was cut off and a band was instructed to begin playing. Cho claims that this was because the manager of the hotel was offended by anti-Bush administration comments. Cho's payment, which was issued by way of check directly to a non-profit organization, a defense fund for the West Memphis Three, initially bounced but was eventually honored.
In July 2004, during the Democratic National Convention, Cho was disinvited to speak at a Human Rights Campaign/National Stonewall Democrats fundraiser out of fear that her comments might cause controversy. In November 2005, she campaigned to pardon Stanley Tookie Williams, an early Crips gang leader, for his death sentence for four murders, but this campaign failed; on December 13, 2005, after exhausting all forms of appeal, Williams was executed by lethal injection at San Quentin State Prison, California.
In 2007, Cho hosted the multi-artist True Colors Tour, which traveled through 15 cities in the United States and Canada. The tour, sponsored by the Logo channel, began on June 8, 2007. Headlined by Cyndi Lauper, the tour also included Debbie Harry, Erasure, The Gossip, Rufus Wainwright, The Dresden Dolls, The MisShapes, Rosie O'Donnell, Indigo Girls, The Cliks, and other special guests. Profits from the tour helped to benefit the Human Rights Campaign as well as PFLAG and The Matthew Shepard Foundation.
On January 25, 2008, Cho officially gave her support to Barack Obama for the nomination on the Democratic ticket for the 2008 U.S. presidential election. After Republican Presidential candidate John McCain announced his running mate, Governor Sarah Palin of Alaska, Cho said of her, "I think [Palin] is the worst thing to happen to America since 9/11."
After same-sex marriage became legal in California in May 2008, Cho was deputized by the City of San Francisco to perform marriages there.
Other ventures
Fashion and burlesque
In 2003, Cho founded a clothing line with friend and fashion designer Ava Stander called High Class Cho. The company eventually went defunct.
In 2004, Cho took up bellydancing and in 2006 started her own line of bellydancing belts and accessories called Hip Wear; these she sold through her website. She also had extensive tattooing done to cover the majority of her back.
In November 2006, Cho joined the board of Good Vibrations, a sex toy retailer. With fellow comedian Diana Yanez, she co-wrote "My Puss", a rap song which they recorded as the duo of "Maureen and Angela." Cho appeared in and directed the music video for the song. In December 2006, Cho appeared on the Sci-Fi Channel's miniseries The Lost Room as Suzie Kang.
On an episode of The Hour with host George Stroumboulopoulos, Cho mentioned that she loved Broken Social Scene and wishes to be a part of the band (offering to play the rainstick or the triangle). On air, Stroumboulopoulos called band member Kevin Drew from his cell phone, and Cho made her request to join the band via his voicemail.
In April 2009, Cho was photographed by photographer Austin Young and appeared in a Bettie Page–inspired "Heaven Bound" art show.
Music
In September 2008, Cho released her single, "I Cho Am a Woman," on iTunes. The song, produced by Desmond Child, was featured on her VH1 series.
Throughout 2010, she worked on a full-length album, going through the titles "Guitarded" and "Banjovi" before finally settling on Cho Dependent. Released on August 24, 2010, the album was supported by music videos for "I'm Sorry," "Eat Shit and Die," and "My Lil' Wayne;" Liam Kyle Sullivan directed the first two. It was nominated for a 2010 Grammy award for Best Comedy Album. In 2011 Showtime released a stand-up comedy special, titled Margaret Cho: Cho Dependent, which featured musical performances from the album.
In May 2010, Cho directed, and appeared in, the music video for "I Wanna Be a Bear," a song by "Pixie Herculon," a pseudonym of Jill Sobule. In 2011, Cho sang the Bob Mould song "Your Favorite Thing" at the tribute concert See A Little Light with Grant-Lee Phillips.
In July 2014, she appeared in "Weird Al" Yankovic's music video for "Tacky."
In April 2016, Cho released her second album, American Myth.
In May 2016, she rapped on and made an appearance in the music video for "Green Tea", a song by rapper Awkwafina. Both play with stereotypes of people of Asian descent in hopes that "women of color embrace their quirkiness, their sexuality, their inner-child and their creativity with passion."
Also in 2016, Cho featured on the track "Ride or Die" on the album Sweet T by American drag queen and singer/artist Ginger Minj.
Podcast
In July 2019, Cho started a podcast called The Margaret Cho. It features guests who primarily work in show business and features original music by Garrison Starr.
Personal life
Cho married Al Ridenour, an artist involved in The Cacophony Society and the Art of Bleeding, in 2003. Cho was featured in an Art of Bleeding performance in March 2006. She described her marriage as "very conventional and conservative, I think. I mean we're such weird people that people just can't imagine that we would have a conventional marriage. But, yeah, we are very conventional." They were separated in September 2014 and Cho confirmed their separation in December. Cho referred to herself as "divorced" in an April 2015 profile in The New York Times, but actually filed for divorce in August 2015.La Ferla, Ruth. "For Margaret Cho, Nothing Is Too Private for a Punch Line". The New York Times. April 10, 2015.
, Cho was living in Peachtree City, Georgia, as Drop Dead Diva was filmed in the Atlanta area.
Cho is openly bisexual, and has stated that she has had "a lot of experience in the area of polyamory and alternative sexuality in general." When discussing her sexuality in a 2018 Huffington Post interview, Cho said, "I don't know using 'bisexual' is right because that indicates that there's only two genders, and I don't believe that. I've been with people all across the spectrum of gender and who have all kinds of different expressions of gender, so it's so hard to say. Maybe 'pansexual' is technically the more correct term but I like 'bisexual' because it's kind of '70s."
, Cho identifies as a Christian.
Cho was a guest on comedian Bobby Lee's Tigerbelly Podcast Episode 71, which was uploaded on December 16, 2016. In that episode, she recounted an incident between her and actress Tilda Swinton. According to Cho, Swinton contacted her via email to discuss the Asian American community's reaction to the news that Swinton had been cast to play the character Ancient One, who in the comic book is Tibetan, in the movie version of Doctor Strange. Cho found the inquiry strange since she did not know Swinton and had never talked to her before, nor did she have anything to do with the movie or casting. On December 21, Swinton released the email exchange between she and Cho to the website Jezebel. According to Swinton, she contacted Cho to better understand why Asian Americans were upset about the casting. In response to the release, Cho stated that she stands by her words both on TigerBelly and in the email exchange.
Cho revealed in a panel discussion that after doing genealogy testing, she discovered she was ethnically Chinese.
Accolades
In 2000, her "E! Celebrity Profile" won a Gracie Allen Award from the American Women in Radio and Television organization acknowledging its "superior quality and effective portrayal of the changing roles and concerns of women."
The same year, the Gay & Lesbian Alliance Against Defamation (GLAAD) awarded her with a Golden Gate Award and described her as an entertainer who, "as a pioneer, has made a significant difference in promoting equal rights for all, regardless of sexual orientation or gender identity."
In 2001, she was given a Lambda Liberty Award by Lambda Legal for "pressing us to see how false constructions of race, sexuality, and gender operate similarly to obscure and demean identity."
In 2003, she was given an Intrepid Award by the National Organization for Women.
In 2004, she was awarded with the First Amendment Award from the American Civil Liberties Union.
In 2007, she won for Outstanding Comedy Performance in AZN's Asian Excellence Awards.
April 30, 2008 was declared "Margaret Cho Day" in San Francisco.
In 2015, Joan Juliet Buck, writing in W, called Cho a modern-day femme fatale, writing:
[N]ot all women comedians are dangerous; some are just very funny: Tina Fey and Amy Poehler are too relatable, Joan Rivers was too firmly ensconced in the society that she mocked. Amy Schumer relies a little too much on the word "pussy" to be any kind of threat, though she would like very much to be a bad person. On the other hand, ... Margaret Cho know[s] no boundaries and inspire[s] palpable fear anytime [she] begin[s] one of [her] riffs.
Tours
"I'm the One That I Want" (1999)
"Notorious C.H.O." (2002)
"Revolution" (2003)
"State of Emergency" (2004)
"Assassin" (2005)
"True Colors" (2007–2008)
"Beautiful" (2008)
"Cho Dependent" (2010)
"Mother!" (2013)
"The 'There's No I in Team but there is a Cho in PsyCHO' Tour" (Often referred to simply as "The PsyCHO Tour") (2015)
"Fresh Off The Bloat Tour" (2017)
Filmography
Film
Television
Comedy Specials
Web
Podcasts
Monsters of Talk
2013-2015: Co-hosted w/ Jim Short, 131 episodes
The Margaret Cho
Bibliography
Discography
Comedy albums
Music albums
Singles
Appearances
Videography
Music videos as main artist
Directed by
References
External links
Alternet.org video
Margaret Cho Video produced by Makers: Women Who Make America''
Margaret Cho Wilbur Theatre in Boston, MA review and photos by Jen Vesp
Interview with MEAWW
1968 births
Living people
Activists from California
Actresses from San Francisco
American actresses of Korean descent
American musicians of Korean descent
American stand-up comedians
American women comedians
American comedians of Asian descent
Asian-American feminists
Bisexual actresses
Bisexual feminists
Comedians from California
Feminist comedians
Feminist musicians
LGBT American people of Asian descent
Bisexual comedians
LGBT fashion designers
LGBT musicians from the United States
LGBT people from California
LGBT songwriters
LGBT rights activists from the United States
Lowell High School (San Francisco) alumni
Participants in American reality television series
People from Peachtree City, Georgia
San Francisco State University alumni
20th-century American actresses
21st-century American actresses
20th-century American comedians
21st-century American comedians
Polyamorous people
LGBT actors from the United States
American bisexual actors
| 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"
] |
[
"Margaret Cho",
"1995-2002: Stand-up, acting, and writing",
"What happened in 1995?",
"She hosted the New Year's Rockin' Eve 95 show with Steve Harvey.",
"What happened in 1996?",
"I don't know."
] |
C_7d596c991d904f3980cef0a20b6da5fb_1
|
What happened in 1997?
| 3 |
What happened to Margaret Cho in 1997?
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Margaret Cho
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Though her career and personal life were challenging after the cancellation of the show, Cho eventually sobered up, refocused her energy, and developed new material. She hosted the New Year's Rockin' Eve 95 show with Steve Harvey. In 1997, she had a supporting role in the thriller filmFace/Off starring Nicolas Cage and John Travolta, playing the role of Wanda, one of the fellow FBI agents of Travolta's primary character. In 1999, she wrote about her struggles with the show in her first one-woman show, I'm the One That I Want. That year, I'm the One That I Want won New York magazine's Performance of the Year award and was named one of the Great Performances of the year by Entertainment Weekly. At the same time, Cho wrote and published an autobiographical book with the same title, and the show itself was filmed and released as a concert film in 2000. Her material dealt with her difficulties breaking into show business because of her ethnicity and weight and her resulting struggle with and triumph over body image issues and drug and alcohol addiction. Cho also appeared in an episode of the HBO comedy Sex and the City's fourth season. The episode, titled "The Real Me," first aired on June 3, 2001, and also guest-starred Heidi Klum. In 2004, the show Notorious C.H.O. (the title was derived from slain rapper The Notorious B.I.G.) dealt with the comedian having been reared in 1970s San Francisco and her bisexuality. After completing Notorious C.H.O., Cho made another stand-up film, Revolution, which was released in 2004, and subsequently work on her first self-written film in which she starred. Bam Bam and Celeste, a low-budget comedy about a "fag hag" and her gay best friend, co-starred Cho's friend and co-touring act Bruce Daniels. The film premiered at the Toronto International Film Festival in 2005. On Valentine's Day of 2004, Cho spoke at the Marriage Equality Rally at the California State Capitol. Her speech can be seen in the documentary Freedom to Marry. CANNOTANSWER
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In 1997, she had a supporting role in the thriller filmFace/Off starring Nicolas Cage and John Travolta, playing the role of Wanda,
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Margaret Moran Cho (; born December 5, 1968) is an American stand-up comedian, actress, musician, fashion designer, and author. Cho is best known for her stand-up routines, through which she critiques social and political problems, especially regarding race and sexuality. She rose to prominence after creating and starring in the ABC sitcom All-American Girl (1994–95), and became an established stand-up comic in the subsequent years.
She has also had endeavors in fashion and music, and has her own clothing line. Cho has also frequently supported LGBT rights and has won awards for her humanitarian efforts on behalf of women, Asian Americans, and the LGBT community.
As an actress, she has acted in such roles as Charlene Lee in It's My Party and John Travolta's FBI colleague in the action movie Face/Off. Cho was part of the cast of the TV series Drop Dead Diva on Lifetime Television, in which she appeared as Teri Lee, a paralegal assistant. For her portrayal of Dictator Kim Jong-il on 30 Rock, she was nominated for the Primetime Emmy Award for Outstanding Guest Actress in a Comedy Series in 2012.
Early life
Cho was born in 1968 into a Korean family in San Francisco, California. Her grandfather was a Christian minister who ran an orphanage in Seoul during the Korean War and, according to Cho, she "grew up in the church." She was raised in a racially diverse neighborhood near the Ocean Beach section of San Francisco, which she described as a community of "old hippies, ex-druggies, burn-outs from the 1960s, drag queens, Chinese people, and Koreans. To say it was a melting pot – that's the least of it. It was a really confusing, enlightening, wonderful time." Cho's parents, Young-Hie and Seung-Hoon Cho, ran Paperback Traffic, a bookstore on Polk Street at California Street in San Francisco. Her father writes joke books and a newspaper column in Seoul, South Korea.
At school, Cho was bullied, saying that "I was hurt because I was different, and so sharing my experience of being beaten and hated and called fat and queer and foreign and perverse and gluttonous and lazy and filthy and dishonest and yet all the while remaining invisible heals me, and heals others when they hear it – those who are suffering right now."
Between the ages of five and twelve, Cho was "sexually molested by a family friend". On the Loveline May 21, 1997 show with Adam Carolla and Dr. Drew Pinsky, she talks about being raped by her uncle, while during the same time period he was raping his three-year-old daughter. She often skipped class and got bad grades in ninth and tenth grades, resulting in her expulsion from Lowell High School. Cho said she was "raped continuously through my youngest years" (by another acquaintance), and that when she told someone else about it and her classmates found out, she received hostile remarks justifying it, including accusations of being "so fat" that only a crazy person would have sex with her.
After Cho expressed an interest in performance, she auditioned and was accepted into the San Francisco School of the Arts, a San Francisco public high school for the arts. While at the school, she became involved with the school's improvisational comedy group alongside actors Sam Rockwell and Aisha Tyler.
At age 15, she worked as a phone sex operator, and she later worked as a dominatrix. After graduating from high school, Cho attended San Francisco State University, studying drama; she did not graduate.
Career
1994–97: Early stand-up and All-American Girl
After doing several shows in a club adjacent to her parents' bookstore, Cho launched a stand-up career and spent several years developing her material in clubs. Cho's career began to build after appearances on television and university campuses. In 1992, she appeared on the unsuccessful Golden Girls spin-off The Golden Palace in a small role. In 1994, Cho won the American Comedy Award for Best Female Comedian. In 2010, on The View, she discussed her nervousness about doing The Golden Palace and thanked the late Rue McClanahan for her help with rehearsing. She also secured a coveted spot as opening act for Jerry Seinfeld; at about this time, she was featured on a Bob Hope special, and was also a frequent visitor to The Arsenio Hall Show.
That same year, ABC developed and aired a sitcom based on Cho's stand-up routine. The show, titled All-American Girl, was initially promoted as the first show prominently featuring an East Asian family, although the short lived sitcom Mr. T and Tina, which had starred Noriyuki "Pat" Morita as Mr. T., preceded it by nearly two decades.
Cho has expressed subsequent regret for much of what transpired during the production of the show, specifically:
After network executives, especially executive producer Gail Berman, criticized her appearance and the roundness of her face, Cho starved herself for several weeks. Her rapid weight loss, done to modify her appearance by the time the pilot episode was filmed, caused kidney failure.
The show suffered criticism from within the U.S. East Asian community over its perception of stereotyping. Producers told Cho at different times during production both that she was "too Asian" and that she was "not Asian enough." At one point during the course of the show, producers hired a coach to teach Cho how to "be more Asian."
Much of the humor was broad and coarse, and at times, stereotypical portrayals of her close Korean relatives and gay bookshop customers were employed.
The show was canceled after suffering poor ratings and the effect of major content changes over the course of its single season (19 episodes).
After the show's 1995 cancellation, Cho became addicted to drugs and alcohol. As detailed in her 2002 autobiography, I'm the One That I Want, in 1995, her substance abuse was evident during a performance in Monroe, Louisiana, where she was booed off the stage by 800 college students after going on the stage drunk.
1995–2002: Stand-up, acting, and writing
Though her career and personal life were challenging after the show's cancellation, Cho eventually sobered up, refocused her energy, and developed new material. She hosted the New Year's Rockin' Eve 95 show with Steve Harvey. In 1997, she had a supporting role in the thriller film Face/Off starring Nicolas Cage and John Travolta, playing Wanda, one of the fellow FBI agents of Travolta's primary character.
In 1999, she wrote about her struggles with All-American Girl in her first one-woman show, I'm the One That I Want. That year, I'm the One That I Want won New York magazine's Performance of the Year award and was named one of the Great Performances of the year by Entertainment Weekly. At the same time, Cho wrote and published an autobiographical book with the same title, and the show itself was filmed and released as a concert film in 2000. Her material dealt with her difficulties breaking into show business because of her ethnicity and weight and her resulting struggle with and triumph over body image issues and drug and alcohol addiction. Cho also appeared in an episode of the HBO comedy Sex and the City's fourth season. The episode, titled "The Real Me," first aired on June 3, 2001, and also guest-starred Heidi Klum.
In 2004, the show Notorious C.H.O. (the title was derived from slain rapper The Notorious B.I.G.) referred to the comedian having been reared in 1970s San Francisco and her bisexuality. After completing Notorious C.H.O., she made another stand-up film, Revolution, released in 2004, and subsequently work on her first self-written film in which she starred. Bam Bam and Celeste, a low-budget comedy about a "fag hag" and her gay best friend, co-starred Cho's friend and co-touring act Bruce Daniels. The film premiered at the Toronto International Film Festival in 2005. On Valentine's Day of 2004, Cho spoke at the Marriage Equality Rally at the California State Capitol. Her speech can be seen in the documentary Freedom to Marry.
2005–2010: Other projects and television
In 2005, Cho released her second book, I Have Chosen to Stay and Fight, a compilation of essays and prose about global politics, human rights, and other topical issues. Cho launched a national book tour in support of the collection. An audio reading of the book was also released. A DVD of a live taping of her Assassin tour was released in conjunction with the book. The same year, Cho started promoting and touring with her new show, Assassin. The show became her fourth live concert film and premiered on the gay and lesbian premium cable network Here! TV in September 2005. In this DVD, she notably includes herself when talking about gay people, saying "we" and "our community." Posters for Assassin featured Cho in paratrooper gear and holding a microphone in the style of an automatic rifle, a reference to the infamous 1974 photo of heiress Patty Hearst.
Cho launched "The Sensuous Woman," a burlesque-style variety show tour, in Los Angeles on August 10, 2007, with tour dates scheduled through November 3, as of October 10. Scheduled tour stops meant to follow Los Angeles were Chicago, Illinois and New York City. On August 10, 2007 the San Francisco Chronicle reviewed the show, Cho's work, key events in her personal life and characterized the show thus: "In fact, as bawdy and bad-behaving as the cast gets, the whole show feels more like a crazy family reunion than a performance."
Also in 2007, Cho appeared in The Dresden Dolls' video of their song "Shores of California," which was MCed by Amanda Palmer and in The Cliks's video for "Eyes in the Back of My Head," in which she appeared as Lucas Silveira's lover. She also provided the character voice for a character named Condie Ling on the Logo animated series Rick & Steve: The Happiest Gay Couple in All the World. Her episodes began airing in 2007.
The premiere performance of Cho's "Beautiful" tour was on February 28, 2008, in Sydney, Australia as part of the Gay and Lesbian Mardi Gras Festival. Cho was also the Chief of Parade for the festival's annual parade along Oxford Street on March 1. During her stay in Sydney, Cho was filmed shopping for parade outfits in a drag store with Kathy Griffin and Cyndi Lauper for Griffin's Bravo series My Life on the D-List. The episode featuring Cho aired on June 26, 2008.
Cho and her family and friends appeared in an episode of NBC's series Celebrity Family Feud, which premiered on June 24, 2008. Later that summer, she appeared in her own semi-scripted reality sitcom for VH1, The Cho Show, which premiered on August 21, 2008 and lasted one season. She next appeared in the supporting cast of the series Drop Dead Diva, which debuted in July 2009.
2011–present: Further appearances and tours
In April 2011, Cho guest starred on the comedy 30 Rock in the episode "Everything Sunny All the Time Always." She portrayed Kim Jong-Il, then the leader of North Korea, that required her to speak both Korean and English. She was nominated for a Primetime Emmy Award for Outstanding Guest Actress in a Comedy Series. She later returned to portray Kim Jong-Il's son, Kim Jong-Un. [S:6, E:21] In 2010, Cho was a contestant on the 11th season of Dancing with the Stars.
Also in 2011, online human rights awareness project America 2049 had Margaret appear as one of the main characters, whose videos were played as part of the main storyline. The Facebook-interfaced game uses a fictional, fractioned future to highlight today's social inequities.
Since January 2013, Cho has been the co-host of the weekly podcast Monsters of Talk along with Jim Short. Cho embarked on her "Mother" tour in the fall of 2013 and slated it for engagements in Europe in 2014. The title of the tour refers not to Cho's impressions of her own mother, but to Cho herself. It is her nickname for the figure she has played to her many gay friends over the years. In 2014, she participated in Do I Sound Gay?, a documentary film directed and produced by David Thorpe. The film is about stereotypes of gay men's speech patterns.
In January 2019, Cho competed in season one of The Masked Singer as "Poodle". She was eliminated in Episode 4.
In July 2019, Cho started a solo podcast called The Margaret Cho, which features guests who primarily work in show business. Guests have included Queer Eye'''s Jonathan Van Ness, tattooist and reality TV figure Kat Von D, screenwriter Diablo Cody, drag queen Jackie Beat, and comedian and TV host Michael Yo. Cho has a chapter giving advice in Tim Ferriss' book Tools of Titans.
Comedic style and political advocacy
Cho is also well known for discussing her relationship with her mother, particularly in imitating her mother's heavily accented speech. Her depictions of "Mommy" have become a popular part of her routine. Cho's comedy routines are often explicit. She has covered substance abuse, eating disorders, her bisexuality and obsession with gay men, and Asian-American stereotypes, among other subjects, in her stand-up routines.
A substantial segment of her material and advocacy addresses LGBT issues. In addition to her shows, Cho also developed an additional outlet for her advocacy with the advent of her website and her daily blog. When San Francisco Mayor Gavin Newsom directed that San Francisco's city hall issue marriage licenses to same-sex couples in San Francisco in 2004 (until reversed by the state supreme court), Cho started Love is Love is Love, a website promoting the legalization of gay marriage in the United States.
Cho's material often features commentary on politics and contemporary American culture. She has also been outspoken about her dislike of former President George W. Bush. She began to draw intense fire from conservatives over her fiercely anti-Bush commentary; a live performance in Houston, Texas was threatened with picketing. Although protesters never showed up, she held a counter protest outside the club until security told her she had to go inside.
In 2004, Cho was performing at a corporate event in a hotel when, after ten minutes, her microphone was cut off and a band was instructed to begin playing. Cho claims that this was because the manager of the hotel was offended by anti-Bush administration comments. Cho's payment, which was issued by way of check directly to a non-profit organization, a defense fund for the West Memphis Three, initially bounced but was eventually honored.
In July 2004, during the Democratic National Convention, Cho was disinvited to speak at a Human Rights Campaign/National Stonewall Democrats fundraiser out of fear that her comments might cause controversy. In November 2005, she campaigned to pardon Stanley Tookie Williams, an early Crips gang leader, for his death sentence for four murders, but this campaign failed; on December 13, 2005, after exhausting all forms of appeal, Williams was executed by lethal injection at San Quentin State Prison, California.
In 2007, Cho hosted the multi-artist True Colors Tour, which traveled through 15 cities in the United States and Canada. The tour, sponsored by the Logo channel, began on June 8, 2007. Headlined by Cyndi Lauper, the tour also included Debbie Harry, Erasure, The Gossip, Rufus Wainwright, The Dresden Dolls, The MisShapes, Rosie O'Donnell, Indigo Girls, The Cliks, and other special guests. Profits from the tour helped to benefit the Human Rights Campaign as well as PFLAG and The Matthew Shepard Foundation.
On January 25, 2008, Cho officially gave her support to Barack Obama for the nomination on the Democratic ticket for the 2008 U.S. presidential election. After Republican Presidential candidate John McCain announced his running mate, Governor Sarah Palin of Alaska, Cho said of her, "I think [Palin] is the worst thing to happen to America since 9/11."
After same-sex marriage became legal in California in May 2008, Cho was deputized by the City of San Francisco to perform marriages there.
Other ventures
Fashion and burlesque
In 2003, Cho founded a clothing line with friend and fashion designer Ava Stander called High Class Cho. The company eventually went defunct.
In 2004, Cho took up bellydancing and in 2006 started her own line of bellydancing belts and accessories called Hip Wear; these she sold through her website. She also had extensive tattooing done to cover the majority of her back.
In November 2006, Cho joined the board of Good Vibrations, a sex toy retailer. With fellow comedian Diana Yanez, she co-wrote "My Puss", a rap song which they recorded as the duo of "Maureen and Angela." Cho appeared in and directed the music video for the song. In December 2006, Cho appeared on the Sci-Fi Channel's miniseries The Lost Room as Suzie Kang.
On an episode of The Hour with host George Stroumboulopoulos, Cho mentioned that she loved Broken Social Scene and wishes to be a part of the band (offering to play the rainstick or the triangle). On air, Stroumboulopoulos called band member Kevin Drew from his cell phone, and Cho made her request to join the band via his voicemail.
In April 2009, Cho was photographed by photographer Austin Young and appeared in a Bettie Page–inspired "Heaven Bound" art show.
Music
In September 2008, Cho released her single, "I Cho Am a Woman," on iTunes. The song, produced by Desmond Child, was featured on her VH1 series.
Throughout 2010, she worked on a full-length album, going through the titles "Guitarded" and "Banjovi" before finally settling on Cho Dependent. Released on August 24, 2010, the album was supported by music videos for "I'm Sorry," "Eat Shit and Die," and "My Lil' Wayne;" Liam Kyle Sullivan directed the first two. It was nominated for a 2010 Grammy award for Best Comedy Album. In 2011 Showtime released a stand-up comedy special, titled Margaret Cho: Cho Dependent, which featured musical performances from the album.
In May 2010, Cho directed, and appeared in, the music video for "I Wanna Be a Bear," a song by "Pixie Herculon," a pseudonym of Jill Sobule. In 2011, Cho sang the Bob Mould song "Your Favorite Thing" at the tribute concert See A Little Light with Grant-Lee Phillips.
In July 2014, she appeared in "Weird Al" Yankovic's music video for "Tacky."
In April 2016, Cho released her second album, American Myth.
In May 2016, she rapped on and made an appearance in the music video for "Green Tea", a song by rapper Awkwafina. Both play with stereotypes of people of Asian descent in hopes that "women of color embrace their quirkiness, their sexuality, their inner-child and their creativity with passion."
Also in 2016, Cho featured on the track "Ride or Die" on the album Sweet T by American drag queen and singer/artist Ginger Minj.
Podcast
In July 2019, Cho started a podcast called The Margaret Cho. It features guests who primarily work in show business and features original music by Garrison Starr.
Personal life
Cho married Al Ridenour, an artist involved in The Cacophony Society and the Art of Bleeding, in 2003. Cho was featured in an Art of Bleeding performance in March 2006. She described her marriage as "very conventional and conservative, I think. I mean we're such weird people that people just can't imagine that we would have a conventional marriage. But, yeah, we are very conventional." They were separated in September 2014 and Cho confirmed their separation in December. Cho referred to herself as "divorced" in an April 2015 profile in The New York Times, but actually filed for divorce in August 2015.La Ferla, Ruth. "For Margaret Cho, Nothing Is Too Private for a Punch Line". The New York Times. April 10, 2015.
, Cho was living in Peachtree City, Georgia, as Drop Dead Diva was filmed in the Atlanta area.
Cho is openly bisexual, and has stated that she has had "a lot of experience in the area of polyamory and alternative sexuality in general." When discussing her sexuality in a 2018 Huffington Post interview, Cho said, "I don't know using 'bisexual' is right because that indicates that there's only two genders, and I don't believe that. I've been with people all across the spectrum of gender and who have all kinds of different expressions of gender, so it's so hard to say. Maybe 'pansexual' is technically the more correct term but I like 'bisexual' because it's kind of '70s."
, Cho identifies as a Christian.
Cho was a guest on comedian Bobby Lee's Tigerbelly Podcast Episode 71, which was uploaded on December 16, 2016. In that episode, she recounted an incident between her and actress Tilda Swinton. According to Cho, Swinton contacted her via email to discuss the Asian American community's reaction to the news that Swinton had been cast to play the character Ancient One, who in the comic book is Tibetan, in the movie version of Doctor Strange. Cho found the inquiry strange since she did not know Swinton and had never talked to her before, nor did she have anything to do with the movie or casting. On December 21, Swinton released the email exchange between she and Cho to the website Jezebel. According to Swinton, she contacted Cho to better understand why Asian Americans were upset about the casting. In response to the release, Cho stated that she stands by her words both on TigerBelly and in the email exchange.
Cho revealed in a panel discussion that after doing genealogy testing, she discovered she was ethnically Chinese.
Accolades
In 2000, her "E! Celebrity Profile" won a Gracie Allen Award from the American Women in Radio and Television organization acknowledging its "superior quality and effective portrayal of the changing roles and concerns of women."
The same year, the Gay & Lesbian Alliance Against Defamation (GLAAD) awarded her with a Golden Gate Award and described her as an entertainer who, "as a pioneer, has made a significant difference in promoting equal rights for all, regardless of sexual orientation or gender identity."
In 2001, she was given a Lambda Liberty Award by Lambda Legal for "pressing us to see how false constructions of race, sexuality, and gender operate similarly to obscure and demean identity."
In 2003, she was given an Intrepid Award by the National Organization for Women.
In 2004, she was awarded with the First Amendment Award from the American Civil Liberties Union.
In 2007, she won for Outstanding Comedy Performance in AZN's Asian Excellence Awards.
April 30, 2008 was declared "Margaret Cho Day" in San Francisco.
In 2015, Joan Juliet Buck, writing in W, called Cho a modern-day femme fatale, writing:
[N]ot all women comedians are dangerous; some are just very funny: Tina Fey and Amy Poehler are too relatable, Joan Rivers was too firmly ensconced in the society that she mocked. Amy Schumer relies a little too much on the word "pussy" to be any kind of threat, though she would like very much to be a bad person. On the other hand, ... Margaret Cho know[s] no boundaries and inspire[s] palpable fear anytime [she] begin[s] one of [her] riffs.
Tours
"I'm the One That I Want" (1999)
"Notorious C.H.O." (2002)
"Revolution" (2003)
"State of Emergency" (2004)
"Assassin" (2005)
"True Colors" (2007–2008)
"Beautiful" (2008)
"Cho Dependent" (2010)
"Mother!" (2013)
"The 'There's No I in Team but there is a Cho in PsyCHO' Tour" (Often referred to simply as "The PsyCHO Tour") (2015)
"Fresh Off The Bloat Tour" (2017)
Filmography
Film
Television
Comedy Specials
Web
Podcasts
Monsters of Talk
2013-2015: Co-hosted w/ Jim Short, 131 episodes
The Margaret Cho
Bibliography
Discography
Comedy albums
Music albums
Singles
Appearances
Videography
Music videos as main artist
Directed by
References
External links
Alternet.org video
Margaret Cho Video produced by Makers: Women Who Make America''
Margaret Cho Wilbur Theatre in Boston, MA review and photos by Jen Vesp
Interview with MEAWW
1968 births
Living people
Activists from California
Actresses from San Francisco
American actresses of Korean descent
American musicians of Korean descent
American stand-up comedians
American women comedians
American comedians of Asian descent
Asian-American feminists
Bisexual actresses
Bisexual feminists
Comedians from California
Feminist comedians
Feminist musicians
LGBT American people of Asian descent
Bisexual comedians
LGBT fashion designers
LGBT musicians from the United States
LGBT people from California
LGBT songwriters
LGBT rights activists from the United States
Lowell High School (San Francisco) alumni
Participants in American reality television series
People from Peachtree City, Georgia
San Francisco State University alumni
20th-century American actresses
21st-century American actresses
20th-century American comedians
21st-century American comedians
Polyamorous people
LGBT actors from the United States
American bisexual actors
| 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"
] |
[
"Margaret Cho",
"1995-2002: Stand-up, acting, and writing",
"What happened in 1995?",
"She hosted the New Year's Rockin' Eve 95 show with Steve Harvey.",
"What happened in 1996?",
"I don't know.",
"What happened in 1997?",
"In 1997, she had a supporting role in the thriller filmFace/Off starring Nicolas Cage and John Travolta, playing the role of Wanda,"
] |
C_7d596c991d904f3980cef0a20b6da5fb_1
|
What happened in 1998?
| 4 |
What happened To Margaret Cho in 1998?
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Margaret Cho
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Though her career and personal life were challenging after the cancellation of the show, Cho eventually sobered up, refocused her energy, and developed new material. She hosted the New Year's Rockin' Eve 95 show with Steve Harvey. In 1997, she had a supporting role in the thriller filmFace/Off starring Nicolas Cage and John Travolta, playing the role of Wanda, one of the fellow FBI agents of Travolta's primary character. In 1999, she wrote about her struggles with the show in her first one-woman show, I'm the One That I Want. That year, I'm the One That I Want won New York magazine's Performance of the Year award and was named one of the Great Performances of the year by Entertainment Weekly. At the same time, Cho wrote and published an autobiographical book with the same title, and the show itself was filmed and released as a concert film in 2000. Her material dealt with her difficulties breaking into show business because of her ethnicity and weight and her resulting struggle with and triumph over body image issues and drug and alcohol addiction. Cho also appeared in an episode of the HBO comedy Sex and the City's fourth season. The episode, titled "The Real Me," first aired on June 3, 2001, and also guest-starred Heidi Klum. In 2004, the show Notorious C.H.O. (the title was derived from slain rapper The Notorious B.I.G.) dealt with the comedian having been reared in 1970s San Francisco and her bisexuality. After completing Notorious C.H.O., Cho made another stand-up film, Revolution, which was released in 2004, and subsequently work on her first self-written film in which she starred. Bam Bam and Celeste, a low-budget comedy about a "fag hag" and her gay best friend, co-starred Cho's friend and co-touring act Bruce Daniels. The film premiered at the Toronto International Film Festival in 2005. On Valentine's Day of 2004, Cho spoke at the Marriage Equality Rally at the California State Capitol. Her speech can be seen in the documentary Freedom to Marry. CANNOTANSWER
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CANNOTANSWER
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Margaret Moran Cho (; born December 5, 1968) is an American stand-up comedian, actress, musician, fashion designer, and author. Cho is best known for her stand-up routines, through which she critiques social and political problems, especially regarding race and sexuality. She rose to prominence after creating and starring in the ABC sitcom All-American Girl (1994–95), and became an established stand-up comic in the subsequent years.
She has also had endeavors in fashion and music, and has her own clothing line. Cho has also frequently supported LGBT rights and has won awards for her humanitarian efforts on behalf of women, Asian Americans, and the LGBT community.
As an actress, she has acted in such roles as Charlene Lee in It's My Party and John Travolta's FBI colleague in the action movie Face/Off. Cho was part of the cast of the TV series Drop Dead Diva on Lifetime Television, in which she appeared as Teri Lee, a paralegal assistant. For her portrayal of Dictator Kim Jong-il on 30 Rock, she was nominated for the Primetime Emmy Award for Outstanding Guest Actress in a Comedy Series in 2012.
Early life
Cho was born in 1968 into a Korean family in San Francisco, California. Her grandfather was a Christian minister who ran an orphanage in Seoul during the Korean War and, according to Cho, she "grew up in the church." She was raised in a racially diverse neighborhood near the Ocean Beach section of San Francisco, which she described as a community of "old hippies, ex-druggies, burn-outs from the 1960s, drag queens, Chinese people, and Koreans. To say it was a melting pot – that's the least of it. It was a really confusing, enlightening, wonderful time." Cho's parents, Young-Hie and Seung-Hoon Cho, ran Paperback Traffic, a bookstore on Polk Street at California Street in San Francisco. Her father writes joke books and a newspaper column in Seoul, South Korea.
At school, Cho was bullied, saying that "I was hurt because I was different, and so sharing my experience of being beaten and hated and called fat and queer and foreign and perverse and gluttonous and lazy and filthy and dishonest and yet all the while remaining invisible heals me, and heals others when they hear it – those who are suffering right now."
Between the ages of five and twelve, Cho was "sexually molested by a family friend". On the Loveline May 21, 1997 show with Adam Carolla and Dr. Drew Pinsky, she talks about being raped by her uncle, while during the same time period he was raping his three-year-old daughter. She often skipped class and got bad grades in ninth and tenth grades, resulting in her expulsion from Lowell High School. Cho said she was "raped continuously through my youngest years" (by another acquaintance), and that when she told someone else about it and her classmates found out, she received hostile remarks justifying it, including accusations of being "so fat" that only a crazy person would have sex with her.
After Cho expressed an interest in performance, she auditioned and was accepted into the San Francisco School of the Arts, a San Francisco public high school for the arts. While at the school, she became involved with the school's improvisational comedy group alongside actors Sam Rockwell and Aisha Tyler.
At age 15, she worked as a phone sex operator, and she later worked as a dominatrix. After graduating from high school, Cho attended San Francisco State University, studying drama; she did not graduate.
Career
1994–97: Early stand-up and All-American Girl
After doing several shows in a club adjacent to her parents' bookstore, Cho launched a stand-up career and spent several years developing her material in clubs. Cho's career began to build after appearances on television and university campuses. In 1992, she appeared on the unsuccessful Golden Girls spin-off The Golden Palace in a small role. In 1994, Cho won the American Comedy Award for Best Female Comedian. In 2010, on The View, she discussed her nervousness about doing The Golden Palace and thanked the late Rue McClanahan for her help with rehearsing. She also secured a coveted spot as opening act for Jerry Seinfeld; at about this time, she was featured on a Bob Hope special, and was also a frequent visitor to The Arsenio Hall Show.
That same year, ABC developed and aired a sitcom based on Cho's stand-up routine. The show, titled All-American Girl, was initially promoted as the first show prominently featuring an East Asian family, although the short lived sitcom Mr. T and Tina, which had starred Noriyuki "Pat" Morita as Mr. T., preceded it by nearly two decades.
Cho has expressed subsequent regret for much of what transpired during the production of the show, specifically:
After network executives, especially executive producer Gail Berman, criticized her appearance and the roundness of her face, Cho starved herself for several weeks. Her rapid weight loss, done to modify her appearance by the time the pilot episode was filmed, caused kidney failure.
The show suffered criticism from within the U.S. East Asian community over its perception of stereotyping. Producers told Cho at different times during production both that she was "too Asian" and that she was "not Asian enough." At one point during the course of the show, producers hired a coach to teach Cho how to "be more Asian."
Much of the humor was broad and coarse, and at times, stereotypical portrayals of her close Korean relatives and gay bookshop customers were employed.
The show was canceled after suffering poor ratings and the effect of major content changes over the course of its single season (19 episodes).
After the show's 1995 cancellation, Cho became addicted to drugs and alcohol. As detailed in her 2002 autobiography, I'm the One That I Want, in 1995, her substance abuse was evident during a performance in Monroe, Louisiana, where she was booed off the stage by 800 college students after going on the stage drunk.
1995–2002: Stand-up, acting, and writing
Though her career and personal life were challenging after the show's cancellation, Cho eventually sobered up, refocused her energy, and developed new material. She hosted the New Year's Rockin' Eve 95 show with Steve Harvey. In 1997, she had a supporting role in the thriller film Face/Off starring Nicolas Cage and John Travolta, playing Wanda, one of the fellow FBI agents of Travolta's primary character.
In 1999, she wrote about her struggles with All-American Girl in her first one-woman show, I'm the One That I Want. That year, I'm the One That I Want won New York magazine's Performance of the Year award and was named one of the Great Performances of the year by Entertainment Weekly. At the same time, Cho wrote and published an autobiographical book with the same title, and the show itself was filmed and released as a concert film in 2000. Her material dealt with her difficulties breaking into show business because of her ethnicity and weight and her resulting struggle with and triumph over body image issues and drug and alcohol addiction. Cho also appeared in an episode of the HBO comedy Sex and the City's fourth season. The episode, titled "The Real Me," first aired on June 3, 2001, and also guest-starred Heidi Klum.
In 2004, the show Notorious C.H.O. (the title was derived from slain rapper The Notorious B.I.G.) referred to the comedian having been reared in 1970s San Francisco and her bisexuality. After completing Notorious C.H.O., she made another stand-up film, Revolution, released in 2004, and subsequently work on her first self-written film in which she starred. Bam Bam and Celeste, a low-budget comedy about a "fag hag" and her gay best friend, co-starred Cho's friend and co-touring act Bruce Daniels. The film premiered at the Toronto International Film Festival in 2005. On Valentine's Day of 2004, Cho spoke at the Marriage Equality Rally at the California State Capitol. Her speech can be seen in the documentary Freedom to Marry.
2005–2010: Other projects and television
In 2005, Cho released her second book, I Have Chosen to Stay and Fight, a compilation of essays and prose about global politics, human rights, and other topical issues. Cho launched a national book tour in support of the collection. An audio reading of the book was also released. A DVD of a live taping of her Assassin tour was released in conjunction with the book. The same year, Cho started promoting and touring with her new show, Assassin. The show became her fourth live concert film and premiered on the gay and lesbian premium cable network Here! TV in September 2005. In this DVD, she notably includes herself when talking about gay people, saying "we" and "our community." Posters for Assassin featured Cho in paratrooper gear and holding a microphone in the style of an automatic rifle, a reference to the infamous 1974 photo of heiress Patty Hearst.
Cho launched "The Sensuous Woman," a burlesque-style variety show tour, in Los Angeles on August 10, 2007, with tour dates scheduled through November 3, as of October 10. Scheduled tour stops meant to follow Los Angeles were Chicago, Illinois and New York City. On August 10, 2007 the San Francisco Chronicle reviewed the show, Cho's work, key events in her personal life and characterized the show thus: "In fact, as bawdy and bad-behaving as the cast gets, the whole show feels more like a crazy family reunion than a performance."
Also in 2007, Cho appeared in The Dresden Dolls' video of their song "Shores of California," which was MCed by Amanda Palmer and in The Cliks's video for "Eyes in the Back of My Head," in which she appeared as Lucas Silveira's lover. She also provided the character voice for a character named Condie Ling on the Logo animated series Rick & Steve: The Happiest Gay Couple in All the World. Her episodes began airing in 2007.
The premiere performance of Cho's "Beautiful" tour was on February 28, 2008, in Sydney, Australia as part of the Gay and Lesbian Mardi Gras Festival. Cho was also the Chief of Parade for the festival's annual parade along Oxford Street on March 1. During her stay in Sydney, Cho was filmed shopping for parade outfits in a drag store with Kathy Griffin and Cyndi Lauper for Griffin's Bravo series My Life on the D-List. The episode featuring Cho aired on June 26, 2008.
Cho and her family and friends appeared in an episode of NBC's series Celebrity Family Feud, which premiered on June 24, 2008. Later that summer, she appeared in her own semi-scripted reality sitcom for VH1, The Cho Show, which premiered on August 21, 2008 and lasted one season. She next appeared in the supporting cast of the series Drop Dead Diva, which debuted in July 2009.
2011–present: Further appearances and tours
In April 2011, Cho guest starred on the comedy 30 Rock in the episode "Everything Sunny All the Time Always." She portrayed Kim Jong-Il, then the leader of North Korea, that required her to speak both Korean and English. She was nominated for a Primetime Emmy Award for Outstanding Guest Actress in a Comedy Series. She later returned to portray Kim Jong-Il's son, Kim Jong-Un. [S:6, E:21] In 2010, Cho was a contestant on the 11th season of Dancing with the Stars.
Also in 2011, online human rights awareness project America 2049 had Margaret appear as one of the main characters, whose videos were played as part of the main storyline. The Facebook-interfaced game uses a fictional, fractioned future to highlight today's social inequities.
Since January 2013, Cho has been the co-host of the weekly podcast Monsters of Talk along with Jim Short. Cho embarked on her "Mother" tour in the fall of 2013 and slated it for engagements in Europe in 2014. The title of the tour refers not to Cho's impressions of her own mother, but to Cho herself. It is her nickname for the figure she has played to her many gay friends over the years. In 2014, she participated in Do I Sound Gay?, a documentary film directed and produced by David Thorpe. The film is about stereotypes of gay men's speech patterns.
In January 2019, Cho competed in season one of The Masked Singer as "Poodle". She was eliminated in Episode 4.
In July 2019, Cho started a solo podcast called The Margaret Cho, which features guests who primarily work in show business. Guests have included Queer Eye'''s Jonathan Van Ness, tattooist and reality TV figure Kat Von D, screenwriter Diablo Cody, drag queen Jackie Beat, and comedian and TV host Michael Yo. Cho has a chapter giving advice in Tim Ferriss' book Tools of Titans.
Comedic style and political advocacy
Cho is also well known for discussing her relationship with her mother, particularly in imitating her mother's heavily accented speech. Her depictions of "Mommy" have become a popular part of her routine. Cho's comedy routines are often explicit. She has covered substance abuse, eating disorders, her bisexuality and obsession with gay men, and Asian-American stereotypes, among other subjects, in her stand-up routines.
A substantial segment of her material and advocacy addresses LGBT issues. In addition to her shows, Cho also developed an additional outlet for her advocacy with the advent of her website and her daily blog. When San Francisco Mayor Gavin Newsom directed that San Francisco's city hall issue marriage licenses to same-sex couples in San Francisco in 2004 (until reversed by the state supreme court), Cho started Love is Love is Love, a website promoting the legalization of gay marriage in the United States.
Cho's material often features commentary on politics and contemporary American culture. She has also been outspoken about her dislike of former President George W. Bush. She began to draw intense fire from conservatives over her fiercely anti-Bush commentary; a live performance in Houston, Texas was threatened with picketing. Although protesters never showed up, she held a counter protest outside the club until security told her she had to go inside.
In 2004, Cho was performing at a corporate event in a hotel when, after ten minutes, her microphone was cut off and a band was instructed to begin playing. Cho claims that this was because the manager of the hotel was offended by anti-Bush administration comments. Cho's payment, which was issued by way of check directly to a non-profit organization, a defense fund for the West Memphis Three, initially bounced but was eventually honored.
In July 2004, during the Democratic National Convention, Cho was disinvited to speak at a Human Rights Campaign/National Stonewall Democrats fundraiser out of fear that her comments might cause controversy. In November 2005, she campaigned to pardon Stanley Tookie Williams, an early Crips gang leader, for his death sentence for four murders, but this campaign failed; on December 13, 2005, after exhausting all forms of appeal, Williams was executed by lethal injection at San Quentin State Prison, California.
In 2007, Cho hosted the multi-artist True Colors Tour, which traveled through 15 cities in the United States and Canada. The tour, sponsored by the Logo channel, began on June 8, 2007. Headlined by Cyndi Lauper, the tour also included Debbie Harry, Erasure, The Gossip, Rufus Wainwright, The Dresden Dolls, The MisShapes, Rosie O'Donnell, Indigo Girls, The Cliks, and other special guests. Profits from the tour helped to benefit the Human Rights Campaign as well as PFLAG and The Matthew Shepard Foundation.
On January 25, 2008, Cho officially gave her support to Barack Obama for the nomination on the Democratic ticket for the 2008 U.S. presidential election. After Republican Presidential candidate John McCain announced his running mate, Governor Sarah Palin of Alaska, Cho said of her, "I think [Palin] is the worst thing to happen to America since 9/11."
After same-sex marriage became legal in California in May 2008, Cho was deputized by the City of San Francisco to perform marriages there.
Other ventures
Fashion and burlesque
In 2003, Cho founded a clothing line with friend and fashion designer Ava Stander called High Class Cho. The company eventually went defunct.
In 2004, Cho took up bellydancing and in 2006 started her own line of bellydancing belts and accessories called Hip Wear; these she sold through her website. She also had extensive tattooing done to cover the majority of her back.
In November 2006, Cho joined the board of Good Vibrations, a sex toy retailer. With fellow comedian Diana Yanez, she co-wrote "My Puss", a rap song which they recorded as the duo of "Maureen and Angela." Cho appeared in and directed the music video for the song. In December 2006, Cho appeared on the Sci-Fi Channel's miniseries The Lost Room as Suzie Kang.
On an episode of The Hour with host George Stroumboulopoulos, Cho mentioned that she loved Broken Social Scene and wishes to be a part of the band (offering to play the rainstick or the triangle). On air, Stroumboulopoulos called band member Kevin Drew from his cell phone, and Cho made her request to join the band via his voicemail.
In April 2009, Cho was photographed by photographer Austin Young and appeared in a Bettie Page–inspired "Heaven Bound" art show.
Music
In September 2008, Cho released her single, "I Cho Am a Woman," on iTunes. The song, produced by Desmond Child, was featured on her VH1 series.
Throughout 2010, she worked on a full-length album, going through the titles "Guitarded" and "Banjovi" before finally settling on Cho Dependent. Released on August 24, 2010, the album was supported by music videos for "I'm Sorry," "Eat Shit and Die," and "My Lil' Wayne;" Liam Kyle Sullivan directed the first two. It was nominated for a 2010 Grammy award for Best Comedy Album. In 2011 Showtime released a stand-up comedy special, titled Margaret Cho: Cho Dependent, which featured musical performances from the album.
In May 2010, Cho directed, and appeared in, the music video for "I Wanna Be a Bear," a song by "Pixie Herculon," a pseudonym of Jill Sobule. In 2011, Cho sang the Bob Mould song "Your Favorite Thing" at the tribute concert See A Little Light with Grant-Lee Phillips.
In July 2014, she appeared in "Weird Al" Yankovic's music video for "Tacky."
In April 2016, Cho released her second album, American Myth.
In May 2016, she rapped on and made an appearance in the music video for "Green Tea", a song by rapper Awkwafina. Both play with stereotypes of people of Asian descent in hopes that "women of color embrace their quirkiness, their sexuality, their inner-child and their creativity with passion."
Also in 2016, Cho featured on the track "Ride or Die" on the album Sweet T by American drag queen and singer/artist Ginger Minj.
Podcast
In July 2019, Cho started a podcast called The Margaret Cho. It features guests who primarily work in show business and features original music by Garrison Starr.
Personal life
Cho married Al Ridenour, an artist involved in The Cacophony Society and the Art of Bleeding, in 2003. Cho was featured in an Art of Bleeding performance in March 2006. She described her marriage as "very conventional and conservative, I think. I mean we're such weird people that people just can't imagine that we would have a conventional marriage. But, yeah, we are very conventional." They were separated in September 2014 and Cho confirmed their separation in December. Cho referred to herself as "divorced" in an April 2015 profile in The New York Times, but actually filed for divorce in August 2015.La Ferla, Ruth. "For Margaret Cho, Nothing Is Too Private for a Punch Line". The New York Times. April 10, 2015.
, Cho was living in Peachtree City, Georgia, as Drop Dead Diva was filmed in the Atlanta area.
Cho is openly bisexual, and has stated that she has had "a lot of experience in the area of polyamory and alternative sexuality in general." When discussing her sexuality in a 2018 Huffington Post interview, Cho said, "I don't know using 'bisexual' is right because that indicates that there's only two genders, and I don't believe that. I've been with people all across the spectrum of gender and who have all kinds of different expressions of gender, so it's so hard to say. Maybe 'pansexual' is technically the more correct term but I like 'bisexual' because it's kind of '70s."
, Cho identifies as a Christian.
Cho was a guest on comedian Bobby Lee's Tigerbelly Podcast Episode 71, which was uploaded on December 16, 2016. In that episode, she recounted an incident between her and actress Tilda Swinton. According to Cho, Swinton contacted her via email to discuss the Asian American community's reaction to the news that Swinton had been cast to play the character Ancient One, who in the comic book is Tibetan, in the movie version of Doctor Strange. Cho found the inquiry strange since she did not know Swinton and had never talked to her before, nor did she have anything to do with the movie or casting. On December 21, Swinton released the email exchange between she and Cho to the website Jezebel. According to Swinton, she contacted Cho to better understand why Asian Americans were upset about the casting. In response to the release, Cho stated that she stands by her words both on TigerBelly and in the email exchange.
Cho revealed in a panel discussion that after doing genealogy testing, she discovered she was ethnically Chinese.
Accolades
In 2000, her "E! Celebrity Profile" won a Gracie Allen Award from the American Women in Radio and Television organization acknowledging its "superior quality and effective portrayal of the changing roles and concerns of women."
The same year, the Gay & Lesbian Alliance Against Defamation (GLAAD) awarded her with a Golden Gate Award and described her as an entertainer who, "as a pioneer, has made a significant difference in promoting equal rights for all, regardless of sexual orientation or gender identity."
In 2001, she was given a Lambda Liberty Award by Lambda Legal for "pressing us to see how false constructions of race, sexuality, and gender operate similarly to obscure and demean identity."
In 2003, she was given an Intrepid Award by the National Organization for Women.
In 2004, she was awarded with the First Amendment Award from the American Civil Liberties Union.
In 2007, she won for Outstanding Comedy Performance in AZN's Asian Excellence Awards.
April 30, 2008 was declared "Margaret Cho Day" in San Francisco.
In 2015, Joan Juliet Buck, writing in W, called Cho a modern-day femme fatale, writing:
[N]ot all women comedians are dangerous; some are just very funny: Tina Fey and Amy Poehler are too relatable, Joan Rivers was too firmly ensconced in the society that she mocked. Amy Schumer relies a little too much on the word "pussy" to be any kind of threat, though she would like very much to be a bad person. On the other hand, ... Margaret Cho know[s] no boundaries and inspire[s] palpable fear anytime [she] begin[s] one of [her] riffs.
Tours
"I'm the One That I Want" (1999)
"Notorious C.H.O." (2002)
"Revolution" (2003)
"State of Emergency" (2004)
"Assassin" (2005)
"True Colors" (2007–2008)
"Beautiful" (2008)
"Cho Dependent" (2010)
"Mother!" (2013)
"The 'There's No I in Team but there is a Cho in PsyCHO' Tour" (Often referred to simply as "The PsyCHO Tour") (2015)
"Fresh Off The Bloat Tour" (2017)
Filmography
Film
Television
Comedy Specials
Web
Podcasts
Monsters of Talk
2013-2015: Co-hosted w/ Jim Short, 131 episodes
The Margaret Cho
Bibliography
Discography
Comedy albums
Music albums
Singles
Appearances
Videography
Music videos as main artist
Directed by
References
External links
Alternet.org video
Margaret Cho Video produced by Makers: Women Who Make America''
Margaret Cho Wilbur Theatre in Boston, MA review and photos by Jen Vesp
Interview with MEAWW
1968 births
Living people
Activists from California
Actresses from San Francisco
American actresses of Korean descent
American musicians of Korean descent
American stand-up comedians
American women comedians
American comedians of Asian descent
Asian-American feminists
Bisexual actresses
Bisexual feminists
Comedians from California
Feminist comedians
Feminist musicians
LGBT American people of Asian descent
Bisexual comedians
LGBT fashion designers
LGBT musicians from the United States
LGBT people from California
LGBT songwriters
LGBT rights activists from the United States
Lowell High School (San Francisco) alumni
Participants in American reality television series
People from Peachtree City, Georgia
San Francisco State University alumni
20th-century American actresses
21st-century American actresses
20th-century American comedians
21st-century American comedians
Polyamorous people
LGBT actors from the United States
American bisexual actors
| 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"
] |
[
"Margaret Cho",
"1995-2002: Stand-up, acting, and writing",
"What happened in 1995?",
"She hosted the New Year's Rockin' Eve 95 show with Steve Harvey.",
"What happened in 1996?",
"I don't know.",
"What happened in 1997?",
"In 1997, she had a supporting role in the thriller filmFace/Off starring Nicolas Cage and John Travolta, playing the role of Wanda,",
"What happened in 1998?",
"I don't know."
] |
C_7d596c991d904f3980cef0a20b6da5fb_1
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What happened in 1999?
| 5 |
What happened to Margaret Cho in 1999?
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Margaret Cho
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Though her career and personal life were challenging after the cancellation of the show, Cho eventually sobered up, refocused her energy, and developed new material. She hosted the New Year's Rockin' Eve 95 show with Steve Harvey. In 1997, she had a supporting role in the thriller filmFace/Off starring Nicolas Cage and John Travolta, playing the role of Wanda, one of the fellow FBI agents of Travolta's primary character. In 1999, she wrote about her struggles with the show in her first one-woman show, I'm the One That I Want. That year, I'm the One That I Want won New York magazine's Performance of the Year award and was named one of the Great Performances of the year by Entertainment Weekly. At the same time, Cho wrote and published an autobiographical book with the same title, and the show itself was filmed and released as a concert film in 2000. Her material dealt with her difficulties breaking into show business because of her ethnicity and weight and her resulting struggle with and triumph over body image issues and drug and alcohol addiction. Cho also appeared in an episode of the HBO comedy Sex and the City's fourth season. The episode, titled "The Real Me," first aired on June 3, 2001, and also guest-starred Heidi Klum. In 2004, the show Notorious C.H.O. (the title was derived from slain rapper The Notorious B.I.G.) dealt with the comedian having been reared in 1970s San Francisco and her bisexuality. After completing Notorious C.H.O., Cho made another stand-up film, Revolution, which was released in 2004, and subsequently work on her first self-written film in which she starred. Bam Bam and Celeste, a low-budget comedy about a "fag hag" and her gay best friend, co-starred Cho's friend and co-touring act Bruce Daniels. The film premiered at the Toronto International Film Festival in 2005. On Valentine's Day of 2004, Cho spoke at the Marriage Equality Rally at the California State Capitol. Her speech can be seen in the documentary Freedom to Marry. CANNOTANSWER
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CANNOTANSWER
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Margaret Moran Cho (; born December 5, 1968) is an American stand-up comedian, actress, musician, fashion designer, and author. Cho is best known for her stand-up routines, through which she critiques social and political problems, especially regarding race and sexuality. She rose to prominence after creating and starring in the ABC sitcom All-American Girl (1994–95), and became an established stand-up comic in the subsequent years.
She has also had endeavors in fashion and music, and has her own clothing line. Cho has also frequently supported LGBT rights and has won awards for her humanitarian efforts on behalf of women, Asian Americans, and the LGBT community.
As an actress, she has acted in such roles as Charlene Lee in It's My Party and John Travolta's FBI colleague in the action movie Face/Off. Cho was part of the cast of the TV series Drop Dead Diva on Lifetime Television, in which she appeared as Teri Lee, a paralegal assistant. For her portrayal of Dictator Kim Jong-il on 30 Rock, she was nominated for the Primetime Emmy Award for Outstanding Guest Actress in a Comedy Series in 2012.
Early life
Cho was born in 1968 into a Korean family in San Francisco, California. Her grandfather was a Christian minister who ran an orphanage in Seoul during the Korean War and, according to Cho, she "grew up in the church." She was raised in a racially diverse neighborhood near the Ocean Beach section of San Francisco, which she described as a community of "old hippies, ex-druggies, burn-outs from the 1960s, drag queens, Chinese people, and Koreans. To say it was a melting pot – that's the least of it. It was a really confusing, enlightening, wonderful time." Cho's parents, Young-Hie and Seung-Hoon Cho, ran Paperback Traffic, a bookstore on Polk Street at California Street in San Francisco. Her father writes joke books and a newspaper column in Seoul, South Korea.
At school, Cho was bullied, saying that "I was hurt because I was different, and so sharing my experience of being beaten and hated and called fat and queer and foreign and perverse and gluttonous and lazy and filthy and dishonest and yet all the while remaining invisible heals me, and heals others when they hear it – those who are suffering right now."
Between the ages of five and twelve, Cho was "sexually molested by a family friend". On the Loveline May 21, 1997 show with Adam Carolla and Dr. Drew Pinsky, she talks about being raped by her uncle, while during the same time period he was raping his three-year-old daughter. She often skipped class and got bad grades in ninth and tenth grades, resulting in her expulsion from Lowell High School. Cho said she was "raped continuously through my youngest years" (by another acquaintance), and that when she told someone else about it and her classmates found out, she received hostile remarks justifying it, including accusations of being "so fat" that only a crazy person would have sex with her.
After Cho expressed an interest in performance, she auditioned and was accepted into the San Francisco School of the Arts, a San Francisco public high school for the arts. While at the school, she became involved with the school's improvisational comedy group alongside actors Sam Rockwell and Aisha Tyler.
At age 15, she worked as a phone sex operator, and she later worked as a dominatrix. After graduating from high school, Cho attended San Francisco State University, studying drama; she did not graduate.
Career
1994–97: Early stand-up and All-American Girl
After doing several shows in a club adjacent to her parents' bookstore, Cho launched a stand-up career and spent several years developing her material in clubs. Cho's career began to build after appearances on television and university campuses. In 1992, she appeared on the unsuccessful Golden Girls spin-off The Golden Palace in a small role. In 1994, Cho won the American Comedy Award for Best Female Comedian. In 2010, on The View, she discussed her nervousness about doing The Golden Palace and thanked the late Rue McClanahan for her help with rehearsing. She also secured a coveted spot as opening act for Jerry Seinfeld; at about this time, she was featured on a Bob Hope special, and was also a frequent visitor to The Arsenio Hall Show.
That same year, ABC developed and aired a sitcom based on Cho's stand-up routine. The show, titled All-American Girl, was initially promoted as the first show prominently featuring an East Asian family, although the short lived sitcom Mr. T and Tina, which had starred Noriyuki "Pat" Morita as Mr. T., preceded it by nearly two decades.
Cho has expressed subsequent regret for much of what transpired during the production of the show, specifically:
After network executives, especially executive producer Gail Berman, criticized her appearance and the roundness of her face, Cho starved herself for several weeks. Her rapid weight loss, done to modify her appearance by the time the pilot episode was filmed, caused kidney failure.
The show suffered criticism from within the U.S. East Asian community over its perception of stereotyping. Producers told Cho at different times during production both that she was "too Asian" and that she was "not Asian enough." At one point during the course of the show, producers hired a coach to teach Cho how to "be more Asian."
Much of the humor was broad and coarse, and at times, stereotypical portrayals of her close Korean relatives and gay bookshop customers were employed.
The show was canceled after suffering poor ratings and the effect of major content changes over the course of its single season (19 episodes).
After the show's 1995 cancellation, Cho became addicted to drugs and alcohol. As detailed in her 2002 autobiography, I'm the One That I Want, in 1995, her substance abuse was evident during a performance in Monroe, Louisiana, where she was booed off the stage by 800 college students after going on the stage drunk.
1995–2002: Stand-up, acting, and writing
Though her career and personal life were challenging after the show's cancellation, Cho eventually sobered up, refocused her energy, and developed new material. She hosted the New Year's Rockin' Eve 95 show with Steve Harvey. In 1997, she had a supporting role in the thriller film Face/Off starring Nicolas Cage and John Travolta, playing Wanda, one of the fellow FBI agents of Travolta's primary character.
In 1999, she wrote about her struggles with All-American Girl in her first one-woman show, I'm the One That I Want. That year, I'm the One That I Want won New York magazine's Performance of the Year award and was named one of the Great Performances of the year by Entertainment Weekly. At the same time, Cho wrote and published an autobiographical book with the same title, and the show itself was filmed and released as a concert film in 2000. Her material dealt with her difficulties breaking into show business because of her ethnicity and weight and her resulting struggle with and triumph over body image issues and drug and alcohol addiction. Cho also appeared in an episode of the HBO comedy Sex and the City's fourth season. The episode, titled "The Real Me," first aired on June 3, 2001, and also guest-starred Heidi Klum.
In 2004, the show Notorious C.H.O. (the title was derived from slain rapper The Notorious B.I.G.) referred to the comedian having been reared in 1970s San Francisco and her bisexuality. After completing Notorious C.H.O., she made another stand-up film, Revolution, released in 2004, and subsequently work on her first self-written film in which she starred. Bam Bam and Celeste, a low-budget comedy about a "fag hag" and her gay best friend, co-starred Cho's friend and co-touring act Bruce Daniels. The film premiered at the Toronto International Film Festival in 2005. On Valentine's Day of 2004, Cho spoke at the Marriage Equality Rally at the California State Capitol. Her speech can be seen in the documentary Freedom to Marry.
2005–2010: Other projects and television
In 2005, Cho released her second book, I Have Chosen to Stay and Fight, a compilation of essays and prose about global politics, human rights, and other topical issues. Cho launched a national book tour in support of the collection. An audio reading of the book was also released. A DVD of a live taping of her Assassin tour was released in conjunction with the book. The same year, Cho started promoting and touring with her new show, Assassin. The show became her fourth live concert film and premiered on the gay and lesbian premium cable network Here! TV in September 2005. In this DVD, she notably includes herself when talking about gay people, saying "we" and "our community." Posters for Assassin featured Cho in paratrooper gear and holding a microphone in the style of an automatic rifle, a reference to the infamous 1974 photo of heiress Patty Hearst.
Cho launched "The Sensuous Woman," a burlesque-style variety show tour, in Los Angeles on August 10, 2007, with tour dates scheduled through November 3, as of October 10. Scheduled tour stops meant to follow Los Angeles were Chicago, Illinois and New York City. On August 10, 2007 the San Francisco Chronicle reviewed the show, Cho's work, key events in her personal life and characterized the show thus: "In fact, as bawdy and bad-behaving as the cast gets, the whole show feels more like a crazy family reunion than a performance."
Also in 2007, Cho appeared in The Dresden Dolls' video of their song "Shores of California," which was MCed by Amanda Palmer and in The Cliks's video for "Eyes in the Back of My Head," in which she appeared as Lucas Silveira's lover. She also provided the character voice for a character named Condie Ling on the Logo animated series Rick & Steve: The Happiest Gay Couple in All the World. Her episodes began airing in 2007.
The premiere performance of Cho's "Beautiful" tour was on February 28, 2008, in Sydney, Australia as part of the Gay and Lesbian Mardi Gras Festival. Cho was also the Chief of Parade for the festival's annual parade along Oxford Street on March 1. During her stay in Sydney, Cho was filmed shopping for parade outfits in a drag store with Kathy Griffin and Cyndi Lauper for Griffin's Bravo series My Life on the D-List. The episode featuring Cho aired on June 26, 2008.
Cho and her family and friends appeared in an episode of NBC's series Celebrity Family Feud, which premiered on June 24, 2008. Later that summer, she appeared in her own semi-scripted reality sitcom for VH1, The Cho Show, which premiered on August 21, 2008 and lasted one season. She next appeared in the supporting cast of the series Drop Dead Diva, which debuted in July 2009.
2011–present: Further appearances and tours
In April 2011, Cho guest starred on the comedy 30 Rock in the episode "Everything Sunny All the Time Always." She portrayed Kim Jong-Il, then the leader of North Korea, that required her to speak both Korean and English. She was nominated for a Primetime Emmy Award for Outstanding Guest Actress in a Comedy Series. She later returned to portray Kim Jong-Il's son, Kim Jong-Un. [S:6, E:21] In 2010, Cho was a contestant on the 11th season of Dancing with the Stars.
Also in 2011, online human rights awareness project America 2049 had Margaret appear as one of the main characters, whose videos were played as part of the main storyline. The Facebook-interfaced game uses a fictional, fractioned future to highlight today's social inequities.
Since January 2013, Cho has been the co-host of the weekly podcast Monsters of Talk along with Jim Short. Cho embarked on her "Mother" tour in the fall of 2013 and slated it for engagements in Europe in 2014. The title of the tour refers not to Cho's impressions of her own mother, but to Cho herself. It is her nickname for the figure she has played to her many gay friends over the years. In 2014, she participated in Do I Sound Gay?, a documentary film directed and produced by David Thorpe. The film is about stereotypes of gay men's speech patterns.
In January 2019, Cho competed in season one of The Masked Singer as "Poodle". She was eliminated in Episode 4.
In July 2019, Cho started a solo podcast called The Margaret Cho, which features guests who primarily work in show business. Guests have included Queer Eye'''s Jonathan Van Ness, tattooist and reality TV figure Kat Von D, screenwriter Diablo Cody, drag queen Jackie Beat, and comedian and TV host Michael Yo. Cho has a chapter giving advice in Tim Ferriss' book Tools of Titans.
Comedic style and political advocacy
Cho is also well known for discussing her relationship with her mother, particularly in imitating her mother's heavily accented speech. Her depictions of "Mommy" have become a popular part of her routine. Cho's comedy routines are often explicit. She has covered substance abuse, eating disorders, her bisexuality and obsession with gay men, and Asian-American stereotypes, among other subjects, in her stand-up routines.
A substantial segment of her material and advocacy addresses LGBT issues. In addition to her shows, Cho also developed an additional outlet for her advocacy with the advent of her website and her daily blog. When San Francisco Mayor Gavin Newsom directed that San Francisco's city hall issue marriage licenses to same-sex couples in San Francisco in 2004 (until reversed by the state supreme court), Cho started Love is Love is Love, a website promoting the legalization of gay marriage in the United States.
Cho's material often features commentary on politics and contemporary American culture. She has also been outspoken about her dislike of former President George W. Bush. She began to draw intense fire from conservatives over her fiercely anti-Bush commentary; a live performance in Houston, Texas was threatened with picketing. Although protesters never showed up, she held a counter protest outside the club until security told her she had to go inside.
In 2004, Cho was performing at a corporate event in a hotel when, after ten minutes, her microphone was cut off and a band was instructed to begin playing. Cho claims that this was because the manager of the hotel was offended by anti-Bush administration comments. Cho's payment, which was issued by way of check directly to a non-profit organization, a defense fund for the West Memphis Three, initially bounced but was eventually honored.
In July 2004, during the Democratic National Convention, Cho was disinvited to speak at a Human Rights Campaign/National Stonewall Democrats fundraiser out of fear that her comments might cause controversy. In November 2005, she campaigned to pardon Stanley Tookie Williams, an early Crips gang leader, for his death sentence for four murders, but this campaign failed; on December 13, 2005, after exhausting all forms of appeal, Williams was executed by lethal injection at San Quentin State Prison, California.
In 2007, Cho hosted the multi-artist True Colors Tour, which traveled through 15 cities in the United States and Canada. The tour, sponsored by the Logo channel, began on June 8, 2007. Headlined by Cyndi Lauper, the tour also included Debbie Harry, Erasure, The Gossip, Rufus Wainwright, The Dresden Dolls, The MisShapes, Rosie O'Donnell, Indigo Girls, The Cliks, and other special guests. Profits from the tour helped to benefit the Human Rights Campaign as well as PFLAG and The Matthew Shepard Foundation.
On January 25, 2008, Cho officially gave her support to Barack Obama for the nomination on the Democratic ticket for the 2008 U.S. presidential election. After Republican Presidential candidate John McCain announced his running mate, Governor Sarah Palin of Alaska, Cho said of her, "I think [Palin] is the worst thing to happen to America since 9/11."
After same-sex marriage became legal in California in May 2008, Cho was deputized by the City of San Francisco to perform marriages there.
Other ventures
Fashion and burlesque
In 2003, Cho founded a clothing line with friend and fashion designer Ava Stander called High Class Cho. The company eventually went defunct.
In 2004, Cho took up bellydancing and in 2006 started her own line of bellydancing belts and accessories called Hip Wear; these she sold through her website. She also had extensive tattooing done to cover the majority of her back.
In November 2006, Cho joined the board of Good Vibrations, a sex toy retailer. With fellow comedian Diana Yanez, she co-wrote "My Puss", a rap song which they recorded as the duo of "Maureen and Angela." Cho appeared in and directed the music video for the song. In December 2006, Cho appeared on the Sci-Fi Channel's miniseries The Lost Room as Suzie Kang.
On an episode of The Hour with host George Stroumboulopoulos, Cho mentioned that she loved Broken Social Scene and wishes to be a part of the band (offering to play the rainstick or the triangle). On air, Stroumboulopoulos called band member Kevin Drew from his cell phone, and Cho made her request to join the band via his voicemail.
In April 2009, Cho was photographed by photographer Austin Young and appeared in a Bettie Page–inspired "Heaven Bound" art show.
Music
In September 2008, Cho released her single, "I Cho Am a Woman," on iTunes. The song, produced by Desmond Child, was featured on her VH1 series.
Throughout 2010, she worked on a full-length album, going through the titles "Guitarded" and "Banjovi" before finally settling on Cho Dependent. Released on August 24, 2010, the album was supported by music videos for "I'm Sorry," "Eat Shit and Die," and "My Lil' Wayne;" Liam Kyle Sullivan directed the first two. It was nominated for a 2010 Grammy award for Best Comedy Album. In 2011 Showtime released a stand-up comedy special, titled Margaret Cho: Cho Dependent, which featured musical performances from the album.
In May 2010, Cho directed, and appeared in, the music video for "I Wanna Be a Bear," a song by "Pixie Herculon," a pseudonym of Jill Sobule. In 2011, Cho sang the Bob Mould song "Your Favorite Thing" at the tribute concert See A Little Light with Grant-Lee Phillips.
In July 2014, she appeared in "Weird Al" Yankovic's music video for "Tacky."
In April 2016, Cho released her second album, American Myth.
In May 2016, she rapped on and made an appearance in the music video for "Green Tea", a song by rapper Awkwafina. Both play with stereotypes of people of Asian descent in hopes that "women of color embrace their quirkiness, their sexuality, their inner-child and their creativity with passion."
Also in 2016, Cho featured on the track "Ride or Die" on the album Sweet T by American drag queen and singer/artist Ginger Minj.
Podcast
In July 2019, Cho started a podcast called The Margaret Cho. It features guests who primarily work in show business and features original music by Garrison Starr.
Personal life
Cho married Al Ridenour, an artist involved in The Cacophony Society and the Art of Bleeding, in 2003. Cho was featured in an Art of Bleeding performance in March 2006. She described her marriage as "very conventional and conservative, I think. I mean we're such weird people that people just can't imagine that we would have a conventional marriage. But, yeah, we are very conventional." They were separated in September 2014 and Cho confirmed their separation in December. Cho referred to herself as "divorced" in an April 2015 profile in The New York Times, but actually filed for divorce in August 2015.La Ferla, Ruth. "For Margaret Cho, Nothing Is Too Private for a Punch Line". The New York Times. April 10, 2015.
, Cho was living in Peachtree City, Georgia, as Drop Dead Diva was filmed in the Atlanta area.
Cho is openly bisexual, and has stated that she has had "a lot of experience in the area of polyamory and alternative sexuality in general." When discussing her sexuality in a 2018 Huffington Post interview, Cho said, "I don't know using 'bisexual' is right because that indicates that there's only two genders, and I don't believe that. I've been with people all across the spectrum of gender and who have all kinds of different expressions of gender, so it's so hard to say. Maybe 'pansexual' is technically the more correct term but I like 'bisexual' because it's kind of '70s."
, Cho identifies as a Christian.
Cho was a guest on comedian Bobby Lee's Tigerbelly Podcast Episode 71, which was uploaded on December 16, 2016. In that episode, she recounted an incident between her and actress Tilda Swinton. According to Cho, Swinton contacted her via email to discuss the Asian American community's reaction to the news that Swinton had been cast to play the character Ancient One, who in the comic book is Tibetan, in the movie version of Doctor Strange. Cho found the inquiry strange since she did not know Swinton and had never talked to her before, nor did she have anything to do with the movie or casting. On December 21, Swinton released the email exchange between she and Cho to the website Jezebel. According to Swinton, she contacted Cho to better understand why Asian Americans were upset about the casting. In response to the release, Cho stated that she stands by her words both on TigerBelly and in the email exchange.
Cho revealed in a panel discussion that after doing genealogy testing, she discovered she was ethnically Chinese.
Accolades
In 2000, her "E! Celebrity Profile" won a Gracie Allen Award from the American Women in Radio and Television organization acknowledging its "superior quality and effective portrayal of the changing roles and concerns of women."
The same year, the Gay & Lesbian Alliance Against Defamation (GLAAD) awarded her with a Golden Gate Award and described her as an entertainer who, "as a pioneer, has made a significant difference in promoting equal rights for all, regardless of sexual orientation or gender identity."
In 2001, she was given a Lambda Liberty Award by Lambda Legal for "pressing us to see how false constructions of race, sexuality, and gender operate similarly to obscure and demean identity."
In 2003, she was given an Intrepid Award by the National Organization for Women.
In 2004, she was awarded with the First Amendment Award from the American Civil Liberties Union.
In 2007, she won for Outstanding Comedy Performance in AZN's Asian Excellence Awards.
April 30, 2008 was declared "Margaret Cho Day" in San Francisco.
In 2015, Joan Juliet Buck, writing in W, called Cho a modern-day femme fatale, writing:
[N]ot all women comedians are dangerous; some are just very funny: Tina Fey and Amy Poehler are too relatable, Joan Rivers was too firmly ensconced in the society that she mocked. Amy Schumer relies a little too much on the word "pussy" to be any kind of threat, though she would like very much to be a bad person. On the other hand, ... Margaret Cho know[s] no boundaries and inspire[s] palpable fear anytime [she] begin[s] one of [her] riffs.
Tours
"I'm the One That I Want" (1999)
"Notorious C.H.O." (2002)
"Revolution" (2003)
"State of Emergency" (2004)
"Assassin" (2005)
"True Colors" (2007–2008)
"Beautiful" (2008)
"Cho Dependent" (2010)
"Mother!" (2013)
"The 'There's No I in Team but there is a Cho in PsyCHO' Tour" (Often referred to simply as "The PsyCHO Tour") (2015)
"Fresh Off The Bloat Tour" (2017)
Filmography
Film
Television
Comedy Specials
Web
Podcasts
Monsters of Talk
2013-2015: Co-hosted w/ Jim Short, 131 episodes
The Margaret Cho
Bibliography
Discography
Comedy albums
Music albums
Singles
Appearances
Videography
Music videos as main artist
Directed by
References
External links
Alternet.org video
Margaret Cho Video produced by Makers: Women Who Make America''
Margaret Cho Wilbur Theatre in Boston, MA review and photos by Jen Vesp
Interview with MEAWW
1968 births
Living people
Activists from California
Actresses from San Francisco
American actresses of Korean descent
American musicians of Korean descent
American stand-up comedians
American women comedians
American comedians of Asian descent
Asian-American feminists
Bisexual actresses
Bisexual feminists
Comedians from California
Feminist comedians
Feminist musicians
LGBT American people of Asian descent
Bisexual comedians
LGBT fashion designers
LGBT musicians from the United States
LGBT people from California
LGBT songwriters
LGBT rights activists from the United States
Lowell High School (San Francisco) alumni
Participants in American reality television series
People from Peachtree City, Georgia
San Francisco State University alumni
20th-century American actresses
21st-century American actresses
20th-century American comedians
21st-century American comedians
Polyamorous people
LGBT actors from the United States
American bisexual actors
| 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"
] |
[
"Margaret Cho",
"1995-2002: Stand-up, acting, and writing",
"What happened in 1995?",
"She hosted the New Year's Rockin' Eve 95 show with Steve Harvey.",
"What happened in 1996?",
"I don't know.",
"What happened in 1997?",
"In 1997, she had a supporting role in the thriller filmFace/Off starring Nicolas Cage and John Travolta, playing the role of Wanda,",
"What happened in 1998?",
"I don't know.",
"What happened in 1999?",
"I don't know."
] |
C_7d596c991d904f3980cef0a20b6da5fb_1
|
What happened in 2000?
| 6 |
What happened to Margaret Cho in 2000?
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Margaret Cho
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Though her career and personal life were challenging after the cancellation of the show, Cho eventually sobered up, refocused her energy, and developed new material. She hosted the New Year's Rockin' Eve 95 show with Steve Harvey. In 1997, she had a supporting role in the thriller filmFace/Off starring Nicolas Cage and John Travolta, playing the role of Wanda, one of the fellow FBI agents of Travolta's primary character. In 1999, she wrote about her struggles with the show in her first one-woman show, I'm the One That I Want. That year, I'm the One That I Want won New York magazine's Performance of the Year award and was named one of the Great Performances of the year by Entertainment Weekly. At the same time, Cho wrote and published an autobiographical book with the same title, and the show itself was filmed and released as a concert film in 2000. Her material dealt with her difficulties breaking into show business because of her ethnicity and weight and her resulting struggle with and triumph over body image issues and drug and alcohol addiction. Cho also appeared in an episode of the HBO comedy Sex and the City's fourth season. The episode, titled "The Real Me," first aired on June 3, 2001, and also guest-starred Heidi Klum. In 2004, the show Notorious C.H.O. (the title was derived from slain rapper The Notorious B.I.G.) dealt with the comedian having been reared in 1970s San Francisco and her bisexuality. After completing Notorious C.H.O., Cho made another stand-up film, Revolution, which was released in 2004, and subsequently work on her first self-written film in which she starred. Bam Bam and Celeste, a low-budget comedy about a "fag hag" and her gay best friend, co-starred Cho's friend and co-touring act Bruce Daniels. The film premiered at the Toronto International Film Festival in 2005. On Valentine's Day of 2004, Cho spoke at the Marriage Equality Rally at the California State Capitol. Her speech can be seen in the documentary Freedom to Marry. CANNOTANSWER
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At the same time, Cho wrote and published an autobiographical book with the same title, and the show itself was filmed and released as a concert film in 2000.
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Margaret Moran Cho (; born December 5, 1968) is an American stand-up comedian, actress, musician, fashion designer, and author. Cho is best known for her stand-up routines, through which she critiques social and political problems, especially regarding race and sexuality. She rose to prominence after creating and starring in the ABC sitcom All-American Girl (1994–95), and became an established stand-up comic in the subsequent years.
She has also had endeavors in fashion and music, and has her own clothing line. Cho has also frequently supported LGBT rights and has won awards for her humanitarian efforts on behalf of women, Asian Americans, and the LGBT community.
As an actress, she has acted in such roles as Charlene Lee in It's My Party and John Travolta's FBI colleague in the action movie Face/Off. Cho was part of the cast of the TV series Drop Dead Diva on Lifetime Television, in which she appeared as Teri Lee, a paralegal assistant. For her portrayal of Dictator Kim Jong-il on 30 Rock, she was nominated for the Primetime Emmy Award for Outstanding Guest Actress in a Comedy Series in 2012.
Early life
Cho was born in 1968 into a Korean family in San Francisco, California. Her grandfather was a Christian minister who ran an orphanage in Seoul during the Korean War and, according to Cho, she "grew up in the church." She was raised in a racially diverse neighborhood near the Ocean Beach section of San Francisco, which she described as a community of "old hippies, ex-druggies, burn-outs from the 1960s, drag queens, Chinese people, and Koreans. To say it was a melting pot – that's the least of it. It was a really confusing, enlightening, wonderful time." Cho's parents, Young-Hie and Seung-Hoon Cho, ran Paperback Traffic, a bookstore on Polk Street at California Street in San Francisco. Her father writes joke books and a newspaper column in Seoul, South Korea.
At school, Cho was bullied, saying that "I was hurt because I was different, and so sharing my experience of being beaten and hated and called fat and queer and foreign and perverse and gluttonous and lazy and filthy and dishonest and yet all the while remaining invisible heals me, and heals others when they hear it – those who are suffering right now."
Between the ages of five and twelve, Cho was "sexually molested by a family friend". On the Loveline May 21, 1997 show with Adam Carolla and Dr. Drew Pinsky, she talks about being raped by her uncle, while during the same time period he was raping his three-year-old daughter. She often skipped class and got bad grades in ninth and tenth grades, resulting in her expulsion from Lowell High School. Cho said she was "raped continuously through my youngest years" (by another acquaintance), and that when she told someone else about it and her classmates found out, she received hostile remarks justifying it, including accusations of being "so fat" that only a crazy person would have sex with her.
After Cho expressed an interest in performance, she auditioned and was accepted into the San Francisco School of the Arts, a San Francisco public high school for the arts. While at the school, she became involved with the school's improvisational comedy group alongside actors Sam Rockwell and Aisha Tyler.
At age 15, she worked as a phone sex operator, and she later worked as a dominatrix. After graduating from high school, Cho attended San Francisco State University, studying drama; she did not graduate.
Career
1994–97: Early stand-up and All-American Girl
After doing several shows in a club adjacent to her parents' bookstore, Cho launched a stand-up career and spent several years developing her material in clubs. Cho's career began to build after appearances on television and university campuses. In 1992, she appeared on the unsuccessful Golden Girls spin-off The Golden Palace in a small role. In 1994, Cho won the American Comedy Award for Best Female Comedian. In 2010, on The View, she discussed her nervousness about doing The Golden Palace and thanked the late Rue McClanahan for her help with rehearsing. She also secured a coveted spot as opening act for Jerry Seinfeld; at about this time, she was featured on a Bob Hope special, and was also a frequent visitor to The Arsenio Hall Show.
That same year, ABC developed and aired a sitcom based on Cho's stand-up routine. The show, titled All-American Girl, was initially promoted as the first show prominently featuring an East Asian family, although the short lived sitcom Mr. T and Tina, which had starred Noriyuki "Pat" Morita as Mr. T., preceded it by nearly two decades.
Cho has expressed subsequent regret for much of what transpired during the production of the show, specifically:
After network executives, especially executive producer Gail Berman, criticized her appearance and the roundness of her face, Cho starved herself for several weeks. Her rapid weight loss, done to modify her appearance by the time the pilot episode was filmed, caused kidney failure.
The show suffered criticism from within the U.S. East Asian community over its perception of stereotyping. Producers told Cho at different times during production both that she was "too Asian" and that she was "not Asian enough." At one point during the course of the show, producers hired a coach to teach Cho how to "be more Asian."
Much of the humor was broad and coarse, and at times, stereotypical portrayals of her close Korean relatives and gay bookshop customers were employed.
The show was canceled after suffering poor ratings and the effect of major content changes over the course of its single season (19 episodes).
After the show's 1995 cancellation, Cho became addicted to drugs and alcohol. As detailed in her 2002 autobiography, I'm the One That I Want, in 1995, her substance abuse was evident during a performance in Monroe, Louisiana, where she was booed off the stage by 800 college students after going on the stage drunk.
1995–2002: Stand-up, acting, and writing
Though her career and personal life were challenging after the show's cancellation, Cho eventually sobered up, refocused her energy, and developed new material. She hosted the New Year's Rockin' Eve 95 show with Steve Harvey. In 1997, she had a supporting role in the thriller film Face/Off starring Nicolas Cage and John Travolta, playing Wanda, one of the fellow FBI agents of Travolta's primary character.
In 1999, she wrote about her struggles with All-American Girl in her first one-woman show, I'm the One That I Want. That year, I'm the One That I Want won New York magazine's Performance of the Year award and was named one of the Great Performances of the year by Entertainment Weekly. At the same time, Cho wrote and published an autobiographical book with the same title, and the show itself was filmed and released as a concert film in 2000. Her material dealt with her difficulties breaking into show business because of her ethnicity and weight and her resulting struggle with and triumph over body image issues and drug and alcohol addiction. Cho also appeared in an episode of the HBO comedy Sex and the City's fourth season. The episode, titled "The Real Me," first aired on June 3, 2001, and also guest-starred Heidi Klum.
In 2004, the show Notorious C.H.O. (the title was derived from slain rapper The Notorious B.I.G.) referred to the comedian having been reared in 1970s San Francisco and her bisexuality. After completing Notorious C.H.O., she made another stand-up film, Revolution, released in 2004, and subsequently work on her first self-written film in which she starred. Bam Bam and Celeste, a low-budget comedy about a "fag hag" and her gay best friend, co-starred Cho's friend and co-touring act Bruce Daniels. The film premiered at the Toronto International Film Festival in 2005. On Valentine's Day of 2004, Cho spoke at the Marriage Equality Rally at the California State Capitol. Her speech can be seen in the documentary Freedom to Marry.
2005–2010: Other projects and television
In 2005, Cho released her second book, I Have Chosen to Stay and Fight, a compilation of essays and prose about global politics, human rights, and other topical issues. Cho launched a national book tour in support of the collection. An audio reading of the book was also released. A DVD of a live taping of her Assassin tour was released in conjunction with the book. The same year, Cho started promoting and touring with her new show, Assassin. The show became her fourth live concert film and premiered on the gay and lesbian premium cable network Here! TV in September 2005. In this DVD, she notably includes herself when talking about gay people, saying "we" and "our community." Posters for Assassin featured Cho in paratrooper gear and holding a microphone in the style of an automatic rifle, a reference to the infamous 1974 photo of heiress Patty Hearst.
Cho launched "The Sensuous Woman," a burlesque-style variety show tour, in Los Angeles on August 10, 2007, with tour dates scheduled through November 3, as of October 10. Scheduled tour stops meant to follow Los Angeles were Chicago, Illinois and New York City. On August 10, 2007 the San Francisco Chronicle reviewed the show, Cho's work, key events in her personal life and characterized the show thus: "In fact, as bawdy and bad-behaving as the cast gets, the whole show feels more like a crazy family reunion than a performance."
Also in 2007, Cho appeared in The Dresden Dolls' video of their song "Shores of California," which was MCed by Amanda Palmer and in The Cliks's video for "Eyes in the Back of My Head," in which she appeared as Lucas Silveira's lover. She also provided the character voice for a character named Condie Ling on the Logo animated series Rick & Steve: The Happiest Gay Couple in All the World. Her episodes began airing in 2007.
The premiere performance of Cho's "Beautiful" tour was on February 28, 2008, in Sydney, Australia as part of the Gay and Lesbian Mardi Gras Festival. Cho was also the Chief of Parade for the festival's annual parade along Oxford Street on March 1. During her stay in Sydney, Cho was filmed shopping for parade outfits in a drag store with Kathy Griffin and Cyndi Lauper for Griffin's Bravo series My Life on the D-List. The episode featuring Cho aired on June 26, 2008.
Cho and her family and friends appeared in an episode of NBC's series Celebrity Family Feud, which premiered on June 24, 2008. Later that summer, she appeared in her own semi-scripted reality sitcom for VH1, The Cho Show, which premiered on August 21, 2008 and lasted one season. She next appeared in the supporting cast of the series Drop Dead Diva, which debuted in July 2009.
2011–present: Further appearances and tours
In April 2011, Cho guest starred on the comedy 30 Rock in the episode "Everything Sunny All the Time Always." She portrayed Kim Jong-Il, then the leader of North Korea, that required her to speak both Korean and English. She was nominated for a Primetime Emmy Award for Outstanding Guest Actress in a Comedy Series. She later returned to portray Kim Jong-Il's son, Kim Jong-Un. [S:6, E:21] In 2010, Cho was a contestant on the 11th season of Dancing with the Stars.
Also in 2011, online human rights awareness project America 2049 had Margaret appear as one of the main characters, whose videos were played as part of the main storyline. The Facebook-interfaced game uses a fictional, fractioned future to highlight today's social inequities.
Since January 2013, Cho has been the co-host of the weekly podcast Monsters of Talk along with Jim Short. Cho embarked on her "Mother" tour in the fall of 2013 and slated it for engagements in Europe in 2014. The title of the tour refers not to Cho's impressions of her own mother, but to Cho herself. It is her nickname for the figure she has played to her many gay friends over the years. In 2014, she participated in Do I Sound Gay?, a documentary film directed and produced by David Thorpe. The film is about stereotypes of gay men's speech patterns.
In January 2019, Cho competed in season one of The Masked Singer as "Poodle". She was eliminated in Episode 4.
In July 2019, Cho started a solo podcast called The Margaret Cho, which features guests who primarily work in show business. Guests have included Queer Eye'''s Jonathan Van Ness, tattooist and reality TV figure Kat Von D, screenwriter Diablo Cody, drag queen Jackie Beat, and comedian and TV host Michael Yo. Cho has a chapter giving advice in Tim Ferriss' book Tools of Titans.
Comedic style and political advocacy
Cho is also well known for discussing her relationship with her mother, particularly in imitating her mother's heavily accented speech. Her depictions of "Mommy" have become a popular part of her routine. Cho's comedy routines are often explicit. She has covered substance abuse, eating disorders, her bisexuality and obsession with gay men, and Asian-American stereotypes, among other subjects, in her stand-up routines.
A substantial segment of her material and advocacy addresses LGBT issues. In addition to her shows, Cho also developed an additional outlet for her advocacy with the advent of her website and her daily blog. When San Francisco Mayor Gavin Newsom directed that San Francisco's city hall issue marriage licenses to same-sex couples in San Francisco in 2004 (until reversed by the state supreme court), Cho started Love is Love is Love, a website promoting the legalization of gay marriage in the United States.
Cho's material often features commentary on politics and contemporary American culture. She has also been outspoken about her dislike of former President George W. Bush. She began to draw intense fire from conservatives over her fiercely anti-Bush commentary; a live performance in Houston, Texas was threatened with picketing. Although protesters never showed up, she held a counter protest outside the club until security told her she had to go inside.
In 2004, Cho was performing at a corporate event in a hotel when, after ten minutes, her microphone was cut off and a band was instructed to begin playing. Cho claims that this was because the manager of the hotel was offended by anti-Bush administration comments. Cho's payment, which was issued by way of check directly to a non-profit organization, a defense fund for the West Memphis Three, initially bounced but was eventually honored.
In July 2004, during the Democratic National Convention, Cho was disinvited to speak at a Human Rights Campaign/National Stonewall Democrats fundraiser out of fear that her comments might cause controversy. In November 2005, she campaigned to pardon Stanley Tookie Williams, an early Crips gang leader, for his death sentence for four murders, but this campaign failed; on December 13, 2005, after exhausting all forms of appeal, Williams was executed by lethal injection at San Quentin State Prison, California.
In 2007, Cho hosted the multi-artist True Colors Tour, which traveled through 15 cities in the United States and Canada. The tour, sponsored by the Logo channel, began on June 8, 2007. Headlined by Cyndi Lauper, the tour also included Debbie Harry, Erasure, The Gossip, Rufus Wainwright, The Dresden Dolls, The MisShapes, Rosie O'Donnell, Indigo Girls, The Cliks, and other special guests. Profits from the tour helped to benefit the Human Rights Campaign as well as PFLAG and The Matthew Shepard Foundation.
On January 25, 2008, Cho officially gave her support to Barack Obama for the nomination on the Democratic ticket for the 2008 U.S. presidential election. After Republican Presidential candidate John McCain announced his running mate, Governor Sarah Palin of Alaska, Cho said of her, "I think [Palin] is the worst thing to happen to America since 9/11."
After same-sex marriage became legal in California in May 2008, Cho was deputized by the City of San Francisco to perform marriages there.
Other ventures
Fashion and burlesque
In 2003, Cho founded a clothing line with friend and fashion designer Ava Stander called High Class Cho. The company eventually went defunct.
In 2004, Cho took up bellydancing and in 2006 started her own line of bellydancing belts and accessories called Hip Wear; these she sold through her website. She also had extensive tattooing done to cover the majority of her back.
In November 2006, Cho joined the board of Good Vibrations, a sex toy retailer. With fellow comedian Diana Yanez, she co-wrote "My Puss", a rap song which they recorded as the duo of "Maureen and Angela." Cho appeared in and directed the music video for the song. In December 2006, Cho appeared on the Sci-Fi Channel's miniseries The Lost Room as Suzie Kang.
On an episode of The Hour with host George Stroumboulopoulos, Cho mentioned that she loved Broken Social Scene and wishes to be a part of the band (offering to play the rainstick or the triangle). On air, Stroumboulopoulos called band member Kevin Drew from his cell phone, and Cho made her request to join the band via his voicemail.
In April 2009, Cho was photographed by photographer Austin Young and appeared in a Bettie Page–inspired "Heaven Bound" art show.
Music
In September 2008, Cho released her single, "I Cho Am a Woman," on iTunes. The song, produced by Desmond Child, was featured on her VH1 series.
Throughout 2010, she worked on a full-length album, going through the titles "Guitarded" and "Banjovi" before finally settling on Cho Dependent. Released on August 24, 2010, the album was supported by music videos for "I'm Sorry," "Eat Shit and Die," and "My Lil' Wayne;" Liam Kyle Sullivan directed the first two. It was nominated for a 2010 Grammy award for Best Comedy Album. In 2011 Showtime released a stand-up comedy special, titled Margaret Cho: Cho Dependent, which featured musical performances from the album.
In May 2010, Cho directed, and appeared in, the music video for "I Wanna Be a Bear," a song by "Pixie Herculon," a pseudonym of Jill Sobule. In 2011, Cho sang the Bob Mould song "Your Favorite Thing" at the tribute concert See A Little Light with Grant-Lee Phillips.
In July 2014, she appeared in "Weird Al" Yankovic's music video for "Tacky."
In April 2016, Cho released her second album, American Myth.
In May 2016, she rapped on and made an appearance in the music video for "Green Tea", a song by rapper Awkwafina. Both play with stereotypes of people of Asian descent in hopes that "women of color embrace their quirkiness, their sexuality, their inner-child and their creativity with passion."
Also in 2016, Cho featured on the track "Ride or Die" on the album Sweet T by American drag queen and singer/artist Ginger Minj.
Podcast
In July 2019, Cho started a podcast called The Margaret Cho. It features guests who primarily work in show business and features original music by Garrison Starr.
Personal life
Cho married Al Ridenour, an artist involved in The Cacophony Society and the Art of Bleeding, in 2003. Cho was featured in an Art of Bleeding performance in March 2006. She described her marriage as "very conventional and conservative, I think. I mean we're such weird people that people just can't imagine that we would have a conventional marriage. But, yeah, we are very conventional." They were separated in September 2014 and Cho confirmed their separation in December. Cho referred to herself as "divorced" in an April 2015 profile in The New York Times, but actually filed for divorce in August 2015.La Ferla, Ruth. "For Margaret Cho, Nothing Is Too Private for a Punch Line". The New York Times. April 10, 2015.
, Cho was living in Peachtree City, Georgia, as Drop Dead Diva was filmed in the Atlanta area.
Cho is openly bisexual, and has stated that she has had "a lot of experience in the area of polyamory and alternative sexuality in general." When discussing her sexuality in a 2018 Huffington Post interview, Cho said, "I don't know using 'bisexual' is right because that indicates that there's only two genders, and I don't believe that. I've been with people all across the spectrum of gender and who have all kinds of different expressions of gender, so it's so hard to say. Maybe 'pansexual' is technically the more correct term but I like 'bisexual' because it's kind of '70s."
, Cho identifies as a Christian.
Cho was a guest on comedian Bobby Lee's Tigerbelly Podcast Episode 71, which was uploaded on December 16, 2016. In that episode, she recounted an incident between her and actress Tilda Swinton. According to Cho, Swinton contacted her via email to discuss the Asian American community's reaction to the news that Swinton had been cast to play the character Ancient One, who in the comic book is Tibetan, in the movie version of Doctor Strange. Cho found the inquiry strange since she did not know Swinton and had never talked to her before, nor did she have anything to do with the movie or casting. On December 21, Swinton released the email exchange between she and Cho to the website Jezebel. According to Swinton, she contacted Cho to better understand why Asian Americans were upset about the casting. In response to the release, Cho stated that she stands by her words both on TigerBelly and in the email exchange.
Cho revealed in a panel discussion that after doing genealogy testing, she discovered she was ethnically Chinese.
Accolades
In 2000, her "E! Celebrity Profile" won a Gracie Allen Award from the American Women in Radio and Television organization acknowledging its "superior quality and effective portrayal of the changing roles and concerns of women."
The same year, the Gay & Lesbian Alliance Against Defamation (GLAAD) awarded her with a Golden Gate Award and described her as an entertainer who, "as a pioneer, has made a significant difference in promoting equal rights for all, regardless of sexual orientation or gender identity."
In 2001, she was given a Lambda Liberty Award by Lambda Legal for "pressing us to see how false constructions of race, sexuality, and gender operate similarly to obscure and demean identity."
In 2003, she was given an Intrepid Award by the National Organization for Women.
In 2004, she was awarded with the First Amendment Award from the American Civil Liberties Union.
In 2007, she won for Outstanding Comedy Performance in AZN's Asian Excellence Awards.
April 30, 2008 was declared "Margaret Cho Day" in San Francisco.
In 2015, Joan Juliet Buck, writing in W, called Cho a modern-day femme fatale, writing:
[N]ot all women comedians are dangerous; some are just very funny: Tina Fey and Amy Poehler are too relatable, Joan Rivers was too firmly ensconced in the society that she mocked. Amy Schumer relies a little too much on the word "pussy" to be any kind of threat, though she would like very much to be a bad person. On the other hand, ... Margaret Cho know[s] no boundaries and inspire[s] palpable fear anytime [she] begin[s] one of [her] riffs.
Tours
"I'm the One That I Want" (1999)
"Notorious C.H.O." (2002)
"Revolution" (2003)
"State of Emergency" (2004)
"Assassin" (2005)
"True Colors" (2007–2008)
"Beautiful" (2008)
"Cho Dependent" (2010)
"Mother!" (2013)
"The 'There's No I in Team but there is a Cho in PsyCHO' Tour" (Often referred to simply as "The PsyCHO Tour") (2015)
"Fresh Off The Bloat Tour" (2017)
Filmography
Film
Television
Comedy Specials
Web
Podcasts
Monsters of Talk
2013-2015: Co-hosted w/ Jim Short, 131 episodes
The Margaret Cho
Bibliography
Discography
Comedy albums
Music albums
Singles
Appearances
Videography
Music videos as main artist
Directed by
References
External links
Alternet.org video
Margaret Cho Video produced by Makers: Women Who Make America''
Margaret Cho Wilbur Theatre in Boston, MA review and photos by Jen Vesp
Interview with MEAWW
1968 births
Living people
Activists from California
Actresses from San Francisco
American actresses of Korean descent
American musicians of Korean descent
American stand-up comedians
American women comedians
American comedians of Asian descent
Asian-American feminists
Bisexual actresses
Bisexual feminists
Comedians from California
Feminist comedians
Feminist musicians
LGBT American people of Asian descent
Bisexual comedians
LGBT fashion designers
LGBT musicians from the United States
LGBT people from California
LGBT songwriters
LGBT rights activists from the United States
Lowell High School (San Francisco) alumni
Participants in American reality television series
People from Peachtree City, Georgia
San Francisco State University alumni
20th-century American actresses
21st-century American actresses
20th-century American comedians
21st-century American comedians
Polyamorous people
LGBT actors from the United States
American bisexual actors
| true |
[
"Don Juan Manuel's Tales of Count Lucanor, in Spanish Libro de los ejemplos del conde Lucanor y de Patronio (Book of the Examples of Count Lucanor and of Patronio), also commonly known as El Conde Lucanor, Libro de Patronio, or Libro de los ejemplos (original Old Castilian: Libro de los enxiemplos del Conde Lucanor et de Patronio), is one of the earliest works of prose in Castilian Spanish. It was first written in 1335.\n\nThe book is divided into four parts. The first and most well-known part is a series of 51 short stories (some no more than a page or two) drawn from various sources, such as Aesop and other classical writers, and Arabic folktales.\n\nTales of Count Lucanor was first printed in 1575 when it was published at Seville under the auspices of Argote de Molina. It was again printed at Madrid in 1642, after which it lay forgotten for nearly two centuries.\n\nPurpose and structure\n\nA didactic, moralistic purpose, which would color so much of the Spanish literature to follow (see Novela picaresca), is the mark of this book. Count Lucanor engages in conversation with his advisor Patronio, putting to him a problem (\"Some man has made me a proposition...\" or \"I fear that such and such person intends to...\") and asking for advice. Patronio responds always with the greatest humility, claiming not to wish to offer advice to so illustrious a person as the Count, but offering to tell him a story of which the Count's problem reminds him. (Thus, the stories are \"examples\" [ejemplos] of wise action.) At the end he advises the Count to do as the protagonist of his story did.\n\nEach chapter ends in more or less the same way, with slight variations on: \"And this pleased the Count greatly and he did just so, and found it well. And Don Johán (Juan) saw that this example was very good, and had it written in this book, and composed the following verses.\" A rhymed couplet closes, giving the moral of the story.\n\nOrigin of stories and influence on later literature\nMany of the stories written in the book are the first examples written in a modern European language of various stories, which many other writers would use in the proceeding centuries. Many of the stories he included were themselves derived from other stories, coming from western and Arab sources.\n\nShakespeare's The Taming of the Shrew has the basic elements of Tale 35, \"What Happened to a Young Man Who Married a Strong and Ill-tempered Woman\".\n\nTale 32, \"What Happened to the King and the Tricksters Who Made Cloth\" tells the story that Hans Christian Andersen made popular as The Emperor's New Clothes.\n\nStory 7, \"What Happened to a Woman Named Truhana\", a version of Aesop's The Milkmaid and Her Pail, was claimed by Max Müller to originate in the Hindu cycle Panchatantra.\n\nTale 2, \"What happened to a good Man and his Son, leading a beast to market,\" is the familiar fable The miller, his son and the donkey.\n\nIn 2016, Baroque Decay released a game under the name \"The Count Lucanor\". As well as some protagonists' names, certain events from the books inspired past events in the game.\n\nThe stories\n\nThe book opens with a prologue which introduces the characters of the Count and Patronio. The titles in the following list are those given in Keller and Keating's 1977 translation into English. James York's 1868 translation into English gives a significantly different ordering of the stories and omits the fifty-first.\n\n What Happened to a King and His Favorite \n What Happened to a Good Man and His Son \n How King Richard of England Leapt into the Sea against the Moors\n What a Genoese Said to His Soul When He Was about to Die \n What Happened to a Fox and a Crow Who Had a Piece of Cheese in His Beak\n How the Swallow Warned the Other Birds When She Saw Flax Being Sown \n What Happened to a Woman Named Truhana \n What Happened to a Man Whose Liver Had to Be Washed \n What Happened to Two Horses Which Were Thrown to the Lion \n What Happened to a Man Who on Account of Poverty and Lack of Other Food Was Eating Bitter Lentils \n What Happened to a Dean of Santiago de Compostela and Don Yllán, the Grand Master of Toledo\n What Happened to the Fox and the Rooster \n What Happened to a Man Who Was Hunting Partridges \n The Miracle of Saint Dominick When He Preached against the Usurer \n What Happened to Lorenzo Suárez at the Siege of Seville \n The Reply that count Fernán González Gave to His Relative Núño Laynes \n What Happened to a Very Hungry Man Who Was Half-heartedly Invited to Dinner \n What Happened to Pero Meléndez de Valdés When He Broke His Leg \n What Happened to the Crows and the Owls \n What Happened to a King for Whom a Man Promised to Perform Alchemy \n What Happened to a Young King and a Philosopher to Whom his Father Commended Him \n What Happened to the Lion and the Bull \n How the Ants Provide for Themselves \n What Happened to the King Who Wanted to Test His Three Sons \n What Happened to the Count of Provence and How He Was Freed from Prison by the Advice of Saladin\n What Happened to the Tree of Lies \n What Happened to an Emperor and to Don Alvarfáñez Minaya and Their Wives \n What Happened in Granada to Don Lorenzo Suárez Gallinato When He Beheaded the Renegade Chaplain \n What Happened to a Fox Who Lay down in the Street to Play Dead \n What Happened to King Abenabet of Seville and Ramayquía His Wife \n How a Cardinal Judged between the Canons of Paris and the Friars Minor \n What Happened to the King and the Tricksters Who Made Cloth \n What Happened to Don Juan Manuel's Saker Falcon and an Eagle and a Heron \n What Happened to a Blind Man Who Was Leading Another \n What Happened to a Young Man Who Married a Strong and Ill-tempered Woman\n What Happened to a Merchant When He Found His Son and His Wife Sleeping Together \n What Happened to Count Fernán González with His Men after He Had Won the Battle of Hacinas \n What Happened to a Man Who Was Loaded down with Precious Stones and Drowned in the River \n What Happened to a Man and a Swallow and a Sparrow \n Why the Seneschal of Carcassonne Lost His Soul \n What Happened to a King of Córdova Named Al-Haquem \n What Happened to a Woman of Sham Piety \n What Happened to Good and Evil and the Wise Man and the Madman \n What Happened to Don Pero Núñez the Loyal, to Don Ruy González de Zavallos, and to Don Gutier Roiz de Blaguiello with Don Rodrigo the Generous \n What Happened to a Man Who Became the Devil's Friend and Vassal \n What Happened to a Philosopher who by Accident Went down a Street Where Prostitutes Lived \n What Befell a Moor and His Sister Who Pretended That She Was Timid \n What Happened to a Man Who Tested His Friends \n What Happened to the Man Whom They Cast out Naked on an Island When They Took away from Him the Kingdom He Ruled \n What Happened to Saladin and a Lady, the Wife of a Knight Who Was His Vassal \n What Happened to a Christian King Who Was Very Powerful and Haughty\n\nReferences\n\nNotes\n\nBibliography\n\n Sturm, Harlan\n\n Wacks, David\n\nExternal links\n\nThe Internet Archive provides free access to the 1868 translation by James York.\nJSTOR has the to the 1977 translation by Keller and Keating.\nSelections in English and Spanish (pedagogical edition) with introduction, notes, and bibliography in Open Iberia/América (open access teaching anthology)\n\n14th-century books\nSpanish literature\n1335 books",
"\"What Happened to Us\" is a song by Australian recording artist Jessica Mauboy, featuring English recording artist Jay Sean. It was written by Sean, Josh Alexander, Billy Steinberg, Jeremy Skaller, Rob Larow, Khaled Rohaim and Israel Cruz. \"What Happened to Us\" was leaked online in October 2010, and was released on 10 March 2011, as the third single from Mauboy's second studio album, Get 'Em Girls (2010). The song received positive reviews from critics.\n\nA remix of \"What Happened to Us\" made by production team OFM, was released on 11 April 2011. A different version of the song which features Stan Walker, was released on 29 May 2011. \"What Happened to Us\" charted on the ARIA Singles Chart at number 14 and was certified platinum by the Australian Recording Industry Association (ARIA). An accompanying music video was directed by Mark Alston, and reminisces on a former relationship between Mauboy and Sean.\n\nProduction and release\n\n\"What Happened to Us\" was written by Josh Alexander, Billy Steinberg, Jeremy Skaller, Rob Larow, Khaled Rohaim, Israel Cruz and Jay Sean. It was produced by Skaller, Cruz, Rohaim and Bobby Bass. The song uses C, D, and B minor chords in the chorus. \"What Happened to Us\" was sent to contemporary hit radio in Australia on 14 February 2011. The cover art for the song was revealed on 22 February on Mauboy's official Facebook page. A CD release was available for purchase via her official website on 10 March, for one week only. It was released digitally the following day.\n\nReception\nMajhid Heath from ABC Online Indigenous called the song a \"Jordin Sparks-esque duet\", and wrote that it \"has a nice innocence to it that rings true to the experience of losing a first love.\" Chris Urankar from Nine to Five wrote that it as a \"mid-tempo duet ballad\" which signifies Mauboy's strength as a global player. On 21 March 2011, \"What Happened to Us\" debuted at number 30 on the ARIA Singles Chart, and peaked at number 14 the following week. The song was certified platinum by the Australian Recording Industry Association (ARIA), for selling 70,000 copies. \"What Happened to Us\" spent a total of ten weeks in the ARIA top fifty.\n\nMusic video\n\nBackground\nThe music video for the song was shot in the Elizabeth Bay House in Sydney on 26 November 2010. The video was shot during Sean's visit to Australia for the Summerbeatz tour. During an interview with The Daily Telegraph while on the set of the video, Sean said \"the song is sick! ... Jessica's voice is amazing and we're shooting [the video] in this ridiculously beautiful mansion overlooking the harbour.\" The video was directed by Mark Alston, who had previously directed the video for Mauboy's single \"Let Me Be Me\" (2009). It premiered on YouTube on 10 February 2011.\n\nSynopsis and reception\nThe video begins showing Mauboy who appears to be sitting on a yellow antique couch in a mansion, wearing a purple dress. As the video progresses, scenes of memories are displayed of Mauboy and her love interest, played by Sean, spending time there previously. It then cuts to the scenes where Sean appears in the main entrance room of the mansion. The final scene shows Mauboy outdoors in a gold dress, surrounded by green grass and trees. She is later joined by Sean who appears in a black suit and a white shirt, and together they sing the chorus of the song to each other. David Lim of Feed Limmy wrote that the video is \"easily the best thing our R&B princess has committed to film – ever\" and praised the \"mansion and wondrous interior décor\". He also commended Mauboy for choosing Australian talent to direct the video instead of American directors, which she had used for her previous two music videos. Since its release, the video has received over two million views on Vevo.\n\nLive performances\nMauboy performed \"What Happened to Us\" live for the first time during her YouTube Live Sessions program on 4 December 2010. She also appeared on Adam Hills in Gordon Street Tonight on 23 February 2011 for an interview and later performed the song. On 15 March 2011, Mauboy performed \"What Happened to Us\" on Sunrise. She also performed the song with Stan Walker during the Australian leg of Chris Brown's F.A.M.E. Tour in April 2011. Mauboy and Walker later performed \"What Happened to Us\" on Dancing with the Stars Australia on 29 May 2011. From November 2013 to February 2014, \"What Happened to Us\" was part of the set list of the To the End of the Earth Tour, Mauboy's second headlining tour of Australia, with Nathaniel Willemse singing Sean's part.\n\nTrack listing\n\nDigital download\n \"What Happened to Us\" featuring Jay Sean – 3:19\n \"What Happened to Us\" featuring Jay Sean (Sgt Slick Remix) – 6:33\n \"What Happened to Us\" featuring Jay Sean (Just Witness Remix) – 3:45\n\nCD single\n \"What Happened to Us\" featuring Jay Sean (Album Version) – 3:19\n \"What Happened to Us\" featuring Jay Sean (Sgt Slick Remix) – 6:33\n \"What Happened to Us\" featuring Jay Sean (OFM Remix) – 3:39\n\nDigital download – Remix\n \"What Happened to Us\" featuring Jay Sean (OFM Remix) – 3:38\n\nDigital download\n \"What Happened to Us\" featuring Stan Walker – 3:20\n\nPersonnel\nSongwriting – Josh Alexander, Billy Steinberg, Jeremy Skaller, Rob Larow, Khaled Rohaim, Israel Cruz, Jay Sean\nProduction – Jeremy Skaller, Bobby Bass\nAdditional production – Israel Cruz, Khaled Rohaim\nLead vocals – Jessica Mauboy, Jay Sean\nMixing – Phil Tan\nAdditional mixing – Damien Lewis\nMastering – Tom Coyne \nSource:\n\nCharts\n\nWeekly chart\n\nYear-end chart\n\nCertification\n\nRadio dates and release history\n\nReferences\n\n2010 songs\n2011 singles\nJessica Mauboy songs\nJay Sean songs\nSongs written by Billy Steinberg\nSongs written by Jay Sean\nSongs written by Josh Alexander\nSongs written by Israel Cruz\nVocal duets\nSony Music Australia singles\nSongs written by Khaled Rohaim"
] |
[
"Margaret Cho",
"1995-2002: Stand-up, acting, and writing",
"What happened in 1995?",
"She hosted the New Year's Rockin' Eve 95 show with Steve Harvey.",
"What happened in 1996?",
"I don't know.",
"What happened in 1997?",
"In 1997, she had a supporting role in the thriller filmFace/Off starring Nicolas Cage and John Travolta, playing the role of Wanda,",
"What happened in 1998?",
"I don't know.",
"What happened in 1999?",
"I don't know.",
"What happened in 2000?",
"At the same time, Cho wrote and published an autobiographical book with the same title, and the show itself was filmed and released as a concert film in 2000."
] |
C_7d596c991d904f3980cef0a20b6da5fb_1
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What happened in 2001?
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What happened to Margaret Cho in 2001?
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Margaret Cho
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Though her career and personal life were challenging after the cancellation of the show, Cho eventually sobered up, refocused her energy, and developed new material. She hosted the New Year's Rockin' Eve 95 show with Steve Harvey. In 1997, she had a supporting role in the thriller filmFace/Off starring Nicolas Cage and John Travolta, playing the role of Wanda, one of the fellow FBI agents of Travolta's primary character. In 1999, she wrote about her struggles with the show in her first one-woman show, I'm the One That I Want. That year, I'm the One That I Want won New York magazine's Performance of the Year award and was named one of the Great Performances of the year by Entertainment Weekly. At the same time, Cho wrote and published an autobiographical book with the same title, and the show itself was filmed and released as a concert film in 2000. Her material dealt with her difficulties breaking into show business because of her ethnicity and weight and her resulting struggle with and triumph over body image issues and drug and alcohol addiction. Cho also appeared in an episode of the HBO comedy Sex and the City's fourth season. The episode, titled "The Real Me," first aired on June 3, 2001, and also guest-starred Heidi Klum. In 2004, the show Notorious C.H.O. (the title was derived from slain rapper The Notorious B.I.G.) dealt with the comedian having been reared in 1970s San Francisco and her bisexuality. After completing Notorious C.H.O., Cho made another stand-up film, Revolution, which was released in 2004, and subsequently work on her first self-written film in which she starred. Bam Bam and Celeste, a low-budget comedy about a "fag hag" and her gay best friend, co-starred Cho's friend and co-touring act Bruce Daniels. The film premiered at the Toronto International Film Festival in 2005. On Valentine's Day of 2004, Cho spoke at the Marriage Equality Rally at the California State Capitol. Her speech can be seen in the documentary Freedom to Marry. CANNOTANSWER
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The episode, titled "The Real Me," first aired on June 3, 2001, and also guest-starred Heidi Klum.
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Margaret Moran Cho (; born December 5, 1968) is an American stand-up comedian, actress, musician, fashion designer, and author. Cho is best known for her stand-up routines, through which she critiques social and political problems, especially regarding race and sexuality. She rose to prominence after creating and starring in the ABC sitcom All-American Girl (1994–95), and became an established stand-up comic in the subsequent years.
She has also had endeavors in fashion and music, and has her own clothing line. Cho has also frequently supported LGBT rights and has won awards for her humanitarian efforts on behalf of women, Asian Americans, and the LGBT community.
As an actress, she has acted in such roles as Charlene Lee in It's My Party and John Travolta's FBI colleague in the action movie Face/Off. Cho was part of the cast of the TV series Drop Dead Diva on Lifetime Television, in which she appeared as Teri Lee, a paralegal assistant. For her portrayal of Dictator Kim Jong-il on 30 Rock, she was nominated for the Primetime Emmy Award for Outstanding Guest Actress in a Comedy Series in 2012.
Early life
Cho was born in 1968 into a Korean family in San Francisco, California. Her grandfather was a Christian minister who ran an orphanage in Seoul during the Korean War and, according to Cho, she "grew up in the church." She was raised in a racially diverse neighborhood near the Ocean Beach section of San Francisco, which she described as a community of "old hippies, ex-druggies, burn-outs from the 1960s, drag queens, Chinese people, and Koreans. To say it was a melting pot – that's the least of it. It was a really confusing, enlightening, wonderful time." Cho's parents, Young-Hie and Seung-Hoon Cho, ran Paperback Traffic, a bookstore on Polk Street at California Street in San Francisco. Her father writes joke books and a newspaper column in Seoul, South Korea.
At school, Cho was bullied, saying that "I was hurt because I was different, and so sharing my experience of being beaten and hated and called fat and queer and foreign and perverse and gluttonous and lazy and filthy and dishonest and yet all the while remaining invisible heals me, and heals others when they hear it – those who are suffering right now."
Between the ages of five and twelve, Cho was "sexually molested by a family friend". On the Loveline May 21, 1997 show with Adam Carolla and Dr. Drew Pinsky, she talks about being raped by her uncle, while during the same time period he was raping his three-year-old daughter. She often skipped class and got bad grades in ninth and tenth grades, resulting in her expulsion from Lowell High School. Cho said she was "raped continuously through my youngest years" (by another acquaintance), and that when she told someone else about it and her classmates found out, she received hostile remarks justifying it, including accusations of being "so fat" that only a crazy person would have sex with her.
After Cho expressed an interest in performance, she auditioned and was accepted into the San Francisco School of the Arts, a San Francisco public high school for the arts. While at the school, she became involved with the school's improvisational comedy group alongside actors Sam Rockwell and Aisha Tyler.
At age 15, she worked as a phone sex operator, and she later worked as a dominatrix. After graduating from high school, Cho attended San Francisco State University, studying drama; she did not graduate.
Career
1994–97: Early stand-up and All-American Girl
After doing several shows in a club adjacent to her parents' bookstore, Cho launched a stand-up career and spent several years developing her material in clubs. Cho's career began to build after appearances on television and university campuses. In 1992, she appeared on the unsuccessful Golden Girls spin-off The Golden Palace in a small role. In 1994, Cho won the American Comedy Award for Best Female Comedian. In 2010, on The View, she discussed her nervousness about doing The Golden Palace and thanked the late Rue McClanahan for her help with rehearsing. She also secured a coveted spot as opening act for Jerry Seinfeld; at about this time, she was featured on a Bob Hope special, and was also a frequent visitor to The Arsenio Hall Show.
That same year, ABC developed and aired a sitcom based on Cho's stand-up routine. The show, titled All-American Girl, was initially promoted as the first show prominently featuring an East Asian family, although the short lived sitcom Mr. T and Tina, which had starred Noriyuki "Pat" Morita as Mr. T., preceded it by nearly two decades.
Cho has expressed subsequent regret for much of what transpired during the production of the show, specifically:
After network executives, especially executive producer Gail Berman, criticized her appearance and the roundness of her face, Cho starved herself for several weeks. Her rapid weight loss, done to modify her appearance by the time the pilot episode was filmed, caused kidney failure.
The show suffered criticism from within the U.S. East Asian community over its perception of stereotyping. Producers told Cho at different times during production both that she was "too Asian" and that she was "not Asian enough." At one point during the course of the show, producers hired a coach to teach Cho how to "be more Asian."
Much of the humor was broad and coarse, and at times, stereotypical portrayals of her close Korean relatives and gay bookshop customers were employed.
The show was canceled after suffering poor ratings and the effect of major content changes over the course of its single season (19 episodes).
After the show's 1995 cancellation, Cho became addicted to drugs and alcohol. As detailed in her 2002 autobiography, I'm the One That I Want, in 1995, her substance abuse was evident during a performance in Monroe, Louisiana, where she was booed off the stage by 800 college students after going on the stage drunk.
1995–2002: Stand-up, acting, and writing
Though her career and personal life were challenging after the show's cancellation, Cho eventually sobered up, refocused her energy, and developed new material. She hosted the New Year's Rockin' Eve 95 show with Steve Harvey. In 1997, she had a supporting role in the thriller film Face/Off starring Nicolas Cage and John Travolta, playing Wanda, one of the fellow FBI agents of Travolta's primary character.
In 1999, she wrote about her struggles with All-American Girl in her first one-woman show, I'm the One That I Want. That year, I'm the One That I Want won New York magazine's Performance of the Year award and was named one of the Great Performances of the year by Entertainment Weekly. At the same time, Cho wrote and published an autobiographical book with the same title, and the show itself was filmed and released as a concert film in 2000. Her material dealt with her difficulties breaking into show business because of her ethnicity and weight and her resulting struggle with and triumph over body image issues and drug and alcohol addiction. Cho also appeared in an episode of the HBO comedy Sex and the City's fourth season. The episode, titled "The Real Me," first aired on June 3, 2001, and also guest-starred Heidi Klum.
In 2004, the show Notorious C.H.O. (the title was derived from slain rapper The Notorious B.I.G.) referred to the comedian having been reared in 1970s San Francisco and her bisexuality. After completing Notorious C.H.O., she made another stand-up film, Revolution, released in 2004, and subsequently work on her first self-written film in which she starred. Bam Bam and Celeste, a low-budget comedy about a "fag hag" and her gay best friend, co-starred Cho's friend and co-touring act Bruce Daniels. The film premiered at the Toronto International Film Festival in 2005. On Valentine's Day of 2004, Cho spoke at the Marriage Equality Rally at the California State Capitol. Her speech can be seen in the documentary Freedom to Marry.
2005–2010: Other projects and television
In 2005, Cho released her second book, I Have Chosen to Stay and Fight, a compilation of essays and prose about global politics, human rights, and other topical issues. Cho launched a national book tour in support of the collection. An audio reading of the book was also released. A DVD of a live taping of her Assassin tour was released in conjunction with the book. The same year, Cho started promoting and touring with her new show, Assassin. The show became her fourth live concert film and premiered on the gay and lesbian premium cable network Here! TV in September 2005. In this DVD, she notably includes herself when talking about gay people, saying "we" and "our community." Posters for Assassin featured Cho in paratrooper gear and holding a microphone in the style of an automatic rifle, a reference to the infamous 1974 photo of heiress Patty Hearst.
Cho launched "The Sensuous Woman," a burlesque-style variety show tour, in Los Angeles on August 10, 2007, with tour dates scheduled through November 3, as of October 10. Scheduled tour stops meant to follow Los Angeles were Chicago, Illinois and New York City. On August 10, 2007 the San Francisco Chronicle reviewed the show, Cho's work, key events in her personal life and characterized the show thus: "In fact, as bawdy and bad-behaving as the cast gets, the whole show feels more like a crazy family reunion than a performance."
Also in 2007, Cho appeared in The Dresden Dolls' video of their song "Shores of California," which was MCed by Amanda Palmer and in The Cliks's video for "Eyes in the Back of My Head," in which she appeared as Lucas Silveira's lover. She also provided the character voice for a character named Condie Ling on the Logo animated series Rick & Steve: The Happiest Gay Couple in All the World. Her episodes began airing in 2007.
The premiere performance of Cho's "Beautiful" tour was on February 28, 2008, in Sydney, Australia as part of the Gay and Lesbian Mardi Gras Festival. Cho was also the Chief of Parade for the festival's annual parade along Oxford Street on March 1. During her stay in Sydney, Cho was filmed shopping for parade outfits in a drag store with Kathy Griffin and Cyndi Lauper for Griffin's Bravo series My Life on the D-List. The episode featuring Cho aired on June 26, 2008.
Cho and her family and friends appeared in an episode of NBC's series Celebrity Family Feud, which premiered on June 24, 2008. Later that summer, she appeared in her own semi-scripted reality sitcom for VH1, The Cho Show, which premiered on August 21, 2008 and lasted one season. She next appeared in the supporting cast of the series Drop Dead Diva, which debuted in July 2009.
2011–present: Further appearances and tours
In April 2011, Cho guest starred on the comedy 30 Rock in the episode "Everything Sunny All the Time Always." She portrayed Kim Jong-Il, then the leader of North Korea, that required her to speak both Korean and English. She was nominated for a Primetime Emmy Award for Outstanding Guest Actress in a Comedy Series. She later returned to portray Kim Jong-Il's son, Kim Jong-Un. [S:6, E:21] In 2010, Cho was a contestant on the 11th season of Dancing with the Stars.
Also in 2011, online human rights awareness project America 2049 had Margaret appear as one of the main characters, whose videos were played as part of the main storyline. The Facebook-interfaced game uses a fictional, fractioned future to highlight today's social inequities.
Since January 2013, Cho has been the co-host of the weekly podcast Monsters of Talk along with Jim Short. Cho embarked on her "Mother" tour in the fall of 2013 and slated it for engagements in Europe in 2014. The title of the tour refers not to Cho's impressions of her own mother, but to Cho herself. It is her nickname for the figure she has played to her many gay friends over the years. In 2014, she participated in Do I Sound Gay?, a documentary film directed and produced by David Thorpe. The film is about stereotypes of gay men's speech patterns.
In January 2019, Cho competed in season one of The Masked Singer as "Poodle". She was eliminated in Episode 4.
In July 2019, Cho started a solo podcast called The Margaret Cho, which features guests who primarily work in show business. Guests have included Queer Eye'''s Jonathan Van Ness, tattooist and reality TV figure Kat Von D, screenwriter Diablo Cody, drag queen Jackie Beat, and comedian and TV host Michael Yo. Cho has a chapter giving advice in Tim Ferriss' book Tools of Titans.
Comedic style and political advocacy
Cho is also well known for discussing her relationship with her mother, particularly in imitating her mother's heavily accented speech. Her depictions of "Mommy" have become a popular part of her routine. Cho's comedy routines are often explicit. She has covered substance abuse, eating disorders, her bisexuality and obsession with gay men, and Asian-American stereotypes, among other subjects, in her stand-up routines.
A substantial segment of her material and advocacy addresses LGBT issues. In addition to her shows, Cho also developed an additional outlet for her advocacy with the advent of her website and her daily blog. When San Francisco Mayor Gavin Newsom directed that San Francisco's city hall issue marriage licenses to same-sex couples in San Francisco in 2004 (until reversed by the state supreme court), Cho started Love is Love is Love, a website promoting the legalization of gay marriage in the United States.
Cho's material often features commentary on politics and contemporary American culture. She has also been outspoken about her dislike of former President George W. Bush. She began to draw intense fire from conservatives over her fiercely anti-Bush commentary; a live performance in Houston, Texas was threatened with picketing. Although protesters never showed up, she held a counter protest outside the club until security told her she had to go inside.
In 2004, Cho was performing at a corporate event in a hotel when, after ten minutes, her microphone was cut off and a band was instructed to begin playing. Cho claims that this was because the manager of the hotel was offended by anti-Bush administration comments. Cho's payment, which was issued by way of check directly to a non-profit organization, a defense fund for the West Memphis Three, initially bounced but was eventually honored.
In July 2004, during the Democratic National Convention, Cho was disinvited to speak at a Human Rights Campaign/National Stonewall Democrats fundraiser out of fear that her comments might cause controversy. In November 2005, she campaigned to pardon Stanley Tookie Williams, an early Crips gang leader, for his death sentence for four murders, but this campaign failed; on December 13, 2005, after exhausting all forms of appeal, Williams was executed by lethal injection at San Quentin State Prison, California.
In 2007, Cho hosted the multi-artist True Colors Tour, which traveled through 15 cities in the United States and Canada. The tour, sponsored by the Logo channel, began on June 8, 2007. Headlined by Cyndi Lauper, the tour also included Debbie Harry, Erasure, The Gossip, Rufus Wainwright, The Dresden Dolls, The MisShapes, Rosie O'Donnell, Indigo Girls, The Cliks, and other special guests. Profits from the tour helped to benefit the Human Rights Campaign as well as PFLAG and The Matthew Shepard Foundation.
On January 25, 2008, Cho officially gave her support to Barack Obama for the nomination on the Democratic ticket for the 2008 U.S. presidential election. After Republican Presidential candidate John McCain announced his running mate, Governor Sarah Palin of Alaska, Cho said of her, "I think [Palin] is the worst thing to happen to America since 9/11."
After same-sex marriage became legal in California in May 2008, Cho was deputized by the City of San Francisco to perform marriages there.
Other ventures
Fashion and burlesque
In 2003, Cho founded a clothing line with friend and fashion designer Ava Stander called High Class Cho. The company eventually went defunct.
In 2004, Cho took up bellydancing and in 2006 started her own line of bellydancing belts and accessories called Hip Wear; these she sold through her website. She also had extensive tattooing done to cover the majority of her back.
In November 2006, Cho joined the board of Good Vibrations, a sex toy retailer. With fellow comedian Diana Yanez, she co-wrote "My Puss", a rap song which they recorded as the duo of "Maureen and Angela." Cho appeared in and directed the music video for the song. In December 2006, Cho appeared on the Sci-Fi Channel's miniseries The Lost Room as Suzie Kang.
On an episode of The Hour with host George Stroumboulopoulos, Cho mentioned that she loved Broken Social Scene and wishes to be a part of the band (offering to play the rainstick or the triangle). On air, Stroumboulopoulos called band member Kevin Drew from his cell phone, and Cho made her request to join the band via his voicemail.
In April 2009, Cho was photographed by photographer Austin Young and appeared in a Bettie Page–inspired "Heaven Bound" art show.
Music
In September 2008, Cho released her single, "I Cho Am a Woman," on iTunes. The song, produced by Desmond Child, was featured on her VH1 series.
Throughout 2010, she worked on a full-length album, going through the titles "Guitarded" and "Banjovi" before finally settling on Cho Dependent. Released on August 24, 2010, the album was supported by music videos for "I'm Sorry," "Eat Shit and Die," and "My Lil' Wayne;" Liam Kyle Sullivan directed the first two. It was nominated for a 2010 Grammy award for Best Comedy Album. In 2011 Showtime released a stand-up comedy special, titled Margaret Cho: Cho Dependent, which featured musical performances from the album.
In May 2010, Cho directed, and appeared in, the music video for "I Wanna Be a Bear," a song by "Pixie Herculon," a pseudonym of Jill Sobule. In 2011, Cho sang the Bob Mould song "Your Favorite Thing" at the tribute concert See A Little Light with Grant-Lee Phillips.
In July 2014, she appeared in "Weird Al" Yankovic's music video for "Tacky."
In April 2016, Cho released her second album, American Myth.
In May 2016, she rapped on and made an appearance in the music video for "Green Tea", a song by rapper Awkwafina. Both play with stereotypes of people of Asian descent in hopes that "women of color embrace their quirkiness, their sexuality, their inner-child and their creativity with passion."
Also in 2016, Cho featured on the track "Ride or Die" on the album Sweet T by American drag queen and singer/artist Ginger Minj.
Podcast
In July 2019, Cho started a podcast called The Margaret Cho. It features guests who primarily work in show business and features original music by Garrison Starr.
Personal life
Cho married Al Ridenour, an artist involved in The Cacophony Society and the Art of Bleeding, in 2003. Cho was featured in an Art of Bleeding performance in March 2006. She described her marriage as "very conventional and conservative, I think. I mean we're such weird people that people just can't imagine that we would have a conventional marriage. But, yeah, we are very conventional." They were separated in September 2014 and Cho confirmed their separation in December. Cho referred to herself as "divorced" in an April 2015 profile in The New York Times, but actually filed for divorce in August 2015.La Ferla, Ruth. "For Margaret Cho, Nothing Is Too Private for a Punch Line". The New York Times. April 10, 2015.
, Cho was living in Peachtree City, Georgia, as Drop Dead Diva was filmed in the Atlanta area.
Cho is openly bisexual, and has stated that she has had "a lot of experience in the area of polyamory and alternative sexuality in general." When discussing her sexuality in a 2018 Huffington Post interview, Cho said, "I don't know using 'bisexual' is right because that indicates that there's only two genders, and I don't believe that. I've been with people all across the spectrum of gender and who have all kinds of different expressions of gender, so it's so hard to say. Maybe 'pansexual' is technically the more correct term but I like 'bisexual' because it's kind of '70s."
, Cho identifies as a Christian.
Cho was a guest on comedian Bobby Lee's Tigerbelly Podcast Episode 71, which was uploaded on December 16, 2016. In that episode, she recounted an incident between her and actress Tilda Swinton. According to Cho, Swinton contacted her via email to discuss the Asian American community's reaction to the news that Swinton had been cast to play the character Ancient One, who in the comic book is Tibetan, in the movie version of Doctor Strange. Cho found the inquiry strange since she did not know Swinton and had never talked to her before, nor did she have anything to do with the movie or casting. On December 21, Swinton released the email exchange between she and Cho to the website Jezebel. According to Swinton, she contacted Cho to better understand why Asian Americans were upset about the casting. In response to the release, Cho stated that she stands by her words both on TigerBelly and in the email exchange.
Cho revealed in a panel discussion that after doing genealogy testing, she discovered she was ethnically Chinese.
Accolades
In 2000, her "E! Celebrity Profile" won a Gracie Allen Award from the American Women in Radio and Television organization acknowledging its "superior quality and effective portrayal of the changing roles and concerns of women."
The same year, the Gay & Lesbian Alliance Against Defamation (GLAAD) awarded her with a Golden Gate Award and described her as an entertainer who, "as a pioneer, has made a significant difference in promoting equal rights for all, regardless of sexual orientation or gender identity."
In 2001, she was given a Lambda Liberty Award by Lambda Legal for "pressing us to see how false constructions of race, sexuality, and gender operate similarly to obscure and demean identity."
In 2003, she was given an Intrepid Award by the National Organization for Women.
In 2004, she was awarded with the First Amendment Award from the American Civil Liberties Union.
In 2007, she won for Outstanding Comedy Performance in AZN's Asian Excellence Awards.
April 30, 2008 was declared "Margaret Cho Day" in San Francisco.
In 2015, Joan Juliet Buck, writing in W, called Cho a modern-day femme fatale, writing:
[N]ot all women comedians are dangerous; some are just very funny: Tina Fey and Amy Poehler are too relatable, Joan Rivers was too firmly ensconced in the society that she mocked. Amy Schumer relies a little too much on the word "pussy" to be any kind of threat, though she would like very much to be a bad person. On the other hand, ... Margaret Cho know[s] no boundaries and inspire[s] palpable fear anytime [she] begin[s] one of [her] riffs.
Tours
"I'm the One That I Want" (1999)
"Notorious C.H.O." (2002)
"Revolution" (2003)
"State of Emergency" (2004)
"Assassin" (2005)
"True Colors" (2007–2008)
"Beautiful" (2008)
"Cho Dependent" (2010)
"Mother!" (2013)
"The 'There's No I in Team but there is a Cho in PsyCHO' Tour" (Often referred to simply as "The PsyCHO Tour") (2015)
"Fresh Off The Bloat Tour" (2017)
Filmography
Film
Television
Comedy Specials
Web
Podcasts
Monsters of Talk
2013-2015: Co-hosted w/ Jim Short, 131 episodes
The Margaret Cho
Bibliography
Discography
Comedy albums
Music albums
Singles
Appearances
Videography
Music videos as main artist
Directed by
References
External links
Alternet.org video
Margaret Cho Video produced by Makers: Women Who Make America''
Margaret Cho Wilbur Theatre in Boston, MA review and photos by Jen Vesp
Interview with MEAWW
1968 births
Living people
Activists from California
Actresses from San Francisco
American actresses of Korean descent
American musicians of Korean descent
American stand-up comedians
American women comedians
American comedians of Asian descent
Asian-American feminists
Bisexual actresses
Bisexual feminists
Comedians from California
Feminist comedians
Feminist musicians
LGBT American people of Asian descent
Bisexual comedians
LGBT fashion designers
LGBT musicians from the United States
LGBT people from California
LGBT songwriters
LGBT rights activists from the United States
Lowell High School (San Francisco) alumni
Participants in American reality television series
People from Peachtree City, Georgia
San Francisco State University alumni
20th-century American actresses
21st-century American actresses
20th-century American comedians
21st-century American comedians
Polyamorous people
LGBT actors from the United States
American bisexual actors
| true |
[
"Don Juan Manuel's Tales of Count Lucanor, in Spanish Libro de los ejemplos del conde Lucanor y de Patronio (Book of the Examples of Count Lucanor and of Patronio), also commonly known as El Conde Lucanor, Libro de Patronio, or Libro de los ejemplos (original Old Castilian: Libro de los enxiemplos del Conde Lucanor et de Patronio), is one of the earliest works of prose in Castilian Spanish. It was first written in 1335.\n\nThe book is divided into four parts. The first and most well-known part is a series of 51 short stories (some no more than a page or two) drawn from various sources, such as Aesop and other classical writers, and Arabic folktales.\n\nTales of Count Lucanor was first printed in 1575 when it was published at Seville under the auspices of Argote de Molina. It was again printed at Madrid in 1642, after which it lay forgotten for nearly two centuries.\n\nPurpose and structure\n\nA didactic, moralistic purpose, which would color so much of the Spanish literature to follow (see Novela picaresca), is the mark of this book. Count Lucanor engages in conversation with his advisor Patronio, putting to him a problem (\"Some man has made me a proposition...\" or \"I fear that such and such person intends to...\") and asking for advice. Patronio responds always with the greatest humility, claiming not to wish to offer advice to so illustrious a person as the Count, but offering to tell him a story of which the Count's problem reminds him. (Thus, the stories are \"examples\" [ejemplos] of wise action.) At the end he advises the Count to do as the protagonist of his story did.\n\nEach chapter ends in more or less the same way, with slight variations on: \"And this pleased the Count greatly and he did just so, and found it well. And Don Johán (Juan) saw that this example was very good, and had it written in this book, and composed the following verses.\" A rhymed couplet closes, giving the moral of the story.\n\nOrigin of stories and influence on later literature\nMany of the stories written in the book are the first examples written in a modern European language of various stories, which many other writers would use in the proceeding centuries. Many of the stories he included were themselves derived from other stories, coming from western and Arab sources.\n\nShakespeare's The Taming of the Shrew has the basic elements of Tale 35, \"What Happened to a Young Man Who Married a Strong and Ill-tempered Woman\".\n\nTale 32, \"What Happened to the King and the Tricksters Who Made Cloth\" tells the story that Hans Christian Andersen made popular as The Emperor's New Clothes.\n\nStory 7, \"What Happened to a Woman Named Truhana\", a version of Aesop's The Milkmaid and Her Pail, was claimed by Max Müller to originate in the Hindu cycle Panchatantra.\n\nTale 2, \"What happened to a good Man and his Son, leading a beast to market,\" is the familiar fable The miller, his son and the donkey.\n\nIn 2016, Baroque Decay released a game under the name \"The Count Lucanor\". As well as some protagonists' names, certain events from the books inspired past events in the game.\n\nThe stories\n\nThe book opens with a prologue which introduces the characters of the Count and Patronio. The titles in the following list are those given in Keller and Keating's 1977 translation into English. James York's 1868 translation into English gives a significantly different ordering of the stories and omits the fifty-first.\n\n What Happened to a King and His Favorite \n What Happened to a Good Man and His Son \n How King Richard of England Leapt into the Sea against the Moors\n What a Genoese Said to His Soul When He Was about to Die \n What Happened to a Fox and a Crow Who Had a Piece of Cheese in His Beak\n How the Swallow Warned the Other Birds When She Saw Flax Being Sown \n What Happened to a Woman Named Truhana \n What Happened to a Man Whose Liver Had to Be Washed \n What Happened to Two Horses Which Were Thrown to the Lion \n What Happened to a Man Who on Account of Poverty and Lack of Other Food Was Eating Bitter Lentils \n What Happened to a Dean of Santiago de Compostela and Don Yllán, the Grand Master of Toledo\n What Happened to the Fox and the Rooster \n What Happened to a Man Who Was Hunting Partridges \n The Miracle of Saint Dominick When He Preached against the Usurer \n What Happened to Lorenzo Suárez at the Siege of Seville \n The Reply that count Fernán González Gave to His Relative Núño Laynes \n What Happened to a Very Hungry Man Who Was Half-heartedly Invited to Dinner \n What Happened to Pero Meléndez de Valdés When He Broke His Leg \n What Happened to the Crows and the Owls \n What Happened to a King for Whom a Man Promised to Perform Alchemy \n What Happened to a Young King and a Philosopher to Whom his Father Commended Him \n What Happened to the Lion and the Bull \n How the Ants Provide for Themselves \n What Happened to the King Who Wanted to Test His Three Sons \n What Happened to the Count of Provence and How He Was Freed from Prison by the Advice of Saladin\n What Happened to the Tree of Lies \n What Happened to an Emperor and to Don Alvarfáñez Minaya and Their Wives \n What Happened in Granada to Don Lorenzo Suárez Gallinato When He Beheaded the Renegade Chaplain \n What Happened to a Fox Who Lay down in the Street to Play Dead \n What Happened to King Abenabet of Seville and Ramayquía His Wife \n How a Cardinal Judged between the Canons of Paris and the Friars Minor \n What Happened to the King and the Tricksters Who Made Cloth \n What Happened to Don Juan Manuel's Saker Falcon and an Eagle and a Heron \n What Happened to a Blind Man Who Was Leading Another \n What Happened to a Young Man Who Married a Strong and Ill-tempered Woman\n What Happened to a Merchant When He Found His Son and His Wife Sleeping Together \n What Happened to Count Fernán González with His Men after He Had Won the Battle of Hacinas \n What Happened to a Man Who Was Loaded down with Precious Stones and Drowned in the River \n What Happened to a Man and a Swallow and a Sparrow \n Why the Seneschal of Carcassonne Lost His Soul \n What Happened to a King of Córdova Named Al-Haquem \n What Happened to a Woman of Sham Piety \n What Happened to Good and Evil and the Wise Man and the Madman \n What Happened to Don Pero Núñez the Loyal, to Don Ruy González de Zavallos, and to Don Gutier Roiz de Blaguiello with Don Rodrigo the Generous \n What Happened to a Man Who Became the Devil's Friend and Vassal \n What Happened to a Philosopher who by Accident Went down a Street Where Prostitutes Lived \n What Befell a Moor and His Sister Who Pretended That She Was Timid \n What Happened to a Man Who Tested His Friends \n What Happened to the Man Whom They Cast out Naked on an Island When They Took away from Him the Kingdom He Ruled \n What Happened to Saladin and a Lady, the Wife of a Knight Who Was His Vassal \n What Happened to a Christian King Who Was Very Powerful and Haughty\n\nReferences\n\nNotes\n\nBibliography\n\n Sturm, Harlan\n\n Wacks, David\n\nExternal links\n\nThe Internet Archive provides free access to the 1868 translation by James York.\nJSTOR has the to the 1977 translation by Keller and Keating.\nSelections in English and Spanish (pedagogical edition) with introduction, notes, and bibliography in Open Iberia/América (open access teaching anthology)\n\n14th-century books\nSpanish literature\n1335 books",
"\"What Happened to Us\" is a song by Australian recording artist Jessica Mauboy, featuring English recording artist Jay Sean. It was written by Sean, Josh Alexander, Billy Steinberg, Jeremy Skaller, Rob Larow, Khaled Rohaim and Israel Cruz. \"What Happened to Us\" was leaked online in October 2010, and was released on 10 March 2011, as the third single from Mauboy's second studio album, Get 'Em Girls (2010). The song received positive reviews from critics.\n\nA remix of \"What Happened to Us\" made by production team OFM, was released on 11 April 2011. A different version of the song which features Stan Walker, was released on 29 May 2011. \"What Happened to Us\" charted on the ARIA Singles Chart at number 14 and was certified platinum by the Australian Recording Industry Association (ARIA). An accompanying music video was directed by Mark Alston, and reminisces on a former relationship between Mauboy and Sean.\n\nProduction and release\n\n\"What Happened to Us\" was written by Josh Alexander, Billy Steinberg, Jeremy Skaller, Rob Larow, Khaled Rohaim, Israel Cruz and Jay Sean. It was produced by Skaller, Cruz, Rohaim and Bobby Bass. The song uses C, D, and B minor chords in the chorus. \"What Happened to Us\" was sent to contemporary hit radio in Australia on 14 February 2011. The cover art for the song was revealed on 22 February on Mauboy's official Facebook page. A CD release was available for purchase via her official website on 10 March, for one week only. It was released digitally the following day.\n\nReception\nMajhid Heath from ABC Online Indigenous called the song a \"Jordin Sparks-esque duet\", and wrote that it \"has a nice innocence to it that rings true to the experience of losing a first love.\" Chris Urankar from Nine to Five wrote that it as a \"mid-tempo duet ballad\" which signifies Mauboy's strength as a global player. On 21 March 2011, \"What Happened to Us\" debuted at number 30 on the ARIA Singles Chart, and peaked at number 14 the following week. The song was certified platinum by the Australian Recording Industry Association (ARIA), for selling 70,000 copies. \"What Happened to Us\" spent a total of ten weeks in the ARIA top fifty.\n\nMusic video\n\nBackground\nThe music video for the song was shot in the Elizabeth Bay House in Sydney on 26 November 2010. The video was shot during Sean's visit to Australia for the Summerbeatz tour. During an interview with The Daily Telegraph while on the set of the video, Sean said \"the song is sick! ... Jessica's voice is amazing and we're shooting [the video] in this ridiculously beautiful mansion overlooking the harbour.\" The video was directed by Mark Alston, who had previously directed the video for Mauboy's single \"Let Me Be Me\" (2009). It premiered on YouTube on 10 February 2011.\n\nSynopsis and reception\nThe video begins showing Mauboy who appears to be sitting on a yellow antique couch in a mansion, wearing a purple dress. As the video progresses, scenes of memories are displayed of Mauboy and her love interest, played by Sean, spending time there previously. It then cuts to the scenes where Sean appears in the main entrance room of the mansion. The final scene shows Mauboy outdoors in a gold dress, surrounded by green grass and trees. She is later joined by Sean who appears in a black suit and a white shirt, and together they sing the chorus of the song to each other. David Lim of Feed Limmy wrote that the video is \"easily the best thing our R&B princess has committed to film – ever\" and praised the \"mansion and wondrous interior décor\". He also commended Mauboy for choosing Australian talent to direct the video instead of American directors, which she had used for her previous two music videos. Since its release, the video has received over two million views on Vevo.\n\nLive performances\nMauboy performed \"What Happened to Us\" live for the first time during her YouTube Live Sessions program on 4 December 2010. She also appeared on Adam Hills in Gordon Street Tonight on 23 February 2011 for an interview and later performed the song. On 15 March 2011, Mauboy performed \"What Happened to Us\" on Sunrise. She also performed the song with Stan Walker during the Australian leg of Chris Brown's F.A.M.E. Tour in April 2011. Mauboy and Walker later performed \"What Happened to Us\" on Dancing with the Stars Australia on 29 May 2011. From November 2013 to February 2014, \"What Happened to Us\" was part of the set list of the To the End of the Earth Tour, Mauboy's second headlining tour of Australia, with Nathaniel Willemse singing Sean's part.\n\nTrack listing\n\nDigital download\n \"What Happened to Us\" featuring Jay Sean – 3:19\n \"What Happened to Us\" featuring Jay Sean (Sgt Slick Remix) – 6:33\n \"What Happened to Us\" featuring Jay Sean (Just Witness Remix) – 3:45\n\nCD single\n \"What Happened to Us\" featuring Jay Sean (Album Version) – 3:19\n \"What Happened to Us\" featuring Jay Sean (Sgt Slick Remix) – 6:33\n \"What Happened to Us\" featuring Jay Sean (OFM Remix) – 3:39\n\nDigital download – Remix\n \"What Happened to Us\" featuring Jay Sean (OFM Remix) – 3:38\n\nDigital download\n \"What Happened to Us\" featuring Stan Walker – 3:20\n\nPersonnel\nSongwriting – Josh Alexander, Billy Steinberg, Jeremy Skaller, Rob Larow, Khaled Rohaim, Israel Cruz, Jay Sean\nProduction – Jeremy Skaller, Bobby Bass\nAdditional production – Israel Cruz, Khaled Rohaim\nLead vocals – Jessica Mauboy, Jay Sean\nMixing – Phil Tan\nAdditional mixing – Damien Lewis\nMastering – Tom Coyne \nSource:\n\nCharts\n\nWeekly chart\n\nYear-end chart\n\nCertification\n\nRadio dates and release history\n\nReferences\n\n2010 songs\n2011 singles\nJessica Mauboy songs\nJay Sean songs\nSongs written by Billy Steinberg\nSongs written by Jay Sean\nSongs written by Josh Alexander\nSongs written by Israel Cruz\nVocal duets\nSony Music Australia singles\nSongs written by Khaled Rohaim"
] |
[
"Margaret Cho",
"1995-2002: Stand-up, acting, and writing",
"What happened in 1995?",
"She hosted the New Year's Rockin' Eve 95 show with Steve Harvey.",
"What happened in 1996?",
"I don't know.",
"What happened in 1997?",
"In 1997, she had a supporting role in the thriller filmFace/Off starring Nicolas Cage and John Travolta, playing the role of Wanda,",
"What happened in 1998?",
"I don't know.",
"What happened in 1999?",
"I don't know.",
"What happened in 2000?",
"At the same time, Cho wrote and published an autobiographical book with the same title, and the show itself was filmed and released as a concert film in 2000.",
"What happened in 2001?",
"The episode, titled \"The Real Me,\" first aired on June 3, 2001, and also guest-starred Heidi Klum."
] |
C_7d596c991d904f3980cef0a20b6da5fb_1
|
What happened in 2002?
| 8 |
What happened to Margaret Cho in 2002?
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Margaret Cho
|
Though her career and personal life were challenging after the cancellation of the show, Cho eventually sobered up, refocused her energy, and developed new material. She hosted the New Year's Rockin' Eve 95 show with Steve Harvey. In 1997, she had a supporting role in the thriller filmFace/Off starring Nicolas Cage and John Travolta, playing the role of Wanda, one of the fellow FBI agents of Travolta's primary character. In 1999, she wrote about her struggles with the show in her first one-woman show, I'm the One That I Want. That year, I'm the One That I Want won New York magazine's Performance of the Year award and was named one of the Great Performances of the year by Entertainment Weekly. At the same time, Cho wrote and published an autobiographical book with the same title, and the show itself was filmed and released as a concert film in 2000. Her material dealt with her difficulties breaking into show business because of her ethnicity and weight and her resulting struggle with and triumph over body image issues and drug and alcohol addiction. Cho also appeared in an episode of the HBO comedy Sex and the City's fourth season. The episode, titled "The Real Me," first aired on June 3, 2001, and also guest-starred Heidi Klum. In 2004, the show Notorious C.H.O. (the title was derived from slain rapper The Notorious B.I.G.) dealt with the comedian having been reared in 1970s San Francisco and her bisexuality. After completing Notorious C.H.O., Cho made another stand-up film, Revolution, which was released in 2004, and subsequently work on her first self-written film in which she starred. Bam Bam and Celeste, a low-budget comedy about a "fag hag" and her gay best friend, co-starred Cho's friend and co-touring act Bruce Daniels. The film premiered at the Toronto International Film Festival in 2005. On Valentine's Day of 2004, Cho spoke at the Marriage Equality Rally at the California State Capitol. Her speech can be seen in the documentary Freedom to Marry. CANNOTANSWER
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CANNOTANSWER
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Margaret Moran Cho (; born December 5, 1968) is an American stand-up comedian, actress, musician, fashion designer, and author. Cho is best known for her stand-up routines, through which she critiques social and political problems, especially regarding race and sexuality. She rose to prominence after creating and starring in the ABC sitcom All-American Girl (1994–95), and became an established stand-up comic in the subsequent years.
She has also had endeavors in fashion and music, and has her own clothing line. Cho has also frequently supported LGBT rights and has won awards for her humanitarian efforts on behalf of women, Asian Americans, and the LGBT community.
As an actress, she has acted in such roles as Charlene Lee in It's My Party and John Travolta's FBI colleague in the action movie Face/Off. Cho was part of the cast of the TV series Drop Dead Diva on Lifetime Television, in which she appeared as Teri Lee, a paralegal assistant. For her portrayal of Dictator Kim Jong-il on 30 Rock, she was nominated for the Primetime Emmy Award for Outstanding Guest Actress in a Comedy Series in 2012.
Early life
Cho was born in 1968 into a Korean family in San Francisco, California. Her grandfather was a Christian minister who ran an orphanage in Seoul during the Korean War and, according to Cho, she "grew up in the church." She was raised in a racially diverse neighborhood near the Ocean Beach section of San Francisco, which she described as a community of "old hippies, ex-druggies, burn-outs from the 1960s, drag queens, Chinese people, and Koreans. To say it was a melting pot – that's the least of it. It was a really confusing, enlightening, wonderful time." Cho's parents, Young-Hie and Seung-Hoon Cho, ran Paperback Traffic, a bookstore on Polk Street at California Street in San Francisco. Her father writes joke books and a newspaper column in Seoul, South Korea.
At school, Cho was bullied, saying that "I was hurt because I was different, and so sharing my experience of being beaten and hated and called fat and queer and foreign and perverse and gluttonous and lazy and filthy and dishonest and yet all the while remaining invisible heals me, and heals others when they hear it – those who are suffering right now."
Between the ages of five and twelve, Cho was "sexually molested by a family friend". On the Loveline May 21, 1997 show with Adam Carolla and Dr. Drew Pinsky, she talks about being raped by her uncle, while during the same time period he was raping his three-year-old daughter. She often skipped class and got bad grades in ninth and tenth grades, resulting in her expulsion from Lowell High School. Cho said she was "raped continuously through my youngest years" (by another acquaintance), and that when she told someone else about it and her classmates found out, she received hostile remarks justifying it, including accusations of being "so fat" that only a crazy person would have sex with her.
After Cho expressed an interest in performance, she auditioned and was accepted into the San Francisco School of the Arts, a San Francisco public high school for the arts. While at the school, she became involved with the school's improvisational comedy group alongside actors Sam Rockwell and Aisha Tyler.
At age 15, she worked as a phone sex operator, and she later worked as a dominatrix. After graduating from high school, Cho attended San Francisco State University, studying drama; she did not graduate.
Career
1994–97: Early stand-up and All-American Girl
After doing several shows in a club adjacent to her parents' bookstore, Cho launched a stand-up career and spent several years developing her material in clubs. Cho's career began to build after appearances on television and university campuses. In 1992, she appeared on the unsuccessful Golden Girls spin-off The Golden Palace in a small role. In 1994, Cho won the American Comedy Award for Best Female Comedian. In 2010, on The View, she discussed her nervousness about doing The Golden Palace and thanked the late Rue McClanahan for her help with rehearsing. She also secured a coveted spot as opening act for Jerry Seinfeld; at about this time, she was featured on a Bob Hope special, and was also a frequent visitor to The Arsenio Hall Show.
That same year, ABC developed and aired a sitcom based on Cho's stand-up routine. The show, titled All-American Girl, was initially promoted as the first show prominently featuring an East Asian family, although the short lived sitcom Mr. T and Tina, which had starred Noriyuki "Pat" Morita as Mr. T., preceded it by nearly two decades.
Cho has expressed subsequent regret for much of what transpired during the production of the show, specifically:
After network executives, especially executive producer Gail Berman, criticized her appearance and the roundness of her face, Cho starved herself for several weeks. Her rapid weight loss, done to modify her appearance by the time the pilot episode was filmed, caused kidney failure.
The show suffered criticism from within the U.S. East Asian community over its perception of stereotyping. Producers told Cho at different times during production both that she was "too Asian" and that she was "not Asian enough." At one point during the course of the show, producers hired a coach to teach Cho how to "be more Asian."
Much of the humor was broad and coarse, and at times, stereotypical portrayals of her close Korean relatives and gay bookshop customers were employed.
The show was canceled after suffering poor ratings and the effect of major content changes over the course of its single season (19 episodes).
After the show's 1995 cancellation, Cho became addicted to drugs and alcohol. As detailed in her 2002 autobiography, I'm the One That I Want, in 1995, her substance abuse was evident during a performance in Monroe, Louisiana, where she was booed off the stage by 800 college students after going on the stage drunk.
1995–2002: Stand-up, acting, and writing
Though her career and personal life were challenging after the show's cancellation, Cho eventually sobered up, refocused her energy, and developed new material. She hosted the New Year's Rockin' Eve 95 show with Steve Harvey. In 1997, she had a supporting role in the thriller film Face/Off starring Nicolas Cage and John Travolta, playing Wanda, one of the fellow FBI agents of Travolta's primary character.
In 1999, she wrote about her struggles with All-American Girl in her first one-woman show, I'm the One That I Want. That year, I'm the One That I Want won New York magazine's Performance of the Year award and was named one of the Great Performances of the year by Entertainment Weekly. At the same time, Cho wrote and published an autobiographical book with the same title, and the show itself was filmed and released as a concert film in 2000. Her material dealt with her difficulties breaking into show business because of her ethnicity and weight and her resulting struggle with and triumph over body image issues and drug and alcohol addiction. Cho also appeared in an episode of the HBO comedy Sex and the City's fourth season. The episode, titled "The Real Me," first aired on June 3, 2001, and also guest-starred Heidi Klum.
In 2004, the show Notorious C.H.O. (the title was derived from slain rapper The Notorious B.I.G.) referred to the comedian having been reared in 1970s San Francisco and her bisexuality. After completing Notorious C.H.O., she made another stand-up film, Revolution, released in 2004, and subsequently work on her first self-written film in which she starred. Bam Bam and Celeste, a low-budget comedy about a "fag hag" and her gay best friend, co-starred Cho's friend and co-touring act Bruce Daniels. The film premiered at the Toronto International Film Festival in 2005. On Valentine's Day of 2004, Cho spoke at the Marriage Equality Rally at the California State Capitol. Her speech can be seen in the documentary Freedom to Marry.
2005–2010: Other projects and television
In 2005, Cho released her second book, I Have Chosen to Stay and Fight, a compilation of essays and prose about global politics, human rights, and other topical issues. Cho launched a national book tour in support of the collection. An audio reading of the book was also released. A DVD of a live taping of her Assassin tour was released in conjunction with the book. The same year, Cho started promoting and touring with her new show, Assassin. The show became her fourth live concert film and premiered on the gay and lesbian premium cable network Here! TV in September 2005. In this DVD, she notably includes herself when talking about gay people, saying "we" and "our community." Posters for Assassin featured Cho in paratrooper gear and holding a microphone in the style of an automatic rifle, a reference to the infamous 1974 photo of heiress Patty Hearst.
Cho launched "The Sensuous Woman," a burlesque-style variety show tour, in Los Angeles on August 10, 2007, with tour dates scheduled through November 3, as of October 10. Scheduled tour stops meant to follow Los Angeles were Chicago, Illinois and New York City. On August 10, 2007 the San Francisco Chronicle reviewed the show, Cho's work, key events in her personal life and characterized the show thus: "In fact, as bawdy and bad-behaving as the cast gets, the whole show feels more like a crazy family reunion than a performance."
Also in 2007, Cho appeared in The Dresden Dolls' video of their song "Shores of California," which was MCed by Amanda Palmer and in The Cliks's video for "Eyes in the Back of My Head," in which she appeared as Lucas Silveira's lover. She also provided the character voice for a character named Condie Ling on the Logo animated series Rick & Steve: The Happiest Gay Couple in All the World. Her episodes began airing in 2007.
The premiere performance of Cho's "Beautiful" tour was on February 28, 2008, in Sydney, Australia as part of the Gay and Lesbian Mardi Gras Festival. Cho was also the Chief of Parade for the festival's annual parade along Oxford Street on March 1. During her stay in Sydney, Cho was filmed shopping for parade outfits in a drag store with Kathy Griffin and Cyndi Lauper for Griffin's Bravo series My Life on the D-List. The episode featuring Cho aired on June 26, 2008.
Cho and her family and friends appeared in an episode of NBC's series Celebrity Family Feud, which premiered on June 24, 2008. Later that summer, she appeared in her own semi-scripted reality sitcom for VH1, The Cho Show, which premiered on August 21, 2008 and lasted one season. She next appeared in the supporting cast of the series Drop Dead Diva, which debuted in July 2009.
2011–present: Further appearances and tours
In April 2011, Cho guest starred on the comedy 30 Rock in the episode "Everything Sunny All the Time Always." She portrayed Kim Jong-Il, then the leader of North Korea, that required her to speak both Korean and English. She was nominated for a Primetime Emmy Award for Outstanding Guest Actress in a Comedy Series. She later returned to portray Kim Jong-Il's son, Kim Jong-Un. [S:6, E:21] In 2010, Cho was a contestant on the 11th season of Dancing with the Stars.
Also in 2011, online human rights awareness project America 2049 had Margaret appear as one of the main characters, whose videos were played as part of the main storyline. The Facebook-interfaced game uses a fictional, fractioned future to highlight today's social inequities.
Since January 2013, Cho has been the co-host of the weekly podcast Monsters of Talk along with Jim Short. Cho embarked on her "Mother" tour in the fall of 2013 and slated it for engagements in Europe in 2014. The title of the tour refers not to Cho's impressions of her own mother, but to Cho herself. It is her nickname for the figure she has played to her many gay friends over the years. In 2014, she participated in Do I Sound Gay?, a documentary film directed and produced by David Thorpe. The film is about stereotypes of gay men's speech patterns.
In January 2019, Cho competed in season one of The Masked Singer as "Poodle". She was eliminated in Episode 4.
In July 2019, Cho started a solo podcast called The Margaret Cho, which features guests who primarily work in show business. Guests have included Queer Eye'''s Jonathan Van Ness, tattooist and reality TV figure Kat Von D, screenwriter Diablo Cody, drag queen Jackie Beat, and comedian and TV host Michael Yo. Cho has a chapter giving advice in Tim Ferriss' book Tools of Titans.
Comedic style and political advocacy
Cho is also well known for discussing her relationship with her mother, particularly in imitating her mother's heavily accented speech. Her depictions of "Mommy" have become a popular part of her routine. Cho's comedy routines are often explicit. She has covered substance abuse, eating disorders, her bisexuality and obsession with gay men, and Asian-American stereotypes, among other subjects, in her stand-up routines.
A substantial segment of her material and advocacy addresses LGBT issues. In addition to her shows, Cho also developed an additional outlet for her advocacy with the advent of her website and her daily blog. When San Francisco Mayor Gavin Newsom directed that San Francisco's city hall issue marriage licenses to same-sex couples in San Francisco in 2004 (until reversed by the state supreme court), Cho started Love is Love is Love, a website promoting the legalization of gay marriage in the United States.
Cho's material often features commentary on politics and contemporary American culture. She has also been outspoken about her dislike of former President George W. Bush. She began to draw intense fire from conservatives over her fiercely anti-Bush commentary; a live performance in Houston, Texas was threatened with picketing. Although protesters never showed up, she held a counter protest outside the club until security told her she had to go inside.
In 2004, Cho was performing at a corporate event in a hotel when, after ten minutes, her microphone was cut off and a band was instructed to begin playing. Cho claims that this was because the manager of the hotel was offended by anti-Bush administration comments. Cho's payment, which was issued by way of check directly to a non-profit organization, a defense fund for the West Memphis Three, initially bounced but was eventually honored.
In July 2004, during the Democratic National Convention, Cho was disinvited to speak at a Human Rights Campaign/National Stonewall Democrats fundraiser out of fear that her comments might cause controversy. In November 2005, she campaigned to pardon Stanley Tookie Williams, an early Crips gang leader, for his death sentence for four murders, but this campaign failed; on December 13, 2005, after exhausting all forms of appeal, Williams was executed by lethal injection at San Quentin State Prison, California.
In 2007, Cho hosted the multi-artist True Colors Tour, which traveled through 15 cities in the United States and Canada. The tour, sponsored by the Logo channel, began on June 8, 2007. Headlined by Cyndi Lauper, the tour also included Debbie Harry, Erasure, The Gossip, Rufus Wainwright, The Dresden Dolls, The MisShapes, Rosie O'Donnell, Indigo Girls, The Cliks, and other special guests. Profits from the tour helped to benefit the Human Rights Campaign as well as PFLAG and The Matthew Shepard Foundation.
On January 25, 2008, Cho officially gave her support to Barack Obama for the nomination on the Democratic ticket for the 2008 U.S. presidential election. After Republican Presidential candidate John McCain announced his running mate, Governor Sarah Palin of Alaska, Cho said of her, "I think [Palin] is the worst thing to happen to America since 9/11."
After same-sex marriage became legal in California in May 2008, Cho was deputized by the City of San Francisco to perform marriages there.
Other ventures
Fashion and burlesque
In 2003, Cho founded a clothing line with friend and fashion designer Ava Stander called High Class Cho. The company eventually went defunct.
In 2004, Cho took up bellydancing and in 2006 started her own line of bellydancing belts and accessories called Hip Wear; these she sold through her website. She also had extensive tattooing done to cover the majority of her back.
In November 2006, Cho joined the board of Good Vibrations, a sex toy retailer. With fellow comedian Diana Yanez, she co-wrote "My Puss", a rap song which they recorded as the duo of "Maureen and Angela." Cho appeared in and directed the music video for the song. In December 2006, Cho appeared on the Sci-Fi Channel's miniseries The Lost Room as Suzie Kang.
On an episode of The Hour with host George Stroumboulopoulos, Cho mentioned that she loved Broken Social Scene and wishes to be a part of the band (offering to play the rainstick or the triangle). On air, Stroumboulopoulos called band member Kevin Drew from his cell phone, and Cho made her request to join the band via his voicemail.
In April 2009, Cho was photographed by photographer Austin Young and appeared in a Bettie Page–inspired "Heaven Bound" art show.
Music
In September 2008, Cho released her single, "I Cho Am a Woman," on iTunes. The song, produced by Desmond Child, was featured on her VH1 series.
Throughout 2010, she worked on a full-length album, going through the titles "Guitarded" and "Banjovi" before finally settling on Cho Dependent. Released on August 24, 2010, the album was supported by music videos for "I'm Sorry," "Eat Shit and Die," and "My Lil' Wayne;" Liam Kyle Sullivan directed the first two. It was nominated for a 2010 Grammy award for Best Comedy Album. In 2011 Showtime released a stand-up comedy special, titled Margaret Cho: Cho Dependent, which featured musical performances from the album.
In May 2010, Cho directed, and appeared in, the music video for "I Wanna Be a Bear," a song by "Pixie Herculon," a pseudonym of Jill Sobule. In 2011, Cho sang the Bob Mould song "Your Favorite Thing" at the tribute concert See A Little Light with Grant-Lee Phillips.
In July 2014, she appeared in "Weird Al" Yankovic's music video for "Tacky."
In April 2016, Cho released her second album, American Myth.
In May 2016, she rapped on and made an appearance in the music video for "Green Tea", a song by rapper Awkwafina. Both play with stereotypes of people of Asian descent in hopes that "women of color embrace their quirkiness, their sexuality, their inner-child and their creativity with passion."
Also in 2016, Cho featured on the track "Ride or Die" on the album Sweet T by American drag queen and singer/artist Ginger Minj.
Podcast
In July 2019, Cho started a podcast called The Margaret Cho. It features guests who primarily work in show business and features original music by Garrison Starr.
Personal life
Cho married Al Ridenour, an artist involved in The Cacophony Society and the Art of Bleeding, in 2003. Cho was featured in an Art of Bleeding performance in March 2006. She described her marriage as "very conventional and conservative, I think. I mean we're such weird people that people just can't imagine that we would have a conventional marriage. But, yeah, we are very conventional." They were separated in September 2014 and Cho confirmed their separation in December. Cho referred to herself as "divorced" in an April 2015 profile in The New York Times, but actually filed for divorce in August 2015.La Ferla, Ruth. "For Margaret Cho, Nothing Is Too Private for a Punch Line". The New York Times. April 10, 2015.
, Cho was living in Peachtree City, Georgia, as Drop Dead Diva was filmed in the Atlanta area.
Cho is openly bisexual, and has stated that she has had "a lot of experience in the area of polyamory and alternative sexuality in general." When discussing her sexuality in a 2018 Huffington Post interview, Cho said, "I don't know using 'bisexual' is right because that indicates that there's only two genders, and I don't believe that. I've been with people all across the spectrum of gender and who have all kinds of different expressions of gender, so it's so hard to say. Maybe 'pansexual' is technically the more correct term but I like 'bisexual' because it's kind of '70s."
, Cho identifies as a Christian.
Cho was a guest on comedian Bobby Lee's Tigerbelly Podcast Episode 71, which was uploaded on December 16, 2016. In that episode, she recounted an incident between her and actress Tilda Swinton. According to Cho, Swinton contacted her via email to discuss the Asian American community's reaction to the news that Swinton had been cast to play the character Ancient One, who in the comic book is Tibetan, in the movie version of Doctor Strange. Cho found the inquiry strange since she did not know Swinton and had never talked to her before, nor did she have anything to do with the movie or casting. On December 21, Swinton released the email exchange between she and Cho to the website Jezebel. According to Swinton, she contacted Cho to better understand why Asian Americans were upset about the casting. In response to the release, Cho stated that she stands by her words both on TigerBelly and in the email exchange.
Cho revealed in a panel discussion that after doing genealogy testing, she discovered she was ethnically Chinese.
Accolades
In 2000, her "E! Celebrity Profile" won a Gracie Allen Award from the American Women in Radio and Television organization acknowledging its "superior quality and effective portrayal of the changing roles and concerns of women."
The same year, the Gay & Lesbian Alliance Against Defamation (GLAAD) awarded her with a Golden Gate Award and described her as an entertainer who, "as a pioneer, has made a significant difference in promoting equal rights for all, regardless of sexual orientation or gender identity."
In 2001, she was given a Lambda Liberty Award by Lambda Legal for "pressing us to see how false constructions of race, sexuality, and gender operate similarly to obscure and demean identity."
In 2003, she was given an Intrepid Award by the National Organization for Women.
In 2004, she was awarded with the First Amendment Award from the American Civil Liberties Union.
In 2007, she won for Outstanding Comedy Performance in AZN's Asian Excellence Awards.
April 30, 2008 was declared "Margaret Cho Day" in San Francisco.
In 2015, Joan Juliet Buck, writing in W, called Cho a modern-day femme fatale, writing:
[N]ot all women comedians are dangerous; some are just very funny: Tina Fey and Amy Poehler are too relatable, Joan Rivers was too firmly ensconced in the society that she mocked. Amy Schumer relies a little too much on the word "pussy" to be any kind of threat, though she would like very much to be a bad person. On the other hand, ... Margaret Cho know[s] no boundaries and inspire[s] palpable fear anytime [she] begin[s] one of [her] riffs.
Tours
"I'm the One That I Want" (1999)
"Notorious C.H.O." (2002)
"Revolution" (2003)
"State of Emergency" (2004)
"Assassin" (2005)
"True Colors" (2007–2008)
"Beautiful" (2008)
"Cho Dependent" (2010)
"Mother!" (2013)
"The 'There's No I in Team but there is a Cho in PsyCHO' Tour" (Often referred to simply as "The PsyCHO Tour") (2015)
"Fresh Off The Bloat Tour" (2017)
Filmography
Film
Television
Comedy Specials
Web
Podcasts
Monsters of Talk
2013-2015: Co-hosted w/ Jim Short, 131 episodes
The Margaret Cho
Bibliography
Discography
Comedy albums
Music albums
Singles
Appearances
Videography
Music videos as main artist
Directed by
References
External links
Alternet.org video
Margaret Cho Video produced by Makers: Women Who Make America''
Margaret Cho Wilbur Theatre in Boston, MA review and photos by Jen Vesp
Interview with MEAWW
1968 births
Living people
Activists from California
Actresses from San Francisco
American actresses of Korean descent
American musicians of Korean descent
American stand-up comedians
American women comedians
American comedians of Asian descent
Asian-American feminists
Bisexual actresses
Bisexual feminists
Comedians from California
Feminist comedians
Feminist musicians
LGBT American people of Asian descent
Bisexual comedians
LGBT fashion designers
LGBT musicians from the United States
LGBT people from California
LGBT songwriters
LGBT rights activists from the United States
Lowell High School (San Francisco) alumni
Participants in American reality television series
People from Peachtree City, Georgia
San Francisco State University alumni
20th-century American actresses
21st-century American actresses
20th-century American comedians
21st-century American comedians
Polyamorous people
LGBT actors from the United States
American bisexual actors
| 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"
] |
[
"Alfred Adler",
"The Adlerian school"
] |
C_90d31d06565f4f6d96409afe51139414_0
|
When did he attend this school
| 1 |
When did Alfred Adler attend the Adlerian school.
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Alfred Adler
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Following Adler's break from Freud, he enjoyed considerable success and celebrity in building an independent school of psychotherapy and a unique personality theory. He traveled and lectured for a period of 25 years promoting his socially oriented approach. His intent was to build a movement that would rival, even supplant, others in psychology by arguing for the holistic integrity of psychological well-being with that of social equality. Adler's efforts were halted by World War I, during which he served as a doctor with the Austrian Army. After the conclusion of the war, his influence increased greatly. In the 1930s, he established a number of child guidance clinics. From 1921 onwards, he was a frequent lecturer in Europe and the United States, becoming a visiting professor at Columbia University in 1927. His clinical treatment methods for adults were aimed at uncovering the hidden purpose of symptoms using the therapeutic functions of insight and meaning. Adler was concerned with the overcoming of the superiority/inferiority dynamic and was one of the first psychotherapists to discard the analytic couch in favor of two chairs. This allows the clinician and patient to sit together more or less as equals. Clinically, Adler's methods are not limited to treatment after-the-fact but extend to the realm of prevention by preempting future problems in the child. Prevention strategies include encouraging and promoting social interest, belonging, and a cultural shift within families and communities that leads to the eradication of pampering and neglect (especially corporal punishment). Adler's popularity was related to the comparative optimism and comprehensibility of his ideas. He often wrote for the lay public. Adler always retained a pragmatic approach that was task-oriented. These "Life tasks" are occupation/work, society/friendship, and love/sexuality. Their success depends on cooperation. The tasks of life are not to be considered in isolation since, as Adler famously commented, "they all throw cross-lights on one another". In his bestselling book, Man's Search for Meaning, Dr. Viktor E. Frankl compared his own "Third Viennese School of Psychotherapy" (after Freud's and Adler's schools) to Adler's analysis: According to logotherapy, the striving to find a meaning in one's life is the primary motivational force in man. That is why I speak of a will to meaning in contrast to the "pleasure principle" (or, as we could also term it, the will to pleasure) on which Freudian psychoanalysis is centered, as well as in contrast to the will to power stressed by Adlerian psychology. CANNOTANSWER
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he enjoyed considerable success and celebrity in building an independent school of psychotherapy and a unique personality theory.
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Alfred Adler (; ; 7 February 1870 – 28 May 1937) was an Austrian medical doctor, psychotherapist, and founder of the school of individual psychology. His emphasis on the importance of feelings of inferiority, the inferiority complex, is recognized as an isolating element which plays a key role in personality development. Alfred Adler considered a human being as an individual whole, and therefore he called his psychology "Individual Psychology" (Orgler 1976).
Adler was the first to emphasize the importance of the social element in the re-adjustment process of the individual and to carry psychiatry into the community. A Review of General Psychology survey, published in 2002, ranked Adler as the 67th most eminent psychologist of the 20th century.
Early life
Alfred Adler was born on February 7, 1870 at Mariahilfer Straße 208 in Rudolfsheim, a village on the western fringes of Vienna, a modern part of Rudolfsheim-Fünfhaus, the 15th district of the city. He was second of the seven children of a Jewish couple, Pauline (Beer) and Leopold Adler. Leopold Adler was a Hungarian-born grain merchant. Alfred's younger brother died in the bed next to him when Alfred was only three years old, and throughout his childhood, he maintained a rivalry with his older brother. This rivalry was spurred on because Adler believed his mother preferred his brother over him. Despite his good relationship with his father, he still struggled with feelings of inferiority in his relationship with his mother.
Alfred was an active, popular child and an average student who was also known for the competitive attitude toward his older brother, Sigmund. Early on, he developed rickets, which kept Alfred from walking until he was four years old. At the age of four, he developed pneumonia and heard a doctor say to his father, "Your boy is lost". Along with being run over twice and witnessing his younger brother's death, this sickness contributed to his overall fear of death. At that point, he decided to be a physician. He was very interested in the subjects of psychology, sociology and philosophy. After studying at University of Vienna, he specialized as an eye doctor, and later in neurology and psychiatry.
Career
Adler began his medical career as an ophthalmologist, but he soon switched to general practice, and established his office in a less affluent part of Vienna across from the Prater, a combination of amusement park and circus. His clients included circus people, and it has been suggested that the unusual strengths and weaknesses of the performers led to his insights into "organ inferiorities" and "compensation".
In his early career, Adler wrote an article in the defense of Freud's theory after reading one of Freud's most well known works, The Interpretation of Dreams. In 1902, because of his defense article, Adler received an invitation from Sigmund Freud to join an informal discussion group that included Rudolf Reitler and Wilhelm Stekel. The group, the "Wednesday Society" (Mittwochsgesellschaft), met regularly on Wednesday evenings at Freud's home and was the beginning of the psychoanalytic movement, expanding over time to include many more members. Each week a member would present a paper and after a short break of coffee and cakes, the group would discuss it. The main members were Otto Rank, Max Eitingon, Wilhelm Stekel, Karl Abraham, Hanns Sachs, Fritz Wittels, Max Graf, and Sandor Ferenczi. In 1908, Adler presented his paper, "The aggressive instinct in life and in neurosis", at a time when Freud believed that early sexual development was the primary determinant of the making of character, with which Adler took issue. Adler proposed that the sexual and aggressive drives were "two originally separate instincts which merge later on". Freud at the time disagreed with this idea.
When Freud in 1920 proposed his dual instinct theory of libido and aggressive drives in Beyond the Pleasure Principle, without citing Adler, he was reproached that Adler had proposed the aggressive drive in his 1908 paper (Eissler, 1971). Freud later commented in a 1923 footnote he added to the Little Hans case that, "I have myself been obliged to assert the existence of an aggressive instinct" (1909, p. 140, 2), while pointing out that his conception of an aggressive drive differs from that of Adler. A long-serving member of the group, he made many more beyond this 1908 pivotal contribution to the group, and Adler became president of the Vienna Psychoanalytic Society eight years later (1910). He remained a member of the Society until 1911, when he and a group of his supporters formally disengaged from Freud's circle, the first of the great dissenters from orthodox psychoanalysis (preceding Carl Jung's split in 1914).
This departure suited both Freud and Adler, since they had grown to dislike each other. During his association with Freud, Adler frequently maintained his own ideas which often diverged from Freud's. While Adler is often referred to as "a pupil of Freud", in fact this was never true; they were colleagues, Freud referring to him in print in 1909 as "My colleague Dr Alfred Adler". The association of Adler and Freud lasted a total of 9 years, and they never saw each other after the separation. Freud continued to dislike Adler even after the separation and tended to do so with other defectors from psychoanalysis. Even after Adler's death, Freud maintained his distaste for him. When conversing with a colleague over the matter, he stated, "I don't understand your sympathy for Adler. For a Jewish boy out of a Viennese suburb a death in Aberdeen is an unheard of career in itself and a proof of how far he had got on. The world really rewarded him richly for his service in having contradicted psychoanalysis." In 1929 Adler showed a reporter with the New York Herald a copy of the faded postcard that Freud had sent him in 1902. He wanted to prove that he had never been a disciple of Freud's but rather that Freud had sought him out to share his ideas.
Adler founded the Society for Individual Psychology in 1912 after his break from the psychoanalytic movement. Adler's group initially included some orthodox Nietzschean adherents (who believed that Adler's ideas on power and inferiority were closer to Nietzsche than Freud's). Their enmity aside, Adler retained a lifelong admiration for Freud's ideas on dreams and credited him with creating a scientific approach to their clinical utilization (Fiebert, 1997). Nevertheless, even regarding dream interpretation, Adler had his own theoretical and clinical approach. The primary differences between Adler and Freud centered on Adler's contention that the social realm (exteriority) is as important to psychology as is the internal realm (interiority). The dynamics of power and compensation extend beyond sexuality, and gender and politics can be as important as libido. Moreover, Freud did not share Adler's socialist beliefs, the latter's wife being for example an intimate friend of many of the Russian Marxists such as Leon Trotsky.
The Adlerian school
Following Adler's break from Freud, he enjoyed considerable success and celebrity in building an independent school of psychotherapy and a unique personality theory. He traveled and lectured for a period of 25 years promoting his socially oriented approach. His intent was to build a movement that would rival, even supplant, others in psychology by arguing for the holistic integrity of psychological well-being with that of social equality. Adler's efforts were halted by World War I, during which he served as a doctor with the Austro-Hungarian Army. After the conclusion of the war, his influence increased greatly. In the 1920s, he established a number of child guidance clinics. From 1921 onwards, he was a frequent lecturer in Europe and the United States, becoming a visiting professor at Columbia University in 1927. His clinical treatment methods for adults were aimed at uncovering the hidden purpose of symptoms using the therapeutic functions of insight and meaning.
Adler was concerned with the overcoming of the superiority/inferiority dynamic and was one of the first psychotherapists to discard the analytic couch in favor of two chairs. This allows the clinician and patient to sit together more or less as equals. Clinically, Adler's methods are not limited to treatment after-the-fact but extend to the realm of prevention by preempting future problems in the child. Prevention strategies include encouraging and promoting social interest, belonging, and a cultural shift within families and communities that leads to the eradication of pampering and neglect (especially corporal punishment). Adler's popularity was related to the comparative optimism and comprehensibility of his ideas. He often wrote for the lay public. Adler always retained a pragmatic approach that was task-oriented. These "Life tasks" are occupation/work, society/friendship, and love/sexuality. Their success depends on cooperation. The tasks of life are not to be considered in isolation since, as Adler famously commented, "they all throw cross-lights on one another".
In his bestselling book, Man's Search for Meaning, Dr. Viktor E. Frankl compared his own "Third Viennese School of Psychotherapy" (after Freud's and Adler's schools) to Adler's analysis:
Emigration
In the early 1930s, after most of Adler's Austrian clinics had been closed due to his Jewish heritage (despite his conversion to Christianity), Adler left Austria for a professorship at the Long Island College of Medicine in the US. Adler died from a heart attack in 1937 in Aberdeen, Scotland, during a lecture tour, although his remains went missing and were unaccounted for until 2007. His death was a temporary blow to the influence of his ideas, although a number of them were subsequently taken up by neo-Freudians. Through the work of Rudolf Dreikurs in the United States and many other adherents worldwide, Adlerian ideas and approaches remain strong and viable more than 70 years after Adler's death.
Around the world there are various organizations promoting Adler's orientation towards mental and social well-being. These include the International Committee of Adlerian Summer Schools and Institutes (ICASSI), the North American Society of Adlerian Psychology (NASAP) and the International Association for Individual Psychology. Teaching institutes and programs exist in Austria, Canada, England, Germany, Greece, Israel, Italy, Japan, Latvia, Switzerland, the United States, Jamaica, Peru, and Wales.
Basic principles
Adler was influenced by the mental construct ideas of the philosopher Hans Vaihinger (The Philosophy of 'As if') and the literature of Dostoyevsky. While still a member of the Vienna Psychoanalytic Society he developed a theory of organic inferiority and compensation that was the prototype for his later turn to phenomenology and the development of his famous concept, the inferiority complex.
Adler was also influenced by the philosophies of Immanuel Kant, Friedrich Nietzsche, Rudolf Virchow and the statesman Jan Smuts (who coined the term "holism"). Adler's School, known as "Individual Psychology"—an arcane reference to the Latin individuals meaning indivisibility, a term intended to emphasize holism—is both a social and community psychology as well as a depth psychology. Adler was an early advocate in psychology for prevention and emphasized the training of parents, teachers, social workers and so on in democratic approaches that allow a child to exercise their power through reasoned decision making whilst co-operating with others. He was a social idealist, and was known as a socialist in his early years of association with psychoanalysis (1902–1911).
Adler was pragmatic and believed that lay people could make practical use of the insights of psychology. Adler was also an early supporter of feminism in psychology and the social world, believing that feelings of superiority and inferiority were often gendered and expressed symptomatically in characteristic masculine and feminine styles. These styles could form the basis of psychic compensation and lead to mental health difficulties. Adler also spoke of "safeguarding tendencies" and neurotic behavior long before Anna Freud wrote about the same phenomena in her book The Ego and the Mechanisms of Defense.
Adlerian-based scholarly, clinical and social practices focus on the following topics:
Social interest and community feeling
Holism and the creative self
Fictional finalism, teleology, and goal constructs
Psychological and social encouragement
Inferiority, superiority and compensation
Life style/style of life
Early recollections (a projective technique)
Family constellation and birth order
Life tasks and social embeddedness
The conscious and unconscious realms
Private logic and common sense (based in part on Kant's "")
Symptoms and neurosis
Safeguarding behavior
Guilt and guilt feelings
Socratic questioning
Dream interpretation
Child and adolescent psychology
Democratic approaches to parenting and families
Adlerian approaches to classroom management
Leadership and organizational psychology
Adler created Adlerian Therapy, because he believed that one's psyche should be studied in the context of that person's environment.
Adler's approach to personality
In one of his earliest and most famous publications, "Study of Organ Inferiority and Its Physical Compensation," Adler outlined the basics for what would be the beginning foundation of his personality theory. The article focuses mainly on the topics of organ inferiority and compensation. Organ inferiority is when one organ, or portion of the body, is weaker than the rest. Adler postulated that the body's other organs would work together in order to compensate for the weakness of this "inferior" organ. When compensation occurs, other areas of the body make up for the function lacking in the inferior portion. In some cases, the weakness may be overcompensated transforming it into a strength. An example would be an individual with a weak leg becoming a great runner later on. As his theory progressed, the idea of organ inferiority was replaced with feelings of inferiority instead. As Adler's theory progressed, he continued evolving his theory and key ideas.
Adler's book, Über den nervösen Charakter (The Neurotic Character) defines his earlier key ideas. He argued that human personality could be explained teleologically: parts of the individual's unconscious self ideally work to convert feelings of inferiority to superiority (or rather completeness). The desires of the self ideal were countered by social and ethical demands. If the corrective factors were disregarded and the individual overcompensated, then an inferiority complex would occur, fostering the danger of the individual becoming egocentric, power-hungry and aggressive or worse.
Common therapeutic tools include the use of humor, historical instances, and paradoxical injunctions.
Psychodynamics and teleology
Adler maintained that human psychology is psychodynamic in nature. Unlike Freud's metapsychology that emphasizes instinctual demands, human psychology is guided by goals and fueled by a yet unknown creative force. Like Freud's instincts, Adler's fictive goals are largely unconscious. These goals have a "teleological" function. Constructivist Adlerians, influenced by neo-Kantian and Nietzschean ideas, view these "teleological" goals as "fictions" in the sense that Hans Vaihinger spoke of (fictio). Usually there is a fictional final goal which can be deciphered alongside of innumerable sub-goals. The inferiority/superiority dynamic is constantly at work through various forms of compensation and overcompensation. For example, in anorexia nervosa the fictive final goal is to "be perfectly thin" (overcompensation on the basis of a feeling of inferiority). Hence, the fictive final goal can serve a persecutory function that is ever-present in subjectivity (though its trace springs are usually unconscious). The end goal of being "thin" is fictive however since it can never be subjectively achieved.
Teleology serves another vital function for Adlerians. Chilon's "hora telos" ("see the end, consider the consequences") provides for both healthy and maladaptive psychodynamics. Here we also find Adler's emphasis on personal responsibility in mentally healthy subjects who seek their own and the social good.
Constructivism and metaphysics
The metaphysical thread of Adlerian theory does not problematize the notion of teleology since concepts such as eternity (an ungraspable end where time ceases to exist) match the religious aspects that are held in tandem. In contrast, the constructivist Adlerian threads (either humanist/modernist or postmodern in variant) seek to raise insight of the force of unconscious fictions– which carry all of the inevitability of 'fate'– so long as one does not understand them. Here, 'teleology' itself is fictive yet experienced as quite real. This aspect of Adler's theory is somewhat analogous to the principles developed in Rational Emotive Behavior Therapy (REBT) and Cognitive Therapy (CT). Both Albert Ellis and Aaron T. Beck credit Adler as a major precursor to REBT and CT. Ellis in particular was a member of the North American Society for Adlerian Psychology and served as an editorial board member for the Adlerian Journal Individual Psychology.
As a psychodynamic system, Adlerians excavate the past of a client/patient in order to alter their future and increase integration into community in the 'here-and-now'. The 'here-and-now' aspects are especially relevant to those Adlerians who emphasize humanism and/or existentialism in their approaches.
Holism
Metaphysical Adlerians emphasize a spiritual holism in keeping with what Jan Smuts articulated (Smuts coined the term "holism"), that is, the spiritual sense of one-ness that holism usually implies (etymology of holism: from ὅλος holos, a Greek word meaning all, entire, total) Smuts believed that evolution involves a progressive series of lesser wholes integrating into larger ones. Whilst Smuts' text Holism and Evolution is thought to be a work of science, it actually attempts to unify evolution with a higher metaphysical principle (holism). The sense of connection and one-ness revered in various religious traditions (among these, Christianity, Judaism, Zoroastrianism, Islam, Buddhism and Baha'i) finds a strong complement in Adler's thought.
The pragmatic and materialist aspects to contextualizing members of communities, the construction of communities and the socio-historical-political forces that shape communities matter a great deal when it comes to understanding an individual's psychological make-up and functioning. This aspect of Adlerian psychology holds a high level of synergy with the field of community psychology, especially given Adler's concern for what he called "the absolute truth and logic of communal life". However, Adlerian psychology, unlike community psychology, is holistically concerned with both prevention and clinical treatment after-the-fact. Hence, Adler can be considered the "first community psychologist", a discourse that formalized in the decades following Adler's death (King & Shelley, 2008).
Adlerian psychology, Carl Jung's analytical psychology, Gestalt therapy and Karen Horney's psychodynamic approach are holistic schools of psychology. These discourses eschew a reductive approach to understanding human psychology and psychopathology.
Typology
Adler developed a scheme of so-called personality types, which were however always to be taken as provisional or heuristic since he did not, in essence, believe in personality types, and at different times proposed different and equally tentative systems. The danger with typology is to lose sight of the individual's uniqueness and to gaze reductively, acts that Adler opposed. Nevertheless, he intended to illustrate patterns that could denote a characteristic governed under the overall style of life. Hence American Adlerians such as Harold Mosak have made use of Adler's typology in this provisional sense:
The Getting or Leaning They are sensitive people who have developed a shell around themselves which protects them, but they must rely on others to carry them through life's difficulties. They have low energy levels and so become dependent. When overwhelmed, they develop what we typically think of as neurotic symptoms: phobias, obsessions and compulsions, general anxiety, hysteria, amnesias, and so on, depending on individual details of their lifestyle.
The Avoiding types are those that hate being defeated. They may be successful, but have not taken any risks getting there. They are likely to have low social contact in fear of rejection or defeat in any way.
The Ruling or Dominant type strive for power and are willing to manipulate situations and people, anything to get their way. People of this type are also prone to anti-social behavior.
The Socially Useful types are those who are very outgoing and very active. They have a lot of social contact and strive to make changes for the good.
These 'types' are typically formed in childhood and are expressions of the Style of Life.
The importance of memories
Adler placed great emphasis upon the interpretation of early memories in working with patients and school children, writing that, "Among all psychic expressions, some of the most revealing are the individual's memories." Adler viewed memories as expressions of "private logic" and as metaphors for an individual's personal philosophy of life or "lifestyle". He maintained that memories are never incidental or trivial; rather, they are chosen reminders: "(A person's) memories are the reminders she carries about with her of her limitations and of the meanings of events. There are no 'chance' memories. Out of the incalculable number of impressions that an individual receives, she chooses to remember only those which she considers, however dimly, to have a bearing on her problems."
On birth order
Adler often emphasized one's psychological birth order as having an influence on the style of life and the strengths and weaknesses in one's psychological make up. Birth order referred to the placement of siblings within the family. It is important to note the difference between psychological and ordinal birth order (e.g. in some families, a second child might behave like a firstborn, in which case they are considered to be an ordinal secondborn but a psychological firstborn). Mosak, H.H. & Maniacci, M. P. (1999). A primer of Adlerian Psychology. Taylor and Francis. Adler believed that the firstborn child would be in a favorable position, enjoying the full attention of the eager new parents until the arrival of a second child. This second child would cause the first born to suffer feelings of dethronement, no longer being the center of attention. Adler (1908) believed that in a three-child family, the oldest child would be the most likely to suffer from neuroticism and substance addiction which he reasoned was a compensation for the feelings of excessive responsibility "the weight of the world on one's shoulders" (e.g. having to look after the younger ones) and the melancholic loss of that once supremely pampered position. As a result, he predicted that this child was the most likely to end up in jail or an asylum. Youngest children would tend to be overindulged, leading to poor social empathy. Consequently, the middle child, who would experience neither dethronement nor overindulgence, was most likely to develop into a successful individual yet also most likely to be a rebel and to feel squeezed-out. Adler himself was the third (some sources credit second) in a family of six children.
Adler never produced any scientific support for his interpretations on birth order roles, nor did he feel the need to. Yet the value of the hypothesis was to extend the importance of siblings in marking the psychology of the individual beyond Freud's more limited emphasis on the mother and father. Hence, Adlerians spend time therapeutically mapping the influence that siblings (or lack thereof) had on the psychology of their clients. The idiographic approach entails an excavation of the phenomenology of one's birth order position for likely influence on the subject's Style of Life. In sum, the subjective experiences of sibling positionality and inter-relations are important in terms of the dynamics of psychology, for Adlerian therapists and personality theorists, not the cookbook predictions that may or may not have been objectively true in Adler's time.
For Adler, birth order answered the question, "Why do children, who are raised in the same family, grow up with very different personalities?" While a strict geneticist, believing siblings are raised in a shared environment, may claim any differences in personality would be caused by subtle variations in the individuals' genetics, Adler showed through his birth order theory that children do not grow up in the same shared environment, but the oldest child grows up in a family where they have younger siblings, the middle child with older and younger siblings, and the youngest with older siblings. The position in the family constellation, Adler said, is the reason for these differences in personality and not genetics: a point later taken up by Eric Berne.
On addiction
Adler's insight into birth order, compensation and issues relating to the individuals' perception of community also led him to investigate the causes and treatment of substance abuse disorders, particularly alcoholism and morphinism, which already were serious social problems of his time. Adler's work with addicts was significant since most other prominent proponents of psychoanalysis invested relatively little time and thought into this widespread ill of the modern and post-modern age. In addition to applying his individual psychology approach of organ inferiority, for example, to the onset and causes of addictive behaviors, he also tried to find a clear relationship of drug cravings to sexual gratification or their substitutions. Early pharmaco-therapeutic interventions with non-addictive substances, such as neuphyllin were used, since withdrawal symptoms were explained by a form of "water-poisoning" that made the use of diuretics necessary.
Adler and his wife's pragmatic approach, and the seemingly high success rates of their treatment were based on their ideas of social functioning and well-being. Clearly, life style choices and situations were emphasized, for example the need for relaxation or the negative effects of early childhood conflicts were examined, which compared to other authoritarian or religious treatment regimens, were clearly modern approaches. Certainly some of his observations, for example that psychopaths were more likely to be drug addicts are not compatible with current methodologies and theories of substance abuse treatment, but the self-centered attributes of the illness and the clear escapism from social responsibilities by pathological addicts put Adler's treatment modalities clearly into a modern contextual reasoning.
On homosexuality
Adler's ideas regarding non-heterosexual sexuality and various social forms of deviance have long been controversial. Along with prostitution and criminality, Adler had classified 'homosexuals' as falling among the "failures of life". In 1917, he began his writings on homosexuality with a 52-page magazine, and sporadically published more thoughts throughout the rest of his life.
The Dutch psychologist Gerard J. M. van den Aardweg underlines how Alfred Adler came to his conclusions for, in 1917, Adler believed that he had established a connection between homosexuality and an inferiority complex towards one's own gender. This point of view differed from Freud's theory that homosexuality is rooted in narcissism or Jung's view of expressions of contrasexuality vis-à-vis the archetypes of the Anima and Animus.
There is evidence that Adler may have moved towards abandoning the hypothesis. Towards the end of Adler's life, in the mid-1930s, his opinion towards homosexuality began to shift. Elizabeth H. McDowell, a New York state family social worker recalls undertaking supervision with Adler on a young man who was "living in sin" with an older man in New York City. Adler asked her, "Is he happy, would you say?" "Oh yes," McDowell replied. Adler then stated, "Well, why don't we leave him alone."
According to Phyllis Bottome, who wrote Adler's Biography (after Adler himself laid upon her that task): "He always treated homosexuality as lack of courage. These were but ways of obtaining a slight release for a physical need while avoiding a greater obligation. A transient partner of your own sex is a better known road and requires less courage than a permanent contact with an "unknown" sex.... Adler taught that men cannot be judged from within by their "possessions," as he used to call nerves, glands, traumas, drives et cetera, since both judge and prisoner are liable to misconstrue what is invisible and incalculable; but that he can be judged, with no danger from introspection, by how he measures up to the three common life tasks set before every human being between the cradle and the grave: work (employment), love or marriage (intimacy), and social contact (friendships.)"
Parent education
Adler emphasized both treatment and prevention. With regard to psychodynamic psychology, Adlerians emphasize the foundational importance of childhood in developing personality and any tendency towards various forms of psychopathology. The best way to inoculate against what are now termed "personality disorders" (what Adler had called the "neurotic character"), or a tendency to various neurotic conditions (depression, anxiety, etc.), is to train a child to be and feel an equal part of the family. The responsibility of the optimal development of the child is not limited to the mother or father, but rather includes teachers and society more broadly. Adler argued therefore that teachers, nurses, social workers, and so on require training in parent education to complement the work of the family in fostering a democratic character. When a child does not feel equal and is enacted upon (abused through pampering or neglect) he or she is likely to develop inferiority or superiority complexes and various concomitant compensation strategies. These strategies exact a social toll by seeding higher divorce rates, the breakdown of the family, criminal tendencies, and subjective suffering in the various guises of psychopathology. Adlerians have long promoted parent education groups, especially those influenced by the famous Austrian/American Adlerian Rudolf Dreikurs (Dreikurs & Soltz, 1964).
Spirituality, ecology and community
In a late work, Social Interest: A Challenge to Mankind (1938), Adler turns to the subject of metaphysics, where he integrates Jan Smuts' evolutionary holism with the ideas of teleology and community: "sub specie aeternitatis". Unabashedly, he argues his vision of society: "Social feeling means above all a struggle for a communal form that must be thought of as eternally applicable... when humanity has attained its goal of perfection... an ideal society amongst all mankind, the ultimate fulfillment of evolution." Adler follows this pronouncement with a defense of metaphysics:
This social feeling for Adler is Gemeinschaftsgefühl, a community feeling whereby one feels he or she belongs with others and has also developed an ecological connection with nature (plants, animals, the crust of this earth) and the cosmos as a whole, sub specie aeternitatis. Clearly, Adler himself had little problem with adopting a metaphysical and spiritual point of view to support his theories.
Death and cremation
Adler died suddenly in Aberdeen, Scotland, in May 1937, during a three-week visit to the University of Aberdeen. While walking down the street, he was seen to collapse and lie motionless on the pavement. As a man ran over to him and loosened his collar, Adler mumbled "Kurt", the name of his son and died. The autopsy performed determined his death was caused by a degeneration of the heart muscle. His body was cremated at Warriston Crematorium in Edinburgh but the ashes were never reclaimed. In 2007, his ashes were rediscovered in a casket at Warriston Crematorium and returned to Vienna for burial in 2011.
Use of Adler's work without attribution
Much of Adler's theories have been absorbed into modern psychology without attribution. Psychohistorian Henri F. Ellenberger writes, "It would not be easy to find another author from which so much has been borrowed on all sides without acknowledgement than Alfred Adler." Ellenberger posits several theories for "the discrepancy between greatness of achievement, massive rejection of person and work, and wide-scale, quiet plagiarism..." These include Adler's "imperfect" style of writing and demeanor, his "capacity to create a new obviousness," and his lack of a large and well organized following.
Influence on depth psychology
In collaboration with Sigmund Freud and a small group of Freud's colleagues, Adler was among the co-founders of the psychoanalytic movement and a core member of the Vienna Psychoanalytic Society: indeed, to Freud he was "the only personality there". He was the first major figure to break away from psychoanalysis to form an independent school of psychotherapy and personality theory, which he called individual psychology because he believed a human to be an indivisible whole, an individuum. He also imagined a person to be connected or associated with the surrounding world.
This was after Freud declared Adler's ideas as too contrary, leading to an ultimatum to all members of the Society (which Freud had shepherded) to drop Adler or be expelled, disavowing the right to dissent (Makari, 2008). Nevertheless, Freud always took Adler's ideas seriously, calling them "honorable errors". Though one rejects the content of Adler's views, one can recognize their consistency and significance." Following this split, Adler would come to have an enormous, independent effect on the disciplines of counseling and psychotherapy as they developed over the course of the 20th century (Ellenberger, 1970). He influenced notable figures in subsequent schools of psychotherapy such as Rollo May, Viktor Frankl, Abraham Maslow and Albert Ellis. His writings preceded, and were at times surprisingly consistent with, later Neo-Freudian insights such as those evidenced in the works of Otto Rank, Karen Horney, Harry Stack Sullivan and Erich Fromm, some considering that it would take several decades for Freudian ego psychology to catch up with Adler's ground-breaking approach.
Adler emphasized the importance of equality in preventing various forms of psychopathology, and espoused the development of social interest and democratic family structures for raising children. His most famous concept is the inferiority complex which speaks to the problem of self-esteem and its negative effects on human health (e.g. sometimes producing a paradoxical superiority striving). His emphasis on power dynamics is rooted in the philosophy of Nietzsche, whose works were published a few decades before Adler's. Specifically, Adler's conceptualization of the "Will to Power" focuses on the individual's creative power to change for the better. Adler argued for holism, viewing the individual holistically rather than reductively, the latter being the dominant lens for viewing human psychology. Adler was also among the first in psychology to argue in favor of feminism, and the female analyst, making the case that power dynamics between men and women (and associations with masculinity and femininity) are crucial to understanding human psychology (Connell, 1995). Adler is considered, along with Freud and Jung, to be one of the three founding figures of depth psychology, which emphasizes the unconscious and psychodynamics (Ellenberger, 1970; Ehrenwald, 1991); and thus to be one of the three great psychologists/philosophers of the twentieth century.
Personal life
During his college years, he had become attached to a group of socialist students, among which he had found his wife-to-be, Raissa Timofeyewna Epstein, an intellectual and social activist from Russia studying in Vienna. Because Raissa was a militant socialist, she had a large impact on Adler's early publications and ultimately his theory of personality. They married in 1897 and had four children, two of whom, his daughter Alexandra and his son Kurt, became psychiatrists. Their children were writer, psychiatrist and Socialist activist Alexandra Adler; psychiatrist Kurt Adler; writer and activist Valentine Adler; and Cornelia "Nelly" Adler. Raissa, Adler's wife, died at 89 in New York City on April 21,1962.
Author and journalist Margot Adler (1946-2014) was Adler's granddaughter.
Artistic and cultural references
The two main characters in the novel Plant Teacher engage in a session of Adlerian lifestyle interpretation, including early memory interpretation.
In the episode Something About Dr. Mary of the television series Frasier, Frasier recalls having to "pass under a dangerously unbalanced portrait of Alfred Adler" during his studies at Harvard.
He appears as a character in the Young Indiana Jones chronicles.
English-language Adlerian journals
North America
The Journal of Individual Psychology (University of Texas Press)
The Canadian Journal of Adlerian Psychology (Adlerian Psychology Association of British Columbia)
United Kingdom
Adlerian Yearbook (Adlerian Society, UK)
Publications
Alfred Adler's key publications were The Practice and Theory of Individual Psychology (1927), Understanding Human Nature (1927), & What Life Could Mean to You (1931). Other important publications are The Pattern of Life (1930), The Science of Living (1930), The Neurotic Constitution (1917), The Problems of Neurosis (1930). In his lifetime, Adler published more than 300 books and articles.
The Alfred Adler Institute of Northwestern Washington has recently published a twelve-volume set of The Collected Clinical Works of Alfred Adler, covering his writings from 1898–1937. An entirely new translation of Adler's magnum opus, The Neurotic Character, is featured in Volume 1. Volume 12 provides comprehensive overviews of Adler's mature theory and contemporary Adlerian practice.
Volume 1 : The Neurotic Character — 1907
Volume 2 : Journal Articles 1898–1909
Volume 3 : Journal Articles 1910–1913
Volume 4 : Journal Articles 1914–1920
Volume 5 : Journal Articles 1921–1926
Volume 6 : Journal Articles 1927–1931
Volume 7 : Journal Articles 1931–1937
Volume 8 : Lectures to Physicians & Medical Students
Volume 9 : Case Histories
Volume 10 : Case Readings & Demonstrations
Volume 11 : Education for Prevention
Volume 12 : The General System of Individual Psychology
Other key Adlerian texts
Adler, A. (1964). The Individual Psychology of Alfred Adler. H. L. Ansbacher and R. R. Ansbacher (Eds.). New York: Harper Torchbooks. .
Adler, A. (1979). Superiority and Social Interest: A Collection of Later Writings. H. L. Ansbacher and R. R. Ansbacher (Eds.). New York, NY: W. W. Norton. .
See also
Adlerian
Classical Adlerian psychology
Neo-Adlerian
Notes
References
Adler, A. (1908). Der Aggressionstrieb im Leben und der Neurose. Fortsch. Med. 26: 577–584.
Adler, A. (1938). Social Interest: A Challenge to Mankind. J. Linton and R. Vaughan (Trans.). London: Faber and Faber Ltd.
Adler, A. (1956). The Individual Psychology of Alfred Adler. H. L. Ansbacher and R. R. Ansbacher (Eds.). New York: Harper Torchbooks.
Connell, R. W. (1995). Masculinities. Cambridge, UK: Polity Press.
Dreikurs, R. & Soltz, V. (1964). Children the Challenge. New York: Hawthorn Books.
Ehrenwald, J. (1991, 1976). The History of Psychotherapy: From healing magic to encounter. Northvale, NJ: Jason Aronson Inc.
Eissler, K.R. (1971). Death Drive, Ambivalence, and Narcissism. Psychoanal. St. Child, 26: 25–78.
Ellenberger, H. (1970). The Discovery of the Unconscious. New York: Basic Books.
Fiebert, M. S. (1997). In and out of Freud's shadow: A chronology of Adler's relationship with Freud. Individual Psychology, 53(3), 241–269.
Freud, S. (1909). Analysis of a Phobia in a Five-Year-Old Boy. Standard Edition of the Works of Sigmund Freud, London: Hogarth Press, Vol. 10, pp. 3–149.
King, R. & Shelley, C. (2008). Community Feeling and Social Interest: Adlerian Parallels, Synergy, and Differences with the Field of Community Psychology. Journal of Community and Applied Social Psychology, 18, 96–107.
Manaster, G. J., Painter, G., Deutsch, D., & Overholt, B. J. (Eds.). (1977). Alfred Adler: As We Remember Him. Chicago: North American Society of Adlerian Psychology.
Shelley, C. (Ed.). (1998). Contemporary Perspectives on Psychotherapy and Homosexualities. London: Free Association Books.
Slavik, S. & King, R. (2007). Adlerian therapeutic strategy. The Canadian Journal of Adlerian Psychology, 37(1), 3–16.
Gantschacher, H. (ARBOS 2007). Witness and Victim of the Apocalypse, chapter 13 page 12 and chapter 14 page 6.
Orgler, H. (1996). Alfred Adler, 22 (1), pg. 67–68.
Further reading
Orgler, Hertha, Alfred Adler, International Journal of Social Psychiatry, V. 22 (1), 1976-Spring, p. 67
Phyllis Bottome (1939). Alfred Adler: A Biography. G. P. Putnam's Sons. New York.
Phyllis Bottome (1939). Alfred Adler: Apostle of Freedom. London: Faber and Faber. 3rd Ed. 1957.
Carlson, J., Watts, R. E., & Maniacci, M. (2005). Adlerian Therapy: Theory and Practice. Washington, DC: American Psychological Association. .
Dinkmeyer, D., Sr., & Dreikurs, R. (2000). Encouraging Children to Learn. Philadelphia: Brunner-Routledge. .
Rudolf Dreikurs (1935): An Introduction to Individual Psychology. London: Kegan Paul, Trench Trubner & Co. Ltd. (new edition 1983: London & New York: Routledge), .
Grey, L. (1998). Alfred Adler: The Forgotten Prophet: A Vision for the 21st Century. Westport, CT: Praeger. .
Handlbauer, B. (1998). The Freud-Adler Controversy. Oxford, UK: Oneworld. .
Hoffman, E. (1994). The Drive for Self: Alfred Adler and the Founding of Individual Psychology. New York: Addison-Wesley Co. .
Lehrer, R. (1999). "Adler and Nietzsche". In: J. Golomb, W. Santaniello, and R. Lehrer. (Eds.). Nietzsche and Depth Psychology. (pp. 229–246). Albany, NY: State University of New York Press. .
Mosak, H. H. & Di Pietro, R. (2005). Early Recollections: Interpretive Method and Application. New York: Routledge. .
Oberst, U. E. and Stewart, A. E. (2003). Adlerian Psychotherapy: An Advanced Approach to Individual Psychology. New York: Brunner-Routledge. .
Orgler, H. (1963). Alfred Adler: The Man and His Work: Triumph Over the Inferiority Complex. New York: Liveright.
Orgler, H. (1996). Alfred Adler, 22 (1), pg. 67–68.
Josef Rattner (1983): Alfred Adler: Life and Literature. Ungar Pub. Co. .
Slavik, S. & Carlson, J. (Eds.). (2005). Readings in the Theory of Individual Psychology. New York: Routledge. .
Manès Sperber (1974). Masks of Loneliness: Alfred Adler in Perspective. New York: Macmillan. .
Stepansky, P. E. (1983). In Freud's Shadow: Adler in Context. Hillsdale, NJ: Analytic Press. .
Watts, R. E. (2003). Adlerian, cognitive, and constructivist therapies: An integrative dialogue. New York: Springer. .
Watts, R. E., & Carlson, J. (1999). Interventions and strategies in counseling and psychotherapy. New York: Accelerated Development/Routledge. .
Way, Lewis (1950): Adler's Place in Psychology. London: Allen & Unwin.
Way, Lewis (1956): Alfred Adler: An Introduction to his Psychology. London: Pelican.
West, G. K. (1975). Kierkegaard and Adler. Tallahassee: Florida State University.
External links
International Association of Individual Psychology
Psychology Articles
The Adlerian Society (UK) and the Institute for Individual Psychology
The North American Society of Adlerian Psychology
Institutul de Psihologie si Psihoterapie Adleriana Romania
Centro de Estudios Adlerianos Uruguay
Classical Adlerian Psychology according to Alfred Adlers Institutes in San Francisco and Northwestern Washington
AdlerPedia
Hong Kong Society of Adlerian Psychology
New Concept Coaching & Training Institute
1870 births
1937 deaths
Adlerian psychology
19th-century Austrian Jews
Jewish scientists
Austrian ophthalmologists
Austrian people of Hungarian-Jewish descent
Austrian psychiatrists
Austrian psychologists
Jewish psychiatrists
People from Rudolfsheim-Fünfhaus
University of Vienna alumni
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"Jolán Simon (31 May 1885, Újpest – 24 September 1938, Budapest) was a Hungarian actor active in the Hungarian avant-garde during the early nineteenth century.\n\nHer father died when she was still a child, so she was obliged to start work at an early age. She was largely self-taught but she did attend Kálmán Rózsahegyi’s drama school.\n\nReferences\n\n1885 births\n1938 deaths\n1938 suicides\n20th-century Hungarian actresses\nPeople from Újpest\nSuicides in Hungary",
"Most presidents of the United States received a college education, even most of the earliest. Of the first seven presidents, five were college graduates. College degrees have set the presidents apart from the general population, and presidents have held degrees even though it was quite rare and unnecessary for practicing most occupations, including law. Of the 45 individuals to have been the president, 25 of them graduated from a private undergraduate college, nine graduated from a public undergraduate college, and 12 held no degree. Every president since 1953 has had a bachelor's degree, reflecting the increasing importance of higher education in the United States.\n\nList by university attended\n\nDid not graduate from college \n\nGeorge Washington (Although the death of Washington's father ended his formal schooling, he received a surveyor's certificate from the College of William and Mary. Washington believed strongly in formal education, and his will left money and/or stocks to support three educational institutions.)\nJames Monroe (attended the College of William and Mary, but dropped out to fight in the Revolutionary War)\nAndrew Jackson\nMartin Van Buren\nWilliam Henry Harrison (attended Hampden Sydney College for three years but did not graduate and then attended University of Pennsylvania School of Medicine but never received a degree)\nZachary Taylor\nMillard Fillmore (founded the University at Buffalo)\nAbraham Lincoln (had only about a year of formal schooling of any kind)\nAndrew Johnson (no formal schooling of any kind)\nGrover Cleveland\nWilliam McKinley (attended Allegheny College, but did not graduate; also attended Albany Law School, but also did not graduate)\nHarry S. Truman (went to business college and law school, but did not graduate)\n\nUndergraduate \n\nA.JFK enrolled, but did not attend\n\nAdditional undergraduate information\nSome presidents attended more than one institution. George Washington never attended college, though The College of William & Mary did issue him a surveyor's certificate. Two presidents have attended a foreign college at the undergraduate level: John Quincy Adams at Leiden University and Bill Clinton at the University of Oxford (John F. Kennedy intended to study at the London School of Economics, but failed to attend as he fell ill before classes began.)\n\nThree presidents have attended the United States Service academies: Ulysses S. Grant and Dwight D. Eisenhower graduated from the United States Military Academy at West Point, while Jimmy Carter graduated from the United States Naval Academy at Annapolis, Maryland. No presidents have graduated from the United States Coast Guard Academy or the much newer U.S. Air Force Academy. Eisenhower also graduated from the Army Command and General Staff College, Army Industrial College and Army War College. These were not degree granting institutions when Eisenhower attended, but were part of his professional education as a career soldier.\n\nGraduate school\nA total of 20 presidents attended some form of graduate school (including professional schools). Among them, eleven presidents received a graduate degree during their lifetimes; two more received graduate degrees posthumously.\n\nBusiness school\n\nGraduate School\n\nMedical school\n\nLaw school \n\nSeveral presidents who were lawyers did not attend law school, but became lawyers after independent study under the tutelage of established attorneys. Some had attended college before beginning their legal studies, and several studied law without first having attended college. Presidents who were lawyers but did not attend law school include: John Adams; Thomas Jefferson; James Madison; James Monroe; John Quincy Adams; Andrew Jackson; Martin Van Buren; John Tyler; James K. Polk; Millard Fillmore; James Buchanan; Abraham Lincoln; James A. Garfield; Grover Cleveland; Benjamin Harrison; and Calvin Coolidge.\n\nPresidents who were admitted to the bar after a combination of law school and independent study include; Franklin Pierce; Chester A. Arthur; William McKinley; and Woodrow Wilson.\n\nList by graduate degree earned\n\nPh.D. (doctorate)\n\nM.B.A. (Master of Business Administration)\n\nM.A. (Master of Arts)\n\nNote: John Adams and John Quincy Adams, along with George W. Bush are the only presidents to date to attain Master’s degrees.\n\nJ.D. or LL.B. (law degree)\n\nNote: Hayes, Taft, Nixon and Ford were awarded LL.B. degrees. When U.S. law schools began to use the J.D. as the professional law degree in the 1960s, previous graduates had the choice of converting their LL.B. degrees to a J.D. Duke University Law School made the change in 1968, and Yale Law School in 1971. Theodore Roosevelt and Franklin D. Roosevelt, both of whom attended Columbia Law School but withdrew before graduating, were awarded posthumous J.D. degrees in 2008.\n\nList by president\n\nOther academic associations\n\nFaculty member\n\nSchool rector or president\n\nSchool trustee or governor\n\nSee also\n List of prime ministers of Australia by education\n List of prime ministers of Canada by academic degrees\n List of presidents of the Philippines by education\n List of prime ministers of the United Kingdom by education\n\nReferences\n\nCollege education\nUnited States education-related lists"
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"The Adlerian school",
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"he enjoyed considerable success and celebrity in building an independent school of psychotherapy and a unique personality theory."
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C_90d31d06565f4f6d96409afe51139414_0
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When was it built?
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When was the Adlerian school built?
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Alfred Adler
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Following Adler's break from Freud, he enjoyed considerable success and celebrity in building an independent school of psychotherapy and a unique personality theory. He traveled and lectured for a period of 25 years promoting his socially oriented approach. His intent was to build a movement that would rival, even supplant, others in psychology by arguing for the holistic integrity of psychological well-being with that of social equality. Adler's efforts were halted by World War I, during which he served as a doctor with the Austrian Army. After the conclusion of the war, his influence increased greatly. In the 1930s, he established a number of child guidance clinics. From 1921 onwards, he was a frequent lecturer in Europe and the United States, becoming a visiting professor at Columbia University in 1927. His clinical treatment methods for adults were aimed at uncovering the hidden purpose of symptoms using the therapeutic functions of insight and meaning. Adler was concerned with the overcoming of the superiority/inferiority dynamic and was one of the first psychotherapists to discard the analytic couch in favor of two chairs. This allows the clinician and patient to sit together more or less as equals. Clinically, Adler's methods are not limited to treatment after-the-fact but extend to the realm of prevention by preempting future problems in the child. Prevention strategies include encouraging and promoting social interest, belonging, and a cultural shift within families and communities that leads to the eradication of pampering and neglect (especially corporal punishment). Adler's popularity was related to the comparative optimism and comprehensibility of his ideas. He often wrote for the lay public. Adler always retained a pragmatic approach that was task-oriented. These "Life tasks" are occupation/work, society/friendship, and love/sexuality. Their success depends on cooperation. The tasks of life are not to be considered in isolation since, as Adler famously commented, "they all throw cross-lights on one another". In his bestselling book, Man's Search for Meaning, Dr. Viktor E. Frankl compared his own "Third Viennese School of Psychotherapy" (after Freud's and Adler's schools) to Adler's analysis: According to logotherapy, the striving to find a meaning in one's life is the primary motivational force in man. That is why I speak of a will to meaning in contrast to the "pleasure principle" (or, as we could also term it, the will to pleasure) on which Freudian psychoanalysis is centered, as well as in contrast to the will to power stressed by Adlerian psychology. CANNOTANSWER
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He traveled and lectured for a period of 25 years promoting his socially oriented approach.
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Alfred Adler (; ; 7 February 1870 – 28 May 1937) was an Austrian medical doctor, psychotherapist, and founder of the school of individual psychology. His emphasis on the importance of feelings of inferiority, the inferiority complex, is recognized as an isolating element which plays a key role in personality development. Alfred Adler considered a human being as an individual whole, and therefore he called his psychology "Individual Psychology" (Orgler 1976).
Adler was the first to emphasize the importance of the social element in the re-adjustment process of the individual and to carry psychiatry into the community. A Review of General Psychology survey, published in 2002, ranked Adler as the 67th most eminent psychologist of the 20th century.
Early life
Alfred Adler was born on February 7, 1870 at Mariahilfer Straße 208 in Rudolfsheim, a village on the western fringes of Vienna, a modern part of Rudolfsheim-Fünfhaus, the 15th district of the city. He was second of the seven children of a Jewish couple, Pauline (Beer) and Leopold Adler. Leopold Adler was a Hungarian-born grain merchant. Alfred's younger brother died in the bed next to him when Alfred was only three years old, and throughout his childhood, he maintained a rivalry with his older brother. This rivalry was spurred on because Adler believed his mother preferred his brother over him. Despite his good relationship with his father, he still struggled with feelings of inferiority in his relationship with his mother.
Alfred was an active, popular child and an average student who was also known for the competitive attitude toward his older brother, Sigmund. Early on, he developed rickets, which kept Alfred from walking until he was four years old. At the age of four, he developed pneumonia and heard a doctor say to his father, "Your boy is lost". Along with being run over twice and witnessing his younger brother's death, this sickness contributed to his overall fear of death. At that point, he decided to be a physician. He was very interested in the subjects of psychology, sociology and philosophy. After studying at University of Vienna, he specialized as an eye doctor, and later in neurology and psychiatry.
Career
Adler began his medical career as an ophthalmologist, but he soon switched to general practice, and established his office in a less affluent part of Vienna across from the Prater, a combination of amusement park and circus. His clients included circus people, and it has been suggested that the unusual strengths and weaknesses of the performers led to his insights into "organ inferiorities" and "compensation".
In his early career, Adler wrote an article in the defense of Freud's theory after reading one of Freud's most well known works, The Interpretation of Dreams. In 1902, because of his defense article, Adler received an invitation from Sigmund Freud to join an informal discussion group that included Rudolf Reitler and Wilhelm Stekel. The group, the "Wednesday Society" (Mittwochsgesellschaft), met regularly on Wednesday evenings at Freud's home and was the beginning of the psychoanalytic movement, expanding over time to include many more members. Each week a member would present a paper and after a short break of coffee and cakes, the group would discuss it. The main members were Otto Rank, Max Eitingon, Wilhelm Stekel, Karl Abraham, Hanns Sachs, Fritz Wittels, Max Graf, and Sandor Ferenczi. In 1908, Adler presented his paper, "The aggressive instinct in life and in neurosis", at a time when Freud believed that early sexual development was the primary determinant of the making of character, with which Adler took issue. Adler proposed that the sexual and aggressive drives were "two originally separate instincts which merge later on". Freud at the time disagreed with this idea.
When Freud in 1920 proposed his dual instinct theory of libido and aggressive drives in Beyond the Pleasure Principle, without citing Adler, he was reproached that Adler had proposed the aggressive drive in his 1908 paper (Eissler, 1971). Freud later commented in a 1923 footnote he added to the Little Hans case that, "I have myself been obliged to assert the existence of an aggressive instinct" (1909, p. 140, 2), while pointing out that his conception of an aggressive drive differs from that of Adler. A long-serving member of the group, he made many more beyond this 1908 pivotal contribution to the group, and Adler became president of the Vienna Psychoanalytic Society eight years later (1910). He remained a member of the Society until 1911, when he and a group of his supporters formally disengaged from Freud's circle, the first of the great dissenters from orthodox psychoanalysis (preceding Carl Jung's split in 1914).
This departure suited both Freud and Adler, since they had grown to dislike each other. During his association with Freud, Adler frequently maintained his own ideas which often diverged from Freud's. While Adler is often referred to as "a pupil of Freud", in fact this was never true; they were colleagues, Freud referring to him in print in 1909 as "My colleague Dr Alfred Adler". The association of Adler and Freud lasted a total of 9 years, and they never saw each other after the separation. Freud continued to dislike Adler even after the separation and tended to do so with other defectors from psychoanalysis. Even after Adler's death, Freud maintained his distaste for him. When conversing with a colleague over the matter, he stated, "I don't understand your sympathy for Adler. For a Jewish boy out of a Viennese suburb a death in Aberdeen is an unheard of career in itself and a proof of how far he had got on. The world really rewarded him richly for his service in having contradicted psychoanalysis." In 1929 Adler showed a reporter with the New York Herald a copy of the faded postcard that Freud had sent him in 1902. He wanted to prove that he had never been a disciple of Freud's but rather that Freud had sought him out to share his ideas.
Adler founded the Society for Individual Psychology in 1912 after his break from the psychoanalytic movement. Adler's group initially included some orthodox Nietzschean adherents (who believed that Adler's ideas on power and inferiority were closer to Nietzsche than Freud's). Their enmity aside, Adler retained a lifelong admiration for Freud's ideas on dreams and credited him with creating a scientific approach to their clinical utilization (Fiebert, 1997). Nevertheless, even regarding dream interpretation, Adler had his own theoretical and clinical approach. The primary differences between Adler and Freud centered on Adler's contention that the social realm (exteriority) is as important to psychology as is the internal realm (interiority). The dynamics of power and compensation extend beyond sexuality, and gender and politics can be as important as libido. Moreover, Freud did not share Adler's socialist beliefs, the latter's wife being for example an intimate friend of many of the Russian Marxists such as Leon Trotsky.
The Adlerian school
Following Adler's break from Freud, he enjoyed considerable success and celebrity in building an independent school of psychotherapy and a unique personality theory. He traveled and lectured for a period of 25 years promoting his socially oriented approach. His intent was to build a movement that would rival, even supplant, others in psychology by arguing for the holistic integrity of psychological well-being with that of social equality. Adler's efforts were halted by World War I, during which he served as a doctor with the Austro-Hungarian Army. After the conclusion of the war, his influence increased greatly. In the 1920s, he established a number of child guidance clinics. From 1921 onwards, he was a frequent lecturer in Europe and the United States, becoming a visiting professor at Columbia University in 1927. His clinical treatment methods for adults were aimed at uncovering the hidden purpose of symptoms using the therapeutic functions of insight and meaning.
Adler was concerned with the overcoming of the superiority/inferiority dynamic and was one of the first psychotherapists to discard the analytic couch in favor of two chairs. This allows the clinician and patient to sit together more or less as equals. Clinically, Adler's methods are not limited to treatment after-the-fact but extend to the realm of prevention by preempting future problems in the child. Prevention strategies include encouraging and promoting social interest, belonging, and a cultural shift within families and communities that leads to the eradication of pampering and neglect (especially corporal punishment). Adler's popularity was related to the comparative optimism and comprehensibility of his ideas. He often wrote for the lay public. Adler always retained a pragmatic approach that was task-oriented. These "Life tasks" are occupation/work, society/friendship, and love/sexuality. Their success depends on cooperation. The tasks of life are not to be considered in isolation since, as Adler famously commented, "they all throw cross-lights on one another".
In his bestselling book, Man's Search for Meaning, Dr. Viktor E. Frankl compared his own "Third Viennese School of Psychotherapy" (after Freud's and Adler's schools) to Adler's analysis:
Emigration
In the early 1930s, after most of Adler's Austrian clinics had been closed due to his Jewish heritage (despite his conversion to Christianity), Adler left Austria for a professorship at the Long Island College of Medicine in the US. Adler died from a heart attack in 1937 in Aberdeen, Scotland, during a lecture tour, although his remains went missing and were unaccounted for until 2007. His death was a temporary blow to the influence of his ideas, although a number of them were subsequently taken up by neo-Freudians. Through the work of Rudolf Dreikurs in the United States and many other adherents worldwide, Adlerian ideas and approaches remain strong and viable more than 70 years after Adler's death.
Around the world there are various organizations promoting Adler's orientation towards mental and social well-being. These include the International Committee of Adlerian Summer Schools and Institutes (ICASSI), the North American Society of Adlerian Psychology (NASAP) and the International Association for Individual Psychology. Teaching institutes and programs exist in Austria, Canada, England, Germany, Greece, Israel, Italy, Japan, Latvia, Switzerland, the United States, Jamaica, Peru, and Wales.
Basic principles
Adler was influenced by the mental construct ideas of the philosopher Hans Vaihinger (The Philosophy of 'As if') and the literature of Dostoyevsky. While still a member of the Vienna Psychoanalytic Society he developed a theory of organic inferiority and compensation that was the prototype for his later turn to phenomenology and the development of his famous concept, the inferiority complex.
Adler was also influenced by the philosophies of Immanuel Kant, Friedrich Nietzsche, Rudolf Virchow and the statesman Jan Smuts (who coined the term "holism"). Adler's School, known as "Individual Psychology"—an arcane reference to the Latin individuals meaning indivisibility, a term intended to emphasize holism—is both a social and community psychology as well as a depth psychology. Adler was an early advocate in psychology for prevention and emphasized the training of parents, teachers, social workers and so on in democratic approaches that allow a child to exercise their power through reasoned decision making whilst co-operating with others. He was a social idealist, and was known as a socialist in his early years of association with psychoanalysis (1902–1911).
Adler was pragmatic and believed that lay people could make practical use of the insights of psychology. Adler was also an early supporter of feminism in psychology and the social world, believing that feelings of superiority and inferiority were often gendered and expressed symptomatically in characteristic masculine and feminine styles. These styles could form the basis of psychic compensation and lead to mental health difficulties. Adler also spoke of "safeguarding tendencies" and neurotic behavior long before Anna Freud wrote about the same phenomena in her book The Ego and the Mechanisms of Defense.
Adlerian-based scholarly, clinical and social practices focus on the following topics:
Social interest and community feeling
Holism and the creative self
Fictional finalism, teleology, and goal constructs
Psychological and social encouragement
Inferiority, superiority and compensation
Life style/style of life
Early recollections (a projective technique)
Family constellation and birth order
Life tasks and social embeddedness
The conscious and unconscious realms
Private logic and common sense (based in part on Kant's "")
Symptoms and neurosis
Safeguarding behavior
Guilt and guilt feelings
Socratic questioning
Dream interpretation
Child and adolescent psychology
Democratic approaches to parenting and families
Adlerian approaches to classroom management
Leadership and organizational psychology
Adler created Adlerian Therapy, because he believed that one's psyche should be studied in the context of that person's environment.
Adler's approach to personality
In one of his earliest and most famous publications, "Study of Organ Inferiority and Its Physical Compensation," Adler outlined the basics for what would be the beginning foundation of his personality theory. The article focuses mainly on the topics of organ inferiority and compensation. Organ inferiority is when one organ, or portion of the body, is weaker than the rest. Adler postulated that the body's other organs would work together in order to compensate for the weakness of this "inferior" organ. When compensation occurs, other areas of the body make up for the function lacking in the inferior portion. In some cases, the weakness may be overcompensated transforming it into a strength. An example would be an individual with a weak leg becoming a great runner later on. As his theory progressed, the idea of organ inferiority was replaced with feelings of inferiority instead. As Adler's theory progressed, he continued evolving his theory and key ideas.
Adler's book, Über den nervösen Charakter (The Neurotic Character) defines his earlier key ideas. He argued that human personality could be explained teleologically: parts of the individual's unconscious self ideally work to convert feelings of inferiority to superiority (or rather completeness). The desires of the self ideal were countered by social and ethical demands. If the corrective factors were disregarded and the individual overcompensated, then an inferiority complex would occur, fostering the danger of the individual becoming egocentric, power-hungry and aggressive or worse.
Common therapeutic tools include the use of humor, historical instances, and paradoxical injunctions.
Psychodynamics and teleology
Adler maintained that human psychology is psychodynamic in nature. Unlike Freud's metapsychology that emphasizes instinctual demands, human psychology is guided by goals and fueled by a yet unknown creative force. Like Freud's instincts, Adler's fictive goals are largely unconscious. These goals have a "teleological" function. Constructivist Adlerians, influenced by neo-Kantian and Nietzschean ideas, view these "teleological" goals as "fictions" in the sense that Hans Vaihinger spoke of (fictio). Usually there is a fictional final goal which can be deciphered alongside of innumerable sub-goals. The inferiority/superiority dynamic is constantly at work through various forms of compensation and overcompensation. For example, in anorexia nervosa the fictive final goal is to "be perfectly thin" (overcompensation on the basis of a feeling of inferiority). Hence, the fictive final goal can serve a persecutory function that is ever-present in subjectivity (though its trace springs are usually unconscious). The end goal of being "thin" is fictive however since it can never be subjectively achieved.
Teleology serves another vital function for Adlerians. Chilon's "hora telos" ("see the end, consider the consequences") provides for both healthy and maladaptive psychodynamics. Here we also find Adler's emphasis on personal responsibility in mentally healthy subjects who seek their own and the social good.
Constructivism and metaphysics
The metaphysical thread of Adlerian theory does not problematize the notion of teleology since concepts such as eternity (an ungraspable end where time ceases to exist) match the religious aspects that are held in tandem. In contrast, the constructivist Adlerian threads (either humanist/modernist or postmodern in variant) seek to raise insight of the force of unconscious fictions– which carry all of the inevitability of 'fate'– so long as one does not understand them. Here, 'teleology' itself is fictive yet experienced as quite real. This aspect of Adler's theory is somewhat analogous to the principles developed in Rational Emotive Behavior Therapy (REBT) and Cognitive Therapy (CT). Both Albert Ellis and Aaron T. Beck credit Adler as a major precursor to REBT and CT. Ellis in particular was a member of the North American Society for Adlerian Psychology and served as an editorial board member for the Adlerian Journal Individual Psychology.
As a psychodynamic system, Adlerians excavate the past of a client/patient in order to alter their future and increase integration into community in the 'here-and-now'. The 'here-and-now' aspects are especially relevant to those Adlerians who emphasize humanism and/or existentialism in their approaches.
Holism
Metaphysical Adlerians emphasize a spiritual holism in keeping with what Jan Smuts articulated (Smuts coined the term "holism"), that is, the spiritual sense of one-ness that holism usually implies (etymology of holism: from ὅλος holos, a Greek word meaning all, entire, total) Smuts believed that evolution involves a progressive series of lesser wholes integrating into larger ones. Whilst Smuts' text Holism and Evolution is thought to be a work of science, it actually attempts to unify evolution with a higher metaphysical principle (holism). The sense of connection and one-ness revered in various religious traditions (among these, Christianity, Judaism, Zoroastrianism, Islam, Buddhism and Baha'i) finds a strong complement in Adler's thought.
The pragmatic and materialist aspects to contextualizing members of communities, the construction of communities and the socio-historical-political forces that shape communities matter a great deal when it comes to understanding an individual's psychological make-up and functioning. This aspect of Adlerian psychology holds a high level of synergy with the field of community psychology, especially given Adler's concern for what he called "the absolute truth and logic of communal life". However, Adlerian psychology, unlike community psychology, is holistically concerned with both prevention and clinical treatment after-the-fact. Hence, Adler can be considered the "first community psychologist", a discourse that formalized in the decades following Adler's death (King & Shelley, 2008).
Adlerian psychology, Carl Jung's analytical psychology, Gestalt therapy and Karen Horney's psychodynamic approach are holistic schools of psychology. These discourses eschew a reductive approach to understanding human psychology and psychopathology.
Typology
Adler developed a scheme of so-called personality types, which were however always to be taken as provisional or heuristic since he did not, in essence, believe in personality types, and at different times proposed different and equally tentative systems. The danger with typology is to lose sight of the individual's uniqueness and to gaze reductively, acts that Adler opposed. Nevertheless, he intended to illustrate patterns that could denote a characteristic governed under the overall style of life. Hence American Adlerians such as Harold Mosak have made use of Adler's typology in this provisional sense:
The Getting or Leaning They are sensitive people who have developed a shell around themselves which protects them, but they must rely on others to carry them through life's difficulties. They have low energy levels and so become dependent. When overwhelmed, they develop what we typically think of as neurotic symptoms: phobias, obsessions and compulsions, general anxiety, hysteria, amnesias, and so on, depending on individual details of their lifestyle.
The Avoiding types are those that hate being defeated. They may be successful, but have not taken any risks getting there. They are likely to have low social contact in fear of rejection or defeat in any way.
The Ruling or Dominant type strive for power and are willing to manipulate situations and people, anything to get their way. People of this type are also prone to anti-social behavior.
The Socially Useful types are those who are very outgoing and very active. They have a lot of social contact and strive to make changes for the good.
These 'types' are typically formed in childhood and are expressions of the Style of Life.
The importance of memories
Adler placed great emphasis upon the interpretation of early memories in working with patients and school children, writing that, "Among all psychic expressions, some of the most revealing are the individual's memories." Adler viewed memories as expressions of "private logic" and as metaphors for an individual's personal philosophy of life or "lifestyle". He maintained that memories are never incidental or trivial; rather, they are chosen reminders: "(A person's) memories are the reminders she carries about with her of her limitations and of the meanings of events. There are no 'chance' memories. Out of the incalculable number of impressions that an individual receives, she chooses to remember only those which she considers, however dimly, to have a bearing on her problems."
On birth order
Adler often emphasized one's psychological birth order as having an influence on the style of life and the strengths and weaknesses in one's psychological make up. Birth order referred to the placement of siblings within the family. It is important to note the difference between psychological and ordinal birth order (e.g. in some families, a second child might behave like a firstborn, in which case they are considered to be an ordinal secondborn but a psychological firstborn). Mosak, H.H. & Maniacci, M. P. (1999). A primer of Adlerian Psychology. Taylor and Francis. Adler believed that the firstborn child would be in a favorable position, enjoying the full attention of the eager new parents until the arrival of a second child. This second child would cause the first born to suffer feelings of dethronement, no longer being the center of attention. Adler (1908) believed that in a three-child family, the oldest child would be the most likely to suffer from neuroticism and substance addiction which he reasoned was a compensation for the feelings of excessive responsibility "the weight of the world on one's shoulders" (e.g. having to look after the younger ones) and the melancholic loss of that once supremely pampered position. As a result, he predicted that this child was the most likely to end up in jail or an asylum. Youngest children would tend to be overindulged, leading to poor social empathy. Consequently, the middle child, who would experience neither dethronement nor overindulgence, was most likely to develop into a successful individual yet also most likely to be a rebel and to feel squeezed-out. Adler himself was the third (some sources credit second) in a family of six children.
Adler never produced any scientific support for his interpretations on birth order roles, nor did he feel the need to. Yet the value of the hypothesis was to extend the importance of siblings in marking the psychology of the individual beyond Freud's more limited emphasis on the mother and father. Hence, Adlerians spend time therapeutically mapping the influence that siblings (or lack thereof) had on the psychology of their clients. The idiographic approach entails an excavation of the phenomenology of one's birth order position for likely influence on the subject's Style of Life. In sum, the subjective experiences of sibling positionality and inter-relations are important in terms of the dynamics of psychology, for Adlerian therapists and personality theorists, not the cookbook predictions that may or may not have been objectively true in Adler's time.
For Adler, birth order answered the question, "Why do children, who are raised in the same family, grow up with very different personalities?" While a strict geneticist, believing siblings are raised in a shared environment, may claim any differences in personality would be caused by subtle variations in the individuals' genetics, Adler showed through his birth order theory that children do not grow up in the same shared environment, but the oldest child grows up in a family where they have younger siblings, the middle child with older and younger siblings, and the youngest with older siblings. The position in the family constellation, Adler said, is the reason for these differences in personality and not genetics: a point later taken up by Eric Berne.
On addiction
Adler's insight into birth order, compensation and issues relating to the individuals' perception of community also led him to investigate the causes and treatment of substance abuse disorders, particularly alcoholism and morphinism, which already were serious social problems of his time. Adler's work with addicts was significant since most other prominent proponents of psychoanalysis invested relatively little time and thought into this widespread ill of the modern and post-modern age. In addition to applying his individual psychology approach of organ inferiority, for example, to the onset and causes of addictive behaviors, he also tried to find a clear relationship of drug cravings to sexual gratification or their substitutions. Early pharmaco-therapeutic interventions with non-addictive substances, such as neuphyllin were used, since withdrawal symptoms were explained by a form of "water-poisoning" that made the use of diuretics necessary.
Adler and his wife's pragmatic approach, and the seemingly high success rates of their treatment were based on their ideas of social functioning and well-being. Clearly, life style choices and situations were emphasized, for example the need for relaxation or the negative effects of early childhood conflicts were examined, which compared to other authoritarian or religious treatment regimens, were clearly modern approaches. Certainly some of his observations, for example that psychopaths were more likely to be drug addicts are not compatible with current methodologies and theories of substance abuse treatment, but the self-centered attributes of the illness and the clear escapism from social responsibilities by pathological addicts put Adler's treatment modalities clearly into a modern contextual reasoning.
On homosexuality
Adler's ideas regarding non-heterosexual sexuality and various social forms of deviance have long been controversial. Along with prostitution and criminality, Adler had classified 'homosexuals' as falling among the "failures of life". In 1917, he began his writings on homosexuality with a 52-page magazine, and sporadically published more thoughts throughout the rest of his life.
The Dutch psychologist Gerard J. M. van den Aardweg underlines how Alfred Adler came to his conclusions for, in 1917, Adler believed that he had established a connection between homosexuality and an inferiority complex towards one's own gender. This point of view differed from Freud's theory that homosexuality is rooted in narcissism or Jung's view of expressions of contrasexuality vis-à-vis the archetypes of the Anima and Animus.
There is evidence that Adler may have moved towards abandoning the hypothesis. Towards the end of Adler's life, in the mid-1930s, his opinion towards homosexuality began to shift. Elizabeth H. McDowell, a New York state family social worker recalls undertaking supervision with Adler on a young man who was "living in sin" with an older man in New York City. Adler asked her, "Is he happy, would you say?" "Oh yes," McDowell replied. Adler then stated, "Well, why don't we leave him alone."
According to Phyllis Bottome, who wrote Adler's Biography (after Adler himself laid upon her that task): "He always treated homosexuality as lack of courage. These were but ways of obtaining a slight release for a physical need while avoiding a greater obligation. A transient partner of your own sex is a better known road and requires less courage than a permanent contact with an "unknown" sex.... Adler taught that men cannot be judged from within by their "possessions," as he used to call nerves, glands, traumas, drives et cetera, since both judge and prisoner are liable to misconstrue what is invisible and incalculable; but that he can be judged, with no danger from introspection, by how he measures up to the three common life tasks set before every human being between the cradle and the grave: work (employment), love or marriage (intimacy), and social contact (friendships.)"
Parent education
Adler emphasized both treatment and prevention. With regard to psychodynamic psychology, Adlerians emphasize the foundational importance of childhood in developing personality and any tendency towards various forms of psychopathology. The best way to inoculate against what are now termed "personality disorders" (what Adler had called the "neurotic character"), or a tendency to various neurotic conditions (depression, anxiety, etc.), is to train a child to be and feel an equal part of the family. The responsibility of the optimal development of the child is not limited to the mother or father, but rather includes teachers and society more broadly. Adler argued therefore that teachers, nurses, social workers, and so on require training in parent education to complement the work of the family in fostering a democratic character. When a child does not feel equal and is enacted upon (abused through pampering or neglect) he or she is likely to develop inferiority or superiority complexes and various concomitant compensation strategies. These strategies exact a social toll by seeding higher divorce rates, the breakdown of the family, criminal tendencies, and subjective suffering in the various guises of psychopathology. Adlerians have long promoted parent education groups, especially those influenced by the famous Austrian/American Adlerian Rudolf Dreikurs (Dreikurs & Soltz, 1964).
Spirituality, ecology and community
In a late work, Social Interest: A Challenge to Mankind (1938), Adler turns to the subject of metaphysics, where he integrates Jan Smuts' evolutionary holism with the ideas of teleology and community: "sub specie aeternitatis". Unabashedly, he argues his vision of society: "Social feeling means above all a struggle for a communal form that must be thought of as eternally applicable... when humanity has attained its goal of perfection... an ideal society amongst all mankind, the ultimate fulfillment of evolution." Adler follows this pronouncement with a defense of metaphysics:
This social feeling for Adler is Gemeinschaftsgefühl, a community feeling whereby one feels he or she belongs with others and has also developed an ecological connection with nature (plants, animals, the crust of this earth) and the cosmos as a whole, sub specie aeternitatis. Clearly, Adler himself had little problem with adopting a metaphysical and spiritual point of view to support his theories.
Death and cremation
Adler died suddenly in Aberdeen, Scotland, in May 1937, during a three-week visit to the University of Aberdeen. While walking down the street, he was seen to collapse and lie motionless on the pavement. As a man ran over to him and loosened his collar, Adler mumbled "Kurt", the name of his son and died. The autopsy performed determined his death was caused by a degeneration of the heart muscle. His body was cremated at Warriston Crematorium in Edinburgh but the ashes were never reclaimed. In 2007, his ashes were rediscovered in a casket at Warriston Crematorium and returned to Vienna for burial in 2011.
Use of Adler's work without attribution
Much of Adler's theories have been absorbed into modern psychology without attribution. Psychohistorian Henri F. Ellenberger writes, "It would not be easy to find another author from which so much has been borrowed on all sides without acknowledgement than Alfred Adler." Ellenberger posits several theories for "the discrepancy between greatness of achievement, massive rejection of person and work, and wide-scale, quiet plagiarism..." These include Adler's "imperfect" style of writing and demeanor, his "capacity to create a new obviousness," and his lack of a large and well organized following.
Influence on depth psychology
In collaboration with Sigmund Freud and a small group of Freud's colleagues, Adler was among the co-founders of the psychoanalytic movement and a core member of the Vienna Psychoanalytic Society: indeed, to Freud he was "the only personality there". He was the first major figure to break away from psychoanalysis to form an independent school of psychotherapy and personality theory, which he called individual psychology because he believed a human to be an indivisible whole, an individuum. He also imagined a person to be connected or associated with the surrounding world.
This was after Freud declared Adler's ideas as too contrary, leading to an ultimatum to all members of the Society (which Freud had shepherded) to drop Adler or be expelled, disavowing the right to dissent (Makari, 2008). Nevertheless, Freud always took Adler's ideas seriously, calling them "honorable errors". Though one rejects the content of Adler's views, one can recognize their consistency and significance." Following this split, Adler would come to have an enormous, independent effect on the disciplines of counseling and psychotherapy as they developed over the course of the 20th century (Ellenberger, 1970). He influenced notable figures in subsequent schools of psychotherapy such as Rollo May, Viktor Frankl, Abraham Maslow and Albert Ellis. His writings preceded, and were at times surprisingly consistent with, later Neo-Freudian insights such as those evidenced in the works of Otto Rank, Karen Horney, Harry Stack Sullivan and Erich Fromm, some considering that it would take several decades for Freudian ego psychology to catch up with Adler's ground-breaking approach.
Adler emphasized the importance of equality in preventing various forms of psychopathology, and espoused the development of social interest and democratic family structures for raising children. His most famous concept is the inferiority complex which speaks to the problem of self-esteem and its negative effects on human health (e.g. sometimes producing a paradoxical superiority striving). His emphasis on power dynamics is rooted in the philosophy of Nietzsche, whose works were published a few decades before Adler's. Specifically, Adler's conceptualization of the "Will to Power" focuses on the individual's creative power to change for the better. Adler argued for holism, viewing the individual holistically rather than reductively, the latter being the dominant lens for viewing human psychology. Adler was also among the first in psychology to argue in favor of feminism, and the female analyst, making the case that power dynamics between men and women (and associations with masculinity and femininity) are crucial to understanding human psychology (Connell, 1995). Adler is considered, along with Freud and Jung, to be one of the three founding figures of depth psychology, which emphasizes the unconscious and psychodynamics (Ellenberger, 1970; Ehrenwald, 1991); and thus to be one of the three great psychologists/philosophers of the twentieth century.
Personal life
During his college years, he had become attached to a group of socialist students, among which he had found his wife-to-be, Raissa Timofeyewna Epstein, an intellectual and social activist from Russia studying in Vienna. Because Raissa was a militant socialist, she had a large impact on Adler's early publications and ultimately his theory of personality. They married in 1897 and had four children, two of whom, his daughter Alexandra and his son Kurt, became psychiatrists. Their children were writer, psychiatrist and Socialist activist Alexandra Adler; psychiatrist Kurt Adler; writer and activist Valentine Adler; and Cornelia "Nelly" Adler. Raissa, Adler's wife, died at 89 in New York City on April 21,1962.
Author and journalist Margot Adler (1946-2014) was Adler's granddaughter.
Artistic and cultural references
The two main characters in the novel Plant Teacher engage in a session of Adlerian lifestyle interpretation, including early memory interpretation.
In the episode Something About Dr. Mary of the television series Frasier, Frasier recalls having to "pass under a dangerously unbalanced portrait of Alfred Adler" during his studies at Harvard.
He appears as a character in the Young Indiana Jones chronicles.
English-language Adlerian journals
North America
The Journal of Individual Psychology (University of Texas Press)
The Canadian Journal of Adlerian Psychology (Adlerian Psychology Association of British Columbia)
United Kingdom
Adlerian Yearbook (Adlerian Society, UK)
Publications
Alfred Adler's key publications were The Practice and Theory of Individual Psychology (1927), Understanding Human Nature (1927), & What Life Could Mean to You (1931). Other important publications are The Pattern of Life (1930), The Science of Living (1930), The Neurotic Constitution (1917), The Problems of Neurosis (1930). In his lifetime, Adler published more than 300 books and articles.
The Alfred Adler Institute of Northwestern Washington has recently published a twelve-volume set of The Collected Clinical Works of Alfred Adler, covering his writings from 1898–1937. An entirely new translation of Adler's magnum opus, The Neurotic Character, is featured in Volume 1. Volume 12 provides comprehensive overviews of Adler's mature theory and contemporary Adlerian practice.
Volume 1 : The Neurotic Character — 1907
Volume 2 : Journal Articles 1898–1909
Volume 3 : Journal Articles 1910–1913
Volume 4 : Journal Articles 1914–1920
Volume 5 : Journal Articles 1921–1926
Volume 6 : Journal Articles 1927–1931
Volume 7 : Journal Articles 1931–1937
Volume 8 : Lectures to Physicians & Medical Students
Volume 9 : Case Histories
Volume 10 : Case Readings & Demonstrations
Volume 11 : Education for Prevention
Volume 12 : The General System of Individual Psychology
Other key Adlerian texts
Adler, A. (1964). The Individual Psychology of Alfred Adler. H. L. Ansbacher and R. R. Ansbacher (Eds.). New York: Harper Torchbooks. .
Adler, A. (1979). Superiority and Social Interest: A Collection of Later Writings. H. L. Ansbacher and R. R. Ansbacher (Eds.). New York, NY: W. W. Norton. .
See also
Adlerian
Classical Adlerian psychology
Neo-Adlerian
Notes
References
Adler, A. (1908). Der Aggressionstrieb im Leben und der Neurose. Fortsch. Med. 26: 577–584.
Adler, A. (1938). Social Interest: A Challenge to Mankind. J. Linton and R. Vaughan (Trans.). London: Faber and Faber Ltd.
Adler, A. (1956). The Individual Psychology of Alfred Adler. H. L. Ansbacher and R. R. Ansbacher (Eds.). New York: Harper Torchbooks.
Connell, R. W. (1995). Masculinities. Cambridge, UK: Polity Press.
Dreikurs, R. & Soltz, V. (1964). Children the Challenge. New York: Hawthorn Books.
Ehrenwald, J. (1991, 1976). The History of Psychotherapy: From healing magic to encounter. Northvale, NJ: Jason Aronson Inc.
Eissler, K.R. (1971). Death Drive, Ambivalence, and Narcissism. Psychoanal. St. Child, 26: 25–78.
Ellenberger, H. (1970). The Discovery of the Unconscious. New York: Basic Books.
Fiebert, M. S. (1997). In and out of Freud's shadow: A chronology of Adler's relationship with Freud. Individual Psychology, 53(3), 241–269.
Freud, S. (1909). Analysis of a Phobia in a Five-Year-Old Boy. Standard Edition of the Works of Sigmund Freud, London: Hogarth Press, Vol. 10, pp. 3–149.
King, R. & Shelley, C. (2008). Community Feeling and Social Interest: Adlerian Parallels, Synergy, and Differences with the Field of Community Psychology. Journal of Community and Applied Social Psychology, 18, 96–107.
Manaster, G. J., Painter, G., Deutsch, D., & Overholt, B. J. (Eds.). (1977). Alfred Adler: As We Remember Him. Chicago: North American Society of Adlerian Psychology.
Shelley, C. (Ed.). (1998). Contemporary Perspectives on Psychotherapy and Homosexualities. London: Free Association Books.
Slavik, S. & King, R. (2007). Adlerian therapeutic strategy. The Canadian Journal of Adlerian Psychology, 37(1), 3–16.
Gantschacher, H. (ARBOS 2007). Witness and Victim of the Apocalypse, chapter 13 page 12 and chapter 14 page 6.
Orgler, H. (1996). Alfred Adler, 22 (1), pg. 67–68.
Further reading
Orgler, Hertha, Alfred Adler, International Journal of Social Psychiatry, V. 22 (1), 1976-Spring, p. 67
Phyllis Bottome (1939). Alfred Adler: A Biography. G. P. Putnam's Sons. New York.
Phyllis Bottome (1939). Alfred Adler: Apostle of Freedom. London: Faber and Faber. 3rd Ed. 1957.
Carlson, J., Watts, R. E., & Maniacci, M. (2005). Adlerian Therapy: Theory and Practice. Washington, DC: American Psychological Association. .
Dinkmeyer, D., Sr., & Dreikurs, R. (2000). Encouraging Children to Learn. Philadelphia: Brunner-Routledge. .
Rudolf Dreikurs (1935): An Introduction to Individual Psychology. London: Kegan Paul, Trench Trubner & Co. Ltd. (new edition 1983: London & New York: Routledge), .
Grey, L. (1998). Alfred Adler: The Forgotten Prophet: A Vision for the 21st Century. Westport, CT: Praeger. .
Handlbauer, B. (1998). The Freud-Adler Controversy. Oxford, UK: Oneworld. .
Hoffman, E. (1994). The Drive for Self: Alfred Adler and the Founding of Individual Psychology. New York: Addison-Wesley Co. .
Lehrer, R. (1999). "Adler and Nietzsche". In: J. Golomb, W. Santaniello, and R. Lehrer. (Eds.). Nietzsche and Depth Psychology. (pp. 229–246). Albany, NY: State University of New York Press. .
Mosak, H. H. & Di Pietro, R. (2005). Early Recollections: Interpretive Method and Application. New York: Routledge. .
Oberst, U. E. and Stewart, A. E. (2003). Adlerian Psychotherapy: An Advanced Approach to Individual Psychology. New York: Brunner-Routledge. .
Orgler, H. (1963). Alfred Adler: The Man and His Work: Triumph Over the Inferiority Complex. New York: Liveright.
Orgler, H. (1996). Alfred Adler, 22 (1), pg. 67–68.
Josef Rattner (1983): Alfred Adler: Life and Literature. Ungar Pub. Co. .
Slavik, S. & Carlson, J. (Eds.). (2005). Readings in the Theory of Individual Psychology. New York: Routledge. .
Manès Sperber (1974). Masks of Loneliness: Alfred Adler in Perspective. New York: Macmillan. .
Stepansky, P. E. (1983). In Freud's Shadow: Adler in Context. Hillsdale, NJ: Analytic Press. .
Watts, R. E. (2003). Adlerian, cognitive, and constructivist therapies: An integrative dialogue. New York: Springer. .
Watts, R. E., & Carlson, J. (1999). Interventions and strategies in counseling and psychotherapy. New York: Accelerated Development/Routledge. .
Way, Lewis (1950): Adler's Place in Psychology. London: Allen & Unwin.
Way, Lewis (1956): Alfred Adler: An Introduction to his Psychology. London: Pelican.
West, G. K. (1975). Kierkegaard and Adler. Tallahassee: Florida State University.
External links
International Association of Individual Psychology
Psychology Articles
The Adlerian Society (UK) and the Institute for Individual Psychology
The North American Society of Adlerian Psychology
Institutul de Psihologie si Psihoterapie Adleriana Romania
Centro de Estudios Adlerianos Uruguay
Classical Adlerian Psychology according to Alfred Adlers Institutes in San Francisco and Northwestern Washington
AdlerPedia
Hong Kong Society of Adlerian Psychology
New Concept Coaching & Training Institute
1870 births
1937 deaths
Adlerian psychology
19th-century Austrian Jews
Jewish scientists
Austrian ophthalmologists
Austrian people of Hungarian-Jewish descent
Austrian psychiatrists
Austrian psychologists
Jewish psychiatrists
People from Rudolfsheim-Fünfhaus
University of Vienna alumni
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What was his approach?
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What was Alfred Adler's approach?
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Alfred Adler
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Following Adler's break from Freud, he enjoyed considerable success and celebrity in building an independent school of psychotherapy and a unique personality theory. He traveled and lectured for a period of 25 years promoting his socially oriented approach. His intent was to build a movement that would rival, even supplant, others in psychology by arguing for the holistic integrity of psychological well-being with that of social equality. Adler's efforts were halted by World War I, during which he served as a doctor with the Austrian Army. After the conclusion of the war, his influence increased greatly. In the 1930s, he established a number of child guidance clinics. From 1921 onwards, he was a frequent lecturer in Europe and the United States, becoming a visiting professor at Columbia University in 1927. His clinical treatment methods for adults were aimed at uncovering the hidden purpose of symptoms using the therapeutic functions of insight and meaning. Adler was concerned with the overcoming of the superiority/inferiority dynamic and was one of the first psychotherapists to discard the analytic couch in favor of two chairs. This allows the clinician and patient to sit together more or less as equals. Clinically, Adler's methods are not limited to treatment after-the-fact but extend to the realm of prevention by preempting future problems in the child. Prevention strategies include encouraging and promoting social interest, belonging, and a cultural shift within families and communities that leads to the eradication of pampering and neglect (especially corporal punishment). Adler's popularity was related to the comparative optimism and comprehensibility of his ideas. He often wrote for the lay public. Adler always retained a pragmatic approach that was task-oriented. These "Life tasks" are occupation/work, society/friendship, and love/sexuality. Their success depends on cooperation. The tasks of life are not to be considered in isolation since, as Adler famously commented, "they all throw cross-lights on one another". In his bestselling book, Man's Search for Meaning, Dr. Viktor E. Frankl compared his own "Third Viennese School of Psychotherapy" (after Freud's and Adler's schools) to Adler's analysis: According to logotherapy, the striving to find a meaning in one's life is the primary motivational force in man. That is why I speak of a will to meaning in contrast to the "pleasure principle" (or, as we could also term it, the will to pleasure) on which Freudian psychoanalysis is centered, as well as in contrast to the will to power stressed by Adlerian psychology. CANNOTANSWER
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His intent was to build a movement that would rival, even supplant, others in psychology by arguing for the holistic integrity of psychological well-being with that of social equality.
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Alfred Adler (; ; 7 February 1870 – 28 May 1937) was an Austrian medical doctor, psychotherapist, and founder of the school of individual psychology. His emphasis on the importance of feelings of inferiority, the inferiority complex, is recognized as an isolating element which plays a key role in personality development. Alfred Adler considered a human being as an individual whole, and therefore he called his psychology "Individual Psychology" (Orgler 1976).
Adler was the first to emphasize the importance of the social element in the re-adjustment process of the individual and to carry psychiatry into the community. A Review of General Psychology survey, published in 2002, ranked Adler as the 67th most eminent psychologist of the 20th century.
Early life
Alfred Adler was born on February 7, 1870 at Mariahilfer Straße 208 in Rudolfsheim, a village on the western fringes of Vienna, a modern part of Rudolfsheim-Fünfhaus, the 15th district of the city. He was second of the seven children of a Jewish couple, Pauline (Beer) and Leopold Adler. Leopold Adler was a Hungarian-born grain merchant. Alfred's younger brother died in the bed next to him when Alfred was only three years old, and throughout his childhood, he maintained a rivalry with his older brother. This rivalry was spurred on because Adler believed his mother preferred his brother over him. Despite his good relationship with his father, he still struggled with feelings of inferiority in his relationship with his mother.
Alfred was an active, popular child and an average student who was also known for the competitive attitude toward his older brother, Sigmund. Early on, he developed rickets, which kept Alfred from walking until he was four years old. At the age of four, he developed pneumonia and heard a doctor say to his father, "Your boy is lost". Along with being run over twice and witnessing his younger brother's death, this sickness contributed to his overall fear of death. At that point, he decided to be a physician. He was very interested in the subjects of psychology, sociology and philosophy. After studying at University of Vienna, he specialized as an eye doctor, and later in neurology and psychiatry.
Career
Adler began his medical career as an ophthalmologist, but he soon switched to general practice, and established his office in a less affluent part of Vienna across from the Prater, a combination of amusement park and circus. His clients included circus people, and it has been suggested that the unusual strengths and weaknesses of the performers led to his insights into "organ inferiorities" and "compensation".
In his early career, Adler wrote an article in the defense of Freud's theory after reading one of Freud's most well known works, The Interpretation of Dreams. In 1902, because of his defense article, Adler received an invitation from Sigmund Freud to join an informal discussion group that included Rudolf Reitler and Wilhelm Stekel. The group, the "Wednesday Society" (Mittwochsgesellschaft), met regularly on Wednesday evenings at Freud's home and was the beginning of the psychoanalytic movement, expanding over time to include many more members. Each week a member would present a paper and after a short break of coffee and cakes, the group would discuss it. The main members were Otto Rank, Max Eitingon, Wilhelm Stekel, Karl Abraham, Hanns Sachs, Fritz Wittels, Max Graf, and Sandor Ferenczi. In 1908, Adler presented his paper, "The aggressive instinct in life and in neurosis", at a time when Freud believed that early sexual development was the primary determinant of the making of character, with which Adler took issue. Adler proposed that the sexual and aggressive drives were "two originally separate instincts which merge later on". Freud at the time disagreed with this idea.
When Freud in 1920 proposed his dual instinct theory of libido and aggressive drives in Beyond the Pleasure Principle, without citing Adler, he was reproached that Adler had proposed the aggressive drive in his 1908 paper (Eissler, 1971). Freud later commented in a 1923 footnote he added to the Little Hans case that, "I have myself been obliged to assert the existence of an aggressive instinct" (1909, p. 140, 2), while pointing out that his conception of an aggressive drive differs from that of Adler. A long-serving member of the group, he made many more beyond this 1908 pivotal contribution to the group, and Adler became president of the Vienna Psychoanalytic Society eight years later (1910). He remained a member of the Society until 1911, when he and a group of his supporters formally disengaged from Freud's circle, the first of the great dissenters from orthodox psychoanalysis (preceding Carl Jung's split in 1914).
This departure suited both Freud and Adler, since they had grown to dislike each other. During his association with Freud, Adler frequently maintained his own ideas which often diverged from Freud's. While Adler is often referred to as "a pupil of Freud", in fact this was never true; they were colleagues, Freud referring to him in print in 1909 as "My colleague Dr Alfred Adler". The association of Adler and Freud lasted a total of 9 years, and they never saw each other after the separation. Freud continued to dislike Adler even after the separation and tended to do so with other defectors from psychoanalysis. Even after Adler's death, Freud maintained his distaste for him. When conversing with a colleague over the matter, he stated, "I don't understand your sympathy for Adler. For a Jewish boy out of a Viennese suburb a death in Aberdeen is an unheard of career in itself and a proof of how far he had got on. The world really rewarded him richly for his service in having contradicted psychoanalysis." In 1929 Adler showed a reporter with the New York Herald a copy of the faded postcard that Freud had sent him in 1902. He wanted to prove that he had never been a disciple of Freud's but rather that Freud had sought him out to share his ideas.
Adler founded the Society for Individual Psychology in 1912 after his break from the psychoanalytic movement. Adler's group initially included some orthodox Nietzschean adherents (who believed that Adler's ideas on power and inferiority were closer to Nietzsche than Freud's). Their enmity aside, Adler retained a lifelong admiration for Freud's ideas on dreams and credited him with creating a scientific approach to their clinical utilization (Fiebert, 1997). Nevertheless, even regarding dream interpretation, Adler had his own theoretical and clinical approach. The primary differences between Adler and Freud centered on Adler's contention that the social realm (exteriority) is as important to psychology as is the internal realm (interiority). The dynamics of power and compensation extend beyond sexuality, and gender and politics can be as important as libido. Moreover, Freud did not share Adler's socialist beliefs, the latter's wife being for example an intimate friend of many of the Russian Marxists such as Leon Trotsky.
The Adlerian school
Following Adler's break from Freud, he enjoyed considerable success and celebrity in building an independent school of psychotherapy and a unique personality theory. He traveled and lectured for a period of 25 years promoting his socially oriented approach. His intent was to build a movement that would rival, even supplant, others in psychology by arguing for the holistic integrity of psychological well-being with that of social equality. Adler's efforts were halted by World War I, during which he served as a doctor with the Austro-Hungarian Army. After the conclusion of the war, his influence increased greatly. In the 1920s, he established a number of child guidance clinics. From 1921 onwards, he was a frequent lecturer in Europe and the United States, becoming a visiting professor at Columbia University in 1927. His clinical treatment methods for adults were aimed at uncovering the hidden purpose of symptoms using the therapeutic functions of insight and meaning.
Adler was concerned with the overcoming of the superiority/inferiority dynamic and was one of the first psychotherapists to discard the analytic couch in favor of two chairs. This allows the clinician and patient to sit together more or less as equals. Clinically, Adler's methods are not limited to treatment after-the-fact but extend to the realm of prevention by preempting future problems in the child. Prevention strategies include encouraging and promoting social interest, belonging, and a cultural shift within families and communities that leads to the eradication of pampering and neglect (especially corporal punishment). Adler's popularity was related to the comparative optimism and comprehensibility of his ideas. He often wrote for the lay public. Adler always retained a pragmatic approach that was task-oriented. These "Life tasks" are occupation/work, society/friendship, and love/sexuality. Their success depends on cooperation. The tasks of life are not to be considered in isolation since, as Adler famously commented, "they all throw cross-lights on one another".
In his bestselling book, Man's Search for Meaning, Dr. Viktor E. Frankl compared his own "Third Viennese School of Psychotherapy" (after Freud's and Adler's schools) to Adler's analysis:
Emigration
In the early 1930s, after most of Adler's Austrian clinics had been closed due to his Jewish heritage (despite his conversion to Christianity), Adler left Austria for a professorship at the Long Island College of Medicine in the US. Adler died from a heart attack in 1937 in Aberdeen, Scotland, during a lecture tour, although his remains went missing and were unaccounted for until 2007. His death was a temporary blow to the influence of his ideas, although a number of them were subsequently taken up by neo-Freudians. Through the work of Rudolf Dreikurs in the United States and many other adherents worldwide, Adlerian ideas and approaches remain strong and viable more than 70 years after Adler's death.
Around the world there are various organizations promoting Adler's orientation towards mental and social well-being. These include the International Committee of Adlerian Summer Schools and Institutes (ICASSI), the North American Society of Adlerian Psychology (NASAP) and the International Association for Individual Psychology. Teaching institutes and programs exist in Austria, Canada, England, Germany, Greece, Israel, Italy, Japan, Latvia, Switzerland, the United States, Jamaica, Peru, and Wales.
Basic principles
Adler was influenced by the mental construct ideas of the philosopher Hans Vaihinger (The Philosophy of 'As if') and the literature of Dostoyevsky. While still a member of the Vienna Psychoanalytic Society he developed a theory of organic inferiority and compensation that was the prototype for his later turn to phenomenology and the development of his famous concept, the inferiority complex.
Adler was also influenced by the philosophies of Immanuel Kant, Friedrich Nietzsche, Rudolf Virchow and the statesman Jan Smuts (who coined the term "holism"). Adler's School, known as "Individual Psychology"—an arcane reference to the Latin individuals meaning indivisibility, a term intended to emphasize holism—is both a social and community psychology as well as a depth psychology. Adler was an early advocate in psychology for prevention and emphasized the training of parents, teachers, social workers and so on in democratic approaches that allow a child to exercise their power through reasoned decision making whilst co-operating with others. He was a social idealist, and was known as a socialist in his early years of association with psychoanalysis (1902–1911).
Adler was pragmatic and believed that lay people could make practical use of the insights of psychology. Adler was also an early supporter of feminism in psychology and the social world, believing that feelings of superiority and inferiority were often gendered and expressed symptomatically in characteristic masculine and feminine styles. These styles could form the basis of psychic compensation and lead to mental health difficulties. Adler also spoke of "safeguarding tendencies" and neurotic behavior long before Anna Freud wrote about the same phenomena in her book The Ego and the Mechanisms of Defense.
Adlerian-based scholarly, clinical and social practices focus on the following topics:
Social interest and community feeling
Holism and the creative self
Fictional finalism, teleology, and goal constructs
Psychological and social encouragement
Inferiority, superiority and compensation
Life style/style of life
Early recollections (a projective technique)
Family constellation and birth order
Life tasks and social embeddedness
The conscious and unconscious realms
Private logic and common sense (based in part on Kant's "")
Symptoms and neurosis
Safeguarding behavior
Guilt and guilt feelings
Socratic questioning
Dream interpretation
Child and adolescent psychology
Democratic approaches to parenting and families
Adlerian approaches to classroom management
Leadership and organizational psychology
Adler created Adlerian Therapy, because he believed that one's psyche should be studied in the context of that person's environment.
Adler's approach to personality
In one of his earliest and most famous publications, "Study of Organ Inferiority and Its Physical Compensation," Adler outlined the basics for what would be the beginning foundation of his personality theory. The article focuses mainly on the topics of organ inferiority and compensation. Organ inferiority is when one organ, or portion of the body, is weaker than the rest. Adler postulated that the body's other organs would work together in order to compensate for the weakness of this "inferior" organ. When compensation occurs, other areas of the body make up for the function lacking in the inferior portion. In some cases, the weakness may be overcompensated transforming it into a strength. An example would be an individual with a weak leg becoming a great runner later on. As his theory progressed, the idea of organ inferiority was replaced with feelings of inferiority instead. As Adler's theory progressed, he continued evolving his theory and key ideas.
Adler's book, Über den nervösen Charakter (The Neurotic Character) defines his earlier key ideas. He argued that human personality could be explained teleologically: parts of the individual's unconscious self ideally work to convert feelings of inferiority to superiority (or rather completeness). The desires of the self ideal were countered by social and ethical demands. If the corrective factors were disregarded and the individual overcompensated, then an inferiority complex would occur, fostering the danger of the individual becoming egocentric, power-hungry and aggressive or worse.
Common therapeutic tools include the use of humor, historical instances, and paradoxical injunctions.
Psychodynamics and teleology
Adler maintained that human psychology is psychodynamic in nature. Unlike Freud's metapsychology that emphasizes instinctual demands, human psychology is guided by goals and fueled by a yet unknown creative force. Like Freud's instincts, Adler's fictive goals are largely unconscious. These goals have a "teleological" function. Constructivist Adlerians, influenced by neo-Kantian and Nietzschean ideas, view these "teleological" goals as "fictions" in the sense that Hans Vaihinger spoke of (fictio). Usually there is a fictional final goal which can be deciphered alongside of innumerable sub-goals. The inferiority/superiority dynamic is constantly at work through various forms of compensation and overcompensation. For example, in anorexia nervosa the fictive final goal is to "be perfectly thin" (overcompensation on the basis of a feeling of inferiority). Hence, the fictive final goal can serve a persecutory function that is ever-present in subjectivity (though its trace springs are usually unconscious). The end goal of being "thin" is fictive however since it can never be subjectively achieved.
Teleology serves another vital function for Adlerians. Chilon's "hora telos" ("see the end, consider the consequences") provides for both healthy and maladaptive psychodynamics. Here we also find Adler's emphasis on personal responsibility in mentally healthy subjects who seek their own and the social good.
Constructivism and metaphysics
The metaphysical thread of Adlerian theory does not problematize the notion of teleology since concepts such as eternity (an ungraspable end where time ceases to exist) match the religious aspects that are held in tandem. In contrast, the constructivist Adlerian threads (either humanist/modernist or postmodern in variant) seek to raise insight of the force of unconscious fictions– which carry all of the inevitability of 'fate'– so long as one does not understand them. Here, 'teleology' itself is fictive yet experienced as quite real. This aspect of Adler's theory is somewhat analogous to the principles developed in Rational Emotive Behavior Therapy (REBT) and Cognitive Therapy (CT). Both Albert Ellis and Aaron T. Beck credit Adler as a major precursor to REBT and CT. Ellis in particular was a member of the North American Society for Adlerian Psychology and served as an editorial board member for the Adlerian Journal Individual Psychology.
As a psychodynamic system, Adlerians excavate the past of a client/patient in order to alter their future and increase integration into community in the 'here-and-now'. The 'here-and-now' aspects are especially relevant to those Adlerians who emphasize humanism and/or existentialism in their approaches.
Holism
Metaphysical Adlerians emphasize a spiritual holism in keeping with what Jan Smuts articulated (Smuts coined the term "holism"), that is, the spiritual sense of one-ness that holism usually implies (etymology of holism: from ὅλος holos, a Greek word meaning all, entire, total) Smuts believed that evolution involves a progressive series of lesser wholes integrating into larger ones. Whilst Smuts' text Holism and Evolution is thought to be a work of science, it actually attempts to unify evolution with a higher metaphysical principle (holism). The sense of connection and one-ness revered in various religious traditions (among these, Christianity, Judaism, Zoroastrianism, Islam, Buddhism and Baha'i) finds a strong complement in Adler's thought.
The pragmatic and materialist aspects to contextualizing members of communities, the construction of communities and the socio-historical-political forces that shape communities matter a great deal when it comes to understanding an individual's psychological make-up and functioning. This aspect of Adlerian psychology holds a high level of synergy with the field of community psychology, especially given Adler's concern for what he called "the absolute truth and logic of communal life". However, Adlerian psychology, unlike community psychology, is holistically concerned with both prevention and clinical treatment after-the-fact. Hence, Adler can be considered the "first community psychologist", a discourse that formalized in the decades following Adler's death (King & Shelley, 2008).
Adlerian psychology, Carl Jung's analytical psychology, Gestalt therapy and Karen Horney's psychodynamic approach are holistic schools of psychology. These discourses eschew a reductive approach to understanding human psychology and psychopathology.
Typology
Adler developed a scheme of so-called personality types, which were however always to be taken as provisional or heuristic since he did not, in essence, believe in personality types, and at different times proposed different and equally tentative systems. The danger with typology is to lose sight of the individual's uniqueness and to gaze reductively, acts that Adler opposed. Nevertheless, he intended to illustrate patterns that could denote a characteristic governed under the overall style of life. Hence American Adlerians such as Harold Mosak have made use of Adler's typology in this provisional sense:
The Getting or Leaning They are sensitive people who have developed a shell around themselves which protects them, but they must rely on others to carry them through life's difficulties. They have low energy levels and so become dependent. When overwhelmed, they develop what we typically think of as neurotic symptoms: phobias, obsessions and compulsions, general anxiety, hysteria, amnesias, and so on, depending on individual details of their lifestyle.
The Avoiding types are those that hate being defeated. They may be successful, but have not taken any risks getting there. They are likely to have low social contact in fear of rejection or defeat in any way.
The Ruling or Dominant type strive for power and are willing to manipulate situations and people, anything to get their way. People of this type are also prone to anti-social behavior.
The Socially Useful types are those who are very outgoing and very active. They have a lot of social contact and strive to make changes for the good.
These 'types' are typically formed in childhood and are expressions of the Style of Life.
The importance of memories
Adler placed great emphasis upon the interpretation of early memories in working with patients and school children, writing that, "Among all psychic expressions, some of the most revealing are the individual's memories." Adler viewed memories as expressions of "private logic" and as metaphors for an individual's personal philosophy of life or "lifestyle". He maintained that memories are never incidental or trivial; rather, they are chosen reminders: "(A person's) memories are the reminders she carries about with her of her limitations and of the meanings of events. There are no 'chance' memories. Out of the incalculable number of impressions that an individual receives, she chooses to remember only those which she considers, however dimly, to have a bearing on her problems."
On birth order
Adler often emphasized one's psychological birth order as having an influence on the style of life and the strengths and weaknesses in one's psychological make up. Birth order referred to the placement of siblings within the family. It is important to note the difference between psychological and ordinal birth order (e.g. in some families, a second child might behave like a firstborn, in which case they are considered to be an ordinal secondborn but a psychological firstborn). Mosak, H.H. & Maniacci, M. P. (1999). A primer of Adlerian Psychology. Taylor and Francis. Adler believed that the firstborn child would be in a favorable position, enjoying the full attention of the eager new parents until the arrival of a second child. This second child would cause the first born to suffer feelings of dethronement, no longer being the center of attention. Adler (1908) believed that in a three-child family, the oldest child would be the most likely to suffer from neuroticism and substance addiction which he reasoned was a compensation for the feelings of excessive responsibility "the weight of the world on one's shoulders" (e.g. having to look after the younger ones) and the melancholic loss of that once supremely pampered position. As a result, he predicted that this child was the most likely to end up in jail or an asylum. Youngest children would tend to be overindulged, leading to poor social empathy. Consequently, the middle child, who would experience neither dethronement nor overindulgence, was most likely to develop into a successful individual yet also most likely to be a rebel and to feel squeezed-out. Adler himself was the third (some sources credit second) in a family of six children.
Adler never produced any scientific support for his interpretations on birth order roles, nor did he feel the need to. Yet the value of the hypothesis was to extend the importance of siblings in marking the psychology of the individual beyond Freud's more limited emphasis on the mother and father. Hence, Adlerians spend time therapeutically mapping the influence that siblings (or lack thereof) had on the psychology of their clients. The idiographic approach entails an excavation of the phenomenology of one's birth order position for likely influence on the subject's Style of Life. In sum, the subjective experiences of sibling positionality and inter-relations are important in terms of the dynamics of psychology, for Adlerian therapists and personality theorists, not the cookbook predictions that may or may not have been objectively true in Adler's time.
For Adler, birth order answered the question, "Why do children, who are raised in the same family, grow up with very different personalities?" While a strict geneticist, believing siblings are raised in a shared environment, may claim any differences in personality would be caused by subtle variations in the individuals' genetics, Adler showed through his birth order theory that children do not grow up in the same shared environment, but the oldest child grows up in a family where they have younger siblings, the middle child with older and younger siblings, and the youngest with older siblings. The position in the family constellation, Adler said, is the reason for these differences in personality and not genetics: a point later taken up by Eric Berne.
On addiction
Adler's insight into birth order, compensation and issues relating to the individuals' perception of community also led him to investigate the causes and treatment of substance abuse disorders, particularly alcoholism and morphinism, which already were serious social problems of his time. Adler's work with addicts was significant since most other prominent proponents of psychoanalysis invested relatively little time and thought into this widespread ill of the modern and post-modern age. In addition to applying his individual psychology approach of organ inferiority, for example, to the onset and causes of addictive behaviors, he also tried to find a clear relationship of drug cravings to sexual gratification or their substitutions. Early pharmaco-therapeutic interventions with non-addictive substances, such as neuphyllin were used, since withdrawal symptoms were explained by a form of "water-poisoning" that made the use of diuretics necessary.
Adler and his wife's pragmatic approach, and the seemingly high success rates of their treatment were based on their ideas of social functioning and well-being. Clearly, life style choices and situations were emphasized, for example the need for relaxation or the negative effects of early childhood conflicts were examined, which compared to other authoritarian or religious treatment regimens, were clearly modern approaches. Certainly some of his observations, for example that psychopaths were more likely to be drug addicts are not compatible with current methodologies and theories of substance abuse treatment, but the self-centered attributes of the illness and the clear escapism from social responsibilities by pathological addicts put Adler's treatment modalities clearly into a modern contextual reasoning.
On homosexuality
Adler's ideas regarding non-heterosexual sexuality and various social forms of deviance have long been controversial. Along with prostitution and criminality, Adler had classified 'homosexuals' as falling among the "failures of life". In 1917, he began his writings on homosexuality with a 52-page magazine, and sporadically published more thoughts throughout the rest of his life.
The Dutch psychologist Gerard J. M. van den Aardweg underlines how Alfred Adler came to his conclusions for, in 1917, Adler believed that he had established a connection between homosexuality and an inferiority complex towards one's own gender. This point of view differed from Freud's theory that homosexuality is rooted in narcissism or Jung's view of expressions of contrasexuality vis-à-vis the archetypes of the Anima and Animus.
There is evidence that Adler may have moved towards abandoning the hypothesis. Towards the end of Adler's life, in the mid-1930s, his opinion towards homosexuality began to shift. Elizabeth H. McDowell, a New York state family social worker recalls undertaking supervision with Adler on a young man who was "living in sin" with an older man in New York City. Adler asked her, "Is he happy, would you say?" "Oh yes," McDowell replied. Adler then stated, "Well, why don't we leave him alone."
According to Phyllis Bottome, who wrote Adler's Biography (after Adler himself laid upon her that task): "He always treated homosexuality as lack of courage. These were but ways of obtaining a slight release for a physical need while avoiding a greater obligation. A transient partner of your own sex is a better known road and requires less courage than a permanent contact with an "unknown" sex.... Adler taught that men cannot be judged from within by their "possessions," as he used to call nerves, glands, traumas, drives et cetera, since both judge and prisoner are liable to misconstrue what is invisible and incalculable; but that he can be judged, with no danger from introspection, by how he measures up to the three common life tasks set before every human being between the cradle and the grave: work (employment), love or marriage (intimacy), and social contact (friendships.)"
Parent education
Adler emphasized both treatment and prevention. With regard to psychodynamic psychology, Adlerians emphasize the foundational importance of childhood in developing personality and any tendency towards various forms of psychopathology. The best way to inoculate against what are now termed "personality disorders" (what Adler had called the "neurotic character"), or a tendency to various neurotic conditions (depression, anxiety, etc.), is to train a child to be and feel an equal part of the family. The responsibility of the optimal development of the child is not limited to the mother or father, but rather includes teachers and society more broadly. Adler argued therefore that teachers, nurses, social workers, and so on require training in parent education to complement the work of the family in fostering a democratic character. When a child does not feel equal and is enacted upon (abused through pampering or neglect) he or she is likely to develop inferiority or superiority complexes and various concomitant compensation strategies. These strategies exact a social toll by seeding higher divorce rates, the breakdown of the family, criminal tendencies, and subjective suffering in the various guises of psychopathology. Adlerians have long promoted parent education groups, especially those influenced by the famous Austrian/American Adlerian Rudolf Dreikurs (Dreikurs & Soltz, 1964).
Spirituality, ecology and community
In a late work, Social Interest: A Challenge to Mankind (1938), Adler turns to the subject of metaphysics, where he integrates Jan Smuts' evolutionary holism with the ideas of teleology and community: "sub specie aeternitatis". Unabashedly, he argues his vision of society: "Social feeling means above all a struggle for a communal form that must be thought of as eternally applicable... when humanity has attained its goal of perfection... an ideal society amongst all mankind, the ultimate fulfillment of evolution." Adler follows this pronouncement with a defense of metaphysics:
This social feeling for Adler is Gemeinschaftsgefühl, a community feeling whereby one feels he or she belongs with others and has also developed an ecological connection with nature (plants, animals, the crust of this earth) and the cosmos as a whole, sub specie aeternitatis. Clearly, Adler himself had little problem with adopting a metaphysical and spiritual point of view to support his theories.
Death and cremation
Adler died suddenly in Aberdeen, Scotland, in May 1937, during a three-week visit to the University of Aberdeen. While walking down the street, he was seen to collapse and lie motionless on the pavement. As a man ran over to him and loosened his collar, Adler mumbled "Kurt", the name of his son and died. The autopsy performed determined his death was caused by a degeneration of the heart muscle. His body was cremated at Warriston Crematorium in Edinburgh but the ashes were never reclaimed. In 2007, his ashes were rediscovered in a casket at Warriston Crematorium and returned to Vienna for burial in 2011.
Use of Adler's work without attribution
Much of Adler's theories have been absorbed into modern psychology without attribution. Psychohistorian Henri F. Ellenberger writes, "It would not be easy to find another author from which so much has been borrowed on all sides without acknowledgement than Alfred Adler." Ellenberger posits several theories for "the discrepancy between greatness of achievement, massive rejection of person and work, and wide-scale, quiet plagiarism..." These include Adler's "imperfect" style of writing and demeanor, his "capacity to create a new obviousness," and his lack of a large and well organized following.
Influence on depth psychology
In collaboration with Sigmund Freud and a small group of Freud's colleagues, Adler was among the co-founders of the psychoanalytic movement and a core member of the Vienna Psychoanalytic Society: indeed, to Freud he was "the only personality there". He was the first major figure to break away from psychoanalysis to form an independent school of psychotherapy and personality theory, which he called individual psychology because he believed a human to be an indivisible whole, an individuum. He also imagined a person to be connected or associated with the surrounding world.
This was after Freud declared Adler's ideas as too contrary, leading to an ultimatum to all members of the Society (which Freud had shepherded) to drop Adler or be expelled, disavowing the right to dissent (Makari, 2008). Nevertheless, Freud always took Adler's ideas seriously, calling them "honorable errors". Though one rejects the content of Adler's views, one can recognize their consistency and significance." Following this split, Adler would come to have an enormous, independent effect on the disciplines of counseling and psychotherapy as they developed over the course of the 20th century (Ellenberger, 1970). He influenced notable figures in subsequent schools of psychotherapy such as Rollo May, Viktor Frankl, Abraham Maslow and Albert Ellis. His writings preceded, and were at times surprisingly consistent with, later Neo-Freudian insights such as those evidenced in the works of Otto Rank, Karen Horney, Harry Stack Sullivan and Erich Fromm, some considering that it would take several decades for Freudian ego psychology to catch up with Adler's ground-breaking approach.
Adler emphasized the importance of equality in preventing various forms of psychopathology, and espoused the development of social interest and democratic family structures for raising children. His most famous concept is the inferiority complex which speaks to the problem of self-esteem and its negative effects on human health (e.g. sometimes producing a paradoxical superiority striving). His emphasis on power dynamics is rooted in the philosophy of Nietzsche, whose works were published a few decades before Adler's. Specifically, Adler's conceptualization of the "Will to Power" focuses on the individual's creative power to change for the better. Adler argued for holism, viewing the individual holistically rather than reductively, the latter being the dominant lens for viewing human psychology. Adler was also among the first in psychology to argue in favor of feminism, and the female analyst, making the case that power dynamics between men and women (and associations with masculinity and femininity) are crucial to understanding human psychology (Connell, 1995). Adler is considered, along with Freud and Jung, to be one of the three founding figures of depth psychology, which emphasizes the unconscious and psychodynamics (Ellenberger, 1970; Ehrenwald, 1991); and thus to be one of the three great psychologists/philosophers of the twentieth century.
Personal life
During his college years, he had become attached to a group of socialist students, among which he had found his wife-to-be, Raissa Timofeyewna Epstein, an intellectual and social activist from Russia studying in Vienna. Because Raissa was a militant socialist, she had a large impact on Adler's early publications and ultimately his theory of personality. They married in 1897 and had four children, two of whom, his daughter Alexandra and his son Kurt, became psychiatrists. Their children were writer, psychiatrist and Socialist activist Alexandra Adler; psychiatrist Kurt Adler; writer and activist Valentine Adler; and Cornelia "Nelly" Adler. Raissa, Adler's wife, died at 89 in New York City on April 21,1962.
Author and journalist Margot Adler (1946-2014) was Adler's granddaughter.
Artistic and cultural references
The two main characters in the novel Plant Teacher engage in a session of Adlerian lifestyle interpretation, including early memory interpretation.
In the episode Something About Dr. Mary of the television series Frasier, Frasier recalls having to "pass under a dangerously unbalanced portrait of Alfred Adler" during his studies at Harvard.
He appears as a character in the Young Indiana Jones chronicles.
English-language Adlerian journals
North America
The Journal of Individual Psychology (University of Texas Press)
The Canadian Journal of Adlerian Psychology (Adlerian Psychology Association of British Columbia)
United Kingdom
Adlerian Yearbook (Adlerian Society, UK)
Publications
Alfred Adler's key publications were The Practice and Theory of Individual Psychology (1927), Understanding Human Nature (1927), & What Life Could Mean to You (1931). Other important publications are The Pattern of Life (1930), The Science of Living (1930), The Neurotic Constitution (1917), The Problems of Neurosis (1930). In his lifetime, Adler published more than 300 books and articles.
The Alfred Adler Institute of Northwestern Washington has recently published a twelve-volume set of The Collected Clinical Works of Alfred Adler, covering his writings from 1898–1937. An entirely new translation of Adler's magnum opus, The Neurotic Character, is featured in Volume 1. Volume 12 provides comprehensive overviews of Adler's mature theory and contemporary Adlerian practice.
Volume 1 : The Neurotic Character — 1907
Volume 2 : Journal Articles 1898–1909
Volume 3 : Journal Articles 1910–1913
Volume 4 : Journal Articles 1914–1920
Volume 5 : Journal Articles 1921–1926
Volume 6 : Journal Articles 1927–1931
Volume 7 : Journal Articles 1931–1937
Volume 8 : Lectures to Physicians & Medical Students
Volume 9 : Case Histories
Volume 10 : Case Readings & Demonstrations
Volume 11 : Education for Prevention
Volume 12 : The General System of Individual Psychology
Other key Adlerian texts
Adler, A. (1964). The Individual Psychology of Alfred Adler. H. L. Ansbacher and R. R. Ansbacher (Eds.). New York: Harper Torchbooks. .
Adler, A. (1979). Superiority and Social Interest: A Collection of Later Writings. H. L. Ansbacher and R. R. Ansbacher (Eds.). New York, NY: W. W. Norton. .
See also
Adlerian
Classical Adlerian psychology
Neo-Adlerian
Notes
References
Adler, A. (1908). Der Aggressionstrieb im Leben und der Neurose. Fortsch. Med. 26: 577–584.
Adler, A. (1938). Social Interest: A Challenge to Mankind. J. Linton and R. Vaughan (Trans.). London: Faber and Faber Ltd.
Adler, A. (1956). The Individual Psychology of Alfred Adler. H. L. Ansbacher and R. R. Ansbacher (Eds.). New York: Harper Torchbooks.
Connell, R. W. (1995). Masculinities. Cambridge, UK: Polity Press.
Dreikurs, R. & Soltz, V. (1964). Children the Challenge. New York: Hawthorn Books.
Ehrenwald, J. (1991, 1976). The History of Psychotherapy: From healing magic to encounter. Northvale, NJ: Jason Aronson Inc.
Eissler, K.R. (1971). Death Drive, Ambivalence, and Narcissism. Psychoanal. St. Child, 26: 25–78.
Ellenberger, H. (1970). The Discovery of the Unconscious. New York: Basic Books.
Fiebert, M. S. (1997). In and out of Freud's shadow: A chronology of Adler's relationship with Freud. Individual Psychology, 53(3), 241–269.
Freud, S. (1909). Analysis of a Phobia in a Five-Year-Old Boy. Standard Edition of the Works of Sigmund Freud, London: Hogarth Press, Vol. 10, pp. 3–149.
King, R. & Shelley, C. (2008). Community Feeling and Social Interest: Adlerian Parallels, Synergy, and Differences with the Field of Community Psychology. Journal of Community and Applied Social Psychology, 18, 96–107.
Manaster, G. J., Painter, G., Deutsch, D., & Overholt, B. J. (Eds.). (1977). Alfred Adler: As We Remember Him. Chicago: North American Society of Adlerian Psychology.
Shelley, C. (Ed.). (1998). Contemporary Perspectives on Psychotherapy and Homosexualities. London: Free Association Books.
Slavik, S. & King, R. (2007). Adlerian therapeutic strategy. The Canadian Journal of Adlerian Psychology, 37(1), 3–16.
Gantschacher, H. (ARBOS 2007). Witness and Victim of the Apocalypse, chapter 13 page 12 and chapter 14 page 6.
Orgler, H. (1996). Alfred Adler, 22 (1), pg. 67–68.
Further reading
Orgler, Hertha, Alfred Adler, International Journal of Social Psychiatry, V. 22 (1), 1976-Spring, p. 67
Phyllis Bottome (1939). Alfred Adler: A Biography. G. P. Putnam's Sons. New York.
Phyllis Bottome (1939). Alfred Adler: Apostle of Freedom. London: Faber and Faber. 3rd Ed. 1957.
Carlson, J., Watts, R. E., & Maniacci, M. (2005). Adlerian Therapy: Theory and Practice. Washington, DC: American Psychological Association. .
Dinkmeyer, D., Sr., & Dreikurs, R. (2000). Encouraging Children to Learn. Philadelphia: Brunner-Routledge. .
Rudolf Dreikurs (1935): An Introduction to Individual Psychology. London: Kegan Paul, Trench Trubner & Co. Ltd. (new edition 1983: London & New York: Routledge), .
Grey, L. (1998). Alfred Adler: The Forgotten Prophet: A Vision for the 21st Century. Westport, CT: Praeger. .
Handlbauer, B. (1998). The Freud-Adler Controversy. Oxford, UK: Oneworld. .
Hoffman, E. (1994). The Drive for Self: Alfred Adler and the Founding of Individual Psychology. New York: Addison-Wesley Co. .
Lehrer, R. (1999). "Adler and Nietzsche". In: J. Golomb, W. Santaniello, and R. Lehrer. (Eds.). Nietzsche and Depth Psychology. (pp. 229–246). Albany, NY: State University of New York Press. .
Mosak, H. H. & Di Pietro, R. (2005). Early Recollections: Interpretive Method and Application. New York: Routledge. .
Oberst, U. E. and Stewart, A. E. (2003). Adlerian Psychotherapy: An Advanced Approach to Individual Psychology. New York: Brunner-Routledge. .
Orgler, H. (1963). Alfred Adler: The Man and His Work: Triumph Over the Inferiority Complex. New York: Liveright.
Orgler, H. (1996). Alfred Adler, 22 (1), pg. 67–68.
Josef Rattner (1983): Alfred Adler: Life and Literature. Ungar Pub. Co. .
Slavik, S. & Carlson, J. (Eds.). (2005). Readings in the Theory of Individual Psychology. New York: Routledge. .
Manès Sperber (1974). Masks of Loneliness: Alfred Adler in Perspective. New York: Macmillan. .
Stepansky, P. E. (1983). In Freud's Shadow: Adler in Context. Hillsdale, NJ: Analytic Press. .
Watts, R. E. (2003). Adlerian, cognitive, and constructivist therapies: An integrative dialogue. New York: Springer. .
Watts, R. E., & Carlson, J. (1999). Interventions and strategies in counseling and psychotherapy. New York: Accelerated Development/Routledge. .
Way, Lewis (1950): Adler's Place in Psychology. London: Allen & Unwin.
Way, Lewis (1956): Alfred Adler: An Introduction to his Psychology. London: Pelican.
West, G. K. (1975). Kierkegaard and Adler. Tallahassee: Florida State University.
External links
International Association of Individual Psychology
Psychology Articles
The Adlerian Society (UK) and the Institute for Individual Psychology
The North American Society of Adlerian Psychology
Institutul de Psihologie si Psihoterapie Adleriana Romania
Centro de Estudios Adlerianos Uruguay
Classical Adlerian Psychology according to Alfred Adlers Institutes in San Francisco and Northwestern Washington
AdlerPedia
Hong Kong Society of Adlerian Psychology
New Concept Coaching & Training Institute
1870 births
1937 deaths
Adlerian psychology
19th-century Austrian Jews
Jewish scientists
Austrian ophthalmologists
Austrian people of Hungarian-Jewish descent
Austrian psychiatrists
Austrian psychologists
Jewish psychiatrists
People from Rudolfsheim-Fünfhaus
University of Vienna alumni
| true |
[
"R v Smith, [1992] 2 SCR 915 is a leading decision on hearsay by the Supreme Court of Canada. This decision, along with R v Khan (1990), began what is called the \"hearsay revolution\", supplementing the traditional categorical approach to hearsay exceptions with a new \"principled approach\" based on reliability and necessity of testimony.\n\nBackground\nArthur Larry Smith was accused of killing Aritha Monalisa King. It was believed they had both traveled from Detroit to London, Ontario. While in Canada, Smith had asked King to smuggle drugs back for him. She refused and was killed by Smith. At trial, King's mother testified she received four phone calls from her daughter the night of her death. The last call came from near where her body was found. King had told her mother she would be home very soon.\n\nThe issue before the Supreme Court was whether the statements could be admissible as evidence. The trial judge admitted the evidence and Smith was convicted. On appeal, the Court of Appeal for Ontario ordered a new trial.\n\nJudgment\nLamer CJ, writing for the Court, dismissed the appeal. His reasons focused on the \"principled approach\" first developed in Khan. He found that the new approach was not just limited to child testimony but rather was a new method that applied to all hearsay statements, calling it a \"triumph of a principled analysis over a set of ossified judicially created categories\".\n\nSee also\n List of Supreme Court of Canada cases\n R v Starr\n R v Khelawon (2006)\n\nExternal links\n \n\nCanadian evidence case law\nSupreme Court of Canada cases\n1992 in Canadian case law",
"New Approach (foaled 18 February 2005) is a retired Irish Thoroughbred racehorse and active stallion. In a racing career which lasted from July 2007 to October 2008 he ran eleven times and won eight races. He was undefeated in five races as a two-year-old in 2007 including the National Stakes and the Dewhurst Stakes. As a three-year-old he won the Epsom Derby, Irish Champion Stakes and Champion Stakes and was rated the best racehorse in the world (jointly with Curlin) in the 2008 World Thoroughbred Racehorse Rankings. As a breeding stallion, New Approach has sired the classic winners Masar, Dawn Approach and Talent.\n\nBackground\nNew Approach, a chestnut colt with a white star and snip was bred by the Lodge Park Stud in Kilkenny Ireland from the second crop of the 2002 Derby winner Galileo. His dam was the Irish Champion Stakes winner Park Express, making him a half-brother to the Takamatsunomiya Kinen winner Shinko Forest Dazzling Park (by Warning), Champion three-year-old filly in Europe and Alluring Park, the dam of The Oaks winner Was. He was first owned by Mrs J S Bolger & John Corcoran. He was bought in training by Sheikh Mohammed, who presented the colt to his wife Princess Haya of Jordan. He was trained throughout his career by Jim Bolger and ridden in all his starts by Kevin Manning.\n\nRacing career\n\n2007: two-year-old season\nNew Approach was unbeaten in five starts as a two-year-old. He made his debut in a maiden race at The Curragh in July, winning by two lengths in what would be his only race outside group class. Two weeks later he started evens favourite for the Group III Tyros Stakes at Leopardstown and led from the start to win \"easily\". In August he returned to the Curragh to win the Group II Futurity Stakes at odds of 8-11 from Curtain Call, with Henrythenavigator in third, again leading from the start. In September he was moved up to Group I level for the first time in the National Stakes. He made all the running and moved clear in the closing stages to win \"comfortably\", defeating the future Prix Jean-Luc Lagardère winner Rio de la Plata in a race which brought together the top three horses in the ante-post betting for the 2008 2,000 Guineas.\n\nOn his final start he travelled outside Ireland for the first time for the Dewhurst Stakes at Newmarket. He was already beginning to show signs of a headstrong temperament, and had to \"ponied\" down to the start. In the race, he was held up for the first time, took the lead a furlong out, and, after being put under pressure for the first time in his career, prevailed by half a length from Fast Company, with future Breeders' Cup Classic winner Raven's Pass in third and Rio de la Plata in fourth.\n\n2008: three-year-old season\n\nSpring\nOn his 2008 debut, New Approach went to the 2,000 Guineas Stakes without a prep race. In the build-up to the race, Bolger had announced that the colt was most unlikely to run in The Derby, with the Irish Derby being the preferred option In the Guineas, New Approach went off the 11-8 favourite and led as usual, but was caught inside the final furlong and beaten a nose by Henrythenavigator. Three weeks later, in the Irish 2,000 Guineas Henrythenavigator again defeated New Approach, this time by one and three-quarter lengths, with the Bolger colt hanging in the closing stages and apparently unsuited by the fast ground.\n\nSummer\nNew Approach was expected to run next in the Irish Derby, but on 2 June Jim Bolger announced an abrupt change of plan. Despite having been left in The Derby entries by mistake, New Approach would in fact take his chance in the English race. The decision aroused some hostility in the British press, who claimed that those who had already placed bets on the race had been misled. Sent off the 5-1 second favourite, New Approach pulled hard in the early stages as Manning struggled to settle him. Halfway down the straight he seemed to be boxed in and unable to challenge, but a gap appeared on the rail, and he was driven to take the lead a furlong out, staying on to beat Tartan Bearer by half a length. Although the winner's performance was praised, his reception was \"muted\" and Jim Bolger defended the late change of plan in a \"heated\" post-race press conference.\n\nA foot injury ruled New Approach out of the Irish Derby, and he was then aimed at the International Stakes at York in August. The race also attracted the leading older horse Duke of Marmalade who had won the King George VI and Queen Elizabeth Stakes at Ascot, and the meeting of the two champions was much anticipated by the press as a \"clash of the titans\". Bad ground conditions forced the race to be abandoned, and it was rescheduled for Newmarket four days later. New Approach again failed to settle, and pulled hard in the early stages, but this time he could only finish third behind Duke of Marmalade and Phoenix Tower.\n\nAutumn\nTwo weeks later New Approach appeared in the Irish Champion Stakes, a race for which Duke of Marmalade, was a late withdrawal. As usual, he pulled hard from the start, but Kevin Manning was able to settle him, and, after taking the lead early in the straight, he kept on well to win at odds of 8-13. The form of the race was not particularly strong, with the half-length runner-up Traffic Guard having an official rating of only 110, but New Approach's connections were satisfied, with Manning commenting \"he had bundles in the tank\".\n\nNew Approach's final start came in the Champion Stakes at Newmarket on 18 October, for which he was sent off 6-5 favourite against ten opponents. In a performance described in The Observer as \"scintillating\", he took the lead three furlongs out and pulled away from the field to win by six lengths from Twice Over in race record time.\n\nAssessment and Honours\nAt the end of his 2007 season New Approach was the highest rated two-year-old colt in Europe and won the Cartier Racing Award for Champion Two-Year Old. A year later was given a rating of 130 in the 2008 World Thoroughbred Racehorse Rankings, making the equal top-ranked racehorse in the world. He was also named Champion Three-Year-Old colt in the Cartier Awards. New Approach was voted 2008 Irish Horse of the Year in a poll conducted by Horse Racing Ireland, beating Duke of Marmalade, Henrythenavigator and Yeats.\n\nStud record\nNew Approach stands as a stallion for the Darley Stud. He spends the first part of the year at the Dalham Stall Stud at Newmarket, and is \"shuttled\" to the Northwood Park Stud Farm in Victoria for the Southern Hemisphere breeding season.\n\nNotable stock\n\nGroup 1 winners:\n\nc = colt, f = filly, g = gelding\n\nPedigree\n\nReferences\n\nExternal links\nyoutube clip of 2008 Epsom Derby\nyoutube clip New Approach compilation\n Career 1-2-3 Colour Chart – New Approach\n\n2005 racehorse births\nCartier Award winners\nRacehorses trained in Ireland\nRacehorses bred in Ireland\nEpsom Derby winners\nThoroughbred family 19-b"
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"The Adlerian school",
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"he enjoyed considerable success and celebrity in building an independent school of psychotherapy and a unique personality theory.",
"When was it built?",
"He traveled and lectured for a period of 25 years promoting his socially oriented approach.",
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"His intent was to build a movement that would rival, even supplant, others in psychology by arguing for the holistic integrity of psychological well-being with that of social equality."
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C_90d31d06565f4f6d96409afe51139414_0
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Did he have followers?
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Did Alfred Adler have followers?
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Alfred Adler
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Following Adler's break from Freud, he enjoyed considerable success and celebrity in building an independent school of psychotherapy and a unique personality theory. He traveled and lectured for a period of 25 years promoting his socially oriented approach. His intent was to build a movement that would rival, even supplant, others in psychology by arguing for the holistic integrity of psychological well-being with that of social equality. Adler's efforts were halted by World War I, during which he served as a doctor with the Austrian Army. After the conclusion of the war, his influence increased greatly. In the 1930s, he established a number of child guidance clinics. From 1921 onwards, he was a frequent lecturer in Europe and the United States, becoming a visiting professor at Columbia University in 1927. His clinical treatment methods for adults were aimed at uncovering the hidden purpose of symptoms using the therapeutic functions of insight and meaning. Adler was concerned with the overcoming of the superiority/inferiority dynamic and was one of the first psychotherapists to discard the analytic couch in favor of two chairs. This allows the clinician and patient to sit together more or less as equals. Clinically, Adler's methods are not limited to treatment after-the-fact but extend to the realm of prevention by preempting future problems in the child. Prevention strategies include encouraging and promoting social interest, belonging, and a cultural shift within families and communities that leads to the eradication of pampering and neglect (especially corporal punishment). Adler's popularity was related to the comparative optimism and comprehensibility of his ideas. He often wrote for the lay public. Adler always retained a pragmatic approach that was task-oriented. These "Life tasks" are occupation/work, society/friendship, and love/sexuality. Their success depends on cooperation. The tasks of life are not to be considered in isolation since, as Adler famously commented, "they all throw cross-lights on one another". In his bestselling book, Man's Search for Meaning, Dr. Viktor E. Frankl compared his own "Third Viennese School of Psychotherapy" (after Freud's and Adler's schools) to Adler's analysis: According to logotherapy, the striving to find a meaning in one's life is the primary motivational force in man. That is why I speak of a will to meaning in contrast to the "pleasure principle" (or, as we could also term it, the will to pleasure) on which Freudian psychoanalysis is centered, as well as in contrast to the will to power stressed by Adlerian psychology. CANNOTANSWER
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After the conclusion of the war, his influence increased greatly. In the 1930s, he established a number of child guidance clinics.
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Alfred Adler (; ; 7 February 1870 – 28 May 1937) was an Austrian medical doctor, psychotherapist, and founder of the school of individual psychology. His emphasis on the importance of feelings of inferiority, the inferiority complex, is recognized as an isolating element which plays a key role in personality development. Alfred Adler considered a human being as an individual whole, and therefore he called his psychology "Individual Psychology" (Orgler 1976).
Adler was the first to emphasize the importance of the social element in the re-adjustment process of the individual and to carry psychiatry into the community. A Review of General Psychology survey, published in 2002, ranked Adler as the 67th most eminent psychologist of the 20th century.
Early life
Alfred Adler was born on February 7, 1870 at Mariahilfer Straße 208 in Rudolfsheim, a village on the western fringes of Vienna, a modern part of Rudolfsheim-Fünfhaus, the 15th district of the city. He was second of the seven children of a Jewish couple, Pauline (Beer) and Leopold Adler. Leopold Adler was a Hungarian-born grain merchant. Alfred's younger brother died in the bed next to him when Alfred was only three years old, and throughout his childhood, he maintained a rivalry with his older brother. This rivalry was spurred on because Adler believed his mother preferred his brother over him. Despite his good relationship with his father, he still struggled with feelings of inferiority in his relationship with his mother.
Alfred was an active, popular child and an average student who was also known for the competitive attitude toward his older brother, Sigmund. Early on, he developed rickets, which kept Alfred from walking until he was four years old. At the age of four, he developed pneumonia and heard a doctor say to his father, "Your boy is lost". Along with being run over twice and witnessing his younger brother's death, this sickness contributed to his overall fear of death. At that point, he decided to be a physician. He was very interested in the subjects of psychology, sociology and philosophy. After studying at University of Vienna, he specialized as an eye doctor, and later in neurology and psychiatry.
Career
Adler began his medical career as an ophthalmologist, but he soon switched to general practice, and established his office in a less affluent part of Vienna across from the Prater, a combination of amusement park and circus. His clients included circus people, and it has been suggested that the unusual strengths and weaknesses of the performers led to his insights into "organ inferiorities" and "compensation".
In his early career, Adler wrote an article in the defense of Freud's theory after reading one of Freud's most well known works, The Interpretation of Dreams. In 1902, because of his defense article, Adler received an invitation from Sigmund Freud to join an informal discussion group that included Rudolf Reitler and Wilhelm Stekel. The group, the "Wednesday Society" (Mittwochsgesellschaft), met regularly on Wednesday evenings at Freud's home and was the beginning of the psychoanalytic movement, expanding over time to include many more members. Each week a member would present a paper and after a short break of coffee and cakes, the group would discuss it. The main members were Otto Rank, Max Eitingon, Wilhelm Stekel, Karl Abraham, Hanns Sachs, Fritz Wittels, Max Graf, and Sandor Ferenczi. In 1908, Adler presented his paper, "The aggressive instinct in life and in neurosis", at a time when Freud believed that early sexual development was the primary determinant of the making of character, with which Adler took issue. Adler proposed that the sexual and aggressive drives were "two originally separate instincts which merge later on". Freud at the time disagreed with this idea.
When Freud in 1920 proposed his dual instinct theory of libido and aggressive drives in Beyond the Pleasure Principle, without citing Adler, he was reproached that Adler had proposed the aggressive drive in his 1908 paper (Eissler, 1971). Freud later commented in a 1923 footnote he added to the Little Hans case that, "I have myself been obliged to assert the existence of an aggressive instinct" (1909, p. 140, 2), while pointing out that his conception of an aggressive drive differs from that of Adler. A long-serving member of the group, he made many more beyond this 1908 pivotal contribution to the group, and Adler became president of the Vienna Psychoanalytic Society eight years later (1910). He remained a member of the Society until 1911, when he and a group of his supporters formally disengaged from Freud's circle, the first of the great dissenters from orthodox psychoanalysis (preceding Carl Jung's split in 1914).
This departure suited both Freud and Adler, since they had grown to dislike each other. During his association with Freud, Adler frequently maintained his own ideas which often diverged from Freud's. While Adler is often referred to as "a pupil of Freud", in fact this was never true; they were colleagues, Freud referring to him in print in 1909 as "My colleague Dr Alfred Adler". The association of Adler and Freud lasted a total of 9 years, and they never saw each other after the separation. Freud continued to dislike Adler even after the separation and tended to do so with other defectors from psychoanalysis. Even after Adler's death, Freud maintained his distaste for him. When conversing with a colleague over the matter, he stated, "I don't understand your sympathy for Adler. For a Jewish boy out of a Viennese suburb a death in Aberdeen is an unheard of career in itself and a proof of how far he had got on. The world really rewarded him richly for his service in having contradicted psychoanalysis." In 1929 Adler showed a reporter with the New York Herald a copy of the faded postcard that Freud had sent him in 1902. He wanted to prove that he had never been a disciple of Freud's but rather that Freud had sought him out to share his ideas.
Adler founded the Society for Individual Psychology in 1912 after his break from the psychoanalytic movement. Adler's group initially included some orthodox Nietzschean adherents (who believed that Adler's ideas on power and inferiority were closer to Nietzsche than Freud's). Their enmity aside, Adler retained a lifelong admiration for Freud's ideas on dreams and credited him with creating a scientific approach to their clinical utilization (Fiebert, 1997). Nevertheless, even regarding dream interpretation, Adler had his own theoretical and clinical approach. The primary differences between Adler and Freud centered on Adler's contention that the social realm (exteriority) is as important to psychology as is the internal realm (interiority). The dynamics of power and compensation extend beyond sexuality, and gender and politics can be as important as libido. Moreover, Freud did not share Adler's socialist beliefs, the latter's wife being for example an intimate friend of many of the Russian Marxists such as Leon Trotsky.
The Adlerian school
Following Adler's break from Freud, he enjoyed considerable success and celebrity in building an independent school of psychotherapy and a unique personality theory. He traveled and lectured for a period of 25 years promoting his socially oriented approach. His intent was to build a movement that would rival, even supplant, others in psychology by arguing for the holistic integrity of psychological well-being with that of social equality. Adler's efforts were halted by World War I, during which he served as a doctor with the Austro-Hungarian Army. After the conclusion of the war, his influence increased greatly. In the 1920s, he established a number of child guidance clinics. From 1921 onwards, he was a frequent lecturer in Europe and the United States, becoming a visiting professor at Columbia University in 1927. His clinical treatment methods for adults were aimed at uncovering the hidden purpose of symptoms using the therapeutic functions of insight and meaning.
Adler was concerned with the overcoming of the superiority/inferiority dynamic and was one of the first psychotherapists to discard the analytic couch in favor of two chairs. This allows the clinician and patient to sit together more or less as equals. Clinically, Adler's methods are not limited to treatment after-the-fact but extend to the realm of prevention by preempting future problems in the child. Prevention strategies include encouraging and promoting social interest, belonging, and a cultural shift within families and communities that leads to the eradication of pampering and neglect (especially corporal punishment). Adler's popularity was related to the comparative optimism and comprehensibility of his ideas. He often wrote for the lay public. Adler always retained a pragmatic approach that was task-oriented. These "Life tasks" are occupation/work, society/friendship, and love/sexuality. Their success depends on cooperation. The tasks of life are not to be considered in isolation since, as Adler famously commented, "they all throw cross-lights on one another".
In his bestselling book, Man's Search for Meaning, Dr. Viktor E. Frankl compared his own "Third Viennese School of Psychotherapy" (after Freud's and Adler's schools) to Adler's analysis:
Emigration
In the early 1930s, after most of Adler's Austrian clinics had been closed due to his Jewish heritage (despite his conversion to Christianity), Adler left Austria for a professorship at the Long Island College of Medicine in the US. Adler died from a heart attack in 1937 in Aberdeen, Scotland, during a lecture tour, although his remains went missing and were unaccounted for until 2007. His death was a temporary blow to the influence of his ideas, although a number of them were subsequently taken up by neo-Freudians. Through the work of Rudolf Dreikurs in the United States and many other adherents worldwide, Adlerian ideas and approaches remain strong and viable more than 70 years after Adler's death.
Around the world there are various organizations promoting Adler's orientation towards mental and social well-being. These include the International Committee of Adlerian Summer Schools and Institutes (ICASSI), the North American Society of Adlerian Psychology (NASAP) and the International Association for Individual Psychology. Teaching institutes and programs exist in Austria, Canada, England, Germany, Greece, Israel, Italy, Japan, Latvia, Switzerland, the United States, Jamaica, Peru, and Wales.
Basic principles
Adler was influenced by the mental construct ideas of the philosopher Hans Vaihinger (The Philosophy of 'As if') and the literature of Dostoyevsky. While still a member of the Vienna Psychoanalytic Society he developed a theory of organic inferiority and compensation that was the prototype for his later turn to phenomenology and the development of his famous concept, the inferiority complex.
Adler was also influenced by the philosophies of Immanuel Kant, Friedrich Nietzsche, Rudolf Virchow and the statesman Jan Smuts (who coined the term "holism"). Adler's School, known as "Individual Psychology"—an arcane reference to the Latin individuals meaning indivisibility, a term intended to emphasize holism—is both a social and community psychology as well as a depth psychology. Adler was an early advocate in psychology for prevention and emphasized the training of parents, teachers, social workers and so on in democratic approaches that allow a child to exercise their power through reasoned decision making whilst co-operating with others. He was a social idealist, and was known as a socialist in his early years of association with psychoanalysis (1902–1911).
Adler was pragmatic and believed that lay people could make practical use of the insights of psychology. Adler was also an early supporter of feminism in psychology and the social world, believing that feelings of superiority and inferiority were often gendered and expressed symptomatically in characteristic masculine and feminine styles. These styles could form the basis of psychic compensation and lead to mental health difficulties. Adler also spoke of "safeguarding tendencies" and neurotic behavior long before Anna Freud wrote about the same phenomena in her book The Ego and the Mechanisms of Defense.
Adlerian-based scholarly, clinical and social practices focus on the following topics:
Social interest and community feeling
Holism and the creative self
Fictional finalism, teleology, and goal constructs
Psychological and social encouragement
Inferiority, superiority and compensation
Life style/style of life
Early recollections (a projective technique)
Family constellation and birth order
Life tasks and social embeddedness
The conscious and unconscious realms
Private logic and common sense (based in part on Kant's "")
Symptoms and neurosis
Safeguarding behavior
Guilt and guilt feelings
Socratic questioning
Dream interpretation
Child and adolescent psychology
Democratic approaches to parenting and families
Adlerian approaches to classroom management
Leadership and organizational psychology
Adler created Adlerian Therapy, because he believed that one's psyche should be studied in the context of that person's environment.
Adler's approach to personality
In one of his earliest and most famous publications, "Study of Organ Inferiority and Its Physical Compensation," Adler outlined the basics for what would be the beginning foundation of his personality theory. The article focuses mainly on the topics of organ inferiority and compensation. Organ inferiority is when one organ, or portion of the body, is weaker than the rest. Adler postulated that the body's other organs would work together in order to compensate for the weakness of this "inferior" organ. When compensation occurs, other areas of the body make up for the function lacking in the inferior portion. In some cases, the weakness may be overcompensated transforming it into a strength. An example would be an individual with a weak leg becoming a great runner later on. As his theory progressed, the idea of organ inferiority was replaced with feelings of inferiority instead. As Adler's theory progressed, he continued evolving his theory and key ideas.
Adler's book, Über den nervösen Charakter (The Neurotic Character) defines his earlier key ideas. He argued that human personality could be explained teleologically: parts of the individual's unconscious self ideally work to convert feelings of inferiority to superiority (or rather completeness). The desires of the self ideal were countered by social and ethical demands. If the corrective factors were disregarded and the individual overcompensated, then an inferiority complex would occur, fostering the danger of the individual becoming egocentric, power-hungry and aggressive or worse.
Common therapeutic tools include the use of humor, historical instances, and paradoxical injunctions.
Psychodynamics and teleology
Adler maintained that human psychology is psychodynamic in nature. Unlike Freud's metapsychology that emphasizes instinctual demands, human psychology is guided by goals and fueled by a yet unknown creative force. Like Freud's instincts, Adler's fictive goals are largely unconscious. These goals have a "teleological" function. Constructivist Adlerians, influenced by neo-Kantian and Nietzschean ideas, view these "teleological" goals as "fictions" in the sense that Hans Vaihinger spoke of (fictio). Usually there is a fictional final goal which can be deciphered alongside of innumerable sub-goals. The inferiority/superiority dynamic is constantly at work through various forms of compensation and overcompensation. For example, in anorexia nervosa the fictive final goal is to "be perfectly thin" (overcompensation on the basis of a feeling of inferiority). Hence, the fictive final goal can serve a persecutory function that is ever-present in subjectivity (though its trace springs are usually unconscious). The end goal of being "thin" is fictive however since it can never be subjectively achieved.
Teleology serves another vital function for Adlerians. Chilon's "hora telos" ("see the end, consider the consequences") provides for both healthy and maladaptive psychodynamics. Here we also find Adler's emphasis on personal responsibility in mentally healthy subjects who seek their own and the social good.
Constructivism and metaphysics
The metaphysical thread of Adlerian theory does not problematize the notion of teleology since concepts such as eternity (an ungraspable end where time ceases to exist) match the religious aspects that are held in tandem. In contrast, the constructivist Adlerian threads (either humanist/modernist or postmodern in variant) seek to raise insight of the force of unconscious fictions– which carry all of the inevitability of 'fate'– so long as one does not understand them. Here, 'teleology' itself is fictive yet experienced as quite real. This aspect of Adler's theory is somewhat analogous to the principles developed in Rational Emotive Behavior Therapy (REBT) and Cognitive Therapy (CT). Both Albert Ellis and Aaron T. Beck credit Adler as a major precursor to REBT and CT. Ellis in particular was a member of the North American Society for Adlerian Psychology and served as an editorial board member for the Adlerian Journal Individual Psychology.
As a psychodynamic system, Adlerians excavate the past of a client/patient in order to alter their future and increase integration into community in the 'here-and-now'. The 'here-and-now' aspects are especially relevant to those Adlerians who emphasize humanism and/or existentialism in their approaches.
Holism
Metaphysical Adlerians emphasize a spiritual holism in keeping with what Jan Smuts articulated (Smuts coined the term "holism"), that is, the spiritual sense of one-ness that holism usually implies (etymology of holism: from ὅλος holos, a Greek word meaning all, entire, total) Smuts believed that evolution involves a progressive series of lesser wholes integrating into larger ones. Whilst Smuts' text Holism and Evolution is thought to be a work of science, it actually attempts to unify evolution with a higher metaphysical principle (holism). The sense of connection and one-ness revered in various religious traditions (among these, Christianity, Judaism, Zoroastrianism, Islam, Buddhism and Baha'i) finds a strong complement in Adler's thought.
The pragmatic and materialist aspects to contextualizing members of communities, the construction of communities and the socio-historical-political forces that shape communities matter a great deal when it comes to understanding an individual's psychological make-up and functioning. This aspect of Adlerian psychology holds a high level of synergy with the field of community psychology, especially given Adler's concern for what he called "the absolute truth and logic of communal life". However, Adlerian psychology, unlike community psychology, is holistically concerned with both prevention and clinical treatment after-the-fact. Hence, Adler can be considered the "first community psychologist", a discourse that formalized in the decades following Adler's death (King & Shelley, 2008).
Adlerian psychology, Carl Jung's analytical psychology, Gestalt therapy and Karen Horney's psychodynamic approach are holistic schools of psychology. These discourses eschew a reductive approach to understanding human psychology and psychopathology.
Typology
Adler developed a scheme of so-called personality types, which were however always to be taken as provisional or heuristic since he did not, in essence, believe in personality types, and at different times proposed different and equally tentative systems. The danger with typology is to lose sight of the individual's uniqueness and to gaze reductively, acts that Adler opposed. Nevertheless, he intended to illustrate patterns that could denote a characteristic governed under the overall style of life. Hence American Adlerians such as Harold Mosak have made use of Adler's typology in this provisional sense:
The Getting or Leaning They are sensitive people who have developed a shell around themselves which protects them, but they must rely on others to carry them through life's difficulties. They have low energy levels and so become dependent. When overwhelmed, they develop what we typically think of as neurotic symptoms: phobias, obsessions and compulsions, general anxiety, hysteria, amnesias, and so on, depending on individual details of their lifestyle.
The Avoiding types are those that hate being defeated. They may be successful, but have not taken any risks getting there. They are likely to have low social contact in fear of rejection or defeat in any way.
The Ruling or Dominant type strive for power and are willing to manipulate situations and people, anything to get their way. People of this type are also prone to anti-social behavior.
The Socially Useful types are those who are very outgoing and very active. They have a lot of social contact and strive to make changes for the good.
These 'types' are typically formed in childhood and are expressions of the Style of Life.
The importance of memories
Adler placed great emphasis upon the interpretation of early memories in working with patients and school children, writing that, "Among all psychic expressions, some of the most revealing are the individual's memories." Adler viewed memories as expressions of "private logic" and as metaphors for an individual's personal philosophy of life or "lifestyle". He maintained that memories are never incidental or trivial; rather, they are chosen reminders: "(A person's) memories are the reminders she carries about with her of her limitations and of the meanings of events. There are no 'chance' memories. Out of the incalculable number of impressions that an individual receives, she chooses to remember only those which she considers, however dimly, to have a bearing on her problems."
On birth order
Adler often emphasized one's psychological birth order as having an influence on the style of life and the strengths and weaknesses in one's psychological make up. Birth order referred to the placement of siblings within the family. It is important to note the difference between psychological and ordinal birth order (e.g. in some families, a second child might behave like a firstborn, in which case they are considered to be an ordinal secondborn but a psychological firstborn). Mosak, H.H. & Maniacci, M. P. (1999). A primer of Adlerian Psychology. Taylor and Francis. Adler believed that the firstborn child would be in a favorable position, enjoying the full attention of the eager new parents until the arrival of a second child. This second child would cause the first born to suffer feelings of dethronement, no longer being the center of attention. Adler (1908) believed that in a three-child family, the oldest child would be the most likely to suffer from neuroticism and substance addiction which he reasoned was a compensation for the feelings of excessive responsibility "the weight of the world on one's shoulders" (e.g. having to look after the younger ones) and the melancholic loss of that once supremely pampered position. As a result, he predicted that this child was the most likely to end up in jail or an asylum. Youngest children would tend to be overindulged, leading to poor social empathy. Consequently, the middle child, who would experience neither dethronement nor overindulgence, was most likely to develop into a successful individual yet also most likely to be a rebel and to feel squeezed-out. Adler himself was the third (some sources credit second) in a family of six children.
Adler never produced any scientific support for his interpretations on birth order roles, nor did he feel the need to. Yet the value of the hypothesis was to extend the importance of siblings in marking the psychology of the individual beyond Freud's more limited emphasis on the mother and father. Hence, Adlerians spend time therapeutically mapping the influence that siblings (or lack thereof) had on the psychology of their clients. The idiographic approach entails an excavation of the phenomenology of one's birth order position for likely influence on the subject's Style of Life. In sum, the subjective experiences of sibling positionality and inter-relations are important in terms of the dynamics of psychology, for Adlerian therapists and personality theorists, not the cookbook predictions that may or may not have been objectively true in Adler's time.
For Adler, birth order answered the question, "Why do children, who are raised in the same family, grow up with very different personalities?" While a strict geneticist, believing siblings are raised in a shared environment, may claim any differences in personality would be caused by subtle variations in the individuals' genetics, Adler showed through his birth order theory that children do not grow up in the same shared environment, but the oldest child grows up in a family where they have younger siblings, the middle child with older and younger siblings, and the youngest with older siblings. The position in the family constellation, Adler said, is the reason for these differences in personality and not genetics: a point later taken up by Eric Berne.
On addiction
Adler's insight into birth order, compensation and issues relating to the individuals' perception of community also led him to investigate the causes and treatment of substance abuse disorders, particularly alcoholism and morphinism, which already were serious social problems of his time. Adler's work with addicts was significant since most other prominent proponents of psychoanalysis invested relatively little time and thought into this widespread ill of the modern and post-modern age. In addition to applying his individual psychology approach of organ inferiority, for example, to the onset and causes of addictive behaviors, he also tried to find a clear relationship of drug cravings to sexual gratification or their substitutions. Early pharmaco-therapeutic interventions with non-addictive substances, such as neuphyllin were used, since withdrawal symptoms were explained by a form of "water-poisoning" that made the use of diuretics necessary.
Adler and his wife's pragmatic approach, and the seemingly high success rates of their treatment were based on their ideas of social functioning and well-being. Clearly, life style choices and situations were emphasized, for example the need for relaxation or the negative effects of early childhood conflicts were examined, which compared to other authoritarian or religious treatment regimens, were clearly modern approaches. Certainly some of his observations, for example that psychopaths were more likely to be drug addicts are not compatible with current methodologies and theories of substance abuse treatment, but the self-centered attributes of the illness and the clear escapism from social responsibilities by pathological addicts put Adler's treatment modalities clearly into a modern contextual reasoning.
On homosexuality
Adler's ideas regarding non-heterosexual sexuality and various social forms of deviance have long been controversial. Along with prostitution and criminality, Adler had classified 'homosexuals' as falling among the "failures of life". In 1917, he began his writings on homosexuality with a 52-page magazine, and sporadically published more thoughts throughout the rest of his life.
The Dutch psychologist Gerard J. M. van den Aardweg underlines how Alfred Adler came to his conclusions for, in 1917, Adler believed that he had established a connection between homosexuality and an inferiority complex towards one's own gender. This point of view differed from Freud's theory that homosexuality is rooted in narcissism or Jung's view of expressions of contrasexuality vis-à-vis the archetypes of the Anima and Animus.
There is evidence that Adler may have moved towards abandoning the hypothesis. Towards the end of Adler's life, in the mid-1930s, his opinion towards homosexuality began to shift. Elizabeth H. McDowell, a New York state family social worker recalls undertaking supervision with Adler on a young man who was "living in sin" with an older man in New York City. Adler asked her, "Is he happy, would you say?" "Oh yes," McDowell replied. Adler then stated, "Well, why don't we leave him alone."
According to Phyllis Bottome, who wrote Adler's Biography (after Adler himself laid upon her that task): "He always treated homosexuality as lack of courage. These were but ways of obtaining a slight release for a physical need while avoiding a greater obligation. A transient partner of your own sex is a better known road and requires less courage than a permanent contact with an "unknown" sex.... Adler taught that men cannot be judged from within by their "possessions," as he used to call nerves, glands, traumas, drives et cetera, since both judge and prisoner are liable to misconstrue what is invisible and incalculable; but that he can be judged, with no danger from introspection, by how he measures up to the three common life tasks set before every human being between the cradle and the grave: work (employment), love or marriage (intimacy), and social contact (friendships.)"
Parent education
Adler emphasized both treatment and prevention. With regard to psychodynamic psychology, Adlerians emphasize the foundational importance of childhood in developing personality and any tendency towards various forms of psychopathology. The best way to inoculate against what are now termed "personality disorders" (what Adler had called the "neurotic character"), or a tendency to various neurotic conditions (depression, anxiety, etc.), is to train a child to be and feel an equal part of the family. The responsibility of the optimal development of the child is not limited to the mother or father, but rather includes teachers and society more broadly. Adler argued therefore that teachers, nurses, social workers, and so on require training in parent education to complement the work of the family in fostering a democratic character. When a child does not feel equal and is enacted upon (abused through pampering or neglect) he or she is likely to develop inferiority or superiority complexes and various concomitant compensation strategies. These strategies exact a social toll by seeding higher divorce rates, the breakdown of the family, criminal tendencies, and subjective suffering in the various guises of psychopathology. Adlerians have long promoted parent education groups, especially those influenced by the famous Austrian/American Adlerian Rudolf Dreikurs (Dreikurs & Soltz, 1964).
Spirituality, ecology and community
In a late work, Social Interest: A Challenge to Mankind (1938), Adler turns to the subject of metaphysics, where he integrates Jan Smuts' evolutionary holism with the ideas of teleology and community: "sub specie aeternitatis". Unabashedly, he argues his vision of society: "Social feeling means above all a struggle for a communal form that must be thought of as eternally applicable... when humanity has attained its goal of perfection... an ideal society amongst all mankind, the ultimate fulfillment of evolution." Adler follows this pronouncement with a defense of metaphysics:
This social feeling for Adler is Gemeinschaftsgefühl, a community feeling whereby one feels he or she belongs with others and has also developed an ecological connection with nature (plants, animals, the crust of this earth) and the cosmos as a whole, sub specie aeternitatis. Clearly, Adler himself had little problem with adopting a metaphysical and spiritual point of view to support his theories.
Death and cremation
Adler died suddenly in Aberdeen, Scotland, in May 1937, during a three-week visit to the University of Aberdeen. While walking down the street, he was seen to collapse and lie motionless on the pavement. As a man ran over to him and loosened his collar, Adler mumbled "Kurt", the name of his son and died. The autopsy performed determined his death was caused by a degeneration of the heart muscle. His body was cremated at Warriston Crematorium in Edinburgh but the ashes were never reclaimed. In 2007, his ashes were rediscovered in a casket at Warriston Crematorium and returned to Vienna for burial in 2011.
Use of Adler's work without attribution
Much of Adler's theories have been absorbed into modern psychology without attribution. Psychohistorian Henri F. Ellenberger writes, "It would not be easy to find another author from which so much has been borrowed on all sides without acknowledgement than Alfred Adler." Ellenberger posits several theories for "the discrepancy between greatness of achievement, massive rejection of person and work, and wide-scale, quiet plagiarism..." These include Adler's "imperfect" style of writing and demeanor, his "capacity to create a new obviousness," and his lack of a large and well organized following.
Influence on depth psychology
In collaboration with Sigmund Freud and a small group of Freud's colleagues, Adler was among the co-founders of the psychoanalytic movement and a core member of the Vienna Psychoanalytic Society: indeed, to Freud he was "the only personality there". He was the first major figure to break away from psychoanalysis to form an independent school of psychotherapy and personality theory, which he called individual psychology because he believed a human to be an indivisible whole, an individuum. He also imagined a person to be connected or associated with the surrounding world.
This was after Freud declared Adler's ideas as too contrary, leading to an ultimatum to all members of the Society (which Freud had shepherded) to drop Adler or be expelled, disavowing the right to dissent (Makari, 2008). Nevertheless, Freud always took Adler's ideas seriously, calling them "honorable errors". Though one rejects the content of Adler's views, one can recognize their consistency and significance." Following this split, Adler would come to have an enormous, independent effect on the disciplines of counseling and psychotherapy as they developed over the course of the 20th century (Ellenberger, 1970). He influenced notable figures in subsequent schools of psychotherapy such as Rollo May, Viktor Frankl, Abraham Maslow and Albert Ellis. His writings preceded, and were at times surprisingly consistent with, later Neo-Freudian insights such as those evidenced in the works of Otto Rank, Karen Horney, Harry Stack Sullivan and Erich Fromm, some considering that it would take several decades for Freudian ego psychology to catch up with Adler's ground-breaking approach.
Adler emphasized the importance of equality in preventing various forms of psychopathology, and espoused the development of social interest and democratic family structures for raising children. His most famous concept is the inferiority complex which speaks to the problem of self-esteem and its negative effects on human health (e.g. sometimes producing a paradoxical superiority striving). His emphasis on power dynamics is rooted in the philosophy of Nietzsche, whose works were published a few decades before Adler's. Specifically, Adler's conceptualization of the "Will to Power" focuses on the individual's creative power to change for the better. Adler argued for holism, viewing the individual holistically rather than reductively, the latter being the dominant lens for viewing human psychology. Adler was also among the first in psychology to argue in favor of feminism, and the female analyst, making the case that power dynamics between men and women (and associations with masculinity and femininity) are crucial to understanding human psychology (Connell, 1995). Adler is considered, along with Freud and Jung, to be one of the three founding figures of depth psychology, which emphasizes the unconscious and psychodynamics (Ellenberger, 1970; Ehrenwald, 1991); and thus to be one of the three great psychologists/philosophers of the twentieth century.
Personal life
During his college years, he had become attached to a group of socialist students, among which he had found his wife-to-be, Raissa Timofeyewna Epstein, an intellectual and social activist from Russia studying in Vienna. Because Raissa was a militant socialist, she had a large impact on Adler's early publications and ultimately his theory of personality. They married in 1897 and had four children, two of whom, his daughter Alexandra and his son Kurt, became psychiatrists. Their children were writer, psychiatrist and Socialist activist Alexandra Adler; psychiatrist Kurt Adler; writer and activist Valentine Adler; and Cornelia "Nelly" Adler. Raissa, Adler's wife, died at 89 in New York City on April 21,1962.
Author and journalist Margot Adler (1946-2014) was Adler's granddaughter.
Artistic and cultural references
The two main characters in the novel Plant Teacher engage in a session of Adlerian lifestyle interpretation, including early memory interpretation.
In the episode Something About Dr. Mary of the television series Frasier, Frasier recalls having to "pass under a dangerously unbalanced portrait of Alfred Adler" during his studies at Harvard.
He appears as a character in the Young Indiana Jones chronicles.
English-language Adlerian journals
North America
The Journal of Individual Psychology (University of Texas Press)
The Canadian Journal of Adlerian Psychology (Adlerian Psychology Association of British Columbia)
United Kingdom
Adlerian Yearbook (Adlerian Society, UK)
Publications
Alfred Adler's key publications were The Practice and Theory of Individual Psychology (1927), Understanding Human Nature (1927), & What Life Could Mean to You (1931). Other important publications are The Pattern of Life (1930), The Science of Living (1930), The Neurotic Constitution (1917), The Problems of Neurosis (1930). In his lifetime, Adler published more than 300 books and articles.
The Alfred Adler Institute of Northwestern Washington has recently published a twelve-volume set of The Collected Clinical Works of Alfred Adler, covering his writings from 1898–1937. An entirely new translation of Adler's magnum opus, The Neurotic Character, is featured in Volume 1. Volume 12 provides comprehensive overviews of Adler's mature theory and contemporary Adlerian practice.
Volume 1 : The Neurotic Character — 1907
Volume 2 : Journal Articles 1898–1909
Volume 3 : Journal Articles 1910–1913
Volume 4 : Journal Articles 1914–1920
Volume 5 : Journal Articles 1921–1926
Volume 6 : Journal Articles 1927–1931
Volume 7 : Journal Articles 1931–1937
Volume 8 : Lectures to Physicians & Medical Students
Volume 9 : Case Histories
Volume 10 : Case Readings & Demonstrations
Volume 11 : Education for Prevention
Volume 12 : The General System of Individual Psychology
Other key Adlerian texts
Adler, A. (1964). The Individual Psychology of Alfred Adler. H. L. Ansbacher and R. R. Ansbacher (Eds.). New York: Harper Torchbooks. .
Adler, A. (1979). Superiority and Social Interest: A Collection of Later Writings. H. L. Ansbacher and R. R. Ansbacher (Eds.). New York, NY: W. W. Norton. .
See also
Adlerian
Classical Adlerian psychology
Neo-Adlerian
Notes
References
Adler, A. (1908). Der Aggressionstrieb im Leben und der Neurose. Fortsch. Med. 26: 577–584.
Adler, A. (1938). Social Interest: A Challenge to Mankind. J. Linton and R. Vaughan (Trans.). London: Faber and Faber Ltd.
Adler, A. (1956). The Individual Psychology of Alfred Adler. H. L. Ansbacher and R. R. Ansbacher (Eds.). New York: Harper Torchbooks.
Connell, R. W. (1995). Masculinities. Cambridge, UK: Polity Press.
Dreikurs, R. & Soltz, V. (1964). Children the Challenge. New York: Hawthorn Books.
Ehrenwald, J. (1991, 1976). The History of Psychotherapy: From healing magic to encounter. Northvale, NJ: Jason Aronson Inc.
Eissler, K.R. (1971). Death Drive, Ambivalence, and Narcissism. Psychoanal. St. Child, 26: 25–78.
Ellenberger, H. (1970). The Discovery of the Unconscious. New York: Basic Books.
Fiebert, M. S. (1997). In and out of Freud's shadow: A chronology of Adler's relationship with Freud. Individual Psychology, 53(3), 241–269.
Freud, S. (1909). Analysis of a Phobia in a Five-Year-Old Boy. Standard Edition of the Works of Sigmund Freud, London: Hogarth Press, Vol. 10, pp. 3–149.
King, R. & Shelley, C. (2008). Community Feeling and Social Interest: Adlerian Parallels, Synergy, and Differences with the Field of Community Psychology. Journal of Community and Applied Social Psychology, 18, 96–107.
Manaster, G. J., Painter, G., Deutsch, D., & Overholt, B. J. (Eds.). (1977). Alfred Adler: As We Remember Him. Chicago: North American Society of Adlerian Psychology.
Shelley, C. (Ed.). (1998). Contemporary Perspectives on Psychotherapy and Homosexualities. London: Free Association Books.
Slavik, S. & King, R. (2007). Adlerian therapeutic strategy. The Canadian Journal of Adlerian Psychology, 37(1), 3–16.
Gantschacher, H. (ARBOS 2007). Witness and Victim of the Apocalypse, chapter 13 page 12 and chapter 14 page 6.
Orgler, H. (1996). Alfred Adler, 22 (1), pg. 67–68.
Further reading
Orgler, Hertha, Alfred Adler, International Journal of Social Psychiatry, V. 22 (1), 1976-Spring, p. 67
Phyllis Bottome (1939). Alfred Adler: A Biography. G. P. Putnam's Sons. New York.
Phyllis Bottome (1939). Alfred Adler: Apostle of Freedom. London: Faber and Faber. 3rd Ed. 1957.
Carlson, J., Watts, R. E., & Maniacci, M. (2005). Adlerian Therapy: Theory and Practice. Washington, DC: American Psychological Association. .
Dinkmeyer, D., Sr., & Dreikurs, R. (2000). Encouraging Children to Learn. Philadelphia: Brunner-Routledge. .
Rudolf Dreikurs (1935): An Introduction to Individual Psychology. London: Kegan Paul, Trench Trubner & Co. Ltd. (new edition 1983: London & New York: Routledge), .
Grey, L. (1998). Alfred Adler: The Forgotten Prophet: A Vision for the 21st Century. Westport, CT: Praeger. .
Handlbauer, B. (1998). The Freud-Adler Controversy. Oxford, UK: Oneworld. .
Hoffman, E. (1994). The Drive for Self: Alfred Adler and the Founding of Individual Psychology. New York: Addison-Wesley Co. .
Lehrer, R. (1999). "Adler and Nietzsche". In: J. Golomb, W. Santaniello, and R. Lehrer. (Eds.). Nietzsche and Depth Psychology. (pp. 229–246). Albany, NY: State University of New York Press. .
Mosak, H. H. & Di Pietro, R. (2005). Early Recollections: Interpretive Method and Application. New York: Routledge. .
Oberst, U. E. and Stewart, A. E. (2003). Adlerian Psychotherapy: An Advanced Approach to Individual Psychology. New York: Brunner-Routledge. .
Orgler, H. (1963). Alfred Adler: The Man and His Work: Triumph Over the Inferiority Complex. New York: Liveright.
Orgler, H. (1996). Alfred Adler, 22 (1), pg. 67–68.
Josef Rattner (1983): Alfred Adler: Life and Literature. Ungar Pub. Co. .
Slavik, S. & Carlson, J. (Eds.). (2005). Readings in the Theory of Individual Psychology. New York: Routledge. .
Manès Sperber (1974). Masks of Loneliness: Alfred Adler in Perspective. New York: Macmillan. .
Stepansky, P. E. (1983). In Freud's Shadow: Adler in Context. Hillsdale, NJ: Analytic Press. .
Watts, R. E. (2003). Adlerian, cognitive, and constructivist therapies: An integrative dialogue. New York: Springer. .
Watts, R. E., & Carlson, J. (1999). Interventions and strategies in counseling and psychotherapy. New York: Accelerated Development/Routledge. .
Way, Lewis (1950): Adler's Place in Psychology. London: Allen & Unwin.
Way, Lewis (1956): Alfred Adler: An Introduction to his Psychology. London: Pelican.
West, G. K. (1975). Kierkegaard and Adler. Tallahassee: Florida State University.
External links
International Association of Individual Psychology
Psychology Articles
The Adlerian Society (UK) and the Institute for Individual Psychology
The North American Society of Adlerian Psychology
Institutul de Psihologie si Psihoterapie Adleriana Romania
Centro de Estudios Adlerianos Uruguay
Classical Adlerian Psychology according to Alfred Adlers Institutes in San Francisco and Northwestern Washington
AdlerPedia
Hong Kong Society of Adlerian Psychology
New Concept Coaching & Training Institute
1870 births
1937 deaths
Adlerian psychology
19th-century Austrian Jews
Jewish scientists
Austrian ophthalmologists
Austrian people of Hungarian-Jewish descent
Austrian psychiatrists
Austrian psychologists
Jewish psychiatrists
People from Rudolfsheim-Fünfhaus
University of Vienna alumni
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[
"Music streaming site Spotify displays data for two types of statistics on the profiles of artists who use its platform: \"Listeners\" and \"Followers\". Users can indicate their preference for a particular musician or performer by \"following\" them. Certain widely-loved acts have attained an exceptionally large number of \"followers\" on the platform; these acts are listed below.\n\nEd Sheeran is the most-followed artist on Spotify with over 93 million followers—he was the first artist to cross 50 million followers on the platform. The most-followed female artist is Ariana Grande, with over 76 million followers—she became the most-followed female act on the platform in December 2020 when she surpassed 54 million followers. The most-followed group and non-English act is BTS, with over 46 million followers.\n\nSee also \n\n List of streaming media systems\n Tech companies in the New York metropolitan area\n List of most-streamed songs on Spotify\n List of most-streamed artists on Spotify\n Spotify\n\nReferences\n\n21st century-related lists\nMusic-related lists\nLists of Internet-related superlatives\nLists of musicians\nSpotify\nLists of most popular media",
"Rampal (born Rampal Singh Jatain on 8 September 1951) is an Indian religious leader from Kabir Panth. He is a disciple of Swami Ramdevanand Ji who was a Garib Das panthi Saint (GaribDas Panth is connected to Kabir Panth). He was initiated from him on February 17, 1988. In 1994, Swami Ramdevanand chose him the successor. He claims that Kabir is the Supreme God. He preaches against meat-eating, intoxication, dowry, temple/deity worship, adultery, and unnecessary donation/charity, etc. His followers established Satlok Ashram in 1999 in Rohtak, Haryana.\n\nIn 2006, Rampal publicly objected to certain parts of Satyarth Prakash, a central book of Arya Samaj. In July 2006, a violent confrontation between the followers of Arya Samaj and the Rampal supporters at Satlok Ashram in Karontha led to death of an Arya Samaj follower. Rampal was charged with murder and arrested. After spending 21 months in jail, he was released on bail in 2008. In November 2014, he was again arrested on a contempt of court case. The confrontation between his followers and police led to the death of 6 people. He was charged with wrongful confinement, murder, sedition, and other charges. He was convicted in the murder in Barwala case. The sedition case is undertrial. He has been acquitted in the rest of the cases of the 2014 incident.\n\nEarly life \nRampal was born in Dhanana, a village in the Gohana tehsil of Sonepat district, Punjab (part of Haryana since 1966). His father Bhakt Nandlal was a farmer, and his mother Indro Devi was a housewife.\n\nHe obtained a diploma in Civil engineering from Govt. Polytechnic Nilokheri, and then worked as a junior engineer for 18 years in the Government of Haryana's Irrigation department. In 1995, he resigned from the job.\n\nRampal is married to Anaro Devi. They have two sons, viz. Manoj and Virender, and two daughters, viz. Anju and Manju. The family lived in the Barwala ashram until the siege.\n\nInitiation into Yatharth Kabir panth \n\nAccording to his official biography, Rampal was an ardent devotee of the Hindu deities Hanuman, Krishna and Khatushyam. He states that he never achieved salvation, well-being or peace as a result of this devotion. One day, he met Swami Ramdevanand, a spiritual leader of the Garib das panth, which is a Kabir panth. Swami Ramdevanand told him that he could not attain salvation through the prevalent religious practices, which were a \"false web\" spread by the Hindu trinity of Brahma, Vishnu and Mahesh, along with their parents Brahm (\"Kaal Niranjan\") and Durga (\"Ashtangi Aadi Maya\").\n\nRampal states that he then studied several spiritual books, including Bhagavad Gita, Kabir Sagar, Sad Granth Saheb by Garib Das, and \"all the Puranas\". He claims to have found evidence supporting the statements of Swami Ramdevanand in these books. He took initiation from him on 17 February 1988. He claims that he, then, started an intense jaap (meditative repetition of naam or god's name), after which he started experiencing \"mental peace and extreme happiness\".\n\nIn 1993, Swami Ramdevanand asked him to start delivering Sermons. In 1994, Swami Ramdevanand chose him the successor. He gained local popularity by touring various villages and cities in Haryana. He became so busy that he resigned from his job in May 1995. His resignation was formally accepted in 2000, with effect from 1995.\n\nSatlok Ashram \nIn 1999, Rampal founded the Satlok Ashram in Karotha village of Rohtak district, drawing on his following from within the Kabir panth.\n\nDuring the 2000s and 2010s, he established several other ashrams, and gained followers in Rohtak and Jhajjar districts of Haryana.\n\nCourt case \nIn 2006, Rampal raised objections to certain parts of Satyarth Prakash, the central text of the Arya Samaj religious sect. He termed these parts as \"impractical and anti-social\". This angered the followers of Arya Samaj, who surrounded his ashram, eventually resulting in a clash between the followers of two sects on 12 July 2006. During the clash, one person named Sonu was shot dead, and 59 more were injured. Rampal was charged with murder and attempted, and jailed for 21 months. His followers claim that he was falsely implicated in the case and demanded the CBI investigation. Rampal was forced to vacate the Karontha ashram.\n\nAnother complaint of forgery was filed against him a day after the 2006 clashes. According to this complaint, the sale of land for his Karontha ashram was fabricated using impersonation. Rampal's followers claim that they had no role to play in this impersonation, and the person who sold the land was at fault. On 1 May 2018, the court acquitted Rampal and his followers Rajender and Ravinder Dhaka in the land grab case registered in 2006.\n\nAfter Rampal was released on bail in 2008, he set up his base in Barwala, Hisar. In 2009, the High Court returned the Karontha ashram to him. An appeal against the judgement was filed by Haryana government and Arya Pratinidhi Sabha, but was rejected by the apex court in February 2013. On 1 May 2018, Judicial Magistrate Harish Goyal of Rohtak Court acquitted Rampal and three others in Karontha Ashram land forgery case and rather held the complainants guilty.\n\nAfter obtaining bail, Rampal did not appear in court regularly, for trial in the murder case. He was exempted from appearing by the court. His followers were inside the karontha ashram when Arya Samaj-affiliated villagers in an attempt to attack the ashram clashed with the police protecting the ashram in May 2013, which resulted in death of 3 people, including policemen and around 100 people were injured. Unable to check the villagers, the police forced Rampal followers to leave the Karontha ashram, and move to Barwala ashram. Arya Samaj activists demanded his arrest and trial. On 14 May 2014, he appeared in the Hisar court through a video link. On this occasion, his followers entered the court premises and created chaos. Rampal is a controversial preacher but has large number of followers in Haryana state of India and in other parts of Northern India.\n\nIn July 2014, some Arya Samaji lawyers clashed with Rampal's followers that again disrupted the court proceedings. In September 2014, Rampal was asked to appear before the Punjab and Haryana High Court in Chandigarh, in a contempt of court case. The local administration imposed Section 144 and deployed 2,000 police personnel to prevent his followers from entering the city. Despite this, thousands of followers gathered in the city, although Rampal did not appear before the court.\n\nDuring 2010–14, Rampal didn't appear in court hearings 42 times. Since, he was given 'exemption from appearance' by the court to maintain the law and order situation. In 2014, the Punjab and Haryana High Court issued non-bailable arrest warrants against him after his followers were alleged of disrupting court's proceedings. When the police tried to detain him on 9 November, his followers formed human chains outside the Satlok Ashram to prevent the police from arresting him. The police tried to initiate a dialogue, and asked him to surrender. Rampal's followers announced that the police will have to kill more than 100,000 followers before arresting him.\n\nBy 18 November, his Satlok ashram in Hisar was protected by thousands of his followers who wielded lathis, and flags reading \"SatSaheb\" (the word they use for Supreme God). The ashram was also protected by thousands of women devotees who blocked the entrance for several days, which prevented the police from entering it. More than 20,000 security personnel and police forced their way into the ashram, but they could not find Rampal for arrest. The police used earth movers to break wall on rear side of ashram to find him, but were opposed by large number of followers who injured 28 police personnel in an effort to halt their entry. A large number of media personnel was also hit by the police. The bodies of five women and an 18-month-old child were found in his ashram.\n\nRampal was arrested on the night of 19 November 2014, along with more than 900 of his followers, on charges including sedition, murder, attempt to murder, conspiracy, hoarding illegal weapons, wrongful confinement, and aiding and abetting suicide-mongers. His followers demanded CBI investigation of the whole incident. A special court of Hisar, Haryana, on 26 July 2021 released Sant Rampal Ji Maharaj and 4 others of all the charges and held them acquitted in the Drugs and Cosmetics case.\n\nConviction \nOn 29 August 2017, Rampal was found not guilty and acquitted in two cases related to wrongful confinement and obstruction of duty by Hisar court, yet, he continued to remain in judicial custody as the cases of murder and sedition were still ongoing.\n \nOn 11 October 2018, Rampal was found guilty of murder in two cases with FIR no. 429 and 430. Both cases pertain to the death of five women and an eighteen-month-old infant at his Satlok Ashram in Barwala in 2014 during clashes between his supporters and police. On 16 October 2018, all the convicts were sentenced to life imprisonment along with ₹2 Lakh fine each for the case 429 of murder of four women during the Satlok standoff. The then Additional District and Sessions Judge D.R. Chalia pronounced the punishment for Rampal and fourteen of his followers of life imprisonment and also a fine of ₹1 lakh each was imposed separately for murder and criminal conspiracy. The convicts were also awarded a sentence of two years imprisonment and fined ₹5,000 each for wrongful confinement. The jail terms were pronounced to run concurrently.\n\nTeachings \nRampal claims to be an incarnation of Kabir, whom he considers to be the supreme god. He claims that all the major religious scriptures — including Vedas, Gita, Quran, Bible and Guru Granth Sahib — name Kabir as the supreme god. His followers consider him an incarnation of Kabir himself. He claims to be the initiator of the thirteenth Kabir Panth, which, he says, will transform earth into heaven and bring the golden era with his knowledge and worship.\n\nRampal preaches against temple visits, Dowry, idol worship, unnecessary donations, untouchability, adultery, and \"vulgar singing and dancing\". He is strictly against the consumption of meat, tobacco, and alcohol as he says that it incurs great sin and causes immense suffering in next lives. He takes guarantee to salvage his disciples to Satlok (which he calls the supreme abode) and ending all their sufferings if they followed all the rules of worship laid down by him.\n\nReferences\n\nExternal links\n Official website\n\nIndian religious leaders\nPeople from Sonipat district\nLiving people\n1951 births\nIndian prisoners and detainees\nIndian people convicted of murder"
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"he enjoyed considerable success and celebrity in building an independent school of psychotherapy and a unique personality theory.",
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Are there any other interesting aspects about this article?
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Are there any other interesting aspects about this article in addition to Alfred Adler building the Alderian school and establishing child guidence clinics?
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Alfred Adler
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Following Adler's break from Freud, he enjoyed considerable success and celebrity in building an independent school of psychotherapy and a unique personality theory. He traveled and lectured for a period of 25 years promoting his socially oriented approach. His intent was to build a movement that would rival, even supplant, others in psychology by arguing for the holistic integrity of psychological well-being with that of social equality. Adler's efforts were halted by World War I, during which he served as a doctor with the Austrian Army. After the conclusion of the war, his influence increased greatly. In the 1930s, he established a number of child guidance clinics. From 1921 onwards, he was a frequent lecturer in Europe and the United States, becoming a visiting professor at Columbia University in 1927. His clinical treatment methods for adults were aimed at uncovering the hidden purpose of symptoms using the therapeutic functions of insight and meaning. Adler was concerned with the overcoming of the superiority/inferiority dynamic and was one of the first psychotherapists to discard the analytic couch in favor of two chairs. This allows the clinician and patient to sit together more or less as equals. Clinically, Adler's methods are not limited to treatment after-the-fact but extend to the realm of prevention by preempting future problems in the child. Prevention strategies include encouraging and promoting social interest, belonging, and a cultural shift within families and communities that leads to the eradication of pampering and neglect (especially corporal punishment). Adler's popularity was related to the comparative optimism and comprehensibility of his ideas. He often wrote for the lay public. Adler always retained a pragmatic approach that was task-oriented. These "Life tasks" are occupation/work, society/friendship, and love/sexuality. Their success depends on cooperation. The tasks of life are not to be considered in isolation since, as Adler famously commented, "they all throw cross-lights on one another". In his bestselling book, Man's Search for Meaning, Dr. Viktor E. Frankl compared his own "Third Viennese School of Psychotherapy" (after Freud's and Adler's schools) to Adler's analysis: According to logotherapy, the striving to find a meaning in one's life is the primary motivational force in man. That is why I speak of a will to meaning in contrast to the "pleasure principle" (or, as we could also term it, the will to pleasure) on which Freudian psychoanalysis is centered, as well as in contrast to the will to power stressed by Adlerian psychology. CANNOTANSWER
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Adler was concerned with the overcoming of the superiority/inferiority dynamic and was one of the first psychotherapists to discard the analytic couch in favor of two chairs.
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Alfred Adler (; ; 7 February 1870 – 28 May 1937) was an Austrian medical doctor, psychotherapist, and founder of the school of individual psychology. His emphasis on the importance of feelings of inferiority, the inferiority complex, is recognized as an isolating element which plays a key role in personality development. Alfred Adler considered a human being as an individual whole, and therefore he called his psychology "Individual Psychology" (Orgler 1976).
Adler was the first to emphasize the importance of the social element in the re-adjustment process of the individual and to carry psychiatry into the community. A Review of General Psychology survey, published in 2002, ranked Adler as the 67th most eminent psychologist of the 20th century.
Early life
Alfred Adler was born on February 7, 1870 at Mariahilfer Straße 208 in Rudolfsheim, a village on the western fringes of Vienna, a modern part of Rudolfsheim-Fünfhaus, the 15th district of the city. He was second of the seven children of a Jewish couple, Pauline (Beer) and Leopold Adler. Leopold Adler was a Hungarian-born grain merchant. Alfred's younger brother died in the bed next to him when Alfred was only three years old, and throughout his childhood, he maintained a rivalry with his older brother. This rivalry was spurred on because Adler believed his mother preferred his brother over him. Despite his good relationship with his father, he still struggled with feelings of inferiority in his relationship with his mother.
Alfred was an active, popular child and an average student who was also known for the competitive attitude toward his older brother, Sigmund. Early on, he developed rickets, which kept Alfred from walking until he was four years old. At the age of four, he developed pneumonia and heard a doctor say to his father, "Your boy is lost". Along with being run over twice and witnessing his younger brother's death, this sickness contributed to his overall fear of death. At that point, he decided to be a physician. He was very interested in the subjects of psychology, sociology and philosophy. After studying at University of Vienna, he specialized as an eye doctor, and later in neurology and psychiatry.
Career
Adler began his medical career as an ophthalmologist, but he soon switched to general practice, and established his office in a less affluent part of Vienna across from the Prater, a combination of amusement park and circus. His clients included circus people, and it has been suggested that the unusual strengths and weaknesses of the performers led to his insights into "organ inferiorities" and "compensation".
In his early career, Adler wrote an article in the defense of Freud's theory after reading one of Freud's most well known works, The Interpretation of Dreams. In 1902, because of his defense article, Adler received an invitation from Sigmund Freud to join an informal discussion group that included Rudolf Reitler and Wilhelm Stekel. The group, the "Wednesday Society" (Mittwochsgesellschaft), met regularly on Wednesday evenings at Freud's home and was the beginning of the psychoanalytic movement, expanding over time to include many more members. Each week a member would present a paper and after a short break of coffee and cakes, the group would discuss it. The main members were Otto Rank, Max Eitingon, Wilhelm Stekel, Karl Abraham, Hanns Sachs, Fritz Wittels, Max Graf, and Sandor Ferenczi. In 1908, Adler presented his paper, "The aggressive instinct in life and in neurosis", at a time when Freud believed that early sexual development was the primary determinant of the making of character, with which Adler took issue. Adler proposed that the sexual and aggressive drives were "two originally separate instincts which merge later on". Freud at the time disagreed with this idea.
When Freud in 1920 proposed his dual instinct theory of libido and aggressive drives in Beyond the Pleasure Principle, without citing Adler, he was reproached that Adler had proposed the aggressive drive in his 1908 paper (Eissler, 1971). Freud later commented in a 1923 footnote he added to the Little Hans case that, "I have myself been obliged to assert the existence of an aggressive instinct" (1909, p. 140, 2), while pointing out that his conception of an aggressive drive differs from that of Adler. A long-serving member of the group, he made many more beyond this 1908 pivotal contribution to the group, and Adler became president of the Vienna Psychoanalytic Society eight years later (1910). He remained a member of the Society until 1911, when he and a group of his supporters formally disengaged from Freud's circle, the first of the great dissenters from orthodox psychoanalysis (preceding Carl Jung's split in 1914).
This departure suited both Freud and Adler, since they had grown to dislike each other. During his association with Freud, Adler frequently maintained his own ideas which often diverged from Freud's. While Adler is often referred to as "a pupil of Freud", in fact this was never true; they were colleagues, Freud referring to him in print in 1909 as "My colleague Dr Alfred Adler". The association of Adler and Freud lasted a total of 9 years, and they never saw each other after the separation. Freud continued to dislike Adler even after the separation and tended to do so with other defectors from psychoanalysis. Even after Adler's death, Freud maintained his distaste for him. When conversing with a colleague over the matter, he stated, "I don't understand your sympathy for Adler. For a Jewish boy out of a Viennese suburb a death in Aberdeen is an unheard of career in itself and a proof of how far he had got on. The world really rewarded him richly for his service in having contradicted psychoanalysis." In 1929 Adler showed a reporter with the New York Herald a copy of the faded postcard that Freud had sent him in 1902. He wanted to prove that he had never been a disciple of Freud's but rather that Freud had sought him out to share his ideas.
Adler founded the Society for Individual Psychology in 1912 after his break from the psychoanalytic movement. Adler's group initially included some orthodox Nietzschean adherents (who believed that Adler's ideas on power and inferiority were closer to Nietzsche than Freud's). Their enmity aside, Adler retained a lifelong admiration for Freud's ideas on dreams and credited him with creating a scientific approach to their clinical utilization (Fiebert, 1997). Nevertheless, even regarding dream interpretation, Adler had his own theoretical and clinical approach. The primary differences between Adler and Freud centered on Adler's contention that the social realm (exteriority) is as important to psychology as is the internal realm (interiority). The dynamics of power and compensation extend beyond sexuality, and gender and politics can be as important as libido. Moreover, Freud did not share Adler's socialist beliefs, the latter's wife being for example an intimate friend of many of the Russian Marxists such as Leon Trotsky.
The Adlerian school
Following Adler's break from Freud, he enjoyed considerable success and celebrity in building an independent school of psychotherapy and a unique personality theory. He traveled and lectured for a period of 25 years promoting his socially oriented approach. His intent was to build a movement that would rival, even supplant, others in psychology by arguing for the holistic integrity of psychological well-being with that of social equality. Adler's efforts were halted by World War I, during which he served as a doctor with the Austro-Hungarian Army. After the conclusion of the war, his influence increased greatly. In the 1920s, he established a number of child guidance clinics. From 1921 onwards, he was a frequent lecturer in Europe and the United States, becoming a visiting professor at Columbia University in 1927. His clinical treatment methods for adults were aimed at uncovering the hidden purpose of symptoms using the therapeutic functions of insight and meaning.
Adler was concerned with the overcoming of the superiority/inferiority dynamic and was one of the first psychotherapists to discard the analytic couch in favor of two chairs. This allows the clinician and patient to sit together more or less as equals. Clinically, Adler's methods are not limited to treatment after-the-fact but extend to the realm of prevention by preempting future problems in the child. Prevention strategies include encouraging and promoting social interest, belonging, and a cultural shift within families and communities that leads to the eradication of pampering and neglect (especially corporal punishment). Adler's popularity was related to the comparative optimism and comprehensibility of his ideas. He often wrote for the lay public. Adler always retained a pragmatic approach that was task-oriented. These "Life tasks" are occupation/work, society/friendship, and love/sexuality. Their success depends on cooperation. The tasks of life are not to be considered in isolation since, as Adler famously commented, "they all throw cross-lights on one another".
In his bestselling book, Man's Search for Meaning, Dr. Viktor E. Frankl compared his own "Third Viennese School of Psychotherapy" (after Freud's and Adler's schools) to Adler's analysis:
Emigration
In the early 1930s, after most of Adler's Austrian clinics had been closed due to his Jewish heritage (despite his conversion to Christianity), Adler left Austria for a professorship at the Long Island College of Medicine in the US. Adler died from a heart attack in 1937 in Aberdeen, Scotland, during a lecture tour, although his remains went missing and were unaccounted for until 2007. His death was a temporary blow to the influence of his ideas, although a number of them were subsequently taken up by neo-Freudians. Through the work of Rudolf Dreikurs in the United States and many other adherents worldwide, Adlerian ideas and approaches remain strong and viable more than 70 years after Adler's death.
Around the world there are various organizations promoting Adler's orientation towards mental and social well-being. These include the International Committee of Adlerian Summer Schools and Institutes (ICASSI), the North American Society of Adlerian Psychology (NASAP) and the International Association for Individual Psychology. Teaching institutes and programs exist in Austria, Canada, England, Germany, Greece, Israel, Italy, Japan, Latvia, Switzerland, the United States, Jamaica, Peru, and Wales.
Basic principles
Adler was influenced by the mental construct ideas of the philosopher Hans Vaihinger (The Philosophy of 'As if') and the literature of Dostoyevsky. While still a member of the Vienna Psychoanalytic Society he developed a theory of organic inferiority and compensation that was the prototype for his later turn to phenomenology and the development of his famous concept, the inferiority complex.
Adler was also influenced by the philosophies of Immanuel Kant, Friedrich Nietzsche, Rudolf Virchow and the statesman Jan Smuts (who coined the term "holism"). Adler's School, known as "Individual Psychology"—an arcane reference to the Latin individuals meaning indivisibility, a term intended to emphasize holism—is both a social and community psychology as well as a depth psychology. Adler was an early advocate in psychology for prevention and emphasized the training of parents, teachers, social workers and so on in democratic approaches that allow a child to exercise their power through reasoned decision making whilst co-operating with others. He was a social idealist, and was known as a socialist in his early years of association with psychoanalysis (1902–1911).
Adler was pragmatic and believed that lay people could make practical use of the insights of psychology. Adler was also an early supporter of feminism in psychology and the social world, believing that feelings of superiority and inferiority were often gendered and expressed symptomatically in characteristic masculine and feminine styles. These styles could form the basis of psychic compensation and lead to mental health difficulties. Adler also spoke of "safeguarding tendencies" and neurotic behavior long before Anna Freud wrote about the same phenomena in her book The Ego and the Mechanisms of Defense.
Adlerian-based scholarly, clinical and social practices focus on the following topics:
Social interest and community feeling
Holism and the creative self
Fictional finalism, teleology, and goal constructs
Psychological and social encouragement
Inferiority, superiority and compensation
Life style/style of life
Early recollections (a projective technique)
Family constellation and birth order
Life tasks and social embeddedness
The conscious and unconscious realms
Private logic and common sense (based in part on Kant's "")
Symptoms and neurosis
Safeguarding behavior
Guilt and guilt feelings
Socratic questioning
Dream interpretation
Child and adolescent psychology
Democratic approaches to parenting and families
Adlerian approaches to classroom management
Leadership and organizational psychology
Adler created Adlerian Therapy, because he believed that one's psyche should be studied in the context of that person's environment.
Adler's approach to personality
In one of his earliest and most famous publications, "Study of Organ Inferiority and Its Physical Compensation," Adler outlined the basics for what would be the beginning foundation of his personality theory. The article focuses mainly on the topics of organ inferiority and compensation. Organ inferiority is when one organ, or portion of the body, is weaker than the rest. Adler postulated that the body's other organs would work together in order to compensate for the weakness of this "inferior" organ. When compensation occurs, other areas of the body make up for the function lacking in the inferior portion. In some cases, the weakness may be overcompensated transforming it into a strength. An example would be an individual with a weak leg becoming a great runner later on. As his theory progressed, the idea of organ inferiority was replaced with feelings of inferiority instead. As Adler's theory progressed, he continued evolving his theory and key ideas.
Adler's book, Über den nervösen Charakter (The Neurotic Character) defines his earlier key ideas. He argued that human personality could be explained teleologically: parts of the individual's unconscious self ideally work to convert feelings of inferiority to superiority (or rather completeness). The desires of the self ideal were countered by social and ethical demands. If the corrective factors were disregarded and the individual overcompensated, then an inferiority complex would occur, fostering the danger of the individual becoming egocentric, power-hungry and aggressive or worse.
Common therapeutic tools include the use of humor, historical instances, and paradoxical injunctions.
Psychodynamics and teleology
Adler maintained that human psychology is psychodynamic in nature. Unlike Freud's metapsychology that emphasizes instinctual demands, human psychology is guided by goals and fueled by a yet unknown creative force. Like Freud's instincts, Adler's fictive goals are largely unconscious. These goals have a "teleological" function. Constructivist Adlerians, influenced by neo-Kantian and Nietzschean ideas, view these "teleological" goals as "fictions" in the sense that Hans Vaihinger spoke of (fictio). Usually there is a fictional final goal which can be deciphered alongside of innumerable sub-goals. The inferiority/superiority dynamic is constantly at work through various forms of compensation and overcompensation. For example, in anorexia nervosa the fictive final goal is to "be perfectly thin" (overcompensation on the basis of a feeling of inferiority). Hence, the fictive final goal can serve a persecutory function that is ever-present in subjectivity (though its trace springs are usually unconscious). The end goal of being "thin" is fictive however since it can never be subjectively achieved.
Teleology serves another vital function for Adlerians. Chilon's "hora telos" ("see the end, consider the consequences") provides for both healthy and maladaptive psychodynamics. Here we also find Adler's emphasis on personal responsibility in mentally healthy subjects who seek their own and the social good.
Constructivism and metaphysics
The metaphysical thread of Adlerian theory does not problematize the notion of teleology since concepts such as eternity (an ungraspable end where time ceases to exist) match the religious aspects that are held in tandem. In contrast, the constructivist Adlerian threads (either humanist/modernist or postmodern in variant) seek to raise insight of the force of unconscious fictions– which carry all of the inevitability of 'fate'– so long as one does not understand them. Here, 'teleology' itself is fictive yet experienced as quite real. This aspect of Adler's theory is somewhat analogous to the principles developed in Rational Emotive Behavior Therapy (REBT) and Cognitive Therapy (CT). Both Albert Ellis and Aaron T. Beck credit Adler as a major precursor to REBT and CT. Ellis in particular was a member of the North American Society for Adlerian Psychology and served as an editorial board member for the Adlerian Journal Individual Psychology.
As a psychodynamic system, Adlerians excavate the past of a client/patient in order to alter their future and increase integration into community in the 'here-and-now'. The 'here-and-now' aspects are especially relevant to those Adlerians who emphasize humanism and/or existentialism in their approaches.
Holism
Metaphysical Adlerians emphasize a spiritual holism in keeping with what Jan Smuts articulated (Smuts coined the term "holism"), that is, the spiritual sense of one-ness that holism usually implies (etymology of holism: from ὅλος holos, a Greek word meaning all, entire, total) Smuts believed that evolution involves a progressive series of lesser wholes integrating into larger ones. Whilst Smuts' text Holism and Evolution is thought to be a work of science, it actually attempts to unify evolution with a higher metaphysical principle (holism). The sense of connection and one-ness revered in various religious traditions (among these, Christianity, Judaism, Zoroastrianism, Islam, Buddhism and Baha'i) finds a strong complement in Adler's thought.
The pragmatic and materialist aspects to contextualizing members of communities, the construction of communities and the socio-historical-political forces that shape communities matter a great deal when it comes to understanding an individual's psychological make-up and functioning. This aspect of Adlerian psychology holds a high level of synergy with the field of community psychology, especially given Adler's concern for what he called "the absolute truth and logic of communal life". However, Adlerian psychology, unlike community psychology, is holistically concerned with both prevention and clinical treatment after-the-fact. Hence, Adler can be considered the "first community psychologist", a discourse that formalized in the decades following Adler's death (King & Shelley, 2008).
Adlerian psychology, Carl Jung's analytical psychology, Gestalt therapy and Karen Horney's psychodynamic approach are holistic schools of psychology. These discourses eschew a reductive approach to understanding human psychology and psychopathology.
Typology
Adler developed a scheme of so-called personality types, which were however always to be taken as provisional or heuristic since he did not, in essence, believe in personality types, and at different times proposed different and equally tentative systems. The danger with typology is to lose sight of the individual's uniqueness and to gaze reductively, acts that Adler opposed. Nevertheless, he intended to illustrate patterns that could denote a characteristic governed under the overall style of life. Hence American Adlerians such as Harold Mosak have made use of Adler's typology in this provisional sense:
The Getting or Leaning They are sensitive people who have developed a shell around themselves which protects them, but they must rely on others to carry them through life's difficulties. They have low energy levels and so become dependent. When overwhelmed, they develop what we typically think of as neurotic symptoms: phobias, obsessions and compulsions, general anxiety, hysteria, amnesias, and so on, depending on individual details of their lifestyle.
The Avoiding types are those that hate being defeated. They may be successful, but have not taken any risks getting there. They are likely to have low social contact in fear of rejection or defeat in any way.
The Ruling or Dominant type strive for power and are willing to manipulate situations and people, anything to get their way. People of this type are also prone to anti-social behavior.
The Socially Useful types are those who are very outgoing and very active. They have a lot of social contact and strive to make changes for the good.
These 'types' are typically formed in childhood and are expressions of the Style of Life.
The importance of memories
Adler placed great emphasis upon the interpretation of early memories in working with patients and school children, writing that, "Among all psychic expressions, some of the most revealing are the individual's memories." Adler viewed memories as expressions of "private logic" and as metaphors for an individual's personal philosophy of life or "lifestyle". He maintained that memories are never incidental or trivial; rather, they are chosen reminders: "(A person's) memories are the reminders she carries about with her of her limitations and of the meanings of events. There are no 'chance' memories. Out of the incalculable number of impressions that an individual receives, she chooses to remember only those which she considers, however dimly, to have a bearing on her problems."
On birth order
Adler often emphasized one's psychological birth order as having an influence on the style of life and the strengths and weaknesses in one's psychological make up. Birth order referred to the placement of siblings within the family. It is important to note the difference between psychological and ordinal birth order (e.g. in some families, a second child might behave like a firstborn, in which case they are considered to be an ordinal secondborn but a psychological firstborn). Mosak, H.H. & Maniacci, M. P. (1999). A primer of Adlerian Psychology. Taylor and Francis. Adler believed that the firstborn child would be in a favorable position, enjoying the full attention of the eager new parents until the arrival of a second child. This second child would cause the first born to suffer feelings of dethronement, no longer being the center of attention. Adler (1908) believed that in a three-child family, the oldest child would be the most likely to suffer from neuroticism and substance addiction which he reasoned was a compensation for the feelings of excessive responsibility "the weight of the world on one's shoulders" (e.g. having to look after the younger ones) and the melancholic loss of that once supremely pampered position. As a result, he predicted that this child was the most likely to end up in jail or an asylum. Youngest children would tend to be overindulged, leading to poor social empathy. Consequently, the middle child, who would experience neither dethronement nor overindulgence, was most likely to develop into a successful individual yet also most likely to be a rebel and to feel squeezed-out. Adler himself was the third (some sources credit second) in a family of six children.
Adler never produced any scientific support for his interpretations on birth order roles, nor did he feel the need to. Yet the value of the hypothesis was to extend the importance of siblings in marking the psychology of the individual beyond Freud's more limited emphasis on the mother and father. Hence, Adlerians spend time therapeutically mapping the influence that siblings (or lack thereof) had on the psychology of their clients. The idiographic approach entails an excavation of the phenomenology of one's birth order position for likely influence on the subject's Style of Life. In sum, the subjective experiences of sibling positionality and inter-relations are important in terms of the dynamics of psychology, for Adlerian therapists and personality theorists, not the cookbook predictions that may or may not have been objectively true in Adler's time.
For Adler, birth order answered the question, "Why do children, who are raised in the same family, grow up with very different personalities?" While a strict geneticist, believing siblings are raised in a shared environment, may claim any differences in personality would be caused by subtle variations in the individuals' genetics, Adler showed through his birth order theory that children do not grow up in the same shared environment, but the oldest child grows up in a family where they have younger siblings, the middle child with older and younger siblings, and the youngest with older siblings. The position in the family constellation, Adler said, is the reason for these differences in personality and not genetics: a point later taken up by Eric Berne.
On addiction
Adler's insight into birth order, compensation and issues relating to the individuals' perception of community also led him to investigate the causes and treatment of substance abuse disorders, particularly alcoholism and morphinism, which already were serious social problems of his time. Adler's work with addicts was significant since most other prominent proponents of psychoanalysis invested relatively little time and thought into this widespread ill of the modern and post-modern age. In addition to applying his individual psychology approach of organ inferiority, for example, to the onset and causes of addictive behaviors, he also tried to find a clear relationship of drug cravings to sexual gratification or their substitutions. Early pharmaco-therapeutic interventions with non-addictive substances, such as neuphyllin were used, since withdrawal symptoms were explained by a form of "water-poisoning" that made the use of diuretics necessary.
Adler and his wife's pragmatic approach, and the seemingly high success rates of their treatment were based on their ideas of social functioning and well-being. Clearly, life style choices and situations were emphasized, for example the need for relaxation or the negative effects of early childhood conflicts were examined, which compared to other authoritarian or religious treatment regimens, were clearly modern approaches. Certainly some of his observations, for example that psychopaths were more likely to be drug addicts are not compatible with current methodologies and theories of substance abuse treatment, but the self-centered attributes of the illness and the clear escapism from social responsibilities by pathological addicts put Adler's treatment modalities clearly into a modern contextual reasoning.
On homosexuality
Adler's ideas regarding non-heterosexual sexuality and various social forms of deviance have long been controversial. Along with prostitution and criminality, Adler had classified 'homosexuals' as falling among the "failures of life". In 1917, he began his writings on homosexuality with a 52-page magazine, and sporadically published more thoughts throughout the rest of his life.
The Dutch psychologist Gerard J. M. van den Aardweg underlines how Alfred Adler came to his conclusions for, in 1917, Adler believed that he had established a connection between homosexuality and an inferiority complex towards one's own gender. This point of view differed from Freud's theory that homosexuality is rooted in narcissism or Jung's view of expressions of contrasexuality vis-à-vis the archetypes of the Anima and Animus.
There is evidence that Adler may have moved towards abandoning the hypothesis. Towards the end of Adler's life, in the mid-1930s, his opinion towards homosexuality began to shift. Elizabeth H. McDowell, a New York state family social worker recalls undertaking supervision with Adler on a young man who was "living in sin" with an older man in New York City. Adler asked her, "Is he happy, would you say?" "Oh yes," McDowell replied. Adler then stated, "Well, why don't we leave him alone."
According to Phyllis Bottome, who wrote Adler's Biography (after Adler himself laid upon her that task): "He always treated homosexuality as lack of courage. These were but ways of obtaining a slight release for a physical need while avoiding a greater obligation. A transient partner of your own sex is a better known road and requires less courage than a permanent contact with an "unknown" sex.... Adler taught that men cannot be judged from within by their "possessions," as he used to call nerves, glands, traumas, drives et cetera, since both judge and prisoner are liable to misconstrue what is invisible and incalculable; but that he can be judged, with no danger from introspection, by how he measures up to the three common life tasks set before every human being between the cradle and the grave: work (employment), love or marriage (intimacy), and social contact (friendships.)"
Parent education
Adler emphasized both treatment and prevention. With regard to psychodynamic psychology, Adlerians emphasize the foundational importance of childhood in developing personality and any tendency towards various forms of psychopathology. The best way to inoculate against what are now termed "personality disorders" (what Adler had called the "neurotic character"), or a tendency to various neurotic conditions (depression, anxiety, etc.), is to train a child to be and feel an equal part of the family. The responsibility of the optimal development of the child is not limited to the mother or father, but rather includes teachers and society more broadly. Adler argued therefore that teachers, nurses, social workers, and so on require training in parent education to complement the work of the family in fostering a democratic character. When a child does not feel equal and is enacted upon (abused through pampering or neglect) he or she is likely to develop inferiority or superiority complexes and various concomitant compensation strategies. These strategies exact a social toll by seeding higher divorce rates, the breakdown of the family, criminal tendencies, and subjective suffering in the various guises of psychopathology. Adlerians have long promoted parent education groups, especially those influenced by the famous Austrian/American Adlerian Rudolf Dreikurs (Dreikurs & Soltz, 1964).
Spirituality, ecology and community
In a late work, Social Interest: A Challenge to Mankind (1938), Adler turns to the subject of metaphysics, where he integrates Jan Smuts' evolutionary holism with the ideas of teleology and community: "sub specie aeternitatis". Unabashedly, he argues his vision of society: "Social feeling means above all a struggle for a communal form that must be thought of as eternally applicable... when humanity has attained its goal of perfection... an ideal society amongst all mankind, the ultimate fulfillment of evolution." Adler follows this pronouncement with a defense of metaphysics:
This social feeling for Adler is Gemeinschaftsgefühl, a community feeling whereby one feels he or she belongs with others and has also developed an ecological connection with nature (plants, animals, the crust of this earth) and the cosmos as a whole, sub specie aeternitatis. Clearly, Adler himself had little problem with adopting a metaphysical and spiritual point of view to support his theories.
Death and cremation
Adler died suddenly in Aberdeen, Scotland, in May 1937, during a three-week visit to the University of Aberdeen. While walking down the street, he was seen to collapse and lie motionless on the pavement. As a man ran over to him and loosened his collar, Adler mumbled "Kurt", the name of his son and died. The autopsy performed determined his death was caused by a degeneration of the heart muscle. His body was cremated at Warriston Crematorium in Edinburgh but the ashes were never reclaimed. In 2007, his ashes were rediscovered in a casket at Warriston Crematorium and returned to Vienna for burial in 2011.
Use of Adler's work without attribution
Much of Adler's theories have been absorbed into modern psychology without attribution. Psychohistorian Henri F. Ellenberger writes, "It would not be easy to find another author from which so much has been borrowed on all sides without acknowledgement than Alfred Adler." Ellenberger posits several theories for "the discrepancy between greatness of achievement, massive rejection of person and work, and wide-scale, quiet plagiarism..." These include Adler's "imperfect" style of writing and demeanor, his "capacity to create a new obviousness," and his lack of a large and well organized following.
Influence on depth psychology
In collaboration with Sigmund Freud and a small group of Freud's colleagues, Adler was among the co-founders of the psychoanalytic movement and a core member of the Vienna Psychoanalytic Society: indeed, to Freud he was "the only personality there". He was the first major figure to break away from psychoanalysis to form an independent school of psychotherapy and personality theory, which he called individual psychology because he believed a human to be an indivisible whole, an individuum. He also imagined a person to be connected or associated with the surrounding world.
This was after Freud declared Adler's ideas as too contrary, leading to an ultimatum to all members of the Society (which Freud had shepherded) to drop Adler or be expelled, disavowing the right to dissent (Makari, 2008). Nevertheless, Freud always took Adler's ideas seriously, calling them "honorable errors". Though one rejects the content of Adler's views, one can recognize their consistency and significance." Following this split, Adler would come to have an enormous, independent effect on the disciplines of counseling and psychotherapy as they developed over the course of the 20th century (Ellenberger, 1970). He influenced notable figures in subsequent schools of psychotherapy such as Rollo May, Viktor Frankl, Abraham Maslow and Albert Ellis. His writings preceded, and were at times surprisingly consistent with, later Neo-Freudian insights such as those evidenced in the works of Otto Rank, Karen Horney, Harry Stack Sullivan and Erich Fromm, some considering that it would take several decades for Freudian ego psychology to catch up with Adler's ground-breaking approach.
Adler emphasized the importance of equality in preventing various forms of psychopathology, and espoused the development of social interest and democratic family structures for raising children. His most famous concept is the inferiority complex which speaks to the problem of self-esteem and its negative effects on human health (e.g. sometimes producing a paradoxical superiority striving). His emphasis on power dynamics is rooted in the philosophy of Nietzsche, whose works were published a few decades before Adler's. Specifically, Adler's conceptualization of the "Will to Power" focuses on the individual's creative power to change for the better. Adler argued for holism, viewing the individual holistically rather than reductively, the latter being the dominant lens for viewing human psychology. Adler was also among the first in psychology to argue in favor of feminism, and the female analyst, making the case that power dynamics between men and women (and associations with masculinity and femininity) are crucial to understanding human psychology (Connell, 1995). Adler is considered, along with Freud and Jung, to be one of the three founding figures of depth psychology, which emphasizes the unconscious and psychodynamics (Ellenberger, 1970; Ehrenwald, 1991); and thus to be one of the three great psychologists/philosophers of the twentieth century.
Personal life
During his college years, he had become attached to a group of socialist students, among which he had found his wife-to-be, Raissa Timofeyewna Epstein, an intellectual and social activist from Russia studying in Vienna. Because Raissa was a militant socialist, she had a large impact on Adler's early publications and ultimately his theory of personality. They married in 1897 and had four children, two of whom, his daughter Alexandra and his son Kurt, became psychiatrists. Their children were writer, psychiatrist and Socialist activist Alexandra Adler; psychiatrist Kurt Adler; writer and activist Valentine Adler; and Cornelia "Nelly" Adler. Raissa, Adler's wife, died at 89 in New York City on April 21,1962.
Author and journalist Margot Adler (1946-2014) was Adler's granddaughter.
Artistic and cultural references
The two main characters in the novel Plant Teacher engage in a session of Adlerian lifestyle interpretation, including early memory interpretation.
In the episode Something About Dr. Mary of the television series Frasier, Frasier recalls having to "pass under a dangerously unbalanced portrait of Alfred Adler" during his studies at Harvard.
He appears as a character in the Young Indiana Jones chronicles.
English-language Adlerian journals
North America
The Journal of Individual Psychology (University of Texas Press)
The Canadian Journal of Adlerian Psychology (Adlerian Psychology Association of British Columbia)
United Kingdom
Adlerian Yearbook (Adlerian Society, UK)
Publications
Alfred Adler's key publications were The Practice and Theory of Individual Psychology (1927), Understanding Human Nature (1927), & What Life Could Mean to You (1931). Other important publications are The Pattern of Life (1930), The Science of Living (1930), The Neurotic Constitution (1917), The Problems of Neurosis (1930). In his lifetime, Adler published more than 300 books and articles.
The Alfred Adler Institute of Northwestern Washington has recently published a twelve-volume set of The Collected Clinical Works of Alfred Adler, covering his writings from 1898–1937. An entirely new translation of Adler's magnum opus, The Neurotic Character, is featured in Volume 1. Volume 12 provides comprehensive overviews of Adler's mature theory and contemporary Adlerian practice.
Volume 1 : The Neurotic Character — 1907
Volume 2 : Journal Articles 1898–1909
Volume 3 : Journal Articles 1910–1913
Volume 4 : Journal Articles 1914–1920
Volume 5 : Journal Articles 1921–1926
Volume 6 : Journal Articles 1927–1931
Volume 7 : Journal Articles 1931–1937
Volume 8 : Lectures to Physicians & Medical Students
Volume 9 : Case Histories
Volume 10 : Case Readings & Demonstrations
Volume 11 : Education for Prevention
Volume 12 : The General System of Individual Psychology
Other key Adlerian texts
Adler, A. (1964). The Individual Psychology of Alfred Adler. H. L. Ansbacher and R. R. Ansbacher (Eds.). New York: Harper Torchbooks. .
Adler, A. (1979). Superiority and Social Interest: A Collection of Later Writings. H. L. Ansbacher and R. R. Ansbacher (Eds.). New York, NY: W. W. Norton. .
See also
Adlerian
Classical Adlerian psychology
Neo-Adlerian
Notes
References
Adler, A. (1908). Der Aggressionstrieb im Leben und der Neurose. Fortsch. Med. 26: 577–584.
Adler, A. (1938). Social Interest: A Challenge to Mankind. J. Linton and R. Vaughan (Trans.). London: Faber and Faber Ltd.
Adler, A. (1956). The Individual Psychology of Alfred Adler. H. L. Ansbacher and R. R. Ansbacher (Eds.). New York: Harper Torchbooks.
Connell, R. W. (1995). Masculinities. Cambridge, UK: Polity Press.
Dreikurs, R. & Soltz, V. (1964). Children the Challenge. New York: Hawthorn Books.
Ehrenwald, J. (1991, 1976). The History of Psychotherapy: From healing magic to encounter. Northvale, NJ: Jason Aronson Inc.
Eissler, K.R. (1971). Death Drive, Ambivalence, and Narcissism. Psychoanal. St. Child, 26: 25–78.
Ellenberger, H. (1970). The Discovery of the Unconscious. New York: Basic Books.
Fiebert, M. S. (1997). In and out of Freud's shadow: A chronology of Adler's relationship with Freud. Individual Psychology, 53(3), 241–269.
Freud, S. (1909). Analysis of a Phobia in a Five-Year-Old Boy. Standard Edition of the Works of Sigmund Freud, London: Hogarth Press, Vol. 10, pp. 3–149.
King, R. & Shelley, C. (2008). Community Feeling and Social Interest: Adlerian Parallels, Synergy, and Differences with the Field of Community Psychology. Journal of Community and Applied Social Psychology, 18, 96–107.
Manaster, G. J., Painter, G., Deutsch, D., & Overholt, B. J. (Eds.). (1977). Alfred Adler: As We Remember Him. Chicago: North American Society of Adlerian Psychology.
Shelley, C. (Ed.). (1998). Contemporary Perspectives on Psychotherapy and Homosexualities. London: Free Association Books.
Slavik, S. & King, R. (2007). Adlerian therapeutic strategy. The Canadian Journal of Adlerian Psychology, 37(1), 3–16.
Gantschacher, H. (ARBOS 2007). Witness and Victim of the Apocalypse, chapter 13 page 12 and chapter 14 page 6.
Orgler, H. (1996). Alfred Adler, 22 (1), pg. 67–68.
Further reading
Orgler, Hertha, Alfred Adler, International Journal of Social Psychiatry, V. 22 (1), 1976-Spring, p. 67
Phyllis Bottome (1939). Alfred Adler: A Biography. G. P. Putnam's Sons. New York.
Phyllis Bottome (1939). Alfred Adler: Apostle of Freedom. London: Faber and Faber. 3rd Ed. 1957.
Carlson, J., Watts, R. E., & Maniacci, M. (2005). Adlerian Therapy: Theory and Practice. Washington, DC: American Psychological Association. .
Dinkmeyer, D., Sr., & Dreikurs, R. (2000). Encouraging Children to Learn. Philadelphia: Brunner-Routledge. .
Rudolf Dreikurs (1935): An Introduction to Individual Psychology. London: Kegan Paul, Trench Trubner & Co. Ltd. (new edition 1983: London & New York: Routledge), .
Grey, L. (1998). Alfred Adler: The Forgotten Prophet: A Vision for the 21st Century. Westport, CT: Praeger. .
Handlbauer, B. (1998). The Freud-Adler Controversy. Oxford, UK: Oneworld. .
Hoffman, E. (1994). The Drive for Self: Alfred Adler and the Founding of Individual Psychology. New York: Addison-Wesley Co. .
Lehrer, R. (1999). "Adler and Nietzsche". In: J. Golomb, W. Santaniello, and R. Lehrer. (Eds.). Nietzsche and Depth Psychology. (pp. 229–246). Albany, NY: State University of New York Press. .
Mosak, H. H. & Di Pietro, R. (2005). Early Recollections: Interpretive Method and Application. New York: Routledge. .
Oberst, U. E. and Stewart, A. E. (2003). Adlerian Psychotherapy: An Advanced Approach to Individual Psychology. New York: Brunner-Routledge. .
Orgler, H. (1963). Alfred Adler: The Man and His Work: Triumph Over the Inferiority Complex. New York: Liveright.
Orgler, H. (1996). Alfred Adler, 22 (1), pg. 67–68.
Josef Rattner (1983): Alfred Adler: Life and Literature. Ungar Pub. Co. .
Slavik, S. & Carlson, J. (Eds.). (2005). Readings in the Theory of Individual Psychology. New York: Routledge. .
Manès Sperber (1974). Masks of Loneliness: Alfred Adler in Perspective. New York: Macmillan. .
Stepansky, P. E. (1983). In Freud's Shadow: Adler in Context. Hillsdale, NJ: Analytic Press. .
Watts, R. E. (2003). Adlerian, cognitive, and constructivist therapies: An integrative dialogue. New York: Springer. .
Watts, R. E., & Carlson, J. (1999). Interventions and strategies in counseling and psychotherapy. New York: Accelerated Development/Routledge. .
Way, Lewis (1950): Adler's Place in Psychology. London: Allen & Unwin.
Way, Lewis (1956): Alfred Adler: An Introduction to his Psychology. London: Pelican.
West, G. K. (1975). Kierkegaard and Adler. Tallahassee: Florida State University.
External links
International Association of Individual Psychology
Psychology Articles
The Adlerian Society (UK) and the Institute for Individual Psychology
The North American Society of Adlerian Psychology
Institutul de Psihologie si Psihoterapie Adleriana Romania
Centro de Estudios Adlerianos Uruguay
Classical Adlerian Psychology according to Alfred Adlers Institutes in San Francisco and Northwestern Washington
AdlerPedia
Hong Kong Society of Adlerian Psychology
New Concept Coaching & Training Institute
1870 births
1937 deaths
Adlerian psychology
19th-century Austrian Jews
Jewish scientists
Austrian ophthalmologists
Austrian people of Hungarian-Jewish descent
Austrian psychiatrists
Austrian psychologists
Jewish psychiatrists
People from Rudolfsheim-Fünfhaus
University of Vienna alumni
| true |
[
"Přírodní park Třebíčsko (before Oblast klidu Třebíčsko) is a natural park near Třebíč in the Czech Republic. There are many interesting plants. The park was founded in 1983.\n\nKobylinec and Ptáčovský kopeček\n\nKobylinec is a natural monument situated ca 0,5 km from the village of Trnava.\nThe area of this monument is 0,44 ha. Pulsatilla grandis can be found here and in the Ptáčovský kopeček park near Ptáčov near Třebíč. Both monuments are very popular for tourists.\n\nPonds\n\nIn the natural park there are some interesting ponds such as Velký Bor, Malý Bor, Buršík near Přeckov and a brook Březinka. Dams on the brook are examples of European beaver activity.\n\nSyenitové skály near Pocoucov\n\nSyenitové skály (rocks of syenit) near Pocoucov is one of famed locations. There are interesting granite boulders. The area of the reservation is 0,77 ha.\n\nExternal links\nParts of this article or all article was translated from Czech. The original article is :cs:Přírodní park Třebíčsko.\n\nReferences\n\nExternal links\nNature near the village Trnava which is there\n\nTřebíč\nParks in the Czech Republic\nTourist attractions in the Vysočina Region",
"Damn Interesting is an independent website founded by Alan Bellows in 2005. The website presents true stories from science, history, and psychology, primarily as long-form articles, often illustrated with original artwork. Works are written by various authors, and published at irregular intervals. The website openly rejects advertising, relying on reader and listener donations to cover operating costs.\n\nAs of October 2012, each article is also published as a podcast under the same name. In November 2019, a second podcast was launched under the title Damn Interesting Week, featuring unscripted commentary on an assortment of news articles featured on the website's \"Curated Links\" section that week. In mid-2020, a third podcast called Damn Interesting Curio Cabinet began highlighting the website's periodic short-form articles in the same radioplay format as the original podcast.\n\nIn July 2009, Damn Interesting published the print book Alien Hand Syndrome through Workman Publishing. It contains some favorites from the site and some exclusive content.\n\nAwards and recognition \nIn August 2007, PC Magazine named Damn Interesting one of the \"Top 100 Undiscovered Web Sites\".\nThe article \"The Zero-Armed Bandit\" by Alan Bellows won a 2015 Sidney Award from David Brooks in The New York Times.\nThe article \"Ghoulish Acts and Dastardly Deeds\" by Alan Bellows was cited as \"nonfiction journalism from 2017 that will stand the test of time\" by Conor Friedersdorf in The Atlantic.\nThe article \"Dupes and Duplicity\" by Jennifer Lee Noonan won a 2020 Sidney Award from David Brooks in the New York Times.\n\nAccusing The Dollop of plagiarism \n\nOn July 9, 2015, Bellows posted an open letter accusing The Dollop, a comedy podcast about history, of plagiarism due to their repeated use of verbatim text from Damn Interesting articles without permission or attribution. Dave Anthony, the writer of The Dollop, responded on reddit, admitting to using Damn Interesting content, but claiming that the use was protected by fair use, and that \"historical facts are not copyrightable.\" In an article about the controversy on Plagiarism Today, Jonathan Bailey concluded, \"Any way one looks at it, The Dollop failed its ethical obligations to all of the people, not just those writing for Damn Interesting, who put in the time, energy and expertise into writing the original content upon which their show is based.\"\n\nReferences\n\nExternal links \n Official website\n\n2005 podcast debuts"
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[
"Alfred Adler",
"The Adlerian school",
"When did he attend this school",
"he enjoyed considerable success and celebrity in building an independent school of psychotherapy and a unique personality theory.",
"When was it built?",
"He traveled and lectured for a period of 25 years promoting his socially oriented approach.",
"What was his approach?",
"His intent was to build a movement that would rival, even supplant, others in psychology by arguing for the holistic integrity of psychological well-being with that of social equality.",
"Did he have followers?",
"After the conclusion of the war, his influence increased greatly. In the 1930s, he established a number of child guidance clinics.",
"Are there any other interesting aspects about this article?",
"Adler was concerned with the overcoming of the superiority/inferiority dynamic and was one of the first psychotherapists to discard the analytic couch in favor of two chairs."
] |
C_90d31d06565f4f6d96409afe51139414_0
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How long was the school operational?
| 6 |
How long was the Alderian school operational?
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Alfred Adler
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Following Adler's break from Freud, he enjoyed considerable success and celebrity in building an independent school of psychotherapy and a unique personality theory. He traveled and lectured for a period of 25 years promoting his socially oriented approach. His intent was to build a movement that would rival, even supplant, others in psychology by arguing for the holistic integrity of psychological well-being with that of social equality. Adler's efforts were halted by World War I, during which he served as a doctor with the Austrian Army. After the conclusion of the war, his influence increased greatly. In the 1930s, he established a number of child guidance clinics. From 1921 onwards, he was a frequent lecturer in Europe and the United States, becoming a visiting professor at Columbia University in 1927. His clinical treatment methods for adults were aimed at uncovering the hidden purpose of symptoms using the therapeutic functions of insight and meaning. Adler was concerned with the overcoming of the superiority/inferiority dynamic and was one of the first psychotherapists to discard the analytic couch in favor of two chairs. This allows the clinician and patient to sit together more or less as equals. Clinically, Adler's methods are not limited to treatment after-the-fact but extend to the realm of prevention by preempting future problems in the child. Prevention strategies include encouraging and promoting social interest, belonging, and a cultural shift within families and communities that leads to the eradication of pampering and neglect (especially corporal punishment). Adler's popularity was related to the comparative optimism and comprehensibility of his ideas. He often wrote for the lay public. Adler always retained a pragmatic approach that was task-oriented. These "Life tasks" are occupation/work, society/friendship, and love/sexuality. Their success depends on cooperation. The tasks of life are not to be considered in isolation since, as Adler famously commented, "they all throw cross-lights on one another". In his bestselling book, Man's Search for Meaning, Dr. Viktor E. Frankl compared his own "Third Viennese School of Psychotherapy" (after Freud's and Adler's schools) to Adler's analysis: According to logotherapy, the striving to find a meaning in one's life is the primary motivational force in man. That is why I speak of a will to meaning in contrast to the "pleasure principle" (or, as we could also term it, the will to pleasure) on which Freudian psychoanalysis is centered, as well as in contrast to the will to power stressed by Adlerian psychology. CANNOTANSWER
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CANNOTANSWER
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Alfred Adler (; ; 7 February 1870 – 28 May 1937) was an Austrian medical doctor, psychotherapist, and founder of the school of individual psychology. His emphasis on the importance of feelings of inferiority, the inferiority complex, is recognized as an isolating element which plays a key role in personality development. Alfred Adler considered a human being as an individual whole, and therefore he called his psychology "Individual Psychology" (Orgler 1976).
Adler was the first to emphasize the importance of the social element in the re-adjustment process of the individual and to carry psychiatry into the community. A Review of General Psychology survey, published in 2002, ranked Adler as the 67th most eminent psychologist of the 20th century.
Early life
Alfred Adler was born on February 7, 1870 at Mariahilfer Straße 208 in Rudolfsheim, a village on the western fringes of Vienna, a modern part of Rudolfsheim-Fünfhaus, the 15th district of the city. He was second of the seven children of a Jewish couple, Pauline (Beer) and Leopold Adler. Leopold Adler was a Hungarian-born grain merchant. Alfred's younger brother died in the bed next to him when Alfred was only three years old, and throughout his childhood, he maintained a rivalry with his older brother. This rivalry was spurred on because Adler believed his mother preferred his brother over him. Despite his good relationship with his father, he still struggled with feelings of inferiority in his relationship with his mother.
Alfred was an active, popular child and an average student who was also known for the competitive attitude toward his older brother, Sigmund. Early on, he developed rickets, which kept Alfred from walking until he was four years old. At the age of four, he developed pneumonia and heard a doctor say to his father, "Your boy is lost". Along with being run over twice and witnessing his younger brother's death, this sickness contributed to his overall fear of death. At that point, he decided to be a physician. He was very interested in the subjects of psychology, sociology and philosophy. After studying at University of Vienna, he specialized as an eye doctor, and later in neurology and psychiatry.
Career
Adler began his medical career as an ophthalmologist, but he soon switched to general practice, and established his office in a less affluent part of Vienna across from the Prater, a combination of amusement park and circus. His clients included circus people, and it has been suggested that the unusual strengths and weaknesses of the performers led to his insights into "organ inferiorities" and "compensation".
In his early career, Adler wrote an article in the defense of Freud's theory after reading one of Freud's most well known works, The Interpretation of Dreams. In 1902, because of his defense article, Adler received an invitation from Sigmund Freud to join an informal discussion group that included Rudolf Reitler and Wilhelm Stekel. The group, the "Wednesday Society" (Mittwochsgesellschaft), met regularly on Wednesday evenings at Freud's home and was the beginning of the psychoanalytic movement, expanding over time to include many more members. Each week a member would present a paper and after a short break of coffee and cakes, the group would discuss it. The main members were Otto Rank, Max Eitingon, Wilhelm Stekel, Karl Abraham, Hanns Sachs, Fritz Wittels, Max Graf, and Sandor Ferenczi. In 1908, Adler presented his paper, "The aggressive instinct in life and in neurosis", at a time when Freud believed that early sexual development was the primary determinant of the making of character, with which Adler took issue. Adler proposed that the sexual and aggressive drives were "two originally separate instincts which merge later on". Freud at the time disagreed with this idea.
When Freud in 1920 proposed his dual instinct theory of libido and aggressive drives in Beyond the Pleasure Principle, without citing Adler, he was reproached that Adler had proposed the aggressive drive in his 1908 paper (Eissler, 1971). Freud later commented in a 1923 footnote he added to the Little Hans case that, "I have myself been obliged to assert the existence of an aggressive instinct" (1909, p. 140, 2), while pointing out that his conception of an aggressive drive differs from that of Adler. A long-serving member of the group, he made many more beyond this 1908 pivotal contribution to the group, and Adler became president of the Vienna Psychoanalytic Society eight years later (1910). He remained a member of the Society until 1911, when he and a group of his supporters formally disengaged from Freud's circle, the first of the great dissenters from orthodox psychoanalysis (preceding Carl Jung's split in 1914).
This departure suited both Freud and Adler, since they had grown to dislike each other. During his association with Freud, Adler frequently maintained his own ideas which often diverged from Freud's. While Adler is often referred to as "a pupil of Freud", in fact this was never true; they were colleagues, Freud referring to him in print in 1909 as "My colleague Dr Alfred Adler". The association of Adler and Freud lasted a total of 9 years, and they never saw each other after the separation. Freud continued to dislike Adler even after the separation and tended to do so with other defectors from psychoanalysis. Even after Adler's death, Freud maintained his distaste for him. When conversing with a colleague over the matter, he stated, "I don't understand your sympathy for Adler. For a Jewish boy out of a Viennese suburb a death in Aberdeen is an unheard of career in itself and a proof of how far he had got on. The world really rewarded him richly for his service in having contradicted psychoanalysis." In 1929 Adler showed a reporter with the New York Herald a copy of the faded postcard that Freud had sent him in 1902. He wanted to prove that he had never been a disciple of Freud's but rather that Freud had sought him out to share his ideas.
Adler founded the Society for Individual Psychology in 1912 after his break from the psychoanalytic movement. Adler's group initially included some orthodox Nietzschean adherents (who believed that Adler's ideas on power and inferiority were closer to Nietzsche than Freud's). Their enmity aside, Adler retained a lifelong admiration for Freud's ideas on dreams and credited him with creating a scientific approach to their clinical utilization (Fiebert, 1997). Nevertheless, even regarding dream interpretation, Adler had his own theoretical and clinical approach. The primary differences between Adler and Freud centered on Adler's contention that the social realm (exteriority) is as important to psychology as is the internal realm (interiority). The dynamics of power and compensation extend beyond sexuality, and gender and politics can be as important as libido. Moreover, Freud did not share Adler's socialist beliefs, the latter's wife being for example an intimate friend of many of the Russian Marxists such as Leon Trotsky.
The Adlerian school
Following Adler's break from Freud, he enjoyed considerable success and celebrity in building an independent school of psychotherapy and a unique personality theory. He traveled and lectured for a period of 25 years promoting his socially oriented approach. His intent was to build a movement that would rival, even supplant, others in psychology by arguing for the holistic integrity of psychological well-being with that of social equality. Adler's efforts were halted by World War I, during which he served as a doctor with the Austro-Hungarian Army. After the conclusion of the war, his influence increased greatly. In the 1920s, he established a number of child guidance clinics. From 1921 onwards, he was a frequent lecturer in Europe and the United States, becoming a visiting professor at Columbia University in 1927. His clinical treatment methods for adults were aimed at uncovering the hidden purpose of symptoms using the therapeutic functions of insight and meaning.
Adler was concerned with the overcoming of the superiority/inferiority dynamic and was one of the first psychotherapists to discard the analytic couch in favor of two chairs. This allows the clinician and patient to sit together more or less as equals. Clinically, Adler's methods are not limited to treatment after-the-fact but extend to the realm of prevention by preempting future problems in the child. Prevention strategies include encouraging and promoting social interest, belonging, and a cultural shift within families and communities that leads to the eradication of pampering and neglect (especially corporal punishment). Adler's popularity was related to the comparative optimism and comprehensibility of his ideas. He often wrote for the lay public. Adler always retained a pragmatic approach that was task-oriented. These "Life tasks" are occupation/work, society/friendship, and love/sexuality. Their success depends on cooperation. The tasks of life are not to be considered in isolation since, as Adler famously commented, "they all throw cross-lights on one another".
In his bestselling book, Man's Search for Meaning, Dr. Viktor E. Frankl compared his own "Third Viennese School of Psychotherapy" (after Freud's and Adler's schools) to Adler's analysis:
Emigration
In the early 1930s, after most of Adler's Austrian clinics had been closed due to his Jewish heritage (despite his conversion to Christianity), Adler left Austria for a professorship at the Long Island College of Medicine in the US. Adler died from a heart attack in 1937 in Aberdeen, Scotland, during a lecture tour, although his remains went missing and were unaccounted for until 2007. His death was a temporary blow to the influence of his ideas, although a number of them were subsequently taken up by neo-Freudians. Through the work of Rudolf Dreikurs in the United States and many other adherents worldwide, Adlerian ideas and approaches remain strong and viable more than 70 years after Adler's death.
Around the world there are various organizations promoting Adler's orientation towards mental and social well-being. These include the International Committee of Adlerian Summer Schools and Institutes (ICASSI), the North American Society of Adlerian Psychology (NASAP) and the International Association for Individual Psychology. Teaching institutes and programs exist in Austria, Canada, England, Germany, Greece, Israel, Italy, Japan, Latvia, Switzerland, the United States, Jamaica, Peru, and Wales.
Basic principles
Adler was influenced by the mental construct ideas of the philosopher Hans Vaihinger (The Philosophy of 'As if') and the literature of Dostoyevsky. While still a member of the Vienna Psychoanalytic Society he developed a theory of organic inferiority and compensation that was the prototype for his later turn to phenomenology and the development of his famous concept, the inferiority complex.
Adler was also influenced by the philosophies of Immanuel Kant, Friedrich Nietzsche, Rudolf Virchow and the statesman Jan Smuts (who coined the term "holism"). Adler's School, known as "Individual Psychology"—an arcane reference to the Latin individuals meaning indivisibility, a term intended to emphasize holism—is both a social and community psychology as well as a depth psychology. Adler was an early advocate in psychology for prevention and emphasized the training of parents, teachers, social workers and so on in democratic approaches that allow a child to exercise their power through reasoned decision making whilst co-operating with others. He was a social idealist, and was known as a socialist in his early years of association with psychoanalysis (1902–1911).
Adler was pragmatic and believed that lay people could make practical use of the insights of psychology. Adler was also an early supporter of feminism in psychology and the social world, believing that feelings of superiority and inferiority were often gendered and expressed symptomatically in characteristic masculine and feminine styles. These styles could form the basis of psychic compensation and lead to mental health difficulties. Adler also spoke of "safeguarding tendencies" and neurotic behavior long before Anna Freud wrote about the same phenomena in her book The Ego and the Mechanisms of Defense.
Adlerian-based scholarly, clinical and social practices focus on the following topics:
Social interest and community feeling
Holism and the creative self
Fictional finalism, teleology, and goal constructs
Psychological and social encouragement
Inferiority, superiority and compensation
Life style/style of life
Early recollections (a projective technique)
Family constellation and birth order
Life tasks and social embeddedness
The conscious and unconscious realms
Private logic and common sense (based in part on Kant's "")
Symptoms and neurosis
Safeguarding behavior
Guilt and guilt feelings
Socratic questioning
Dream interpretation
Child and adolescent psychology
Democratic approaches to parenting and families
Adlerian approaches to classroom management
Leadership and organizational psychology
Adler created Adlerian Therapy, because he believed that one's psyche should be studied in the context of that person's environment.
Adler's approach to personality
In one of his earliest and most famous publications, "Study of Organ Inferiority and Its Physical Compensation," Adler outlined the basics for what would be the beginning foundation of his personality theory. The article focuses mainly on the topics of organ inferiority and compensation. Organ inferiority is when one organ, or portion of the body, is weaker than the rest. Adler postulated that the body's other organs would work together in order to compensate for the weakness of this "inferior" organ. When compensation occurs, other areas of the body make up for the function lacking in the inferior portion. In some cases, the weakness may be overcompensated transforming it into a strength. An example would be an individual with a weak leg becoming a great runner later on. As his theory progressed, the idea of organ inferiority was replaced with feelings of inferiority instead. As Adler's theory progressed, he continued evolving his theory and key ideas.
Adler's book, Über den nervösen Charakter (The Neurotic Character) defines his earlier key ideas. He argued that human personality could be explained teleologically: parts of the individual's unconscious self ideally work to convert feelings of inferiority to superiority (or rather completeness). The desires of the self ideal were countered by social and ethical demands. If the corrective factors were disregarded and the individual overcompensated, then an inferiority complex would occur, fostering the danger of the individual becoming egocentric, power-hungry and aggressive or worse.
Common therapeutic tools include the use of humor, historical instances, and paradoxical injunctions.
Psychodynamics and teleology
Adler maintained that human psychology is psychodynamic in nature. Unlike Freud's metapsychology that emphasizes instinctual demands, human psychology is guided by goals and fueled by a yet unknown creative force. Like Freud's instincts, Adler's fictive goals are largely unconscious. These goals have a "teleological" function. Constructivist Adlerians, influenced by neo-Kantian and Nietzschean ideas, view these "teleological" goals as "fictions" in the sense that Hans Vaihinger spoke of (fictio). Usually there is a fictional final goal which can be deciphered alongside of innumerable sub-goals. The inferiority/superiority dynamic is constantly at work through various forms of compensation and overcompensation. For example, in anorexia nervosa the fictive final goal is to "be perfectly thin" (overcompensation on the basis of a feeling of inferiority). Hence, the fictive final goal can serve a persecutory function that is ever-present in subjectivity (though its trace springs are usually unconscious). The end goal of being "thin" is fictive however since it can never be subjectively achieved.
Teleology serves another vital function for Adlerians. Chilon's "hora telos" ("see the end, consider the consequences") provides for both healthy and maladaptive psychodynamics. Here we also find Adler's emphasis on personal responsibility in mentally healthy subjects who seek their own and the social good.
Constructivism and metaphysics
The metaphysical thread of Adlerian theory does not problematize the notion of teleology since concepts such as eternity (an ungraspable end where time ceases to exist) match the religious aspects that are held in tandem. In contrast, the constructivist Adlerian threads (either humanist/modernist or postmodern in variant) seek to raise insight of the force of unconscious fictions– which carry all of the inevitability of 'fate'– so long as one does not understand them. Here, 'teleology' itself is fictive yet experienced as quite real. This aspect of Adler's theory is somewhat analogous to the principles developed in Rational Emotive Behavior Therapy (REBT) and Cognitive Therapy (CT). Both Albert Ellis and Aaron T. Beck credit Adler as a major precursor to REBT and CT. Ellis in particular was a member of the North American Society for Adlerian Psychology and served as an editorial board member for the Adlerian Journal Individual Psychology.
As a psychodynamic system, Adlerians excavate the past of a client/patient in order to alter their future and increase integration into community in the 'here-and-now'. The 'here-and-now' aspects are especially relevant to those Adlerians who emphasize humanism and/or existentialism in their approaches.
Holism
Metaphysical Adlerians emphasize a spiritual holism in keeping with what Jan Smuts articulated (Smuts coined the term "holism"), that is, the spiritual sense of one-ness that holism usually implies (etymology of holism: from ὅλος holos, a Greek word meaning all, entire, total) Smuts believed that evolution involves a progressive series of lesser wholes integrating into larger ones. Whilst Smuts' text Holism and Evolution is thought to be a work of science, it actually attempts to unify evolution with a higher metaphysical principle (holism). The sense of connection and one-ness revered in various religious traditions (among these, Christianity, Judaism, Zoroastrianism, Islam, Buddhism and Baha'i) finds a strong complement in Adler's thought.
The pragmatic and materialist aspects to contextualizing members of communities, the construction of communities and the socio-historical-political forces that shape communities matter a great deal when it comes to understanding an individual's psychological make-up and functioning. This aspect of Adlerian psychology holds a high level of synergy with the field of community psychology, especially given Adler's concern for what he called "the absolute truth and logic of communal life". However, Adlerian psychology, unlike community psychology, is holistically concerned with both prevention and clinical treatment after-the-fact. Hence, Adler can be considered the "first community psychologist", a discourse that formalized in the decades following Adler's death (King & Shelley, 2008).
Adlerian psychology, Carl Jung's analytical psychology, Gestalt therapy and Karen Horney's psychodynamic approach are holistic schools of psychology. These discourses eschew a reductive approach to understanding human psychology and psychopathology.
Typology
Adler developed a scheme of so-called personality types, which were however always to be taken as provisional or heuristic since he did not, in essence, believe in personality types, and at different times proposed different and equally tentative systems. The danger with typology is to lose sight of the individual's uniqueness and to gaze reductively, acts that Adler opposed. Nevertheless, he intended to illustrate patterns that could denote a characteristic governed under the overall style of life. Hence American Adlerians such as Harold Mosak have made use of Adler's typology in this provisional sense:
The Getting or Leaning They are sensitive people who have developed a shell around themselves which protects them, but they must rely on others to carry them through life's difficulties. They have low energy levels and so become dependent. When overwhelmed, they develop what we typically think of as neurotic symptoms: phobias, obsessions and compulsions, general anxiety, hysteria, amnesias, and so on, depending on individual details of their lifestyle.
The Avoiding types are those that hate being defeated. They may be successful, but have not taken any risks getting there. They are likely to have low social contact in fear of rejection or defeat in any way.
The Ruling or Dominant type strive for power and are willing to manipulate situations and people, anything to get their way. People of this type are also prone to anti-social behavior.
The Socially Useful types are those who are very outgoing and very active. They have a lot of social contact and strive to make changes for the good.
These 'types' are typically formed in childhood and are expressions of the Style of Life.
The importance of memories
Adler placed great emphasis upon the interpretation of early memories in working with patients and school children, writing that, "Among all psychic expressions, some of the most revealing are the individual's memories." Adler viewed memories as expressions of "private logic" and as metaphors for an individual's personal philosophy of life or "lifestyle". He maintained that memories are never incidental or trivial; rather, they are chosen reminders: "(A person's) memories are the reminders she carries about with her of her limitations and of the meanings of events. There are no 'chance' memories. Out of the incalculable number of impressions that an individual receives, she chooses to remember only those which she considers, however dimly, to have a bearing on her problems."
On birth order
Adler often emphasized one's psychological birth order as having an influence on the style of life and the strengths and weaknesses in one's psychological make up. Birth order referred to the placement of siblings within the family. It is important to note the difference between psychological and ordinal birth order (e.g. in some families, a second child might behave like a firstborn, in which case they are considered to be an ordinal secondborn but a psychological firstborn). Mosak, H.H. & Maniacci, M. P. (1999). A primer of Adlerian Psychology. Taylor and Francis. Adler believed that the firstborn child would be in a favorable position, enjoying the full attention of the eager new parents until the arrival of a second child. This second child would cause the first born to suffer feelings of dethronement, no longer being the center of attention. Adler (1908) believed that in a three-child family, the oldest child would be the most likely to suffer from neuroticism and substance addiction which he reasoned was a compensation for the feelings of excessive responsibility "the weight of the world on one's shoulders" (e.g. having to look after the younger ones) and the melancholic loss of that once supremely pampered position. As a result, he predicted that this child was the most likely to end up in jail or an asylum. Youngest children would tend to be overindulged, leading to poor social empathy. Consequently, the middle child, who would experience neither dethronement nor overindulgence, was most likely to develop into a successful individual yet also most likely to be a rebel and to feel squeezed-out. Adler himself was the third (some sources credit second) in a family of six children.
Adler never produced any scientific support for his interpretations on birth order roles, nor did he feel the need to. Yet the value of the hypothesis was to extend the importance of siblings in marking the psychology of the individual beyond Freud's more limited emphasis on the mother and father. Hence, Adlerians spend time therapeutically mapping the influence that siblings (or lack thereof) had on the psychology of their clients. The idiographic approach entails an excavation of the phenomenology of one's birth order position for likely influence on the subject's Style of Life. In sum, the subjective experiences of sibling positionality and inter-relations are important in terms of the dynamics of psychology, for Adlerian therapists and personality theorists, not the cookbook predictions that may or may not have been objectively true in Adler's time.
For Adler, birth order answered the question, "Why do children, who are raised in the same family, grow up with very different personalities?" While a strict geneticist, believing siblings are raised in a shared environment, may claim any differences in personality would be caused by subtle variations in the individuals' genetics, Adler showed through his birth order theory that children do not grow up in the same shared environment, but the oldest child grows up in a family where they have younger siblings, the middle child with older and younger siblings, and the youngest with older siblings. The position in the family constellation, Adler said, is the reason for these differences in personality and not genetics: a point later taken up by Eric Berne.
On addiction
Adler's insight into birth order, compensation and issues relating to the individuals' perception of community also led him to investigate the causes and treatment of substance abuse disorders, particularly alcoholism and morphinism, which already were serious social problems of his time. Adler's work with addicts was significant since most other prominent proponents of psychoanalysis invested relatively little time and thought into this widespread ill of the modern and post-modern age. In addition to applying his individual psychology approach of organ inferiority, for example, to the onset and causes of addictive behaviors, he also tried to find a clear relationship of drug cravings to sexual gratification or their substitutions. Early pharmaco-therapeutic interventions with non-addictive substances, such as neuphyllin were used, since withdrawal symptoms were explained by a form of "water-poisoning" that made the use of diuretics necessary.
Adler and his wife's pragmatic approach, and the seemingly high success rates of their treatment were based on their ideas of social functioning and well-being. Clearly, life style choices and situations were emphasized, for example the need for relaxation or the negative effects of early childhood conflicts were examined, which compared to other authoritarian or religious treatment regimens, were clearly modern approaches. Certainly some of his observations, for example that psychopaths were more likely to be drug addicts are not compatible with current methodologies and theories of substance abuse treatment, but the self-centered attributes of the illness and the clear escapism from social responsibilities by pathological addicts put Adler's treatment modalities clearly into a modern contextual reasoning.
On homosexuality
Adler's ideas regarding non-heterosexual sexuality and various social forms of deviance have long been controversial. Along with prostitution and criminality, Adler had classified 'homosexuals' as falling among the "failures of life". In 1917, he began his writings on homosexuality with a 52-page magazine, and sporadically published more thoughts throughout the rest of his life.
The Dutch psychologist Gerard J. M. van den Aardweg underlines how Alfred Adler came to his conclusions for, in 1917, Adler believed that he had established a connection between homosexuality and an inferiority complex towards one's own gender. This point of view differed from Freud's theory that homosexuality is rooted in narcissism or Jung's view of expressions of contrasexuality vis-à-vis the archetypes of the Anima and Animus.
There is evidence that Adler may have moved towards abandoning the hypothesis. Towards the end of Adler's life, in the mid-1930s, his opinion towards homosexuality began to shift. Elizabeth H. McDowell, a New York state family social worker recalls undertaking supervision with Adler on a young man who was "living in sin" with an older man in New York City. Adler asked her, "Is he happy, would you say?" "Oh yes," McDowell replied. Adler then stated, "Well, why don't we leave him alone."
According to Phyllis Bottome, who wrote Adler's Biography (after Adler himself laid upon her that task): "He always treated homosexuality as lack of courage. These were but ways of obtaining a slight release for a physical need while avoiding a greater obligation. A transient partner of your own sex is a better known road and requires less courage than a permanent contact with an "unknown" sex.... Adler taught that men cannot be judged from within by their "possessions," as he used to call nerves, glands, traumas, drives et cetera, since both judge and prisoner are liable to misconstrue what is invisible and incalculable; but that he can be judged, with no danger from introspection, by how he measures up to the three common life tasks set before every human being between the cradle and the grave: work (employment), love or marriage (intimacy), and social contact (friendships.)"
Parent education
Adler emphasized both treatment and prevention. With regard to psychodynamic psychology, Adlerians emphasize the foundational importance of childhood in developing personality and any tendency towards various forms of psychopathology. The best way to inoculate against what are now termed "personality disorders" (what Adler had called the "neurotic character"), or a tendency to various neurotic conditions (depression, anxiety, etc.), is to train a child to be and feel an equal part of the family. The responsibility of the optimal development of the child is not limited to the mother or father, but rather includes teachers and society more broadly. Adler argued therefore that teachers, nurses, social workers, and so on require training in parent education to complement the work of the family in fostering a democratic character. When a child does not feel equal and is enacted upon (abused through pampering or neglect) he or she is likely to develop inferiority or superiority complexes and various concomitant compensation strategies. These strategies exact a social toll by seeding higher divorce rates, the breakdown of the family, criminal tendencies, and subjective suffering in the various guises of psychopathology. Adlerians have long promoted parent education groups, especially those influenced by the famous Austrian/American Adlerian Rudolf Dreikurs (Dreikurs & Soltz, 1964).
Spirituality, ecology and community
In a late work, Social Interest: A Challenge to Mankind (1938), Adler turns to the subject of metaphysics, where he integrates Jan Smuts' evolutionary holism with the ideas of teleology and community: "sub specie aeternitatis". Unabashedly, he argues his vision of society: "Social feeling means above all a struggle for a communal form that must be thought of as eternally applicable... when humanity has attained its goal of perfection... an ideal society amongst all mankind, the ultimate fulfillment of evolution." Adler follows this pronouncement with a defense of metaphysics:
This social feeling for Adler is Gemeinschaftsgefühl, a community feeling whereby one feels he or she belongs with others and has also developed an ecological connection with nature (plants, animals, the crust of this earth) and the cosmos as a whole, sub specie aeternitatis. Clearly, Adler himself had little problem with adopting a metaphysical and spiritual point of view to support his theories.
Death and cremation
Adler died suddenly in Aberdeen, Scotland, in May 1937, during a three-week visit to the University of Aberdeen. While walking down the street, he was seen to collapse and lie motionless on the pavement. As a man ran over to him and loosened his collar, Adler mumbled "Kurt", the name of his son and died. The autopsy performed determined his death was caused by a degeneration of the heart muscle. His body was cremated at Warriston Crematorium in Edinburgh but the ashes were never reclaimed. In 2007, his ashes were rediscovered in a casket at Warriston Crematorium and returned to Vienna for burial in 2011.
Use of Adler's work without attribution
Much of Adler's theories have been absorbed into modern psychology without attribution. Psychohistorian Henri F. Ellenberger writes, "It would not be easy to find another author from which so much has been borrowed on all sides without acknowledgement than Alfred Adler." Ellenberger posits several theories for "the discrepancy between greatness of achievement, massive rejection of person and work, and wide-scale, quiet plagiarism..." These include Adler's "imperfect" style of writing and demeanor, his "capacity to create a new obviousness," and his lack of a large and well organized following.
Influence on depth psychology
In collaboration with Sigmund Freud and a small group of Freud's colleagues, Adler was among the co-founders of the psychoanalytic movement and a core member of the Vienna Psychoanalytic Society: indeed, to Freud he was "the only personality there". He was the first major figure to break away from psychoanalysis to form an independent school of psychotherapy and personality theory, which he called individual psychology because he believed a human to be an indivisible whole, an individuum. He also imagined a person to be connected or associated with the surrounding world.
This was after Freud declared Adler's ideas as too contrary, leading to an ultimatum to all members of the Society (which Freud had shepherded) to drop Adler or be expelled, disavowing the right to dissent (Makari, 2008). Nevertheless, Freud always took Adler's ideas seriously, calling them "honorable errors". Though one rejects the content of Adler's views, one can recognize their consistency and significance." Following this split, Adler would come to have an enormous, independent effect on the disciplines of counseling and psychotherapy as they developed over the course of the 20th century (Ellenberger, 1970). He influenced notable figures in subsequent schools of psychotherapy such as Rollo May, Viktor Frankl, Abraham Maslow and Albert Ellis. His writings preceded, and were at times surprisingly consistent with, later Neo-Freudian insights such as those evidenced in the works of Otto Rank, Karen Horney, Harry Stack Sullivan and Erich Fromm, some considering that it would take several decades for Freudian ego psychology to catch up with Adler's ground-breaking approach.
Adler emphasized the importance of equality in preventing various forms of psychopathology, and espoused the development of social interest and democratic family structures for raising children. His most famous concept is the inferiority complex which speaks to the problem of self-esteem and its negative effects on human health (e.g. sometimes producing a paradoxical superiority striving). His emphasis on power dynamics is rooted in the philosophy of Nietzsche, whose works were published a few decades before Adler's. Specifically, Adler's conceptualization of the "Will to Power" focuses on the individual's creative power to change for the better. Adler argued for holism, viewing the individual holistically rather than reductively, the latter being the dominant lens for viewing human psychology. Adler was also among the first in psychology to argue in favor of feminism, and the female analyst, making the case that power dynamics between men and women (and associations with masculinity and femininity) are crucial to understanding human psychology (Connell, 1995). Adler is considered, along with Freud and Jung, to be one of the three founding figures of depth psychology, which emphasizes the unconscious and psychodynamics (Ellenberger, 1970; Ehrenwald, 1991); and thus to be one of the three great psychologists/philosophers of the twentieth century.
Personal life
During his college years, he had become attached to a group of socialist students, among which he had found his wife-to-be, Raissa Timofeyewna Epstein, an intellectual and social activist from Russia studying in Vienna. Because Raissa was a militant socialist, she had a large impact on Adler's early publications and ultimately his theory of personality. They married in 1897 and had four children, two of whom, his daughter Alexandra and his son Kurt, became psychiatrists. Their children were writer, psychiatrist and Socialist activist Alexandra Adler; psychiatrist Kurt Adler; writer and activist Valentine Adler; and Cornelia "Nelly" Adler. Raissa, Adler's wife, died at 89 in New York City on April 21,1962.
Author and journalist Margot Adler (1946-2014) was Adler's granddaughter.
Artistic and cultural references
The two main characters in the novel Plant Teacher engage in a session of Adlerian lifestyle interpretation, including early memory interpretation.
In the episode Something About Dr. Mary of the television series Frasier, Frasier recalls having to "pass under a dangerously unbalanced portrait of Alfred Adler" during his studies at Harvard.
He appears as a character in the Young Indiana Jones chronicles.
English-language Adlerian journals
North America
The Journal of Individual Psychology (University of Texas Press)
The Canadian Journal of Adlerian Psychology (Adlerian Psychology Association of British Columbia)
United Kingdom
Adlerian Yearbook (Adlerian Society, UK)
Publications
Alfred Adler's key publications were The Practice and Theory of Individual Psychology (1927), Understanding Human Nature (1927), & What Life Could Mean to You (1931). Other important publications are The Pattern of Life (1930), The Science of Living (1930), The Neurotic Constitution (1917), The Problems of Neurosis (1930). In his lifetime, Adler published more than 300 books and articles.
The Alfred Adler Institute of Northwestern Washington has recently published a twelve-volume set of The Collected Clinical Works of Alfred Adler, covering his writings from 1898–1937. An entirely new translation of Adler's magnum opus, The Neurotic Character, is featured in Volume 1. Volume 12 provides comprehensive overviews of Adler's mature theory and contemporary Adlerian practice.
Volume 1 : The Neurotic Character — 1907
Volume 2 : Journal Articles 1898–1909
Volume 3 : Journal Articles 1910–1913
Volume 4 : Journal Articles 1914–1920
Volume 5 : Journal Articles 1921–1926
Volume 6 : Journal Articles 1927–1931
Volume 7 : Journal Articles 1931–1937
Volume 8 : Lectures to Physicians & Medical Students
Volume 9 : Case Histories
Volume 10 : Case Readings & Demonstrations
Volume 11 : Education for Prevention
Volume 12 : The General System of Individual Psychology
Other key Adlerian texts
Adler, A. (1964). The Individual Psychology of Alfred Adler. H. L. Ansbacher and R. R. Ansbacher (Eds.). New York: Harper Torchbooks. .
Adler, A. (1979). Superiority and Social Interest: A Collection of Later Writings. H. L. Ansbacher and R. R. Ansbacher (Eds.). New York, NY: W. W. Norton. .
See also
Adlerian
Classical Adlerian psychology
Neo-Adlerian
Notes
References
Adler, A. (1908). Der Aggressionstrieb im Leben und der Neurose. Fortsch. Med. 26: 577–584.
Adler, A. (1938). Social Interest: A Challenge to Mankind. J. Linton and R. Vaughan (Trans.). London: Faber and Faber Ltd.
Adler, A. (1956). The Individual Psychology of Alfred Adler. H. L. Ansbacher and R. R. Ansbacher (Eds.). New York: Harper Torchbooks.
Connell, R. W. (1995). Masculinities. Cambridge, UK: Polity Press.
Dreikurs, R. & Soltz, V. (1964). Children the Challenge. New York: Hawthorn Books.
Ehrenwald, J. (1991, 1976). The History of Psychotherapy: From healing magic to encounter. Northvale, NJ: Jason Aronson Inc.
Eissler, K.R. (1971). Death Drive, Ambivalence, and Narcissism. Psychoanal. St. Child, 26: 25–78.
Ellenberger, H. (1970). The Discovery of the Unconscious. New York: Basic Books.
Fiebert, M. S. (1997). In and out of Freud's shadow: A chronology of Adler's relationship with Freud. Individual Psychology, 53(3), 241–269.
Freud, S. (1909). Analysis of a Phobia in a Five-Year-Old Boy. Standard Edition of the Works of Sigmund Freud, London: Hogarth Press, Vol. 10, pp. 3–149.
King, R. & Shelley, C. (2008). Community Feeling and Social Interest: Adlerian Parallels, Synergy, and Differences with the Field of Community Psychology. Journal of Community and Applied Social Psychology, 18, 96–107.
Manaster, G. J., Painter, G., Deutsch, D., & Overholt, B. J. (Eds.). (1977). Alfred Adler: As We Remember Him. Chicago: North American Society of Adlerian Psychology.
Shelley, C. (Ed.). (1998). Contemporary Perspectives on Psychotherapy and Homosexualities. London: Free Association Books.
Slavik, S. & King, R. (2007). Adlerian therapeutic strategy. The Canadian Journal of Adlerian Psychology, 37(1), 3–16.
Gantschacher, H. (ARBOS 2007). Witness and Victim of the Apocalypse, chapter 13 page 12 and chapter 14 page 6.
Orgler, H. (1996). Alfred Adler, 22 (1), pg. 67–68.
Further reading
Orgler, Hertha, Alfred Adler, International Journal of Social Psychiatry, V. 22 (1), 1976-Spring, p. 67
Phyllis Bottome (1939). Alfred Adler: A Biography. G. P. Putnam's Sons. New York.
Phyllis Bottome (1939). Alfred Adler: Apostle of Freedom. London: Faber and Faber. 3rd Ed. 1957.
Carlson, J., Watts, R. E., & Maniacci, M. (2005). Adlerian Therapy: Theory and Practice. Washington, DC: American Psychological Association. .
Dinkmeyer, D., Sr., & Dreikurs, R. (2000). Encouraging Children to Learn. Philadelphia: Brunner-Routledge. .
Rudolf Dreikurs (1935): An Introduction to Individual Psychology. London: Kegan Paul, Trench Trubner & Co. Ltd. (new edition 1983: London & New York: Routledge), .
Grey, L. (1998). Alfred Adler: The Forgotten Prophet: A Vision for the 21st Century. Westport, CT: Praeger. .
Handlbauer, B. (1998). The Freud-Adler Controversy. Oxford, UK: Oneworld. .
Hoffman, E. (1994). The Drive for Self: Alfred Adler and the Founding of Individual Psychology. New York: Addison-Wesley Co. .
Lehrer, R. (1999). "Adler and Nietzsche". In: J. Golomb, W. Santaniello, and R. Lehrer. (Eds.). Nietzsche and Depth Psychology. (pp. 229–246). Albany, NY: State University of New York Press. .
Mosak, H. H. & Di Pietro, R. (2005). Early Recollections: Interpretive Method and Application. New York: Routledge. .
Oberst, U. E. and Stewart, A. E. (2003). Adlerian Psychotherapy: An Advanced Approach to Individual Psychology. New York: Brunner-Routledge. .
Orgler, H. (1963). Alfred Adler: The Man and His Work: Triumph Over the Inferiority Complex. New York: Liveright.
Orgler, H. (1996). Alfred Adler, 22 (1), pg. 67–68.
Josef Rattner (1983): Alfred Adler: Life and Literature. Ungar Pub. Co. .
Slavik, S. & Carlson, J. (Eds.). (2005). Readings in the Theory of Individual Psychology. New York: Routledge. .
Manès Sperber (1974). Masks of Loneliness: Alfred Adler in Perspective. New York: Macmillan. .
Stepansky, P. E. (1983). In Freud's Shadow: Adler in Context. Hillsdale, NJ: Analytic Press. .
Watts, R. E. (2003). Adlerian, cognitive, and constructivist therapies: An integrative dialogue. New York: Springer. .
Watts, R. E., & Carlson, J. (1999). Interventions and strategies in counseling and psychotherapy. New York: Accelerated Development/Routledge. .
Way, Lewis (1950): Adler's Place in Psychology. London: Allen & Unwin.
Way, Lewis (1956): Alfred Adler: An Introduction to his Psychology. London: Pelican.
West, G. K. (1975). Kierkegaard and Adler. Tallahassee: Florida State University.
External links
International Association of Individual Psychology
Psychology Articles
The Adlerian Society (UK) and the Institute for Individual Psychology
The North American Society of Adlerian Psychology
Institutul de Psihologie si Psihoterapie Adleriana Romania
Centro de Estudios Adlerianos Uruguay
Classical Adlerian Psychology according to Alfred Adlers Institutes in San Francisco and Northwestern Washington
AdlerPedia
Hong Kong Society of Adlerian Psychology
New Concept Coaching & Training Institute
1870 births
1937 deaths
Adlerian psychology
19th-century Austrian Jews
Jewish scientists
Austrian ophthalmologists
Austrian people of Hungarian-Jewish descent
Austrian psychiatrists
Austrian psychologists
Jewish psychiatrists
People from Rudolfsheim-Fünfhaus
University of Vienna alumni
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[
"The Navigator Program is a long-term NASA project charged with over-seeing all missions related to the detection and characterization of Earth-like planets. It also seeks to further understand how galaxies, stars, and planets form. Navigator, with a 25-year time window, is essentially an umbrella program for more specific current and proposed projects which seek out Earth analogues and possible extraterrestrial life. The main components of Navigator include two ground-based and two space based missions.\n\nOn Earth:\n\n The Keck Interferometer. Initial interferometeric work began in 2005.\n The Large Binocular Telescope. Operational since 2005.\n\nAnd in space:\n\n The SIM Planetquest. Was expected launch in 2015, but was canceled.\n The Terrestrial Planet Finder. First phase was projected to launch 2014, but was canceled.\n\nThe Navigator Program is itself an element of even larger decades long project of NASA: the Origins Program, addressing the origins of the universe, astronomical bodies, and life.\n\nNASA programs",
"The Lumding–Sabroom section is a railway line under Lumding railway division of Northeast Frontier Railway zone of Indian Railways. It is a single broad-gauge track from Lumding in Nagaon District of Assam state to Agartala in West Tripura district of Tripura state. The 43 km-long segment from Agartala southwards to Udaipur, Tripura was completed in 2016 and became operational on 23 January 2017. The remaining 70 km long track to Sabroom at the bank of Feni River at Bangladesh border was completed in 2019 and became operational on 3 October 2019.\n\nHistory\nRailway service was established in Tripura in 1964 by constructing metre gauge track from Karimganj to Dharmanagar and Kailashahar in Tripura but the track did not connect the state capital Agartala. The foundation stone of the 119 km Kumarghat–Agartala railway line project was laid in 1996. The 87 km-long segment from Lumding to Agartala became operational in 2008. It was a metre-gauge single track without electrification and was converted to broad gauge in 2016. A new 43 km-long track was laid from Agartala to Udaipur, Tripura in 2017. The remaining 70 km long track to Sabroom at the bank of Feni River at Bangladesh border was completed by 2019 and became operational on 3 October 2019.\n\nFuture construction\nThe track may be extended further from Sabroom to Chittagong port which is 75 km from the India–Bangladesh border. A branch line from Agartala to Akhaura in Bangladesh, is under construction. This line will reduce the distance between Kolkata and Agartala to about 500 km, from current about 1500 km via Guwahati.\n\nSee also\n\nGuwahati–Silchar Express\n\nReferences\n\nExternal links\n Indiarailinfo\n Erail\n\n5 ft 6 in gauge railways in India\nRail transport in Assam\nRail transport in Tripura\n\n2008 establishments in India\nTransport in Agartala\nTransport in Lumding"
] |
[
"Alfred Adler",
"The Adlerian school",
"When did he attend this school",
"he enjoyed considerable success and celebrity in building an independent school of psychotherapy and a unique personality theory.",
"When was it built?",
"He traveled and lectured for a period of 25 years promoting his socially oriented approach.",
"What was his approach?",
"His intent was to build a movement that would rival, even supplant, others in psychology by arguing for the holistic integrity of psychological well-being with that of social equality.",
"Did he have followers?",
"After the conclusion of the war, his influence increased greatly. In the 1930s, he established a number of child guidance clinics.",
"Are there any other interesting aspects about this article?",
"Adler was concerned with the overcoming of the superiority/inferiority dynamic and was one of the first psychotherapists to discard the analytic couch in favor of two chairs.",
"How long was the school operational?",
"I don't know."
] |
C_90d31d06565f4f6d96409afe51139414_0
|
What did the school focus on?
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What did the Alderian school focus on?
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Alfred Adler
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Following Adler's break from Freud, he enjoyed considerable success and celebrity in building an independent school of psychotherapy and a unique personality theory. He traveled and lectured for a period of 25 years promoting his socially oriented approach. His intent was to build a movement that would rival, even supplant, others in psychology by arguing for the holistic integrity of psychological well-being with that of social equality. Adler's efforts were halted by World War I, during which he served as a doctor with the Austrian Army. After the conclusion of the war, his influence increased greatly. In the 1930s, he established a number of child guidance clinics. From 1921 onwards, he was a frequent lecturer in Europe and the United States, becoming a visiting professor at Columbia University in 1927. His clinical treatment methods for adults were aimed at uncovering the hidden purpose of symptoms using the therapeutic functions of insight and meaning. Adler was concerned with the overcoming of the superiority/inferiority dynamic and was one of the first psychotherapists to discard the analytic couch in favor of two chairs. This allows the clinician and patient to sit together more or less as equals. Clinically, Adler's methods are not limited to treatment after-the-fact but extend to the realm of prevention by preempting future problems in the child. Prevention strategies include encouraging and promoting social interest, belonging, and a cultural shift within families and communities that leads to the eradication of pampering and neglect (especially corporal punishment). Adler's popularity was related to the comparative optimism and comprehensibility of his ideas. He often wrote for the lay public. Adler always retained a pragmatic approach that was task-oriented. These "Life tasks" are occupation/work, society/friendship, and love/sexuality. Their success depends on cooperation. The tasks of life are not to be considered in isolation since, as Adler famously commented, "they all throw cross-lights on one another". In his bestselling book, Man's Search for Meaning, Dr. Viktor E. Frankl compared his own "Third Viennese School of Psychotherapy" (after Freud's and Adler's schools) to Adler's analysis: According to logotherapy, the striving to find a meaning in one's life is the primary motivational force in man. That is why I speak of a will to meaning in contrast to the "pleasure principle" (or, as we could also term it, the will to pleasure) on which Freudian psychoanalysis is centered, as well as in contrast to the will to power stressed by Adlerian psychology. CANNOTANSWER
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Adler always retained a pragmatic approach that was task-oriented. These "Life tasks" are occupation/work, society/friendship, and love/sexuality. Their success depends on cooperation.
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Alfred Adler (; ; 7 February 1870 – 28 May 1937) was an Austrian medical doctor, psychotherapist, and founder of the school of individual psychology. His emphasis on the importance of feelings of inferiority, the inferiority complex, is recognized as an isolating element which plays a key role in personality development. Alfred Adler considered a human being as an individual whole, and therefore he called his psychology "Individual Psychology" (Orgler 1976).
Adler was the first to emphasize the importance of the social element in the re-adjustment process of the individual and to carry psychiatry into the community. A Review of General Psychology survey, published in 2002, ranked Adler as the 67th most eminent psychologist of the 20th century.
Early life
Alfred Adler was born on February 7, 1870 at Mariahilfer Straße 208 in Rudolfsheim, a village on the western fringes of Vienna, a modern part of Rudolfsheim-Fünfhaus, the 15th district of the city. He was second of the seven children of a Jewish couple, Pauline (Beer) and Leopold Adler. Leopold Adler was a Hungarian-born grain merchant. Alfred's younger brother died in the bed next to him when Alfred was only three years old, and throughout his childhood, he maintained a rivalry with his older brother. This rivalry was spurred on because Adler believed his mother preferred his brother over him. Despite his good relationship with his father, he still struggled with feelings of inferiority in his relationship with his mother.
Alfred was an active, popular child and an average student who was also known for the competitive attitude toward his older brother, Sigmund. Early on, he developed rickets, which kept Alfred from walking until he was four years old. At the age of four, he developed pneumonia and heard a doctor say to his father, "Your boy is lost". Along with being run over twice and witnessing his younger brother's death, this sickness contributed to his overall fear of death. At that point, he decided to be a physician. He was very interested in the subjects of psychology, sociology and philosophy. After studying at University of Vienna, he specialized as an eye doctor, and later in neurology and psychiatry.
Career
Adler began his medical career as an ophthalmologist, but he soon switched to general practice, and established his office in a less affluent part of Vienna across from the Prater, a combination of amusement park and circus. His clients included circus people, and it has been suggested that the unusual strengths and weaknesses of the performers led to his insights into "organ inferiorities" and "compensation".
In his early career, Adler wrote an article in the defense of Freud's theory after reading one of Freud's most well known works, The Interpretation of Dreams. In 1902, because of his defense article, Adler received an invitation from Sigmund Freud to join an informal discussion group that included Rudolf Reitler and Wilhelm Stekel. The group, the "Wednesday Society" (Mittwochsgesellschaft), met regularly on Wednesday evenings at Freud's home and was the beginning of the psychoanalytic movement, expanding over time to include many more members. Each week a member would present a paper and after a short break of coffee and cakes, the group would discuss it. The main members were Otto Rank, Max Eitingon, Wilhelm Stekel, Karl Abraham, Hanns Sachs, Fritz Wittels, Max Graf, and Sandor Ferenczi. In 1908, Adler presented his paper, "The aggressive instinct in life and in neurosis", at a time when Freud believed that early sexual development was the primary determinant of the making of character, with which Adler took issue. Adler proposed that the sexual and aggressive drives were "two originally separate instincts which merge later on". Freud at the time disagreed with this idea.
When Freud in 1920 proposed his dual instinct theory of libido and aggressive drives in Beyond the Pleasure Principle, without citing Adler, he was reproached that Adler had proposed the aggressive drive in his 1908 paper (Eissler, 1971). Freud later commented in a 1923 footnote he added to the Little Hans case that, "I have myself been obliged to assert the existence of an aggressive instinct" (1909, p. 140, 2), while pointing out that his conception of an aggressive drive differs from that of Adler. A long-serving member of the group, he made many more beyond this 1908 pivotal contribution to the group, and Adler became president of the Vienna Psychoanalytic Society eight years later (1910). He remained a member of the Society until 1911, when he and a group of his supporters formally disengaged from Freud's circle, the first of the great dissenters from orthodox psychoanalysis (preceding Carl Jung's split in 1914).
This departure suited both Freud and Adler, since they had grown to dislike each other. During his association with Freud, Adler frequently maintained his own ideas which often diverged from Freud's. While Adler is often referred to as "a pupil of Freud", in fact this was never true; they were colleagues, Freud referring to him in print in 1909 as "My colleague Dr Alfred Adler". The association of Adler and Freud lasted a total of 9 years, and they never saw each other after the separation. Freud continued to dislike Adler even after the separation and tended to do so with other defectors from psychoanalysis. Even after Adler's death, Freud maintained his distaste for him. When conversing with a colleague over the matter, he stated, "I don't understand your sympathy for Adler. For a Jewish boy out of a Viennese suburb a death in Aberdeen is an unheard of career in itself and a proof of how far he had got on. The world really rewarded him richly for his service in having contradicted psychoanalysis." In 1929 Adler showed a reporter with the New York Herald a copy of the faded postcard that Freud had sent him in 1902. He wanted to prove that he had never been a disciple of Freud's but rather that Freud had sought him out to share his ideas.
Adler founded the Society for Individual Psychology in 1912 after his break from the psychoanalytic movement. Adler's group initially included some orthodox Nietzschean adherents (who believed that Adler's ideas on power and inferiority were closer to Nietzsche than Freud's). Their enmity aside, Adler retained a lifelong admiration for Freud's ideas on dreams and credited him with creating a scientific approach to their clinical utilization (Fiebert, 1997). Nevertheless, even regarding dream interpretation, Adler had his own theoretical and clinical approach. The primary differences between Adler and Freud centered on Adler's contention that the social realm (exteriority) is as important to psychology as is the internal realm (interiority). The dynamics of power and compensation extend beyond sexuality, and gender and politics can be as important as libido. Moreover, Freud did not share Adler's socialist beliefs, the latter's wife being for example an intimate friend of many of the Russian Marxists such as Leon Trotsky.
The Adlerian school
Following Adler's break from Freud, he enjoyed considerable success and celebrity in building an independent school of psychotherapy and a unique personality theory. He traveled and lectured for a period of 25 years promoting his socially oriented approach. His intent was to build a movement that would rival, even supplant, others in psychology by arguing for the holistic integrity of psychological well-being with that of social equality. Adler's efforts were halted by World War I, during which he served as a doctor with the Austro-Hungarian Army. After the conclusion of the war, his influence increased greatly. In the 1920s, he established a number of child guidance clinics. From 1921 onwards, he was a frequent lecturer in Europe and the United States, becoming a visiting professor at Columbia University in 1927. His clinical treatment methods for adults were aimed at uncovering the hidden purpose of symptoms using the therapeutic functions of insight and meaning.
Adler was concerned with the overcoming of the superiority/inferiority dynamic and was one of the first psychotherapists to discard the analytic couch in favor of two chairs. This allows the clinician and patient to sit together more or less as equals. Clinically, Adler's methods are not limited to treatment after-the-fact but extend to the realm of prevention by preempting future problems in the child. Prevention strategies include encouraging and promoting social interest, belonging, and a cultural shift within families and communities that leads to the eradication of pampering and neglect (especially corporal punishment). Adler's popularity was related to the comparative optimism and comprehensibility of his ideas. He often wrote for the lay public. Adler always retained a pragmatic approach that was task-oriented. These "Life tasks" are occupation/work, society/friendship, and love/sexuality. Their success depends on cooperation. The tasks of life are not to be considered in isolation since, as Adler famously commented, "they all throw cross-lights on one another".
In his bestselling book, Man's Search for Meaning, Dr. Viktor E. Frankl compared his own "Third Viennese School of Psychotherapy" (after Freud's and Adler's schools) to Adler's analysis:
Emigration
In the early 1930s, after most of Adler's Austrian clinics had been closed due to his Jewish heritage (despite his conversion to Christianity), Adler left Austria for a professorship at the Long Island College of Medicine in the US. Adler died from a heart attack in 1937 in Aberdeen, Scotland, during a lecture tour, although his remains went missing and were unaccounted for until 2007. His death was a temporary blow to the influence of his ideas, although a number of them were subsequently taken up by neo-Freudians. Through the work of Rudolf Dreikurs in the United States and many other adherents worldwide, Adlerian ideas and approaches remain strong and viable more than 70 years after Adler's death.
Around the world there are various organizations promoting Adler's orientation towards mental and social well-being. These include the International Committee of Adlerian Summer Schools and Institutes (ICASSI), the North American Society of Adlerian Psychology (NASAP) and the International Association for Individual Psychology. Teaching institutes and programs exist in Austria, Canada, England, Germany, Greece, Israel, Italy, Japan, Latvia, Switzerland, the United States, Jamaica, Peru, and Wales.
Basic principles
Adler was influenced by the mental construct ideas of the philosopher Hans Vaihinger (The Philosophy of 'As if') and the literature of Dostoyevsky. While still a member of the Vienna Psychoanalytic Society he developed a theory of organic inferiority and compensation that was the prototype for his later turn to phenomenology and the development of his famous concept, the inferiority complex.
Adler was also influenced by the philosophies of Immanuel Kant, Friedrich Nietzsche, Rudolf Virchow and the statesman Jan Smuts (who coined the term "holism"). Adler's School, known as "Individual Psychology"—an arcane reference to the Latin individuals meaning indivisibility, a term intended to emphasize holism—is both a social and community psychology as well as a depth psychology. Adler was an early advocate in psychology for prevention and emphasized the training of parents, teachers, social workers and so on in democratic approaches that allow a child to exercise their power through reasoned decision making whilst co-operating with others. He was a social idealist, and was known as a socialist in his early years of association with psychoanalysis (1902–1911).
Adler was pragmatic and believed that lay people could make practical use of the insights of psychology. Adler was also an early supporter of feminism in psychology and the social world, believing that feelings of superiority and inferiority were often gendered and expressed symptomatically in characteristic masculine and feminine styles. These styles could form the basis of psychic compensation and lead to mental health difficulties. Adler also spoke of "safeguarding tendencies" and neurotic behavior long before Anna Freud wrote about the same phenomena in her book The Ego and the Mechanisms of Defense.
Adlerian-based scholarly, clinical and social practices focus on the following topics:
Social interest and community feeling
Holism and the creative self
Fictional finalism, teleology, and goal constructs
Psychological and social encouragement
Inferiority, superiority and compensation
Life style/style of life
Early recollections (a projective technique)
Family constellation and birth order
Life tasks and social embeddedness
The conscious and unconscious realms
Private logic and common sense (based in part on Kant's "")
Symptoms and neurosis
Safeguarding behavior
Guilt and guilt feelings
Socratic questioning
Dream interpretation
Child and adolescent psychology
Democratic approaches to parenting and families
Adlerian approaches to classroom management
Leadership and organizational psychology
Adler created Adlerian Therapy, because he believed that one's psyche should be studied in the context of that person's environment.
Adler's approach to personality
In one of his earliest and most famous publications, "Study of Organ Inferiority and Its Physical Compensation," Adler outlined the basics for what would be the beginning foundation of his personality theory. The article focuses mainly on the topics of organ inferiority and compensation. Organ inferiority is when one organ, or portion of the body, is weaker than the rest. Adler postulated that the body's other organs would work together in order to compensate for the weakness of this "inferior" organ. When compensation occurs, other areas of the body make up for the function lacking in the inferior portion. In some cases, the weakness may be overcompensated transforming it into a strength. An example would be an individual with a weak leg becoming a great runner later on. As his theory progressed, the idea of organ inferiority was replaced with feelings of inferiority instead. As Adler's theory progressed, he continued evolving his theory and key ideas.
Adler's book, Über den nervösen Charakter (The Neurotic Character) defines his earlier key ideas. He argued that human personality could be explained teleologically: parts of the individual's unconscious self ideally work to convert feelings of inferiority to superiority (or rather completeness). The desires of the self ideal were countered by social and ethical demands. If the corrective factors were disregarded and the individual overcompensated, then an inferiority complex would occur, fostering the danger of the individual becoming egocentric, power-hungry and aggressive or worse.
Common therapeutic tools include the use of humor, historical instances, and paradoxical injunctions.
Psychodynamics and teleology
Adler maintained that human psychology is psychodynamic in nature. Unlike Freud's metapsychology that emphasizes instinctual demands, human psychology is guided by goals and fueled by a yet unknown creative force. Like Freud's instincts, Adler's fictive goals are largely unconscious. These goals have a "teleological" function. Constructivist Adlerians, influenced by neo-Kantian and Nietzschean ideas, view these "teleological" goals as "fictions" in the sense that Hans Vaihinger spoke of (fictio). Usually there is a fictional final goal which can be deciphered alongside of innumerable sub-goals. The inferiority/superiority dynamic is constantly at work through various forms of compensation and overcompensation. For example, in anorexia nervosa the fictive final goal is to "be perfectly thin" (overcompensation on the basis of a feeling of inferiority). Hence, the fictive final goal can serve a persecutory function that is ever-present in subjectivity (though its trace springs are usually unconscious). The end goal of being "thin" is fictive however since it can never be subjectively achieved.
Teleology serves another vital function for Adlerians. Chilon's "hora telos" ("see the end, consider the consequences") provides for both healthy and maladaptive psychodynamics. Here we also find Adler's emphasis on personal responsibility in mentally healthy subjects who seek their own and the social good.
Constructivism and metaphysics
The metaphysical thread of Adlerian theory does not problematize the notion of teleology since concepts such as eternity (an ungraspable end where time ceases to exist) match the religious aspects that are held in tandem. In contrast, the constructivist Adlerian threads (either humanist/modernist or postmodern in variant) seek to raise insight of the force of unconscious fictions– which carry all of the inevitability of 'fate'– so long as one does not understand them. Here, 'teleology' itself is fictive yet experienced as quite real. This aspect of Adler's theory is somewhat analogous to the principles developed in Rational Emotive Behavior Therapy (REBT) and Cognitive Therapy (CT). Both Albert Ellis and Aaron T. Beck credit Adler as a major precursor to REBT and CT. Ellis in particular was a member of the North American Society for Adlerian Psychology and served as an editorial board member for the Adlerian Journal Individual Psychology.
As a psychodynamic system, Adlerians excavate the past of a client/patient in order to alter their future and increase integration into community in the 'here-and-now'. The 'here-and-now' aspects are especially relevant to those Adlerians who emphasize humanism and/or existentialism in their approaches.
Holism
Metaphysical Adlerians emphasize a spiritual holism in keeping with what Jan Smuts articulated (Smuts coined the term "holism"), that is, the spiritual sense of one-ness that holism usually implies (etymology of holism: from ὅλος holos, a Greek word meaning all, entire, total) Smuts believed that evolution involves a progressive series of lesser wholes integrating into larger ones. Whilst Smuts' text Holism and Evolution is thought to be a work of science, it actually attempts to unify evolution with a higher metaphysical principle (holism). The sense of connection and one-ness revered in various religious traditions (among these, Christianity, Judaism, Zoroastrianism, Islam, Buddhism and Baha'i) finds a strong complement in Adler's thought.
The pragmatic and materialist aspects to contextualizing members of communities, the construction of communities and the socio-historical-political forces that shape communities matter a great deal when it comes to understanding an individual's psychological make-up and functioning. This aspect of Adlerian psychology holds a high level of synergy with the field of community psychology, especially given Adler's concern for what he called "the absolute truth and logic of communal life". However, Adlerian psychology, unlike community psychology, is holistically concerned with both prevention and clinical treatment after-the-fact. Hence, Adler can be considered the "first community psychologist", a discourse that formalized in the decades following Adler's death (King & Shelley, 2008).
Adlerian psychology, Carl Jung's analytical psychology, Gestalt therapy and Karen Horney's psychodynamic approach are holistic schools of psychology. These discourses eschew a reductive approach to understanding human psychology and psychopathology.
Typology
Adler developed a scheme of so-called personality types, which were however always to be taken as provisional or heuristic since he did not, in essence, believe in personality types, and at different times proposed different and equally tentative systems. The danger with typology is to lose sight of the individual's uniqueness and to gaze reductively, acts that Adler opposed. Nevertheless, he intended to illustrate patterns that could denote a characteristic governed under the overall style of life. Hence American Adlerians such as Harold Mosak have made use of Adler's typology in this provisional sense:
The Getting or Leaning They are sensitive people who have developed a shell around themselves which protects them, but they must rely on others to carry them through life's difficulties. They have low energy levels and so become dependent. When overwhelmed, they develop what we typically think of as neurotic symptoms: phobias, obsessions and compulsions, general anxiety, hysteria, amnesias, and so on, depending on individual details of their lifestyle.
The Avoiding types are those that hate being defeated. They may be successful, but have not taken any risks getting there. They are likely to have low social contact in fear of rejection or defeat in any way.
The Ruling or Dominant type strive for power and are willing to manipulate situations and people, anything to get their way. People of this type are also prone to anti-social behavior.
The Socially Useful types are those who are very outgoing and very active. They have a lot of social contact and strive to make changes for the good.
These 'types' are typically formed in childhood and are expressions of the Style of Life.
The importance of memories
Adler placed great emphasis upon the interpretation of early memories in working with patients and school children, writing that, "Among all psychic expressions, some of the most revealing are the individual's memories." Adler viewed memories as expressions of "private logic" and as metaphors for an individual's personal philosophy of life or "lifestyle". He maintained that memories are never incidental or trivial; rather, they are chosen reminders: "(A person's) memories are the reminders she carries about with her of her limitations and of the meanings of events. There are no 'chance' memories. Out of the incalculable number of impressions that an individual receives, she chooses to remember only those which she considers, however dimly, to have a bearing on her problems."
On birth order
Adler often emphasized one's psychological birth order as having an influence on the style of life and the strengths and weaknesses in one's psychological make up. Birth order referred to the placement of siblings within the family. It is important to note the difference between psychological and ordinal birth order (e.g. in some families, a second child might behave like a firstborn, in which case they are considered to be an ordinal secondborn but a psychological firstborn). Mosak, H.H. & Maniacci, M. P. (1999). A primer of Adlerian Psychology. Taylor and Francis. Adler believed that the firstborn child would be in a favorable position, enjoying the full attention of the eager new parents until the arrival of a second child. This second child would cause the first born to suffer feelings of dethronement, no longer being the center of attention. Adler (1908) believed that in a three-child family, the oldest child would be the most likely to suffer from neuroticism and substance addiction which he reasoned was a compensation for the feelings of excessive responsibility "the weight of the world on one's shoulders" (e.g. having to look after the younger ones) and the melancholic loss of that once supremely pampered position. As a result, he predicted that this child was the most likely to end up in jail or an asylum. Youngest children would tend to be overindulged, leading to poor social empathy. Consequently, the middle child, who would experience neither dethronement nor overindulgence, was most likely to develop into a successful individual yet also most likely to be a rebel and to feel squeezed-out. Adler himself was the third (some sources credit second) in a family of six children.
Adler never produced any scientific support for his interpretations on birth order roles, nor did he feel the need to. Yet the value of the hypothesis was to extend the importance of siblings in marking the psychology of the individual beyond Freud's more limited emphasis on the mother and father. Hence, Adlerians spend time therapeutically mapping the influence that siblings (or lack thereof) had on the psychology of their clients. The idiographic approach entails an excavation of the phenomenology of one's birth order position for likely influence on the subject's Style of Life. In sum, the subjective experiences of sibling positionality and inter-relations are important in terms of the dynamics of psychology, for Adlerian therapists and personality theorists, not the cookbook predictions that may or may not have been objectively true in Adler's time.
For Adler, birth order answered the question, "Why do children, who are raised in the same family, grow up with very different personalities?" While a strict geneticist, believing siblings are raised in a shared environment, may claim any differences in personality would be caused by subtle variations in the individuals' genetics, Adler showed through his birth order theory that children do not grow up in the same shared environment, but the oldest child grows up in a family where they have younger siblings, the middle child with older and younger siblings, and the youngest with older siblings. The position in the family constellation, Adler said, is the reason for these differences in personality and not genetics: a point later taken up by Eric Berne.
On addiction
Adler's insight into birth order, compensation and issues relating to the individuals' perception of community also led him to investigate the causes and treatment of substance abuse disorders, particularly alcoholism and morphinism, which already were serious social problems of his time. Adler's work with addicts was significant since most other prominent proponents of psychoanalysis invested relatively little time and thought into this widespread ill of the modern and post-modern age. In addition to applying his individual psychology approach of organ inferiority, for example, to the onset and causes of addictive behaviors, he also tried to find a clear relationship of drug cravings to sexual gratification or their substitutions. Early pharmaco-therapeutic interventions with non-addictive substances, such as neuphyllin were used, since withdrawal symptoms were explained by a form of "water-poisoning" that made the use of diuretics necessary.
Adler and his wife's pragmatic approach, and the seemingly high success rates of their treatment were based on their ideas of social functioning and well-being. Clearly, life style choices and situations were emphasized, for example the need for relaxation or the negative effects of early childhood conflicts were examined, which compared to other authoritarian or religious treatment regimens, were clearly modern approaches. Certainly some of his observations, for example that psychopaths were more likely to be drug addicts are not compatible with current methodologies and theories of substance abuse treatment, but the self-centered attributes of the illness and the clear escapism from social responsibilities by pathological addicts put Adler's treatment modalities clearly into a modern contextual reasoning.
On homosexuality
Adler's ideas regarding non-heterosexual sexuality and various social forms of deviance have long been controversial. Along with prostitution and criminality, Adler had classified 'homosexuals' as falling among the "failures of life". In 1917, he began his writings on homosexuality with a 52-page magazine, and sporadically published more thoughts throughout the rest of his life.
The Dutch psychologist Gerard J. M. van den Aardweg underlines how Alfred Adler came to his conclusions for, in 1917, Adler believed that he had established a connection between homosexuality and an inferiority complex towards one's own gender. This point of view differed from Freud's theory that homosexuality is rooted in narcissism or Jung's view of expressions of contrasexuality vis-à-vis the archetypes of the Anima and Animus.
There is evidence that Adler may have moved towards abandoning the hypothesis. Towards the end of Adler's life, in the mid-1930s, his opinion towards homosexuality began to shift. Elizabeth H. McDowell, a New York state family social worker recalls undertaking supervision with Adler on a young man who was "living in sin" with an older man in New York City. Adler asked her, "Is he happy, would you say?" "Oh yes," McDowell replied. Adler then stated, "Well, why don't we leave him alone."
According to Phyllis Bottome, who wrote Adler's Biography (after Adler himself laid upon her that task): "He always treated homosexuality as lack of courage. These were but ways of obtaining a slight release for a physical need while avoiding a greater obligation. A transient partner of your own sex is a better known road and requires less courage than a permanent contact with an "unknown" sex.... Adler taught that men cannot be judged from within by their "possessions," as he used to call nerves, glands, traumas, drives et cetera, since both judge and prisoner are liable to misconstrue what is invisible and incalculable; but that he can be judged, with no danger from introspection, by how he measures up to the three common life tasks set before every human being between the cradle and the grave: work (employment), love or marriage (intimacy), and social contact (friendships.)"
Parent education
Adler emphasized both treatment and prevention. With regard to psychodynamic psychology, Adlerians emphasize the foundational importance of childhood in developing personality and any tendency towards various forms of psychopathology. The best way to inoculate against what are now termed "personality disorders" (what Adler had called the "neurotic character"), or a tendency to various neurotic conditions (depression, anxiety, etc.), is to train a child to be and feel an equal part of the family. The responsibility of the optimal development of the child is not limited to the mother or father, but rather includes teachers and society more broadly. Adler argued therefore that teachers, nurses, social workers, and so on require training in parent education to complement the work of the family in fostering a democratic character. When a child does not feel equal and is enacted upon (abused through pampering or neglect) he or she is likely to develop inferiority or superiority complexes and various concomitant compensation strategies. These strategies exact a social toll by seeding higher divorce rates, the breakdown of the family, criminal tendencies, and subjective suffering in the various guises of psychopathology. Adlerians have long promoted parent education groups, especially those influenced by the famous Austrian/American Adlerian Rudolf Dreikurs (Dreikurs & Soltz, 1964).
Spirituality, ecology and community
In a late work, Social Interest: A Challenge to Mankind (1938), Adler turns to the subject of metaphysics, where he integrates Jan Smuts' evolutionary holism with the ideas of teleology and community: "sub specie aeternitatis". Unabashedly, he argues his vision of society: "Social feeling means above all a struggle for a communal form that must be thought of as eternally applicable... when humanity has attained its goal of perfection... an ideal society amongst all mankind, the ultimate fulfillment of evolution." Adler follows this pronouncement with a defense of metaphysics:
This social feeling for Adler is Gemeinschaftsgefühl, a community feeling whereby one feels he or she belongs with others and has also developed an ecological connection with nature (plants, animals, the crust of this earth) and the cosmos as a whole, sub specie aeternitatis. Clearly, Adler himself had little problem with adopting a metaphysical and spiritual point of view to support his theories.
Death and cremation
Adler died suddenly in Aberdeen, Scotland, in May 1937, during a three-week visit to the University of Aberdeen. While walking down the street, he was seen to collapse and lie motionless on the pavement. As a man ran over to him and loosened his collar, Adler mumbled "Kurt", the name of his son and died. The autopsy performed determined his death was caused by a degeneration of the heart muscle. His body was cremated at Warriston Crematorium in Edinburgh but the ashes were never reclaimed. In 2007, his ashes were rediscovered in a casket at Warriston Crematorium and returned to Vienna for burial in 2011.
Use of Adler's work without attribution
Much of Adler's theories have been absorbed into modern psychology without attribution. Psychohistorian Henri F. Ellenberger writes, "It would not be easy to find another author from which so much has been borrowed on all sides without acknowledgement than Alfred Adler." Ellenberger posits several theories for "the discrepancy between greatness of achievement, massive rejection of person and work, and wide-scale, quiet plagiarism..." These include Adler's "imperfect" style of writing and demeanor, his "capacity to create a new obviousness," and his lack of a large and well organized following.
Influence on depth psychology
In collaboration with Sigmund Freud and a small group of Freud's colleagues, Adler was among the co-founders of the psychoanalytic movement and a core member of the Vienna Psychoanalytic Society: indeed, to Freud he was "the only personality there". He was the first major figure to break away from psychoanalysis to form an independent school of psychotherapy and personality theory, which he called individual psychology because he believed a human to be an indivisible whole, an individuum. He also imagined a person to be connected or associated with the surrounding world.
This was after Freud declared Adler's ideas as too contrary, leading to an ultimatum to all members of the Society (which Freud had shepherded) to drop Adler or be expelled, disavowing the right to dissent (Makari, 2008). Nevertheless, Freud always took Adler's ideas seriously, calling them "honorable errors". Though one rejects the content of Adler's views, one can recognize their consistency and significance." Following this split, Adler would come to have an enormous, independent effect on the disciplines of counseling and psychotherapy as they developed over the course of the 20th century (Ellenberger, 1970). He influenced notable figures in subsequent schools of psychotherapy such as Rollo May, Viktor Frankl, Abraham Maslow and Albert Ellis. His writings preceded, and were at times surprisingly consistent with, later Neo-Freudian insights such as those evidenced in the works of Otto Rank, Karen Horney, Harry Stack Sullivan and Erich Fromm, some considering that it would take several decades for Freudian ego psychology to catch up with Adler's ground-breaking approach.
Adler emphasized the importance of equality in preventing various forms of psychopathology, and espoused the development of social interest and democratic family structures for raising children. His most famous concept is the inferiority complex which speaks to the problem of self-esteem and its negative effects on human health (e.g. sometimes producing a paradoxical superiority striving). His emphasis on power dynamics is rooted in the philosophy of Nietzsche, whose works were published a few decades before Adler's. Specifically, Adler's conceptualization of the "Will to Power" focuses on the individual's creative power to change for the better. Adler argued for holism, viewing the individual holistically rather than reductively, the latter being the dominant lens for viewing human psychology. Adler was also among the first in psychology to argue in favor of feminism, and the female analyst, making the case that power dynamics between men and women (and associations with masculinity and femininity) are crucial to understanding human psychology (Connell, 1995). Adler is considered, along with Freud and Jung, to be one of the three founding figures of depth psychology, which emphasizes the unconscious and psychodynamics (Ellenberger, 1970; Ehrenwald, 1991); and thus to be one of the three great psychologists/philosophers of the twentieth century.
Personal life
During his college years, he had become attached to a group of socialist students, among which he had found his wife-to-be, Raissa Timofeyewna Epstein, an intellectual and social activist from Russia studying in Vienna. Because Raissa was a militant socialist, she had a large impact on Adler's early publications and ultimately his theory of personality. They married in 1897 and had four children, two of whom, his daughter Alexandra and his son Kurt, became psychiatrists. Their children were writer, psychiatrist and Socialist activist Alexandra Adler; psychiatrist Kurt Adler; writer and activist Valentine Adler; and Cornelia "Nelly" Adler. Raissa, Adler's wife, died at 89 in New York City on April 21,1962.
Author and journalist Margot Adler (1946-2014) was Adler's granddaughter.
Artistic and cultural references
The two main characters in the novel Plant Teacher engage in a session of Adlerian lifestyle interpretation, including early memory interpretation.
In the episode Something About Dr. Mary of the television series Frasier, Frasier recalls having to "pass under a dangerously unbalanced portrait of Alfred Adler" during his studies at Harvard.
He appears as a character in the Young Indiana Jones chronicles.
English-language Adlerian journals
North America
The Journal of Individual Psychology (University of Texas Press)
The Canadian Journal of Adlerian Psychology (Adlerian Psychology Association of British Columbia)
United Kingdom
Adlerian Yearbook (Adlerian Society, UK)
Publications
Alfred Adler's key publications were The Practice and Theory of Individual Psychology (1927), Understanding Human Nature (1927), & What Life Could Mean to You (1931). Other important publications are The Pattern of Life (1930), The Science of Living (1930), The Neurotic Constitution (1917), The Problems of Neurosis (1930). In his lifetime, Adler published more than 300 books and articles.
The Alfred Adler Institute of Northwestern Washington has recently published a twelve-volume set of The Collected Clinical Works of Alfred Adler, covering his writings from 1898–1937. An entirely new translation of Adler's magnum opus, The Neurotic Character, is featured in Volume 1. Volume 12 provides comprehensive overviews of Adler's mature theory and contemporary Adlerian practice.
Volume 1 : The Neurotic Character — 1907
Volume 2 : Journal Articles 1898–1909
Volume 3 : Journal Articles 1910–1913
Volume 4 : Journal Articles 1914–1920
Volume 5 : Journal Articles 1921–1926
Volume 6 : Journal Articles 1927–1931
Volume 7 : Journal Articles 1931–1937
Volume 8 : Lectures to Physicians & Medical Students
Volume 9 : Case Histories
Volume 10 : Case Readings & Demonstrations
Volume 11 : Education for Prevention
Volume 12 : The General System of Individual Psychology
Other key Adlerian texts
Adler, A. (1964). The Individual Psychology of Alfred Adler. H. L. Ansbacher and R. R. Ansbacher (Eds.). New York: Harper Torchbooks. .
Adler, A. (1979). Superiority and Social Interest: A Collection of Later Writings. H. L. Ansbacher and R. R. Ansbacher (Eds.). New York, NY: W. W. Norton. .
See also
Adlerian
Classical Adlerian psychology
Neo-Adlerian
Notes
References
Adler, A. (1908). Der Aggressionstrieb im Leben und der Neurose. Fortsch. Med. 26: 577–584.
Adler, A. (1938). Social Interest: A Challenge to Mankind. J. Linton and R. Vaughan (Trans.). London: Faber and Faber Ltd.
Adler, A. (1956). The Individual Psychology of Alfred Adler. H. L. Ansbacher and R. R. Ansbacher (Eds.). New York: Harper Torchbooks.
Connell, R. W. (1995). Masculinities. Cambridge, UK: Polity Press.
Dreikurs, R. & Soltz, V. (1964). Children the Challenge. New York: Hawthorn Books.
Ehrenwald, J. (1991, 1976). The History of Psychotherapy: From healing magic to encounter. Northvale, NJ: Jason Aronson Inc.
Eissler, K.R. (1971). Death Drive, Ambivalence, and Narcissism. Psychoanal. St. Child, 26: 25–78.
Ellenberger, H. (1970). The Discovery of the Unconscious. New York: Basic Books.
Fiebert, M. S. (1997). In and out of Freud's shadow: A chronology of Adler's relationship with Freud. Individual Psychology, 53(3), 241–269.
Freud, S. (1909). Analysis of a Phobia in a Five-Year-Old Boy. Standard Edition of the Works of Sigmund Freud, London: Hogarth Press, Vol. 10, pp. 3–149.
King, R. & Shelley, C. (2008). Community Feeling and Social Interest: Adlerian Parallels, Synergy, and Differences with the Field of Community Psychology. Journal of Community and Applied Social Psychology, 18, 96–107.
Manaster, G. J., Painter, G., Deutsch, D., & Overholt, B. J. (Eds.). (1977). Alfred Adler: As We Remember Him. Chicago: North American Society of Adlerian Psychology.
Shelley, C. (Ed.). (1998). Contemporary Perspectives on Psychotherapy and Homosexualities. London: Free Association Books.
Slavik, S. & King, R. (2007). Adlerian therapeutic strategy. The Canadian Journal of Adlerian Psychology, 37(1), 3–16.
Gantschacher, H. (ARBOS 2007). Witness and Victim of the Apocalypse, chapter 13 page 12 and chapter 14 page 6.
Orgler, H. (1996). Alfred Adler, 22 (1), pg. 67–68.
Further reading
Orgler, Hertha, Alfred Adler, International Journal of Social Psychiatry, V. 22 (1), 1976-Spring, p. 67
Phyllis Bottome (1939). Alfred Adler: A Biography. G. P. Putnam's Sons. New York.
Phyllis Bottome (1939). Alfred Adler: Apostle of Freedom. London: Faber and Faber. 3rd Ed. 1957.
Carlson, J., Watts, R. E., & Maniacci, M. (2005). Adlerian Therapy: Theory and Practice. Washington, DC: American Psychological Association. .
Dinkmeyer, D., Sr., & Dreikurs, R. (2000). Encouraging Children to Learn. Philadelphia: Brunner-Routledge. .
Rudolf Dreikurs (1935): An Introduction to Individual Psychology. London: Kegan Paul, Trench Trubner & Co. Ltd. (new edition 1983: London & New York: Routledge), .
Grey, L. (1998). Alfred Adler: The Forgotten Prophet: A Vision for the 21st Century. Westport, CT: Praeger. .
Handlbauer, B. (1998). The Freud-Adler Controversy. Oxford, UK: Oneworld. .
Hoffman, E. (1994). The Drive for Self: Alfred Adler and the Founding of Individual Psychology. New York: Addison-Wesley Co. .
Lehrer, R. (1999). "Adler and Nietzsche". In: J. Golomb, W. Santaniello, and R. Lehrer. (Eds.). Nietzsche and Depth Psychology. (pp. 229–246). Albany, NY: State University of New York Press. .
Mosak, H. H. & Di Pietro, R. (2005). Early Recollections: Interpretive Method and Application. New York: Routledge. .
Oberst, U. E. and Stewart, A. E. (2003). Adlerian Psychotherapy: An Advanced Approach to Individual Psychology. New York: Brunner-Routledge. .
Orgler, H. (1963). Alfred Adler: The Man and His Work: Triumph Over the Inferiority Complex. New York: Liveright.
Orgler, H. (1996). Alfred Adler, 22 (1), pg. 67–68.
Josef Rattner (1983): Alfred Adler: Life and Literature. Ungar Pub. Co. .
Slavik, S. & Carlson, J. (Eds.). (2005). Readings in the Theory of Individual Psychology. New York: Routledge. .
Manès Sperber (1974). Masks of Loneliness: Alfred Adler in Perspective. New York: Macmillan. .
Stepansky, P. E. (1983). In Freud's Shadow: Adler in Context. Hillsdale, NJ: Analytic Press. .
Watts, R. E. (2003). Adlerian, cognitive, and constructivist therapies: An integrative dialogue. New York: Springer. .
Watts, R. E., & Carlson, J. (1999). Interventions and strategies in counseling and psychotherapy. New York: Accelerated Development/Routledge. .
Way, Lewis (1950): Adler's Place in Psychology. London: Allen & Unwin.
Way, Lewis (1956): Alfred Adler: An Introduction to his Psychology. London: Pelican.
West, G. K. (1975). Kierkegaard and Adler. Tallahassee: Florida State University.
External links
International Association of Individual Psychology
Psychology Articles
The Adlerian Society (UK) and the Institute for Individual Psychology
The North American Society of Adlerian Psychology
Institutul de Psihologie si Psihoterapie Adleriana Romania
Centro de Estudios Adlerianos Uruguay
Classical Adlerian Psychology according to Alfred Adlers Institutes in San Francisco and Northwestern Washington
AdlerPedia
Hong Kong Society of Adlerian Psychology
New Concept Coaching & Training Institute
1870 births
1937 deaths
Adlerian psychology
19th-century Austrian Jews
Jewish scientists
Austrian ophthalmologists
Austrian people of Hungarian-Jewish descent
Austrian psychiatrists
Austrian psychologists
Jewish psychiatrists
People from Rudolfsheim-Fünfhaus
University of Vienna alumni
| true |
[
"Slow Focus is the third studio album by Fuck Buttons, released on 22 July 2013. It peaked at number 36 on the UK Albums Chart. It was the first album released by ATP Recordings to reach the top 40 of the UK Albums Chart.\n\nCritical reception\n\nUpon its release, Slow Focus received critical acclaim. At Metacritic, which assigns a weighted average score out of 100 to reviews and ratings from mainstream critics, the album has received a score of 81, based on 39 reviews, indicating \"universal acclaim.\"\n\nAllMusic reviewer Heather Phares noted that Fuck Buttons' self production work was a measure of \"how much they've come into their own\" and that \"Slow Focus delivers some of their most masterful and seemingly effortless music yet.\" Mike Madden, writing for Consequence of Sound, described it as \"a seven-track ride at turns gloopy and glassy, invigorating and dark,\" noting that \"all told, this is pretty epic stuff.\" Drowned in Sound critic Andrzej Lukowski observed that Slow Focus displayed \"a strange, alien detachment\" with an \"undercurrent of menace,\" but stated that the album \"isn’t alienating, it’s other, and it’s a pleasure to take a wander around its unfamiliar landscapes\". In his review for The Guardian where he commented that Slow Focus \"seems slightly more commercial than its predecessor, although such things are obviously relative,\" Alexis Petridis concluded that \"the only real response is to listen and gawp.\" NME reviewer Noel Gardner opined that it was \"all-consuming and consistently impressive from the off\" and stated that the band \"can be proud of what they continue to achieve.\"\n\nYear-End Rankings \n\n\"N/A\" indicates that the publication did not rank the works included in their year-end list.\n\nTrack Accolades \n\n\"N/A\" indicates that the publication did not rank the works included in their year-end list.\n\nTrack listing\n\nPersonnel\nCredits adapted from liner notes.\n\n Fuck Buttons – music, production, recording, mixing\n Mat Rowlands – initial track recording\n Nina Walsh – initial track recording\n Jimmy Robertson – mix engineering\n Bob Weston – mastering\n Benjamin John Power – artwork\n Alex de Mora – photography\n\nCharts\n\nReferences\n\nExternal links\n \nSlow Focus on Metacritic\nSlow Focus on AllMusic\nSlow Focus on RYM\n\n2013 albums\nFuck Buttons albums\nATP Recordings albums",
"Erik Qualman is an American author of Socialnomics, which according to WorldCat, is held in 1090 libraries. He is also the author of Digital Leader,What Happens in Vegas Stays on YouTube and The Focus Project . In 2010, Socialnomics was a Book of the Year finalist as voted on by the American Marketing Association. In 2012 he was a finalist for the \"Most Likeable Author Award\" alongside Seth Godin and JK Rowling.\n\nBiography\nQualman is from Rochester Hills, Michigan, and received a BA in marketing from Michigan State University. He also holds an MBA from the McCombs School of Business at the University of Texas. Qualman delivered the commencement address to the McCombs graduating class of 2011. Lake Superior State University awarded Qualman an honorary doctorate for his work and accomplishments in the field of digital leadership.\n\nCareer\nAside from being an author, Qualman is also a professional keynote speaker. Prior to his writing and speaking career Qualman worked in online marketing and eBusiness functions at Cadillac & Pontiac (1994 to 1997), AT&T (1998 to 2000), Yahoo (2000 to 2003), EarthLink (2003 to 2005) and Travelzoo (Head of Marketing 2005 to 2008). Qualman was a professor at the Hult International Business School.\n\nIn 2021 Qualman became the first male speaker to address the audience at the Indy Women in Tech Summit. Qualman delivered the keynote address at IBM's 2013 Business Connect in Milan, Italy. He was a featured speaker at BookExpo America 2009, presenting to those in attendance on how social media is transforming the way people live and do business. Qualman also was the keynote speaker at Europe's Fiber To The Home (FTTH) Council Meeting in Lisbon,.\n\nHe has been written about in Mashable, BusinessWeek, The New York Times, Forbes, and The Huffington Post\nHe has also been interviewed on radio and television discussing his view on digital trends.\n\nAwards and recognition\nTop 25 Communications Professors on Twitter (source: Stukent) \nTop 50 Social Media Influencer (source: Forbes)\n\nBooks\nSocialnomics\nDigital Leader\nWhat Happens in Vegas Stays on YouTube\nWhat Happens on Campus Stays on YouTube\nThe Focus Project\n\nReferences\n\nLiving people\n1972 births\nMichigan State University alumni\nMcCombs School of Business alumni\nAmerican male writers\nSocial media influencers"
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[
"Alfred Adler",
"The Adlerian school",
"When did he attend this school",
"he enjoyed considerable success and celebrity in building an independent school of psychotherapy and a unique personality theory.",
"When was it built?",
"He traveled and lectured for a period of 25 years promoting his socially oriented approach.",
"What was his approach?",
"His intent was to build a movement that would rival, even supplant, others in psychology by arguing for the holistic integrity of psychological well-being with that of social equality.",
"Did he have followers?",
"After the conclusion of the war, his influence increased greatly. In the 1930s, he established a number of child guidance clinics.",
"Are there any other interesting aspects about this article?",
"Adler was concerned with the overcoming of the superiority/inferiority dynamic and was one of the first psychotherapists to discard the analytic couch in favor of two chairs.",
"How long was the school operational?",
"I don't know.",
"What did the school focus on?",
"Adler always retained a pragmatic approach that was task-oriented. These \"Life tasks\" are occupation/work, society/friendship, and love/sexuality. Their success depends on cooperation."
] |
C_90d31d06565f4f6d96409afe51139414_0
|
Where they more aimed towards one gender?
| 8 |
Were the Alderian school more aimed towards one gender?
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Alfred Adler
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Following Adler's break from Freud, he enjoyed considerable success and celebrity in building an independent school of psychotherapy and a unique personality theory. He traveled and lectured for a period of 25 years promoting his socially oriented approach. His intent was to build a movement that would rival, even supplant, others in psychology by arguing for the holistic integrity of psychological well-being with that of social equality. Adler's efforts were halted by World War I, during which he served as a doctor with the Austrian Army. After the conclusion of the war, his influence increased greatly. In the 1930s, he established a number of child guidance clinics. From 1921 onwards, he was a frequent lecturer in Europe and the United States, becoming a visiting professor at Columbia University in 1927. His clinical treatment methods for adults were aimed at uncovering the hidden purpose of symptoms using the therapeutic functions of insight and meaning. Adler was concerned with the overcoming of the superiority/inferiority dynamic and was one of the first psychotherapists to discard the analytic couch in favor of two chairs. This allows the clinician and patient to sit together more or less as equals. Clinically, Adler's methods are not limited to treatment after-the-fact but extend to the realm of prevention by preempting future problems in the child. Prevention strategies include encouraging and promoting social interest, belonging, and a cultural shift within families and communities that leads to the eradication of pampering and neglect (especially corporal punishment). Adler's popularity was related to the comparative optimism and comprehensibility of his ideas. He often wrote for the lay public. Adler always retained a pragmatic approach that was task-oriented. These "Life tasks" are occupation/work, society/friendship, and love/sexuality. Their success depends on cooperation. The tasks of life are not to be considered in isolation since, as Adler famously commented, "they all throw cross-lights on one another". In his bestselling book, Man's Search for Meaning, Dr. Viktor E. Frankl compared his own "Third Viennese School of Psychotherapy" (after Freud's and Adler's schools) to Adler's analysis: According to logotherapy, the striving to find a meaning in one's life is the primary motivational force in man. That is why I speak of a will to meaning in contrast to the "pleasure principle" (or, as we could also term it, the will to pleasure) on which Freudian psychoanalysis is centered, as well as in contrast to the will to power stressed by Adlerian psychology. CANNOTANSWER
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Their success depends on cooperation. The tasks of life are not to be considered in isolation since, as Adler famously commented, "they all throw cross-lights on one another".
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Alfred Adler (; ; 7 February 1870 – 28 May 1937) was an Austrian medical doctor, psychotherapist, and founder of the school of individual psychology. His emphasis on the importance of feelings of inferiority, the inferiority complex, is recognized as an isolating element which plays a key role in personality development. Alfred Adler considered a human being as an individual whole, and therefore he called his psychology "Individual Psychology" (Orgler 1976).
Adler was the first to emphasize the importance of the social element in the re-adjustment process of the individual and to carry psychiatry into the community. A Review of General Psychology survey, published in 2002, ranked Adler as the 67th most eminent psychologist of the 20th century.
Early life
Alfred Adler was born on February 7, 1870 at Mariahilfer Straße 208 in Rudolfsheim, a village on the western fringes of Vienna, a modern part of Rudolfsheim-Fünfhaus, the 15th district of the city. He was second of the seven children of a Jewish couple, Pauline (Beer) and Leopold Adler. Leopold Adler was a Hungarian-born grain merchant. Alfred's younger brother died in the bed next to him when Alfred was only three years old, and throughout his childhood, he maintained a rivalry with his older brother. This rivalry was spurred on because Adler believed his mother preferred his brother over him. Despite his good relationship with his father, he still struggled with feelings of inferiority in his relationship with his mother.
Alfred was an active, popular child and an average student who was also known for the competitive attitude toward his older brother, Sigmund. Early on, he developed rickets, which kept Alfred from walking until he was four years old. At the age of four, he developed pneumonia and heard a doctor say to his father, "Your boy is lost". Along with being run over twice and witnessing his younger brother's death, this sickness contributed to his overall fear of death. At that point, he decided to be a physician. He was very interested in the subjects of psychology, sociology and philosophy. After studying at University of Vienna, he specialized as an eye doctor, and later in neurology and psychiatry.
Career
Adler began his medical career as an ophthalmologist, but he soon switched to general practice, and established his office in a less affluent part of Vienna across from the Prater, a combination of amusement park and circus. His clients included circus people, and it has been suggested that the unusual strengths and weaknesses of the performers led to his insights into "organ inferiorities" and "compensation".
In his early career, Adler wrote an article in the defense of Freud's theory after reading one of Freud's most well known works, The Interpretation of Dreams. In 1902, because of his defense article, Adler received an invitation from Sigmund Freud to join an informal discussion group that included Rudolf Reitler and Wilhelm Stekel. The group, the "Wednesday Society" (Mittwochsgesellschaft), met regularly on Wednesday evenings at Freud's home and was the beginning of the psychoanalytic movement, expanding over time to include many more members. Each week a member would present a paper and after a short break of coffee and cakes, the group would discuss it. The main members were Otto Rank, Max Eitingon, Wilhelm Stekel, Karl Abraham, Hanns Sachs, Fritz Wittels, Max Graf, and Sandor Ferenczi. In 1908, Adler presented his paper, "The aggressive instinct in life and in neurosis", at a time when Freud believed that early sexual development was the primary determinant of the making of character, with which Adler took issue. Adler proposed that the sexual and aggressive drives were "two originally separate instincts which merge later on". Freud at the time disagreed with this idea.
When Freud in 1920 proposed his dual instinct theory of libido and aggressive drives in Beyond the Pleasure Principle, without citing Adler, he was reproached that Adler had proposed the aggressive drive in his 1908 paper (Eissler, 1971). Freud later commented in a 1923 footnote he added to the Little Hans case that, "I have myself been obliged to assert the existence of an aggressive instinct" (1909, p. 140, 2), while pointing out that his conception of an aggressive drive differs from that of Adler. A long-serving member of the group, he made many more beyond this 1908 pivotal contribution to the group, and Adler became president of the Vienna Psychoanalytic Society eight years later (1910). He remained a member of the Society until 1911, when he and a group of his supporters formally disengaged from Freud's circle, the first of the great dissenters from orthodox psychoanalysis (preceding Carl Jung's split in 1914).
This departure suited both Freud and Adler, since they had grown to dislike each other. During his association with Freud, Adler frequently maintained his own ideas which often diverged from Freud's. While Adler is often referred to as "a pupil of Freud", in fact this was never true; they were colleagues, Freud referring to him in print in 1909 as "My colleague Dr Alfred Adler". The association of Adler and Freud lasted a total of 9 years, and they never saw each other after the separation. Freud continued to dislike Adler even after the separation and tended to do so with other defectors from psychoanalysis. Even after Adler's death, Freud maintained his distaste for him. When conversing with a colleague over the matter, he stated, "I don't understand your sympathy for Adler. For a Jewish boy out of a Viennese suburb a death in Aberdeen is an unheard of career in itself and a proof of how far he had got on. The world really rewarded him richly for his service in having contradicted psychoanalysis." In 1929 Adler showed a reporter with the New York Herald a copy of the faded postcard that Freud had sent him in 1902. He wanted to prove that he had never been a disciple of Freud's but rather that Freud had sought him out to share his ideas.
Adler founded the Society for Individual Psychology in 1912 after his break from the psychoanalytic movement. Adler's group initially included some orthodox Nietzschean adherents (who believed that Adler's ideas on power and inferiority were closer to Nietzsche than Freud's). Their enmity aside, Adler retained a lifelong admiration for Freud's ideas on dreams and credited him with creating a scientific approach to their clinical utilization (Fiebert, 1997). Nevertheless, even regarding dream interpretation, Adler had his own theoretical and clinical approach. The primary differences between Adler and Freud centered on Adler's contention that the social realm (exteriority) is as important to psychology as is the internal realm (interiority). The dynamics of power and compensation extend beyond sexuality, and gender and politics can be as important as libido. Moreover, Freud did not share Adler's socialist beliefs, the latter's wife being for example an intimate friend of many of the Russian Marxists such as Leon Trotsky.
The Adlerian school
Following Adler's break from Freud, he enjoyed considerable success and celebrity in building an independent school of psychotherapy and a unique personality theory. He traveled and lectured for a period of 25 years promoting his socially oriented approach. His intent was to build a movement that would rival, even supplant, others in psychology by arguing for the holistic integrity of psychological well-being with that of social equality. Adler's efforts were halted by World War I, during which he served as a doctor with the Austro-Hungarian Army. After the conclusion of the war, his influence increased greatly. In the 1920s, he established a number of child guidance clinics. From 1921 onwards, he was a frequent lecturer in Europe and the United States, becoming a visiting professor at Columbia University in 1927. His clinical treatment methods for adults were aimed at uncovering the hidden purpose of symptoms using the therapeutic functions of insight and meaning.
Adler was concerned with the overcoming of the superiority/inferiority dynamic and was one of the first psychotherapists to discard the analytic couch in favor of two chairs. This allows the clinician and patient to sit together more or less as equals. Clinically, Adler's methods are not limited to treatment after-the-fact but extend to the realm of prevention by preempting future problems in the child. Prevention strategies include encouraging and promoting social interest, belonging, and a cultural shift within families and communities that leads to the eradication of pampering and neglect (especially corporal punishment). Adler's popularity was related to the comparative optimism and comprehensibility of his ideas. He often wrote for the lay public. Adler always retained a pragmatic approach that was task-oriented. These "Life tasks" are occupation/work, society/friendship, and love/sexuality. Their success depends on cooperation. The tasks of life are not to be considered in isolation since, as Adler famously commented, "they all throw cross-lights on one another".
In his bestselling book, Man's Search for Meaning, Dr. Viktor E. Frankl compared his own "Third Viennese School of Psychotherapy" (after Freud's and Adler's schools) to Adler's analysis:
Emigration
In the early 1930s, after most of Adler's Austrian clinics had been closed due to his Jewish heritage (despite his conversion to Christianity), Adler left Austria for a professorship at the Long Island College of Medicine in the US. Adler died from a heart attack in 1937 in Aberdeen, Scotland, during a lecture tour, although his remains went missing and were unaccounted for until 2007. His death was a temporary blow to the influence of his ideas, although a number of them were subsequently taken up by neo-Freudians. Through the work of Rudolf Dreikurs in the United States and many other adherents worldwide, Adlerian ideas and approaches remain strong and viable more than 70 years after Adler's death.
Around the world there are various organizations promoting Adler's orientation towards mental and social well-being. These include the International Committee of Adlerian Summer Schools and Institutes (ICASSI), the North American Society of Adlerian Psychology (NASAP) and the International Association for Individual Psychology. Teaching institutes and programs exist in Austria, Canada, England, Germany, Greece, Israel, Italy, Japan, Latvia, Switzerland, the United States, Jamaica, Peru, and Wales.
Basic principles
Adler was influenced by the mental construct ideas of the philosopher Hans Vaihinger (The Philosophy of 'As if') and the literature of Dostoyevsky. While still a member of the Vienna Psychoanalytic Society he developed a theory of organic inferiority and compensation that was the prototype for his later turn to phenomenology and the development of his famous concept, the inferiority complex.
Adler was also influenced by the philosophies of Immanuel Kant, Friedrich Nietzsche, Rudolf Virchow and the statesman Jan Smuts (who coined the term "holism"). Adler's School, known as "Individual Psychology"—an arcane reference to the Latin individuals meaning indivisibility, a term intended to emphasize holism—is both a social and community psychology as well as a depth psychology. Adler was an early advocate in psychology for prevention and emphasized the training of parents, teachers, social workers and so on in democratic approaches that allow a child to exercise their power through reasoned decision making whilst co-operating with others. He was a social idealist, and was known as a socialist in his early years of association with psychoanalysis (1902–1911).
Adler was pragmatic and believed that lay people could make practical use of the insights of psychology. Adler was also an early supporter of feminism in psychology and the social world, believing that feelings of superiority and inferiority were often gendered and expressed symptomatically in characteristic masculine and feminine styles. These styles could form the basis of psychic compensation and lead to mental health difficulties. Adler also spoke of "safeguarding tendencies" and neurotic behavior long before Anna Freud wrote about the same phenomena in her book The Ego and the Mechanisms of Defense.
Adlerian-based scholarly, clinical and social practices focus on the following topics:
Social interest and community feeling
Holism and the creative self
Fictional finalism, teleology, and goal constructs
Psychological and social encouragement
Inferiority, superiority and compensation
Life style/style of life
Early recollections (a projective technique)
Family constellation and birth order
Life tasks and social embeddedness
The conscious and unconscious realms
Private logic and common sense (based in part on Kant's "")
Symptoms and neurosis
Safeguarding behavior
Guilt and guilt feelings
Socratic questioning
Dream interpretation
Child and adolescent psychology
Democratic approaches to parenting and families
Adlerian approaches to classroom management
Leadership and organizational psychology
Adler created Adlerian Therapy, because he believed that one's psyche should be studied in the context of that person's environment.
Adler's approach to personality
In one of his earliest and most famous publications, "Study of Organ Inferiority and Its Physical Compensation," Adler outlined the basics for what would be the beginning foundation of his personality theory. The article focuses mainly on the topics of organ inferiority and compensation. Organ inferiority is when one organ, or portion of the body, is weaker than the rest. Adler postulated that the body's other organs would work together in order to compensate for the weakness of this "inferior" organ. When compensation occurs, other areas of the body make up for the function lacking in the inferior portion. In some cases, the weakness may be overcompensated transforming it into a strength. An example would be an individual with a weak leg becoming a great runner later on. As his theory progressed, the idea of organ inferiority was replaced with feelings of inferiority instead. As Adler's theory progressed, he continued evolving his theory and key ideas.
Adler's book, Über den nervösen Charakter (The Neurotic Character) defines his earlier key ideas. He argued that human personality could be explained teleologically: parts of the individual's unconscious self ideally work to convert feelings of inferiority to superiority (or rather completeness). The desires of the self ideal were countered by social and ethical demands. If the corrective factors were disregarded and the individual overcompensated, then an inferiority complex would occur, fostering the danger of the individual becoming egocentric, power-hungry and aggressive or worse.
Common therapeutic tools include the use of humor, historical instances, and paradoxical injunctions.
Psychodynamics and teleology
Adler maintained that human psychology is psychodynamic in nature. Unlike Freud's metapsychology that emphasizes instinctual demands, human psychology is guided by goals and fueled by a yet unknown creative force. Like Freud's instincts, Adler's fictive goals are largely unconscious. These goals have a "teleological" function. Constructivist Adlerians, influenced by neo-Kantian and Nietzschean ideas, view these "teleological" goals as "fictions" in the sense that Hans Vaihinger spoke of (fictio). Usually there is a fictional final goal which can be deciphered alongside of innumerable sub-goals. The inferiority/superiority dynamic is constantly at work through various forms of compensation and overcompensation. For example, in anorexia nervosa the fictive final goal is to "be perfectly thin" (overcompensation on the basis of a feeling of inferiority). Hence, the fictive final goal can serve a persecutory function that is ever-present in subjectivity (though its trace springs are usually unconscious). The end goal of being "thin" is fictive however since it can never be subjectively achieved.
Teleology serves another vital function for Adlerians. Chilon's "hora telos" ("see the end, consider the consequences") provides for both healthy and maladaptive psychodynamics. Here we also find Adler's emphasis on personal responsibility in mentally healthy subjects who seek their own and the social good.
Constructivism and metaphysics
The metaphysical thread of Adlerian theory does not problematize the notion of teleology since concepts such as eternity (an ungraspable end where time ceases to exist) match the religious aspects that are held in tandem. In contrast, the constructivist Adlerian threads (either humanist/modernist or postmodern in variant) seek to raise insight of the force of unconscious fictions– which carry all of the inevitability of 'fate'– so long as one does not understand them. Here, 'teleology' itself is fictive yet experienced as quite real. This aspect of Adler's theory is somewhat analogous to the principles developed in Rational Emotive Behavior Therapy (REBT) and Cognitive Therapy (CT). Both Albert Ellis and Aaron T. Beck credit Adler as a major precursor to REBT and CT. Ellis in particular was a member of the North American Society for Adlerian Psychology and served as an editorial board member for the Adlerian Journal Individual Psychology.
As a psychodynamic system, Adlerians excavate the past of a client/patient in order to alter their future and increase integration into community in the 'here-and-now'. The 'here-and-now' aspects are especially relevant to those Adlerians who emphasize humanism and/or existentialism in their approaches.
Holism
Metaphysical Adlerians emphasize a spiritual holism in keeping with what Jan Smuts articulated (Smuts coined the term "holism"), that is, the spiritual sense of one-ness that holism usually implies (etymology of holism: from ὅλος holos, a Greek word meaning all, entire, total) Smuts believed that evolution involves a progressive series of lesser wholes integrating into larger ones. Whilst Smuts' text Holism and Evolution is thought to be a work of science, it actually attempts to unify evolution with a higher metaphysical principle (holism). The sense of connection and one-ness revered in various religious traditions (among these, Christianity, Judaism, Zoroastrianism, Islam, Buddhism and Baha'i) finds a strong complement in Adler's thought.
The pragmatic and materialist aspects to contextualizing members of communities, the construction of communities and the socio-historical-political forces that shape communities matter a great deal when it comes to understanding an individual's psychological make-up and functioning. This aspect of Adlerian psychology holds a high level of synergy with the field of community psychology, especially given Adler's concern for what he called "the absolute truth and logic of communal life". However, Adlerian psychology, unlike community psychology, is holistically concerned with both prevention and clinical treatment after-the-fact. Hence, Adler can be considered the "first community psychologist", a discourse that formalized in the decades following Adler's death (King & Shelley, 2008).
Adlerian psychology, Carl Jung's analytical psychology, Gestalt therapy and Karen Horney's psychodynamic approach are holistic schools of psychology. These discourses eschew a reductive approach to understanding human psychology and psychopathology.
Typology
Adler developed a scheme of so-called personality types, which were however always to be taken as provisional or heuristic since he did not, in essence, believe in personality types, and at different times proposed different and equally tentative systems. The danger with typology is to lose sight of the individual's uniqueness and to gaze reductively, acts that Adler opposed. Nevertheless, he intended to illustrate patterns that could denote a characteristic governed under the overall style of life. Hence American Adlerians such as Harold Mosak have made use of Adler's typology in this provisional sense:
The Getting or Leaning They are sensitive people who have developed a shell around themselves which protects them, but they must rely on others to carry them through life's difficulties. They have low energy levels and so become dependent. When overwhelmed, they develop what we typically think of as neurotic symptoms: phobias, obsessions and compulsions, general anxiety, hysteria, amnesias, and so on, depending on individual details of their lifestyle.
The Avoiding types are those that hate being defeated. They may be successful, but have not taken any risks getting there. They are likely to have low social contact in fear of rejection or defeat in any way.
The Ruling or Dominant type strive for power and are willing to manipulate situations and people, anything to get their way. People of this type are also prone to anti-social behavior.
The Socially Useful types are those who are very outgoing and very active. They have a lot of social contact and strive to make changes for the good.
These 'types' are typically formed in childhood and are expressions of the Style of Life.
The importance of memories
Adler placed great emphasis upon the interpretation of early memories in working with patients and school children, writing that, "Among all psychic expressions, some of the most revealing are the individual's memories." Adler viewed memories as expressions of "private logic" and as metaphors for an individual's personal philosophy of life or "lifestyle". He maintained that memories are never incidental or trivial; rather, they are chosen reminders: "(A person's) memories are the reminders she carries about with her of her limitations and of the meanings of events. There are no 'chance' memories. Out of the incalculable number of impressions that an individual receives, she chooses to remember only those which she considers, however dimly, to have a bearing on her problems."
On birth order
Adler often emphasized one's psychological birth order as having an influence on the style of life and the strengths and weaknesses in one's psychological make up. Birth order referred to the placement of siblings within the family. It is important to note the difference between psychological and ordinal birth order (e.g. in some families, a second child might behave like a firstborn, in which case they are considered to be an ordinal secondborn but a psychological firstborn). Mosak, H.H. & Maniacci, M. P. (1999). A primer of Adlerian Psychology. Taylor and Francis. Adler believed that the firstborn child would be in a favorable position, enjoying the full attention of the eager new parents until the arrival of a second child. This second child would cause the first born to suffer feelings of dethronement, no longer being the center of attention. Adler (1908) believed that in a three-child family, the oldest child would be the most likely to suffer from neuroticism and substance addiction which he reasoned was a compensation for the feelings of excessive responsibility "the weight of the world on one's shoulders" (e.g. having to look after the younger ones) and the melancholic loss of that once supremely pampered position. As a result, he predicted that this child was the most likely to end up in jail or an asylum. Youngest children would tend to be overindulged, leading to poor social empathy. Consequently, the middle child, who would experience neither dethronement nor overindulgence, was most likely to develop into a successful individual yet also most likely to be a rebel and to feel squeezed-out. Adler himself was the third (some sources credit second) in a family of six children.
Adler never produced any scientific support for his interpretations on birth order roles, nor did he feel the need to. Yet the value of the hypothesis was to extend the importance of siblings in marking the psychology of the individual beyond Freud's more limited emphasis on the mother and father. Hence, Adlerians spend time therapeutically mapping the influence that siblings (or lack thereof) had on the psychology of their clients. The idiographic approach entails an excavation of the phenomenology of one's birth order position for likely influence on the subject's Style of Life. In sum, the subjective experiences of sibling positionality and inter-relations are important in terms of the dynamics of psychology, for Adlerian therapists and personality theorists, not the cookbook predictions that may or may not have been objectively true in Adler's time.
For Adler, birth order answered the question, "Why do children, who are raised in the same family, grow up with very different personalities?" While a strict geneticist, believing siblings are raised in a shared environment, may claim any differences in personality would be caused by subtle variations in the individuals' genetics, Adler showed through his birth order theory that children do not grow up in the same shared environment, but the oldest child grows up in a family where they have younger siblings, the middle child with older and younger siblings, and the youngest with older siblings. The position in the family constellation, Adler said, is the reason for these differences in personality and not genetics: a point later taken up by Eric Berne.
On addiction
Adler's insight into birth order, compensation and issues relating to the individuals' perception of community also led him to investigate the causes and treatment of substance abuse disorders, particularly alcoholism and morphinism, which already were serious social problems of his time. Adler's work with addicts was significant since most other prominent proponents of psychoanalysis invested relatively little time and thought into this widespread ill of the modern and post-modern age. In addition to applying his individual psychology approach of organ inferiority, for example, to the onset and causes of addictive behaviors, he also tried to find a clear relationship of drug cravings to sexual gratification or their substitutions. Early pharmaco-therapeutic interventions with non-addictive substances, such as neuphyllin were used, since withdrawal symptoms were explained by a form of "water-poisoning" that made the use of diuretics necessary.
Adler and his wife's pragmatic approach, and the seemingly high success rates of their treatment were based on their ideas of social functioning and well-being. Clearly, life style choices and situations were emphasized, for example the need for relaxation or the negative effects of early childhood conflicts were examined, which compared to other authoritarian or religious treatment regimens, were clearly modern approaches. Certainly some of his observations, for example that psychopaths were more likely to be drug addicts are not compatible with current methodologies and theories of substance abuse treatment, but the self-centered attributes of the illness and the clear escapism from social responsibilities by pathological addicts put Adler's treatment modalities clearly into a modern contextual reasoning.
On homosexuality
Adler's ideas regarding non-heterosexual sexuality and various social forms of deviance have long been controversial. Along with prostitution and criminality, Adler had classified 'homosexuals' as falling among the "failures of life". In 1917, he began his writings on homosexuality with a 52-page magazine, and sporadically published more thoughts throughout the rest of his life.
The Dutch psychologist Gerard J. M. van den Aardweg underlines how Alfred Adler came to his conclusions for, in 1917, Adler believed that he had established a connection between homosexuality and an inferiority complex towards one's own gender. This point of view differed from Freud's theory that homosexuality is rooted in narcissism or Jung's view of expressions of contrasexuality vis-à-vis the archetypes of the Anima and Animus.
There is evidence that Adler may have moved towards abandoning the hypothesis. Towards the end of Adler's life, in the mid-1930s, his opinion towards homosexuality began to shift. Elizabeth H. McDowell, a New York state family social worker recalls undertaking supervision with Adler on a young man who was "living in sin" with an older man in New York City. Adler asked her, "Is he happy, would you say?" "Oh yes," McDowell replied. Adler then stated, "Well, why don't we leave him alone."
According to Phyllis Bottome, who wrote Adler's Biography (after Adler himself laid upon her that task): "He always treated homosexuality as lack of courage. These were but ways of obtaining a slight release for a physical need while avoiding a greater obligation. A transient partner of your own sex is a better known road and requires less courage than a permanent contact with an "unknown" sex.... Adler taught that men cannot be judged from within by their "possessions," as he used to call nerves, glands, traumas, drives et cetera, since both judge and prisoner are liable to misconstrue what is invisible and incalculable; but that he can be judged, with no danger from introspection, by how he measures up to the three common life tasks set before every human being between the cradle and the grave: work (employment), love or marriage (intimacy), and social contact (friendships.)"
Parent education
Adler emphasized both treatment and prevention. With regard to psychodynamic psychology, Adlerians emphasize the foundational importance of childhood in developing personality and any tendency towards various forms of psychopathology. The best way to inoculate against what are now termed "personality disorders" (what Adler had called the "neurotic character"), or a tendency to various neurotic conditions (depression, anxiety, etc.), is to train a child to be and feel an equal part of the family. The responsibility of the optimal development of the child is not limited to the mother or father, but rather includes teachers and society more broadly. Adler argued therefore that teachers, nurses, social workers, and so on require training in parent education to complement the work of the family in fostering a democratic character. When a child does not feel equal and is enacted upon (abused through pampering or neglect) he or she is likely to develop inferiority or superiority complexes and various concomitant compensation strategies. These strategies exact a social toll by seeding higher divorce rates, the breakdown of the family, criminal tendencies, and subjective suffering in the various guises of psychopathology. Adlerians have long promoted parent education groups, especially those influenced by the famous Austrian/American Adlerian Rudolf Dreikurs (Dreikurs & Soltz, 1964).
Spirituality, ecology and community
In a late work, Social Interest: A Challenge to Mankind (1938), Adler turns to the subject of metaphysics, where he integrates Jan Smuts' evolutionary holism with the ideas of teleology and community: "sub specie aeternitatis". Unabashedly, he argues his vision of society: "Social feeling means above all a struggle for a communal form that must be thought of as eternally applicable... when humanity has attained its goal of perfection... an ideal society amongst all mankind, the ultimate fulfillment of evolution." Adler follows this pronouncement with a defense of metaphysics:
This social feeling for Adler is Gemeinschaftsgefühl, a community feeling whereby one feels he or she belongs with others and has also developed an ecological connection with nature (plants, animals, the crust of this earth) and the cosmos as a whole, sub specie aeternitatis. Clearly, Adler himself had little problem with adopting a metaphysical and spiritual point of view to support his theories.
Death and cremation
Adler died suddenly in Aberdeen, Scotland, in May 1937, during a three-week visit to the University of Aberdeen. While walking down the street, he was seen to collapse and lie motionless on the pavement. As a man ran over to him and loosened his collar, Adler mumbled "Kurt", the name of his son and died. The autopsy performed determined his death was caused by a degeneration of the heart muscle. His body was cremated at Warriston Crematorium in Edinburgh but the ashes were never reclaimed. In 2007, his ashes were rediscovered in a casket at Warriston Crematorium and returned to Vienna for burial in 2011.
Use of Adler's work without attribution
Much of Adler's theories have been absorbed into modern psychology without attribution. Psychohistorian Henri F. Ellenberger writes, "It would not be easy to find another author from which so much has been borrowed on all sides without acknowledgement than Alfred Adler." Ellenberger posits several theories for "the discrepancy between greatness of achievement, massive rejection of person and work, and wide-scale, quiet plagiarism..." These include Adler's "imperfect" style of writing and demeanor, his "capacity to create a new obviousness," and his lack of a large and well organized following.
Influence on depth psychology
In collaboration with Sigmund Freud and a small group of Freud's colleagues, Adler was among the co-founders of the psychoanalytic movement and a core member of the Vienna Psychoanalytic Society: indeed, to Freud he was "the only personality there". He was the first major figure to break away from psychoanalysis to form an independent school of psychotherapy and personality theory, which he called individual psychology because he believed a human to be an indivisible whole, an individuum. He also imagined a person to be connected or associated with the surrounding world.
This was after Freud declared Adler's ideas as too contrary, leading to an ultimatum to all members of the Society (which Freud had shepherded) to drop Adler or be expelled, disavowing the right to dissent (Makari, 2008). Nevertheless, Freud always took Adler's ideas seriously, calling them "honorable errors". Though one rejects the content of Adler's views, one can recognize their consistency and significance." Following this split, Adler would come to have an enormous, independent effect on the disciplines of counseling and psychotherapy as they developed over the course of the 20th century (Ellenberger, 1970). He influenced notable figures in subsequent schools of psychotherapy such as Rollo May, Viktor Frankl, Abraham Maslow and Albert Ellis. His writings preceded, and were at times surprisingly consistent with, later Neo-Freudian insights such as those evidenced in the works of Otto Rank, Karen Horney, Harry Stack Sullivan and Erich Fromm, some considering that it would take several decades for Freudian ego psychology to catch up with Adler's ground-breaking approach.
Adler emphasized the importance of equality in preventing various forms of psychopathology, and espoused the development of social interest and democratic family structures for raising children. His most famous concept is the inferiority complex which speaks to the problem of self-esteem and its negative effects on human health (e.g. sometimes producing a paradoxical superiority striving). His emphasis on power dynamics is rooted in the philosophy of Nietzsche, whose works were published a few decades before Adler's. Specifically, Adler's conceptualization of the "Will to Power" focuses on the individual's creative power to change for the better. Adler argued for holism, viewing the individual holistically rather than reductively, the latter being the dominant lens for viewing human psychology. Adler was also among the first in psychology to argue in favor of feminism, and the female analyst, making the case that power dynamics between men and women (and associations with masculinity and femininity) are crucial to understanding human psychology (Connell, 1995). Adler is considered, along with Freud and Jung, to be one of the three founding figures of depth psychology, which emphasizes the unconscious and psychodynamics (Ellenberger, 1970; Ehrenwald, 1991); and thus to be one of the three great psychologists/philosophers of the twentieth century.
Personal life
During his college years, he had become attached to a group of socialist students, among which he had found his wife-to-be, Raissa Timofeyewna Epstein, an intellectual and social activist from Russia studying in Vienna. Because Raissa was a militant socialist, she had a large impact on Adler's early publications and ultimately his theory of personality. They married in 1897 and had four children, two of whom, his daughter Alexandra and his son Kurt, became psychiatrists. Their children were writer, psychiatrist and Socialist activist Alexandra Adler; psychiatrist Kurt Adler; writer and activist Valentine Adler; and Cornelia "Nelly" Adler. Raissa, Adler's wife, died at 89 in New York City on April 21,1962.
Author and journalist Margot Adler (1946-2014) was Adler's granddaughter.
Artistic and cultural references
The two main characters in the novel Plant Teacher engage in a session of Adlerian lifestyle interpretation, including early memory interpretation.
In the episode Something About Dr. Mary of the television series Frasier, Frasier recalls having to "pass under a dangerously unbalanced portrait of Alfred Adler" during his studies at Harvard.
He appears as a character in the Young Indiana Jones chronicles.
English-language Adlerian journals
North America
The Journal of Individual Psychology (University of Texas Press)
The Canadian Journal of Adlerian Psychology (Adlerian Psychology Association of British Columbia)
United Kingdom
Adlerian Yearbook (Adlerian Society, UK)
Publications
Alfred Adler's key publications were The Practice and Theory of Individual Psychology (1927), Understanding Human Nature (1927), & What Life Could Mean to You (1931). Other important publications are The Pattern of Life (1930), The Science of Living (1930), The Neurotic Constitution (1917), The Problems of Neurosis (1930). In his lifetime, Adler published more than 300 books and articles.
The Alfred Adler Institute of Northwestern Washington has recently published a twelve-volume set of The Collected Clinical Works of Alfred Adler, covering his writings from 1898–1937. An entirely new translation of Adler's magnum opus, The Neurotic Character, is featured in Volume 1. Volume 12 provides comprehensive overviews of Adler's mature theory and contemporary Adlerian practice.
Volume 1 : The Neurotic Character — 1907
Volume 2 : Journal Articles 1898–1909
Volume 3 : Journal Articles 1910–1913
Volume 4 : Journal Articles 1914–1920
Volume 5 : Journal Articles 1921–1926
Volume 6 : Journal Articles 1927–1931
Volume 7 : Journal Articles 1931–1937
Volume 8 : Lectures to Physicians & Medical Students
Volume 9 : Case Histories
Volume 10 : Case Readings & Demonstrations
Volume 11 : Education for Prevention
Volume 12 : The General System of Individual Psychology
Other key Adlerian texts
Adler, A. (1964). The Individual Psychology of Alfred Adler. H. L. Ansbacher and R. R. Ansbacher (Eds.). New York: Harper Torchbooks. .
Adler, A. (1979). Superiority and Social Interest: A Collection of Later Writings. H. L. Ansbacher and R. R. Ansbacher (Eds.). New York, NY: W. W. Norton. .
See also
Adlerian
Classical Adlerian psychology
Neo-Adlerian
Notes
References
Adler, A. (1908). Der Aggressionstrieb im Leben und der Neurose. Fortsch. Med. 26: 577–584.
Adler, A. (1938). Social Interest: A Challenge to Mankind. J. Linton and R. Vaughan (Trans.). London: Faber and Faber Ltd.
Adler, A. (1956). The Individual Psychology of Alfred Adler. H. L. Ansbacher and R. R. Ansbacher (Eds.). New York: Harper Torchbooks.
Connell, R. W. (1995). Masculinities. Cambridge, UK: Polity Press.
Dreikurs, R. & Soltz, V. (1964). Children the Challenge. New York: Hawthorn Books.
Ehrenwald, J. (1991, 1976). The History of Psychotherapy: From healing magic to encounter. Northvale, NJ: Jason Aronson Inc.
Eissler, K.R. (1971). Death Drive, Ambivalence, and Narcissism. Psychoanal. St. Child, 26: 25–78.
Ellenberger, H. (1970). The Discovery of the Unconscious. New York: Basic Books.
Fiebert, M. S. (1997). In and out of Freud's shadow: A chronology of Adler's relationship with Freud. Individual Psychology, 53(3), 241–269.
Freud, S. (1909). Analysis of a Phobia in a Five-Year-Old Boy. Standard Edition of the Works of Sigmund Freud, London: Hogarth Press, Vol. 10, pp. 3–149.
King, R. & Shelley, C. (2008). Community Feeling and Social Interest: Adlerian Parallels, Synergy, and Differences with the Field of Community Psychology. Journal of Community and Applied Social Psychology, 18, 96–107.
Manaster, G. J., Painter, G., Deutsch, D., & Overholt, B. J. (Eds.). (1977). Alfred Adler: As We Remember Him. Chicago: North American Society of Adlerian Psychology.
Shelley, C. (Ed.). (1998). Contemporary Perspectives on Psychotherapy and Homosexualities. London: Free Association Books.
Slavik, S. & King, R. (2007). Adlerian therapeutic strategy. The Canadian Journal of Adlerian Psychology, 37(1), 3–16.
Gantschacher, H. (ARBOS 2007). Witness and Victim of the Apocalypse, chapter 13 page 12 and chapter 14 page 6.
Orgler, H. (1996). Alfred Adler, 22 (1), pg. 67–68.
Further reading
Orgler, Hertha, Alfred Adler, International Journal of Social Psychiatry, V. 22 (1), 1976-Spring, p. 67
Phyllis Bottome (1939). Alfred Adler: A Biography. G. P. Putnam's Sons. New York.
Phyllis Bottome (1939). Alfred Adler: Apostle of Freedom. London: Faber and Faber. 3rd Ed. 1957.
Carlson, J., Watts, R. E., & Maniacci, M. (2005). Adlerian Therapy: Theory and Practice. Washington, DC: American Psychological Association. .
Dinkmeyer, D., Sr., & Dreikurs, R. (2000). Encouraging Children to Learn. Philadelphia: Brunner-Routledge. .
Rudolf Dreikurs (1935): An Introduction to Individual Psychology. London: Kegan Paul, Trench Trubner & Co. Ltd. (new edition 1983: London & New York: Routledge), .
Grey, L. (1998). Alfred Adler: The Forgotten Prophet: A Vision for the 21st Century. Westport, CT: Praeger. .
Handlbauer, B. (1998). The Freud-Adler Controversy. Oxford, UK: Oneworld. .
Hoffman, E. (1994). The Drive for Self: Alfred Adler and the Founding of Individual Psychology. New York: Addison-Wesley Co. .
Lehrer, R. (1999). "Adler and Nietzsche". In: J. Golomb, W. Santaniello, and R. Lehrer. (Eds.). Nietzsche and Depth Psychology. (pp. 229–246). Albany, NY: State University of New York Press. .
Mosak, H. H. & Di Pietro, R. (2005). Early Recollections: Interpretive Method and Application. New York: Routledge. .
Oberst, U. E. and Stewart, A. E. (2003). Adlerian Psychotherapy: An Advanced Approach to Individual Psychology. New York: Brunner-Routledge. .
Orgler, H. (1963). Alfred Adler: The Man and His Work: Triumph Over the Inferiority Complex. New York: Liveright.
Orgler, H. (1996). Alfred Adler, 22 (1), pg. 67–68.
Josef Rattner (1983): Alfred Adler: Life and Literature. Ungar Pub. Co. .
Slavik, S. & Carlson, J. (Eds.). (2005). Readings in the Theory of Individual Psychology. New York: Routledge. .
Manès Sperber (1974). Masks of Loneliness: Alfred Adler in Perspective. New York: Macmillan. .
Stepansky, P. E. (1983). In Freud's Shadow: Adler in Context. Hillsdale, NJ: Analytic Press. .
Watts, R. E. (2003). Adlerian, cognitive, and constructivist therapies: An integrative dialogue. New York: Springer. .
Watts, R. E., & Carlson, J. (1999). Interventions and strategies in counseling and psychotherapy. New York: Accelerated Development/Routledge. .
Way, Lewis (1950): Adler's Place in Psychology. London: Allen & Unwin.
Way, Lewis (1956): Alfred Adler: An Introduction to his Psychology. London: Pelican.
West, G. K. (1975). Kierkegaard and Adler. Tallahassee: Florida State University.
External links
International Association of Individual Psychology
Psychology Articles
The Adlerian Society (UK) and the Institute for Individual Psychology
The North American Society of Adlerian Psychology
Institutul de Psihologie si Psihoterapie Adleriana Romania
Centro de Estudios Adlerianos Uruguay
Classical Adlerian Psychology according to Alfred Adlers Institutes in San Francisco and Northwestern Washington
AdlerPedia
Hong Kong Society of Adlerian Psychology
New Concept Coaching & Training Institute
1870 births
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19th-century Austrian Jews
Jewish scientists
Austrian ophthalmologists
Austrian people of Hungarian-Jewish descent
Austrian psychiatrists
Austrian psychologists
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[
"The women-are-wonderful effect is the phenomenon found in psychological and sociological research which suggests that people associate more positive attributes with women compared to men. This bias reflects an emotional bias toward women as a general case. \nThe phrase was coined by Alice Eagly and Antonio Mladinic in 1994 after finding that both male and female participants tend to assign positive traits to women, with female participants showing a far more pronounced bias. Positive traits were assigned to men by participants of both genders, but to a far lesser degree.\n\nThe authors supposed that the positive general evaluation of women might derive from the association between women and nurturing characteristics. This bias is suggested as a form of misandry/'benevolent misogyny', the latter being a concept within the theoretical framework of ambivalent sexism.\n\nBackground \nThe term was coined by researchers Alice Eagly and Antonio Mladinic in a 1994 paper, where they had questioned the widely-held view that there was prejudice against women. They observed that much of the research had been inconclusive in showing a bias. They had found a positive bias towards women in their 1989 and 1991 studies, which involved questionnaires given to students in the United States.\n\nIn 1989, 203 psychology students of Purdue University were given questionnaires in groups of 20 and asked to assess subjects of both genders, which showed a more favourable attitude to women and female stereotypes.\n\nIn 1991, 324 psychology students of Purdue University were given questionnaires in groups of 20 and asked to assess subjects of both genders. They evaluated the social categories of men and women, relating the traits and expectations of each gender through interviews, emotion-associations and free-response measures. Women were rated higher in attitudes and beliefs but not emotions.\n\nIn-group bias \n conducted research on gender bias that measured gender preferences without directly asking the participants. Subjects at Purdue and Rutgers participated in computerized tasks that measured automatic attitudes based on how quickly a person categorizes pleasant and unpleasant attributes with each gender. Such a task was done to discover whether people associate pleasant words (good, happy, and sunshine) with women, and unpleasant words (bad, trouble, and pain) with men.\n\nThis research found that while both women and men have more favorable views of women, women's in-group biases were 4.5 times stronger than those of men. And only women (not men) showed cognitive balance among in-group bias, identity, and self-esteem, revealing that men lack a mechanism that bolsters automatic preference for their own gender.\n\nOther experiments in this study found people showed automatic preference for their mothers over their fathers, or associated the male gender with violence or aggression. Rudman and Goodwin's suggested that maternal bonding and male intimidation influences gender attitudes.\n\nAnother experiment in the study found adults' attitudes were measured based on their reactions to categories associated with sexual relations. It revealed that among men who engaged more in sexual activity, the more positive their attitude towards sex, the larger their bias towards women. A greater interest in and liking of sex may promote automatic preference for the out-group of women among men, although both women and men with sexual experience expressed greater liking for the opposite gender.\n\nOne study found that the effect is mediated by increased gender equality. The mediation comes not from differences in attitudes towards women, but in attitudes towards men. In more egalitarian societies, people have more positive attitudes towards men than in less egalitarian societies.\n\nCriticism\nSome authors have claimed the \"Women are wonderful\" effect is applicable when women follow traditional gender roles such as child nurturing and stay-at-home housewife. However, other authors have cited studies indicating that the women-are-wonderful effect is still applicable even when women are in nontraditional gender roles, and the original study discovering the women-are-wonderful effect found no such ambivalence.\n\nSeveral scholars have argued that the \"women are wonderful\" effect might be better phrased as \"women are wonderful when\" effect, with the \"when\" meaning when women are not in charge.\n\nSee also \n Benevolent prejudice\n Counterstereotype\n Gender empathy gap\n Gender stereotypes\n Lookism\n Male expendability\n Role congruity theory\n Stereotype\n Stereotype fit hypothesis\n\nReferences\n\nFurther reading\n \n \n \n\nSexism\nBias\nWomen and psychology\n1994 introductions",
"Mina Tolu is a Maltese politician, activist who champions LGBTQIA causes and is a green activist who has campaigned to raise awareness of transgender rights and gender equality in Europe. They ran for the 2019 European Parliament election in Malta.\n\nEarly life \nTolu and their twin sibling, Ludo Tolu, were born on 31 August 1991. Together, they founded the Maltese Student Organisation, We Are, in 2010. Tolu's father, Giancarlo Tolu, is a Maltese sportsman who broke a Guinness World Record in bowling in 2004 and represented Malta at the European Senior Bowling Championships and the Senior World Cup.\n\nTolu graduated with a Bachelor of Communications (Hons) from the University of Malta in 2014. Their dissertation project consisted of the creation of a comic meant to reach out to the LGBT Young Adult (YA) audience. The comic was aimed at the Maltese audience, where literature of this type is limited.\n\nActivism and career\n\nLGBTQI activism \nTolu began advocating for LGBTQIA rights in 2010, starting with the foundation of We Are (LGBTQIA youth & student organization) at the University of Malta.\n\nFrom 2014 to 2015, Tolu was a board member and Co-Chair of IGLYO - the International LGBTQIA Youth and Student Organization (2014 - 2015). They were IGLYO's candidate for the Council of Europe Advisory Council of Youth (CCJ) during 2016 and 2017. They were elected to the Advisory Council of Youth where they worked on portfolios of mental health, counter-narratives and 'no hate speech'. In 2015, Tolu joined the staff team of TGEU - Transgender Europe as Communications Officer. \nIn 2016, Tolu represented Malta at One Young World Summit in Ottawa, Canada. They delivered a speech on trans rights and was a member on a panel about gender equality. Tolu spoke about challenging gender stereotypes, gender-neutral pronouns and stressed the need for gender equality to include transgender and gender-non-conforming people. During their speech on trans rights and violence against trans people at the One Young World Summit, Tolu spoke about TGEU's Trans Murder Monitoring project and called on the One Young World community fighting similar forms of discrimination, violence and hatred towards diversity to unite together and bring change in all these communities.\n\nIn 2018, Mina Tolu joined the Women Deliver Young Leaders program, which is a global advocacy program that develops youth activists to work for gender equality and women's rights. They returned to local activism in Malta by joining the Pride Week events in the run-up to Malta Pride 2018. In August 2018, Tolu joined the Human Rights Conference at Euro Pride held in Stockholm.\n\nEnvironmental activism \nIn 2015, Tolu coordinated the national referendum campaign SHOut - Spring Hunting Out (No campaign) for the Maltese environmental NGO BirdLife Malta that aimed to abolish spring bird hunting in Malta. The result of the vote was a slim victory for the Yes Campaign of 2,220 votes.\n\nRecognition \nMina Tolu was nominated and won the student award at the first LGBTQIA Community Awards in Malta, 2014. Their twin, Ludo Tolu, won the same award. In the same year, they were awarded Kokka Attiva by the University Student Council (KSU) for their work as a student at the University of Malta and was nominated for a JCI Malta young leader award.\n\nReferences \n\n1991 births\nLiving people\nLGBT people from Malta\nTransgender rights activists\nTransgender non-binary people\nLGBT rights activists from Malta\nAlumni of the University of Malta\nNon-binary activists"
] |
[
"Phillip Phillips",
"Overview"
] |
C_505c10c4e7bb4ffb98dbc15b5b81579e_1
|
When did he start his career?
| 1 |
When did Phillip Phillips start his career?
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Phillip Phillips
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Phillips auditioned in Savannah, Georgia. He sang "Superstition" by Stevie Wonder. The judges then asked him to perform a second song with his guitar, and he performed Michael Jackson's "Thriller." He advanced to the Hollywood rounds, and later to the Las Vegas round. On February 23, 2012, Phillips was chosen as one of the Top 25 semi-finalists, and was then voted into the Top 13. His performance style on the show has been compared to Dave Matthews, and he covered one of his songs, "The Stone," in the competition. When asked about Phillips' imitation of his style, Dave Matthews said: "More power to him, I don't mind," and added "He should kick my ass, [then] maybe I can retire and he can take over my band." Mentor Stevie Nicks said Phillips would have been good enough to join Fleetwood Mac back in 1975, after his performance of Jonny Lang's Still Rainin, which he received a standing ovation from the judges. After the Top 13 performance night, Phillips was taken to a doctor for possible kidney stones. He had eight procedures while he was on Idol, and considered quitting the show due to the pain. For his Top 3 performance, Phillips sang Bob Seger's "We've Got Tonight." For Top 4, he did a cover of Damien Rice's Volcano - which has been heralded as one of the best American Idol performances of all time. As the sole contestant who was never in jeopardy of elimination in any week of the competition, Phillips became the winner on the finale against Jessica Sanchez after a record-breaking 132 million votes were cast. His coronation song, "Home," was released after his performance, and had the biggest digital sales week for any Idol winner's coronation song. ^Note 1 Due to the judges using their one save on Jessica Sanchez, the Top 7 remained intact for another week. CANNOTANSWER
|
Phillips auditioned in Savannah, Georgia.
|
Phillip LaDon Phillips Jr. (born September 20, 1990) is an American musician, singer-songwriter who rose to fame after winning the eleventh season of American Idol on May 23, 2012. His coronation song, "Home", became the best-selling song in American Idol history. His debut album The World from the Side of the Moon was released on November 19, 2012 and was on the Billboard Top 200 album chart for 61 weeks. It has been certified Platinum by the RIAA. The album included the single "Gone, Gone, Gone." He followed up with Behind the Light, in 2014 with the lead single "Raging Fire." His third album, Collateral, was released in 2018 and included the songs "Into the Wild" and "Magnetic." Phillips toured with John Mayer, Gavin DeGraw, the Goo Goo Dolls and has shared the stage with Bruce Springsteen.
In the United States, Phillips has sold 7.5 million digital singles and has sold 2.7 million albums including album streaming equivalent units. He has over 600 million streams on Spotify and 1.2 billion streams on Pandora.
Early life
Phillips was born in Albany, Georgia, to Sheryl (Jacks) and Phillip LaDon "Donnie" Phillips, Sr. He moved with his family to Leesburg, Georgia when he was 12. He has two older sisters, LaDonna, the eldest, and Lacey. Phillips grew up in Sasser and Leesburg, and attended Lee County High School. He graduated from Albany Technical College with a major in Industrial Systems Technology, but missed the graduation ceremony due to his obligations to American Idol. Prior to appearing on American Idol, he worked at his family's pawn shop.
Phillips started playing music, particularly the guitar, when he was 14. He was mentored by his long-time friend and brother-in-law, Benjamin Neil, whom he credits for piquing his interest in music. In 2009, he formed the Phillip Phillips Band with Neil and another brother-in-law, Todd Urick, and performed in various local venues and events. He won a local singing competition, "Albany Star," in 2010.
Phillips' favorite singer is Jonny Lang. Other favorites include John Butler, Dave Matthews, and Damien Rice. He also enjoyed Mumford & Sons and Tool. He grew up listening mainly to '60s and '70s music such as Jimi Hendrix and Led Zeppelin; "Then as I got older I found Damien Rice and Dave Matthews and John Butler, which is what really set it off for me in terms of finding my voice as a musician." He has described his music as "jazz and rock alternative sound."
Prior to trying out for American Idol, Phillips also auditioned on the second season of America's Got Talent.
American Idol
Overview
Phillips auditioned in Savannah, Georgia. He sang "Superstition" by Stevie Wonder. One of the show's executive producers, Megan Michaels-Wolflick, stated "I remember the day in Savannah in 2011 when Phillip Phillips walked in the room and I thought, "This guy is going to win this season." As he walked in front of American Idol judges for his initial audition, Steven Tyler whispered to Jennifer Lopez, "I got a funny feeling about this." The judges asked him to perform a second song with his guitar, and he performed Michael Jackson's "Thriller." He advanced to the Hollywood rounds, and later to the Las Vegas round.
On February 23, 2012, Phillips was chosen as one of the Top 25 semi-finalists, and was voted into the Top 13.
His performance style on the show has been compared to Dave Matthews, and he covered one of his songs, "The Stone," in the competition. When asked about Phillips' imitation of his style, Dave Matthews said: "More power to him, I don't mind," and added "He should kick my ass, [then] maybe I can retire and he can take over my band." Mentor Stevie Nicks said Phillips would have been good enough to join Fleetwood Mac back in 1975, after his performance of Jonny Lang's "Still Rainin," for which he received a standing ovation from the judges.
After the Top 13 performance night, Phillips was taken to a doctor for possible kidney stones. He had eight procedures while he was performing on Idol, and considered quitting the show due to the pain.
For his Top 3 performance, Phillips sang Bob Seger's "We've Got Tonight." For Top 4, he did a cover of Damien Rice's "Volcano" - which has been heralded as one of the best American Idol performances of all time. As the sole contestant who was never in jeopardy of elimination in any week of the competition, Phillips became the winner on the finale against Jessica Sanchez after a record-breaking 132 million votes were cast. His coronation song, "Home," was released after his performance, and had the biggest digital sales week for any Idol winner's coronation song.
Phillips said, "It was crazy and it changed my life completely. I didn't know what to expect, I just loved playing music." "It never seemed like a competition. I always made sure I was having fun and the band was having a good time."
Music career
After winning American Idol, Phillips went on the American Idol LIVE Tour from July to September with the rest of the top ten finalists. He performed the National Anthem at the opening game of the 2012 World Series on October 24, 2012. On November 15, he joined forces with the PS22 chorus of Staten Island for a concert to raise money for those affected by Hurricane Sandy. He also performed at the National Christmas Tree Lighting Ceremony on December 6, 2012.
Phillips' coronation song, "Home", was a great success with sales of over 5 million copies in the US. It has been used in NBC's coverage of the Olympics, L.A. Marathon, various commercials, film trailers, and TV shows. He performed "Home" on the PBS Independence Day celebration TV special, A Capitol Fourth. He appeared at the 83rd MLB All-Star Game held at Kansas City on July 10 and sang his coronation song. On October 9, 2012, he joined other musicians in the One World concert held in Syracuse University to honor the Dalai Lama. He also performed "Home" on the CNN Heroes special aired on December 2, 2012, and the CBS's A Home for the Holidays on December 19, 2012.
Phillip has performed on The Today Show and Good Morning America Concert Series, Late Show with David Letterman, Jimmy Kimmel Live!, The Tonight Show With Jay Leno, The Ellen DeGeneres Show, Live With Kelly, The View, and Conan. He has also appeared at the American Music Awards and Billboard Music Awards.
Phillip Phillips made the Forbes Highest Earning American Idol list for each of the three years he was qualified. For the list published in January 2014 and January 2015, he ranked number three. For the list published January 2016, he ranked number four.
2012–13: The World from the Side of the Moon
Phillips released his debut album, The World from the Side of the Moon, on November 19, 2012. The album was produced by Gregg Wattenberg, with Phillips writing or co-writing the majority of the disc. On November 6, 2012, "Where We Came From" was released for sale in advance of the album, and was a free download on pre-orders. The album debuted at No. 4 in the Billboard 200 with sales of 169,000 copies, and was certified Platinum by RIAA in August 2013. The World From The Side Of The Moon was on the Billboard Top 200 album chart for 61 weeks. That puts in number two of all the debut albums by American Idol winners.
In January 2013, Phillip Phillips appeared on the cover of Billboard magazine with Interscope Records founder and CEO and American Idol mentor, Jimmy Iovine. "Phillip is a true artist and the fact that people are embracing his album shows they accept him as an artist." said Iovine.
On January 29, 2013, Phillips began a tour in North America as the opening act for Matchbox Twenty. He also headlined ten college dates in January with a four-piece acoustic band, and a further college tour with an electric band from March through May after his tour with Matchbox Twenty. Nine of his college tour dates were postponed due to a continuing health issue.
From July 6 to October 5, 2013, he toured as the opening act for John Mayer's Born and Raised World Tour, followed by his own college tour and then further dates with John Mayer until December 17. He also performed at the international music festival Rock in Rio, in Rio de Janeiro on September 21, the same day as John Mayer and Bruce Springsteen. In 2014, a solo tour of Canada was also scheduled, as well as other dates in the US.
The third single released from the album was "Where We Came From".
"Gone, Gone, Gone" from the album was released as a single on February 11, 2013. Phillips performed the song live on the March 14, 2013 edition of American Idol. "Gone, Gone, Gone" was also used as the twelfth season's "send-off" song, played as the backing track for the montages that highlight each week's eliminated finalist. The song was also used in the film, The Amazing Spider-Man 2.
Phillip Phillips capped off 2013 with a nomination from the American Music Awards for Best New Artist. He joined Kelly Clarkson and Carrie Underwood as the only American Idol winners to receive this nomination.
2014–15: Behind the Light
In March 2013, Phillips stated that he was "always writing" and that his second studio album would be released sometime in 2014. The album, Behind the Light, was released on May 19, 2014. The debut single, "Raging Fire", from his second album was released digitally on March 3, 2014. The song was featured in the National Hockey League's Playoffs. Phillips received his first BMI pop music song writing award for "Raging Fire". A promotional single, "Fly", was released alongside the album's pre-order on April 22, 2014.
Phillips toured with O.A.R. in the summer of 2014. He also launched the Behind The Light Fall Tour 2014 in the U.S. to support his second album.
The second single released from the album was "Unpack Your Heart". The song was featured in a TV commercial for Ram 1500 trucks, which premiered at the 2014 American Music Awards.
In January 2015, Phillips filed a lawsuit against his label 19 Recordings, calling the producers manipulative and "oppressive". In June 2017, Phillips settled the dispute with the show's producers.
2016: American Idol finale, Invictus Games
On April 7, 2016 Phillips returned to the American Idol stage for the series finale and performed a tribute to David Bowie with four other winners; David Cook, Kris Allen, Lee Dewyze, and Nick Fradiani. Former Idol judge Simon Cowell said Phillip Phillips was the only contestant he liked after he left the show. Jennifer Lopez, who was a judge on the eleventh season, revealed that Phillips is her favorite American Idol winner.
He performed at the 2016 Invictus Games closing ceremony in Orlando, Florida on May 12, 2016.
On June 17, 2016, Phillips started a co-headlining tour with Matt Nathanson at the San Diego County Fair and ending on August 13 at the Wisconsin State Fair.
2017–2019: Collateral
During summer 2017, Phillips was the opening act on the Live Nation Goo Goo Dolls' Long Way Home tour.
On October 18, 2017, Phillips performed at the CMT Artists of the Year awards, where he did a cover of Sam Hunt's "Body Like a Back Road", which won Song of the Year.
Phillips released the single "Miles" to radio on August 11, 2017, through 19R/Interscope. It was the lead single to the new album.
Phillips' third studio album, Collateral was released January 19, 2018. Producer Ryan Hadlock has been Phillips' primary collaborator, and he also worked with Nathan Chapman, Jon Nite, John Paul White and Todd Clark, with whom he wrote the singles "Gone, Gone, Gone" and "Raging Fire". He performed "The Magnetic Tour" from February 9, 2018 to April 14, 2018 with over 40 shows to support the album.
In the summer of 2018, Phillips hit the road headlining his solo tour and a co-headlining tour with Gavin DeGraw including over 30 shows.
In September 2019, Phillips teamed with American Authors and Maddie Poppe on a new version of the song "Bring It on Home".
2020 - present: Return to American Idol and pandemic relief efforts
On May 3, 2020, Phillips returned to American Idol and opened the Top 10 by performing "Home". The episode "On with the Show: Homeward Bound" featured the theme of songs about home. The show was broadcast from homes of the participants due to the pandemic health crisis.
Phillips performed on the Idol alumni ensemble (including Alejandro Aranda, Fantasia, Gabby Barrett, Jordin Sparks, Katharine McPhee, Kellie Pickler, Laine Hardy, Lauren Alaina, Ruben Studdard and Scotty McCreery) for "We Are the World" with Lionel Richie on the season finale on May 17, 2020.
Phillips performed at pandemic relief efforts for Sendero Together for Texas and for the Phoebe Hospital Foundation to help support frontline medical heroes battling COVID-19 in southwest Georgia.
On July 17, 2021, Phillips performed "Home" in support of the Project Angel Food telethon. The telethon help raise $1M to sustain the expanded service to those in need, preparing and delivering over one million medically tailored meals.
Acting
In January 2018, Phillips appeared in an episode of Hawaii Five-0, playing a diamond smuggler.
Personal life
Phillips has suffered from a congenital kidney condition. Soon after American Idol finished, he had kidney stones removed as well as reconstructive surgery done on his kidney.
On December 26, 2014, Phillips announced his engagement to girlfriend Hannah Blackwell. The two were married at the Resora Plantation in Albany, Georgia on October 24, 2015.
On July 3, 2019, Phillips and Blackwell announced that they were expecting their first child, a son, in the fall. Patch Shepherd Phillips was born November 10, 2019.
In addition to his singing career he has supported organizations including the Sarah Foundation and the Gibson Flood Relief Campaign. as well being an ambassador for Brave Beginnings. He has also supported DoSomething, National Park Foundation, NCIRE - the Veterans Health Research Institute, Save The Music Foundation, and Habitat for Humanity.
Discography
The World from the Side of the Moon (2012)
Behind the Light (2014)
Collateral (2018)
Filmography
Concert Tours
American Idol Tour Summer 2012
College Tour Spring 2013
North Tour (2013) with Matchbox Twenty
Born and Raised World Tour (2013) with John Mayer
Canada Tour Spring 2014
With O.A.R. Summer Tour 2014
Behind The Light Fall Tour 2014
With Matt Nathanson Summer 2016
Long Way Home Tour (2017) with Goo Goo Dolls
The Magnetic Tour Spring 2018
With Gavin DeGraw Summer 2018
Jingle Bell Rock Tour Winter 2018
Awards and nominations
See also
List of Idols winners
References
External links
PhillPhill.com
Phillip Phillips on American Idol
1990 births
Living people
19 Recordings artists
21st-century American singers
American Idol winners
American folk singers
American male singer-songwriters
American pop guitarists
American pop rock singers
American rock guitarists
American male guitarists
American rock songwriters
American male actors
Interscope Records artists
Musicians from Albany, Georgia
People from Leesburg, Georgia
21st-century American guitarists
Guitarists from Georgia (U.S. state)
21st-century American male singers
Singer-songwriters from Georgia (U.S. state)
| true |
[
"Jonas Deumeland (born 9 February 1988) is a German footballer who plays as a goalkeeper for Start.\n\nClub career\nDeumeland started his career with VfL Wolfsburg, but did not become a regular until his three seasons in Belgian outfit K.A.S. Eupen.\n\nFollowing retirement he made a comeback with SpVgg Greuther Fürth II in 2016–17. In 2018 he was signed by Norwegian club IK Start who was left with only one goalkeeper when first-choice Håkon Opdal was injured. In Deumeland's second match, he too sustained an injury.\n\nCareer statistics\n\nClub\n\nReferences\n\n1988 births\nLiving people\nGerman footballers\nGerman expatriate footballers\nExpatriate footballers in Belgium\nGerman expatriate sportspeople in Belgium\nExpatriate footballers in Norway\nGerman expatriate sportspeople in Norway\nAssociation football goalkeepers\nRot-Weiß Oberhausen players\nVfL Wolfsburg II players\nK.A.S. Eupen players\nSpVgg Greuther Fürth II players\nIK Start players\nRegionalliga players\nBelgian First Division B players\nEliteserien players\nNorwegian First Division players",
"Kenny Hendrick (born September 10, 1969) is an American stock car racing driver. He is a former competitor in the NASCAR Nationwide Series and Craftsman Truck Series. He is the twin brother of former USAC midget car driver Kara Hendrick, who lost her life in a racing accident in October 1991.\n\nBusch Series\nHendrick made his Busch Series debut in 2003, when he ran a hodgepodge of entries. He made his debut at Gateway, where he started 30th for the Stanton Barrett Racing operation. He ran a solid race and came home 21st. He did a start and park race for GIC-Mixon Motorsports at Nazareth, before doing another start and park at Dover for Rick Allen. Hendrick would return then to the Stanton Barrett Racing for two more 2003 races. He was 35th at Nashville and 27th at Kentucky.\n\nHendrick was tapped to drive the first Keller Racing vehicles in 2004, a team that ran a ten-race schedule. The new team struggled. Hendrick only qualified for six races and his best finish was an 18th at Kentucky. The Kentucky race was the only one that Hendrick finished. He was released, and he would only compete in one more series race. It, too, came in 2004, when he drove the Ware Racing Enterprises Dodge to a 42nd-place finish in the fall Dover race.\n\nHe returned in 2008 at Mexico driving a second Stanton Barrett Motorsports car in place of Stan Barrett who was originally meant to race for the team. He qualified and finished 38th after pulling in with handling issues. He then drove at Richmond replacing the injured Larry Gunselman at MSRP Motorsports qualifying 40th and finishing 43rd after parking the car on lap 6. He made a second start for Stanton Barrett at Darlington starting 34th and finishing 36th after parking on lap 30.\n\nIn 2009, Hendrick drove for Smith-Ganassi Racing, a team that had bought the assets of the shut-down No. 40 team.\n\nCraftsman Truck Series\nHendrick ran four Craftsman Truck Series races in 1996 to start his career off. He started his career with a top-10 start: a 9th in his debut at Phoenix. He finished 28th in that race. His best run of the year was a modest 23rd-place finish at Las Vegas.\n\nFour more races were in store for Hendrick. He had one top-20 finish. That was a 19th at Texas, racing for Rob Rizzo. He had started the year off with the team, but after finishes of 29th and 24th, they let him go.\n\nHendrick would not race in this series until 2003, when he did a start and park effort in a second Billy Ballew Motorsports No. 9 entry. Because of the nature of the effort, Hendrick did not complete any of the dozen starts he did and his best finish was a 31st at IRP, where he also recorded his second career top-10 start of 10th.\n\nHendrick returned to the Trucks when he ran at Kansas Speedway in the No. 16 Xpress Motorsports truck on April 28, 2007.\n\nMotorsports career results\n\nSCCA National Championship Runoffs\n\nNASCAR\n(key) (Bold - Pole position awarded by qualifying time. Italics - Pole position earned by points standings or practice time. * – Most laps led.)\n\nNextel Cup Series\n\nBusch Series\n\nCraftsman Truck Series\n\nReferences\n\nExternal links\n \n\nLiving people\n1969 births\nPeople from Chino, California\nRacing drivers from California\nNASCAR drivers\nTrans-Am Series drivers\nSCCA National Championship Runoffs winners"
] |
[
"Phillip Phillips",
"Overview",
"When did he start his career?",
"Phillips auditioned in Savannah, Georgia."
] |
C_505c10c4e7bb4ffb98dbc15b5b81579e_1
|
For what ?
| 2 |
For what did Phillip Phillips audition in Georgia for?
|
Phillip Phillips
|
Phillips auditioned in Savannah, Georgia. He sang "Superstition" by Stevie Wonder. The judges then asked him to perform a second song with his guitar, and he performed Michael Jackson's "Thriller." He advanced to the Hollywood rounds, and later to the Las Vegas round. On February 23, 2012, Phillips was chosen as one of the Top 25 semi-finalists, and was then voted into the Top 13. His performance style on the show has been compared to Dave Matthews, and he covered one of his songs, "The Stone," in the competition. When asked about Phillips' imitation of his style, Dave Matthews said: "More power to him, I don't mind," and added "He should kick my ass, [then] maybe I can retire and he can take over my band." Mentor Stevie Nicks said Phillips would have been good enough to join Fleetwood Mac back in 1975, after his performance of Jonny Lang's Still Rainin, which he received a standing ovation from the judges. After the Top 13 performance night, Phillips was taken to a doctor for possible kidney stones. He had eight procedures while he was on Idol, and considered quitting the show due to the pain. For his Top 3 performance, Phillips sang Bob Seger's "We've Got Tonight." For Top 4, he did a cover of Damien Rice's Volcano - which has been heralded as one of the best American Idol performances of all time. As the sole contestant who was never in jeopardy of elimination in any week of the competition, Phillips became the winner on the finale against Jessica Sanchez after a record-breaking 132 million votes were cast. His coronation song, "Home," was released after his performance, and had the biggest digital sales week for any Idol winner's coronation song. ^Note 1 Due to the judges using their one save on Jessica Sanchez, the Top 7 remained intact for another week. CANNOTANSWER
|
He sang "Superstition" by Stevie Wonder.
|
Phillip LaDon Phillips Jr. (born September 20, 1990) is an American musician, singer-songwriter who rose to fame after winning the eleventh season of American Idol on May 23, 2012. His coronation song, "Home", became the best-selling song in American Idol history. His debut album The World from the Side of the Moon was released on November 19, 2012 and was on the Billboard Top 200 album chart for 61 weeks. It has been certified Platinum by the RIAA. The album included the single "Gone, Gone, Gone." He followed up with Behind the Light, in 2014 with the lead single "Raging Fire." His third album, Collateral, was released in 2018 and included the songs "Into the Wild" and "Magnetic." Phillips toured with John Mayer, Gavin DeGraw, the Goo Goo Dolls and has shared the stage with Bruce Springsteen.
In the United States, Phillips has sold 7.5 million digital singles and has sold 2.7 million albums including album streaming equivalent units. He has over 600 million streams on Spotify and 1.2 billion streams on Pandora.
Early life
Phillips was born in Albany, Georgia, to Sheryl (Jacks) and Phillip LaDon "Donnie" Phillips, Sr. He moved with his family to Leesburg, Georgia when he was 12. He has two older sisters, LaDonna, the eldest, and Lacey. Phillips grew up in Sasser and Leesburg, and attended Lee County High School. He graduated from Albany Technical College with a major in Industrial Systems Technology, but missed the graduation ceremony due to his obligations to American Idol. Prior to appearing on American Idol, he worked at his family's pawn shop.
Phillips started playing music, particularly the guitar, when he was 14. He was mentored by his long-time friend and brother-in-law, Benjamin Neil, whom he credits for piquing his interest in music. In 2009, he formed the Phillip Phillips Band with Neil and another brother-in-law, Todd Urick, and performed in various local venues and events. He won a local singing competition, "Albany Star," in 2010.
Phillips' favorite singer is Jonny Lang. Other favorites include John Butler, Dave Matthews, and Damien Rice. He also enjoyed Mumford & Sons and Tool. He grew up listening mainly to '60s and '70s music such as Jimi Hendrix and Led Zeppelin; "Then as I got older I found Damien Rice and Dave Matthews and John Butler, which is what really set it off for me in terms of finding my voice as a musician." He has described his music as "jazz and rock alternative sound."
Prior to trying out for American Idol, Phillips also auditioned on the second season of America's Got Talent.
American Idol
Overview
Phillips auditioned in Savannah, Georgia. He sang "Superstition" by Stevie Wonder. One of the show's executive producers, Megan Michaels-Wolflick, stated "I remember the day in Savannah in 2011 when Phillip Phillips walked in the room and I thought, "This guy is going to win this season." As he walked in front of American Idol judges for his initial audition, Steven Tyler whispered to Jennifer Lopez, "I got a funny feeling about this." The judges asked him to perform a second song with his guitar, and he performed Michael Jackson's "Thriller." He advanced to the Hollywood rounds, and later to the Las Vegas round.
On February 23, 2012, Phillips was chosen as one of the Top 25 semi-finalists, and was voted into the Top 13.
His performance style on the show has been compared to Dave Matthews, and he covered one of his songs, "The Stone," in the competition. When asked about Phillips' imitation of his style, Dave Matthews said: "More power to him, I don't mind," and added "He should kick my ass, [then] maybe I can retire and he can take over my band." Mentor Stevie Nicks said Phillips would have been good enough to join Fleetwood Mac back in 1975, after his performance of Jonny Lang's "Still Rainin," for which he received a standing ovation from the judges.
After the Top 13 performance night, Phillips was taken to a doctor for possible kidney stones. He had eight procedures while he was performing on Idol, and considered quitting the show due to the pain.
For his Top 3 performance, Phillips sang Bob Seger's "We've Got Tonight." For Top 4, he did a cover of Damien Rice's "Volcano" - which has been heralded as one of the best American Idol performances of all time. As the sole contestant who was never in jeopardy of elimination in any week of the competition, Phillips became the winner on the finale against Jessica Sanchez after a record-breaking 132 million votes were cast. His coronation song, "Home," was released after his performance, and had the biggest digital sales week for any Idol winner's coronation song.
Phillips said, "It was crazy and it changed my life completely. I didn't know what to expect, I just loved playing music." "It never seemed like a competition. I always made sure I was having fun and the band was having a good time."
Music career
After winning American Idol, Phillips went on the American Idol LIVE Tour from July to September with the rest of the top ten finalists. He performed the National Anthem at the opening game of the 2012 World Series on October 24, 2012. On November 15, he joined forces with the PS22 chorus of Staten Island for a concert to raise money for those affected by Hurricane Sandy. He also performed at the National Christmas Tree Lighting Ceremony on December 6, 2012.
Phillips' coronation song, "Home", was a great success with sales of over 5 million copies in the US. It has been used in NBC's coverage of the Olympics, L.A. Marathon, various commercials, film trailers, and TV shows. He performed "Home" on the PBS Independence Day celebration TV special, A Capitol Fourth. He appeared at the 83rd MLB All-Star Game held at Kansas City on July 10 and sang his coronation song. On October 9, 2012, he joined other musicians in the One World concert held in Syracuse University to honor the Dalai Lama. He also performed "Home" on the CNN Heroes special aired on December 2, 2012, and the CBS's A Home for the Holidays on December 19, 2012.
Phillip has performed on The Today Show and Good Morning America Concert Series, Late Show with David Letterman, Jimmy Kimmel Live!, The Tonight Show With Jay Leno, The Ellen DeGeneres Show, Live With Kelly, The View, and Conan. He has also appeared at the American Music Awards and Billboard Music Awards.
Phillip Phillips made the Forbes Highest Earning American Idol list for each of the three years he was qualified. For the list published in January 2014 and January 2015, he ranked number three. For the list published January 2016, he ranked number four.
2012–13: The World from the Side of the Moon
Phillips released his debut album, The World from the Side of the Moon, on November 19, 2012. The album was produced by Gregg Wattenberg, with Phillips writing or co-writing the majority of the disc. On November 6, 2012, "Where We Came From" was released for sale in advance of the album, and was a free download on pre-orders. The album debuted at No. 4 in the Billboard 200 with sales of 169,000 copies, and was certified Platinum by RIAA in August 2013. The World From The Side Of The Moon was on the Billboard Top 200 album chart for 61 weeks. That puts in number two of all the debut albums by American Idol winners.
In January 2013, Phillip Phillips appeared on the cover of Billboard magazine with Interscope Records founder and CEO and American Idol mentor, Jimmy Iovine. "Phillip is a true artist and the fact that people are embracing his album shows they accept him as an artist." said Iovine.
On January 29, 2013, Phillips began a tour in North America as the opening act for Matchbox Twenty. He also headlined ten college dates in January with a four-piece acoustic band, and a further college tour with an electric band from March through May after his tour with Matchbox Twenty. Nine of his college tour dates were postponed due to a continuing health issue.
From July 6 to October 5, 2013, he toured as the opening act for John Mayer's Born and Raised World Tour, followed by his own college tour and then further dates with John Mayer until December 17. He also performed at the international music festival Rock in Rio, in Rio de Janeiro on September 21, the same day as John Mayer and Bruce Springsteen. In 2014, a solo tour of Canada was also scheduled, as well as other dates in the US.
The third single released from the album was "Where We Came From".
"Gone, Gone, Gone" from the album was released as a single on February 11, 2013. Phillips performed the song live on the March 14, 2013 edition of American Idol. "Gone, Gone, Gone" was also used as the twelfth season's "send-off" song, played as the backing track for the montages that highlight each week's eliminated finalist. The song was also used in the film, The Amazing Spider-Man 2.
Phillip Phillips capped off 2013 with a nomination from the American Music Awards for Best New Artist. He joined Kelly Clarkson and Carrie Underwood as the only American Idol winners to receive this nomination.
2014–15: Behind the Light
In March 2013, Phillips stated that he was "always writing" and that his second studio album would be released sometime in 2014. The album, Behind the Light, was released on May 19, 2014. The debut single, "Raging Fire", from his second album was released digitally on March 3, 2014. The song was featured in the National Hockey League's Playoffs. Phillips received his first BMI pop music song writing award for "Raging Fire". A promotional single, "Fly", was released alongside the album's pre-order on April 22, 2014.
Phillips toured with O.A.R. in the summer of 2014. He also launched the Behind The Light Fall Tour 2014 in the U.S. to support his second album.
The second single released from the album was "Unpack Your Heart". The song was featured in a TV commercial for Ram 1500 trucks, which premiered at the 2014 American Music Awards.
In January 2015, Phillips filed a lawsuit against his label 19 Recordings, calling the producers manipulative and "oppressive". In June 2017, Phillips settled the dispute with the show's producers.
2016: American Idol finale, Invictus Games
On April 7, 2016 Phillips returned to the American Idol stage for the series finale and performed a tribute to David Bowie with four other winners; David Cook, Kris Allen, Lee Dewyze, and Nick Fradiani. Former Idol judge Simon Cowell said Phillip Phillips was the only contestant he liked after he left the show. Jennifer Lopez, who was a judge on the eleventh season, revealed that Phillips is her favorite American Idol winner.
He performed at the 2016 Invictus Games closing ceremony in Orlando, Florida on May 12, 2016.
On June 17, 2016, Phillips started a co-headlining tour with Matt Nathanson at the San Diego County Fair and ending on August 13 at the Wisconsin State Fair.
2017–2019: Collateral
During summer 2017, Phillips was the opening act on the Live Nation Goo Goo Dolls' Long Way Home tour.
On October 18, 2017, Phillips performed at the CMT Artists of the Year awards, where he did a cover of Sam Hunt's "Body Like a Back Road", which won Song of the Year.
Phillips released the single "Miles" to radio on August 11, 2017, through 19R/Interscope. It was the lead single to the new album.
Phillips' third studio album, Collateral was released January 19, 2018. Producer Ryan Hadlock has been Phillips' primary collaborator, and he also worked with Nathan Chapman, Jon Nite, John Paul White and Todd Clark, with whom he wrote the singles "Gone, Gone, Gone" and "Raging Fire". He performed "The Magnetic Tour" from February 9, 2018 to April 14, 2018 with over 40 shows to support the album.
In the summer of 2018, Phillips hit the road headlining his solo tour and a co-headlining tour with Gavin DeGraw including over 30 shows.
In September 2019, Phillips teamed with American Authors and Maddie Poppe on a new version of the song "Bring It on Home".
2020 - present: Return to American Idol and pandemic relief efforts
On May 3, 2020, Phillips returned to American Idol and opened the Top 10 by performing "Home". The episode "On with the Show: Homeward Bound" featured the theme of songs about home. The show was broadcast from homes of the participants due to the pandemic health crisis.
Phillips performed on the Idol alumni ensemble (including Alejandro Aranda, Fantasia, Gabby Barrett, Jordin Sparks, Katharine McPhee, Kellie Pickler, Laine Hardy, Lauren Alaina, Ruben Studdard and Scotty McCreery) for "We Are the World" with Lionel Richie on the season finale on May 17, 2020.
Phillips performed at pandemic relief efforts for Sendero Together for Texas and for the Phoebe Hospital Foundation to help support frontline medical heroes battling COVID-19 in southwest Georgia.
On July 17, 2021, Phillips performed "Home" in support of the Project Angel Food telethon. The telethon help raise $1M to sustain the expanded service to those in need, preparing and delivering over one million medically tailored meals.
Acting
In January 2018, Phillips appeared in an episode of Hawaii Five-0, playing a diamond smuggler.
Personal life
Phillips has suffered from a congenital kidney condition. Soon after American Idol finished, he had kidney stones removed as well as reconstructive surgery done on his kidney.
On December 26, 2014, Phillips announced his engagement to girlfriend Hannah Blackwell. The two were married at the Resora Plantation in Albany, Georgia on October 24, 2015.
On July 3, 2019, Phillips and Blackwell announced that they were expecting their first child, a son, in the fall. Patch Shepherd Phillips was born November 10, 2019.
In addition to his singing career he has supported organizations including the Sarah Foundation and the Gibson Flood Relief Campaign. as well being an ambassador for Brave Beginnings. He has also supported DoSomething, National Park Foundation, NCIRE - the Veterans Health Research Institute, Save The Music Foundation, and Habitat for Humanity.
Discography
The World from the Side of the Moon (2012)
Behind the Light (2014)
Collateral (2018)
Filmography
Concert Tours
American Idol Tour Summer 2012
College Tour Spring 2013
North Tour (2013) with Matchbox Twenty
Born and Raised World Tour (2013) with John Mayer
Canada Tour Spring 2014
With O.A.R. Summer Tour 2014
Behind The Light Fall Tour 2014
With Matt Nathanson Summer 2016
Long Way Home Tour (2017) with Goo Goo Dolls
The Magnetic Tour Spring 2018
With Gavin DeGraw Summer 2018
Jingle Bell Rock Tour Winter 2018
Awards and nominations
See also
List of Idols winners
References
External links
PhillPhill.com
Phillip Phillips on American Idol
1990 births
Living people
19 Recordings artists
21st-century American singers
American Idol winners
American folk singers
American male singer-songwriters
American pop guitarists
American pop rock singers
American rock guitarists
American male guitarists
American rock songwriters
American male actors
Interscope Records artists
Musicians from Albany, Georgia
People from Leesburg, Georgia
21st-century American guitarists
Guitarists from Georgia (U.S. state)
21st-century American male singers
Singer-songwriters from Georgia (U.S. state)
| true |
[
"What Are You Waiting For? may refer to:\n\nAlbums\n What Are You Waiting For? (FM Static album), 2003\n What Are You Waiting For? (Krezip album), 2005\n What Are You Waiting For, a 2012 album by Jiro Wang\n\nSongs\n \"What Are You Waiting For?\" (The Saturdays song), 2014\n \"What Are You Waiting For?\" (Nickelback song), 2014\n\"What Are You Waiting For?\", a single by Dane Rumble from the 2010 album The Experiment\n\"What Are You Waiting For\", a song written by Gary Lightbody\n\"What Are You Waiting For\", a 1997 single by Phajja\n\"What Are You Waiting For?\", a single by The Tides from the 2007 album One for the Man Over There\n\"What Are You Waitin' For\", song by Montrose (written by Dan Hartman) from Jump on It\n\"What Are You Waiting For?\", a single by Lauri Ylönen from New World\n\"What Are You Waiting For\", a song by Tantric from Mind Control\n\"What Are You Waiting For\", a single by Nailpin\n\"What Are You Waiting For?\", a song by Hunters & Collectors from album What's a Few Men?\n\"What Are You Waiting For?\", a song by Karine Polwart from Faultlines\n\"What Are You Waiting For?\", a song by The Sick-Leaves\n\"What Are You Waiting For?\", a song by Brigade from Come Morning We Fight\n\"What Are You Waiting For?\", a song by Kathleen Edwards from Back to Me\n\"What Are You Waiting For?\", a song by Miranda Cosgrove from Sparks Fly\n\"What Are You Waiting For\", a song by The Saints from Everybody Knows the Monkey\n\"What Are You Waiting For\", a song by Emmelie from Only Teardrops\n\"What Are You Waiting For\", a song by Mai Kuraki from Perfect Crime\n\"What Are You Waiting For?\", a song by Sherwood from QU\n\"What Are You Waiting For\", a song by ATB from Contact\n\"What Are You Waiting For\", a song by Evelyn King from I'm in Love\n\"What Are You Waiting For\", a song by Phantom Planet from Raise the Dead\n\"What Are You Waiting For?\", a song by No Secrets from No Secrets\n\"What are you Waiting For?\", a song by Fair Ground\n\"What Are You Waiting For?\", a song by Tupelo Honey\n\"Ti perimenis?\" (\"What Are You Waiting For\"), a Greek song by Antonis Remos from the 2005 album San Anemos\n\"What Are You Waiting For?\", a song by Disturbed from the 2015 album Immortalized\n\nSee also\n\"What R U Waiting 4\", a 2004 song by Tiffani Wood, covered by Lindsay Lohan and Natalie Grant\n\"Mistanie Eiy\" (song) (\"What Are You Waiting For\"), an Arabic song by Amal Hijazi\nWhat You Waiting For? (disambiguation)",
"\"For What It's Worth\" is a 1966 Stephen Stills / Buffalo Springfield song; it may also refer to:\n\nMusic\nFor What It's Worth (EP) by Ensign\nFor What It's Worth (album) by Stick to Your Guns\n\"For What It's Worth\" (The Cardigans song)\n\"For What It's Worth\" (Placebo song)\n\"For What It's Worth\" (Stevie Nicks song)\n\"For What It's Worth\", song by Liam Gallagher from As You Were\n\nOther\nFor What It's Worth (novel), a novel by Janet Tashjian\nFor What It's Worth, a stand-up comedy special by Dave Chappelle\nFor What It's Worth (game show), a 2016 BBC daytime antiques game show\nPaul Harvey's For What It's Worth, a book compiling radio segments by Paul Harvey"
] |
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"Phillip Phillips",
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"Phillips auditioned in Savannah, Georgia.",
"For what ?",
"He sang \"Superstition\" by Stevie Wonder."
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C_505c10c4e7bb4ffb98dbc15b5b81579e_1
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did he do well?
| 3 |
Did Phillip Phillips do well at his audition in Georgia?
|
Phillip Phillips
|
Phillips auditioned in Savannah, Georgia. He sang "Superstition" by Stevie Wonder. The judges then asked him to perform a second song with his guitar, and he performed Michael Jackson's "Thriller." He advanced to the Hollywood rounds, and later to the Las Vegas round. On February 23, 2012, Phillips was chosen as one of the Top 25 semi-finalists, and was then voted into the Top 13. His performance style on the show has been compared to Dave Matthews, and he covered one of his songs, "The Stone," in the competition. When asked about Phillips' imitation of his style, Dave Matthews said: "More power to him, I don't mind," and added "He should kick my ass, [then] maybe I can retire and he can take over my band." Mentor Stevie Nicks said Phillips would have been good enough to join Fleetwood Mac back in 1975, after his performance of Jonny Lang's Still Rainin, which he received a standing ovation from the judges. After the Top 13 performance night, Phillips was taken to a doctor for possible kidney stones. He had eight procedures while he was on Idol, and considered quitting the show due to the pain. For his Top 3 performance, Phillips sang Bob Seger's "We've Got Tonight." For Top 4, he did a cover of Damien Rice's Volcano - which has been heralded as one of the best American Idol performances of all time. As the sole contestant who was never in jeopardy of elimination in any week of the competition, Phillips became the winner on the finale against Jessica Sanchez after a record-breaking 132 million votes were cast. His coronation song, "Home," was released after his performance, and had the biggest digital sales week for any Idol winner's coronation song. ^Note 1 Due to the judges using their one save on Jessica Sanchez, the Top 7 remained intact for another week. CANNOTANSWER
|
He advanced to the Hollywood rounds, and
|
Phillip LaDon Phillips Jr. (born September 20, 1990) is an American musician, singer-songwriter who rose to fame after winning the eleventh season of American Idol on May 23, 2012. His coronation song, "Home", became the best-selling song in American Idol history. His debut album The World from the Side of the Moon was released on November 19, 2012 and was on the Billboard Top 200 album chart for 61 weeks. It has been certified Platinum by the RIAA. The album included the single "Gone, Gone, Gone." He followed up with Behind the Light, in 2014 with the lead single "Raging Fire." His third album, Collateral, was released in 2018 and included the songs "Into the Wild" and "Magnetic." Phillips toured with John Mayer, Gavin DeGraw, the Goo Goo Dolls and has shared the stage with Bruce Springsteen.
In the United States, Phillips has sold 7.5 million digital singles and has sold 2.7 million albums including album streaming equivalent units. He has over 600 million streams on Spotify and 1.2 billion streams on Pandora.
Early life
Phillips was born in Albany, Georgia, to Sheryl (Jacks) and Phillip LaDon "Donnie" Phillips, Sr. He moved with his family to Leesburg, Georgia when he was 12. He has two older sisters, LaDonna, the eldest, and Lacey. Phillips grew up in Sasser and Leesburg, and attended Lee County High School. He graduated from Albany Technical College with a major in Industrial Systems Technology, but missed the graduation ceremony due to his obligations to American Idol. Prior to appearing on American Idol, he worked at his family's pawn shop.
Phillips started playing music, particularly the guitar, when he was 14. He was mentored by his long-time friend and brother-in-law, Benjamin Neil, whom he credits for piquing his interest in music. In 2009, he formed the Phillip Phillips Band with Neil and another brother-in-law, Todd Urick, and performed in various local venues and events. He won a local singing competition, "Albany Star," in 2010.
Phillips' favorite singer is Jonny Lang. Other favorites include John Butler, Dave Matthews, and Damien Rice. He also enjoyed Mumford & Sons and Tool. He grew up listening mainly to '60s and '70s music such as Jimi Hendrix and Led Zeppelin; "Then as I got older I found Damien Rice and Dave Matthews and John Butler, which is what really set it off for me in terms of finding my voice as a musician." He has described his music as "jazz and rock alternative sound."
Prior to trying out for American Idol, Phillips also auditioned on the second season of America's Got Talent.
American Idol
Overview
Phillips auditioned in Savannah, Georgia. He sang "Superstition" by Stevie Wonder. One of the show's executive producers, Megan Michaels-Wolflick, stated "I remember the day in Savannah in 2011 when Phillip Phillips walked in the room and I thought, "This guy is going to win this season." As he walked in front of American Idol judges for his initial audition, Steven Tyler whispered to Jennifer Lopez, "I got a funny feeling about this." The judges asked him to perform a second song with his guitar, and he performed Michael Jackson's "Thriller." He advanced to the Hollywood rounds, and later to the Las Vegas round.
On February 23, 2012, Phillips was chosen as one of the Top 25 semi-finalists, and was voted into the Top 13.
His performance style on the show has been compared to Dave Matthews, and he covered one of his songs, "The Stone," in the competition. When asked about Phillips' imitation of his style, Dave Matthews said: "More power to him, I don't mind," and added "He should kick my ass, [then] maybe I can retire and he can take over my band." Mentor Stevie Nicks said Phillips would have been good enough to join Fleetwood Mac back in 1975, after his performance of Jonny Lang's "Still Rainin," for which he received a standing ovation from the judges.
After the Top 13 performance night, Phillips was taken to a doctor for possible kidney stones. He had eight procedures while he was performing on Idol, and considered quitting the show due to the pain.
For his Top 3 performance, Phillips sang Bob Seger's "We've Got Tonight." For Top 4, he did a cover of Damien Rice's "Volcano" - which has been heralded as one of the best American Idol performances of all time. As the sole contestant who was never in jeopardy of elimination in any week of the competition, Phillips became the winner on the finale against Jessica Sanchez after a record-breaking 132 million votes were cast. His coronation song, "Home," was released after his performance, and had the biggest digital sales week for any Idol winner's coronation song.
Phillips said, "It was crazy and it changed my life completely. I didn't know what to expect, I just loved playing music." "It never seemed like a competition. I always made sure I was having fun and the band was having a good time."
Music career
After winning American Idol, Phillips went on the American Idol LIVE Tour from July to September with the rest of the top ten finalists. He performed the National Anthem at the opening game of the 2012 World Series on October 24, 2012. On November 15, he joined forces with the PS22 chorus of Staten Island for a concert to raise money for those affected by Hurricane Sandy. He also performed at the National Christmas Tree Lighting Ceremony on December 6, 2012.
Phillips' coronation song, "Home", was a great success with sales of over 5 million copies in the US. It has been used in NBC's coverage of the Olympics, L.A. Marathon, various commercials, film trailers, and TV shows. He performed "Home" on the PBS Independence Day celebration TV special, A Capitol Fourth. He appeared at the 83rd MLB All-Star Game held at Kansas City on July 10 and sang his coronation song. On October 9, 2012, he joined other musicians in the One World concert held in Syracuse University to honor the Dalai Lama. He also performed "Home" on the CNN Heroes special aired on December 2, 2012, and the CBS's A Home for the Holidays on December 19, 2012.
Phillip has performed on The Today Show and Good Morning America Concert Series, Late Show with David Letterman, Jimmy Kimmel Live!, The Tonight Show With Jay Leno, The Ellen DeGeneres Show, Live With Kelly, The View, and Conan. He has also appeared at the American Music Awards and Billboard Music Awards.
Phillip Phillips made the Forbes Highest Earning American Idol list for each of the three years he was qualified. For the list published in January 2014 and January 2015, he ranked number three. For the list published January 2016, he ranked number four.
2012–13: The World from the Side of the Moon
Phillips released his debut album, The World from the Side of the Moon, on November 19, 2012. The album was produced by Gregg Wattenberg, with Phillips writing or co-writing the majority of the disc. On November 6, 2012, "Where We Came From" was released for sale in advance of the album, and was a free download on pre-orders. The album debuted at No. 4 in the Billboard 200 with sales of 169,000 copies, and was certified Platinum by RIAA in August 2013. The World From The Side Of The Moon was on the Billboard Top 200 album chart for 61 weeks. That puts in number two of all the debut albums by American Idol winners.
In January 2013, Phillip Phillips appeared on the cover of Billboard magazine with Interscope Records founder and CEO and American Idol mentor, Jimmy Iovine. "Phillip is a true artist and the fact that people are embracing his album shows they accept him as an artist." said Iovine.
On January 29, 2013, Phillips began a tour in North America as the opening act for Matchbox Twenty. He also headlined ten college dates in January with a four-piece acoustic band, and a further college tour with an electric band from March through May after his tour with Matchbox Twenty. Nine of his college tour dates were postponed due to a continuing health issue.
From July 6 to October 5, 2013, he toured as the opening act for John Mayer's Born and Raised World Tour, followed by his own college tour and then further dates with John Mayer until December 17. He also performed at the international music festival Rock in Rio, in Rio de Janeiro on September 21, the same day as John Mayer and Bruce Springsteen. In 2014, a solo tour of Canada was also scheduled, as well as other dates in the US.
The third single released from the album was "Where We Came From".
"Gone, Gone, Gone" from the album was released as a single on February 11, 2013. Phillips performed the song live on the March 14, 2013 edition of American Idol. "Gone, Gone, Gone" was also used as the twelfth season's "send-off" song, played as the backing track for the montages that highlight each week's eliminated finalist. The song was also used in the film, The Amazing Spider-Man 2.
Phillip Phillips capped off 2013 with a nomination from the American Music Awards for Best New Artist. He joined Kelly Clarkson and Carrie Underwood as the only American Idol winners to receive this nomination.
2014–15: Behind the Light
In March 2013, Phillips stated that he was "always writing" and that his second studio album would be released sometime in 2014. The album, Behind the Light, was released on May 19, 2014. The debut single, "Raging Fire", from his second album was released digitally on March 3, 2014. The song was featured in the National Hockey League's Playoffs. Phillips received his first BMI pop music song writing award for "Raging Fire". A promotional single, "Fly", was released alongside the album's pre-order on April 22, 2014.
Phillips toured with O.A.R. in the summer of 2014. He also launched the Behind The Light Fall Tour 2014 in the U.S. to support his second album.
The second single released from the album was "Unpack Your Heart". The song was featured in a TV commercial for Ram 1500 trucks, which premiered at the 2014 American Music Awards.
In January 2015, Phillips filed a lawsuit against his label 19 Recordings, calling the producers manipulative and "oppressive". In June 2017, Phillips settled the dispute with the show's producers.
2016: American Idol finale, Invictus Games
On April 7, 2016 Phillips returned to the American Idol stage for the series finale and performed a tribute to David Bowie with four other winners; David Cook, Kris Allen, Lee Dewyze, and Nick Fradiani. Former Idol judge Simon Cowell said Phillip Phillips was the only contestant he liked after he left the show. Jennifer Lopez, who was a judge on the eleventh season, revealed that Phillips is her favorite American Idol winner.
He performed at the 2016 Invictus Games closing ceremony in Orlando, Florida on May 12, 2016.
On June 17, 2016, Phillips started a co-headlining tour with Matt Nathanson at the San Diego County Fair and ending on August 13 at the Wisconsin State Fair.
2017–2019: Collateral
During summer 2017, Phillips was the opening act on the Live Nation Goo Goo Dolls' Long Way Home tour.
On October 18, 2017, Phillips performed at the CMT Artists of the Year awards, where he did a cover of Sam Hunt's "Body Like a Back Road", which won Song of the Year.
Phillips released the single "Miles" to radio on August 11, 2017, through 19R/Interscope. It was the lead single to the new album.
Phillips' third studio album, Collateral was released January 19, 2018. Producer Ryan Hadlock has been Phillips' primary collaborator, and he also worked with Nathan Chapman, Jon Nite, John Paul White and Todd Clark, with whom he wrote the singles "Gone, Gone, Gone" and "Raging Fire". He performed "The Magnetic Tour" from February 9, 2018 to April 14, 2018 with over 40 shows to support the album.
In the summer of 2018, Phillips hit the road headlining his solo tour and a co-headlining tour with Gavin DeGraw including over 30 shows.
In September 2019, Phillips teamed with American Authors and Maddie Poppe on a new version of the song "Bring It on Home".
2020 - present: Return to American Idol and pandemic relief efforts
On May 3, 2020, Phillips returned to American Idol and opened the Top 10 by performing "Home". The episode "On with the Show: Homeward Bound" featured the theme of songs about home. The show was broadcast from homes of the participants due to the pandemic health crisis.
Phillips performed on the Idol alumni ensemble (including Alejandro Aranda, Fantasia, Gabby Barrett, Jordin Sparks, Katharine McPhee, Kellie Pickler, Laine Hardy, Lauren Alaina, Ruben Studdard and Scotty McCreery) for "We Are the World" with Lionel Richie on the season finale on May 17, 2020.
Phillips performed at pandemic relief efforts for Sendero Together for Texas and for the Phoebe Hospital Foundation to help support frontline medical heroes battling COVID-19 in southwest Georgia.
On July 17, 2021, Phillips performed "Home" in support of the Project Angel Food telethon. The telethon help raise $1M to sustain the expanded service to those in need, preparing and delivering over one million medically tailored meals.
Acting
In January 2018, Phillips appeared in an episode of Hawaii Five-0, playing a diamond smuggler.
Personal life
Phillips has suffered from a congenital kidney condition. Soon after American Idol finished, he had kidney stones removed as well as reconstructive surgery done on his kidney.
On December 26, 2014, Phillips announced his engagement to girlfriend Hannah Blackwell. The two were married at the Resora Plantation in Albany, Georgia on October 24, 2015.
On July 3, 2019, Phillips and Blackwell announced that they were expecting their first child, a son, in the fall. Patch Shepherd Phillips was born November 10, 2019.
In addition to his singing career he has supported organizations including the Sarah Foundation and the Gibson Flood Relief Campaign. as well being an ambassador for Brave Beginnings. He has also supported DoSomething, National Park Foundation, NCIRE - the Veterans Health Research Institute, Save The Music Foundation, and Habitat for Humanity.
Discography
The World from the Side of the Moon (2012)
Behind the Light (2014)
Collateral (2018)
Filmography
Concert Tours
American Idol Tour Summer 2012
College Tour Spring 2013
North Tour (2013) with Matchbox Twenty
Born and Raised World Tour (2013) with John Mayer
Canada Tour Spring 2014
With O.A.R. Summer Tour 2014
Behind The Light Fall Tour 2014
With Matt Nathanson Summer 2016
Long Way Home Tour (2017) with Goo Goo Dolls
The Magnetic Tour Spring 2018
With Gavin DeGraw Summer 2018
Jingle Bell Rock Tour Winter 2018
Awards and nominations
See also
List of Idols winners
References
External links
PhillPhill.com
Phillip Phillips on American Idol
1990 births
Living people
19 Recordings artists
21st-century American singers
American Idol winners
American folk singers
American male singer-songwriters
American pop guitarists
American pop rock singers
American rock guitarists
American male guitarists
American rock songwriters
American male actors
Interscope Records artists
Musicians from Albany, Georgia
People from Leesburg, Georgia
21st-century American guitarists
Guitarists from Georgia (U.S. state)
21st-century American male singers
Singer-songwriters from Georgia (U.S. state)
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"Do-support (or do-insertion), in English grammar, is the use of the auxiliary verb do, including its inflected forms does and did, to form negated clauses and questions as well as other constructions in which subject–auxiliary inversion is required.\n\nThe verb \"do\" can be used as an auxiliary even in simple declarative sentences, and it usually serves to add emphasis, as in \"I did shut the fridge.\" However, in the negated and inverted clauses referred to above, it is used because the conventions of Modern English syntax permit these constructions only when an auxiliary is present. It is not idiomatic in Modern English to add the negating word not to a lexical verb with finite form; not can be added only to an auxiliary or copular verb. For example, the sentence I am not with the copula be is fully idiomatic, but I know not with a finite lexical verb, while grammatical, is archaic. If there is no other auxiliary present when negation is required, the auxiliary do is used to produce a form like I do not (don't) know. The same applies in clauses requiring inversion, including most questions: inversion must involve the subject and an auxiliary verb so it is not idiomatic to say Know you him?; today's English usually substitutes Do you know him?\n\nDo-support is not used when there is already an auxiliary or copular verb present or with non-finite verb forms (infinitives and participles). It is sometimes used with subjunctive forms. Furthermore, the use of do as an auxiliary should be distinguished from the use of do as a normal lexical verb, as in They do their homework.\n\nCommon uses\nDo-support appears to accommodate a number of varying grammatical constructions:\nquestion formation,\nthe appearance of the negation not, and\nnegative inversion.\nThese constructions often cannot occur without do-support or the presence of some other auxiliary verb.\n\nIn questions\nThe presence of an auxiliary (or copular) verb allows subject–auxiliary inversion to take place, as is required in most interrogative sentences in English. If there is already an auxiliary or copula present, do-support is not required when forming questions:\n\n He will laugh. → Will he laugh? (the auxiliary will inverts with the subject he)\n She is at home. → Is she at home? (the copula is inverts with the subject she)\n\nThis applies not only in yes–no questions but also in questions formed using interrogative words:\n\n When will he laugh?\n\nHowever, if there is no auxiliary or copula present, inversion requires the introduction of an auxiliary in the form of do-support:\n\n I know. → Do I know? (Compare: *Know I?)\n He laughs. → Does he laugh? (Compare: *Laughs he?)\n She came home. → Did she come home? (Compare: *Came she home?)\n\nThe finite (inflected) verb is now the auxiliary do; the following verb is a bare infinitive which does not inflect: does he laugh? (not laughs); did she come? (not came).\n\nIn negated questions, the negating word not may appear either following the subject, or attached to the auxiliary in the contracted form n't. That applies both to do-support and to other auxiliaries:\n\n Why are you not playing? / Why aren't you playing?\n Do you not want to try? / Don't you want to try?\n\nThe above principles do not apply to wh-questions if the interrogative word is the subject or part of the subject. Then, there is no inversion and so there is no need for do-support: Who lives here?, Whose dog bit you?\n\nThe verb have, in the sense of possession, is sometimes used without do-support as if it were an auxiliary, but this is considered dated. The version with do-support is also correct:\n\n Have you any idea what is going on here?\n Do you have any idea what is going on here?\n (Have you got any idea what is going on here? – the order is similar to the first example, but have is an auxiliary verb here)\n\nFor elliptical questions and tag questions, see the elliptical sentences section below.\n\nWith not\nIn the same way that the presence of an auxiliary allows question formation, the appearance of the negating word not is allowed as well. Then too, if no other auxiliary or copular verb is present, do-support is required.\n\n He will laugh. → He will not laugh. (not attaches to the auxiliary will)\n She laughs. → She does not laugh. (not attaches to the added auxiliary does)\n\nIn the second sentence, do-support is required because idiomatic Modern English does not allow forms like *She laughs not. The verb have, in the sense of possession, is sometimes negated thus:\n\n I haven't the foggiest idea.\n\nMost combinations of auxiliary/copula plus not have a contracted form ending in -n't, such as isn't, won't, etc. The relevant contractions for negations formed using do-support are don't, doesn't and didn't. Such forms are used very frequently in informal English.\n\nDo-support is required for negated imperatives even when the verb is the copula be:\n\nDo not do that.\nDon't be silly.\n\nHowever, there is no do-support with non-finite, as they are negated by a preceding not:\n\nIt would be a crime not to help him (the infinitive to help is negated)\nNot knowing what else to do, I stood my ground (the present participle knowing is negated)\nNot eating vegetables can harm your health (the gerund eating is negated)\n\nWith subjunctive verb forms, as a present subjunctive, do is infrequently used for negation, which is frequently considered ambiguous or incorrect because it resembles the indicative. The usual method to negate the present subjunctive is to precede the verb with a not, especially if the verb is be (as do-support with it, whether it be indicative or subjunctive, is ungrammatical):\n\nI suggest that he not receive any more funding (the present subjunctive receive is negated)\nIt is important that he not be there (the present subjunctive be is negated)\n\nAs a past subjunctive, however, did is needed for negation (unless the verb is be, whose past subjunctive is were):\n\nI wish that he did not know it\nI wish that he were not here\n\nThe negation in the examples negates the non-finite predicate. Compare the following competing formulations:\n\nI did not try to laugh. vs. I tried not to laugh.\nThey do not want to go. vs. They want not to go.\n\nThere are two predicates in each of the verb chains in the sentences. Do-support is needed when the higher of the two is negated; it is not needed to negate the lower nonfinite predicate.\n\nFor negated questions, see the questions section above. For negated elliptical sentences, see the elliptical sentences section below.\n\nNegative inversion\nThe same principles as for question formation apply to other clauses in which subject–auxiliary inversion is required, particularly after negative expressions and expressions involving only (negative inversion):\n\n Never did he run that fast again. (wrong: *Never he did run that fast again. *Never ran he that fast again.)\n Only here do I feel at home. (wrong: *Only here feel I at home.)\n\nFurther uses\nIn addition to providing do-support in questions and negated clauses as described above, the auxiliary verb do can also be used in clauses that do not require do-support. In such cases, do-support may appear for pragmatic reasons.\n\nFor emphasis\nThe auxiliary generally appears for purposes of emphasis, for instance to establish a contrast or to express a correction:\n Did Bill eat his breakfast? Yes, he did eat his breakfast (did emphasizes the positive answer, which may be unexpected).\n Bill doesn't sing, then. No, he does sing (does emphasizes the correction of the previous statement).\n\nAs before, the main verb following the auxiliary becomes a bare infinitive, which is not inflected (one cannot say *did ate or *does sings in the above examples).\n\nAs with typical do-support, that usage of do does not occur with other auxiliaries or a copular verb. Then, emphasis can be obtained by adding stress to the auxiliary or copular:\n\n Would you take the risk? Yes, I would take the risk.\n Bill isn't singing, then. No, he is singing.\n\n(Some auxiliaries, such as can, change their pronunciation when stressed; see Weak and strong forms in English.)\n\nIn negative sentences, emphasis can be obtained by adding stress either to the negating word (if used in full) or to the contracted form ending in n't. That applies whether or not do-support is used:\n\n I wouldn't (or would not) take the risk.\n They don't (or do not) appear on the list.\n\nEmphatic do can also be used with imperatives, including with the copula be:\n\n Do take care! Do be careful!\n\nIn elliptical sentences\nThe auxiliary do is also used in various types of elliptical sentences, where the main verb is omitted (it can be said to be \"understood\", usually because it would be the same verb as was used in a preceding sentence or clause). That includes the following types:\n\nTag questions:\n He plays well, doesn't he?\n You don't like Sara, do you?\nElliptical questions:\n I like pasta. Do you?\n I went to the party. Why didn't you?\nElliptical statements:\n They swam, but I didn't.\n He looks smart, and so do you.\n You fell asleep, and I did, too.\n\nSuch uses include cases that do-support would have been used in a complete clause (questions, negatives, inversion) but also cases that (as in the last example) the complete clause would normally have been constructed without do (I fell asleep too). In such instances do may be said to be acting as a pro-verb since it effectively takes the place of a verb or verb phrase: did substitutes for fell asleep.\n\nAs in the principal cases of do-support, do does not normally occur when there is already an auxiliary or copula present; the auxiliary or copula is retained in the elliptical sentence:\n\nHe is playing well, isn't he?\nI can cook pasta. Can you?\nYou should get some sleep, and I should too.\n\nHowever, it is possible to use do as a pro-verb (see below section #Pro-verbs & Do-so Substitution even after auxiliaries in some dialects:\n\nHave you put the shelf up yet? I haven't done (or I haven't), but I will do (or I will).\n(However it is not normally used in this way as a to-infinitive: Have you put the shelf up? I plan to, rather than *I plan to do; or as a passive participle: Was it built? Yes, it was, not *Yes, it was done.)\n\nPro-verbal uses of do are also found in the imperative: Please do. Don't!\n\nPro-verbs and do-so substitution\nThe phrases do so and do what for questions are pro-verb forms in English. They can be used as substitutes for verbs in x-bar theory grammar to test verb phrase completeness. Bare infinitives forms often are used in place of the missing pro-verb forms.\n\nExamples from Santorini and Kroch:\n\nTests for constituenthood of a verb-phrase in X'-grammar\nThe do so construction can be used to test if a verb-phrase is a constituent phrase in X'-grammar by substitution similarly to how other pro-forms can be used to test for noun-phrases, etc.\n\nIn X-bar theory, the verb-phrase projects three bar-levels such as this:\n\n VP\n / \\\n ZP X'\n / \\\n X' YP\n |\n X \n |\n head\n\nWith a simple sentence:\n\n S\n |\n VP\n / \\\n / \\\n / \\\n / \\\n NP \\\n / \\ \\ \n DP N' V'\n | | / \\\nThe children / \\\n / \\\n V' PP\n / \\ /_\\\n / \\ with gusto\n V NP\n | /_\\\n ate the pizza\n\nHere again exemplified by Santorini and Kroch, do so substitution for testing constituent verb phrases in the above sample sentence:\n\n S\n |\n VP\n / \\\n / \\\n / \\\n / \\\n NP \\\n / \\ \\ \n DP N' V'\n | | / \\\nThe children / \\\n / \\\n V' PP\n / \\ /_\\\n / \\ with gusto\n V NP\n | /_\\\n did so the pizza\n\nUse of do as main verb\nApart from its uses as an auxiliary, the verb do (with its inflected forms does, did, done, doing) can be used as an ordinary lexical verb (main verb):\n\nDo your homework!\nWhat are you doing?\n\nLike other non-auxiliary verbs, do cannot be directly negated with not and cannot participate in inversion so it may itself require do-support, with both auxiliary and lexical instances of do appearing together:\n\n They didn't do the laundry on Sunday. (did is the auxiliary, do is the main verb)\n Why do you do karate? (the first do is the auxiliary, the second is the main verb)\n How do you do? (a set phrase used as a polite greeting)\n\nMeaning contribution\nIn the various cases seen above that require do-support, the auxiliary verb do makes no apparent contribution to the meaning of the sentence so it is sometimes called a dummy auxiliary. Historically, however, in Middle English, auxiliary do apparently had a meaning contribution, serving as a marker of aspect (probably perfective aspect, but in some cases, the meaning may have been imperfective). In Early Modern English, the semantic value was lost, and the usage of forms with do began to approximate that found today.\n\nOrigins\n\nSome form of auxiliary \"do\" occurs in all West Germanic languages except Afrikaans. It is generally accepted that the past tense of Germanic weak verbs (in English, -ed) was formed from a combination of the infinitive with a past tense form of \"do\", as exemplified in Gothic. The origins of the construction in English are debated: some scholars argue it was already present in Old English, but not written due to stigmatization. Scholars disagree whether the construction arose from the use of \"do\" as a lexical verb in its own right, or whether periphrastic \"do\" arose from a causative meaning of the verb or vice versa. Examples of auxiliary \"do\" in Old English writing appear to be limited to its use in a causative sense, which is parallel to the earliest uses in other West Germanic languages. Others argue that the construction arose either via the influence of Celtic speakers or that the construction arose as a form of creolization when native speakers addressed foreigners and children.\n\nSee also\n\nEnglish verbs\nEnglish clause syntax\nIntensifier\n\nReferences\n\nEnglish grammar\nWord order\nSyntax\nGenerative syntax",
"Zhou Xiaoping (; born 24 April 1981) is a Chinese essayist and popular blogger. His most well-known works are Please Do Not Fail This Era!, Young, do you really know about this country?, Where did our heroes go?, and Nine Tricks of the United States Cultural Cold War. He is a supporter of communist party rule and has expressed nationalist, anti-American and anti-Western sentiment. Zhou is noted for praising by Communist Party General Secretary Xi Jinping at a conference on art and literature. Xi lauded Zhou for spreading \"positive energy\" in 2014.\n\nLife\nZhou was born and raised in Zigong, Sichuan, after junior high school, he started to publish works in 1996. \"Cutlassfish Zhou\" () became the nickname for his nationalist, pro-Communist, pro-Chinese government and anti-American writing. Zhou has been praised by General Secretary Xi Jinping for his \"positive energy\".\n\nWorks\n Please Do Not Fail This Era! ()\n Young, do you really know about this country? ()\n Where did our heroes go? ()\n Nine Tricks of the United States Cultural Cold War ()\n\nReferences\n\nExternal links\n\n1981 births\nWriters from Zigong\nLiving people\nArchibald Prize Salon des Refusés People's Choice Award winners\nPeople's Republic of China writers\nChinese bloggers"
] |
[
"Phillip Phillips",
"Overview",
"When did he start his career?",
"Phillips auditioned in Savannah, Georgia.",
"For what ?",
"He sang \"Superstition\" by Stevie Wonder.",
"did he do well?",
"He advanced to the Hollywood rounds, and"
] |
C_505c10c4e7bb4ffb98dbc15b5b81579e_1
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did he win?
| 4 |
Did Phillip Phillips win at his audition?
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Phillip Phillips
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Phillips auditioned in Savannah, Georgia. He sang "Superstition" by Stevie Wonder. The judges then asked him to perform a second song with his guitar, and he performed Michael Jackson's "Thriller." He advanced to the Hollywood rounds, and later to the Las Vegas round. On February 23, 2012, Phillips was chosen as one of the Top 25 semi-finalists, and was then voted into the Top 13. His performance style on the show has been compared to Dave Matthews, and he covered one of his songs, "The Stone," in the competition. When asked about Phillips' imitation of his style, Dave Matthews said: "More power to him, I don't mind," and added "He should kick my ass, [then] maybe I can retire and he can take over my band." Mentor Stevie Nicks said Phillips would have been good enough to join Fleetwood Mac back in 1975, after his performance of Jonny Lang's Still Rainin, which he received a standing ovation from the judges. After the Top 13 performance night, Phillips was taken to a doctor for possible kidney stones. He had eight procedures while he was on Idol, and considered quitting the show due to the pain. For his Top 3 performance, Phillips sang Bob Seger's "We've Got Tonight." For Top 4, he did a cover of Damien Rice's Volcano - which has been heralded as one of the best American Idol performances of all time. As the sole contestant who was never in jeopardy of elimination in any week of the competition, Phillips became the winner on the finale against Jessica Sanchez after a record-breaking 132 million votes were cast. His coronation song, "Home," was released after his performance, and had the biggest digital sales week for any Idol winner's coronation song. ^Note 1 Due to the judges using their one save on Jessica Sanchez, the Top 7 remained intact for another week. CANNOTANSWER
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Phillips was chosen as one of the Top 25 semi-finalists, and was then voted into the Top 13.
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Phillip LaDon Phillips Jr. (born September 20, 1990) is an American musician, singer-songwriter who rose to fame after winning the eleventh season of American Idol on May 23, 2012. His coronation song, "Home", became the best-selling song in American Idol history. His debut album The World from the Side of the Moon was released on November 19, 2012 and was on the Billboard Top 200 album chart for 61 weeks. It has been certified Platinum by the RIAA. The album included the single "Gone, Gone, Gone." He followed up with Behind the Light, in 2014 with the lead single "Raging Fire." His third album, Collateral, was released in 2018 and included the songs "Into the Wild" and "Magnetic." Phillips toured with John Mayer, Gavin DeGraw, the Goo Goo Dolls and has shared the stage with Bruce Springsteen.
In the United States, Phillips has sold 7.5 million digital singles and has sold 2.7 million albums including album streaming equivalent units. He has over 600 million streams on Spotify and 1.2 billion streams on Pandora.
Early life
Phillips was born in Albany, Georgia, to Sheryl (Jacks) and Phillip LaDon "Donnie" Phillips, Sr. He moved with his family to Leesburg, Georgia when he was 12. He has two older sisters, LaDonna, the eldest, and Lacey. Phillips grew up in Sasser and Leesburg, and attended Lee County High School. He graduated from Albany Technical College with a major in Industrial Systems Technology, but missed the graduation ceremony due to his obligations to American Idol. Prior to appearing on American Idol, he worked at his family's pawn shop.
Phillips started playing music, particularly the guitar, when he was 14. He was mentored by his long-time friend and brother-in-law, Benjamin Neil, whom he credits for piquing his interest in music. In 2009, he formed the Phillip Phillips Band with Neil and another brother-in-law, Todd Urick, and performed in various local venues and events. He won a local singing competition, "Albany Star," in 2010.
Phillips' favorite singer is Jonny Lang. Other favorites include John Butler, Dave Matthews, and Damien Rice. He also enjoyed Mumford & Sons and Tool. He grew up listening mainly to '60s and '70s music such as Jimi Hendrix and Led Zeppelin; "Then as I got older I found Damien Rice and Dave Matthews and John Butler, which is what really set it off for me in terms of finding my voice as a musician." He has described his music as "jazz and rock alternative sound."
Prior to trying out for American Idol, Phillips also auditioned on the second season of America's Got Talent.
American Idol
Overview
Phillips auditioned in Savannah, Georgia. He sang "Superstition" by Stevie Wonder. One of the show's executive producers, Megan Michaels-Wolflick, stated "I remember the day in Savannah in 2011 when Phillip Phillips walked in the room and I thought, "This guy is going to win this season." As he walked in front of American Idol judges for his initial audition, Steven Tyler whispered to Jennifer Lopez, "I got a funny feeling about this." The judges asked him to perform a second song with his guitar, and he performed Michael Jackson's "Thriller." He advanced to the Hollywood rounds, and later to the Las Vegas round.
On February 23, 2012, Phillips was chosen as one of the Top 25 semi-finalists, and was voted into the Top 13.
His performance style on the show has been compared to Dave Matthews, and he covered one of his songs, "The Stone," in the competition. When asked about Phillips' imitation of his style, Dave Matthews said: "More power to him, I don't mind," and added "He should kick my ass, [then] maybe I can retire and he can take over my band." Mentor Stevie Nicks said Phillips would have been good enough to join Fleetwood Mac back in 1975, after his performance of Jonny Lang's "Still Rainin," for which he received a standing ovation from the judges.
After the Top 13 performance night, Phillips was taken to a doctor for possible kidney stones. He had eight procedures while he was performing on Idol, and considered quitting the show due to the pain.
For his Top 3 performance, Phillips sang Bob Seger's "We've Got Tonight." For Top 4, he did a cover of Damien Rice's "Volcano" - which has been heralded as one of the best American Idol performances of all time. As the sole contestant who was never in jeopardy of elimination in any week of the competition, Phillips became the winner on the finale against Jessica Sanchez after a record-breaking 132 million votes were cast. His coronation song, "Home," was released after his performance, and had the biggest digital sales week for any Idol winner's coronation song.
Phillips said, "It was crazy and it changed my life completely. I didn't know what to expect, I just loved playing music." "It never seemed like a competition. I always made sure I was having fun and the band was having a good time."
Music career
After winning American Idol, Phillips went on the American Idol LIVE Tour from July to September with the rest of the top ten finalists. He performed the National Anthem at the opening game of the 2012 World Series on October 24, 2012. On November 15, he joined forces with the PS22 chorus of Staten Island for a concert to raise money for those affected by Hurricane Sandy. He also performed at the National Christmas Tree Lighting Ceremony on December 6, 2012.
Phillips' coronation song, "Home", was a great success with sales of over 5 million copies in the US. It has been used in NBC's coverage of the Olympics, L.A. Marathon, various commercials, film trailers, and TV shows. He performed "Home" on the PBS Independence Day celebration TV special, A Capitol Fourth. He appeared at the 83rd MLB All-Star Game held at Kansas City on July 10 and sang his coronation song. On October 9, 2012, he joined other musicians in the One World concert held in Syracuse University to honor the Dalai Lama. He also performed "Home" on the CNN Heroes special aired on December 2, 2012, and the CBS's A Home for the Holidays on December 19, 2012.
Phillip has performed on The Today Show and Good Morning America Concert Series, Late Show with David Letterman, Jimmy Kimmel Live!, The Tonight Show With Jay Leno, The Ellen DeGeneres Show, Live With Kelly, The View, and Conan. He has also appeared at the American Music Awards and Billboard Music Awards.
Phillip Phillips made the Forbes Highest Earning American Idol list for each of the three years he was qualified. For the list published in January 2014 and January 2015, he ranked number three. For the list published January 2016, he ranked number four.
2012–13: The World from the Side of the Moon
Phillips released his debut album, The World from the Side of the Moon, on November 19, 2012. The album was produced by Gregg Wattenberg, with Phillips writing or co-writing the majority of the disc. On November 6, 2012, "Where We Came From" was released for sale in advance of the album, and was a free download on pre-orders. The album debuted at No. 4 in the Billboard 200 with sales of 169,000 copies, and was certified Platinum by RIAA in August 2013. The World From The Side Of The Moon was on the Billboard Top 200 album chart for 61 weeks. That puts in number two of all the debut albums by American Idol winners.
In January 2013, Phillip Phillips appeared on the cover of Billboard magazine with Interscope Records founder and CEO and American Idol mentor, Jimmy Iovine. "Phillip is a true artist and the fact that people are embracing his album shows they accept him as an artist." said Iovine.
On January 29, 2013, Phillips began a tour in North America as the opening act for Matchbox Twenty. He also headlined ten college dates in January with a four-piece acoustic band, and a further college tour with an electric band from March through May after his tour with Matchbox Twenty. Nine of his college tour dates were postponed due to a continuing health issue.
From July 6 to October 5, 2013, he toured as the opening act for John Mayer's Born and Raised World Tour, followed by his own college tour and then further dates with John Mayer until December 17. He also performed at the international music festival Rock in Rio, in Rio de Janeiro on September 21, the same day as John Mayer and Bruce Springsteen. In 2014, a solo tour of Canada was also scheduled, as well as other dates in the US.
The third single released from the album was "Where We Came From".
"Gone, Gone, Gone" from the album was released as a single on February 11, 2013. Phillips performed the song live on the March 14, 2013 edition of American Idol. "Gone, Gone, Gone" was also used as the twelfth season's "send-off" song, played as the backing track for the montages that highlight each week's eliminated finalist. The song was also used in the film, The Amazing Spider-Man 2.
Phillip Phillips capped off 2013 with a nomination from the American Music Awards for Best New Artist. He joined Kelly Clarkson and Carrie Underwood as the only American Idol winners to receive this nomination.
2014–15: Behind the Light
In March 2013, Phillips stated that he was "always writing" and that his second studio album would be released sometime in 2014. The album, Behind the Light, was released on May 19, 2014. The debut single, "Raging Fire", from his second album was released digitally on March 3, 2014. The song was featured in the National Hockey League's Playoffs. Phillips received his first BMI pop music song writing award for "Raging Fire". A promotional single, "Fly", was released alongside the album's pre-order on April 22, 2014.
Phillips toured with O.A.R. in the summer of 2014. He also launched the Behind The Light Fall Tour 2014 in the U.S. to support his second album.
The second single released from the album was "Unpack Your Heart". The song was featured in a TV commercial for Ram 1500 trucks, which premiered at the 2014 American Music Awards.
In January 2015, Phillips filed a lawsuit against his label 19 Recordings, calling the producers manipulative and "oppressive". In June 2017, Phillips settled the dispute with the show's producers.
2016: American Idol finale, Invictus Games
On April 7, 2016 Phillips returned to the American Idol stage for the series finale and performed a tribute to David Bowie with four other winners; David Cook, Kris Allen, Lee Dewyze, and Nick Fradiani. Former Idol judge Simon Cowell said Phillip Phillips was the only contestant he liked after he left the show. Jennifer Lopez, who was a judge on the eleventh season, revealed that Phillips is her favorite American Idol winner.
He performed at the 2016 Invictus Games closing ceremony in Orlando, Florida on May 12, 2016.
On June 17, 2016, Phillips started a co-headlining tour with Matt Nathanson at the San Diego County Fair and ending on August 13 at the Wisconsin State Fair.
2017–2019: Collateral
During summer 2017, Phillips was the opening act on the Live Nation Goo Goo Dolls' Long Way Home tour.
On October 18, 2017, Phillips performed at the CMT Artists of the Year awards, where he did a cover of Sam Hunt's "Body Like a Back Road", which won Song of the Year.
Phillips released the single "Miles" to radio on August 11, 2017, through 19R/Interscope. It was the lead single to the new album.
Phillips' third studio album, Collateral was released January 19, 2018. Producer Ryan Hadlock has been Phillips' primary collaborator, and he also worked with Nathan Chapman, Jon Nite, John Paul White and Todd Clark, with whom he wrote the singles "Gone, Gone, Gone" and "Raging Fire". He performed "The Magnetic Tour" from February 9, 2018 to April 14, 2018 with over 40 shows to support the album.
In the summer of 2018, Phillips hit the road headlining his solo tour and a co-headlining tour with Gavin DeGraw including over 30 shows.
In September 2019, Phillips teamed with American Authors and Maddie Poppe on a new version of the song "Bring It on Home".
2020 - present: Return to American Idol and pandemic relief efforts
On May 3, 2020, Phillips returned to American Idol and opened the Top 10 by performing "Home". The episode "On with the Show: Homeward Bound" featured the theme of songs about home. The show was broadcast from homes of the participants due to the pandemic health crisis.
Phillips performed on the Idol alumni ensemble (including Alejandro Aranda, Fantasia, Gabby Barrett, Jordin Sparks, Katharine McPhee, Kellie Pickler, Laine Hardy, Lauren Alaina, Ruben Studdard and Scotty McCreery) for "We Are the World" with Lionel Richie on the season finale on May 17, 2020.
Phillips performed at pandemic relief efforts for Sendero Together for Texas and for the Phoebe Hospital Foundation to help support frontline medical heroes battling COVID-19 in southwest Georgia.
On July 17, 2021, Phillips performed "Home" in support of the Project Angel Food telethon. The telethon help raise $1M to sustain the expanded service to those in need, preparing and delivering over one million medically tailored meals.
Acting
In January 2018, Phillips appeared in an episode of Hawaii Five-0, playing a diamond smuggler.
Personal life
Phillips has suffered from a congenital kidney condition. Soon after American Idol finished, he had kidney stones removed as well as reconstructive surgery done on his kidney.
On December 26, 2014, Phillips announced his engagement to girlfriend Hannah Blackwell. The two were married at the Resora Plantation in Albany, Georgia on October 24, 2015.
On July 3, 2019, Phillips and Blackwell announced that they were expecting their first child, a son, in the fall. Patch Shepherd Phillips was born November 10, 2019.
In addition to his singing career he has supported organizations including the Sarah Foundation and the Gibson Flood Relief Campaign. as well being an ambassador for Brave Beginnings. He has also supported DoSomething, National Park Foundation, NCIRE - the Veterans Health Research Institute, Save The Music Foundation, and Habitat for Humanity.
Discography
The World from the Side of the Moon (2012)
Behind the Light (2014)
Collateral (2018)
Filmography
Concert Tours
American Idol Tour Summer 2012
College Tour Spring 2013
North Tour (2013) with Matchbox Twenty
Born and Raised World Tour (2013) with John Mayer
Canada Tour Spring 2014
With O.A.R. Summer Tour 2014
Behind The Light Fall Tour 2014
With Matt Nathanson Summer 2016
Long Way Home Tour (2017) with Goo Goo Dolls
The Magnetic Tour Spring 2018
With Gavin DeGraw Summer 2018
Jingle Bell Rock Tour Winter 2018
Awards and nominations
See also
List of Idols winners
References
External links
PhillPhill.com
Phillip Phillips on American Idol
1990 births
Living people
19 Recordings artists
21st-century American singers
American Idol winners
American folk singers
American male singer-songwriters
American pop guitarists
American pop rock singers
American rock guitarists
American male guitarists
American rock songwriters
American male actors
Interscope Records artists
Musicians from Albany, Georgia
People from Leesburg, Georgia
21st-century American guitarists
Guitarists from Georgia (U.S. state)
21st-century American male singers
Singer-songwriters from Georgia (U.S. state)
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[
"Karl Cordin (born 3 November 1948) is an Austrian former alpine skier who did only compete in Downhill Races; he competed in the 1972 Winter Olympics, becoming 7th silver medal at FIS Alpine World Ski Championships 1970 in downhill.\n\nBiography\nCording did win three World Cup races: on February 21, 1970, at Jackson Hole, on December 20th, 1970, at Val-d’Isère, and on December 18, 1973, at Zell am See; he did become five-times second and twice third too. He also could achieve the Downhill World Cup in 1969-70.\nHe won the silver medal in the FIS Alpine Skiing World Championships 1970 and became fourth in the FIS Alpine Skiing World Championships 1974; in both races he was overtaken by a racer with a higher number. In 1970, he was in lead (and it looked that he could gain the gold medal) - but Bernhard Russi did win. In 1974, he was on the way to win the bronze medal, but Willi Frommelt did catch it.\n\nReferences\n\nExternal links\n \n\n1948 births\nLiving people\nAustrian male alpine skiers\nOlympic alpine skiers of Austria\nAlpine skiers at the 1972 Winter Olympics\nFIS Alpine Ski World Cup champions",
"The 1972 UEFA European Under-23 Championship, which spanned two years (1970–72) had 23 entrants. Czechoslovakia U-23s won the competition.\n\nThe 23 national teams were divided into eight groups. The group winners played off against each other on a two-legged home-and-away basis until the winner was decided. There was no finals tournament or 3rd-place playoff.\n\nQualifying Stage\n\nDraw\nThe allocation of teams into qualifying groups was based on that of UEFA Euro 1972 qualifying tournament with several changes, reflecting the absence of some nations:\n Group 2 and 8 had the same competing nations\n Group 1 did not include Wales\n Group 3 did not include England and Malta\n Group 4 did not include Northern Ireland and Cyprus\n Group 5 did not include Belgium and Scotland\n Group 6 did not include Republic of Ireland\n Group 7 did not include Luxembourg\n\nGroup 1\n\nGroup 2\n\nGroup 3\n\nGroup 4\n\nGroup 5\n\nGroup 6\n\nGroup 7\n\nGroup 8\n\nKnockout Stages\n{|width=100%\n|valign=\"center\"|\nQuarter Finals\n Bulgaria 2–2 Netherlands\n Netherlands 0–0 Bulgaria\n Bulgaria 2–0 Netherlands\n2–2: win playoff match\n\n Denmark 2–0 Greece\n Greece 5–0 Denmark\n win 5–2 on aggregate\n\n Soviet Union 3–1 West Germany\n West Germany 0–0 Soviet Union\n win 3–1 on aggregate\n\n Sweden 1–0 Czechoslovakia\n Czechoslovakia 3–1 Sweden\n win 3–2 on aggregate|width=\"5%\"| \n|valign=\"center\"|\nSemi Finals\n Czechoslovakia 2–0 Greece\n Greece 2–1 Czechoslovakia win 3–2 on aggregate Soviet Union 4–0 Bulgaria\n Bulgaria 3–3 Soviet Union win 7–3 on aggregate|width=\"5%\"| \n|valign=\"center\"|\nFinal\n Soviet Union 2–2 Czechoslovakia\n Czechoslovakia 3–1 Soviet Union win 5–3 on aggregate finish as Champions\n|}\n\nSee also\n UEFA European Under-21 Championship\n\nExternal links\n RSSSF Results Archive at rsssf.com\n\nUEFA European Under-21 Championship\n1970–71 in European football\n1971–72 in European football\n1972 in youth association football"
] |
[
"Phillip Phillips",
"Overview",
"When did he start his career?",
"Phillips auditioned in Savannah, Georgia.",
"For what ?",
"He sang \"Superstition\" by Stevie Wonder.",
"did he do well?",
"He advanced to the Hollywood rounds, and",
"did he win?",
"Phillips was chosen as one of the Top 25 semi-finalists, and was then voted into the Top 13."
] |
C_505c10c4e7bb4ffb98dbc15b5b81579e_1
|
how many votes did he get?
| 5 |
How many votes did Phillip Phillips get at his audition?
|
Phillip Phillips
|
Phillips auditioned in Savannah, Georgia. He sang "Superstition" by Stevie Wonder. The judges then asked him to perform a second song with his guitar, and he performed Michael Jackson's "Thriller." He advanced to the Hollywood rounds, and later to the Las Vegas round. On February 23, 2012, Phillips was chosen as one of the Top 25 semi-finalists, and was then voted into the Top 13. His performance style on the show has been compared to Dave Matthews, and he covered one of his songs, "The Stone," in the competition. When asked about Phillips' imitation of his style, Dave Matthews said: "More power to him, I don't mind," and added "He should kick my ass, [then] maybe I can retire and he can take over my band." Mentor Stevie Nicks said Phillips would have been good enough to join Fleetwood Mac back in 1975, after his performance of Jonny Lang's Still Rainin, which he received a standing ovation from the judges. After the Top 13 performance night, Phillips was taken to a doctor for possible kidney stones. He had eight procedures while he was on Idol, and considered quitting the show due to the pain. For his Top 3 performance, Phillips sang Bob Seger's "We've Got Tonight." For Top 4, he did a cover of Damien Rice's Volcano - which has been heralded as one of the best American Idol performances of all time. As the sole contestant who was never in jeopardy of elimination in any week of the competition, Phillips became the winner on the finale against Jessica Sanchez after a record-breaking 132 million votes were cast. His coronation song, "Home," was released after his performance, and had the biggest digital sales week for any Idol winner's coronation song. ^Note 1 Due to the judges using their one save on Jessica Sanchez, the Top 7 remained intact for another week. CANNOTANSWER
|
CANNOTANSWER
|
Phillip LaDon Phillips Jr. (born September 20, 1990) is an American musician, singer-songwriter who rose to fame after winning the eleventh season of American Idol on May 23, 2012. His coronation song, "Home", became the best-selling song in American Idol history. His debut album The World from the Side of the Moon was released on November 19, 2012 and was on the Billboard Top 200 album chart for 61 weeks. It has been certified Platinum by the RIAA. The album included the single "Gone, Gone, Gone." He followed up with Behind the Light, in 2014 with the lead single "Raging Fire." His third album, Collateral, was released in 2018 and included the songs "Into the Wild" and "Magnetic." Phillips toured with John Mayer, Gavin DeGraw, the Goo Goo Dolls and has shared the stage with Bruce Springsteen.
In the United States, Phillips has sold 7.5 million digital singles and has sold 2.7 million albums including album streaming equivalent units. He has over 600 million streams on Spotify and 1.2 billion streams on Pandora.
Early life
Phillips was born in Albany, Georgia, to Sheryl (Jacks) and Phillip LaDon "Donnie" Phillips, Sr. He moved with his family to Leesburg, Georgia when he was 12. He has two older sisters, LaDonna, the eldest, and Lacey. Phillips grew up in Sasser and Leesburg, and attended Lee County High School. He graduated from Albany Technical College with a major in Industrial Systems Technology, but missed the graduation ceremony due to his obligations to American Idol. Prior to appearing on American Idol, he worked at his family's pawn shop.
Phillips started playing music, particularly the guitar, when he was 14. He was mentored by his long-time friend and brother-in-law, Benjamin Neil, whom he credits for piquing his interest in music. In 2009, he formed the Phillip Phillips Band with Neil and another brother-in-law, Todd Urick, and performed in various local venues and events. He won a local singing competition, "Albany Star," in 2010.
Phillips' favorite singer is Jonny Lang. Other favorites include John Butler, Dave Matthews, and Damien Rice. He also enjoyed Mumford & Sons and Tool. He grew up listening mainly to '60s and '70s music such as Jimi Hendrix and Led Zeppelin; "Then as I got older I found Damien Rice and Dave Matthews and John Butler, which is what really set it off for me in terms of finding my voice as a musician." He has described his music as "jazz and rock alternative sound."
Prior to trying out for American Idol, Phillips also auditioned on the second season of America's Got Talent.
American Idol
Overview
Phillips auditioned in Savannah, Georgia. He sang "Superstition" by Stevie Wonder. One of the show's executive producers, Megan Michaels-Wolflick, stated "I remember the day in Savannah in 2011 when Phillip Phillips walked in the room and I thought, "This guy is going to win this season." As he walked in front of American Idol judges for his initial audition, Steven Tyler whispered to Jennifer Lopez, "I got a funny feeling about this." The judges asked him to perform a second song with his guitar, and he performed Michael Jackson's "Thriller." He advanced to the Hollywood rounds, and later to the Las Vegas round.
On February 23, 2012, Phillips was chosen as one of the Top 25 semi-finalists, and was voted into the Top 13.
His performance style on the show has been compared to Dave Matthews, and he covered one of his songs, "The Stone," in the competition. When asked about Phillips' imitation of his style, Dave Matthews said: "More power to him, I don't mind," and added "He should kick my ass, [then] maybe I can retire and he can take over my band." Mentor Stevie Nicks said Phillips would have been good enough to join Fleetwood Mac back in 1975, after his performance of Jonny Lang's "Still Rainin," for which he received a standing ovation from the judges.
After the Top 13 performance night, Phillips was taken to a doctor for possible kidney stones. He had eight procedures while he was performing on Idol, and considered quitting the show due to the pain.
For his Top 3 performance, Phillips sang Bob Seger's "We've Got Tonight." For Top 4, he did a cover of Damien Rice's "Volcano" - which has been heralded as one of the best American Idol performances of all time. As the sole contestant who was never in jeopardy of elimination in any week of the competition, Phillips became the winner on the finale against Jessica Sanchez after a record-breaking 132 million votes were cast. His coronation song, "Home," was released after his performance, and had the biggest digital sales week for any Idol winner's coronation song.
Phillips said, "It was crazy and it changed my life completely. I didn't know what to expect, I just loved playing music." "It never seemed like a competition. I always made sure I was having fun and the band was having a good time."
Music career
After winning American Idol, Phillips went on the American Idol LIVE Tour from July to September with the rest of the top ten finalists. He performed the National Anthem at the opening game of the 2012 World Series on October 24, 2012. On November 15, he joined forces with the PS22 chorus of Staten Island for a concert to raise money for those affected by Hurricane Sandy. He also performed at the National Christmas Tree Lighting Ceremony on December 6, 2012.
Phillips' coronation song, "Home", was a great success with sales of over 5 million copies in the US. It has been used in NBC's coverage of the Olympics, L.A. Marathon, various commercials, film trailers, and TV shows. He performed "Home" on the PBS Independence Day celebration TV special, A Capitol Fourth. He appeared at the 83rd MLB All-Star Game held at Kansas City on July 10 and sang his coronation song. On October 9, 2012, he joined other musicians in the One World concert held in Syracuse University to honor the Dalai Lama. He also performed "Home" on the CNN Heroes special aired on December 2, 2012, and the CBS's A Home for the Holidays on December 19, 2012.
Phillip has performed on The Today Show and Good Morning America Concert Series, Late Show with David Letterman, Jimmy Kimmel Live!, The Tonight Show With Jay Leno, The Ellen DeGeneres Show, Live With Kelly, The View, and Conan. He has also appeared at the American Music Awards and Billboard Music Awards.
Phillip Phillips made the Forbes Highest Earning American Idol list for each of the three years he was qualified. For the list published in January 2014 and January 2015, he ranked number three. For the list published January 2016, he ranked number four.
2012–13: The World from the Side of the Moon
Phillips released his debut album, The World from the Side of the Moon, on November 19, 2012. The album was produced by Gregg Wattenberg, with Phillips writing or co-writing the majority of the disc. On November 6, 2012, "Where We Came From" was released for sale in advance of the album, and was a free download on pre-orders. The album debuted at No. 4 in the Billboard 200 with sales of 169,000 copies, and was certified Platinum by RIAA in August 2013. The World From The Side Of The Moon was on the Billboard Top 200 album chart for 61 weeks. That puts in number two of all the debut albums by American Idol winners.
In January 2013, Phillip Phillips appeared on the cover of Billboard magazine with Interscope Records founder and CEO and American Idol mentor, Jimmy Iovine. "Phillip is a true artist and the fact that people are embracing his album shows they accept him as an artist." said Iovine.
On January 29, 2013, Phillips began a tour in North America as the opening act for Matchbox Twenty. He also headlined ten college dates in January with a four-piece acoustic band, and a further college tour with an electric band from March through May after his tour with Matchbox Twenty. Nine of his college tour dates were postponed due to a continuing health issue.
From July 6 to October 5, 2013, he toured as the opening act for John Mayer's Born and Raised World Tour, followed by his own college tour and then further dates with John Mayer until December 17. He also performed at the international music festival Rock in Rio, in Rio de Janeiro on September 21, the same day as John Mayer and Bruce Springsteen. In 2014, a solo tour of Canada was also scheduled, as well as other dates in the US.
The third single released from the album was "Where We Came From".
"Gone, Gone, Gone" from the album was released as a single on February 11, 2013. Phillips performed the song live on the March 14, 2013 edition of American Idol. "Gone, Gone, Gone" was also used as the twelfth season's "send-off" song, played as the backing track for the montages that highlight each week's eliminated finalist. The song was also used in the film, The Amazing Spider-Man 2.
Phillip Phillips capped off 2013 with a nomination from the American Music Awards for Best New Artist. He joined Kelly Clarkson and Carrie Underwood as the only American Idol winners to receive this nomination.
2014–15: Behind the Light
In March 2013, Phillips stated that he was "always writing" and that his second studio album would be released sometime in 2014. The album, Behind the Light, was released on May 19, 2014. The debut single, "Raging Fire", from his second album was released digitally on March 3, 2014. The song was featured in the National Hockey League's Playoffs. Phillips received his first BMI pop music song writing award for "Raging Fire". A promotional single, "Fly", was released alongside the album's pre-order on April 22, 2014.
Phillips toured with O.A.R. in the summer of 2014. He also launched the Behind The Light Fall Tour 2014 in the U.S. to support his second album.
The second single released from the album was "Unpack Your Heart". The song was featured in a TV commercial for Ram 1500 trucks, which premiered at the 2014 American Music Awards.
In January 2015, Phillips filed a lawsuit against his label 19 Recordings, calling the producers manipulative and "oppressive". In June 2017, Phillips settled the dispute with the show's producers.
2016: American Idol finale, Invictus Games
On April 7, 2016 Phillips returned to the American Idol stage for the series finale and performed a tribute to David Bowie with four other winners; David Cook, Kris Allen, Lee Dewyze, and Nick Fradiani. Former Idol judge Simon Cowell said Phillip Phillips was the only contestant he liked after he left the show. Jennifer Lopez, who was a judge on the eleventh season, revealed that Phillips is her favorite American Idol winner.
He performed at the 2016 Invictus Games closing ceremony in Orlando, Florida on May 12, 2016.
On June 17, 2016, Phillips started a co-headlining tour with Matt Nathanson at the San Diego County Fair and ending on August 13 at the Wisconsin State Fair.
2017–2019: Collateral
During summer 2017, Phillips was the opening act on the Live Nation Goo Goo Dolls' Long Way Home tour.
On October 18, 2017, Phillips performed at the CMT Artists of the Year awards, where he did a cover of Sam Hunt's "Body Like a Back Road", which won Song of the Year.
Phillips released the single "Miles" to radio on August 11, 2017, through 19R/Interscope. It was the lead single to the new album.
Phillips' third studio album, Collateral was released January 19, 2018. Producer Ryan Hadlock has been Phillips' primary collaborator, and he also worked with Nathan Chapman, Jon Nite, John Paul White and Todd Clark, with whom he wrote the singles "Gone, Gone, Gone" and "Raging Fire". He performed "The Magnetic Tour" from February 9, 2018 to April 14, 2018 with over 40 shows to support the album.
In the summer of 2018, Phillips hit the road headlining his solo tour and a co-headlining tour with Gavin DeGraw including over 30 shows.
In September 2019, Phillips teamed with American Authors and Maddie Poppe on a new version of the song "Bring It on Home".
2020 - present: Return to American Idol and pandemic relief efforts
On May 3, 2020, Phillips returned to American Idol and opened the Top 10 by performing "Home". The episode "On with the Show: Homeward Bound" featured the theme of songs about home. The show was broadcast from homes of the participants due to the pandemic health crisis.
Phillips performed on the Idol alumni ensemble (including Alejandro Aranda, Fantasia, Gabby Barrett, Jordin Sparks, Katharine McPhee, Kellie Pickler, Laine Hardy, Lauren Alaina, Ruben Studdard and Scotty McCreery) for "We Are the World" with Lionel Richie on the season finale on May 17, 2020.
Phillips performed at pandemic relief efforts for Sendero Together for Texas and for the Phoebe Hospital Foundation to help support frontline medical heroes battling COVID-19 in southwest Georgia.
On July 17, 2021, Phillips performed "Home" in support of the Project Angel Food telethon. The telethon help raise $1M to sustain the expanded service to those in need, preparing and delivering over one million medically tailored meals.
Acting
In January 2018, Phillips appeared in an episode of Hawaii Five-0, playing a diamond smuggler.
Personal life
Phillips has suffered from a congenital kidney condition. Soon after American Idol finished, he had kidney stones removed as well as reconstructive surgery done on his kidney.
On December 26, 2014, Phillips announced his engagement to girlfriend Hannah Blackwell. The two were married at the Resora Plantation in Albany, Georgia on October 24, 2015.
On July 3, 2019, Phillips and Blackwell announced that they were expecting their first child, a son, in the fall. Patch Shepherd Phillips was born November 10, 2019.
In addition to his singing career he has supported organizations including the Sarah Foundation and the Gibson Flood Relief Campaign. as well being an ambassador for Brave Beginnings. He has also supported DoSomething, National Park Foundation, NCIRE - the Veterans Health Research Institute, Save The Music Foundation, and Habitat for Humanity.
Discography
The World from the Side of the Moon (2012)
Behind the Light (2014)
Collateral (2018)
Filmography
Concert Tours
American Idol Tour Summer 2012
College Tour Spring 2013
North Tour (2013) with Matchbox Twenty
Born and Raised World Tour (2013) with John Mayer
Canada Tour Spring 2014
With O.A.R. Summer Tour 2014
Behind The Light Fall Tour 2014
With Matt Nathanson Summer 2016
Long Way Home Tour (2017) with Goo Goo Dolls
The Magnetic Tour Spring 2018
With Gavin DeGraw Summer 2018
Jingle Bell Rock Tour Winter 2018
Awards and nominations
See also
List of Idols winners
References
External links
PhillPhill.com
Phillip Phillips on American Idol
1990 births
Living people
19 Recordings artists
21st-century American singers
American Idol winners
American folk singers
American male singer-songwriters
American pop guitarists
American pop rock singers
American rock guitarists
American male guitarists
American rock songwriters
American male actors
Interscope Records artists
Musicians from Albany, Georgia
People from Leesburg, Georgia
21st-century American guitarists
Guitarists from Georgia (U.S. state)
21st-century American male singers
Singer-songwriters from Georgia (U.S. state)
| false |
[
"Active Pensionists (Danish: Aktive Pensionister) was a political party in Denmark.\n\nHistory\nActive Pensionists was established in 1997. The party ran in 2001 in Copenhagen (507 votes), Frederikshavn (212 votes) and Skagen Municipality (19 votes). They did not get any municipal seats.\n\nIn 2005, Active Pensionists ran in Greve Municipality (43 votes), Vejle Municipality (158 votes), Fredericia Municipality (679) and Copenhagen Municipality (232 votes). They did not manage to get any municipal seats.\n\nThe party has not run for municipal elections since 2005, and is assumedly dissolved.\n\nElection results\n\nMunicipal elections\n\nReferences\n\nPolitical parties in Denmark\nPensioners' parties\n1997 establishments in Denmark\nPolitical parties established in 1997\nDefunct political parties in Denmark",
"How Did This Get Made? is a comedy podcast on the Earwolf network hosted by Paul Scheer, June Diane Raphael, and Jason Mantzoukas.\n\nGenerally, How Did This Get Made? is released every two weeks. During the show's off-week, a \".5\" episode is uploaded featuring Scheer announcing the next week's movie, as well as challenges for the fans. In addition to the shows and mini-shows, the How Did This Get Made? stream hosted the first three episodes of Bitch Sesh, the podcast of previous guests Casey Wilson and Danielle Schneider, in December 2015. It has also hosted episodes of its own spin-off podcast, the How Did This Get Made? Origin Stories, in which Blake Harris interviews people involved with the films covered by the main show. In December 2017, an episode was recorded for the Pee Cast Blast event, and released exclusively on Stitcher Premium.\n\nEvery episode has featured Paul Scheer as the host of the podcast. The only episode to date in which Scheer hosted remotely was The Smurfs, in which he Skyped in. Raphael has taken extended breaks from the podcast for both filming commitments and maternity leave. Mantzoukas has also missed episodes due to work, but has also Skyped in for various episodes. On the occasions that neither Raphael nor Mantzoukas are available for live appearances, Scheer calls in previous fan-favorite guests for what is known as a How Did This Get Made? All-Stars episode.\n\nList of episodes\n\nMini episodes\n\nReferences\n\nExternal links \n List of How Did This Get Made? episodes\n\nHow Did This Get Made\nHow Did This Get Made"
] |
[
"Phillip Phillips",
"Overview",
"When did he start his career?",
"Phillips auditioned in Savannah, Georgia.",
"For what ?",
"He sang \"Superstition\" by Stevie Wonder.",
"did he do well?",
"He advanced to the Hollywood rounds, and",
"did he win?",
"Phillips was chosen as one of the Top 25 semi-finalists, and was then voted into the Top 13.",
"how many votes did he get?",
"I don't know."
] |
C_505c10c4e7bb4ffb98dbc15b5b81579e_1
|
what is an interesting fact regarding his overview?
| 6 |
What is an interesting fact regarding Phillip Phillips overview?
|
Phillip Phillips
|
Phillips auditioned in Savannah, Georgia. He sang "Superstition" by Stevie Wonder. The judges then asked him to perform a second song with his guitar, and he performed Michael Jackson's "Thriller." He advanced to the Hollywood rounds, and later to the Las Vegas round. On February 23, 2012, Phillips was chosen as one of the Top 25 semi-finalists, and was then voted into the Top 13. His performance style on the show has been compared to Dave Matthews, and he covered one of his songs, "The Stone," in the competition. When asked about Phillips' imitation of his style, Dave Matthews said: "More power to him, I don't mind," and added "He should kick my ass, [then] maybe I can retire and he can take over my band." Mentor Stevie Nicks said Phillips would have been good enough to join Fleetwood Mac back in 1975, after his performance of Jonny Lang's Still Rainin, which he received a standing ovation from the judges. After the Top 13 performance night, Phillips was taken to a doctor for possible kidney stones. He had eight procedures while he was on Idol, and considered quitting the show due to the pain. For his Top 3 performance, Phillips sang Bob Seger's "We've Got Tonight." For Top 4, he did a cover of Damien Rice's Volcano - which has been heralded as one of the best American Idol performances of all time. As the sole contestant who was never in jeopardy of elimination in any week of the competition, Phillips became the winner on the finale against Jessica Sanchez after a record-breaking 132 million votes were cast. His coronation song, "Home," was released after his performance, and had the biggest digital sales week for any Idol winner's coronation song. ^Note 1 Due to the judges using their one save on Jessica Sanchez, the Top 7 remained intact for another week. CANNOTANSWER
|
Phillips became the winner on the finale against Jessica Sanchez after a record-breaking 132 million votes were cast.
|
Phillip LaDon Phillips Jr. (born September 20, 1990) is an American musician, singer-songwriter who rose to fame after winning the eleventh season of American Idol on May 23, 2012. His coronation song, "Home", became the best-selling song in American Idol history. His debut album The World from the Side of the Moon was released on November 19, 2012 and was on the Billboard Top 200 album chart for 61 weeks. It has been certified Platinum by the RIAA. The album included the single "Gone, Gone, Gone." He followed up with Behind the Light, in 2014 with the lead single "Raging Fire." His third album, Collateral, was released in 2018 and included the songs "Into the Wild" and "Magnetic." Phillips toured with John Mayer, Gavin DeGraw, the Goo Goo Dolls and has shared the stage with Bruce Springsteen.
In the United States, Phillips has sold 7.5 million digital singles and has sold 2.7 million albums including album streaming equivalent units. He has over 600 million streams on Spotify and 1.2 billion streams on Pandora.
Early life
Phillips was born in Albany, Georgia, to Sheryl (Jacks) and Phillip LaDon "Donnie" Phillips, Sr. He moved with his family to Leesburg, Georgia when he was 12. He has two older sisters, LaDonna, the eldest, and Lacey. Phillips grew up in Sasser and Leesburg, and attended Lee County High School. He graduated from Albany Technical College with a major in Industrial Systems Technology, but missed the graduation ceremony due to his obligations to American Idol. Prior to appearing on American Idol, he worked at his family's pawn shop.
Phillips started playing music, particularly the guitar, when he was 14. He was mentored by his long-time friend and brother-in-law, Benjamin Neil, whom he credits for piquing his interest in music. In 2009, he formed the Phillip Phillips Band with Neil and another brother-in-law, Todd Urick, and performed in various local venues and events. He won a local singing competition, "Albany Star," in 2010.
Phillips' favorite singer is Jonny Lang. Other favorites include John Butler, Dave Matthews, and Damien Rice. He also enjoyed Mumford & Sons and Tool. He grew up listening mainly to '60s and '70s music such as Jimi Hendrix and Led Zeppelin; "Then as I got older I found Damien Rice and Dave Matthews and John Butler, which is what really set it off for me in terms of finding my voice as a musician." He has described his music as "jazz and rock alternative sound."
Prior to trying out for American Idol, Phillips also auditioned on the second season of America's Got Talent.
American Idol
Overview
Phillips auditioned in Savannah, Georgia. He sang "Superstition" by Stevie Wonder. One of the show's executive producers, Megan Michaels-Wolflick, stated "I remember the day in Savannah in 2011 when Phillip Phillips walked in the room and I thought, "This guy is going to win this season." As he walked in front of American Idol judges for his initial audition, Steven Tyler whispered to Jennifer Lopez, "I got a funny feeling about this." The judges asked him to perform a second song with his guitar, and he performed Michael Jackson's "Thriller." He advanced to the Hollywood rounds, and later to the Las Vegas round.
On February 23, 2012, Phillips was chosen as one of the Top 25 semi-finalists, and was voted into the Top 13.
His performance style on the show has been compared to Dave Matthews, and he covered one of his songs, "The Stone," in the competition. When asked about Phillips' imitation of his style, Dave Matthews said: "More power to him, I don't mind," and added "He should kick my ass, [then] maybe I can retire and he can take over my band." Mentor Stevie Nicks said Phillips would have been good enough to join Fleetwood Mac back in 1975, after his performance of Jonny Lang's "Still Rainin," for which he received a standing ovation from the judges.
After the Top 13 performance night, Phillips was taken to a doctor for possible kidney stones. He had eight procedures while he was performing on Idol, and considered quitting the show due to the pain.
For his Top 3 performance, Phillips sang Bob Seger's "We've Got Tonight." For Top 4, he did a cover of Damien Rice's "Volcano" - which has been heralded as one of the best American Idol performances of all time. As the sole contestant who was never in jeopardy of elimination in any week of the competition, Phillips became the winner on the finale against Jessica Sanchez after a record-breaking 132 million votes were cast. His coronation song, "Home," was released after his performance, and had the biggest digital sales week for any Idol winner's coronation song.
Phillips said, "It was crazy and it changed my life completely. I didn't know what to expect, I just loved playing music." "It never seemed like a competition. I always made sure I was having fun and the band was having a good time."
Music career
After winning American Idol, Phillips went on the American Idol LIVE Tour from July to September with the rest of the top ten finalists. He performed the National Anthem at the opening game of the 2012 World Series on October 24, 2012. On November 15, he joined forces with the PS22 chorus of Staten Island for a concert to raise money for those affected by Hurricane Sandy. He also performed at the National Christmas Tree Lighting Ceremony on December 6, 2012.
Phillips' coronation song, "Home", was a great success with sales of over 5 million copies in the US. It has been used in NBC's coverage of the Olympics, L.A. Marathon, various commercials, film trailers, and TV shows. He performed "Home" on the PBS Independence Day celebration TV special, A Capitol Fourth. He appeared at the 83rd MLB All-Star Game held at Kansas City on July 10 and sang his coronation song. On October 9, 2012, he joined other musicians in the One World concert held in Syracuse University to honor the Dalai Lama. He also performed "Home" on the CNN Heroes special aired on December 2, 2012, and the CBS's A Home for the Holidays on December 19, 2012.
Phillip has performed on The Today Show and Good Morning America Concert Series, Late Show with David Letterman, Jimmy Kimmel Live!, The Tonight Show With Jay Leno, The Ellen DeGeneres Show, Live With Kelly, The View, and Conan. He has also appeared at the American Music Awards and Billboard Music Awards.
Phillip Phillips made the Forbes Highest Earning American Idol list for each of the three years he was qualified. For the list published in January 2014 and January 2015, he ranked number three. For the list published January 2016, he ranked number four.
2012–13: The World from the Side of the Moon
Phillips released his debut album, The World from the Side of the Moon, on November 19, 2012. The album was produced by Gregg Wattenberg, with Phillips writing or co-writing the majority of the disc. On November 6, 2012, "Where We Came From" was released for sale in advance of the album, and was a free download on pre-orders. The album debuted at No. 4 in the Billboard 200 with sales of 169,000 copies, and was certified Platinum by RIAA in August 2013. The World From The Side Of The Moon was on the Billboard Top 200 album chart for 61 weeks. That puts in number two of all the debut albums by American Idol winners.
In January 2013, Phillip Phillips appeared on the cover of Billboard magazine with Interscope Records founder and CEO and American Idol mentor, Jimmy Iovine. "Phillip is a true artist and the fact that people are embracing his album shows they accept him as an artist." said Iovine.
On January 29, 2013, Phillips began a tour in North America as the opening act for Matchbox Twenty. He also headlined ten college dates in January with a four-piece acoustic band, and a further college tour with an electric band from March through May after his tour with Matchbox Twenty. Nine of his college tour dates were postponed due to a continuing health issue.
From July 6 to October 5, 2013, he toured as the opening act for John Mayer's Born and Raised World Tour, followed by his own college tour and then further dates with John Mayer until December 17. He also performed at the international music festival Rock in Rio, in Rio de Janeiro on September 21, the same day as John Mayer and Bruce Springsteen. In 2014, a solo tour of Canada was also scheduled, as well as other dates in the US.
The third single released from the album was "Where We Came From".
"Gone, Gone, Gone" from the album was released as a single on February 11, 2013. Phillips performed the song live on the March 14, 2013 edition of American Idol. "Gone, Gone, Gone" was also used as the twelfth season's "send-off" song, played as the backing track for the montages that highlight each week's eliminated finalist. The song was also used in the film, The Amazing Spider-Man 2.
Phillip Phillips capped off 2013 with a nomination from the American Music Awards for Best New Artist. He joined Kelly Clarkson and Carrie Underwood as the only American Idol winners to receive this nomination.
2014–15: Behind the Light
In March 2013, Phillips stated that he was "always writing" and that his second studio album would be released sometime in 2014. The album, Behind the Light, was released on May 19, 2014. The debut single, "Raging Fire", from his second album was released digitally on March 3, 2014. The song was featured in the National Hockey League's Playoffs. Phillips received his first BMI pop music song writing award for "Raging Fire". A promotional single, "Fly", was released alongside the album's pre-order on April 22, 2014.
Phillips toured with O.A.R. in the summer of 2014. He also launched the Behind The Light Fall Tour 2014 in the U.S. to support his second album.
The second single released from the album was "Unpack Your Heart". The song was featured in a TV commercial for Ram 1500 trucks, which premiered at the 2014 American Music Awards.
In January 2015, Phillips filed a lawsuit against his label 19 Recordings, calling the producers manipulative and "oppressive". In June 2017, Phillips settled the dispute with the show's producers.
2016: American Idol finale, Invictus Games
On April 7, 2016 Phillips returned to the American Idol stage for the series finale and performed a tribute to David Bowie with four other winners; David Cook, Kris Allen, Lee Dewyze, and Nick Fradiani. Former Idol judge Simon Cowell said Phillip Phillips was the only contestant he liked after he left the show. Jennifer Lopez, who was a judge on the eleventh season, revealed that Phillips is her favorite American Idol winner.
He performed at the 2016 Invictus Games closing ceremony in Orlando, Florida on May 12, 2016.
On June 17, 2016, Phillips started a co-headlining tour with Matt Nathanson at the San Diego County Fair and ending on August 13 at the Wisconsin State Fair.
2017–2019: Collateral
During summer 2017, Phillips was the opening act on the Live Nation Goo Goo Dolls' Long Way Home tour.
On October 18, 2017, Phillips performed at the CMT Artists of the Year awards, where he did a cover of Sam Hunt's "Body Like a Back Road", which won Song of the Year.
Phillips released the single "Miles" to radio on August 11, 2017, through 19R/Interscope. It was the lead single to the new album.
Phillips' third studio album, Collateral was released January 19, 2018. Producer Ryan Hadlock has been Phillips' primary collaborator, and he also worked with Nathan Chapman, Jon Nite, John Paul White and Todd Clark, with whom he wrote the singles "Gone, Gone, Gone" and "Raging Fire". He performed "The Magnetic Tour" from February 9, 2018 to April 14, 2018 with over 40 shows to support the album.
In the summer of 2018, Phillips hit the road headlining his solo tour and a co-headlining tour with Gavin DeGraw including over 30 shows.
In September 2019, Phillips teamed with American Authors and Maddie Poppe on a new version of the song "Bring It on Home".
2020 - present: Return to American Idol and pandemic relief efforts
On May 3, 2020, Phillips returned to American Idol and opened the Top 10 by performing "Home". The episode "On with the Show: Homeward Bound" featured the theme of songs about home. The show was broadcast from homes of the participants due to the pandemic health crisis.
Phillips performed on the Idol alumni ensemble (including Alejandro Aranda, Fantasia, Gabby Barrett, Jordin Sparks, Katharine McPhee, Kellie Pickler, Laine Hardy, Lauren Alaina, Ruben Studdard and Scotty McCreery) for "We Are the World" with Lionel Richie on the season finale on May 17, 2020.
Phillips performed at pandemic relief efforts for Sendero Together for Texas and for the Phoebe Hospital Foundation to help support frontline medical heroes battling COVID-19 in southwest Georgia.
On July 17, 2021, Phillips performed "Home" in support of the Project Angel Food telethon. The telethon help raise $1M to sustain the expanded service to those in need, preparing and delivering over one million medically tailored meals.
Acting
In January 2018, Phillips appeared in an episode of Hawaii Five-0, playing a diamond smuggler.
Personal life
Phillips has suffered from a congenital kidney condition. Soon after American Idol finished, he had kidney stones removed as well as reconstructive surgery done on his kidney.
On December 26, 2014, Phillips announced his engagement to girlfriend Hannah Blackwell. The two were married at the Resora Plantation in Albany, Georgia on October 24, 2015.
On July 3, 2019, Phillips and Blackwell announced that they were expecting their first child, a son, in the fall. Patch Shepherd Phillips was born November 10, 2019.
In addition to his singing career he has supported organizations including the Sarah Foundation and the Gibson Flood Relief Campaign. as well being an ambassador for Brave Beginnings. He has also supported DoSomething, National Park Foundation, NCIRE - the Veterans Health Research Institute, Save The Music Foundation, and Habitat for Humanity.
Discography
The World from the Side of the Moon (2012)
Behind the Light (2014)
Collateral (2018)
Filmography
Concert Tours
American Idol Tour Summer 2012
College Tour Spring 2013
North Tour (2013) with Matchbox Twenty
Born and Raised World Tour (2013) with John Mayer
Canada Tour Spring 2014
With O.A.R. Summer Tour 2014
Behind The Light Fall Tour 2014
With Matt Nathanson Summer 2016
Long Way Home Tour (2017) with Goo Goo Dolls
The Magnetic Tour Spring 2018
With Gavin DeGraw Summer 2018
Jingle Bell Rock Tour Winter 2018
Awards and nominations
See also
List of Idols winners
References
External links
PhillPhill.com
Phillip Phillips on American Idol
1990 births
Living people
19 Recordings artists
21st-century American singers
American Idol winners
American folk singers
American male singer-songwriters
American pop guitarists
American pop rock singers
American rock guitarists
American male guitarists
American rock songwriters
American male actors
Interscope Records artists
Musicians from Albany, Georgia
People from Leesburg, Georgia
21st-century American guitarists
Guitarists from Georgia (U.S. state)
21st-century American male singers
Singer-songwriters from Georgia (U.S. state)
| true |
[
"Systemic Shock by Dean Ing is the first novel in his Quantrill trilogy (the others being Wild Country and Single Combat) and is a science fiction thriller set in the mid-1990s. As the Soviet Union collapses, China and India join forces and launch a devastating nuclear attack on America.\n\nPlot\nThe book is based around Ted Quantrill and his activities during the post-apocalyptic anarchy that followed the limited nuclear exchange that destroyed the major cities in the United States.\n\nReception\nGreg Costikyan reviewed Systemic Shock in Ares Magazine #11 and commented that \"The fact that the story is less than plausible does not distract from its value; Systemic Shock is still an interesting book, albeit not for the faint-hearted.\"\n\nReviews\nReview by Peter J. Andrews (1981) in Beyond, Fall 1981\n\nSee also\n Apocalyptic and post-apocalyptic fiction\n Systemic shock\n\nNotes\n\nExternal links\n An overview of the subgenre at Internet Review of Science Fiction.\n Quiet Earth – A website dedicated to post apocalyptic media\n A Sense of an Ending: Take Shelter's Inconclusive Apocalypse – An article on contemporary apocalypse cinema at Alternate Takes\n\n1981 American novels\n1981 science fiction novels\nAmerican thriller novels\nApocalyptic novels\nNovels set in the 1990s\nNuclear war and weapons in popular culture\nPost-apocalyptic novels",
"Panfuturism (also known as Kverofuturism) is a Ukrainian avant-garde art movement developed by Mykhaylo Semenko, a Ukrainian poet.\n\nOverview\n\nHistory \nPanfuturism originated in Ukraine. Mykhaylo Semenko developed it in 1914.\n\nPrinciples \nSemenko outlined the following principles of Panfuturism in an essay, \"What Panfuturism wants\": \n Panfuturism \"wants to be a scientific system which is attained by its being a system universal and synthetic.\"\n The goal of Panfuturism is to \"abolish all 'isms' which is attained by neutralizing them...by regarding every single case as a private problem of the polyproblematic organism of art.\"\n Panfuturism is a \"proletarian system of art.\"\n Panfuturism is an \"organizational art.\"\n Panfuturism \"is the whole art.\"\n Panfuturism \"is at once Futurism, Cubism, Expressionism and Dadaism.\"\n\nReferences \n\n 01\nUkrainian art movements\nFuturism\nUkrainian avant-garde"
] |
[
"Joe Frazier",
"Financial issues and legal battles"
] |
C_bd1ce4d9a762408187eecb48d848adaa_0
|
when did joe frazier's financial issues begin?
| 1 |
When did Joe frazier's financial issues begin?
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Joe Frazier
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According to an article from The New York Times, "over the years, Frazier has lost a fortune through a combination of his own generosity and naivete, his carousing, and failed business opportunities. The other headliners from his fighting days--Ali, George Foreman, and Larry Holmes--are millionaires." Asked about his situation, Frazier became playfully defensive, but would not reveal his financial status. "Are you asking me how much money I have?" he said. "I got plenty of money. I got a stack of $100 bills rolled up over there in the back of the room." Frazier blamed himself, partly, for not effectively promoting his own image. In a 2006 HBO documentary on the fight in Manila, Frazier was interviewed living in a one-room apartment on the second floor of his gym. His daughter Jackie Frazier-Lyde is a lawyer and worked on her father's behalf in pursuit of money they claimed he was owed in a Pennsylvania land deal. In 1973, Frazier purchased 140 acres in Bucks County, Pennsylvania for $843,000. Five years later, a developer agreed to buy the farmland for $1.8 million. Frazier received annual payments from a trust that bought the land with money he had earned in the ring. However, when the trust went bankrupt, the payments ceased. Frazier sued his business partners, insisting his signature had been forged on documents and he had no knowledge of the sale. In the ensuing years, the 140 acres was subdivided and turned into a residential community. The land is now worth an estimated $100 million. CANNOTANSWER
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According to an article from The New York Times, "over the years, Frazier has lost a fortune through a combination of his own generosity and naivete,
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Joseph William Frazier (January 12, 1944November 7, 2011), nicknamed "Smokin' Joe", was an American professional boxer who competed from 1965 to 1981. He was known for his strength, durability, formidable punching power, and relentless pressure fighting style and was the first boxer to beat Muhammad Ali. Frazier reigned as the undisputed heavyweight champion from 1970 to 1973 and as an amateur won a gold medal at the 1964 Summer Olympics.
Frazier emerged as the top contender in the late 1960s, defeating opponents that included Jerry Quarry, Oscar Bonavena, Buster Mathis, Eddie Machen, Doug Jones, George Chuvalo, and Jimmy Ellis en route to becoming undisputed heavyweight champion in 1970, and he followed up by defeating Ali by unanimous decision in the highly anticipated Fight of the Century in 1971. Two years later, Frazier lost his title to George Foreman. Frazier fought on and beat Joe Bugner, lost a rematch to Ali, and beat Quarry and Ellis again.
Frazier's last world title challenge came in 1975, but he was beaten by Ali in the brutal rubber match, the Thrilla in Manila. Frazier retired in 1976 after a second loss to Foreman but made a comeback in 1981. He fought just once before retiring for good, finishing his career with a record of 32 wins, 4 losses, and 1 draw. The International Boxing Research Organization rates Frazier among the ten greatest heavyweights of all time.
The Ring magazine named him Fighter of the Year in 1967, 1970, and 1971, and the Boxing Writers Association of America (BWAA) named him Fighter of the Year in 1969, 1971, and 1975. In 1999, The Ring ranked him the eighth greatest heavyweight. He is an inductee of both the International Boxing Hall of Fame and the World Boxing Hall of Fame, having been a part of the inaugural induction class of 1990 for the IBHF.
His style was often compared with that of Henry Armstrong and occasionally Rocky Marciano and was dependent on bobbing, weaving, and relentless pressure to wear down his opponents. His best-known punch was a powerful left hook, which accounted for most of his knockouts. In his career, he lost to only two fighters, both former Olympic and world heavyweight champions: twice to Muhammad Ali and twice to George Foreman.
After retiring, Frazier made cameo appearances in several Hollywood movies and two episodes of The Simpsons. His son Marvis became a boxer and was trained by Joe Frazier himself. Marvis lost a title shot to heavyweight champion Larry Holmes in 1983 and was knocked out in the first round by an up-and-coming Mike Tyson in 1986. Marvis ended his career with a record of 19 wins and those 2 losses. Frazier's daughter Jacqui Frazier-Lyde also boxed professionally and is a former WIBA world light-heavyweight champion who ended her career with a record of 13 wins and 1 loss, with her sole loss coming in a majority-decision-points loss to Laila Ali, Ali's daughter, in a fight dubbed as "Ali–Frazier IV".
Frazier continued to train fighters in his gym in Philadelphia. His attitude towards Ali in later life was largely characterized by bitterness and contempt but was interspersed with brief reconciliations.
Frazier was diagnosed with liver cancer in late September 2011 and admitted to hospice care. He died of complications from the disease on November 7, 2011.
Early life
Joe Frazier was born January 12, 1944, the twelfth child of Dolly Alston-Frazier and Rubin in Beaufort, South Carolina. He was raised in a rural community of Beaufort called Laurel Bay. Frazier said that he was always close to his father, who carried him when he was a toddler "over the 10 acres of farmland" the Fraziers worked as sharecroppers "to the still where he made his bootleg corn liquor, and into town on Saturdays to buy the necessities that a family of 10 needed." He was affectionately called "Billie Boy".
Rubin Frazier had his left hand burned and part of his forearm amputated in a tractor accident the year that his son was born. Rubin Frazier and his wife, Dolly, had been in their car while Arthur Smith, who was drunk, passed by and made a move for Dolly but was rebuffed. Stefan Gallucci, a local barkeep, recounted the experience. When the Fraziers drove away, Smith fired at them several times and hit Dolly in the foot and Rubin several times in his arm. Smith was convicted and sent to prison but did not stay long. Dolly said, "If you were a good workman, the white man took you out of jail and kept you busy on the farm."
Frazier's parents worked their farm with two mules: Buck and Jenny. The farmland was what country people called "white dirt, which is another way of saying it isn't worth a damn." They could not grow peas or corn on it, only cotton and watermelons.
In the early 1950s, Frazier's father bought a black-and-white television. The family and others nearby came to watch boxing matches on it. Frazier's mother sold drinks for a quarter as they watched boxers like Sugar Ray Robinson, Rocky Marciano, Willie Pep, and Rocky Graziano. One night, Frazier's Uncle Israel noticed his stocky build. "That boy there... that boy is gonna be another Joe Louis", he remarked. The words made an impression on Joe. His classmates at school would give him a sandwich or a quarter to walk with them at final bell so that bullies would not bother them. Frazier said, "Any 'scamboogah' [disrespectful, low-down and foul person] who got in my face would soon regret it; Billie Boy could kick anybody's ass." The day after his uncle's comment, Frazier filled old burlap sack with rags, corncobs, a brick, and Spanish moss. He hung the makeshift heavybag from an oak tree in the backyard. "For the next 6, 7 years, damn near every day I'd hit that heavybag for an hour at a time. I'd wrap my hands with a necktie of my Daddy's, or a stocking of my Momma's or sister's, and get to it," he remarked.
Not long after Frazier started working, his left arm was seriously injured while he was running from the family's 300-pound hog. One day, Frazier poked the hog with a stick and ran away. The gate to the pigpen was open, however, and the hog chased him. Frazier fell and hit his left arm on a brick. His arm was torn badly, but as the family could not afford a doctor, the arm had to heal on its own. He was never able to keep it fully straight again.
When Frazier was 15 years old, he had been working on a farm for a family named Bellamy. They were both white men: Mac was younger and more easy-going, and Jim was a little rougher and somewhat backward. One day, a little black boy about 12 years old accidentally damaged one of the Bellamys' tractors. Jim became so enraged he took off his belt and whipped the boy with his belt right there in the field. Frazier saw the event and went back to the packing house on the farm and told his black friends what he had seen. Soon, Jim saw Frazier and asked him why he told what he had witnessed. Joe then told Bellamy he did not know what he was talking about, but Jim did not believe Frazier and told him to get off the farm before he took off his belt again. Frazier told him to keep his pants up because he was not going to use his belt on him. Jim then analyzed Frazier for a bit and eventually said, "Go on, get the hell outta here." Joe knew from that moment it was time for him to leave Beaufort, and he could see only hard times and low rent for himself. Even his Momma could see it. She told Frazier, "Son, if you can't get along with the white folks, then leave home because I don't want anything to happen to you."
The train fare from Beaufort to the cities up north was costly, and the closest bus stop was in Charleston, away. Luckily, by 1958, the Greyhound Lines bus (called "The Dog" by locals in Beaufort) had finally made Beaufort a stop on its South Carolina route. Frazier had a brother, Tommy, in New York and was told that he could stay with Tommy and his family. Frazier had to save up a bit before he could make the bus trip to New York and still have some money in his pocket, and so he first went to work at the local Coca-Cola plant. Joe remarked that the white guy would drive the truck and that he would do the real work stacking and unloading the crates. Joe stayed with Coca-Cola until the government began building houses for the Marines stationed at Parris Island, when he was hired on a work crew.
Nine months eventually passed since he got the boot from the Bellamy farm. One day, with no fanfare and no tearful goodbyes, Frazier packed quickly and got the first bus heading northward. Joe finally settled in Philadelphia, Pennsylvania: "I climbed on the Dog's back and rode through the night. It was 1959; I was 15 years old and I was on my own."
Amateur career
During Frazier's amateur career, he won Golden Gloves heavyweight championships in 1962, 1963, and 1964. His only loss in three years as an amateur was to Buster Mathis. Mathis would prove to be Joe's biggest obstacle to making the 1964 US Olympic boxing team. They met in the final of the US Olympic trials at the New York World's Fair in the summer of 1964. Their fight was scheduled for three rounds and they fought with 10-oz gloves and with headgear, but the boxers who made it to Tokyo would wear no headgear and would wear 8-oz gloves. Frazier was eager to get back at Mathis for his only amateur loss and knocked out two opponents to get to the finals. However, once again when the dust settled, the judges had called it for Mathis, undeservedly Joe thought. "All that fat boy had done was run like a thief- hit me with a peck and backpedal like crazy," he would remark.
Mathis had worn his trunks very high so that when Frazier hit Mathis with legitimate body shots, the referee took a dim view of them. In the second round, the referee had gone so far as to penalize Joe two points for hitting below the belt. "In a three-round bout a man can't afford a points deduction like that," Frazier said. He then returned to Philadelphia and felt as low as he had ever been and even thought of giving up boxing. Duke Dugent and his trainer, Yank Durham, were able to talk him out of his doldrums and even suggested that Frazier make the trip to Tokyo as an alternate in case something happened to Mathis. Frazier agreed and was a workhorse there, sparring with any of the Olympic boxers who wanted some action. "Middleweight, light heavyweight, it didn't matter to me, I got in there and boxed all comers," he said. In contrast, Mathis was slacking off. In the morning, when the Olympic team would do their roadwork, Mathis would run a mile and start walking and say, "Go ahead, big Joe. I'll catch up."
Frazier's amateur record was 38–2.
1964 Summer Olympics
In 1964, heavyweight representative Buster Mathis qualified but was injured, and so Frazier was sent as a replacement. At the heavyweight boxing event, Frazier knocked out George Oywello of Uganda in the first round, then knocked out Athol McQueen of Australia 40 seconds into the third round. He was then into the semifinal, as the only American boxer left, facing the 6'2", 214-lb Vadim Yemelyanov of the Soviet Union.
"My left hook was a heat-seeking missile, careening off his face and body time and again. Twice in the second round I knocked him to the canvas. But as I pounded away, I felt a jolt of pain shoot through my left arm. Oh damn, the thumb," Frazier said. He knew immediately the thumb of his left hand was damaged, but he was unsure as to the extent. "In the midst of the fight, with your adrenaline pumping, it's hard to gauge such things. My mind was on more important matters. Like how I was going to deal with Yemelyanov for the rest of the fight." The match ended when the Soviet's handlers threw in the towel at 1:49 in the second round, and the referee raised Frazier's injured hand in victory.
Now that Frazier was into the final, he mentioned his broken thumb to no one. He went back to his room and soaked his thumb in hot water and Epsom salts. "Pain or not, Joe Frazier of Beaufort, South Carolina, was going for gold," he proclaimed. He went on to fight German Hans Huber, eight years his senior. Frazier was now used to fighting bigger guys, but not with a damaged left hand. When the opening bell sounded on fight night, Joe came out, started swinging punches, and threw his right hand more than usual that night. Every so often, he would use his left hook, but nothing landed with the kind of impact that he had managed in previous bouts. He won a 3-2 decision.
Professional career
After Frazier won the only American 1964 Olympic boxing gold medal, his trainer Yancey "Yank" Durham helped put together Cloverlay, a group of local businessmen (including a young Larry Merchant) who invested in Frazier's professional career and allowed him to train full time. Durham was Frazier's chief trainer and manager until Durham's death in August 1973.
Frazier turned professional in 1965 by defeating Woody Goss by a technical knockout in the first round. He won three more fights that year, all by knockout and none going past the third round. Later that year, he was in a training accident in which he suffered an injury that left him legally blind in his left eye. During pre-fight physicals, after reading the eye chart with his right eye, when prompted to cover his other eye, Frazier switched hands but covered his left eye for a second time, and state athletic commission physicians seemed not to notice or act.
Frazier's second contest was of interest in that he was decked in the round by Mike Bruce. Frazier took an "8" count by referee Bob Polis but rallied for a TKO over Bruce in the third round.
In 1966, as Frazier's career was taking off, Durham contacted Los Angeles trainer Eddie Futch. The two men had never met, but Durham had heard of Futch, who had a reputation as one of the most respected trainers in boxing. Frazier was sent to Los Angeles to train before Futch agreed to join Durham as an assistant trainer. With Futch's assistance, Durham arranged three fights in Los Angeles against journeyman Al Jones, veteran contender Eddie Machen and George "Scrap Iron" Johnson. Frazier knocked out Jones and Machen but surprisingly went through 10 rounds with journeyman Johnson to win a unanimous decision. Johnson had apparently bet all his purse that he would survive to the final bell, noted Ring Magazine, and he somehow achieved it. However Johnson was known in the trade as "impossibly durable".
After the Johnson match, Futch became a full-fledged member of the Frazier camp as an assistant trainer and strategist, who advised Durham on matchmaking. It was Futch who suggested that Frazier boycott the 1967 WBA Heavyweight Elimination Tournament to find a successor to Muhammad Ali after the Heavyweight Champion was stripped of his title for refusing to be inducted into the military, although Frazier was the top-ranked contender at the time.
Futch proved invaluable to Frazier as an assistant trainer and helped modify his style. Under Futch's tutelage, Frazier adopted the bob-and-weave defensive style by making him more difficult for taller opponents to punch and giving Frazier more power with his own punches. Futch remained based in Los Angeles, where he worked as a supervisor with the US Postal Service, and flew to Philadelphia to work with Frazier during the final preparations for all of his fights.
After Durham died of a stroke on August 30, 1973, Futch was asked to succeed him as Frazier's head trainer and manager. He was training the heavyweight contender Ken Norton, who lost a rematch against Ali less than two weeks before Durham's death. Then, Norton's managers, Robert Biron and Aaron Rivkind, demanded that Futch choose to train either Frazier or Norton, with Futch choosing Frazier.
Mid-to-late 1960s
Now in his second year, in September 1966 and somewhat green, Frazier won a close decision over rugged contender Oscar Bonavena, despite Bonavena flooring him twice in the second round. A third knockdown in that round would have ended the fight under the three knockdown rule. Frazier rallied and won a decision after 12 rounds. The Machen win followed that contest.
In 1967, Frazier stormed ahead winning all six of his fights, including a sixth-round knockout of Doug Jones and a brutal fourth round (TKO) of Canadian George Chuvalo. No boxer had ever stopped Chuvalo, but Frazier, despite the stoppage, was unable to floor Chuvalo, who would never be dropped in his entire career despite fighting numerous top names.
By February 1967, Joe had scored 14 wins and his star was beginning to rise. This culminated with his first appearance on the cover of Ring Magazine. That month, he met Ali, who had not yet been stripped of his title. Ali said that Joe would never stand a chance of "whipping" him even in his wildest dreams. Later that year, Muhammad Ali was stripped of his world heavyweight title because of his refusal to accept the military draft during the Vietnam War.
To fill the vacancy, the New York State Athletic Commission held a bout between Frazier and Buster Mathis, who were undefeated going into the match, with the winner to be recognized as "World Champion" by New York State. Although the fight was not recognized as a World Championship bout by some, Frazier won by a knockout in the 11th round and staked a claim to the Heavyweight Championship.
Laying claims
Frazier first defended his claim by beating hard-hitting prospect Manuel Ramos of Mexico. His victory came in only two rounds.
He closed 1968 by again beating Oscar Bonavena via a 15-round decision in a hard-fought rematch. Bonavena fought somewhat defensively and allowed himself to be often bulled to the ropes, which let Frazier build a wide points margin. Ring Magazine showed Bonavena afterwards with a gruesomely bruised face. It had been a punishing match.
In 1969, Frazier defended his NYSAC title in Texas and beat Dave Zyglewicz, who had lost only once in 29 fights, by a first-round knockout. Then, he beat Jerry Quarry in a seventh-round stoppage. The competitive, exciting match with Quarry was named Ring Magazine fight of the year in 1969. Frazier showed he could do a lot more than just slug by using his newly-honed defensive skills to slip, bob, and weave a barrage of punches from Quarry despite Quarry's reputation as an excellent counter-punching heavyweight.
World Championship win
On February 16, 1970, Frazier faced WBA Champion Jimmy Ellis at Madison Square Garden. Ellis had outpointed Jerry Quarry in the final bout of the WBA elimination tournament for Ali's vacated belt. Frazier had declined to participate in the WBA tournament to protest their decision to strip Ali. Ellis held impressive wins over Oscar Bonavena and Leotis Martin, among others. Beforehand, Ali had announced his retirement and relinquished the Heavyweight title, allowing Ellis and Frazier to fight for the undisputed title, but both lacked any lineal claim. Frazier won by a technical knockout when Ellis's trainer Angelo Dundee would not let him come out for the fifth round following two fourth-round knockdowns, the first knockdowns of Ellis's career. Frazier's decisive win over Ellis was a frightening display of power and tenacity.
In his first title defense, Frazier traveled to Detroit to fight World Light Heavyweight Champion Bob Foster, who would go on to set a record for the number of title defenses in the light-heavyweight division. Frazier (26–0) retained his title by twice flooring the hard-punching Foster in the second round. The second knockdown was delivered by a devastating left hook, and Foster could not beat the count. Then came what was hyped as the "Fight of the Century", his first fight with Muhammad Ali, who had launched a comeback in 1970 after a three-year suspension from boxing. It would be the first meeting of two undefeated heavyweight champions (and the last until Mike Tyson faced Michael Spinks in 1988) since Ali (31–0) had not lost his title in the ring but been stripped because of his refusal to be conscripted into the armed forces. Some considered him to be the true champion, and the fight would crown the one true heavyweight champion.
Fight of the Century: first fight versus Ali
On March 8, 1971, at Madison Square Garden, Frazier and Ali met in the first of their three bouts which was called the "Fight of the Century". With an international television audience and an in-house audience that included singers and actors and with Burt Lancaster (who served as "color commentator" with the fight announcer, Don Dunphy), both undefeated heavyweights met in a media-frenzied atmosphere reminiscent of Joe Louis's youth.
Several factors came together for Frazier in the fight. He was 27 and mentally and physically at his peak. Ali was 29 and coming back from a three-year absence. He had had two good wins in his comeback, including a bruising, fifteen-round technical knockout win over Oscar Bonavena.
Frazier and Futch noticed Ali's tendency to throw a right-hand uppercut from a straight standing position after dropping the hand in preparation to throw it with force. Futch instructed Frazier to watch Ali's right hand and, once Ali dropped it, to throw a left hook at the spot that they knew Ali's face would be a second later.
In a brutal and competitive contest, Frazier lost the first two rounds but was able to withstand Ali's combinations. Frazier was known to improve in middle rounds, which was the case with Ali. Frazier came on strong after the third round round by landing hard shots to the body and powerful left hooks to the head. Frazier won a 15-round unanimous decision 9–6, 11–4, 8–6–1 and claimed the lineal title. Ali was taken to a hospital immediately after the fight to check that his severely-swollen right-side jaw was not actually broken. Frazier also spent time in hospital during the ensuing month, the exertions of the fight having been exacerbated by hypertension and a kidney infection.
Later that year, he fought a three-round exhibition against hard-hitting veteran contender Cleveland Williams. In 1972, Frazier successfully defended the title twice by knocking out Terry Daniels and Ron Stander in the fourth and fifth rounds, respectively. Daniels had earlier drawn with Jerry Quarry and Stander had knocked out Earnie Shavers.
Loses title to George Foreman
Frazier lost his undefeated record of 29–0 and his world championship, at the hands of the unbeaten George Foreman on January 22, 1973, in Kingston, Jamaica. Despite Frazier being the overall favorite, Foreman towered 10 cm (4 in.) over the more compact champion along with an 8 in. reach advantage and dominated from the start. Two minutes into the first round, Foreman knocked Frazier down for the first time. In the second round, after Frazier was knocked down for the sixth time, the referee Arthur Mercante, Sr., stopped the contest with the fight a dominant victory for Foreman.
Frazier won his next fight, a 12-round decision over Joe Bugner, in London to begin his quest to regain the title.
Mid-1970s: second fight against Ali
Frazier's second fight against Ali took place on January 28, 1974 in New York City. In contrast to their previous meeting, the bout was a non-title fight, with Ali winning a 12-round unanimous decision. The fight was notable for the amount of clinching.
Five months later, Frazier again battled Jerry Quarry in Madison Square Garden by winning the fight in the fifth round with a strong left hook to the ribs.
In March 1975, Frazier fought a rematch with Jimmy Ellis in Melbourne, Australia, and knocked him out in nine rounds. The win again established Frazier as the top heavyweight challenger for the title, which Ali had won from Foreman in the famous "Rumble in the Jungle" five months earlier.
Thrilla in Manila: third Ali fight
Ali and Frazier met for the third and final time in Quezon City (a district of Manila, the Philippines), on October 1, 1975. Prior to the fight, Ali took opportunities to mock Frazier by calling him a '"gorilla" and generally trying to irritate him.
The fight was a punishing display on both sides under oppressively-hot conditions. During the fight, Ali said to Frazier, "They said you were through, Joe." Frazier said, "They lied." Ali repeatedly held Frazier around the back of his neck with his right hand, a violation of the rules that went unpunished by the referee. After 14 grueling rounds, Ali returned to his corner demanding they cut his gloves and end the bout. However, Dundee ignored Ali. This proved fortuitous, as across the ring, Futch stopped the fight out of concern for his charge. Frazier had a closed left eye, an almost-closed right eye, and a cut. Ali later said that it was the "closest thing to dying that I know of."
In 1977, Ali told the interviewer Reg Gutteridge that he felt this third Frazier fight was his best performance. When Gutteridge suggested his win over Cleveland Williams, Ali said, "No, Frazier's much tougher and rougher than Cleveland Williams."
Fighting Foreman again
In 1976, Frazier (32–3) fought George Foreman for a second time, shaving his head for the fight. Frazier was more restrained than usual and avoided walking into big shots like he had done in their first match. However, Foreman lobbed a tremendous left hook that lifted Frazier off his feet. After a second knockdown, the fight was stopped in the fifth round. Shortly after the fight, Frazier announced his retirement.
Frazier made a cameo appearance in the movie Rocky later in 1976 and dedicated himself to training local boxers in Philadelphia, where he grew up, including some of his own children. He also helped train Duane Bobick.
1980s comeback and career as trainer
In 1981, Frazier attempted a comeback. He drew over 10 rounds with hulking Floyd "Jumbo" Cummings in Chicago, Illinois. It was a bruising battle with mixed reviews. He then retired for good.
Then, Frazier involved himself in various endeavors. Among his sons who turned to boxing as a career, Frazier helped train Marvis Frazier, a challenger for Larry Holmes's world heavyweight title. He also trained his daughter, Jacqui Frazier-Lyde, who became a WIBA world light-heavyweight champion whose most notable fight was a close majority decision points loss against Laila Ali, the daughter of his rival.
Frazier's overall record was 32 wins, 4 losses, and 1 draw, with 27 wins by knockout. He won 73% of his fights by knockout, compared to 60% for Ali and 84% for Foreman. He was a member of the International Boxing Hall Of Fame.
In 1984, Frazier was the special referee for the NWA World Heavyweight Championship match between Ric Flair and Dusty Rhodes at Starrcade '84. He awarded the match to Flair because of Rhodes's excessive bleeding.
In 1986, Frazier appeared as the "cornerman" for Mr. T against Roddy Piper at Nassau Veterans Memorial Coliseum as part of WrestleMania 2. In 1989, Frazier joined Ali, Foreman, Norton, and Holmes for the tribute special Champions Forever.
Frazier was inducted into the Madison Square Garden Walk of Fame in 1996.
Other work
Media appearances
Frazier appeared as himself in an episode of The Simpsons - "Brother, Can You Spare Two Dimes?" in 1992, in which he was supposed to have been beaten up by Barney Gumble in Moe's Tavern. Frazier's son objected, so Frazier was instead shown beating up Gumble and putting him in a trash can. Frazier appeared in another episode of The Simpsons - "Homer's Paternity Coot" in 2006. He appeared on-screen in the 8th series of The Celebrity Apprentice (USA) television show as a guest-attendee at a Silent Auction event held for the season finale (won by Joan Rivers). Frazier appeared as himself in the Academy Award-winning 1976 movie, Rocky. Since the debut of the Fight Night series of games made by EA Sports, Frazier appeared in Fight Night 2004, Fight Night Round 2, Fight Night Round 3, Fight Night Round 4 and Fight Night Champion.
Books
Frazier released his autobiography in March 1996, entitled Smokin' Joe: The Autobiography of a Heavyweight Champion of the World, Smokin' Joe Frazier. Frazier promoted the book with a memorable appearance on The Howard Stern Show on January 23, 1996.
He also wrote Box like the Pros, "a complete introduction to the sport, including the game's history, rules of the ring, how fights are scored, how to spar, the basics of defence and offence, the fighter's workout, a directory of boxing gyms, and much more. Box Like the Pros is an instruction manual, a historical reference tool and an insider's guide to the world's most controversial sport."
Financial issues and legal battles
According to an article from The New York Times, "over the years, Frazier has lost a fortune through a combination of his own generosity and naïveté, his carousing, and failed business opportunities. The other headliners from his fighting days—Ali, George Foreman, and Larry Holmes—are millionaires." Asked about his situation, Frazier became playfully defensive, but would not reveal his financial status. "Are you asking me how much money I have?" he said. "I got plenty of money. I got a stack of $100 bills rolled up over there in the back of the room." Frazier blamed himself, partly, for not effectively promoting his own image. In a 2006 HBO documentary on the fight in Manila, Frazier was interviewed living in a one-room apartment on the second floor of his gym.
His daughter Jacqui Frazier-Lyde is a lawyer and worked on her father's behalf in pursuit of money they claimed he was owed in a Pennsylvania land deal. In 1973, Frazier purchased 140 acres in Bucks County, Pennsylvania for $843,000. Five years later, a developer agreed to buy the farmland for $1.8 million. Frazier received annual payments from a trust that bought the land with money he had earned in the ring. However, when the trust went bankrupt, the payments ceased.
Frazier sued his business partners, insisting his signature had been forged on documents and he had no knowledge of the sale. In the ensuing years, the 140 acres was subdivided and turned into a residential community. The land is now worth an estimated $100 million.
Relationship with Muhammad Ali
Initially, Frazier and Ali were friends. During Ali's enforced three-year lay-off from boxing for refusing to be drafted into the US Army, Frazier lent him money, testified before Congress and petitioned US President Richard Nixon to have Ali's right to box reinstated. Frazier supported Ali's right not to serve in the army: "If Baptists weren't allowed to fight, I wouldn't fight either."
However, in the build-up to their first fight, the Fight of the Century, Ali turned it into a "cultural and political referendum" by painting himself as a revolutionary and civil rights champion and Frazier as the white man's hope. Ali called him an "Uncle Tom" and a pawn of the white establishment as Frazier called him Clay. Ali successfully turned many black Americans against Frazier because Frazier never spoke out about race issues, and Ali could easily paint himself as hero to oppressed black people. Bryant Gumbel joined the pro-Ali anti-Frazier bandwagon by writing a major magazine article that asked, "Is Joe Frazier a white champion with black skin?" Frazier thought that was "a cynical attempt by Clay to make me feel isolated from my own people. He thought that would weaken me when it came time to face him in that ring. Well, he was wrong. It didn't weaken me, it awakened me to what a cheap-shot son of a bitch he was." Ali's camp also hurled many insults at Frazier, calling him an "ugly gorilla", though Ali had also compared other opponents to animals. He noted the hypocrisy of Ali calling him an Uncle Tom when his [Ali's] trainer (Angelo Dundee) was of Italian descent. When told by Michael Parkinson that Frazier was not an Uncle Tom, he responded by saying, "Then why does he insist on calling me Cassius Clay when even the worst of the white enemies recognize me as Muhammad Ali?"
As a result of Ali's campaign, Frazier's children were bullied at school, and his family was given police protection after receiving death threats. Ali declared that if Frazier won, he would crawl across the ring and admit that Frazier was the greatest. After Frazier won by a unanimous decision, he called upon Ali to fulfill his promise and crawl across the ring, but Ali failed to do so. Ali called it a "white man's decision" and insisted that he won.
During a televised joint interview prior to their second bout in 1974, Ali continued to insult Frazier, who took exception to Ali calling him "ignorant" and challenged him to a fight, which resulted in both of them brawling on the studio floor. Ali went on to win the 12-round non-title affair by a decision. Ali took things further in the build-up to their last fight, the Thrilla in Manila, and called Frazier "the other type of negro" and "ugly", "dumb", and a "gorilla" At one point he sparred with a man in a gorilla suit and pounded on a rubber gorilla doll, saying "This is Joe Frazier's conscience.... I keep it everywhere I go. This is the way he looks when you hit him." According to the fight's promoter, Don King, that enraged Frazier, who took it as a "character assassination" and "personal invective." One night before the fight, Ali waved around a toy pistol outside Frazier's hotel room. When Frazier came to the balcony, he pointed the gun at Frazier and yelled, "I am going to shoot you." After the fight, Ali summoned Frazier's son Marvis into his dressing room, and told him that he had not meant what he had said about his father. When informed by Marvis, Frazier responded, "You ain't me, son. Why isn't he apologizing to me?"
In his 1996 autobiography Smokin' Joe: The Autobiography of a Heavyweight Champion of the World, Frazier consistently refers to Muhammad Ali as "Cassius Clay" and never deviating from that convention unless the book directly quotes someone else.
For years afterwards, Frazier retained his bitterness towards Ali and suggested that Ali's battle with Parkinson's syndrome was a form of divine retribution for his earlier behavior. In 2001, Ali apologized to Frazier via a New York Times article: "In a way, Joe's right. I said a lot of things in the heat of the moment that I shouldn't have said. Called him names I shouldn't have called him. I apologize for that. I'm sorry. It was all meant to promote the fight." Frazier reportedly "embraced it" but later retorted that Ali apologized only to a newspaper, not to him. He said, "I'm still waiting [for him] to say it to me." Ali responded, "If you see Frazier, you tell him he's still a gorilla." Ali also said in an interview, "I wasn't going to get on my knees and crawl and beg him to forgive me."
Frazier told Sports Illustrated in May 2009 that he no longer held hard feelings for Ali. After Frazier's death in November 2011, Ali was among those who attended the private funeral services for Frazier in Philadelphia. Jesse Jackson, who spoke during the service, asked those in attendance to stand and "show your love" and reportedly Ali stood with the audience and clapped "vigorously".
Later years
Frazier lived in Philadelphia where he owned and managed a boxing gym. Frazier put the gym up for sale in mid-2009. Before the gym was put up for sale, Frazier, with the help of Peter Bouchard, formed the Smokin Joe Frazier Foundation, whose purpose was to give back to troubled and in need youth. Peter Bouchard volunteered to run the foundation for Frazier. Once Frazier's health declined, the foundation was shelved.
He was diagnosed with diabetes and high blood pressure. He and his nemesis, Muhammad Ali, alternated over the years between public apologies and public insults. In 1996, when Ali lit the Olympic flame in Atlanta, Frazier told a reporter that he would like to throw Ali into the fire and felt that he should have been chosen to light the flame. Frazier made millions of dollars in the 1970s, but the reported mismanagement of his real estate contributed to some financial difficulties.
The National Trust for Historic Preservation has named Joe Frazier's Gym in its 25th list of America's 11 Most Endangered Historic Places in 2012. In 2013, the gym was named to the National Register of Historic Places.
Frazier continued to train young fighters although he needed multiple operations for back injuries sustained in a car accident. He and Ali reportedly attempted a reconciliation in his final years, but in October 2006, Frazier still claimed to have won all three bouts between them. He declared to a Times reporter, when questioned about his bitterness toward Ali, "I am what I am."
Frazier attempted to revive his music interests in late 2009/2010. Notably popular for singing 'Mustang Sally,' both Frazier and manager Leslie R. Wolff teamed up with Welsh Rock Solo artist Jayce Lewis to release his repertoire in the UK, later visiting the Welshman there to host a string of after-dinner speeches and music developments. It would notably be Frazier's last appearance there.
Death
Frazier was diagnosed with liver cancer in late September 2011. By November 2011, he was under hospice care, where he died on November 7 at the age of 67.
Upon hearing of Frazier's death, Muhammad Ali said, "The world has lost a great champion. I will always remember Joe with respect and admiration."
Frazier's private funeral took place on November 14 at the Enon Tabernacle Baptist Church in Philadelphia and in addition to friends and family was attended by Muhammad Ali, Don King, Larry Holmes, Magic Johnson, Dennis Rodman, among others. Floyd Mayweather Jr. paid for Frazier's funeral services. His body was buried at the Ivy Hill Cemetery, a short drive from the Enon Tabernacle Baptist Church.
In popular media
He was played by boxer James Toney in the 2001 film Ali.
Some of the most memorable moments in the 1976 boxing-themed feature film, Rocky—such as Rocky's carcass-punching scenes and Rocky running up the steps of the Philadelphia Museum of Art, as part of his training regimen—are taken from Frazier's real-life exploits. In the film, Frazier makes a cameo appearance, as a spectator at the fight between Rocky and Apollo.
In March 2007, a Joe Frazier action figure was released as part of a range of toys based on the Rocky film franchise, developed by the American toy manufacturer, Jakks Pacific.
Electric bassist Jeff Berlin wrote a musical tribute simply called "Joe Frazier", originally recorded on the Bill Bruford album Gradually Going Tornado, available on the compilation album Master Strokes.
He guest-starred as himself in the 1992 The Simpsons episode "Brother, Can You Spare Two Dimes?", where he presented Homer Simpson with the Montgomery Burns Award for the Outstanding Achievement In The Field Of Excellence.
Mr. Sandman, a video game character in the Punch-Out !! video game series known for being one of the toughest opponents, was based in part on Frazier.
In the Fight Night Video Games Frazier is a character in each game.
His granddaughter, Latrice Frazier, appeared on an episode of Maury.
On July 1, 2021, CBS announced that his son Derek was one of 16 Houseguests participating in Big Brother 23. Derek ended up being the runner-up for that season, winning $75,000.
Professional boxing record
Music career
In the late 1970s, Frazier created a soul-funk group called "Joe Frazier and the Knockouts", mentioned in Billboard and recording a number of singles.
Joe toured widely in the US and Europe including Ireland, where among other places he performed in Donegal and Athy County Kildare with his band. Joe Frazier and the Knockouts were also featured singing in a 1978 Miller beer commercial.
Frazier sang at the 1978 Jerry Lewis Telethon and he sang the United States national anthem before the rematch between Ali and Leon Spinks on September 15, 1978.
Discography
See also
List of undisputed boxing champions
Notable boxing families
References
Bibliography
Further reading
External links
Joe Frazier – CBZ Profile
Boxing Hall of Fame
ESPN.com
ESPN.com -- additional information
New York Times Obituary
1944 births
2011 deaths
African-American boxers
Boxers at the 1964 Summer Olympics
Boxers from Philadelphia
Deaths from cancer in Pennsylvania
Deaths from liver cancer
International Boxing Hall of Fame inductees
Medalists at the 1964 Summer Olympics
Olympic boxers of the United States
Olympic gold medalists for the United States in boxing
Sportspeople from Beaufort, South Carolina
Sportspeople with a vision impairment
World Boxing Association champions
World Boxing Council champions
World heavyweight boxing champions
American male boxers
The Ring (magazine) champions
Burials at Ivy Hill Cemetery (Philadelphia)
20th-century African-American sportspeople
21st-century African-American people
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[
"Joe Frazier (1944–2011) was an American boxer.\n\nJoe Frazier may also refer to:\n\nJoe Frazier (baseball) (1922–2011), American baseball player\nJoe Frazier (1937–2014), musician, member of The Chad Mitchell Trio\nJoe \"Speedo\" Frazier (1943–2014), musician, member of The Impalas\n\nSee also\nJo Fraser (born 1986), Scottish painter\nJoe Fraser (born 1998), English gymnast",
"Joseph William Frazier (January 12, 1944November 7, 2011), nicknamed \"Smokin' Joe\", was an American professional boxer who competed from 1965 to 1981. He was known for his strength, durability, formidable punching power, and relentless pressure fighting style and was the first boxer to beat Muhammad Ali. Frazier reigned as the undisputed heavyweight champion from 1970 to 1973 and as an amateur won a gold medal at the 1964 Summer Olympics.\n\nFrazier emerged as the top contender in the late 1960s, defeating opponents that included Jerry Quarry, Oscar Bonavena, Buster Mathis, Eddie Machen, Doug Jones, George Chuvalo, and Jimmy Ellis en route to becoming undisputed heavyweight champion in 1970, and he followed up by defeating Ali by unanimous decision in the highly anticipated Fight of the Century in 1971. Two years later, Frazier lost his title to George Foreman. Frazier fought on and beat Joe Bugner, lost a rematch to Ali, and beat Quarry and Ellis again.\n\nFrazier's last world title challenge came in 1975, but he was beaten by Ali in the brutal rubber match, the Thrilla in Manila. Frazier retired in 1976 after a second loss to Foreman but made a comeback in 1981. He fought just once before retiring for good, finishing his career with a record of 32 wins, 4 losses, and 1 draw. The International Boxing Research Organization rates Frazier among the ten greatest heavyweights of all time.\n\nThe Ring magazine named him Fighter of the Year in 1967, 1970, and 1971, and the Boxing Writers Association of America (BWAA) named him Fighter of the Year in 1969, 1971, and 1975. In 1999, The Ring ranked him the eighth greatest heavyweight. He is an inductee of both the International Boxing Hall of Fame and the World Boxing Hall of Fame, having been a part of the inaugural induction class of 1990 for the IBHF.\n\nHis style was often compared with that of Henry Armstrong and occasionally Rocky Marciano and was dependent on bobbing, weaving, and relentless pressure to wear down his opponents. His best-known punch was a powerful left hook, which accounted for most of his knockouts. In his career, he lost to only two fighters, both former Olympic and world heavyweight champions: twice to Muhammad Ali and twice to George Foreman.\n\nAfter retiring, Frazier made cameo appearances in several Hollywood movies and two episodes of The Simpsons. His son Marvis became a boxer and was trained by Joe Frazier himself. Marvis lost a title shot to heavyweight champion Larry Holmes in 1983 and was knocked out in the first round by an up-and-coming Mike Tyson in 1986. Marvis ended his career with a record of 19 wins and those 2 losses. Frazier's daughter Jacqui Frazier-Lyde also boxed professionally and is a former WIBA world light-heavyweight champion who ended her career with a record of 13 wins and 1 loss, with her sole loss coming in a majority-decision-points loss to Laila Ali, Ali's daughter, in a fight dubbed as \"Ali–Frazier IV\".\n\nFrazier continued to train fighters in his gym in Philadelphia. His attitude towards Ali in later life was largely characterized by bitterness and contempt but was interspersed with brief reconciliations.\n\nFrazier was diagnosed with liver cancer in late September 2011 and admitted to hospice care. He died of complications from the disease on November 7, 2011.\n\nEarly life\nJoe Frazier was born January 12, 1944, the twelfth child of Dolly Alston-Frazier and Rubin in Beaufort, South Carolina. He was raised in a rural community of Beaufort called Laurel Bay. Frazier said that he was always close to his father, who carried him when he was a toddler \"over the 10 acres of farmland\" the Fraziers worked as sharecroppers \"to the still where he made his bootleg corn liquor, and into town on Saturdays to buy the necessities that a family of 10 needed.\" He was affectionately called \"Billie Boy\".\n\nRubin Frazier had his left hand burned and part of his forearm amputated in a tractor accident the year that his son was born. Rubin Frazier and his wife, Dolly, had been in their car while Arthur Smith, who was drunk, passed by and made a move for Dolly but was rebuffed. Stefan Gallucci, a local barkeep, recounted the experience. When the Fraziers drove away, Smith fired at them several times and hit Dolly in the foot and Rubin several times in his arm. Smith was convicted and sent to prison but did not stay long. Dolly said, \"If you were a good workman, the white man took you out of jail and kept you busy on the farm.\"\n\nFrazier's parents worked their farm with two mules: Buck and Jenny. The farmland was what country people called \"white dirt, which is another way of saying it isn't worth a damn.\" They could not grow peas or corn on it, only cotton and watermelons.\n\nIn the early 1950s, Frazier's father bought a black-and-white television. The family and others nearby came to watch boxing matches on it. Frazier's mother sold drinks for a quarter as they watched boxers like Sugar Ray Robinson, Rocky Marciano, Willie Pep, and Rocky Graziano. One night, Frazier's Uncle Israel noticed his stocky build. \"That boy there... that boy is gonna be another Joe Louis\", he remarked. The words made an impression on Joe. His classmates at school would give him a sandwich or a quarter to walk with them at final bell so that bullies would not bother them. Frazier said, \"Any 'scamboogah' [disrespectful, low-down and foul person] who got in my face would soon regret it; Billie Boy could kick anybody's ass.\" The day after his uncle's comment, Frazier filled old burlap sack with rags, corncobs, a brick, and Spanish moss. He hung the makeshift heavybag from an oak tree in the backyard. \"For the next 6, 7 years, damn near every day I'd hit that heavybag for an hour at a time. I'd wrap my hands with a necktie of my Daddy's, or a stocking of my Momma's or sister's, and get to it,\" he remarked.\n\nNot long after Frazier started working, his left arm was seriously injured while he was running from the family's 300-pound hog. One day, Frazier poked the hog with a stick and ran away. The gate to the pigpen was open, however, and the hog chased him. Frazier fell and hit his left arm on a brick. His arm was torn badly, but as the family could not afford a doctor, the arm had to heal on its own. He was never able to keep it fully straight again.\n\nWhen Frazier was 15 years old, he had been working on a farm for a family named Bellamy. They were both white men: Mac was younger and more easy-going, and Jim was a little rougher and somewhat backward. One day, a little black boy about 12 years old accidentally damaged one of the Bellamys' tractors. Jim became so enraged he took off his belt and whipped the boy with his belt right there in the field. Frazier saw the event and went back to the packing house on the farm and told his black friends what he had seen. Soon, Jim saw Frazier and asked him why he told what he had witnessed. Joe then told Bellamy he did not know what he was talking about, but Jim did not believe Frazier and told him to get off the farm before he took off his belt again. Frazier told him to keep his pants up because he was not going to use his belt on him. Jim then analyzed Frazier for a bit and eventually said, \"Go on, get the hell outta here.\" Joe knew from that moment it was time for him to leave Beaufort, and he could see only hard times and low rent for himself. Even his Momma could see it. She told Frazier, \"Son, if you can't get along with the white folks, then leave home because I don't want anything to happen to you.\"\n\nThe train fare from Beaufort to the cities up north was costly, and the closest bus stop was in Charleston, away. Luckily, by 1958, the Greyhound Lines bus (called \"The Dog\" by locals in Beaufort) had finally made Beaufort a stop on its South Carolina route. Frazier had a brother, Tommy, in New York and was told that he could stay with Tommy and his family. Frazier had to save up a bit before he could make the bus trip to New York and still have some money in his pocket, and so he first went to work at the local Coca-Cola plant. Joe remarked that the white guy would drive the truck and that he would do the real work stacking and unloading the crates. Joe stayed with Coca-Cola until the government began building houses for the Marines stationed at Parris Island, when he was hired on a work crew.\n\nNine months eventually passed since he got the boot from the Bellamy farm. One day, with no fanfare and no tearful goodbyes, Frazier packed quickly and got the first bus heading northward. Joe finally settled in Philadelphia, Pennsylvania: \"I climbed on the Dog's back and rode through the night. It was 1959; I was 15 years old and I was on my own.\"\n\nAmateur career\nDuring Frazier's amateur career, he won Golden Gloves heavyweight championships in 1962, 1963, and 1964. His only loss in three years as an amateur was to Buster Mathis. Mathis would prove to be Joe's biggest obstacle to making the 1964 US Olympic boxing team. They met in the final of the US Olympic trials at the New York World's Fair in the summer of 1964. Their fight was scheduled for three rounds and they fought with 10-oz gloves and with headgear, but the boxers who made it to Tokyo would wear no headgear and would wear 8-oz gloves. Frazier was eager to get back at Mathis for his only amateur loss and knocked out two opponents to get to the finals. However, once again when the dust settled, the judges had called it for Mathis, undeservedly Joe thought. \"All that fat boy had done was run like a thief- hit me with a peck and backpedal like crazy,\" he would remark.\n\nMathis had worn his trunks very high so that when Frazier hit Mathis with legitimate body shots, the referee took a dim view of them. In the second round, the referee had gone so far as to penalize Joe two points for hitting below the belt. \"In a three-round bout a man can't afford a points deduction like that,\" Frazier said. He then returned to Philadelphia and felt as low as he had ever been and even thought of giving up boxing. Duke Dugent and his trainer, Yank Durham, were able to talk him out of his doldrums and even suggested that Frazier make the trip to Tokyo as an alternate in case something happened to Mathis. Frazier agreed and was a workhorse there, sparring with any of the Olympic boxers who wanted some action. \"Middleweight, light heavyweight, it didn't matter to me, I got in there and boxed all comers,\" he said. In contrast, Mathis was slacking off. In the morning, when the Olympic team would do their roadwork, Mathis would run a mile and start walking and say, \"Go ahead, big Joe. I'll catch up.\"\n\nFrazier's amateur record was 38–2.\n\n1964 Summer Olympics\nIn 1964, heavyweight representative Buster Mathis qualified but was injured, and so Frazier was sent as a replacement. At the heavyweight boxing event, Frazier knocked out George Oywello of Uganda in the first round, then knocked out Athol McQueen of Australia 40 seconds into the third round. He was then into the semifinal, as the only American boxer left, facing the 6'2\", 214-lb Vadim Yemelyanov of the Soviet Union.\n\n\"My left hook was a heat-seeking missile, careening off his face and body time and again. Twice in the second round I knocked him to the canvas. But as I pounded away, I felt a jolt of pain shoot through my left arm. Oh damn, the thumb,\" Frazier said. He knew immediately the thumb of his left hand was damaged, but he was unsure as to the extent. \"In the midst of the fight, with your adrenaline pumping, it's hard to gauge such things. My mind was on more important matters. Like how I was going to deal with Yemelyanov for the rest of the fight.\" The match ended when the Soviet's handlers threw in the towel at 1:49 in the second round, and the referee raised Frazier's injured hand in victory.\n\nNow that Frazier was into the final, he mentioned his broken thumb to no one. He went back to his room and soaked his thumb in hot water and Epsom salts. \"Pain or not, Joe Frazier of Beaufort, South Carolina, was going for gold,\" he proclaimed. He went on to fight German Hans Huber, eight years his senior. Frazier was now used to fighting bigger guys, but not with a damaged left hand. When the opening bell sounded on fight night, Joe came out, started swinging punches, and threw his right hand more than usual that night. Every so often, he would use his left hook, but nothing landed with the kind of impact that he had managed in previous bouts. He won a 3-2 decision.\n\nProfessional career\nAfter Frazier won the only American 1964 Olympic boxing gold medal, his trainer Yancey \"Yank\" Durham helped put together Cloverlay, a group of local businessmen (including a young Larry Merchant) who invested in Frazier's professional career and allowed him to train full time. Durham was Frazier's chief trainer and manager until Durham's death in August 1973.\n\nFrazier turned professional in 1965 by defeating Woody Goss by a technical knockout in the first round. He won three more fights that year, all by knockout and none going past the third round. Later that year, he was in a training accident in which he suffered an injury that left him legally blind in his left eye. During pre-fight physicals, after reading the eye chart with his right eye, when prompted to cover his other eye, Frazier switched hands but covered his left eye for a second time, and state athletic commission physicians seemed not to notice or act.\n\nFrazier's second contest was of interest in that he was decked in the round by Mike Bruce. Frazier took an \"8\" count by referee Bob Polis but rallied for a TKO over Bruce in the third round.\n\nIn 1966, as Frazier's career was taking off, Durham contacted Los Angeles trainer Eddie Futch. The two men had never met, but Durham had heard of Futch, who had a reputation as one of the most respected trainers in boxing. Frazier was sent to Los Angeles to train before Futch agreed to join Durham as an assistant trainer. With Futch's assistance, Durham arranged three fights in Los Angeles against journeyman Al Jones, veteran contender Eddie Machen and George \"Scrap Iron\" Johnson. Frazier knocked out Jones and Machen but surprisingly went through 10 rounds with journeyman Johnson to win a unanimous decision. Johnson had apparently bet all his purse that he would survive to the final bell, noted Ring Magazine, and he somehow achieved it. However Johnson was known in the trade as \"impossibly durable\".\n\nAfter the Johnson match, Futch became a full-fledged member of the Frazier camp as an assistant trainer and strategist, who advised Durham on matchmaking. It was Futch who suggested that Frazier boycott the 1967 WBA Heavyweight Elimination Tournament to find a successor to Muhammad Ali after the Heavyweight Champion was stripped of his title for refusing to be inducted into the military, although Frazier was the top-ranked contender at the time.\n\nFutch proved invaluable to Frazier as an assistant trainer and helped modify his style. Under Futch's tutelage, Frazier adopted the bob-and-weave defensive style by making him more difficult for taller opponents to punch and giving Frazier more power with his own punches. Futch remained based in Los Angeles, where he worked as a supervisor with the US Postal Service, and flew to Philadelphia to work with Frazier during the final preparations for all of his fights.\n\nAfter Durham died of a stroke on August 30, 1973, Futch was asked to succeed him as Frazier's head trainer and manager. He was training the heavyweight contender Ken Norton, who lost a rematch against Ali less than two weeks before Durham's death. Then, Norton's managers, Robert Biron and Aaron Rivkind, demanded that Futch choose to train either Frazier or Norton, with Futch choosing Frazier.\n\nMid-to-late 1960s\nNow in his second year, in September 1966 and somewhat green, Frazier won a close decision over rugged contender Oscar Bonavena, despite Bonavena flooring him twice in the second round. A third knockdown in that round would have ended the fight under the three knockdown rule. Frazier rallied and won a decision after 12 rounds. The Machen win followed that contest.\n\nIn 1967, Frazier stormed ahead winning all six of his fights, including a sixth-round knockout of Doug Jones and a brutal fourth round (TKO) of Canadian George Chuvalo. No boxer had ever stopped Chuvalo, but Frazier, despite the stoppage, was unable to floor Chuvalo, who would never be dropped in his entire career despite fighting numerous top names.\n\nBy February 1967, Joe had scored 14 wins and his star was beginning to rise. This culminated with his first appearance on the cover of Ring Magazine. That month, he met Ali, who had not yet been stripped of his title. Ali said that Joe would never stand a chance of \"whipping\" him even in his wildest dreams. Later that year, Muhammad Ali was stripped of his world heavyweight title because of his refusal to accept the military draft during the Vietnam War.\n\nTo fill the vacancy, the New York State Athletic Commission held a bout between Frazier and Buster Mathis, who were undefeated going into the match, with the winner to be recognized as \"World Champion\" by New York State. Although the fight was not recognized as a World Championship bout by some, Frazier won by a knockout in the 11th round and staked a claim to the Heavyweight Championship.\n\nLaying claims \nFrazier first defended his claim by beating hard-hitting prospect Manuel Ramos of Mexico. His victory came in only two rounds.\n\nHe closed 1968 by again beating Oscar Bonavena via a 15-round decision in a hard-fought rematch. Bonavena fought somewhat defensively and allowed himself to be often bulled to the ropes, which let Frazier build a wide points margin. Ring Magazine showed Bonavena afterwards with a gruesomely bruised face. It had been a punishing match.\n\nIn 1969, Frazier defended his NYSAC title in Texas and beat Dave Zyglewicz, who had lost only once in 29 fights, by a first-round knockout. Then, he beat Jerry Quarry in a seventh-round stoppage. The competitive, exciting match with Quarry was named Ring Magazine fight of the year in 1969. Frazier showed he could do a lot more than just slug by using his newly-honed defensive skills to slip, bob, and weave a barrage of punches from Quarry despite Quarry's reputation as an excellent counter-punching heavyweight.\n\nWorld Championship win\nOn February 16, 1970, Frazier faced WBA Champion Jimmy Ellis at Madison Square Garden. Ellis had outpointed Jerry Quarry in the final bout of the WBA elimination tournament for Ali's vacated belt. Frazier had declined to participate in the WBA tournament to protest their decision to strip Ali. Ellis held impressive wins over Oscar Bonavena and Leotis Martin, among others. Beforehand, Ali had announced his retirement and relinquished the Heavyweight title, allowing Ellis and Frazier to fight for the undisputed title, but both lacked any lineal claim. Frazier won by a technical knockout when Ellis's trainer Angelo Dundee would not let him come out for the fifth round following two fourth-round knockdowns, the first knockdowns of Ellis's career. Frazier's decisive win over Ellis was a frightening display of power and tenacity.\n\nIn his first title defense, Frazier traveled to Detroit to fight World Light Heavyweight Champion Bob Foster, who would go on to set a record for the number of title defenses in the light-heavyweight division. Frazier (26–0) retained his title by twice flooring the hard-punching Foster in the second round. The second knockdown was delivered by a devastating left hook, and Foster could not beat the count. Then came what was hyped as the \"Fight of the Century\", his first fight with Muhammad Ali, who had launched a comeback in 1970 after a three-year suspension from boxing. It would be the first meeting of two undefeated heavyweight champions (and the last until Mike Tyson faced Michael Spinks in 1988) since Ali (31–0) had not lost his title in the ring but been stripped because of his refusal to be conscripted into the armed forces. Some considered him to be the true champion, and the fight would crown the one true heavyweight champion.\n\nFight of the Century: first fight versus Ali\n\nOn March 8, 1971, at Madison Square Garden, Frazier and Ali met in the first of their three bouts which was called the \"Fight of the Century\". With an international television audience and an in-house audience that included singers and actors and with Burt Lancaster (who served as \"color commentator\" with the fight announcer, Don Dunphy), both undefeated heavyweights met in a media-frenzied atmosphere reminiscent of Joe Louis's youth.\n\nSeveral factors came together for Frazier in the fight. He was 27 and mentally and physically at his peak. Ali was 29 and coming back from a three-year absence. He had had two good wins in his comeback, including a bruising, fifteen-round technical knockout win over Oscar Bonavena.\n\nFrazier and Futch noticed Ali's tendency to throw a right-hand uppercut from a straight standing position after dropping the hand in preparation to throw it with force. Futch instructed Frazier to watch Ali's right hand and, once Ali dropped it, to throw a left hook at the spot that they knew Ali's face would be a second later.\n\nIn a brutal and competitive contest, Frazier lost the first two rounds but was able to withstand Ali's combinations. Frazier was known to improve in middle rounds, which was the case with Ali. Frazier came on strong after the third round round by landing hard shots to the body and powerful left hooks to the head. Frazier won a 15-round unanimous decision 9–6, 11–4, 8–6–1 and claimed the lineal title. Ali was taken to a hospital immediately after the fight to check that his severely-swollen right-side jaw was not actually broken. Frazier also spent time in hospital during the ensuing month, the exertions of the fight having been exacerbated by hypertension and a kidney infection.\n\nLater that year, he fought a three-round exhibition against hard-hitting veteran contender Cleveland Williams. In 1972, Frazier successfully defended the title twice by knocking out Terry Daniels and Ron Stander in the fourth and fifth rounds, respectively. Daniels had earlier drawn with Jerry Quarry and Stander had knocked out Earnie Shavers.\n\nLoses title to George Foreman\n\nFrazier lost his undefeated record of 29–0 and his world championship, at the hands of the unbeaten George Foreman on January 22, 1973, in Kingston, Jamaica. Despite Frazier being the overall favorite, Foreman towered 10 cm (4 in.) over the more compact champion along with an 8 in. reach advantage and dominated from the start. Two minutes into the first round, Foreman knocked Frazier down for the first time. In the second round, after Frazier was knocked down for the sixth time, the referee Arthur Mercante, Sr., stopped the contest with the fight a dominant victory for Foreman.\n\nFrazier won his next fight, a 12-round decision over Joe Bugner, in London to begin his quest to regain the title.\n\nMid-1970s: second fight against Ali\n\nFrazier's second fight against Ali took place on January 28, 1974 in New York City. In contrast to their previous meeting, the bout was a non-title fight, with Ali winning a 12-round unanimous decision. The fight was notable for the amount of clinching.\n\nFive months later, Frazier again battled Jerry Quarry in Madison Square Garden by winning the fight in the fifth round with a strong left hook to the ribs.\n\nIn March 1975, Frazier fought a rematch with Jimmy Ellis in Melbourne, Australia, and knocked him out in nine rounds. The win again established Frazier as the top heavyweight challenger for the title, which Ali had won from Foreman in the famous \"Rumble in the Jungle\" five months earlier.\n\nThrilla in Manila: third Ali fight\n\nAli and Frazier met for the third and final time in Quezon City (a district of Manila, the Philippines), on October 1, 1975. Prior to the fight, Ali took opportunities to mock Frazier by calling him a '\"gorilla\" and generally trying to irritate him.\n\nThe fight was a punishing display on both sides under oppressively-hot conditions. During the fight, Ali said to Frazier, \"They said you were through, Joe.\" Frazier said, \"They lied.\" Ali repeatedly held Frazier around the back of his neck with his right hand, a violation of the rules that went unpunished by the referee. After 14 grueling rounds, Ali returned to his corner demanding they cut his gloves and end the bout. However, Dundee ignored Ali. This proved fortuitous, as across the ring, Futch stopped the fight out of concern for his charge. Frazier had a closed left eye, an almost-closed right eye, and a cut. Ali later said that it was the \"closest thing to dying that I know of.\"\n\nIn 1977, Ali told the interviewer Reg Gutteridge that he felt this third Frazier fight was his best performance. When Gutteridge suggested his win over Cleveland Williams, Ali said, \"No, Frazier's much tougher and rougher than Cleveland Williams.\"\n\nFighting Foreman again\nIn 1976, Frazier (32–3) fought George Foreman for a second time, shaving his head for the fight. Frazier was more restrained than usual and avoided walking into big shots like he had done in their first match. However, Foreman lobbed a tremendous left hook that lifted Frazier off his feet. After a second knockdown, the fight was stopped in the fifth round. Shortly after the fight, Frazier announced his retirement.\n\nFrazier made a cameo appearance in the movie Rocky later in 1976 and dedicated himself to training local boxers in Philadelphia, where he grew up, including some of his own children. He also helped train Duane Bobick.\n\n1980s comeback and career as trainer\nIn 1981, Frazier attempted a comeback. He drew over 10 rounds with hulking Floyd \"Jumbo\" Cummings in Chicago, Illinois. It was a bruising battle with mixed reviews. He then retired for good.\n\nThen, Frazier involved himself in various endeavors. Among his sons who turned to boxing as a career, Frazier helped train Marvis Frazier, a challenger for Larry Holmes's world heavyweight title. He also trained his daughter, Jacqui Frazier-Lyde, who became a WIBA world light-heavyweight champion whose most notable fight was a close majority decision points loss against Laila Ali, the daughter of his rival.\n\nFrazier's overall record was 32 wins, 4 losses, and 1 draw, with 27 wins by knockout. He won 73% of his fights by knockout, compared to 60% for Ali and 84% for Foreman. He was a member of the International Boxing Hall Of Fame.\n\nIn 1984, Frazier was the special referee for the NWA World Heavyweight Championship match between Ric Flair and Dusty Rhodes at Starrcade '84. He awarded the match to Flair because of Rhodes's excessive bleeding.\n\nIn 1986, Frazier appeared as the \"cornerman\" for Mr. T against Roddy Piper at Nassau Veterans Memorial Coliseum as part of WrestleMania 2. In 1989, Frazier joined Ali, Foreman, Norton, and Holmes for the tribute special Champions Forever.\n\nFrazier was inducted into the Madison Square Garden Walk of Fame in 1996.\n\nOther work\n\nMedia appearances\nFrazier appeared as himself in an episode of The Simpsons - \"Brother, Can You Spare Two Dimes?\" in 1992, in which he was supposed to have been beaten up by Barney Gumble in Moe's Tavern. Frazier's son objected, so Frazier was instead shown beating up Gumble and putting him in a trash can. Frazier appeared in another episode of The Simpsons - \"Homer's Paternity Coot\" in 2006. He appeared on-screen in the 8th series of The Celebrity Apprentice (USA) television show as a guest-attendee at a Silent Auction event held for the season finale (won by Joan Rivers). Frazier appeared as himself in the Academy Award-winning 1976 movie, Rocky. Since the debut of the Fight Night series of games made by EA Sports, Frazier appeared in Fight Night 2004, Fight Night Round 2, Fight Night Round 3, Fight Night Round 4 and Fight Night Champion.\n\nBooks\n\nFrazier released his autobiography in March 1996, entitled Smokin' Joe: The Autobiography of a Heavyweight Champion of the World, Smokin' Joe Frazier. Frazier promoted the book with a memorable appearance on The Howard Stern Show on January 23, 1996.\n\nHe also wrote Box like the Pros, \"a complete introduction to the sport, including the game's history, rules of the ring, how fights are scored, how to spar, the basics of defence and offence, the fighter's workout, a directory of boxing gyms, and much more. Box Like the Pros is an instruction manual, a historical reference tool and an insider's guide to the world's most controversial sport.\"\n\nFinancial issues and legal battles\n\nAccording to an article from The New York Times, \"over the years, Frazier has lost a fortune through a combination of his own generosity and naïveté, his carousing, and failed business opportunities. The other headliners from his fighting days—Ali, George Foreman, and Larry Holmes—are millionaires.\" Asked about his situation, Frazier became playfully defensive, but would not reveal his financial status. \"Are you asking me how much money I have?\" he said. \"I got plenty of money. I got a stack of $100 bills rolled up over there in the back of the room.\" Frazier blamed himself, partly, for not effectively promoting his own image. In a 2006 HBO documentary on the fight in Manila, Frazier was interviewed living in a one-room apartment on the second floor of his gym.\n\nHis daughter Jacqui Frazier-Lyde is a lawyer and worked on her father's behalf in pursuit of money they claimed he was owed in a Pennsylvania land deal. In 1973, Frazier purchased 140 acres in Bucks County, Pennsylvania for $843,000. Five years later, a developer agreed to buy the farmland for $1.8 million. Frazier received annual payments from a trust that bought the land with money he had earned in the ring. However, when the trust went bankrupt, the payments ceased.\n\nFrazier sued his business partners, insisting his signature had been forged on documents and he had no knowledge of the sale. In the ensuing years, the 140 acres was subdivided and turned into a residential community. The land is now worth an estimated $100 million.\n\nRelationship with Muhammad Ali\nInitially, Frazier and Ali were friends. During Ali's enforced three-year lay-off from boxing for refusing to be drafted into the US Army, Frazier lent him money, testified before Congress and petitioned US President Richard Nixon to have Ali's right to box reinstated. Frazier supported Ali's right not to serve in the army: \"If Baptists weren't allowed to fight, I wouldn't fight either.\"\n\nHowever, in the build-up to their first fight, the Fight of the Century, Ali turned it into a \"cultural and political referendum\" by painting himself as a revolutionary and civil rights champion and Frazier as the white man's hope. Ali called him an \"Uncle Tom\" and a pawn of the white establishment as Frazier called him Clay. Ali successfully turned many black Americans against Frazier because Frazier never spoke out about race issues, and Ali could easily paint himself as hero to oppressed black people. Bryant Gumbel joined the pro-Ali anti-Frazier bandwagon by writing a major magazine article that asked, \"Is Joe Frazier a white champion with black skin?\" Frazier thought that was \"a cynical attempt by Clay to make me feel isolated from my own people. He thought that would weaken me when it came time to face him in that ring. Well, he was wrong. It didn't weaken me, it awakened me to what a cheap-shot son of a bitch he was.\" Ali's camp also hurled many insults at Frazier, calling him an \"ugly gorilla\", though Ali had also compared other opponents to animals. He noted the hypocrisy of Ali calling him an Uncle Tom when his [Ali's] trainer (Angelo Dundee) was of Italian descent. When told by Michael Parkinson that Frazier was not an Uncle Tom, he responded by saying, \"Then why does he insist on calling me Cassius Clay when even the worst of the white enemies recognize me as Muhammad Ali?\"\n\nAs a result of Ali's campaign, Frazier's children were bullied at school, and his family was given police protection after receiving death threats. Ali declared that if Frazier won, he would crawl across the ring and admit that Frazier was the greatest. After Frazier won by a unanimous decision, he called upon Ali to fulfill his promise and crawl across the ring, but Ali failed to do so. Ali called it a \"white man's decision\" and insisted that he won.\n\nDuring a televised joint interview prior to their second bout in 1974, Ali continued to insult Frazier, who took exception to Ali calling him \"ignorant\" and challenged him to a fight, which resulted in both of them brawling on the studio floor. Ali went on to win the 12-round non-title affair by a decision. Ali took things further in the build-up to their last fight, the Thrilla in Manila, and called Frazier \"the other type of negro\" and \"ugly\", \"dumb\", and a \"gorilla\" At one point he sparred with a man in a gorilla suit and pounded on a rubber gorilla doll, saying \"This is Joe Frazier's conscience.... I keep it everywhere I go. This is the way he looks when you hit him.\" According to the fight's promoter, Don King, that enraged Frazier, who took it as a \"character assassination\" and \"personal invective.\" One night before the fight, Ali waved around a toy pistol outside Frazier's hotel room. When Frazier came to the balcony, he pointed the gun at Frazier and yelled, \"I am going to shoot you.\" After the fight, Ali summoned Frazier's son Marvis into his dressing room, and told him that he had not meant what he had said about his father. When informed by Marvis, Frazier responded, \"You ain't me, son. Why isn't he apologizing to me?\"\n\nIn his 1996 autobiography Smokin' Joe: The Autobiography of a Heavyweight Champion of the World, Frazier consistently refers to Muhammad Ali as \"Cassius Clay\" and never deviating from that convention unless the book directly quotes someone else.\n\nFor years afterwards, Frazier retained his bitterness towards Ali and suggested that Ali's battle with Parkinson's syndrome was a form of divine retribution for his earlier behavior. In 2001, Ali apologized to Frazier via a New York Times article: \"In a way, Joe's right. I said a lot of things in the heat of the moment that I shouldn't have said. Called him names I shouldn't have called him. I apologize for that. I'm sorry. It was all meant to promote the fight.\" Frazier reportedly \"embraced it\" but later retorted that Ali apologized only to a newspaper, not to him. He said, \"I'm still waiting [for him] to say it to me.\" Ali responded, \"If you see Frazier, you tell him he's still a gorilla.\" Ali also said in an interview, \"I wasn't going to get on my knees and crawl and beg him to forgive me.\"\n\nFrazier told Sports Illustrated in May 2009 that he no longer held hard feelings for Ali. After Frazier's death in November 2011, Ali was among those who attended the private funeral services for Frazier in Philadelphia. Jesse Jackson, who spoke during the service, asked those in attendance to stand and \"show your love\" and reportedly Ali stood with the audience and clapped \"vigorously\".\n\nLater years\n\nFrazier lived in Philadelphia where he owned and managed a boxing gym. Frazier put the gym up for sale in mid-2009. Before the gym was put up for sale, Frazier, with the help of Peter Bouchard, formed the Smokin Joe Frazier Foundation, whose purpose was to give back to troubled and in need youth. Peter Bouchard volunteered to run the foundation for Frazier. Once Frazier's health declined, the foundation was shelved.\n\nHe was diagnosed with diabetes and high blood pressure. He and his nemesis, Muhammad Ali, alternated over the years between public apologies and public insults. In 1996, when Ali lit the Olympic flame in Atlanta, Frazier told a reporter that he would like to throw Ali into the fire and felt that he should have been chosen to light the flame. Frazier made millions of dollars in the 1970s, but the reported mismanagement of his real estate contributed to some financial difficulties.\n\nThe National Trust for Historic Preservation has named Joe Frazier's Gym in its 25th list of America's 11 Most Endangered Historic Places in 2012. In 2013, the gym was named to the National Register of Historic Places.\n\nFrazier continued to train young fighters although he needed multiple operations for back injuries sustained in a car accident. He and Ali reportedly attempted a reconciliation in his final years, but in October 2006, Frazier still claimed to have won all three bouts between them. He declared to a Times reporter, when questioned about his bitterness toward Ali, \"I am what I am.\"\n\nFrazier attempted to revive his music interests in late 2009/2010. Notably popular for singing 'Mustang Sally,' both Frazier and manager Leslie R. Wolff teamed up with Welsh Rock Solo artist Jayce Lewis to release his repertoire in the UK, later visiting the Welshman there to host a string of after-dinner speeches and music developments. It would notably be Frazier's last appearance there.\n\nDeath\n\nFrazier was diagnosed with liver cancer in late September 2011. By November 2011, he was under hospice care, where he died on November 7 at the age of 67.\nUpon hearing of Frazier's death, Muhammad Ali said, \"The world has lost a great champion. I will always remember Joe with respect and admiration.\"\nFrazier's private funeral took place on November 14 at the Enon Tabernacle Baptist Church in Philadelphia and in addition to friends and family was attended by Muhammad Ali, Don King, Larry Holmes, Magic Johnson, Dennis Rodman, among others. Floyd Mayweather Jr. paid for Frazier's funeral services. His body was buried at the Ivy Hill Cemetery, a short drive from the Enon Tabernacle Baptist Church.\n\nIn popular media\n\n He was played by boxer James Toney in the 2001 film Ali.\n Some of the most memorable moments in the 1976 boxing-themed feature film, Rocky—such as Rocky's carcass-punching scenes and Rocky running up the steps of the Philadelphia Museum of Art, as part of his training regimen—are taken from Frazier's real-life exploits. In the film, Frazier makes a cameo appearance, as a spectator at the fight between Rocky and Apollo.\n In March 2007, a Joe Frazier action figure was released as part of a range of toys based on the Rocky film franchise, developed by the American toy manufacturer, Jakks Pacific.\n Electric bassist Jeff Berlin wrote a musical tribute simply called \"Joe Frazier\", originally recorded on the Bill Bruford album Gradually Going Tornado, available on the compilation album Master Strokes.\nHe guest-starred as himself in the 1992 The Simpsons episode \"Brother, Can You Spare Two Dimes?\", where he presented Homer Simpson with the Montgomery Burns Award for the Outstanding Achievement In The Field Of Excellence.\n Mr. Sandman, a video game character in the Punch-Out !! video game series known for being one of the toughest opponents, was based in part on Frazier.\n In the Fight Night Video Games Frazier is a character in each game.\n His granddaughter, Latrice Frazier, appeared on an episode of Maury.\n On July 1, 2021, CBS announced that his son Derek was one of 16 Houseguests participating in Big Brother 23. Derek ended up being the runner-up for that season, winning $75,000.\n\nProfessional boxing record\n\nMusic career\n\nIn the late 1970s, Frazier created a soul-funk group called \"Joe Frazier and the Knockouts\", mentioned in Billboard and recording a number of singles.\nJoe toured widely in the US and Europe including Ireland, where among other places he performed in Donegal and Athy County Kildare with his band. Joe Frazier and the Knockouts were also featured singing in a 1978 Miller beer commercial.\n\nFrazier sang at the 1978 Jerry Lewis Telethon and he sang the United States national anthem before the rematch between Ali and Leon Spinks on September 15, 1978.\n\nDiscography\n\nSee also\n List of undisputed boxing champions\n Notable boxing families\n\nReferences\n\nBibliography\n\nFurther reading\n\nExternal links\n\n \n \n Joe Frazier – CBZ Profile\n Boxing Hall of Fame\n ESPN.com\n ESPN.com -- additional information\n New York Times Obituary\n \n \n \n\n \n\n1944 births\n2011 deaths\nAfrican-American boxers\nBoxers at the 1964 Summer Olympics\nBoxers from Philadelphia\nDeaths from cancer in Pennsylvania\nDeaths from liver cancer\nInternational Boxing Hall of Fame inductees\nMedalists at the 1964 Summer Olympics\nOlympic boxers of the United States\nOlympic gold medalists for the United States in boxing\nSportspeople from Beaufort, South Carolina\nSportspeople with a vision impairment\nWorld Boxing Association champions\nWorld Boxing Council champions\nWorld heavyweight boxing champions\nAmerican male boxers\nThe Ring (magazine) champions\nBurials at Ivy Hill Cemetery (Philadelphia)\n20th-century African-American sportspeople\n21st-century African-American people"
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"Joe Frazier",
"Financial issues and legal battles",
"when did joe frazier's financial issues begin?",
"According to an article from The New York Times, \"over the years, Frazier has lost a fortune through a combination of his own generosity and naivete,"
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C_bd1ce4d9a762408187eecb48d848adaa_0
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who was he overly generous to with his money?
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Who was Joe Frazier overly generous to with his money?
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Joe Frazier
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According to an article from The New York Times, "over the years, Frazier has lost a fortune through a combination of his own generosity and naivete, his carousing, and failed business opportunities. The other headliners from his fighting days--Ali, George Foreman, and Larry Holmes--are millionaires." Asked about his situation, Frazier became playfully defensive, but would not reveal his financial status. "Are you asking me how much money I have?" he said. "I got plenty of money. I got a stack of $100 bills rolled up over there in the back of the room." Frazier blamed himself, partly, for not effectively promoting his own image. In a 2006 HBO documentary on the fight in Manila, Frazier was interviewed living in a one-room apartment on the second floor of his gym. His daughter Jackie Frazier-Lyde is a lawyer and worked on her father's behalf in pursuit of money they claimed he was owed in a Pennsylvania land deal. In 1973, Frazier purchased 140 acres in Bucks County, Pennsylvania for $843,000. Five years later, a developer agreed to buy the farmland for $1.8 million. Frazier received annual payments from a trust that bought the land with money he had earned in the ring. However, when the trust went bankrupt, the payments ceased. Frazier sued his business partners, insisting his signature had been forged on documents and he had no knowledge of the sale. In the ensuing years, the 140 acres was subdivided and turned into a residential community. The land is now worth an estimated $100 million. CANNOTANSWER
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failed business opportunities.
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Joseph William Frazier (January 12, 1944November 7, 2011), nicknamed "Smokin' Joe", was an American professional boxer who competed from 1965 to 1981. He was known for his strength, durability, formidable punching power, and relentless pressure fighting style and was the first boxer to beat Muhammad Ali. Frazier reigned as the undisputed heavyweight champion from 1970 to 1973 and as an amateur won a gold medal at the 1964 Summer Olympics.
Frazier emerged as the top contender in the late 1960s, defeating opponents that included Jerry Quarry, Oscar Bonavena, Buster Mathis, Eddie Machen, Doug Jones, George Chuvalo, and Jimmy Ellis en route to becoming undisputed heavyweight champion in 1970, and he followed up by defeating Ali by unanimous decision in the highly anticipated Fight of the Century in 1971. Two years later, Frazier lost his title to George Foreman. Frazier fought on and beat Joe Bugner, lost a rematch to Ali, and beat Quarry and Ellis again.
Frazier's last world title challenge came in 1975, but he was beaten by Ali in the brutal rubber match, the Thrilla in Manila. Frazier retired in 1976 after a second loss to Foreman but made a comeback in 1981. He fought just once before retiring for good, finishing his career with a record of 32 wins, 4 losses, and 1 draw. The International Boxing Research Organization rates Frazier among the ten greatest heavyweights of all time.
The Ring magazine named him Fighter of the Year in 1967, 1970, and 1971, and the Boxing Writers Association of America (BWAA) named him Fighter of the Year in 1969, 1971, and 1975. In 1999, The Ring ranked him the eighth greatest heavyweight. He is an inductee of both the International Boxing Hall of Fame and the World Boxing Hall of Fame, having been a part of the inaugural induction class of 1990 for the IBHF.
His style was often compared with that of Henry Armstrong and occasionally Rocky Marciano and was dependent on bobbing, weaving, and relentless pressure to wear down his opponents. His best-known punch was a powerful left hook, which accounted for most of his knockouts. In his career, he lost to only two fighters, both former Olympic and world heavyweight champions: twice to Muhammad Ali and twice to George Foreman.
After retiring, Frazier made cameo appearances in several Hollywood movies and two episodes of The Simpsons. His son Marvis became a boxer and was trained by Joe Frazier himself. Marvis lost a title shot to heavyweight champion Larry Holmes in 1983 and was knocked out in the first round by an up-and-coming Mike Tyson in 1986. Marvis ended his career with a record of 19 wins and those 2 losses. Frazier's daughter Jacqui Frazier-Lyde also boxed professionally and is a former WIBA world light-heavyweight champion who ended her career with a record of 13 wins and 1 loss, with her sole loss coming in a majority-decision-points loss to Laila Ali, Ali's daughter, in a fight dubbed as "Ali–Frazier IV".
Frazier continued to train fighters in his gym in Philadelphia. His attitude towards Ali in later life was largely characterized by bitterness and contempt but was interspersed with brief reconciliations.
Frazier was diagnosed with liver cancer in late September 2011 and admitted to hospice care. He died of complications from the disease on November 7, 2011.
Early life
Joe Frazier was born January 12, 1944, the twelfth child of Dolly Alston-Frazier and Rubin in Beaufort, South Carolina. He was raised in a rural community of Beaufort called Laurel Bay. Frazier said that he was always close to his father, who carried him when he was a toddler "over the 10 acres of farmland" the Fraziers worked as sharecroppers "to the still where he made his bootleg corn liquor, and into town on Saturdays to buy the necessities that a family of 10 needed." He was affectionately called "Billie Boy".
Rubin Frazier had his left hand burned and part of his forearm amputated in a tractor accident the year that his son was born. Rubin Frazier and his wife, Dolly, had been in their car while Arthur Smith, who was drunk, passed by and made a move for Dolly but was rebuffed. Stefan Gallucci, a local barkeep, recounted the experience. When the Fraziers drove away, Smith fired at them several times and hit Dolly in the foot and Rubin several times in his arm. Smith was convicted and sent to prison but did not stay long. Dolly said, "If you were a good workman, the white man took you out of jail and kept you busy on the farm."
Frazier's parents worked their farm with two mules: Buck and Jenny. The farmland was what country people called "white dirt, which is another way of saying it isn't worth a damn." They could not grow peas or corn on it, only cotton and watermelons.
In the early 1950s, Frazier's father bought a black-and-white television. The family and others nearby came to watch boxing matches on it. Frazier's mother sold drinks for a quarter as they watched boxers like Sugar Ray Robinson, Rocky Marciano, Willie Pep, and Rocky Graziano. One night, Frazier's Uncle Israel noticed his stocky build. "That boy there... that boy is gonna be another Joe Louis", he remarked. The words made an impression on Joe. His classmates at school would give him a sandwich or a quarter to walk with them at final bell so that bullies would not bother them. Frazier said, "Any 'scamboogah' [disrespectful, low-down and foul person] who got in my face would soon regret it; Billie Boy could kick anybody's ass." The day after his uncle's comment, Frazier filled old burlap sack with rags, corncobs, a brick, and Spanish moss. He hung the makeshift heavybag from an oak tree in the backyard. "For the next 6, 7 years, damn near every day I'd hit that heavybag for an hour at a time. I'd wrap my hands with a necktie of my Daddy's, or a stocking of my Momma's or sister's, and get to it," he remarked.
Not long after Frazier started working, his left arm was seriously injured while he was running from the family's 300-pound hog. One day, Frazier poked the hog with a stick and ran away. The gate to the pigpen was open, however, and the hog chased him. Frazier fell and hit his left arm on a brick. His arm was torn badly, but as the family could not afford a doctor, the arm had to heal on its own. He was never able to keep it fully straight again.
When Frazier was 15 years old, he had been working on a farm for a family named Bellamy. They were both white men: Mac was younger and more easy-going, and Jim was a little rougher and somewhat backward. One day, a little black boy about 12 years old accidentally damaged one of the Bellamys' tractors. Jim became so enraged he took off his belt and whipped the boy with his belt right there in the field. Frazier saw the event and went back to the packing house on the farm and told his black friends what he had seen. Soon, Jim saw Frazier and asked him why he told what he had witnessed. Joe then told Bellamy he did not know what he was talking about, but Jim did not believe Frazier and told him to get off the farm before he took off his belt again. Frazier told him to keep his pants up because he was not going to use his belt on him. Jim then analyzed Frazier for a bit and eventually said, "Go on, get the hell outta here." Joe knew from that moment it was time for him to leave Beaufort, and he could see only hard times and low rent for himself. Even his Momma could see it. She told Frazier, "Son, if you can't get along with the white folks, then leave home because I don't want anything to happen to you."
The train fare from Beaufort to the cities up north was costly, and the closest bus stop was in Charleston, away. Luckily, by 1958, the Greyhound Lines bus (called "The Dog" by locals in Beaufort) had finally made Beaufort a stop on its South Carolina route. Frazier had a brother, Tommy, in New York and was told that he could stay with Tommy and his family. Frazier had to save up a bit before he could make the bus trip to New York and still have some money in his pocket, and so he first went to work at the local Coca-Cola plant. Joe remarked that the white guy would drive the truck and that he would do the real work stacking and unloading the crates. Joe stayed with Coca-Cola until the government began building houses for the Marines stationed at Parris Island, when he was hired on a work crew.
Nine months eventually passed since he got the boot from the Bellamy farm. One day, with no fanfare and no tearful goodbyes, Frazier packed quickly and got the first bus heading northward. Joe finally settled in Philadelphia, Pennsylvania: "I climbed on the Dog's back and rode through the night. It was 1959; I was 15 years old and I was on my own."
Amateur career
During Frazier's amateur career, he won Golden Gloves heavyweight championships in 1962, 1963, and 1964. His only loss in three years as an amateur was to Buster Mathis. Mathis would prove to be Joe's biggest obstacle to making the 1964 US Olympic boxing team. They met in the final of the US Olympic trials at the New York World's Fair in the summer of 1964. Their fight was scheduled for three rounds and they fought with 10-oz gloves and with headgear, but the boxers who made it to Tokyo would wear no headgear and would wear 8-oz gloves. Frazier was eager to get back at Mathis for his only amateur loss and knocked out two opponents to get to the finals. However, once again when the dust settled, the judges had called it for Mathis, undeservedly Joe thought. "All that fat boy had done was run like a thief- hit me with a peck and backpedal like crazy," he would remark.
Mathis had worn his trunks very high so that when Frazier hit Mathis with legitimate body shots, the referee took a dim view of them. In the second round, the referee had gone so far as to penalize Joe two points for hitting below the belt. "In a three-round bout a man can't afford a points deduction like that," Frazier said. He then returned to Philadelphia and felt as low as he had ever been and even thought of giving up boxing. Duke Dugent and his trainer, Yank Durham, were able to talk him out of his doldrums and even suggested that Frazier make the trip to Tokyo as an alternate in case something happened to Mathis. Frazier agreed and was a workhorse there, sparring with any of the Olympic boxers who wanted some action. "Middleweight, light heavyweight, it didn't matter to me, I got in there and boxed all comers," he said. In contrast, Mathis was slacking off. In the morning, when the Olympic team would do their roadwork, Mathis would run a mile and start walking and say, "Go ahead, big Joe. I'll catch up."
Frazier's amateur record was 38–2.
1964 Summer Olympics
In 1964, heavyweight representative Buster Mathis qualified but was injured, and so Frazier was sent as a replacement. At the heavyweight boxing event, Frazier knocked out George Oywello of Uganda in the first round, then knocked out Athol McQueen of Australia 40 seconds into the third round. He was then into the semifinal, as the only American boxer left, facing the 6'2", 214-lb Vadim Yemelyanov of the Soviet Union.
"My left hook was a heat-seeking missile, careening off his face and body time and again. Twice in the second round I knocked him to the canvas. But as I pounded away, I felt a jolt of pain shoot through my left arm. Oh damn, the thumb," Frazier said. He knew immediately the thumb of his left hand was damaged, but he was unsure as to the extent. "In the midst of the fight, with your adrenaline pumping, it's hard to gauge such things. My mind was on more important matters. Like how I was going to deal with Yemelyanov for the rest of the fight." The match ended when the Soviet's handlers threw in the towel at 1:49 in the second round, and the referee raised Frazier's injured hand in victory.
Now that Frazier was into the final, he mentioned his broken thumb to no one. He went back to his room and soaked his thumb in hot water and Epsom salts. "Pain or not, Joe Frazier of Beaufort, South Carolina, was going for gold," he proclaimed. He went on to fight German Hans Huber, eight years his senior. Frazier was now used to fighting bigger guys, but not with a damaged left hand. When the opening bell sounded on fight night, Joe came out, started swinging punches, and threw his right hand more than usual that night. Every so often, he would use his left hook, but nothing landed with the kind of impact that he had managed in previous bouts. He won a 3-2 decision.
Professional career
After Frazier won the only American 1964 Olympic boxing gold medal, his trainer Yancey "Yank" Durham helped put together Cloverlay, a group of local businessmen (including a young Larry Merchant) who invested in Frazier's professional career and allowed him to train full time. Durham was Frazier's chief trainer and manager until Durham's death in August 1973.
Frazier turned professional in 1965 by defeating Woody Goss by a technical knockout in the first round. He won three more fights that year, all by knockout and none going past the third round. Later that year, he was in a training accident in which he suffered an injury that left him legally blind in his left eye. During pre-fight physicals, after reading the eye chart with his right eye, when prompted to cover his other eye, Frazier switched hands but covered his left eye for a second time, and state athletic commission physicians seemed not to notice or act.
Frazier's second contest was of interest in that he was decked in the round by Mike Bruce. Frazier took an "8" count by referee Bob Polis but rallied for a TKO over Bruce in the third round.
In 1966, as Frazier's career was taking off, Durham contacted Los Angeles trainer Eddie Futch. The two men had never met, but Durham had heard of Futch, who had a reputation as one of the most respected trainers in boxing. Frazier was sent to Los Angeles to train before Futch agreed to join Durham as an assistant trainer. With Futch's assistance, Durham arranged three fights in Los Angeles against journeyman Al Jones, veteran contender Eddie Machen and George "Scrap Iron" Johnson. Frazier knocked out Jones and Machen but surprisingly went through 10 rounds with journeyman Johnson to win a unanimous decision. Johnson had apparently bet all his purse that he would survive to the final bell, noted Ring Magazine, and he somehow achieved it. However Johnson was known in the trade as "impossibly durable".
After the Johnson match, Futch became a full-fledged member of the Frazier camp as an assistant trainer and strategist, who advised Durham on matchmaking. It was Futch who suggested that Frazier boycott the 1967 WBA Heavyweight Elimination Tournament to find a successor to Muhammad Ali after the Heavyweight Champion was stripped of his title for refusing to be inducted into the military, although Frazier was the top-ranked contender at the time.
Futch proved invaluable to Frazier as an assistant trainer and helped modify his style. Under Futch's tutelage, Frazier adopted the bob-and-weave defensive style by making him more difficult for taller opponents to punch and giving Frazier more power with his own punches. Futch remained based in Los Angeles, where he worked as a supervisor with the US Postal Service, and flew to Philadelphia to work with Frazier during the final preparations for all of his fights.
After Durham died of a stroke on August 30, 1973, Futch was asked to succeed him as Frazier's head trainer and manager. He was training the heavyweight contender Ken Norton, who lost a rematch against Ali less than two weeks before Durham's death. Then, Norton's managers, Robert Biron and Aaron Rivkind, demanded that Futch choose to train either Frazier or Norton, with Futch choosing Frazier.
Mid-to-late 1960s
Now in his second year, in September 1966 and somewhat green, Frazier won a close decision over rugged contender Oscar Bonavena, despite Bonavena flooring him twice in the second round. A third knockdown in that round would have ended the fight under the three knockdown rule. Frazier rallied and won a decision after 12 rounds. The Machen win followed that contest.
In 1967, Frazier stormed ahead winning all six of his fights, including a sixth-round knockout of Doug Jones and a brutal fourth round (TKO) of Canadian George Chuvalo. No boxer had ever stopped Chuvalo, but Frazier, despite the stoppage, was unable to floor Chuvalo, who would never be dropped in his entire career despite fighting numerous top names.
By February 1967, Joe had scored 14 wins and his star was beginning to rise. This culminated with his first appearance on the cover of Ring Magazine. That month, he met Ali, who had not yet been stripped of his title. Ali said that Joe would never stand a chance of "whipping" him even in his wildest dreams. Later that year, Muhammad Ali was stripped of his world heavyweight title because of his refusal to accept the military draft during the Vietnam War.
To fill the vacancy, the New York State Athletic Commission held a bout between Frazier and Buster Mathis, who were undefeated going into the match, with the winner to be recognized as "World Champion" by New York State. Although the fight was not recognized as a World Championship bout by some, Frazier won by a knockout in the 11th round and staked a claim to the Heavyweight Championship.
Laying claims
Frazier first defended his claim by beating hard-hitting prospect Manuel Ramos of Mexico. His victory came in only two rounds.
He closed 1968 by again beating Oscar Bonavena via a 15-round decision in a hard-fought rematch. Bonavena fought somewhat defensively and allowed himself to be often bulled to the ropes, which let Frazier build a wide points margin. Ring Magazine showed Bonavena afterwards with a gruesomely bruised face. It had been a punishing match.
In 1969, Frazier defended his NYSAC title in Texas and beat Dave Zyglewicz, who had lost only once in 29 fights, by a first-round knockout. Then, he beat Jerry Quarry in a seventh-round stoppage. The competitive, exciting match with Quarry was named Ring Magazine fight of the year in 1969. Frazier showed he could do a lot more than just slug by using his newly-honed defensive skills to slip, bob, and weave a barrage of punches from Quarry despite Quarry's reputation as an excellent counter-punching heavyweight.
World Championship win
On February 16, 1970, Frazier faced WBA Champion Jimmy Ellis at Madison Square Garden. Ellis had outpointed Jerry Quarry in the final bout of the WBA elimination tournament for Ali's vacated belt. Frazier had declined to participate in the WBA tournament to protest their decision to strip Ali. Ellis held impressive wins over Oscar Bonavena and Leotis Martin, among others. Beforehand, Ali had announced his retirement and relinquished the Heavyweight title, allowing Ellis and Frazier to fight for the undisputed title, but both lacked any lineal claim. Frazier won by a technical knockout when Ellis's trainer Angelo Dundee would not let him come out for the fifth round following two fourth-round knockdowns, the first knockdowns of Ellis's career. Frazier's decisive win over Ellis was a frightening display of power and tenacity.
In his first title defense, Frazier traveled to Detroit to fight World Light Heavyweight Champion Bob Foster, who would go on to set a record for the number of title defenses in the light-heavyweight division. Frazier (26–0) retained his title by twice flooring the hard-punching Foster in the second round. The second knockdown was delivered by a devastating left hook, and Foster could not beat the count. Then came what was hyped as the "Fight of the Century", his first fight with Muhammad Ali, who had launched a comeback in 1970 after a three-year suspension from boxing. It would be the first meeting of two undefeated heavyweight champions (and the last until Mike Tyson faced Michael Spinks in 1988) since Ali (31–0) had not lost his title in the ring but been stripped because of his refusal to be conscripted into the armed forces. Some considered him to be the true champion, and the fight would crown the one true heavyweight champion.
Fight of the Century: first fight versus Ali
On March 8, 1971, at Madison Square Garden, Frazier and Ali met in the first of their three bouts which was called the "Fight of the Century". With an international television audience and an in-house audience that included singers and actors and with Burt Lancaster (who served as "color commentator" with the fight announcer, Don Dunphy), both undefeated heavyweights met in a media-frenzied atmosphere reminiscent of Joe Louis's youth.
Several factors came together for Frazier in the fight. He was 27 and mentally and physically at his peak. Ali was 29 and coming back from a three-year absence. He had had two good wins in his comeback, including a bruising, fifteen-round technical knockout win over Oscar Bonavena.
Frazier and Futch noticed Ali's tendency to throw a right-hand uppercut from a straight standing position after dropping the hand in preparation to throw it with force. Futch instructed Frazier to watch Ali's right hand and, once Ali dropped it, to throw a left hook at the spot that they knew Ali's face would be a second later.
In a brutal and competitive contest, Frazier lost the first two rounds but was able to withstand Ali's combinations. Frazier was known to improve in middle rounds, which was the case with Ali. Frazier came on strong after the third round round by landing hard shots to the body and powerful left hooks to the head. Frazier won a 15-round unanimous decision 9–6, 11–4, 8–6–1 and claimed the lineal title. Ali was taken to a hospital immediately after the fight to check that his severely-swollen right-side jaw was not actually broken. Frazier also spent time in hospital during the ensuing month, the exertions of the fight having been exacerbated by hypertension and a kidney infection.
Later that year, he fought a three-round exhibition against hard-hitting veteran contender Cleveland Williams. In 1972, Frazier successfully defended the title twice by knocking out Terry Daniels and Ron Stander in the fourth and fifth rounds, respectively. Daniels had earlier drawn with Jerry Quarry and Stander had knocked out Earnie Shavers.
Loses title to George Foreman
Frazier lost his undefeated record of 29–0 and his world championship, at the hands of the unbeaten George Foreman on January 22, 1973, in Kingston, Jamaica. Despite Frazier being the overall favorite, Foreman towered 10 cm (4 in.) over the more compact champion along with an 8 in. reach advantage and dominated from the start. Two minutes into the first round, Foreman knocked Frazier down for the first time. In the second round, after Frazier was knocked down for the sixth time, the referee Arthur Mercante, Sr., stopped the contest with the fight a dominant victory for Foreman.
Frazier won his next fight, a 12-round decision over Joe Bugner, in London to begin his quest to regain the title.
Mid-1970s: second fight against Ali
Frazier's second fight against Ali took place on January 28, 1974 in New York City. In contrast to their previous meeting, the bout was a non-title fight, with Ali winning a 12-round unanimous decision. The fight was notable for the amount of clinching.
Five months later, Frazier again battled Jerry Quarry in Madison Square Garden by winning the fight in the fifth round with a strong left hook to the ribs.
In March 1975, Frazier fought a rematch with Jimmy Ellis in Melbourne, Australia, and knocked him out in nine rounds. The win again established Frazier as the top heavyweight challenger for the title, which Ali had won from Foreman in the famous "Rumble in the Jungle" five months earlier.
Thrilla in Manila: third Ali fight
Ali and Frazier met for the third and final time in Quezon City (a district of Manila, the Philippines), on October 1, 1975. Prior to the fight, Ali took opportunities to mock Frazier by calling him a '"gorilla" and generally trying to irritate him.
The fight was a punishing display on both sides under oppressively-hot conditions. During the fight, Ali said to Frazier, "They said you were through, Joe." Frazier said, "They lied." Ali repeatedly held Frazier around the back of his neck with his right hand, a violation of the rules that went unpunished by the referee. After 14 grueling rounds, Ali returned to his corner demanding they cut his gloves and end the bout. However, Dundee ignored Ali. This proved fortuitous, as across the ring, Futch stopped the fight out of concern for his charge. Frazier had a closed left eye, an almost-closed right eye, and a cut. Ali later said that it was the "closest thing to dying that I know of."
In 1977, Ali told the interviewer Reg Gutteridge that he felt this third Frazier fight was his best performance. When Gutteridge suggested his win over Cleveland Williams, Ali said, "No, Frazier's much tougher and rougher than Cleveland Williams."
Fighting Foreman again
In 1976, Frazier (32–3) fought George Foreman for a second time, shaving his head for the fight. Frazier was more restrained than usual and avoided walking into big shots like he had done in their first match. However, Foreman lobbed a tremendous left hook that lifted Frazier off his feet. After a second knockdown, the fight was stopped in the fifth round. Shortly after the fight, Frazier announced his retirement.
Frazier made a cameo appearance in the movie Rocky later in 1976 and dedicated himself to training local boxers in Philadelphia, where he grew up, including some of his own children. He also helped train Duane Bobick.
1980s comeback and career as trainer
In 1981, Frazier attempted a comeback. He drew over 10 rounds with hulking Floyd "Jumbo" Cummings in Chicago, Illinois. It was a bruising battle with mixed reviews. He then retired for good.
Then, Frazier involved himself in various endeavors. Among his sons who turned to boxing as a career, Frazier helped train Marvis Frazier, a challenger for Larry Holmes's world heavyweight title. He also trained his daughter, Jacqui Frazier-Lyde, who became a WIBA world light-heavyweight champion whose most notable fight was a close majority decision points loss against Laila Ali, the daughter of his rival.
Frazier's overall record was 32 wins, 4 losses, and 1 draw, with 27 wins by knockout. He won 73% of his fights by knockout, compared to 60% for Ali and 84% for Foreman. He was a member of the International Boxing Hall Of Fame.
In 1984, Frazier was the special referee for the NWA World Heavyweight Championship match between Ric Flair and Dusty Rhodes at Starrcade '84. He awarded the match to Flair because of Rhodes's excessive bleeding.
In 1986, Frazier appeared as the "cornerman" for Mr. T against Roddy Piper at Nassau Veterans Memorial Coliseum as part of WrestleMania 2. In 1989, Frazier joined Ali, Foreman, Norton, and Holmes for the tribute special Champions Forever.
Frazier was inducted into the Madison Square Garden Walk of Fame in 1996.
Other work
Media appearances
Frazier appeared as himself in an episode of The Simpsons - "Brother, Can You Spare Two Dimes?" in 1992, in which he was supposed to have been beaten up by Barney Gumble in Moe's Tavern. Frazier's son objected, so Frazier was instead shown beating up Gumble and putting him in a trash can. Frazier appeared in another episode of The Simpsons - "Homer's Paternity Coot" in 2006. He appeared on-screen in the 8th series of The Celebrity Apprentice (USA) television show as a guest-attendee at a Silent Auction event held for the season finale (won by Joan Rivers). Frazier appeared as himself in the Academy Award-winning 1976 movie, Rocky. Since the debut of the Fight Night series of games made by EA Sports, Frazier appeared in Fight Night 2004, Fight Night Round 2, Fight Night Round 3, Fight Night Round 4 and Fight Night Champion.
Books
Frazier released his autobiography in March 1996, entitled Smokin' Joe: The Autobiography of a Heavyweight Champion of the World, Smokin' Joe Frazier. Frazier promoted the book with a memorable appearance on The Howard Stern Show on January 23, 1996.
He also wrote Box like the Pros, "a complete introduction to the sport, including the game's history, rules of the ring, how fights are scored, how to spar, the basics of defence and offence, the fighter's workout, a directory of boxing gyms, and much more. Box Like the Pros is an instruction manual, a historical reference tool and an insider's guide to the world's most controversial sport."
Financial issues and legal battles
According to an article from The New York Times, "over the years, Frazier has lost a fortune through a combination of his own generosity and naïveté, his carousing, and failed business opportunities. The other headliners from his fighting days—Ali, George Foreman, and Larry Holmes—are millionaires." Asked about his situation, Frazier became playfully defensive, but would not reveal his financial status. "Are you asking me how much money I have?" he said. "I got plenty of money. I got a stack of $100 bills rolled up over there in the back of the room." Frazier blamed himself, partly, for not effectively promoting his own image. In a 2006 HBO documentary on the fight in Manila, Frazier was interviewed living in a one-room apartment on the second floor of his gym.
His daughter Jacqui Frazier-Lyde is a lawyer and worked on her father's behalf in pursuit of money they claimed he was owed in a Pennsylvania land deal. In 1973, Frazier purchased 140 acres in Bucks County, Pennsylvania for $843,000. Five years later, a developer agreed to buy the farmland for $1.8 million. Frazier received annual payments from a trust that bought the land with money he had earned in the ring. However, when the trust went bankrupt, the payments ceased.
Frazier sued his business partners, insisting his signature had been forged on documents and he had no knowledge of the sale. In the ensuing years, the 140 acres was subdivided and turned into a residential community. The land is now worth an estimated $100 million.
Relationship with Muhammad Ali
Initially, Frazier and Ali were friends. During Ali's enforced three-year lay-off from boxing for refusing to be drafted into the US Army, Frazier lent him money, testified before Congress and petitioned US President Richard Nixon to have Ali's right to box reinstated. Frazier supported Ali's right not to serve in the army: "If Baptists weren't allowed to fight, I wouldn't fight either."
However, in the build-up to their first fight, the Fight of the Century, Ali turned it into a "cultural and political referendum" by painting himself as a revolutionary and civil rights champion and Frazier as the white man's hope. Ali called him an "Uncle Tom" and a pawn of the white establishment as Frazier called him Clay. Ali successfully turned many black Americans against Frazier because Frazier never spoke out about race issues, and Ali could easily paint himself as hero to oppressed black people. Bryant Gumbel joined the pro-Ali anti-Frazier bandwagon by writing a major magazine article that asked, "Is Joe Frazier a white champion with black skin?" Frazier thought that was "a cynical attempt by Clay to make me feel isolated from my own people. He thought that would weaken me when it came time to face him in that ring. Well, he was wrong. It didn't weaken me, it awakened me to what a cheap-shot son of a bitch he was." Ali's camp also hurled many insults at Frazier, calling him an "ugly gorilla", though Ali had also compared other opponents to animals. He noted the hypocrisy of Ali calling him an Uncle Tom when his [Ali's] trainer (Angelo Dundee) was of Italian descent. When told by Michael Parkinson that Frazier was not an Uncle Tom, he responded by saying, "Then why does he insist on calling me Cassius Clay when even the worst of the white enemies recognize me as Muhammad Ali?"
As a result of Ali's campaign, Frazier's children were bullied at school, and his family was given police protection after receiving death threats. Ali declared that if Frazier won, he would crawl across the ring and admit that Frazier was the greatest. After Frazier won by a unanimous decision, he called upon Ali to fulfill his promise and crawl across the ring, but Ali failed to do so. Ali called it a "white man's decision" and insisted that he won.
During a televised joint interview prior to their second bout in 1974, Ali continued to insult Frazier, who took exception to Ali calling him "ignorant" and challenged him to a fight, which resulted in both of them brawling on the studio floor. Ali went on to win the 12-round non-title affair by a decision. Ali took things further in the build-up to their last fight, the Thrilla in Manila, and called Frazier "the other type of negro" and "ugly", "dumb", and a "gorilla" At one point he sparred with a man in a gorilla suit and pounded on a rubber gorilla doll, saying "This is Joe Frazier's conscience.... I keep it everywhere I go. This is the way he looks when you hit him." According to the fight's promoter, Don King, that enraged Frazier, who took it as a "character assassination" and "personal invective." One night before the fight, Ali waved around a toy pistol outside Frazier's hotel room. When Frazier came to the balcony, he pointed the gun at Frazier and yelled, "I am going to shoot you." After the fight, Ali summoned Frazier's son Marvis into his dressing room, and told him that he had not meant what he had said about his father. When informed by Marvis, Frazier responded, "You ain't me, son. Why isn't he apologizing to me?"
In his 1996 autobiography Smokin' Joe: The Autobiography of a Heavyweight Champion of the World, Frazier consistently refers to Muhammad Ali as "Cassius Clay" and never deviating from that convention unless the book directly quotes someone else.
For years afterwards, Frazier retained his bitterness towards Ali and suggested that Ali's battle with Parkinson's syndrome was a form of divine retribution for his earlier behavior. In 2001, Ali apologized to Frazier via a New York Times article: "In a way, Joe's right. I said a lot of things in the heat of the moment that I shouldn't have said. Called him names I shouldn't have called him. I apologize for that. I'm sorry. It was all meant to promote the fight." Frazier reportedly "embraced it" but later retorted that Ali apologized only to a newspaper, not to him. He said, "I'm still waiting [for him] to say it to me." Ali responded, "If you see Frazier, you tell him he's still a gorilla." Ali also said in an interview, "I wasn't going to get on my knees and crawl and beg him to forgive me."
Frazier told Sports Illustrated in May 2009 that he no longer held hard feelings for Ali. After Frazier's death in November 2011, Ali was among those who attended the private funeral services for Frazier in Philadelphia. Jesse Jackson, who spoke during the service, asked those in attendance to stand and "show your love" and reportedly Ali stood with the audience and clapped "vigorously".
Later years
Frazier lived in Philadelphia where he owned and managed a boxing gym. Frazier put the gym up for sale in mid-2009. Before the gym was put up for sale, Frazier, with the help of Peter Bouchard, formed the Smokin Joe Frazier Foundation, whose purpose was to give back to troubled and in need youth. Peter Bouchard volunteered to run the foundation for Frazier. Once Frazier's health declined, the foundation was shelved.
He was diagnosed with diabetes and high blood pressure. He and his nemesis, Muhammad Ali, alternated over the years between public apologies and public insults. In 1996, when Ali lit the Olympic flame in Atlanta, Frazier told a reporter that he would like to throw Ali into the fire and felt that he should have been chosen to light the flame. Frazier made millions of dollars in the 1970s, but the reported mismanagement of his real estate contributed to some financial difficulties.
The National Trust for Historic Preservation has named Joe Frazier's Gym in its 25th list of America's 11 Most Endangered Historic Places in 2012. In 2013, the gym was named to the National Register of Historic Places.
Frazier continued to train young fighters although he needed multiple operations for back injuries sustained in a car accident. He and Ali reportedly attempted a reconciliation in his final years, but in October 2006, Frazier still claimed to have won all three bouts between them. He declared to a Times reporter, when questioned about his bitterness toward Ali, "I am what I am."
Frazier attempted to revive his music interests in late 2009/2010. Notably popular for singing 'Mustang Sally,' both Frazier and manager Leslie R. Wolff teamed up with Welsh Rock Solo artist Jayce Lewis to release his repertoire in the UK, later visiting the Welshman there to host a string of after-dinner speeches and music developments. It would notably be Frazier's last appearance there.
Death
Frazier was diagnosed with liver cancer in late September 2011. By November 2011, he was under hospice care, where he died on November 7 at the age of 67.
Upon hearing of Frazier's death, Muhammad Ali said, "The world has lost a great champion. I will always remember Joe with respect and admiration."
Frazier's private funeral took place on November 14 at the Enon Tabernacle Baptist Church in Philadelphia and in addition to friends and family was attended by Muhammad Ali, Don King, Larry Holmes, Magic Johnson, Dennis Rodman, among others. Floyd Mayweather Jr. paid for Frazier's funeral services. His body was buried at the Ivy Hill Cemetery, a short drive from the Enon Tabernacle Baptist Church.
In popular media
He was played by boxer James Toney in the 2001 film Ali.
Some of the most memorable moments in the 1976 boxing-themed feature film, Rocky—such as Rocky's carcass-punching scenes and Rocky running up the steps of the Philadelphia Museum of Art, as part of his training regimen—are taken from Frazier's real-life exploits. In the film, Frazier makes a cameo appearance, as a spectator at the fight between Rocky and Apollo.
In March 2007, a Joe Frazier action figure was released as part of a range of toys based on the Rocky film franchise, developed by the American toy manufacturer, Jakks Pacific.
Electric bassist Jeff Berlin wrote a musical tribute simply called "Joe Frazier", originally recorded on the Bill Bruford album Gradually Going Tornado, available on the compilation album Master Strokes.
He guest-starred as himself in the 1992 The Simpsons episode "Brother, Can You Spare Two Dimes?", where he presented Homer Simpson with the Montgomery Burns Award for the Outstanding Achievement In The Field Of Excellence.
Mr. Sandman, a video game character in the Punch-Out !! video game series known for being one of the toughest opponents, was based in part on Frazier.
In the Fight Night Video Games Frazier is a character in each game.
His granddaughter, Latrice Frazier, appeared on an episode of Maury.
On July 1, 2021, CBS announced that his son Derek was one of 16 Houseguests participating in Big Brother 23. Derek ended up being the runner-up for that season, winning $75,000.
Professional boxing record
Music career
In the late 1970s, Frazier created a soul-funk group called "Joe Frazier and the Knockouts", mentioned in Billboard and recording a number of singles.
Joe toured widely in the US and Europe including Ireland, where among other places he performed in Donegal and Athy County Kildare with his band. Joe Frazier and the Knockouts were also featured singing in a 1978 Miller beer commercial.
Frazier sang at the 1978 Jerry Lewis Telethon and he sang the United States national anthem before the rematch between Ali and Leon Spinks on September 15, 1978.
Discography
See also
List of undisputed boxing champions
Notable boxing families
References
Bibliography
Further reading
External links
Joe Frazier – CBZ Profile
Boxing Hall of Fame
ESPN.com
ESPN.com -- additional information
New York Times Obituary
1944 births
2011 deaths
African-American boxers
Boxers at the 1964 Summer Olympics
Boxers from Philadelphia
Deaths from cancer in Pennsylvania
Deaths from liver cancer
International Boxing Hall of Fame inductees
Medalists at the 1964 Summer Olympics
Olympic boxers of the United States
Olympic gold medalists for the United States in boxing
Sportspeople from Beaufort, South Carolina
Sportspeople with a vision impairment
World Boxing Association champions
World Boxing Council champions
World heavyweight boxing champions
American male boxers
The Ring (magazine) champions
Burials at Ivy Hill Cemetery (Philadelphia)
20th-century African-American sportspeople
21st-century African-American people
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[
"Matthew James Generous (born May 4, 1985) is an American former professional ice hockey defenseman who last played for Ilves of the Finnish Liiga.\n\nPlaying career\nGenerous first played Junior A hockey in the EJHL with the New England Jr Falcons before he was drafted in the seventh round, 208th overall, in the 2005 NHL Entry Draft by the Buffalo Sabres. Generous then committed to play collegiate hockey in the ECAC with St. Lawrence University. In his senior year in 2008–09, Generous had 8 goals for 17 points and was +5 in 35 games to be named the ECAC's Outstanding Defensive Defenseman. Generous completed his four-year Saints career with 56 points (18+38) in 139 games, and was a four-time member of the ECAC All-Academic Team.\n\nOn April 1, 2009, Generous signed a one-year, entry level contract with the Buffalo Sabres and was immediately assigned to AHL affiliate, the Portland Pirates, to begin his professional career in the remainder of the 2008–09 campaign.\n\nAfter attending the Sabres training camp for the 2009–10 season, Generous was then reassigned to the Pirates on September 22, 2009. In his first full professional season, Generous remained with the Pirates for the entirety of the year and in 61 games posted 2 goals and 11 assists.\n\nWithout a contract offer from the Sabres at season's end, Generous attended fellow AHL team, the Providence Bruins, training camp on a try-out for the 2010–11 season. On October 1, Generous was released from the Bruins, however, he was then signed a one-year contract with ECHL affiliate, the Reading Royals. After starting the season on the Blueline with Royals Generous was then signed to a professional try-out contract with the Lake Erie Monsters of the AHL on December 14, 2010.\n\nAfter three seasons with Lukko, Generous opted to join newly promoted Sport on a one-year contract on April 17, 2014. During the season Generous was traded to HIFK on February 3, 2015. He left the team after the conclusion of the 2016–17 season and signed with EC Red Bull Salzburg of the Austrian EBEL on May 23, 2017.\n\nIn the 2017–18 season, Generous served as Salzburg's shutdown defenseman with 6 points in 39 games. In the post-season, Generous helped Salzburg reach the final as Austrian Champions, before losing in game 7 to HC Bolzano. In the off-season Generous opted to return to Finland, securing a one-year contract with his fourth Liiga outfit, Ilves Tampere, on May 25, 2018.\n\nCareer statistics\n\nAwards and honors\n\nReferences\n\nExternal links\n\n1985 births\nAmerican men's ice hockey defensemen\nBuffalo Sabres draft picks\nHIFK (ice hockey) players\nIce hockey players from Connecticut\nIlves players\nLake Erie Monsters players\nLiving people\nLukko players\nPeople from Cheshire, Connecticut\nPortland Pirates players\nReading Royals players\nSt. Lawrence Saints men's ice hockey players\nEC Red Bull Salzburg players\nVaasan Sport players\nAmerican expatriate sportspeople in Austria\nAmerican expatriate ice hockey people in Finland",
"Horace (born Horatio) Smith (31 December 1779 – 12 July 1849) was an English poet and novelist. In 1818, he participated in a sonnet-writing competition with Percy Bysshe Shelley. It was of Smith that Shelley said: \"Is it not odd that the only truly generous person I ever knew who had money enough to be generous with should be a stockbroker? He writes poetry and pastoral dramas and yet knows how to make money, and does make it, and is still generous.\"\n\nBiography\nSmith was born in London, the fifth of eight children, son of Robert Smith (1747–1832) F.R.S. and his wife Mary Bogle. His niece was the poet Maria Abdy. He was educated at Chigwell School with his elder brother James Smith, also a writer. Horace first came to public attention in 1812 at the time of the rebuilding of the Drury Lane Theatre, after it had burnt down; the managers offered a prize of £50 for an address to be recited at the Theatre's reopening in October. The Smith brothers wrote parodies of poets of the day, supposedly their failed entries in the competition, and sold the collection under the title Rejected Addresses. James parodied Wordsworth, Southey, Coleridge and Crabbe, while Horace parodied Byron, Moore, Scott and Bowles.\n\nSmith went on to become a prosperous stockbroker. He travelled with family in continental Europe from 1821 to 1825. Returning to England, he first took a house in Tunbridge Wells, and then moved to Brighton in 1826. He died at Tunbridge Wells on 12 July 1849.\n\nWorks\nThe Rejected Addresses, with seven editions within three months, still stands the most widely popular parodies ever published in the country. The book was written without malice; none of the poets caricatured took offence, while the imitation is so clever that both Byron and Scott claimed that they could scarcely believe they had not written the addresses ascribed to them. The only other collaboration by the two brothers was Horace in London (1813).\n\nSmith knew Shelley as a member of the circle around Leigh Hunt. Smith helped to manage Shelley's finances. Sonnet-writing competitions were not uncommon; Shelley and Smith wrote competing sonnets on the subject of the Nile River. Inspired by Diodorus Siculus (Book 1, Chapter 47), they each wrote and submitted a sonnet on the subject to The Examiner. Shelley's \"Ozymandias\" was published on 11 January 1818 under the pen name Glirastes, and Smith's poem of the same title was published on 1 February 1818 with the same title under the initials H.S. (and was later re-named in his collection Amarynthus as On a Stupendous Leg of Granite, Discovered Standing by Itself in the Deserts of Egypt, with the Inscription Inserted Below).\n\nAfter making his fortune, Horace Smith produced a series of historical novels: Brambletye House (1826), Tor Hill (1826), Reuben Apsley (1827), Zillah (1828), The New Forest (1829), Walter Colyton (1830), among others. Three volumes of Gaieties and Gravities, published by him in 1826, contain many clever essays both in verse and prose, but the only piece that remains much remembered is the \" Address to the Mummy in Belzoni's Exhibition.\" (see Giovanni Battista Belzoni)\n\nNotes\n\nExternal links \n \n \n \n\n1779 births\n1849 deaths\nPeople educated at Chigwell School\nWriters from London\nEnglish male poets\nParodists"
] |
[
"Joe Frazier",
"Financial issues and legal battles",
"when did joe frazier's financial issues begin?",
"According to an article from The New York Times, \"over the years, Frazier has lost a fortune through a combination of his own generosity and naivete,",
"who was he overly generous to with his money?",
"failed business opportunities."
] |
C_bd1ce4d9a762408187eecb48d848adaa_0
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what legal battles was he involved in?
| 3 |
What legal battles was Joe Frazier involved in?
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Joe Frazier
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According to an article from The New York Times, "over the years, Frazier has lost a fortune through a combination of his own generosity and naivete, his carousing, and failed business opportunities. The other headliners from his fighting days--Ali, George Foreman, and Larry Holmes--are millionaires." Asked about his situation, Frazier became playfully defensive, but would not reveal his financial status. "Are you asking me how much money I have?" he said. "I got plenty of money. I got a stack of $100 bills rolled up over there in the back of the room." Frazier blamed himself, partly, for not effectively promoting his own image. In a 2006 HBO documentary on the fight in Manila, Frazier was interviewed living in a one-room apartment on the second floor of his gym. His daughter Jackie Frazier-Lyde is a lawyer and worked on her father's behalf in pursuit of money they claimed he was owed in a Pennsylvania land deal. In 1973, Frazier purchased 140 acres in Bucks County, Pennsylvania for $843,000. Five years later, a developer agreed to buy the farmland for $1.8 million. Frazier received annual payments from a trust that bought the land with money he had earned in the ring. However, when the trust went bankrupt, the payments ceased. Frazier sued his business partners, insisting his signature had been forged on documents and he had no knowledge of the sale. In the ensuing years, the 140 acres was subdivided and turned into a residential community. The land is now worth an estimated $100 million. CANNOTANSWER
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His daughter Jackie Frazier-Lyde is a lawyer and worked on her father's behalf in pursuit of money they claimed he was owed in a Pennsylvania land deal.
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Joseph William Frazier (January 12, 1944November 7, 2011), nicknamed "Smokin' Joe", was an American professional boxer who competed from 1965 to 1981. He was known for his strength, durability, formidable punching power, and relentless pressure fighting style and was the first boxer to beat Muhammad Ali. Frazier reigned as the undisputed heavyweight champion from 1970 to 1973 and as an amateur won a gold medal at the 1964 Summer Olympics.
Frazier emerged as the top contender in the late 1960s, defeating opponents that included Jerry Quarry, Oscar Bonavena, Buster Mathis, Eddie Machen, Doug Jones, George Chuvalo, and Jimmy Ellis en route to becoming undisputed heavyweight champion in 1970, and he followed up by defeating Ali by unanimous decision in the highly anticipated Fight of the Century in 1971. Two years later, Frazier lost his title to George Foreman. Frazier fought on and beat Joe Bugner, lost a rematch to Ali, and beat Quarry and Ellis again.
Frazier's last world title challenge came in 1975, but he was beaten by Ali in the brutal rubber match, the Thrilla in Manila. Frazier retired in 1976 after a second loss to Foreman but made a comeback in 1981. He fought just once before retiring for good, finishing his career with a record of 32 wins, 4 losses, and 1 draw. The International Boxing Research Organization rates Frazier among the ten greatest heavyweights of all time.
The Ring magazine named him Fighter of the Year in 1967, 1970, and 1971, and the Boxing Writers Association of America (BWAA) named him Fighter of the Year in 1969, 1971, and 1975. In 1999, The Ring ranked him the eighth greatest heavyweight. He is an inductee of both the International Boxing Hall of Fame and the World Boxing Hall of Fame, having been a part of the inaugural induction class of 1990 for the IBHF.
His style was often compared with that of Henry Armstrong and occasionally Rocky Marciano and was dependent on bobbing, weaving, and relentless pressure to wear down his opponents. His best-known punch was a powerful left hook, which accounted for most of his knockouts. In his career, he lost to only two fighters, both former Olympic and world heavyweight champions: twice to Muhammad Ali and twice to George Foreman.
After retiring, Frazier made cameo appearances in several Hollywood movies and two episodes of The Simpsons. His son Marvis became a boxer and was trained by Joe Frazier himself. Marvis lost a title shot to heavyweight champion Larry Holmes in 1983 and was knocked out in the first round by an up-and-coming Mike Tyson in 1986. Marvis ended his career with a record of 19 wins and those 2 losses. Frazier's daughter Jacqui Frazier-Lyde also boxed professionally and is a former WIBA world light-heavyweight champion who ended her career with a record of 13 wins and 1 loss, with her sole loss coming in a majority-decision-points loss to Laila Ali, Ali's daughter, in a fight dubbed as "Ali–Frazier IV".
Frazier continued to train fighters in his gym in Philadelphia. His attitude towards Ali in later life was largely characterized by bitterness and contempt but was interspersed with brief reconciliations.
Frazier was diagnosed with liver cancer in late September 2011 and admitted to hospice care. He died of complications from the disease on November 7, 2011.
Early life
Joe Frazier was born January 12, 1944, the twelfth child of Dolly Alston-Frazier and Rubin in Beaufort, South Carolina. He was raised in a rural community of Beaufort called Laurel Bay. Frazier said that he was always close to his father, who carried him when he was a toddler "over the 10 acres of farmland" the Fraziers worked as sharecroppers "to the still where he made his bootleg corn liquor, and into town on Saturdays to buy the necessities that a family of 10 needed." He was affectionately called "Billie Boy".
Rubin Frazier had his left hand burned and part of his forearm amputated in a tractor accident the year that his son was born. Rubin Frazier and his wife, Dolly, had been in their car while Arthur Smith, who was drunk, passed by and made a move for Dolly but was rebuffed. Stefan Gallucci, a local barkeep, recounted the experience. When the Fraziers drove away, Smith fired at them several times and hit Dolly in the foot and Rubin several times in his arm. Smith was convicted and sent to prison but did not stay long. Dolly said, "If you were a good workman, the white man took you out of jail and kept you busy on the farm."
Frazier's parents worked their farm with two mules: Buck and Jenny. The farmland was what country people called "white dirt, which is another way of saying it isn't worth a damn." They could not grow peas or corn on it, only cotton and watermelons.
In the early 1950s, Frazier's father bought a black-and-white television. The family and others nearby came to watch boxing matches on it. Frazier's mother sold drinks for a quarter as they watched boxers like Sugar Ray Robinson, Rocky Marciano, Willie Pep, and Rocky Graziano. One night, Frazier's Uncle Israel noticed his stocky build. "That boy there... that boy is gonna be another Joe Louis", he remarked. The words made an impression on Joe. His classmates at school would give him a sandwich or a quarter to walk with them at final bell so that bullies would not bother them. Frazier said, "Any 'scamboogah' [disrespectful, low-down and foul person] who got in my face would soon regret it; Billie Boy could kick anybody's ass." The day after his uncle's comment, Frazier filled old burlap sack with rags, corncobs, a brick, and Spanish moss. He hung the makeshift heavybag from an oak tree in the backyard. "For the next 6, 7 years, damn near every day I'd hit that heavybag for an hour at a time. I'd wrap my hands with a necktie of my Daddy's, or a stocking of my Momma's or sister's, and get to it," he remarked.
Not long after Frazier started working, his left arm was seriously injured while he was running from the family's 300-pound hog. One day, Frazier poked the hog with a stick and ran away. The gate to the pigpen was open, however, and the hog chased him. Frazier fell and hit his left arm on a brick. His arm was torn badly, but as the family could not afford a doctor, the arm had to heal on its own. He was never able to keep it fully straight again.
When Frazier was 15 years old, he had been working on a farm for a family named Bellamy. They were both white men: Mac was younger and more easy-going, and Jim was a little rougher and somewhat backward. One day, a little black boy about 12 years old accidentally damaged one of the Bellamys' tractors. Jim became so enraged he took off his belt and whipped the boy with his belt right there in the field. Frazier saw the event and went back to the packing house on the farm and told his black friends what he had seen. Soon, Jim saw Frazier and asked him why he told what he had witnessed. Joe then told Bellamy he did not know what he was talking about, but Jim did not believe Frazier and told him to get off the farm before he took off his belt again. Frazier told him to keep his pants up because he was not going to use his belt on him. Jim then analyzed Frazier for a bit and eventually said, "Go on, get the hell outta here." Joe knew from that moment it was time for him to leave Beaufort, and he could see only hard times and low rent for himself. Even his Momma could see it. She told Frazier, "Son, if you can't get along with the white folks, then leave home because I don't want anything to happen to you."
The train fare from Beaufort to the cities up north was costly, and the closest bus stop was in Charleston, away. Luckily, by 1958, the Greyhound Lines bus (called "The Dog" by locals in Beaufort) had finally made Beaufort a stop on its South Carolina route. Frazier had a brother, Tommy, in New York and was told that he could stay with Tommy and his family. Frazier had to save up a bit before he could make the bus trip to New York and still have some money in his pocket, and so he first went to work at the local Coca-Cola plant. Joe remarked that the white guy would drive the truck and that he would do the real work stacking and unloading the crates. Joe stayed with Coca-Cola until the government began building houses for the Marines stationed at Parris Island, when he was hired on a work crew.
Nine months eventually passed since he got the boot from the Bellamy farm. One day, with no fanfare and no tearful goodbyes, Frazier packed quickly and got the first bus heading northward. Joe finally settled in Philadelphia, Pennsylvania: "I climbed on the Dog's back and rode through the night. It was 1959; I was 15 years old and I was on my own."
Amateur career
During Frazier's amateur career, he won Golden Gloves heavyweight championships in 1962, 1963, and 1964. His only loss in three years as an amateur was to Buster Mathis. Mathis would prove to be Joe's biggest obstacle to making the 1964 US Olympic boxing team. They met in the final of the US Olympic trials at the New York World's Fair in the summer of 1964. Their fight was scheduled for three rounds and they fought with 10-oz gloves and with headgear, but the boxers who made it to Tokyo would wear no headgear and would wear 8-oz gloves. Frazier was eager to get back at Mathis for his only amateur loss and knocked out two opponents to get to the finals. However, once again when the dust settled, the judges had called it for Mathis, undeservedly Joe thought. "All that fat boy had done was run like a thief- hit me with a peck and backpedal like crazy," he would remark.
Mathis had worn his trunks very high so that when Frazier hit Mathis with legitimate body shots, the referee took a dim view of them. In the second round, the referee had gone so far as to penalize Joe two points for hitting below the belt. "In a three-round bout a man can't afford a points deduction like that," Frazier said. He then returned to Philadelphia and felt as low as he had ever been and even thought of giving up boxing. Duke Dugent and his trainer, Yank Durham, were able to talk him out of his doldrums and even suggested that Frazier make the trip to Tokyo as an alternate in case something happened to Mathis. Frazier agreed and was a workhorse there, sparring with any of the Olympic boxers who wanted some action. "Middleweight, light heavyweight, it didn't matter to me, I got in there and boxed all comers," he said. In contrast, Mathis was slacking off. In the morning, when the Olympic team would do their roadwork, Mathis would run a mile and start walking and say, "Go ahead, big Joe. I'll catch up."
Frazier's amateur record was 38–2.
1964 Summer Olympics
In 1964, heavyweight representative Buster Mathis qualified but was injured, and so Frazier was sent as a replacement. At the heavyweight boxing event, Frazier knocked out George Oywello of Uganda in the first round, then knocked out Athol McQueen of Australia 40 seconds into the third round. He was then into the semifinal, as the only American boxer left, facing the 6'2", 214-lb Vadim Yemelyanov of the Soviet Union.
"My left hook was a heat-seeking missile, careening off his face and body time and again. Twice in the second round I knocked him to the canvas. But as I pounded away, I felt a jolt of pain shoot through my left arm. Oh damn, the thumb," Frazier said. He knew immediately the thumb of his left hand was damaged, but he was unsure as to the extent. "In the midst of the fight, with your adrenaline pumping, it's hard to gauge such things. My mind was on more important matters. Like how I was going to deal with Yemelyanov for the rest of the fight." The match ended when the Soviet's handlers threw in the towel at 1:49 in the second round, and the referee raised Frazier's injured hand in victory.
Now that Frazier was into the final, he mentioned his broken thumb to no one. He went back to his room and soaked his thumb in hot water and Epsom salts. "Pain or not, Joe Frazier of Beaufort, South Carolina, was going for gold," he proclaimed. He went on to fight German Hans Huber, eight years his senior. Frazier was now used to fighting bigger guys, but not with a damaged left hand. When the opening bell sounded on fight night, Joe came out, started swinging punches, and threw his right hand more than usual that night. Every so often, he would use his left hook, but nothing landed with the kind of impact that he had managed in previous bouts. He won a 3-2 decision.
Professional career
After Frazier won the only American 1964 Olympic boxing gold medal, his trainer Yancey "Yank" Durham helped put together Cloverlay, a group of local businessmen (including a young Larry Merchant) who invested in Frazier's professional career and allowed him to train full time. Durham was Frazier's chief trainer and manager until Durham's death in August 1973.
Frazier turned professional in 1965 by defeating Woody Goss by a technical knockout in the first round. He won three more fights that year, all by knockout and none going past the third round. Later that year, he was in a training accident in which he suffered an injury that left him legally blind in his left eye. During pre-fight physicals, after reading the eye chart with his right eye, when prompted to cover his other eye, Frazier switched hands but covered his left eye for a second time, and state athletic commission physicians seemed not to notice or act.
Frazier's second contest was of interest in that he was decked in the round by Mike Bruce. Frazier took an "8" count by referee Bob Polis but rallied for a TKO over Bruce in the third round.
In 1966, as Frazier's career was taking off, Durham contacted Los Angeles trainer Eddie Futch. The two men had never met, but Durham had heard of Futch, who had a reputation as one of the most respected trainers in boxing. Frazier was sent to Los Angeles to train before Futch agreed to join Durham as an assistant trainer. With Futch's assistance, Durham arranged three fights in Los Angeles against journeyman Al Jones, veteran contender Eddie Machen and George "Scrap Iron" Johnson. Frazier knocked out Jones and Machen but surprisingly went through 10 rounds with journeyman Johnson to win a unanimous decision. Johnson had apparently bet all his purse that he would survive to the final bell, noted Ring Magazine, and he somehow achieved it. However Johnson was known in the trade as "impossibly durable".
After the Johnson match, Futch became a full-fledged member of the Frazier camp as an assistant trainer and strategist, who advised Durham on matchmaking. It was Futch who suggested that Frazier boycott the 1967 WBA Heavyweight Elimination Tournament to find a successor to Muhammad Ali after the Heavyweight Champion was stripped of his title for refusing to be inducted into the military, although Frazier was the top-ranked contender at the time.
Futch proved invaluable to Frazier as an assistant trainer and helped modify his style. Under Futch's tutelage, Frazier adopted the bob-and-weave defensive style by making him more difficult for taller opponents to punch and giving Frazier more power with his own punches. Futch remained based in Los Angeles, where he worked as a supervisor with the US Postal Service, and flew to Philadelphia to work with Frazier during the final preparations for all of his fights.
After Durham died of a stroke on August 30, 1973, Futch was asked to succeed him as Frazier's head trainer and manager. He was training the heavyweight contender Ken Norton, who lost a rematch against Ali less than two weeks before Durham's death. Then, Norton's managers, Robert Biron and Aaron Rivkind, demanded that Futch choose to train either Frazier or Norton, with Futch choosing Frazier.
Mid-to-late 1960s
Now in his second year, in September 1966 and somewhat green, Frazier won a close decision over rugged contender Oscar Bonavena, despite Bonavena flooring him twice in the second round. A third knockdown in that round would have ended the fight under the three knockdown rule. Frazier rallied and won a decision after 12 rounds. The Machen win followed that contest.
In 1967, Frazier stormed ahead winning all six of his fights, including a sixth-round knockout of Doug Jones and a brutal fourth round (TKO) of Canadian George Chuvalo. No boxer had ever stopped Chuvalo, but Frazier, despite the stoppage, was unable to floor Chuvalo, who would never be dropped in his entire career despite fighting numerous top names.
By February 1967, Joe had scored 14 wins and his star was beginning to rise. This culminated with his first appearance on the cover of Ring Magazine. That month, he met Ali, who had not yet been stripped of his title. Ali said that Joe would never stand a chance of "whipping" him even in his wildest dreams. Later that year, Muhammad Ali was stripped of his world heavyweight title because of his refusal to accept the military draft during the Vietnam War.
To fill the vacancy, the New York State Athletic Commission held a bout between Frazier and Buster Mathis, who were undefeated going into the match, with the winner to be recognized as "World Champion" by New York State. Although the fight was not recognized as a World Championship bout by some, Frazier won by a knockout in the 11th round and staked a claim to the Heavyweight Championship.
Laying claims
Frazier first defended his claim by beating hard-hitting prospect Manuel Ramos of Mexico. His victory came in only two rounds.
He closed 1968 by again beating Oscar Bonavena via a 15-round decision in a hard-fought rematch. Bonavena fought somewhat defensively and allowed himself to be often bulled to the ropes, which let Frazier build a wide points margin. Ring Magazine showed Bonavena afterwards with a gruesomely bruised face. It had been a punishing match.
In 1969, Frazier defended his NYSAC title in Texas and beat Dave Zyglewicz, who had lost only once in 29 fights, by a first-round knockout. Then, he beat Jerry Quarry in a seventh-round stoppage. The competitive, exciting match with Quarry was named Ring Magazine fight of the year in 1969. Frazier showed he could do a lot more than just slug by using his newly-honed defensive skills to slip, bob, and weave a barrage of punches from Quarry despite Quarry's reputation as an excellent counter-punching heavyweight.
World Championship win
On February 16, 1970, Frazier faced WBA Champion Jimmy Ellis at Madison Square Garden. Ellis had outpointed Jerry Quarry in the final bout of the WBA elimination tournament for Ali's vacated belt. Frazier had declined to participate in the WBA tournament to protest their decision to strip Ali. Ellis held impressive wins over Oscar Bonavena and Leotis Martin, among others. Beforehand, Ali had announced his retirement and relinquished the Heavyweight title, allowing Ellis and Frazier to fight for the undisputed title, but both lacked any lineal claim. Frazier won by a technical knockout when Ellis's trainer Angelo Dundee would not let him come out for the fifth round following two fourth-round knockdowns, the first knockdowns of Ellis's career. Frazier's decisive win over Ellis was a frightening display of power and tenacity.
In his first title defense, Frazier traveled to Detroit to fight World Light Heavyweight Champion Bob Foster, who would go on to set a record for the number of title defenses in the light-heavyweight division. Frazier (26–0) retained his title by twice flooring the hard-punching Foster in the second round. The second knockdown was delivered by a devastating left hook, and Foster could not beat the count. Then came what was hyped as the "Fight of the Century", his first fight with Muhammad Ali, who had launched a comeback in 1970 after a three-year suspension from boxing. It would be the first meeting of two undefeated heavyweight champions (and the last until Mike Tyson faced Michael Spinks in 1988) since Ali (31–0) had not lost his title in the ring but been stripped because of his refusal to be conscripted into the armed forces. Some considered him to be the true champion, and the fight would crown the one true heavyweight champion.
Fight of the Century: first fight versus Ali
On March 8, 1971, at Madison Square Garden, Frazier and Ali met in the first of their three bouts which was called the "Fight of the Century". With an international television audience and an in-house audience that included singers and actors and with Burt Lancaster (who served as "color commentator" with the fight announcer, Don Dunphy), both undefeated heavyweights met in a media-frenzied atmosphere reminiscent of Joe Louis's youth.
Several factors came together for Frazier in the fight. He was 27 and mentally and physically at his peak. Ali was 29 and coming back from a three-year absence. He had had two good wins in his comeback, including a bruising, fifteen-round technical knockout win over Oscar Bonavena.
Frazier and Futch noticed Ali's tendency to throw a right-hand uppercut from a straight standing position after dropping the hand in preparation to throw it with force. Futch instructed Frazier to watch Ali's right hand and, once Ali dropped it, to throw a left hook at the spot that they knew Ali's face would be a second later.
In a brutal and competitive contest, Frazier lost the first two rounds but was able to withstand Ali's combinations. Frazier was known to improve in middle rounds, which was the case with Ali. Frazier came on strong after the third round round by landing hard shots to the body and powerful left hooks to the head. Frazier won a 15-round unanimous decision 9–6, 11–4, 8–6–1 and claimed the lineal title. Ali was taken to a hospital immediately after the fight to check that his severely-swollen right-side jaw was not actually broken. Frazier also spent time in hospital during the ensuing month, the exertions of the fight having been exacerbated by hypertension and a kidney infection.
Later that year, he fought a three-round exhibition against hard-hitting veteran contender Cleveland Williams. In 1972, Frazier successfully defended the title twice by knocking out Terry Daniels and Ron Stander in the fourth and fifth rounds, respectively. Daniels had earlier drawn with Jerry Quarry and Stander had knocked out Earnie Shavers.
Loses title to George Foreman
Frazier lost his undefeated record of 29–0 and his world championship, at the hands of the unbeaten George Foreman on January 22, 1973, in Kingston, Jamaica. Despite Frazier being the overall favorite, Foreman towered 10 cm (4 in.) over the more compact champion along with an 8 in. reach advantage and dominated from the start. Two minutes into the first round, Foreman knocked Frazier down for the first time. In the second round, after Frazier was knocked down for the sixth time, the referee Arthur Mercante, Sr., stopped the contest with the fight a dominant victory for Foreman.
Frazier won his next fight, a 12-round decision over Joe Bugner, in London to begin his quest to regain the title.
Mid-1970s: second fight against Ali
Frazier's second fight against Ali took place on January 28, 1974 in New York City. In contrast to their previous meeting, the bout was a non-title fight, with Ali winning a 12-round unanimous decision. The fight was notable for the amount of clinching.
Five months later, Frazier again battled Jerry Quarry in Madison Square Garden by winning the fight in the fifth round with a strong left hook to the ribs.
In March 1975, Frazier fought a rematch with Jimmy Ellis in Melbourne, Australia, and knocked him out in nine rounds. The win again established Frazier as the top heavyweight challenger for the title, which Ali had won from Foreman in the famous "Rumble in the Jungle" five months earlier.
Thrilla in Manila: third Ali fight
Ali and Frazier met for the third and final time in Quezon City (a district of Manila, the Philippines), on October 1, 1975. Prior to the fight, Ali took opportunities to mock Frazier by calling him a '"gorilla" and generally trying to irritate him.
The fight was a punishing display on both sides under oppressively-hot conditions. During the fight, Ali said to Frazier, "They said you were through, Joe." Frazier said, "They lied." Ali repeatedly held Frazier around the back of his neck with his right hand, a violation of the rules that went unpunished by the referee. After 14 grueling rounds, Ali returned to his corner demanding they cut his gloves and end the bout. However, Dundee ignored Ali. This proved fortuitous, as across the ring, Futch stopped the fight out of concern for his charge. Frazier had a closed left eye, an almost-closed right eye, and a cut. Ali later said that it was the "closest thing to dying that I know of."
In 1977, Ali told the interviewer Reg Gutteridge that he felt this third Frazier fight was his best performance. When Gutteridge suggested his win over Cleveland Williams, Ali said, "No, Frazier's much tougher and rougher than Cleveland Williams."
Fighting Foreman again
In 1976, Frazier (32–3) fought George Foreman for a second time, shaving his head for the fight. Frazier was more restrained than usual and avoided walking into big shots like he had done in their first match. However, Foreman lobbed a tremendous left hook that lifted Frazier off his feet. After a second knockdown, the fight was stopped in the fifth round. Shortly after the fight, Frazier announced his retirement.
Frazier made a cameo appearance in the movie Rocky later in 1976 and dedicated himself to training local boxers in Philadelphia, where he grew up, including some of his own children. He also helped train Duane Bobick.
1980s comeback and career as trainer
In 1981, Frazier attempted a comeback. He drew over 10 rounds with hulking Floyd "Jumbo" Cummings in Chicago, Illinois. It was a bruising battle with mixed reviews. He then retired for good.
Then, Frazier involved himself in various endeavors. Among his sons who turned to boxing as a career, Frazier helped train Marvis Frazier, a challenger for Larry Holmes's world heavyweight title. He also trained his daughter, Jacqui Frazier-Lyde, who became a WIBA world light-heavyweight champion whose most notable fight was a close majority decision points loss against Laila Ali, the daughter of his rival.
Frazier's overall record was 32 wins, 4 losses, and 1 draw, with 27 wins by knockout. He won 73% of his fights by knockout, compared to 60% for Ali and 84% for Foreman. He was a member of the International Boxing Hall Of Fame.
In 1984, Frazier was the special referee for the NWA World Heavyweight Championship match between Ric Flair and Dusty Rhodes at Starrcade '84. He awarded the match to Flair because of Rhodes's excessive bleeding.
In 1986, Frazier appeared as the "cornerman" for Mr. T against Roddy Piper at Nassau Veterans Memorial Coliseum as part of WrestleMania 2. In 1989, Frazier joined Ali, Foreman, Norton, and Holmes for the tribute special Champions Forever.
Frazier was inducted into the Madison Square Garden Walk of Fame in 1996.
Other work
Media appearances
Frazier appeared as himself in an episode of The Simpsons - "Brother, Can You Spare Two Dimes?" in 1992, in which he was supposed to have been beaten up by Barney Gumble in Moe's Tavern. Frazier's son objected, so Frazier was instead shown beating up Gumble and putting him in a trash can. Frazier appeared in another episode of The Simpsons - "Homer's Paternity Coot" in 2006. He appeared on-screen in the 8th series of The Celebrity Apprentice (USA) television show as a guest-attendee at a Silent Auction event held for the season finale (won by Joan Rivers). Frazier appeared as himself in the Academy Award-winning 1976 movie, Rocky. Since the debut of the Fight Night series of games made by EA Sports, Frazier appeared in Fight Night 2004, Fight Night Round 2, Fight Night Round 3, Fight Night Round 4 and Fight Night Champion.
Books
Frazier released his autobiography in March 1996, entitled Smokin' Joe: The Autobiography of a Heavyweight Champion of the World, Smokin' Joe Frazier. Frazier promoted the book with a memorable appearance on The Howard Stern Show on January 23, 1996.
He also wrote Box like the Pros, "a complete introduction to the sport, including the game's history, rules of the ring, how fights are scored, how to spar, the basics of defence and offence, the fighter's workout, a directory of boxing gyms, and much more. Box Like the Pros is an instruction manual, a historical reference tool and an insider's guide to the world's most controversial sport."
Financial issues and legal battles
According to an article from The New York Times, "over the years, Frazier has lost a fortune through a combination of his own generosity and naïveté, his carousing, and failed business opportunities. The other headliners from his fighting days—Ali, George Foreman, and Larry Holmes—are millionaires." Asked about his situation, Frazier became playfully defensive, but would not reveal his financial status. "Are you asking me how much money I have?" he said. "I got plenty of money. I got a stack of $100 bills rolled up over there in the back of the room." Frazier blamed himself, partly, for not effectively promoting his own image. In a 2006 HBO documentary on the fight in Manila, Frazier was interviewed living in a one-room apartment on the second floor of his gym.
His daughter Jacqui Frazier-Lyde is a lawyer and worked on her father's behalf in pursuit of money they claimed he was owed in a Pennsylvania land deal. In 1973, Frazier purchased 140 acres in Bucks County, Pennsylvania for $843,000. Five years later, a developer agreed to buy the farmland for $1.8 million. Frazier received annual payments from a trust that bought the land with money he had earned in the ring. However, when the trust went bankrupt, the payments ceased.
Frazier sued his business partners, insisting his signature had been forged on documents and he had no knowledge of the sale. In the ensuing years, the 140 acres was subdivided and turned into a residential community. The land is now worth an estimated $100 million.
Relationship with Muhammad Ali
Initially, Frazier and Ali were friends. During Ali's enforced three-year lay-off from boxing for refusing to be drafted into the US Army, Frazier lent him money, testified before Congress and petitioned US President Richard Nixon to have Ali's right to box reinstated. Frazier supported Ali's right not to serve in the army: "If Baptists weren't allowed to fight, I wouldn't fight either."
However, in the build-up to their first fight, the Fight of the Century, Ali turned it into a "cultural and political referendum" by painting himself as a revolutionary and civil rights champion and Frazier as the white man's hope. Ali called him an "Uncle Tom" and a pawn of the white establishment as Frazier called him Clay. Ali successfully turned many black Americans against Frazier because Frazier never spoke out about race issues, and Ali could easily paint himself as hero to oppressed black people. Bryant Gumbel joined the pro-Ali anti-Frazier bandwagon by writing a major magazine article that asked, "Is Joe Frazier a white champion with black skin?" Frazier thought that was "a cynical attempt by Clay to make me feel isolated from my own people. He thought that would weaken me when it came time to face him in that ring. Well, he was wrong. It didn't weaken me, it awakened me to what a cheap-shot son of a bitch he was." Ali's camp also hurled many insults at Frazier, calling him an "ugly gorilla", though Ali had also compared other opponents to animals. He noted the hypocrisy of Ali calling him an Uncle Tom when his [Ali's] trainer (Angelo Dundee) was of Italian descent. When told by Michael Parkinson that Frazier was not an Uncle Tom, he responded by saying, "Then why does he insist on calling me Cassius Clay when even the worst of the white enemies recognize me as Muhammad Ali?"
As a result of Ali's campaign, Frazier's children were bullied at school, and his family was given police protection after receiving death threats. Ali declared that if Frazier won, he would crawl across the ring and admit that Frazier was the greatest. After Frazier won by a unanimous decision, he called upon Ali to fulfill his promise and crawl across the ring, but Ali failed to do so. Ali called it a "white man's decision" and insisted that he won.
During a televised joint interview prior to their second bout in 1974, Ali continued to insult Frazier, who took exception to Ali calling him "ignorant" and challenged him to a fight, which resulted in both of them brawling on the studio floor. Ali went on to win the 12-round non-title affair by a decision. Ali took things further in the build-up to their last fight, the Thrilla in Manila, and called Frazier "the other type of negro" and "ugly", "dumb", and a "gorilla" At one point he sparred with a man in a gorilla suit and pounded on a rubber gorilla doll, saying "This is Joe Frazier's conscience.... I keep it everywhere I go. This is the way he looks when you hit him." According to the fight's promoter, Don King, that enraged Frazier, who took it as a "character assassination" and "personal invective." One night before the fight, Ali waved around a toy pistol outside Frazier's hotel room. When Frazier came to the balcony, he pointed the gun at Frazier and yelled, "I am going to shoot you." After the fight, Ali summoned Frazier's son Marvis into his dressing room, and told him that he had not meant what he had said about his father. When informed by Marvis, Frazier responded, "You ain't me, son. Why isn't he apologizing to me?"
In his 1996 autobiography Smokin' Joe: The Autobiography of a Heavyweight Champion of the World, Frazier consistently refers to Muhammad Ali as "Cassius Clay" and never deviating from that convention unless the book directly quotes someone else.
For years afterwards, Frazier retained his bitterness towards Ali and suggested that Ali's battle with Parkinson's syndrome was a form of divine retribution for his earlier behavior. In 2001, Ali apologized to Frazier via a New York Times article: "In a way, Joe's right. I said a lot of things in the heat of the moment that I shouldn't have said. Called him names I shouldn't have called him. I apologize for that. I'm sorry. It was all meant to promote the fight." Frazier reportedly "embraced it" but later retorted that Ali apologized only to a newspaper, not to him. He said, "I'm still waiting [for him] to say it to me." Ali responded, "If you see Frazier, you tell him he's still a gorilla." Ali also said in an interview, "I wasn't going to get on my knees and crawl and beg him to forgive me."
Frazier told Sports Illustrated in May 2009 that he no longer held hard feelings for Ali. After Frazier's death in November 2011, Ali was among those who attended the private funeral services for Frazier in Philadelphia. Jesse Jackson, who spoke during the service, asked those in attendance to stand and "show your love" and reportedly Ali stood with the audience and clapped "vigorously".
Later years
Frazier lived in Philadelphia where he owned and managed a boxing gym. Frazier put the gym up for sale in mid-2009. Before the gym was put up for sale, Frazier, with the help of Peter Bouchard, formed the Smokin Joe Frazier Foundation, whose purpose was to give back to troubled and in need youth. Peter Bouchard volunteered to run the foundation for Frazier. Once Frazier's health declined, the foundation was shelved.
He was diagnosed with diabetes and high blood pressure. He and his nemesis, Muhammad Ali, alternated over the years between public apologies and public insults. In 1996, when Ali lit the Olympic flame in Atlanta, Frazier told a reporter that he would like to throw Ali into the fire and felt that he should have been chosen to light the flame. Frazier made millions of dollars in the 1970s, but the reported mismanagement of his real estate contributed to some financial difficulties.
The National Trust for Historic Preservation has named Joe Frazier's Gym in its 25th list of America's 11 Most Endangered Historic Places in 2012. In 2013, the gym was named to the National Register of Historic Places.
Frazier continued to train young fighters although he needed multiple operations for back injuries sustained in a car accident. He and Ali reportedly attempted a reconciliation in his final years, but in October 2006, Frazier still claimed to have won all three bouts between them. He declared to a Times reporter, when questioned about his bitterness toward Ali, "I am what I am."
Frazier attempted to revive his music interests in late 2009/2010. Notably popular for singing 'Mustang Sally,' both Frazier and manager Leslie R. Wolff teamed up with Welsh Rock Solo artist Jayce Lewis to release his repertoire in the UK, later visiting the Welshman there to host a string of after-dinner speeches and music developments. It would notably be Frazier's last appearance there.
Death
Frazier was diagnosed with liver cancer in late September 2011. By November 2011, he was under hospice care, where he died on November 7 at the age of 67.
Upon hearing of Frazier's death, Muhammad Ali said, "The world has lost a great champion. I will always remember Joe with respect and admiration."
Frazier's private funeral took place on November 14 at the Enon Tabernacle Baptist Church in Philadelphia and in addition to friends and family was attended by Muhammad Ali, Don King, Larry Holmes, Magic Johnson, Dennis Rodman, among others. Floyd Mayweather Jr. paid for Frazier's funeral services. His body was buried at the Ivy Hill Cemetery, a short drive from the Enon Tabernacle Baptist Church.
In popular media
He was played by boxer James Toney in the 2001 film Ali.
Some of the most memorable moments in the 1976 boxing-themed feature film, Rocky—such as Rocky's carcass-punching scenes and Rocky running up the steps of the Philadelphia Museum of Art, as part of his training regimen—are taken from Frazier's real-life exploits. In the film, Frazier makes a cameo appearance, as a spectator at the fight between Rocky and Apollo.
In March 2007, a Joe Frazier action figure was released as part of a range of toys based on the Rocky film franchise, developed by the American toy manufacturer, Jakks Pacific.
Electric bassist Jeff Berlin wrote a musical tribute simply called "Joe Frazier", originally recorded on the Bill Bruford album Gradually Going Tornado, available on the compilation album Master Strokes.
He guest-starred as himself in the 1992 The Simpsons episode "Brother, Can You Spare Two Dimes?", where he presented Homer Simpson with the Montgomery Burns Award for the Outstanding Achievement In The Field Of Excellence.
Mr. Sandman, a video game character in the Punch-Out !! video game series known for being one of the toughest opponents, was based in part on Frazier.
In the Fight Night Video Games Frazier is a character in each game.
His granddaughter, Latrice Frazier, appeared on an episode of Maury.
On July 1, 2021, CBS announced that his son Derek was one of 16 Houseguests participating in Big Brother 23. Derek ended up being the runner-up for that season, winning $75,000.
Professional boxing record
Music career
In the late 1970s, Frazier created a soul-funk group called "Joe Frazier and the Knockouts", mentioned in Billboard and recording a number of singles.
Joe toured widely in the US and Europe including Ireland, where among other places he performed in Donegal and Athy County Kildare with his band. Joe Frazier and the Knockouts were also featured singing in a 1978 Miller beer commercial.
Frazier sang at the 1978 Jerry Lewis Telethon and he sang the United States national anthem before the rematch between Ali and Leon Spinks on September 15, 1978.
Discography
See also
List of undisputed boxing champions
Notable boxing families
References
Bibliography
Further reading
External links
Joe Frazier – CBZ Profile
Boxing Hall of Fame
ESPN.com
ESPN.com -- additional information
New York Times Obituary
1944 births
2011 deaths
African-American boxers
Boxers at the 1964 Summer Olympics
Boxers from Philadelphia
Deaths from cancer in Pennsylvania
Deaths from liver cancer
International Boxing Hall of Fame inductees
Medalists at the 1964 Summer Olympics
Olympic boxers of the United States
Olympic gold medalists for the United States in boxing
Sportspeople from Beaufort, South Carolina
Sportspeople with a vision impairment
World Boxing Association champions
World Boxing Council champions
World heavyweight boxing champions
American male boxers
The Ring (magazine) champions
Burials at Ivy Hill Cemetery (Philadelphia)
20th-century African-American sportspeople
21st-century African-American people
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Joe Frazier
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According to an article from The New York Times, "over the years, Frazier has lost a fortune through a combination of his own generosity and naivete, his carousing, and failed business opportunities. The other headliners from his fighting days--Ali, George Foreman, and Larry Holmes--are millionaires." Asked about his situation, Frazier became playfully defensive, but would not reveal his financial status. "Are you asking me how much money I have?" he said. "I got plenty of money. I got a stack of $100 bills rolled up over there in the back of the room." Frazier blamed himself, partly, for not effectively promoting his own image. In a 2006 HBO documentary on the fight in Manila, Frazier was interviewed living in a one-room apartment on the second floor of his gym. His daughter Jackie Frazier-Lyde is a lawyer and worked on her father's behalf in pursuit of money they claimed he was owed in a Pennsylvania land deal. In 1973, Frazier purchased 140 acres in Bucks County, Pennsylvania for $843,000. Five years later, a developer agreed to buy the farmland for $1.8 million. Frazier received annual payments from a trust that bought the land with money he had earned in the ring. However, when the trust went bankrupt, the payments ceased. Frazier sued his business partners, insisting his signature had been forged on documents and he had no knowledge of the sale. In the ensuing years, the 140 acres was subdivided and turned into a residential community. The land is now worth an estimated $100 million. CANNOTANSWER
|
Bucks County, Pennsylvania
|
Joseph William Frazier (January 12, 1944November 7, 2011), nicknamed "Smokin' Joe", was an American professional boxer who competed from 1965 to 1981. He was known for his strength, durability, formidable punching power, and relentless pressure fighting style and was the first boxer to beat Muhammad Ali. Frazier reigned as the undisputed heavyweight champion from 1970 to 1973 and as an amateur won a gold medal at the 1964 Summer Olympics.
Frazier emerged as the top contender in the late 1960s, defeating opponents that included Jerry Quarry, Oscar Bonavena, Buster Mathis, Eddie Machen, Doug Jones, George Chuvalo, and Jimmy Ellis en route to becoming undisputed heavyweight champion in 1970, and he followed up by defeating Ali by unanimous decision in the highly anticipated Fight of the Century in 1971. Two years later, Frazier lost his title to George Foreman. Frazier fought on and beat Joe Bugner, lost a rematch to Ali, and beat Quarry and Ellis again.
Frazier's last world title challenge came in 1975, but he was beaten by Ali in the brutal rubber match, the Thrilla in Manila. Frazier retired in 1976 after a second loss to Foreman but made a comeback in 1981. He fought just once before retiring for good, finishing his career with a record of 32 wins, 4 losses, and 1 draw. The International Boxing Research Organization rates Frazier among the ten greatest heavyweights of all time.
The Ring magazine named him Fighter of the Year in 1967, 1970, and 1971, and the Boxing Writers Association of America (BWAA) named him Fighter of the Year in 1969, 1971, and 1975. In 1999, The Ring ranked him the eighth greatest heavyweight. He is an inductee of both the International Boxing Hall of Fame and the World Boxing Hall of Fame, having been a part of the inaugural induction class of 1990 for the IBHF.
His style was often compared with that of Henry Armstrong and occasionally Rocky Marciano and was dependent on bobbing, weaving, and relentless pressure to wear down his opponents. His best-known punch was a powerful left hook, which accounted for most of his knockouts. In his career, he lost to only two fighters, both former Olympic and world heavyweight champions: twice to Muhammad Ali and twice to George Foreman.
After retiring, Frazier made cameo appearances in several Hollywood movies and two episodes of The Simpsons. His son Marvis became a boxer and was trained by Joe Frazier himself. Marvis lost a title shot to heavyweight champion Larry Holmes in 1983 and was knocked out in the first round by an up-and-coming Mike Tyson in 1986. Marvis ended his career with a record of 19 wins and those 2 losses. Frazier's daughter Jacqui Frazier-Lyde also boxed professionally and is a former WIBA world light-heavyweight champion who ended her career with a record of 13 wins and 1 loss, with her sole loss coming in a majority-decision-points loss to Laila Ali, Ali's daughter, in a fight dubbed as "Ali–Frazier IV".
Frazier continued to train fighters in his gym in Philadelphia. His attitude towards Ali in later life was largely characterized by bitterness and contempt but was interspersed with brief reconciliations.
Frazier was diagnosed with liver cancer in late September 2011 and admitted to hospice care. He died of complications from the disease on November 7, 2011.
Early life
Joe Frazier was born January 12, 1944, the twelfth child of Dolly Alston-Frazier and Rubin in Beaufort, South Carolina. He was raised in a rural community of Beaufort called Laurel Bay. Frazier said that he was always close to his father, who carried him when he was a toddler "over the 10 acres of farmland" the Fraziers worked as sharecroppers "to the still where he made his bootleg corn liquor, and into town on Saturdays to buy the necessities that a family of 10 needed." He was affectionately called "Billie Boy".
Rubin Frazier had his left hand burned and part of his forearm amputated in a tractor accident the year that his son was born. Rubin Frazier and his wife, Dolly, had been in their car while Arthur Smith, who was drunk, passed by and made a move for Dolly but was rebuffed. Stefan Gallucci, a local barkeep, recounted the experience. When the Fraziers drove away, Smith fired at them several times and hit Dolly in the foot and Rubin several times in his arm. Smith was convicted and sent to prison but did not stay long. Dolly said, "If you were a good workman, the white man took you out of jail and kept you busy on the farm."
Frazier's parents worked their farm with two mules: Buck and Jenny. The farmland was what country people called "white dirt, which is another way of saying it isn't worth a damn." They could not grow peas or corn on it, only cotton and watermelons.
In the early 1950s, Frazier's father bought a black-and-white television. The family and others nearby came to watch boxing matches on it. Frazier's mother sold drinks for a quarter as they watched boxers like Sugar Ray Robinson, Rocky Marciano, Willie Pep, and Rocky Graziano. One night, Frazier's Uncle Israel noticed his stocky build. "That boy there... that boy is gonna be another Joe Louis", he remarked. The words made an impression on Joe. His classmates at school would give him a sandwich or a quarter to walk with them at final bell so that bullies would not bother them. Frazier said, "Any 'scamboogah' [disrespectful, low-down and foul person] who got in my face would soon regret it; Billie Boy could kick anybody's ass." The day after his uncle's comment, Frazier filled old burlap sack with rags, corncobs, a brick, and Spanish moss. He hung the makeshift heavybag from an oak tree in the backyard. "For the next 6, 7 years, damn near every day I'd hit that heavybag for an hour at a time. I'd wrap my hands with a necktie of my Daddy's, or a stocking of my Momma's or sister's, and get to it," he remarked.
Not long after Frazier started working, his left arm was seriously injured while he was running from the family's 300-pound hog. One day, Frazier poked the hog with a stick and ran away. The gate to the pigpen was open, however, and the hog chased him. Frazier fell and hit his left arm on a brick. His arm was torn badly, but as the family could not afford a doctor, the arm had to heal on its own. He was never able to keep it fully straight again.
When Frazier was 15 years old, he had been working on a farm for a family named Bellamy. They were both white men: Mac was younger and more easy-going, and Jim was a little rougher and somewhat backward. One day, a little black boy about 12 years old accidentally damaged one of the Bellamys' tractors. Jim became so enraged he took off his belt and whipped the boy with his belt right there in the field. Frazier saw the event and went back to the packing house on the farm and told his black friends what he had seen. Soon, Jim saw Frazier and asked him why he told what he had witnessed. Joe then told Bellamy he did not know what he was talking about, but Jim did not believe Frazier and told him to get off the farm before he took off his belt again. Frazier told him to keep his pants up because he was not going to use his belt on him. Jim then analyzed Frazier for a bit and eventually said, "Go on, get the hell outta here." Joe knew from that moment it was time for him to leave Beaufort, and he could see only hard times and low rent for himself. Even his Momma could see it. She told Frazier, "Son, if you can't get along with the white folks, then leave home because I don't want anything to happen to you."
The train fare from Beaufort to the cities up north was costly, and the closest bus stop was in Charleston, away. Luckily, by 1958, the Greyhound Lines bus (called "The Dog" by locals in Beaufort) had finally made Beaufort a stop on its South Carolina route. Frazier had a brother, Tommy, in New York and was told that he could stay with Tommy and his family. Frazier had to save up a bit before he could make the bus trip to New York and still have some money in his pocket, and so he first went to work at the local Coca-Cola plant. Joe remarked that the white guy would drive the truck and that he would do the real work stacking and unloading the crates. Joe stayed with Coca-Cola until the government began building houses for the Marines stationed at Parris Island, when he was hired on a work crew.
Nine months eventually passed since he got the boot from the Bellamy farm. One day, with no fanfare and no tearful goodbyes, Frazier packed quickly and got the first bus heading northward. Joe finally settled in Philadelphia, Pennsylvania: "I climbed on the Dog's back and rode through the night. It was 1959; I was 15 years old and I was on my own."
Amateur career
During Frazier's amateur career, he won Golden Gloves heavyweight championships in 1962, 1963, and 1964. His only loss in three years as an amateur was to Buster Mathis. Mathis would prove to be Joe's biggest obstacle to making the 1964 US Olympic boxing team. They met in the final of the US Olympic trials at the New York World's Fair in the summer of 1964. Their fight was scheduled for three rounds and they fought with 10-oz gloves and with headgear, but the boxers who made it to Tokyo would wear no headgear and would wear 8-oz gloves. Frazier was eager to get back at Mathis for his only amateur loss and knocked out two opponents to get to the finals. However, once again when the dust settled, the judges had called it for Mathis, undeservedly Joe thought. "All that fat boy had done was run like a thief- hit me with a peck and backpedal like crazy," he would remark.
Mathis had worn his trunks very high so that when Frazier hit Mathis with legitimate body shots, the referee took a dim view of them. In the second round, the referee had gone so far as to penalize Joe two points for hitting below the belt. "In a three-round bout a man can't afford a points deduction like that," Frazier said. He then returned to Philadelphia and felt as low as he had ever been and even thought of giving up boxing. Duke Dugent and his trainer, Yank Durham, were able to talk him out of his doldrums and even suggested that Frazier make the trip to Tokyo as an alternate in case something happened to Mathis. Frazier agreed and was a workhorse there, sparring with any of the Olympic boxers who wanted some action. "Middleweight, light heavyweight, it didn't matter to me, I got in there and boxed all comers," he said. In contrast, Mathis was slacking off. In the morning, when the Olympic team would do their roadwork, Mathis would run a mile and start walking and say, "Go ahead, big Joe. I'll catch up."
Frazier's amateur record was 38–2.
1964 Summer Olympics
In 1964, heavyweight representative Buster Mathis qualified but was injured, and so Frazier was sent as a replacement. At the heavyweight boxing event, Frazier knocked out George Oywello of Uganda in the first round, then knocked out Athol McQueen of Australia 40 seconds into the third round. He was then into the semifinal, as the only American boxer left, facing the 6'2", 214-lb Vadim Yemelyanov of the Soviet Union.
"My left hook was a heat-seeking missile, careening off his face and body time and again. Twice in the second round I knocked him to the canvas. But as I pounded away, I felt a jolt of pain shoot through my left arm. Oh damn, the thumb," Frazier said. He knew immediately the thumb of his left hand was damaged, but he was unsure as to the extent. "In the midst of the fight, with your adrenaline pumping, it's hard to gauge such things. My mind was on more important matters. Like how I was going to deal with Yemelyanov for the rest of the fight." The match ended when the Soviet's handlers threw in the towel at 1:49 in the second round, and the referee raised Frazier's injured hand in victory.
Now that Frazier was into the final, he mentioned his broken thumb to no one. He went back to his room and soaked his thumb in hot water and Epsom salts. "Pain or not, Joe Frazier of Beaufort, South Carolina, was going for gold," he proclaimed. He went on to fight German Hans Huber, eight years his senior. Frazier was now used to fighting bigger guys, but not with a damaged left hand. When the opening bell sounded on fight night, Joe came out, started swinging punches, and threw his right hand more than usual that night. Every so often, he would use his left hook, but nothing landed with the kind of impact that he had managed in previous bouts. He won a 3-2 decision.
Professional career
After Frazier won the only American 1964 Olympic boxing gold medal, his trainer Yancey "Yank" Durham helped put together Cloverlay, a group of local businessmen (including a young Larry Merchant) who invested in Frazier's professional career and allowed him to train full time. Durham was Frazier's chief trainer and manager until Durham's death in August 1973.
Frazier turned professional in 1965 by defeating Woody Goss by a technical knockout in the first round. He won three more fights that year, all by knockout and none going past the third round. Later that year, he was in a training accident in which he suffered an injury that left him legally blind in his left eye. During pre-fight physicals, after reading the eye chart with his right eye, when prompted to cover his other eye, Frazier switched hands but covered his left eye for a second time, and state athletic commission physicians seemed not to notice or act.
Frazier's second contest was of interest in that he was decked in the round by Mike Bruce. Frazier took an "8" count by referee Bob Polis but rallied for a TKO over Bruce in the third round.
In 1966, as Frazier's career was taking off, Durham contacted Los Angeles trainer Eddie Futch. The two men had never met, but Durham had heard of Futch, who had a reputation as one of the most respected trainers in boxing. Frazier was sent to Los Angeles to train before Futch agreed to join Durham as an assistant trainer. With Futch's assistance, Durham arranged three fights in Los Angeles against journeyman Al Jones, veteran contender Eddie Machen and George "Scrap Iron" Johnson. Frazier knocked out Jones and Machen but surprisingly went through 10 rounds with journeyman Johnson to win a unanimous decision. Johnson had apparently bet all his purse that he would survive to the final bell, noted Ring Magazine, and he somehow achieved it. However Johnson was known in the trade as "impossibly durable".
After the Johnson match, Futch became a full-fledged member of the Frazier camp as an assistant trainer and strategist, who advised Durham on matchmaking. It was Futch who suggested that Frazier boycott the 1967 WBA Heavyweight Elimination Tournament to find a successor to Muhammad Ali after the Heavyweight Champion was stripped of his title for refusing to be inducted into the military, although Frazier was the top-ranked contender at the time.
Futch proved invaluable to Frazier as an assistant trainer and helped modify his style. Under Futch's tutelage, Frazier adopted the bob-and-weave defensive style by making him more difficult for taller opponents to punch and giving Frazier more power with his own punches. Futch remained based in Los Angeles, where he worked as a supervisor with the US Postal Service, and flew to Philadelphia to work with Frazier during the final preparations for all of his fights.
After Durham died of a stroke on August 30, 1973, Futch was asked to succeed him as Frazier's head trainer and manager. He was training the heavyweight contender Ken Norton, who lost a rematch against Ali less than two weeks before Durham's death. Then, Norton's managers, Robert Biron and Aaron Rivkind, demanded that Futch choose to train either Frazier or Norton, with Futch choosing Frazier.
Mid-to-late 1960s
Now in his second year, in September 1966 and somewhat green, Frazier won a close decision over rugged contender Oscar Bonavena, despite Bonavena flooring him twice in the second round. A third knockdown in that round would have ended the fight under the three knockdown rule. Frazier rallied and won a decision after 12 rounds. The Machen win followed that contest.
In 1967, Frazier stormed ahead winning all six of his fights, including a sixth-round knockout of Doug Jones and a brutal fourth round (TKO) of Canadian George Chuvalo. No boxer had ever stopped Chuvalo, but Frazier, despite the stoppage, was unable to floor Chuvalo, who would never be dropped in his entire career despite fighting numerous top names.
By February 1967, Joe had scored 14 wins and his star was beginning to rise. This culminated with his first appearance on the cover of Ring Magazine. That month, he met Ali, who had not yet been stripped of his title. Ali said that Joe would never stand a chance of "whipping" him even in his wildest dreams. Later that year, Muhammad Ali was stripped of his world heavyweight title because of his refusal to accept the military draft during the Vietnam War.
To fill the vacancy, the New York State Athletic Commission held a bout between Frazier and Buster Mathis, who were undefeated going into the match, with the winner to be recognized as "World Champion" by New York State. Although the fight was not recognized as a World Championship bout by some, Frazier won by a knockout in the 11th round and staked a claim to the Heavyweight Championship.
Laying claims
Frazier first defended his claim by beating hard-hitting prospect Manuel Ramos of Mexico. His victory came in only two rounds.
He closed 1968 by again beating Oscar Bonavena via a 15-round decision in a hard-fought rematch. Bonavena fought somewhat defensively and allowed himself to be often bulled to the ropes, which let Frazier build a wide points margin. Ring Magazine showed Bonavena afterwards with a gruesomely bruised face. It had been a punishing match.
In 1969, Frazier defended his NYSAC title in Texas and beat Dave Zyglewicz, who had lost only once in 29 fights, by a first-round knockout. Then, he beat Jerry Quarry in a seventh-round stoppage. The competitive, exciting match with Quarry was named Ring Magazine fight of the year in 1969. Frazier showed he could do a lot more than just slug by using his newly-honed defensive skills to slip, bob, and weave a barrage of punches from Quarry despite Quarry's reputation as an excellent counter-punching heavyweight.
World Championship win
On February 16, 1970, Frazier faced WBA Champion Jimmy Ellis at Madison Square Garden. Ellis had outpointed Jerry Quarry in the final bout of the WBA elimination tournament for Ali's vacated belt. Frazier had declined to participate in the WBA tournament to protest their decision to strip Ali. Ellis held impressive wins over Oscar Bonavena and Leotis Martin, among others. Beforehand, Ali had announced his retirement and relinquished the Heavyweight title, allowing Ellis and Frazier to fight for the undisputed title, but both lacked any lineal claim. Frazier won by a technical knockout when Ellis's trainer Angelo Dundee would not let him come out for the fifth round following two fourth-round knockdowns, the first knockdowns of Ellis's career. Frazier's decisive win over Ellis was a frightening display of power and tenacity.
In his first title defense, Frazier traveled to Detroit to fight World Light Heavyweight Champion Bob Foster, who would go on to set a record for the number of title defenses in the light-heavyweight division. Frazier (26–0) retained his title by twice flooring the hard-punching Foster in the second round. The second knockdown was delivered by a devastating left hook, and Foster could not beat the count. Then came what was hyped as the "Fight of the Century", his first fight with Muhammad Ali, who had launched a comeback in 1970 after a three-year suspension from boxing. It would be the first meeting of two undefeated heavyweight champions (and the last until Mike Tyson faced Michael Spinks in 1988) since Ali (31–0) had not lost his title in the ring but been stripped because of his refusal to be conscripted into the armed forces. Some considered him to be the true champion, and the fight would crown the one true heavyweight champion.
Fight of the Century: first fight versus Ali
On March 8, 1971, at Madison Square Garden, Frazier and Ali met in the first of their three bouts which was called the "Fight of the Century". With an international television audience and an in-house audience that included singers and actors and with Burt Lancaster (who served as "color commentator" with the fight announcer, Don Dunphy), both undefeated heavyweights met in a media-frenzied atmosphere reminiscent of Joe Louis's youth.
Several factors came together for Frazier in the fight. He was 27 and mentally and physically at his peak. Ali was 29 and coming back from a three-year absence. He had had two good wins in his comeback, including a bruising, fifteen-round technical knockout win over Oscar Bonavena.
Frazier and Futch noticed Ali's tendency to throw a right-hand uppercut from a straight standing position after dropping the hand in preparation to throw it with force. Futch instructed Frazier to watch Ali's right hand and, once Ali dropped it, to throw a left hook at the spot that they knew Ali's face would be a second later.
In a brutal and competitive contest, Frazier lost the first two rounds but was able to withstand Ali's combinations. Frazier was known to improve in middle rounds, which was the case with Ali. Frazier came on strong after the third round round by landing hard shots to the body and powerful left hooks to the head. Frazier won a 15-round unanimous decision 9–6, 11–4, 8–6–1 and claimed the lineal title. Ali was taken to a hospital immediately after the fight to check that his severely-swollen right-side jaw was not actually broken. Frazier also spent time in hospital during the ensuing month, the exertions of the fight having been exacerbated by hypertension and a kidney infection.
Later that year, he fought a three-round exhibition against hard-hitting veteran contender Cleveland Williams. In 1972, Frazier successfully defended the title twice by knocking out Terry Daniels and Ron Stander in the fourth and fifth rounds, respectively. Daniels had earlier drawn with Jerry Quarry and Stander had knocked out Earnie Shavers.
Loses title to George Foreman
Frazier lost his undefeated record of 29–0 and his world championship, at the hands of the unbeaten George Foreman on January 22, 1973, in Kingston, Jamaica. Despite Frazier being the overall favorite, Foreman towered 10 cm (4 in.) over the more compact champion along with an 8 in. reach advantage and dominated from the start. Two minutes into the first round, Foreman knocked Frazier down for the first time. In the second round, after Frazier was knocked down for the sixth time, the referee Arthur Mercante, Sr., stopped the contest with the fight a dominant victory for Foreman.
Frazier won his next fight, a 12-round decision over Joe Bugner, in London to begin his quest to regain the title.
Mid-1970s: second fight against Ali
Frazier's second fight against Ali took place on January 28, 1974 in New York City. In contrast to their previous meeting, the bout was a non-title fight, with Ali winning a 12-round unanimous decision. The fight was notable for the amount of clinching.
Five months later, Frazier again battled Jerry Quarry in Madison Square Garden by winning the fight in the fifth round with a strong left hook to the ribs.
In March 1975, Frazier fought a rematch with Jimmy Ellis in Melbourne, Australia, and knocked him out in nine rounds. The win again established Frazier as the top heavyweight challenger for the title, which Ali had won from Foreman in the famous "Rumble in the Jungle" five months earlier.
Thrilla in Manila: third Ali fight
Ali and Frazier met for the third and final time in Quezon City (a district of Manila, the Philippines), on October 1, 1975. Prior to the fight, Ali took opportunities to mock Frazier by calling him a '"gorilla" and generally trying to irritate him.
The fight was a punishing display on both sides under oppressively-hot conditions. During the fight, Ali said to Frazier, "They said you were through, Joe." Frazier said, "They lied." Ali repeatedly held Frazier around the back of his neck with his right hand, a violation of the rules that went unpunished by the referee. After 14 grueling rounds, Ali returned to his corner demanding they cut his gloves and end the bout. However, Dundee ignored Ali. This proved fortuitous, as across the ring, Futch stopped the fight out of concern for his charge. Frazier had a closed left eye, an almost-closed right eye, and a cut. Ali later said that it was the "closest thing to dying that I know of."
In 1977, Ali told the interviewer Reg Gutteridge that he felt this third Frazier fight was his best performance. When Gutteridge suggested his win over Cleveland Williams, Ali said, "No, Frazier's much tougher and rougher than Cleveland Williams."
Fighting Foreman again
In 1976, Frazier (32–3) fought George Foreman for a second time, shaving his head for the fight. Frazier was more restrained than usual and avoided walking into big shots like he had done in their first match. However, Foreman lobbed a tremendous left hook that lifted Frazier off his feet. After a second knockdown, the fight was stopped in the fifth round. Shortly after the fight, Frazier announced his retirement.
Frazier made a cameo appearance in the movie Rocky later in 1976 and dedicated himself to training local boxers in Philadelphia, where he grew up, including some of his own children. He also helped train Duane Bobick.
1980s comeback and career as trainer
In 1981, Frazier attempted a comeback. He drew over 10 rounds with hulking Floyd "Jumbo" Cummings in Chicago, Illinois. It was a bruising battle with mixed reviews. He then retired for good.
Then, Frazier involved himself in various endeavors. Among his sons who turned to boxing as a career, Frazier helped train Marvis Frazier, a challenger for Larry Holmes's world heavyweight title. He also trained his daughter, Jacqui Frazier-Lyde, who became a WIBA world light-heavyweight champion whose most notable fight was a close majority decision points loss against Laila Ali, the daughter of his rival.
Frazier's overall record was 32 wins, 4 losses, and 1 draw, with 27 wins by knockout. He won 73% of his fights by knockout, compared to 60% for Ali and 84% for Foreman. He was a member of the International Boxing Hall Of Fame.
In 1984, Frazier was the special referee for the NWA World Heavyweight Championship match between Ric Flair and Dusty Rhodes at Starrcade '84. He awarded the match to Flair because of Rhodes's excessive bleeding.
In 1986, Frazier appeared as the "cornerman" for Mr. T against Roddy Piper at Nassau Veterans Memorial Coliseum as part of WrestleMania 2. In 1989, Frazier joined Ali, Foreman, Norton, and Holmes for the tribute special Champions Forever.
Frazier was inducted into the Madison Square Garden Walk of Fame in 1996.
Other work
Media appearances
Frazier appeared as himself in an episode of The Simpsons - "Brother, Can You Spare Two Dimes?" in 1992, in which he was supposed to have been beaten up by Barney Gumble in Moe's Tavern. Frazier's son objected, so Frazier was instead shown beating up Gumble and putting him in a trash can. Frazier appeared in another episode of The Simpsons - "Homer's Paternity Coot" in 2006. He appeared on-screen in the 8th series of The Celebrity Apprentice (USA) television show as a guest-attendee at a Silent Auction event held for the season finale (won by Joan Rivers). Frazier appeared as himself in the Academy Award-winning 1976 movie, Rocky. Since the debut of the Fight Night series of games made by EA Sports, Frazier appeared in Fight Night 2004, Fight Night Round 2, Fight Night Round 3, Fight Night Round 4 and Fight Night Champion.
Books
Frazier released his autobiography in March 1996, entitled Smokin' Joe: The Autobiography of a Heavyweight Champion of the World, Smokin' Joe Frazier. Frazier promoted the book with a memorable appearance on The Howard Stern Show on January 23, 1996.
He also wrote Box like the Pros, "a complete introduction to the sport, including the game's history, rules of the ring, how fights are scored, how to spar, the basics of defence and offence, the fighter's workout, a directory of boxing gyms, and much more. Box Like the Pros is an instruction manual, a historical reference tool and an insider's guide to the world's most controversial sport."
Financial issues and legal battles
According to an article from The New York Times, "over the years, Frazier has lost a fortune through a combination of his own generosity and naïveté, his carousing, and failed business opportunities. The other headliners from his fighting days—Ali, George Foreman, and Larry Holmes—are millionaires." Asked about his situation, Frazier became playfully defensive, but would not reveal his financial status. "Are you asking me how much money I have?" he said. "I got plenty of money. I got a stack of $100 bills rolled up over there in the back of the room." Frazier blamed himself, partly, for not effectively promoting his own image. In a 2006 HBO documentary on the fight in Manila, Frazier was interviewed living in a one-room apartment on the second floor of his gym.
His daughter Jacqui Frazier-Lyde is a lawyer and worked on her father's behalf in pursuit of money they claimed he was owed in a Pennsylvania land deal. In 1973, Frazier purchased 140 acres in Bucks County, Pennsylvania for $843,000. Five years later, a developer agreed to buy the farmland for $1.8 million. Frazier received annual payments from a trust that bought the land with money he had earned in the ring. However, when the trust went bankrupt, the payments ceased.
Frazier sued his business partners, insisting his signature had been forged on documents and he had no knowledge of the sale. In the ensuing years, the 140 acres was subdivided and turned into a residential community. The land is now worth an estimated $100 million.
Relationship with Muhammad Ali
Initially, Frazier and Ali were friends. During Ali's enforced three-year lay-off from boxing for refusing to be drafted into the US Army, Frazier lent him money, testified before Congress and petitioned US President Richard Nixon to have Ali's right to box reinstated. Frazier supported Ali's right not to serve in the army: "If Baptists weren't allowed to fight, I wouldn't fight either."
However, in the build-up to their first fight, the Fight of the Century, Ali turned it into a "cultural and political referendum" by painting himself as a revolutionary and civil rights champion and Frazier as the white man's hope. Ali called him an "Uncle Tom" and a pawn of the white establishment as Frazier called him Clay. Ali successfully turned many black Americans against Frazier because Frazier never spoke out about race issues, and Ali could easily paint himself as hero to oppressed black people. Bryant Gumbel joined the pro-Ali anti-Frazier bandwagon by writing a major magazine article that asked, "Is Joe Frazier a white champion with black skin?" Frazier thought that was "a cynical attempt by Clay to make me feel isolated from my own people. He thought that would weaken me when it came time to face him in that ring. Well, he was wrong. It didn't weaken me, it awakened me to what a cheap-shot son of a bitch he was." Ali's camp also hurled many insults at Frazier, calling him an "ugly gorilla", though Ali had also compared other opponents to animals. He noted the hypocrisy of Ali calling him an Uncle Tom when his [Ali's] trainer (Angelo Dundee) was of Italian descent. When told by Michael Parkinson that Frazier was not an Uncle Tom, he responded by saying, "Then why does he insist on calling me Cassius Clay when even the worst of the white enemies recognize me as Muhammad Ali?"
As a result of Ali's campaign, Frazier's children were bullied at school, and his family was given police protection after receiving death threats. Ali declared that if Frazier won, he would crawl across the ring and admit that Frazier was the greatest. After Frazier won by a unanimous decision, he called upon Ali to fulfill his promise and crawl across the ring, but Ali failed to do so. Ali called it a "white man's decision" and insisted that he won.
During a televised joint interview prior to their second bout in 1974, Ali continued to insult Frazier, who took exception to Ali calling him "ignorant" and challenged him to a fight, which resulted in both of them brawling on the studio floor. Ali went on to win the 12-round non-title affair by a decision. Ali took things further in the build-up to their last fight, the Thrilla in Manila, and called Frazier "the other type of negro" and "ugly", "dumb", and a "gorilla" At one point he sparred with a man in a gorilla suit and pounded on a rubber gorilla doll, saying "This is Joe Frazier's conscience.... I keep it everywhere I go. This is the way he looks when you hit him." According to the fight's promoter, Don King, that enraged Frazier, who took it as a "character assassination" and "personal invective." One night before the fight, Ali waved around a toy pistol outside Frazier's hotel room. When Frazier came to the balcony, he pointed the gun at Frazier and yelled, "I am going to shoot you." After the fight, Ali summoned Frazier's son Marvis into his dressing room, and told him that he had not meant what he had said about his father. When informed by Marvis, Frazier responded, "You ain't me, son. Why isn't he apologizing to me?"
In his 1996 autobiography Smokin' Joe: The Autobiography of a Heavyweight Champion of the World, Frazier consistently refers to Muhammad Ali as "Cassius Clay" and never deviating from that convention unless the book directly quotes someone else.
For years afterwards, Frazier retained his bitterness towards Ali and suggested that Ali's battle with Parkinson's syndrome was a form of divine retribution for his earlier behavior. In 2001, Ali apologized to Frazier via a New York Times article: "In a way, Joe's right. I said a lot of things in the heat of the moment that I shouldn't have said. Called him names I shouldn't have called him. I apologize for that. I'm sorry. It was all meant to promote the fight." Frazier reportedly "embraced it" but later retorted that Ali apologized only to a newspaper, not to him. He said, "I'm still waiting [for him] to say it to me." Ali responded, "If you see Frazier, you tell him he's still a gorilla." Ali also said in an interview, "I wasn't going to get on my knees and crawl and beg him to forgive me."
Frazier told Sports Illustrated in May 2009 that he no longer held hard feelings for Ali. After Frazier's death in November 2011, Ali was among those who attended the private funeral services for Frazier in Philadelphia. Jesse Jackson, who spoke during the service, asked those in attendance to stand and "show your love" and reportedly Ali stood with the audience and clapped "vigorously".
Later years
Frazier lived in Philadelphia where he owned and managed a boxing gym. Frazier put the gym up for sale in mid-2009. Before the gym was put up for sale, Frazier, with the help of Peter Bouchard, formed the Smokin Joe Frazier Foundation, whose purpose was to give back to troubled and in need youth. Peter Bouchard volunteered to run the foundation for Frazier. Once Frazier's health declined, the foundation was shelved.
He was diagnosed with diabetes and high blood pressure. He and his nemesis, Muhammad Ali, alternated over the years between public apologies and public insults. In 1996, when Ali lit the Olympic flame in Atlanta, Frazier told a reporter that he would like to throw Ali into the fire and felt that he should have been chosen to light the flame. Frazier made millions of dollars in the 1970s, but the reported mismanagement of his real estate contributed to some financial difficulties.
The National Trust for Historic Preservation has named Joe Frazier's Gym in its 25th list of America's 11 Most Endangered Historic Places in 2012. In 2013, the gym was named to the National Register of Historic Places.
Frazier continued to train young fighters although he needed multiple operations for back injuries sustained in a car accident. He and Ali reportedly attempted a reconciliation in his final years, but in October 2006, Frazier still claimed to have won all three bouts between them. He declared to a Times reporter, when questioned about his bitterness toward Ali, "I am what I am."
Frazier attempted to revive his music interests in late 2009/2010. Notably popular for singing 'Mustang Sally,' both Frazier and manager Leslie R. Wolff teamed up with Welsh Rock Solo artist Jayce Lewis to release his repertoire in the UK, later visiting the Welshman there to host a string of after-dinner speeches and music developments. It would notably be Frazier's last appearance there.
Death
Frazier was diagnosed with liver cancer in late September 2011. By November 2011, he was under hospice care, where he died on November 7 at the age of 67.
Upon hearing of Frazier's death, Muhammad Ali said, "The world has lost a great champion. I will always remember Joe with respect and admiration."
Frazier's private funeral took place on November 14 at the Enon Tabernacle Baptist Church in Philadelphia and in addition to friends and family was attended by Muhammad Ali, Don King, Larry Holmes, Magic Johnson, Dennis Rodman, among others. Floyd Mayweather Jr. paid for Frazier's funeral services. His body was buried at the Ivy Hill Cemetery, a short drive from the Enon Tabernacle Baptist Church.
In popular media
He was played by boxer James Toney in the 2001 film Ali.
Some of the most memorable moments in the 1976 boxing-themed feature film, Rocky—such as Rocky's carcass-punching scenes and Rocky running up the steps of the Philadelphia Museum of Art, as part of his training regimen—are taken from Frazier's real-life exploits. In the film, Frazier makes a cameo appearance, as a spectator at the fight between Rocky and Apollo.
In March 2007, a Joe Frazier action figure was released as part of a range of toys based on the Rocky film franchise, developed by the American toy manufacturer, Jakks Pacific.
Electric bassist Jeff Berlin wrote a musical tribute simply called "Joe Frazier", originally recorded on the Bill Bruford album Gradually Going Tornado, available on the compilation album Master Strokes.
He guest-starred as himself in the 1992 The Simpsons episode "Brother, Can You Spare Two Dimes?", where he presented Homer Simpson with the Montgomery Burns Award for the Outstanding Achievement In The Field Of Excellence.
Mr. Sandman, a video game character in the Punch-Out !! video game series known for being one of the toughest opponents, was based in part on Frazier.
In the Fight Night Video Games Frazier is a character in each game.
His granddaughter, Latrice Frazier, appeared on an episode of Maury.
On July 1, 2021, CBS announced that his son Derek was one of 16 Houseguests participating in Big Brother 23. Derek ended up being the runner-up for that season, winning $75,000.
Professional boxing record
Music career
In the late 1970s, Frazier created a soul-funk group called "Joe Frazier and the Knockouts", mentioned in Billboard and recording a number of singles.
Joe toured widely in the US and Europe including Ireland, where among other places he performed in Donegal and Athy County Kildare with his band. Joe Frazier and the Knockouts were also featured singing in a 1978 Miller beer commercial.
Frazier sang at the 1978 Jerry Lewis Telethon and he sang the United States national anthem before the rematch between Ali and Leon Spinks on September 15, 1978.
Discography
See also
List of undisputed boxing champions
Notable boxing families
References
Bibliography
Further reading
External links
Joe Frazier – CBZ Profile
Boxing Hall of Fame
ESPN.com
ESPN.com -- additional information
New York Times Obituary
1944 births
2011 deaths
African-American boxers
Boxers at the 1964 Summer Olympics
Boxers from Philadelphia
Deaths from cancer in Pennsylvania
Deaths from liver cancer
International Boxing Hall of Fame inductees
Medalists at the 1964 Summer Olympics
Olympic boxers of the United States
Olympic gold medalists for the United States in boxing
Sportspeople from Beaufort, South Carolina
Sportspeople with a vision impairment
World Boxing Association champions
World Boxing Council champions
World heavyweight boxing champions
American male boxers
The Ring (magazine) champions
Burials at Ivy Hill Cemetery (Philadelphia)
20th-century African-American sportspeople
21st-century African-American people
| true |
[
"Harris v. Balk, 198 U.S. 215 (1905), was a United States Supreme Court case that exemplified the bizarre types of jurisdiction state courts (and therefore plaintiffs) could assert through quasi in rem actions before International Shoe's (1945) \"minimum contacts\" test replaced Pennoyer's (1878) principles of \"power and notice\".\n\nThis case involved three parties: Harris, Balk, and Epstein. Harris owed Balk money and Balk owed Epstein money. Thus, there was no debt relationship between Harris and Epstein. Harris and Balk lived in North Carolina while Epstein lived in Maryland. Harris traveled to Maryland. While he was there, Epstein attached the debt Harris owed Balk in order for Epstein to obtain jurisdiction over Balk. Through this, Epstein hoped to obtain the debt that Balk owed him by accessing the debt Harris owed Balk. Consequently, Epstein obtained a judgment against Balk which directed Harris to pay Epstein instead of Balk.\n\nTo understand the principles in this case, one must understand a little about quasi in rem actions and jurisdictional principles at the time. At that time, a state court could not assert in personam jurisdiction over someone who was not physically served process in that state. However, if a defendant, on whom in personam jurisdiction was unable to be asserted, owned property in the state in which plaintiff was situated, plaintiff could \"attach\" to the action whatever property defendant owned in that state. Such an action was labeled quasi-in rem and, when this occurred, state courts were permitted to assert jurisdiction over an out-of-state defendant on any matter, with the limitation that any remedy be limited to involving only the attached property.\n\nApplying the above principles to this case, debt (money owed to someone) is considered actual property of the creditor. Importantly, at the time of Harris v. Balk, debt was considered to \"follow the debtor\" (i.e., wherever a debtor went, he brought along the debt he owed to his creditor). When Harris entered Maryland, he \"brought along\" the debt he owed to Balk (Harris's debt to Balk being Balk's property). This enabled Epstein to attach it in a quasi-in rem action and obtain jurisdiction over Balk.\n\nThe principles allowing the Maryland state court to assert jurisdiction in this case were subsequently overturned by the Supreme Court case in Shaffer v. Heitner (1977).\n\nSee also\nList of United States Supreme Court cases, volume 198\nList of United States Supreme Court cases\n\nReferences\n\nExternal links\n \n \n\nUnited States civil procedure case law\nUnited States Supreme Court cases\nUnited States Supreme Court cases of the Fuller Court\nOverruled United States Supreme Court decisions\n1905 in United States case law",
"Nolé Marin (born October 22, 1969) is the former owner/director of AIM Model Management in New York City until the agency was closed in 2016 after declaring bankruptcy due to his booking agent and several of his models' accusations of wage theft.\n\nHe was a judge on the reality shows America’s Next Top Model and True Beauty. True Beauty was named 'The Worst Show in TV Broadcast history''' by Jezebel (website) and was subsequently cancelled after two seasons.\n\n Legal issues \nNicholas Hamman-Howe sued Marin in 2010 for allegedly \"attempting to exchange career help for sex\".\n\nIn 2016, Marin's booking agent Darrin Judkins'' sued him for failing to pay him wages owed over several months. Later in 2016, several of his models including Louisa Warwick, Devon White, Laura O'Neall, Lana Khanashevich, John Paul Pfeiffer and Patrick Kinnane sued him for failing to pay them for more than $500,000 owed from jobs. \n\nIn 2017, Marin declared bankruptcy after failing to pay any of the money owed to his employee and models at his agency. He declared bankruptcy claiming $105,903 in liabilities and only $621 in assets.\n\nReferences \n\n1969 births\nLiving people\nFashion stylists"
] |
[
"Joe Frazier",
"Financial issues and legal battles",
"when did joe frazier's financial issues begin?",
"According to an article from The New York Times, \"over the years, Frazier has lost a fortune through a combination of his own generosity and naivete,",
"who was he overly generous to with his money?",
"failed business opportunities.",
"what legal battles was he involved in?",
"His daughter Jackie Frazier-Lyde is a lawyer and worked on her father's behalf in pursuit of money they claimed he was owed in a Pennsylvania land deal.",
"who owed him money?",
"Bucks County, Pennsylvania"
] |
C_bd1ce4d9a762408187eecb48d848adaa_0
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what did they owe him for?
| 5 |
What did Bucks County, Pennsylvania owe Joe Frazier for?
|
Joe Frazier
|
According to an article from The New York Times, "over the years, Frazier has lost a fortune through a combination of his own generosity and naivete, his carousing, and failed business opportunities. The other headliners from his fighting days--Ali, George Foreman, and Larry Holmes--are millionaires." Asked about his situation, Frazier became playfully defensive, but would not reveal his financial status. "Are you asking me how much money I have?" he said. "I got plenty of money. I got a stack of $100 bills rolled up over there in the back of the room." Frazier blamed himself, partly, for not effectively promoting his own image. In a 2006 HBO documentary on the fight in Manila, Frazier was interviewed living in a one-room apartment on the second floor of his gym. His daughter Jackie Frazier-Lyde is a lawyer and worked on her father's behalf in pursuit of money they claimed he was owed in a Pennsylvania land deal. In 1973, Frazier purchased 140 acres in Bucks County, Pennsylvania for $843,000. Five years later, a developer agreed to buy the farmland for $1.8 million. Frazier received annual payments from a trust that bought the land with money he had earned in the ring. However, when the trust went bankrupt, the payments ceased. Frazier sued his business partners, insisting his signature had been forged on documents and he had no knowledge of the sale. In the ensuing years, the 140 acres was subdivided and turned into a residential community. The land is now worth an estimated $100 million. CANNOTANSWER
|
when the trust went bankrupt, the payments ceased.
|
Joseph William Frazier (January 12, 1944November 7, 2011), nicknamed "Smokin' Joe", was an American professional boxer who competed from 1965 to 1981. He was known for his strength, durability, formidable punching power, and relentless pressure fighting style and was the first boxer to beat Muhammad Ali. Frazier reigned as the undisputed heavyweight champion from 1970 to 1973 and as an amateur won a gold medal at the 1964 Summer Olympics.
Frazier emerged as the top contender in the late 1960s, defeating opponents that included Jerry Quarry, Oscar Bonavena, Buster Mathis, Eddie Machen, Doug Jones, George Chuvalo, and Jimmy Ellis en route to becoming undisputed heavyweight champion in 1970, and he followed up by defeating Ali by unanimous decision in the highly anticipated Fight of the Century in 1971. Two years later, Frazier lost his title to George Foreman. Frazier fought on and beat Joe Bugner, lost a rematch to Ali, and beat Quarry and Ellis again.
Frazier's last world title challenge came in 1975, but he was beaten by Ali in the brutal rubber match, the Thrilla in Manila. Frazier retired in 1976 after a second loss to Foreman but made a comeback in 1981. He fought just once before retiring for good, finishing his career with a record of 32 wins, 4 losses, and 1 draw. The International Boxing Research Organization rates Frazier among the ten greatest heavyweights of all time.
The Ring magazine named him Fighter of the Year in 1967, 1970, and 1971, and the Boxing Writers Association of America (BWAA) named him Fighter of the Year in 1969, 1971, and 1975. In 1999, The Ring ranked him the eighth greatest heavyweight. He is an inductee of both the International Boxing Hall of Fame and the World Boxing Hall of Fame, having been a part of the inaugural induction class of 1990 for the IBHF.
His style was often compared with that of Henry Armstrong and occasionally Rocky Marciano and was dependent on bobbing, weaving, and relentless pressure to wear down his opponents. His best-known punch was a powerful left hook, which accounted for most of his knockouts. In his career, he lost to only two fighters, both former Olympic and world heavyweight champions: twice to Muhammad Ali and twice to George Foreman.
After retiring, Frazier made cameo appearances in several Hollywood movies and two episodes of The Simpsons. His son Marvis became a boxer and was trained by Joe Frazier himself. Marvis lost a title shot to heavyweight champion Larry Holmes in 1983 and was knocked out in the first round by an up-and-coming Mike Tyson in 1986. Marvis ended his career with a record of 19 wins and those 2 losses. Frazier's daughter Jacqui Frazier-Lyde also boxed professionally and is a former WIBA world light-heavyweight champion who ended her career with a record of 13 wins and 1 loss, with her sole loss coming in a majority-decision-points loss to Laila Ali, Ali's daughter, in a fight dubbed as "Ali–Frazier IV".
Frazier continued to train fighters in his gym in Philadelphia. His attitude towards Ali in later life was largely characterized by bitterness and contempt but was interspersed with brief reconciliations.
Frazier was diagnosed with liver cancer in late September 2011 and admitted to hospice care. He died of complications from the disease on November 7, 2011.
Early life
Joe Frazier was born January 12, 1944, the twelfth child of Dolly Alston-Frazier and Rubin in Beaufort, South Carolina. He was raised in a rural community of Beaufort called Laurel Bay. Frazier said that he was always close to his father, who carried him when he was a toddler "over the 10 acres of farmland" the Fraziers worked as sharecroppers "to the still where he made his bootleg corn liquor, and into town on Saturdays to buy the necessities that a family of 10 needed." He was affectionately called "Billie Boy".
Rubin Frazier had his left hand burned and part of his forearm amputated in a tractor accident the year that his son was born. Rubin Frazier and his wife, Dolly, had been in their car while Arthur Smith, who was drunk, passed by and made a move for Dolly but was rebuffed. Stefan Gallucci, a local barkeep, recounted the experience. When the Fraziers drove away, Smith fired at them several times and hit Dolly in the foot and Rubin several times in his arm. Smith was convicted and sent to prison but did not stay long. Dolly said, "If you were a good workman, the white man took you out of jail and kept you busy on the farm."
Frazier's parents worked their farm with two mules: Buck and Jenny. The farmland was what country people called "white dirt, which is another way of saying it isn't worth a damn." They could not grow peas or corn on it, only cotton and watermelons.
In the early 1950s, Frazier's father bought a black-and-white television. The family and others nearby came to watch boxing matches on it. Frazier's mother sold drinks for a quarter as they watched boxers like Sugar Ray Robinson, Rocky Marciano, Willie Pep, and Rocky Graziano. One night, Frazier's Uncle Israel noticed his stocky build. "That boy there... that boy is gonna be another Joe Louis", he remarked. The words made an impression on Joe. His classmates at school would give him a sandwich or a quarter to walk with them at final bell so that bullies would not bother them. Frazier said, "Any 'scamboogah' [disrespectful, low-down and foul person] who got in my face would soon regret it; Billie Boy could kick anybody's ass." The day after his uncle's comment, Frazier filled old burlap sack with rags, corncobs, a brick, and Spanish moss. He hung the makeshift heavybag from an oak tree in the backyard. "For the next 6, 7 years, damn near every day I'd hit that heavybag for an hour at a time. I'd wrap my hands with a necktie of my Daddy's, or a stocking of my Momma's or sister's, and get to it," he remarked.
Not long after Frazier started working, his left arm was seriously injured while he was running from the family's 300-pound hog. One day, Frazier poked the hog with a stick and ran away. The gate to the pigpen was open, however, and the hog chased him. Frazier fell and hit his left arm on a brick. His arm was torn badly, but as the family could not afford a doctor, the arm had to heal on its own. He was never able to keep it fully straight again.
When Frazier was 15 years old, he had been working on a farm for a family named Bellamy. They were both white men: Mac was younger and more easy-going, and Jim was a little rougher and somewhat backward. One day, a little black boy about 12 years old accidentally damaged one of the Bellamys' tractors. Jim became so enraged he took off his belt and whipped the boy with his belt right there in the field. Frazier saw the event and went back to the packing house on the farm and told his black friends what he had seen. Soon, Jim saw Frazier and asked him why he told what he had witnessed. Joe then told Bellamy he did not know what he was talking about, but Jim did not believe Frazier and told him to get off the farm before he took off his belt again. Frazier told him to keep his pants up because he was not going to use his belt on him. Jim then analyzed Frazier for a bit and eventually said, "Go on, get the hell outta here." Joe knew from that moment it was time for him to leave Beaufort, and he could see only hard times and low rent for himself. Even his Momma could see it. She told Frazier, "Son, if you can't get along with the white folks, then leave home because I don't want anything to happen to you."
The train fare from Beaufort to the cities up north was costly, and the closest bus stop was in Charleston, away. Luckily, by 1958, the Greyhound Lines bus (called "The Dog" by locals in Beaufort) had finally made Beaufort a stop on its South Carolina route. Frazier had a brother, Tommy, in New York and was told that he could stay with Tommy and his family. Frazier had to save up a bit before he could make the bus trip to New York and still have some money in his pocket, and so he first went to work at the local Coca-Cola plant. Joe remarked that the white guy would drive the truck and that he would do the real work stacking and unloading the crates. Joe stayed with Coca-Cola until the government began building houses for the Marines stationed at Parris Island, when he was hired on a work crew.
Nine months eventually passed since he got the boot from the Bellamy farm. One day, with no fanfare and no tearful goodbyes, Frazier packed quickly and got the first bus heading northward. Joe finally settled in Philadelphia, Pennsylvania: "I climbed on the Dog's back and rode through the night. It was 1959; I was 15 years old and I was on my own."
Amateur career
During Frazier's amateur career, he won Golden Gloves heavyweight championships in 1962, 1963, and 1964. His only loss in three years as an amateur was to Buster Mathis. Mathis would prove to be Joe's biggest obstacle to making the 1964 US Olympic boxing team. They met in the final of the US Olympic trials at the New York World's Fair in the summer of 1964. Their fight was scheduled for three rounds and they fought with 10-oz gloves and with headgear, but the boxers who made it to Tokyo would wear no headgear and would wear 8-oz gloves. Frazier was eager to get back at Mathis for his only amateur loss and knocked out two opponents to get to the finals. However, once again when the dust settled, the judges had called it for Mathis, undeservedly Joe thought. "All that fat boy had done was run like a thief- hit me with a peck and backpedal like crazy," he would remark.
Mathis had worn his trunks very high so that when Frazier hit Mathis with legitimate body shots, the referee took a dim view of them. In the second round, the referee had gone so far as to penalize Joe two points for hitting below the belt. "In a three-round bout a man can't afford a points deduction like that," Frazier said. He then returned to Philadelphia and felt as low as he had ever been and even thought of giving up boxing. Duke Dugent and his trainer, Yank Durham, were able to talk him out of his doldrums and even suggested that Frazier make the trip to Tokyo as an alternate in case something happened to Mathis. Frazier agreed and was a workhorse there, sparring with any of the Olympic boxers who wanted some action. "Middleweight, light heavyweight, it didn't matter to me, I got in there and boxed all comers," he said. In contrast, Mathis was slacking off. In the morning, when the Olympic team would do their roadwork, Mathis would run a mile and start walking and say, "Go ahead, big Joe. I'll catch up."
Frazier's amateur record was 38–2.
1964 Summer Olympics
In 1964, heavyweight representative Buster Mathis qualified but was injured, and so Frazier was sent as a replacement. At the heavyweight boxing event, Frazier knocked out George Oywello of Uganda in the first round, then knocked out Athol McQueen of Australia 40 seconds into the third round. He was then into the semifinal, as the only American boxer left, facing the 6'2", 214-lb Vadim Yemelyanov of the Soviet Union.
"My left hook was a heat-seeking missile, careening off his face and body time and again. Twice in the second round I knocked him to the canvas. But as I pounded away, I felt a jolt of pain shoot through my left arm. Oh damn, the thumb," Frazier said. He knew immediately the thumb of his left hand was damaged, but he was unsure as to the extent. "In the midst of the fight, with your adrenaline pumping, it's hard to gauge such things. My mind was on more important matters. Like how I was going to deal with Yemelyanov for the rest of the fight." The match ended when the Soviet's handlers threw in the towel at 1:49 in the second round, and the referee raised Frazier's injured hand in victory.
Now that Frazier was into the final, he mentioned his broken thumb to no one. He went back to his room and soaked his thumb in hot water and Epsom salts. "Pain or not, Joe Frazier of Beaufort, South Carolina, was going for gold," he proclaimed. He went on to fight German Hans Huber, eight years his senior. Frazier was now used to fighting bigger guys, but not with a damaged left hand. When the opening bell sounded on fight night, Joe came out, started swinging punches, and threw his right hand more than usual that night. Every so often, he would use his left hook, but nothing landed with the kind of impact that he had managed in previous bouts. He won a 3-2 decision.
Professional career
After Frazier won the only American 1964 Olympic boxing gold medal, his trainer Yancey "Yank" Durham helped put together Cloverlay, a group of local businessmen (including a young Larry Merchant) who invested in Frazier's professional career and allowed him to train full time. Durham was Frazier's chief trainer and manager until Durham's death in August 1973.
Frazier turned professional in 1965 by defeating Woody Goss by a technical knockout in the first round. He won three more fights that year, all by knockout and none going past the third round. Later that year, he was in a training accident in which he suffered an injury that left him legally blind in his left eye. During pre-fight physicals, after reading the eye chart with his right eye, when prompted to cover his other eye, Frazier switched hands but covered his left eye for a second time, and state athletic commission physicians seemed not to notice or act.
Frazier's second contest was of interest in that he was decked in the round by Mike Bruce. Frazier took an "8" count by referee Bob Polis but rallied for a TKO over Bruce in the third round.
In 1966, as Frazier's career was taking off, Durham contacted Los Angeles trainer Eddie Futch. The two men had never met, but Durham had heard of Futch, who had a reputation as one of the most respected trainers in boxing. Frazier was sent to Los Angeles to train before Futch agreed to join Durham as an assistant trainer. With Futch's assistance, Durham arranged three fights in Los Angeles against journeyman Al Jones, veteran contender Eddie Machen and George "Scrap Iron" Johnson. Frazier knocked out Jones and Machen but surprisingly went through 10 rounds with journeyman Johnson to win a unanimous decision. Johnson had apparently bet all his purse that he would survive to the final bell, noted Ring Magazine, and he somehow achieved it. However Johnson was known in the trade as "impossibly durable".
After the Johnson match, Futch became a full-fledged member of the Frazier camp as an assistant trainer and strategist, who advised Durham on matchmaking. It was Futch who suggested that Frazier boycott the 1967 WBA Heavyweight Elimination Tournament to find a successor to Muhammad Ali after the Heavyweight Champion was stripped of his title for refusing to be inducted into the military, although Frazier was the top-ranked contender at the time.
Futch proved invaluable to Frazier as an assistant trainer and helped modify his style. Under Futch's tutelage, Frazier adopted the bob-and-weave defensive style by making him more difficult for taller opponents to punch and giving Frazier more power with his own punches. Futch remained based in Los Angeles, where he worked as a supervisor with the US Postal Service, and flew to Philadelphia to work with Frazier during the final preparations for all of his fights.
After Durham died of a stroke on August 30, 1973, Futch was asked to succeed him as Frazier's head trainer and manager. He was training the heavyweight contender Ken Norton, who lost a rematch against Ali less than two weeks before Durham's death. Then, Norton's managers, Robert Biron and Aaron Rivkind, demanded that Futch choose to train either Frazier or Norton, with Futch choosing Frazier.
Mid-to-late 1960s
Now in his second year, in September 1966 and somewhat green, Frazier won a close decision over rugged contender Oscar Bonavena, despite Bonavena flooring him twice in the second round. A third knockdown in that round would have ended the fight under the three knockdown rule. Frazier rallied and won a decision after 12 rounds. The Machen win followed that contest.
In 1967, Frazier stormed ahead winning all six of his fights, including a sixth-round knockout of Doug Jones and a brutal fourth round (TKO) of Canadian George Chuvalo. No boxer had ever stopped Chuvalo, but Frazier, despite the stoppage, was unable to floor Chuvalo, who would never be dropped in his entire career despite fighting numerous top names.
By February 1967, Joe had scored 14 wins and his star was beginning to rise. This culminated with his first appearance on the cover of Ring Magazine. That month, he met Ali, who had not yet been stripped of his title. Ali said that Joe would never stand a chance of "whipping" him even in his wildest dreams. Later that year, Muhammad Ali was stripped of his world heavyweight title because of his refusal to accept the military draft during the Vietnam War.
To fill the vacancy, the New York State Athletic Commission held a bout between Frazier and Buster Mathis, who were undefeated going into the match, with the winner to be recognized as "World Champion" by New York State. Although the fight was not recognized as a World Championship bout by some, Frazier won by a knockout in the 11th round and staked a claim to the Heavyweight Championship.
Laying claims
Frazier first defended his claim by beating hard-hitting prospect Manuel Ramos of Mexico. His victory came in only two rounds.
He closed 1968 by again beating Oscar Bonavena via a 15-round decision in a hard-fought rematch. Bonavena fought somewhat defensively and allowed himself to be often bulled to the ropes, which let Frazier build a wide points margin. Ring Magazine showed Bonavena afterwards with a gruesomely bruised face. It had been a punishing match.
In 1969, Frazier defended his NYSAC title in Texas and beat Dave Zyglewicz, who had lost only once in 29 fights, by a first-round knockout. Then, he beat Jerry Quarry in a seventh-round stoppage. The competitive, exciting match with Quarry was named Ring Magazine fight of the year in 1969. Frazier showed he could do a lot more than just slug by using his newly-honed defensive skills to slip, bob, and weave a barrage of punches from Quarry despite Quarry's reputation as an excellent counter-punching heavyweight.
World Championship win
On February 16, 1970, Frazier faced WBA Champion Jimmy Ellis at Madison Square Garden. Ellis had outpointed Jerry Quarry in the final bout of the WBA elimination tournament for Ali's vacated belt. Frazier had declined to participate in the WBA tournament to protest their decision to strip Ali. Ellis held impressive wins over Oscar Bonavena and Leotis Martin, among others. Beforehand, Ali had announced his retirement and relinquished the Heavyweight title, allowing Ellis and Frazier to fight for the undisputed title, but both lacked any lineal claim. Frazier won by a technical knockout when Ellis's trainer Angelo Dundee would not let him come out for the fifth round following two fourth-round knockdowns, the first knockdowns of Ellis's career. Frazier's decisive win over Ellis was a frightening display of power and tenacity.
In his first title defense, Frazier traveled to Detroit to fight World Light Heavyweight Champion Bob Foster, who would go on to set a record for the number of title defenses in the light-heavyweight division. Frazier (26–0) retained his title by twice flooring the hard-punching Foster in the second round. The second knockdown was delivered by a devastating left hook, and Foster could not beat the count. Then came what was hyped as the "Fight of the Century", his first fight with Muhammad Ali, who had launched a comeback in 1970 after a three-year suspension from boxing. It would be the first meeting of two undefeated heavyweight champions (and the last until Mike Tyson faced Michael Spinks in 1988) since Ali (31–0) had not lost his title in the ring but been stripped because of his refusal to be conscripted into the armed forces. Some considered him to be the true champion, and the fight would crown the one true heavyweight champion.
Fight of the Century: first fight versus Ali
On March 8, 1971, at Madison Square Garden, Frazier and Ali met in the first of their three bouts which was called the "Fight of the Century". With an international television audience and an in-house audience that included singers and actors and with Burt Lancaster (who served as "color commentator" with the fight announcer, Don Dunphy), both undefeated heavyweights met in a media-frenzied atmosphere reminiscent of Joe Louis's youth.
Several factors came together for Frazier in the fight. He was 27 and mentally and physically at his peak. Ali was 29 and coming back from a three-year absence. He had had two good wins in his comeback, including a bruising, fifteen-round technical knockout win over Oscar Bonavena.
Frazier and Futch noticed Ali's tendency to throw a right-hand uppercut from a straight standing position after dropping the hand in preparation to throw it with force. Futch instructed Frazier to watch Ali's right hand and, once Ali dropped it, to throw a left hook at the spot that they knew Ali's face would be a second later.
In a brutal and competitive contest, Frazier lost the first two rounds but was able to withstand Ali's combinations. Frazier was known to improve in middle rounds, which was the case with Ali. Frazier came on strong after the third round round by landing hard shots to the body and powerful left hooks to the head. Frazier won a 15-round unanimous decision 9–6, 11–4, 8–6–1 and claimed the lineal title. Ali was taken to a hospital immediately after the fight to check that his severely-swollen right-side jaw was not actually broken. Frazier also spent time in hospital during the ensuing month, the exertions of the fight having been exacerbated by hypertension and a kidney infection.
Later that year, he fought a three-round exhibition against hard-hitting veteran contender Cleveland Williams. In 1972, Frazier successfully defended the title twice by knocking out Terry Daniels and Ron Stander in the fourth and fifth rounds, respectively. Daniels had earlier drawn with Jerry Quarry and Stander had knocked out Earnie Shavers.
Loses title to George Foreman
Frazier lost his undefeated record of 29–0 and his world championship, at the hands of the unbeaten George Foreman on January 22, 1973, in Kingston, Jamaica. Despite Frazier being the overall favorite, Foreman towered 10 cm (4 in.) over the more compact champion along with an 8 in. reach advantage and dominated from the start. Two minutes into the first round, Foreman knocked Frazier down for the first time. In the second round, after Frazier was knocked down for the sixth time, the referee Arthur Mercante, Sr., stopped the contest with the fight a dominant victory for Foreman.
Frazier won his next fight, a 12-round decision over Joe Bugner, in London to begin his quest to regain the title.
Mid-1970s: second fight against Ali
Frazier's second fight against Ali took place on January 28, 1974 in New York City. In contrast to their previous meeting, the bout was a non-title fight, with Ali winning a 12-round unanimous decision. The fight was notable for the amount of clinching.
Five months later, Frazier again battled Jerry Quarry in Madison Square Garden by winning the fight in the fifth round with a strong left hook to the ribs.
In March 1975, Frazier fought a rematch with Jimmy Ellis in Melbourne, Australia, and knocked him out in nine rounds. The win again established Frazier as the top heavyweight challenger for the title, which Ali had won from Foreman in the famous "Rumble in the Jungle" five months earlier.
Thrilla in Manila: third Ali fight
Ali and Frazier met for the third and final time in Quezon City (a district of Manila, the Philippines), on October 1, 1975. Prior to the fight, Ali took opportunities to mock Frazier by calling him a '"gorilla" and generally trying to irritate him.
The fight was a punishing display on both sides under oppressively-hot conditions. During the fight, Ali said to Frazier, "They said you were through, Joe." Frazier said, "They lied." Ali repeatedly held Frazier around the back of his neck with his right hand, a violation of the rules that went unpunished by the referee. After 14 grueling rounds, Ali returned to his corner demanding they cut his gloves and end the bout. However, Dundee ignored Ali. This proved fortuitous, as across the ring, Futch stopped the fight out of concern for his charge. Frazier had a closed left eye, an almost-closed right eye, and a cut. Ali later said that it was the "closest thing to dying that I know of."
In 1977, Ali told the interviewer Reg Gutteridge that he felt this third Frazier fight was his best performance. When Gutteridge suggested his win over Cleveland Williams, Ali said, "No, Frazier's much tougher and rougher than Cleveland Williams."
Fighting Foreman again
In 1976, Frazier (32–3) fought George Foreman for a second time, shaving his head for the fight. Frazier was more restrained than usual and avoided walking into big shots like he had done in their first match. However, Foreman lobbed a tremendous left hook that lifted Frazier off his feet. After a second knockdown, the fight was stopped in the fifth round. Shortly after the fight, Frazier announced his retirement.
Frazier made a cameo appearance in the movie Rocky later in 1976 and dedicated himself to training local boxers in Philadelphia, where he grew up, including some of his own children. He also helped train Duane Bobick.
1980s comeback and career as trainer
In 1981, Frazier attempted a comeback. He drew over 10 rounds with hulking Floyd "Jumbo" Cummings in Chicago, Illinois. It was a bruising battle with mixed reviews. He then retired for good.
Then, Frazier involved himself in various endeavors. Among his sons who turned to boxing as a career, Frazier helped train Marvis Frazier, a challenger for Larry Holmes's world heavyweight title. He also trained his daughter, Jacqui Frazier-Lyde, who became a WIBA world light-heavyweight champion whose most notable fight was a close majority decision points loss against Laila Ali, the daughter of his rival.
Frazier's overall record was 32 wins, 4 losses, and 1 draw, with 27 wins by knockout. He won 73% of his fights by knockout, compared to 60% for Ali and 84% for Foreman. He was a member of the International Boxing Hall Of Fame.
In 1984, Frazier was the special referee for the NWA World Heavyweight Championship match between Ric Flair and Dusty Rhodes at Starrcade '84. He awarded the match to Flair because of Rhodes's excessive bleeding.
In 1986, Frazier appeared as the "cornerman" for Mr. T against Roddy Piper at Nassau Veterans Memorial Coliseum as part of WrestleMania 2. In 1989, Frazier joined Ali, Foreman, Norton, and Holmes for the tribute special Champions Forever.
Frazier was inducted into the Madison Square Garden Walk of Fame in 1996.
Other work
Media appearances
Frazier appeared as himself in an episode of The Simpsons - "Brother, Can You Spare Two Dimes?" in 1992, in which he was supposed to have been beaten up by Barney Gumble in Moe's Tavern. Frazier's son objected, so Frazier was instead shown beating up Gumble and putting him in a trash can. Frazier appeared in another episode of The Simpsons - "Homer's Paternity Coot" in 2006. He appeared on-screen in the 8th series of The Celebrity Apprentice (USA) television show as a guest-attendee at a Silent Auction event held for the season finale (won by Joan Rivers). Frazier appeared as himself in the Academy Award-winning 1976 movie, Rocky. Since the debut of the Fight Night series of games made by EA Sports, Frazier appeared in Fight Night 2004, Fight Night Round 2, Fight Night Round 3, Fight Night Round 4 and Fight Night Champion.
Books
Frazier released his autobiography in March 1996, entitled Smokin' Joe: The Autobiography of a Heavyweight Champion of the World, Smokin' Joe Frazier. Frazier promoted the book with a memorable appearance on The Howard Stern Show on January 23, 1996.
He also wrote Box like the Pros, "a complete introduction to the sport, including the game's history, rules of the ring, how fights are scored, how to spar, the basics of defence and offence, the fighter's workout, a directory of boxing gyms, and much more. Box Like the Pros is an instruction manual, a historical reference tool and an insider's guide to the world's most controversial sport."
Financial issues and legal battles
According to an article from The New York Times, "over the years, Frazier has lost a fortune through a combination of his own generosity and naïveté, his carousing, and failed business opportunities. The other headliners from his fighting days—Ali, George Foreman, and Larry Holmes—are millionaires." Asked about his situation, Frazier became playfully defensive, but would not reveal his financial status. "Are you asking me how much money I have?" he said. "I got plenty of money. I got a stack of $100 bills rolled up over there in the back of the room." Frazier blamed himself, partly, for not effectively promoting his own image. In a 2006 HBO documentary on the fight in Manila, Frazier was interviewed living in a one-room apartment on the second floor of his gym.
His daughter Jacqui Frazier-Lyde is a lawyer and worked on her father's behalf in pursuit of money they claimed he was owed in a Pennsylvania land deal. In 1973, Frazier purchased 140 acres in Bucks County, Pennsylvania for $843,000. Five years later, a developer agreed to buy the farmland for $1.8 million. Frazier received annual payments from a trust that bought the land with money he had earned in the ring. However, when the trust went bankrupt, the payments ceased.
Frazier sued his business partners, insisting his signature had been forged on documents and he had no knowledge of the sale. In the ensuing years, the 140 acres was subdivided and turned into a residential community. The land is now worth an estimated $100 million.
Relationship with Muhammad Ali
Initially, Frazier and Ali were friends. During Ali's enforced three-year lay-off from boxing for refusing to be drafted into the US Army, Frazier lent him money, testified before Congress and petitioned US President Richard Nixon to have Ali's right to box reinstated. Frazier supported Ali's right not to serve in the army: "If Baptists weren't allowed to fight, I wouldn't fight either."
However, in the build-up to their first fight, the Fight of the Century, Ali turned it into a "cultural and political referendum" by painting himself as a revolutionary and civil rights champion and Frazier as the white man's hope. Ali called him an "Uncle Tom" and a pawn of the white establishment as Frazier called him Clay. Ali successfully turned many black Americans against Frazier because Frazier never spoke out about race issues, and Ali could easily paint himself as hero to oppressed black people. Bryant Gumbel joined the pro-Ali anti-Frazier bandwagon by writing a major magazine article that asked, "Is Joe Frazier a white champion with black skin?" Frazier thought that was "a cynical attempt by Clay to make me feel isolated from my own people. He thought that would weaken me when it came time to face him in that ring. Well, he was wrong. It didn't weaken me, it awakened me to what a cheap-shot son of a bitch he was." Ali's camp also hurled many insults at Frazier, calling him an "ugly gorilla", though Ali had also compared other opponents to animals. He noted the hypocrisy of Ali calling him an Uncle Tom when his [Ali's] trainer (Angelo Dundee) was of Italian descent. When told by Michael Parkinson that Frazier was not an Uncle Tom, he responded by saying, "Then why does he insist on calling me Cassius Clay when even the worst of the white enemies recognize me as Muhammad Ali?"
As a result of Ali's campaign, Frazier's children were bullied at school, and his family was given police protection after receiving death threats. Ali declared that if Frazier won, he would crawl across the ring and admit that Frazier was the greatest. After Frazier won by a unanimous decision, he called upon Ali to fulfill his promise and crawl across the ring, but Ali failed to do so. Ali called it a "white man's decision" and insisted that he won.
During a televised joint interview prior to their second bout in 1974, Ali continued to insult Frazier, who took exception to Ali calling him "ignorant" and challenged him to a fight, which resulted in both of them brawling on the studio floor. Ali went on to win the 12-round non-title affair by a decision. Ali took things further in the build-up to their last fight, the Thrilla in Manila, and called Frazier "the other type of negro" and "ugly", "dumb", and a "gorilla" At one point he sparred with a man in a gorilla suit and pounded on a rubber gorilla doll, saying "This is Joe Frazier's conscience.... I keep it everywhere I go. This is the way he looks when you hit him." According to the fight's promoter, Don King, that enraged Frazier, who took it as a "character assassination" and "personal invective." One night before the fight, Ali waved around a toy pistol outside Frazier's hotel room. When Frazier came to the balcony, he pointed the gun at Frazier and yelled, "I am going to shoot you." After the fight, Ali summoned Frazier's son Marvis into his dressing room, and told him that he had not meant what he had said about his father. When informed by Marvis, Frazier responded, "You ain't me, son. Why isn't he apologizing to me?"
In his 1996 autobiography Smokin' Joe: The Autobiography of a Heavyweight Champion of the World, Frazier consistently refers to Muhammad Ali as "Cassius Clay" and never deviating from that convention unless the book directly quotes someone else.
For years afterwards, Frazier retained his bitterness towards Ali and suggested that Ali's battle with Parkinson's syndrome was a form of divine retribution for his earlier behavior. In 2001, Ali apologized to Frazier via a New York Times article: "In a way, Joe's right. I said a lot of things in the heat of the moment that I shouldn't have said. Called him names I shouldn't have called him. I apologize for that. I'm sorry. It was all meant to promote the fight." Frazier reportedly "embraced it" but later retorted that Ali apologized only to a newspaper, not to him. He said, "I'm still waiting [for him] to say it to me." Ali responded, "If you see Frazier, you tell him he's still a gorilla." Ali also said in an interview, "I wasn't going to get on my knees and crawl and beg him to forgive me."
Frazier told Sports Illustrated in May 2009 that he no longer held hard feelings for Ali. After Frazier's death in November 2011, Ali was among those who attended the private funeral services for Frazier in Philadelphia. Jesse Jackson, who spoke during the service, asked those in attendance to stand and "show your love" and reportedly Ali stood with the audience and clapped "vigorously".
Later years
Frazier lived in Philadelphia where he owned and managed a boxing gym. Frazier put the gym up for sale in mid-2009. Before the gym was put up for sale, Frazier, with the help of Peter Bouchard, formed the Smokin Joe Frazier Foundation, whose purpose was to give back to troubled and in need youth. Peter Bouchard volunteered to run the foundation for Frazier. Once Frazier's health declined, the foundation was shelved.
He was diagnosed with diabetes and high blood pressure. He and his nemesis, Muhammad Ali, alternated over the years between public apologies and public insults. In 1996, when Ali lit the Olympic flame in Atlanta, Frazier told a reporter that he would like to throw Ali into the fire and felt that he should have been chosen to light the flame. Frazier made millions of dollars in the 1970s, but the reported mismanagement of his real estate contributed to some financial difficulties.
The National Trust for Historic Preservation has named Joe Frazier's Gym in its 25th list of America's 11 Most Endangered Historic Places in 2012. In 2013, the gym was named to the National Register of Historic Places.
Frazier continued to train young fighters although he needed multiple operations for back injuries sustained in a car accident. He and Ali reportedly attempted a reconciliation in his final years, but in October 2006, Frazier still claimed to have won all three bouts between them. He declared to a Times reporter, when questioned about his bitterness toward Ali, "I am what I am."
Frazier attempted to revive his music interests in late 2009/2010. Notably popular for singing 'Mustang Sally,' both Frazier and manager Leslie R. Wolff teamed up with Welsh Rock Solo artist Jayce Lewis to release his repertoire in the UK, later visiting the Welshman there to host a string of after-dinner speeches and music developments. It would notably be Frazier's last appearance there.
Death
Frazier was diagnosed with liver cancer in late September 2011. By November 2011, he was under hospice care, where he died on November 7 at the age of 67.
Upon hearing of Frazier's death, Muhammad Ali said, "The world has lost a great champion. I will always remember Joe with respect and admiration."
Frazier's private funeral took place on November 14 at the Enon Tabernacle Baptist Church in Philadelphia and in addition to friends and family was attended by Muhammad Ali, Don King, Larry Holmes, Magic Johnson, Dennis Rodman, among others. Floyd Mayweather Jr. paid for Frazier's funeral services. His body was buried at the Ivy Hill Cemetery, a short drive from the Enon Tabernacle Baptist Church.
In popular media
He was played by boxer James Toney in the 2001 film Ali.
Some of the most memorable moments in the 1976 boxing-themed feature film, Rocky—such as Rocky's carcass-punching scenes and Rocky running up the steps of the Philadelphia Museum of Art, as part of his training regimen—are taken from Frazier's real-life exploits. In the film, Frazier makes a cameo appearance, as a spectator at the fight between Rocky and Apollo.
In March 2007, a Joe Frazier action figure was released as part of a range of toys based on the Rocky film franchise, developed by the American toy manufacturer, Jakks Pacific.
Electric bassist Jeff Berlin wrote a musical tribute simply called "Joe Frazier", originally recorded on the Bill Bruford album Gradually Going Tornado, available on the compilation album Master Strokes.
He guest-starred as himself in the 1992 The Simpsons episode "Brother, Can You Spare Two Dimes?", where he presented Homer Simpson with the Montgomery Burns Award for the Outstanding Achievement In The Field Of Excellence.
Mr. Sandman, a video game character in the Punch-Out !! video game series known for being one of the toughest opponents, was based in part on Frazier.
In the Fight Night Video Games Frazier is a character in each game.
His granddaughter, Latrice Frazier, appeared on an episode of Maury.
On July 1, 2021, CBS announced that his son Derek was one of 16 Houseguests participating in Big Brother 23. Derek ended up being the runner-up for that season, winning $75,000.
Professional boxing record
Music career
In the late 1970s, Frazier created a soul-funk group called "Joe Frazier and the Knockouts", mentioned in Billboard and recording a number of singles.
Joe toured widely in the US and Europe including Ireland, where among other places he performed in Donegal and Athy County Kildare with his band. Joe Frazier and the Knockouts were also featured singing in a 1978 Miller beer commercial.
Frazier sang at the 1978 Jerry Lewis Telethon and he sang the United States national anthem before the rematch between Ali and Leon Spinks on September 15, 1978.
Discography
See also
List of undisputed boxing champions
Notable boxing families
References
Bibliography
Further reading
External links
Joe Frazier – CBZ Profile
Boxing Hall of Fame
ESPN.com
ESPN.com -- additional information
New York Times Obituary
1944 births
2011 deaths
African-American boxers
Boxers at the 1964 Summer Olympics
Boxers from Philadelphia
Deaths from cancer in Pennsylvania
Deaths from liver cancer
International Boxing Hall of Fame inductees
Medalists at the 1964 Summer Olympics
Olympic boxers of the United States
Olympic gold medalists for the United States in boxing
Sportspeople from Beaufort, South Carolina
Sportspeople with a vision impairment
World Boxing Association champions
World Boxing Council champions
World heavyweight boxing champions
American male boxers
The Ring (magazine) champions
Burials at Ivy Hill Cemetery (Philadelphia)
20th-century African-American sportspeople
21st-century African-American people
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"OWE is Opportunistic Wireless Encryption, an encryption standard for open Wi-Fi networks.\n\nOWE or Owe may also refer to:\n\n Oriental Wrestling Entertainment, founded by the wrestler Cima\n Owe, a surname or given name\n\nSee also\n Big Owe, a nickname for the Olympic Stadium, Montreal, Canada",
"Re City Equitable Fire Insurance Co [1925] Ch 407 is a UK company law case concerning directors' duties, and in particular the duty of care. It is no longer good law, as it stipulated that a \"subjective\" standard of competence applied. Now under Companies Act 2006 section 174, and given the development of the common law in Re D'Jan of London Ltd, directors owe an objective standard of care based on what should reasonably be expected from someone in their position.\n\nFacts\nThe company lost £1,200,000 in failure of investments and the large scale fraud of the chairman, Gerard Lee Bevan, ‘a daring and unprincipled scoundrel’. The liquidator sued the other directors for negligence. The auditors were sued too, but the Court of Appeal held they were honest and exonerated by provisions in the company’s articles.\n\nJudgment\n\nHigh Court\nRomer J held that some of the directors did breach their duty of care. But they were not liable to reimburse, because an exclusion clause for negligence was valid. And even in absence of exclusion clauses, in his view, ‘for a director acting honestly himself to be held legally liable for negligence, in trusting the officers under him not to conceal from him what they ought to report to him appears to us to be laying too heavy a burden on honest businessmen.’ Though he felt ‘some difficulty’ with the distinction, negligence would need to be ‘gross’ to visit liability. The principles he set out as follows.\n\nCourt of Appeal\nPollock MR Warrington LJ and Sargant LJ upheld Romer J's decision.\n\nSee also\nUK company law\n\nNotes\n\nReferences\n\nUnited Kingdom company case law\nCourt of Appeal (England and Wales) cases\n1925 in case law\n1925 in British law\nInsurance in the United Kingdom\nCorporate governance in the United Kingdom"
] |
[
"Joe Frazier",
"Financial issues and legal battles",
"when did joe frazier's financial issues begin?",
"According to an article from The New York Times, \"over the years, Frazier has lost a fortune through a combination of his own generosity and naivete,",
"who was he overly generous to with his money?",
"failed business opportunities.",
"what legal battles was he involved in?",
"His daughter Jackie Frazier-Lyde is a lawyer and worked on her father's behalf in pursuit of money they claimed he was owed in a Pennsylvania land deal.",
"who owed him money?",
"Bucks County, Pennsylvania",
"what did they owe him for?",
"when the trust went bankrupt, the payments ceased."
] |
C_bd1ce4d9a762408187eecb48d848adaa_0
|
did the court rule in joe's favor?
| 6 |
Did the court rule in joe's favor in the Pennsylvania land deal?
|
Joe Frazier
|
According to an article from The New York Times, "over the years, Frazier has lost a fortune through a combination of his own generosity and naivete, his carousing, and failed business opportunities. The other headliners from his fighting days--Ali, George Foreman, and Larry Holmes--are millionaires." Asked about his situation, Frazier became playfully defensive, but would not reveal his financial status. "Are you asking me how much money I have?" he said. "I got plenty of money. I got a stack of $100 bills rolled up over there in the back of the room." Frazier blamed himself, partly, for not effectively promoting his own image. In a 2006 HBO documentary on the fight in Manila, Frazier was interviewed living in a one-room apartment on the second floor of his gym. His daughter Jackie Frazier-Lyde is a lawyer and worked on her father's behalf in pursuit of money they claimed he was owed in a Pennsylvania land deal. In 1973, Frazier purchased 140 acres in Bucks County, Pennsylvania for $843,000. Five years later, a developer agreed to buy the farmland for $1.8 million. Frazier received annual payments from a trust that bought the land with money he had earned in the ring. However, when the trust went bankrupt, the payments ceased. Frazier sued his business partners, insisting his signature had been forged on documents and he had no knowledge of the sale. In the ensuing years, the 140 acres was subdivided and turned into a residential community. The land is now worth an estimated $100 million. CANNOTANSWER
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CANNOTANSWER
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Joseph William Frazier (January 12, 1944November 7, 2011), nicknamed "Smokin' Joe", was an American professional boxer who competed from 1965 to 1981. He was known for his strength, durability, formidable punching power, and relentless pressure fighting style and was the first boxer to beat Muhammad Ali. Frazier reigned as the undisputed heavyweight champion from 1970 to 1973 and as an amateur won a gold medal at the 1964 Summer Olympics.
Frazier emerged as the top contender in the late 1960s, defeating opponents that included Jerry Quarry, Oscar Bonavena, Buster Mathis, Eddie Machen, Doug Jones, George Chuvalo, and Jimmy Ellis en route to becoming undisputed heavyweight champion in 1970, and he followed up by defeating Ali by unanimous decision in the highly anticipated Fight of the Century in 1971. Two years later, Frazier lost his title to George Foreman. Frazier fought on and beat Joe Bugner, lost a rematch to Ali, and beat Quarry and Ellis again.
Frazier's last world title challenge came in 1975, but he was beaten by Ali in the brutal rubber match, the Thrilla in Manila. Frazier retired in 1976 after a second loss to Foreman but made a comeback in 1981. He fought just once before retiring for good, finishing his career with a record of 32 wins, 4 losses, and 1 draw. The International Boxing Research Organization rates Frazier among the ten greatest heavyweights of all time.
The Ring magazine named him Fighter of the Year in 1967, 1970, and 1971, and the Boxing Writers Association of America (BWAA) named him Fighter of the Year in 1969, 1971, and 1975. In 1999, The Ring ranked him the eighth greatest heavyweight. He is an inductee of both the International Boxing Hall of Fame and the World Boxing Hall of Fame, having been a part of the inaugural induction class of 1990 for the IBHF.
His style was often compared with that of Henry Armstrong and occasionally Rocky Marciano and was dependent on bobbing, weaving, and relentless pressure to wear down his opponents. His best-known punch was a powerful left hook, which accounted for most of his knockouts. In his career, he lost to only two fighters, both former Olympic and world heavyweight champions: twice to Muhammad Ali and twice to George Foreman.
After retiring, Frazier made cameo appearances in several Hollywood movies and two episodes of The Simpsons. His son Marvis became a boxer and was trained by Joe Frazier himself. Marvis lost a title shot to heavyweight champion Larry Holmes in 1983 and was knocked out in the first round by an up-and-coming Mike Tyson in 1986. Marvis ended his career with a record of 19 wins and those 2 losses. Frazier's daughter Jacqui Frazier-Lyde also boxed professionally and is a former WIBA world light-heavyweight champion who ended her career with a record of 13 wins and 1 loss, with her sole loss coming in a majority-decision-points loss to Laila Ali, Ali's daughter, in a fight dubbed as "Ali–Frazier IV".
Frazier continued to train fighters in his gym in Philadelphia. His attitude towards Ali in later life was largely characterized by bitterness and contempt but was interspersed with brief reconciliations.
Frazier was diagnosed with liver cancer in late September 2011 and admitted to hospice care. He died of complications from the disease on November 7, 2011.
Early life
Joe Frazier was born January 12, 1944, the twelfth child of Dolly Alston-Frazier and Rubin in Beaufort, South Carolina. He was raised in a rural community of Beaufort called Laurel Bay. Frazier said that he was always close to his father, who carried him when he was a toddler "over the 10 acres of farmland" the Fraziers worked as sharecroppers "to the still where he made his bootleg corn liquor, and into town on Saturdays to buy the necessities that a family of 10 needed." He was affectionately called "Billie Boy".
Rubin Frazier had his left hand burned and part of his forearm amputated in a tractor accident the year that his son was born. Rubin Frazier and his wife, Dolly, had been in their car while Arthur Smith, who was drunk, passed by and made a move for Dolly but was rebuffed. Stefan Gallucci, a local barkeep, recounted the experience. When the Fraziers drove away, Smith fired at them several times and hit Dolly in the foot and Rubin several times in his arm. Smith was convicted and sent to prison but did not stay long. Dolly said, "If you were a good workman, the white man took you out of jail and kept you busy on the farm."
Frazier's parents worked their farm with two mules: Buck and Jenny. The farmland was what country people called "white dirt, which is another way of saying it isn't worth a damn." They could not grow peas or corn on it, only cotton and watermelons.
In the early 1950s, Frazier's father bought a black-and-white television. The family and others nearby came to watch boxing matches on it. Frazier's mother sold drinks for a quarter as they watched boxers like Sugar Ray Robinson, Rocky Marciano, Willie Pep, and Rocky Graziano. One night, Frazier's Uncle Israel noticed his stocky build. "That boy there... that boy is gonna be another Joe Louis", he remarked. The words made an impression on Joe. His classmates at school would give him a sandwich or a quarter to walk with them at final bell so that bullies would not bother them. Frazier said, "Any 'scamboogah' [disrespectful, low-down and foul person] who got in my face would soon regret it; Billie Boy could kick anybody's ass." The day after his uncle's comment, Frazier filled old burlap sack with rags, corncobs, a brick, and Spanish moss. He hung the makeshift heavybag from an oak tree in the backyard. "For the next 6, 7 years, damn near every day I'd hit that heavybag for an hour at a time. I'd wrap my hands with a necktie of my Daddy's, or a stocking of my Momma's or sister's, and get to it," he remarked.
Not long after Frazier started working, his left arm was seriously injured while he was running from the family's 300-pound hog. One day, Frazier poked the hog with a stick and ran away. The gate to the pigpen was open, however, and the hog chased him. Frazier fell and hit his left arm on a brick. His arm was torn badly, but as the family could not afford a doctor, the arm had to heal on its own. He was never able to keep it fully straight again.
When Frazier was 15 years old, he had been working on a farm for a family named Bellamy. They were both white men: Mac was younger and more easy-going, and Jim was a little rougher and somewhat backward. One day, a little black boy about 12 years old accidentally damaged one of the Bellamys' tractors. Jim became so enraged he took off his belt and whipped the boy with his belt right there in the field. Frazier saw the event and went back to the packing house on the farm and told his black friends what he had seen. Soon, Jim saw Frazier and asked him why he told what he had witnessed. Joe then told Bellamy he did not know what he was talking about, but Jim did not believe Frazier and told him to get off the farm before he took off his belt again. Frazier told him to keep his pants up because he was not going to use his belt on him. Jim then analyzed Frazier for a bit and eventually said, "Go on, get the hell outta here." Joe knew from that moment it was time for him to leave Beaufort, and he could see only hard times and low rent for himself. Even his Momma could see it. She told Frazier, "Son, if you can't get along with the white folks, then leave home because I don't want anything to happen to you."
The train fare from Beaufort to the cities up north was costly, and the closest bus stop was in Charleston, away. Luckily, by 1958, the Greyhound Lines bus (called "The Dog" by locals in Beaufort) had finally made Beaufort a stop on its South Carolina route. Frazier had a brother, Tommy, in New York and was told that he could stay with Tommy and his family. Frazier had to save up a bit before he could make the bus trip to New York and still have some money in his pocket, and so he first went to work at the local Coca-Cola plant. Joe remarked that the white guy would drive the truck and that he would do the real work stacking and unloading the crates. Joe stayed with Coca-Cola until the government began building houses for the Marines stationed at Parris Island, when he was hired on a work crew.
Nine months eventually passed since he got the boot from the Bellamy farm. One day, with no fanfare and no tearful goodbyes, Frazier packed quickly and got the first bus heading northward. Joe finally settled in Philadelphia, Pennsylvania: "I climbed on the Dog's back and rode through the night. It was 1959; I was 15 years old and I was on my own."
Amateur career
During Frazier's amateur career, he won Golden Gloves heavyweight championships in 1962, 1963, and 1964. His only loss in three years as an amateur was to Buster Mathis. Mathis would prove to be Joe's biggest obstacle to making the 1964 US Olympic boxing team. They met in the final of the US Olympic trials at the New York World's Fair in the summer of 1964. Their fight was scheduled for three rounds and they fought with 10-oz gloves and with headgear, but the boxers who made it to Tokyo would wear no headgear and would wear 8-oz gloves. Frazier was eager to get back at Mathis for his only amateur loss and knocked out two opponents to get to the finals. However, once again when the dust settled, the judges had called it for Mathis, undeservedly Joe thought. "All that fat boy had done was run like a thief- hit me with a peck and backpedal like crazy," he would remark.
Mathis had worn his trunks very high so that when Frazier hit Mathis with legitimate body shots, the referee took a dim view of them. In the second round, the referee had gone so far as to penalize Joe two points for hitting below the belt. "In a three-round bout a man can't afford a points deduction like that," Frazier said. He then returned to Philadelphia and felt as low as he had ever been and even thought of giving up boxing. Duke Dugent and his trainer, Yank Durham, were able to talk him out of his doldrums and even suggested that Frazier make the trip to Tokyo as an alternate in case something happened to Mathis. Frazier agreed and was a workhorse there, sparring with any of the Olympic boxers who wanted some action. "Middleweight, light heavyweight, it didn't matter to me, I got in there and boxed all comers," he said. In contrast, Mathis was slacking off. In the morning, when the Olympic team would do their roadwork, Mathis would run a mile and start walking and say, "Go ahead, big Joe. I'll catch up."
Frazier's amateur record was 38–2.
1964 Summer Olympics
In 1964, heavyweight representative Buster Mathis qualified but was injured, and so Frazier was sent as a replacement. At the heavyweight boxing event, Frazier knocked out George Oywello of Uganda in the first round, then knocked out Athol McQueen of Australia 40 seconds into the third round. He was then into the semifinal, as the only American boxer left, facing the 6'2", 214-lb Vadim Yemelyanov of the Soviet Union.
"My left hook was a heat-seeking missile, careening off his face and body time and again. Twice in the second round I knocked him to the canvas. But as I pounded away, I felt a jolt of pain shoot through my left arm. Oh damn, the thumb," Frazier said. He knew immediately the thumb of his left hand was damaged, but he was unsure as to the extent. "In the midst of the fight, with your adrenaline pumping, it's hard to gauge such things. My mind was on more important matters. Like how I was going to deal with Yemelyanov for the rest of the fight." The match ended when the Soviet's handlers threw in the towel at 1:49 in the second round, and the referee raised Frazier's injured hand in victory.
Now that Frazier was into the final, he mentioned his broken thumb to no one. He went back to his room and soaked his thumb in hot water and Epsom salts. "Pain or not, Joe Frazier of Beaufort, South Carolina, was going for gold," he proclaimed. He went on to fight German Hans Huber, eight years his senior. Frazier was now used to fighting bigger guys, but not with a damaged left hand. When the opening bell sounded on fight night, Joe came out, started swinging punches, and threw his right hand more than usual that night. Every so often, he would use his left hook, but nothing landed with the kind of impact that he had managed in previous bouts. He won a 3-2 decision.
Professional career
After Frazier won the only American 1964 Olympic boxing gold medal, his trainer Yancey "Yank" Durham helped put together Cloverlay, a group of local businessmen (including a young Larry Merchant) who invested in Frazier's professional career and allowed him to train full time. Durham was Frazier's chief trainer and manager until Durham's death in August 1973.
Frazier turned professional in 1965 by defeating Woody Goss by a technical knockout in the first round. He won three more fights that year, all by knockout and none going past the third round. Later that year, he was in a training accident in which he suffered an injury that left him legally blind in his left eye. During pre-fight physicals, after reading the eye chart with his right eye, when prompted to cover his other eye, Frazier switched hands but covered his left eye for a second time, and state athletic commission physicians seemed not to notice or act.
Frazier's second contest was of interest in that he was decked in the round by Mike Bruce. Frazier took an "8" count by referee Bob Polis but rallied for a TKO over Bruce in the third round.
In 1966, as Frazier's career was taking off, Durham contacted Los Angeles trainer Eddie Futch. The two men had never met, but Durham had heard of Futch, who had a reputation as one of the most respected trainers in boxing. Frazier was sent to Los Angeles to train before Futch agreed to join Durham as an assistant trainer. With Futch's assistance, Durham arranged three fights in Los Angeles against journeyman Al Jones, veteran contender Eddie Machen and George "Scrap Iron" Johnson. Frazier knocked out Jones and Machen but surprisingly went through 10 rounds with journeyman Johnson to win a unanimous decision. Johnson had apparently bet all his purse that he would survive to the final bell, noted Ring Magazine, and he somehow achieved it. However Johnson was known in the trade as "impossibly durable".
After the Johnson match, Futch became a full-fledged member of the Frazier camp as an assistant trainer and strategist, who advised Durham on matchmaking. It was Futch who suggested that Frazier boycott the 1967 WBA Heavyweight Elimination Tournament to find a successor to Muhammad Ali after the Heavyweight Champion was stripped of his title for refusing to be inducted into the military, although Frazier was the top-ranked contender at the time.
Futch proved invaluable to Frazier as an assistant trainer and helped modify his style. Under Futch's tutelage, Frazier adopted the bob-and-weave defensive style by making him more difficult for taller opponents to punch and giving Frazier more power with his own punches. Futch remained based in Los Angeles, where he worked as a supervisor with the US Postal Service, and flew to Philadelphia to work with Frazier during the final preparations for all of his fights.
After Durham died of a stroke on August 30, 1973, Futch was asked to succeed him as Frazier's head trainer and manager. He was training the heavyweight contender Ken Norton, who lost a rematch against Ali less than two weeks before Durham's death. Then, Norton's managers, Robert Biron and Aaron Rivkind, demanded that Futch choose to train either Frazier or Norton, with Futch choosing Frazier.
Mid-to-late 1960s
Now in his second year, in September 1966 and somewhat green, Frazier won a close decision over rugged contender Oscar Bonavena, despite Bonavena flooring him twice in the second round. A third knockdown in that round would have ended the fight under the three knockdown rule. Frazier rallied and won a decision after 12 rounds. The Machen win followed that contest.
In 1967, Frazier stormed ahead winning all six of his fights, including a sixth-round knockout of Doug Jones and a brutal fourth round (TKO) of Canadian George Chuvalo. No boxer had ever stopped Chuvalo, but Frazier, despite the stoppage, was unable to floor Chuvalo, who would never be dropped in his entire career despite fighting numerous top names.
By February 1967, Joe had scored 14 wins and his star was beginning to rise. This culminated with his first appearance on the cover of Ring Magazine. That month, he met Ali, who had not yet been stripped of his title. Ali said that Joe would never stand a chance of "whipping" him even in his wildest dreams. Later that year, Muhammad Ali was stripped of his world heavyweight title because of his refusal to accept the military draft during the Vietnam War.
To fill the vacancy, the New York State Athletic Commission held a bout between Frazier and Buster Mathis, who were undefeated going into the match, with the winner to be recognized as "World Champion" by New York State. Although the fight was not recognized as a World Championship bout by some, Frazier won by a knockout in the 11th round and staked a claim to the Heavyweight Championship.
Laying claims
Frazier first defended his claim by beating hard-hitting prospect Manuel Ramos of Mexico. His victory came in only two rounds.
He closed 1968 by again beating Oscar Bonavena via a 15-round decision in a hard-fought rematch. Bonavena fought somewhat defensively and allowed himself to be often bulled to the ropes, which let Frazier build a wide points margin. Ring Magazine showed Bonavena afterwards with a gruesomely bruised face. It had been a punishing match.
In 1969, Frazier defended his NYSAC title in Texas and beat Dave Zyglewicz, who had lost only once in 29 fights, by a first-round knockout. Then, he beat Jerry Quarry in a seventh-round stoppage. The competitive, exciting match with Quarry was named Ring Magazine fight of the year in 1969. Frazier showed he could do a lot more than just slug by using his newly-honed defensive skills to slip, bob, and weave a barrage of punches from Quarry despite Quarry's reputation as an excellent counter-punching heavyweight.
World Championship win
On February 16, 1970, Frazier faced WBA Champion Jimmy Ellis at Madison Square Garden. Ellis had outpointed Jerry Quarry in the final bout of the WBA elimination tournament for Ali's vacated belt. Frazier had declined to participate in the WBA tournament to protest their decision to strip Ali. Ellis held impressive wins over Oscar Bonavena and Leotis Martin, among others. Beforehand, Ali had announced his retirement and relinquished the Heavyweight title, allowing Ellis and Frazier to fight for the undisputed title, but both lacked any lineal claim. Frazier won by a technical knockout when Ellis's trainer Angelo Dundee would not let him come out for the fifth round following two fourth-round knockdowns, the first knockdowns of Ellis's career. Frazier's decisive win over Ellis was a frightening display of power and tenacity.
In his first title defense, Frazier traveled to Detroit to fight World Light Heavyweight Champion Bob Foster, who would go on to set a record for the number of title defenses in the light-heavyweight division. Frazier (26–0) retained his title by twice flooring the hard-punching Foster in the second round. The second knockdown was delivered by a devastating left hook, and Foster could not beat the count. Then came what was hyped as the "Fight of the Century", his first fight with Muhammad Ali, who had launched a comeback in 1970 after a three-year suspension from boxing. It would be the first meeting of two undefeated heavyweight champions (and the last until Mike Tyson faced Michael Spinks in 1988) since Ali (31–0) had not lost his title in the ring but been stripped because of his refusal to be conscripted into the armed forces. Some considered him to be the true champion, and the fight would crown the one true heavyweight champion.
Fight of the Century: first fight versus Ali
On March 8, 1971, at Madison Square Garden, Frazier and Ali met in the first of their three bouts which was called the "Fight of the Century". With an international television audience and an in-house audience that included singers and actors and with Burt Lancaster (who served as "color commentator" with the fight announcer, Don Dunphy), both undefeated heavyweights met in a media-frenzied atmosphere reminiscent of Joe Louis's youth.
Several factors came together for Frazier in the fight. He was 27 and mentally and physically at his peak. Ali was 29 and coming back from a three-year absence. He had had two good wins in his comeback, including a bruising, fifteen-round technical knockout win over Oscar Bonavena.
Frazier and Futch noticed Ali's tendency to throw a right-hand uppercut from a straight standing position after dropping the hand in preparation to throw it with force. Futch instructed Frazier to watch Ali's right hand and, once Ali dropped it, to throw a left hook at the spot that they knew Ali's face would be a second later.
In a brutal and competitive contest, Frazier lost the first two rounds but was able to withstand Ali's combinations. Frazier was known to improve in middle rounds, which was the case with Ali. Frazier came on strong after the third round round by landing hard shots to the body and powerful left hooks to the head. Frazier won a 15-round unanimous decision 9–6, 11–4, 8–6–1 and claimed the lineal title. Ali was taken to a hospital immediately after the fight to check that his severely-swollen right-side jaw was not actually broken. Frazier also spent time in hospital during the ensuing month, the exertions of the fight having been exacerbated by hypertension and a kidney infection.
Later that year, he fought a three-round exhibition against hard-hitting veteran contender Cleveland Williams. In 1972, Frazier successfully defended the title twice by knocking out Terry Daniels and Ron Stander in the fourth and fifth rounds, respectively. Daniels had earlier drawn with Jerry Quarry and Stander had knocked out Earnie Shavers.
Loses title to George Foreman
Frazier lost his undefeated record of 29–0 and his world championship, at the hands of the unbeaten George Foreman on January 22, 1973, in Kingston, Jamaica. Despite Frazier being the overall favorite, Foreman towered 10 cm (4 in.) over the more compact champion along with an 8 in. reach advantage and dominated from the start. Two minutes into the first round, Foreman knocked Frazier down for the first time. In the second round, after Frazier was knocked down for the sixth time, the referee Arthur Mercante, Sr., stopped the contest with the fight a dominant victory for Foreman.
Frazier won his next fight, a 12-round decision over Joe Bugner, in London to begin his quest to regain the title.
Mid-1970s: second fight against Ali
Frazier's second fight against Ali took place on January 28, 1974 in New York City. In contrast to their previous meeting, the bout was a non-title fight, with Ali winning a 12-round unanimous decision. The fight was notable for the amount of clinching.
Five months later, Frazier again battled Jerry Quarry in Madison Square Garden by winning the fight in the fifth round with a strong left hook to the ribs.
In March 1975, Frazier fought a rematch with Jimmy Ellis in Melbourne, Australia, and knocked him out in nine rounds. The win again established Frazier as the top heavyweight challenger for the title, which Ali had won from Foreman in the famous "Rumble in the Jungle" five months earlier.
Thrilla in Manila: third Ali fight
Ali and Frazier met for the third and final time in Quezon City (a district of Manila, the Philippines), on October 1, 1975. Prior to the fight, Ali took opportunities to mock Frazier by calling him a '"gorilla" and generally trying to irritate him.
The fight was a punishing display on both sides under oppressively-hot conditions. During the fight, Ali said to Frazier, "They said you were through, Joe." Frazier said, "They lied." Ali repeatedly held Frazier around the back of his neck with his right hand, a violation of the rules that went unpunished by the referee. After 14 grueling rounds, Ali returned to his corner demanding they cut his gloves and end the bout. However, Dundee ignored Ali. This proved fortuitous, as across the ring, Futch stopped the fight out of concern for his charge. Frazier had a closed left eye, an almost-closed right eye, and a cut. Ali later said that it was the "closest thing to dying that I know of."
In 1977, Ali told the interviewer Reg Gutteridge that he felt this third Frazier fight was his best performance. When Gutteridge suggested his win over Cleveland Williams, Ali said, "No, Frazier's much tougher and rougher than Cleveland Williams."
Fighting Foreman again
In 1976, Frazier (32–3) fought George Foreman for a second time, shaving his head for the fight. Frazier was more restrained than usual and avoided walking into big shots like he had done in their first match. However, Foreman lobbed a tremendous left hook that lifted Frazier off his feet. After a second knockdown, the fight was stopped in the fifth round. Shortly after the fight, Frazier announced his retirement.
Frazier made a cameo appearance in the movie Rocky later in 1976 and dedicated himself to training local boxers in Philadelphia, where he grew up, including some of his own children. He also helped train Duane Bobick.
1980s comeback and career as trainer
In 1981, Frazier attempted a comeback. He drew over 10 rounds with hulking Floyd "Jumbo" Cummings in Chicago, Illinois. It was a bruising battle with mixed reviews. He then retired for good.
Then, Frazier involved himself in various endeavors. Among his sons who turned to boxing as a career, Frazier helped train Marvis Frazier, a challenger for Larry Holmes's world heavyweight title. He also trained his daughter, Jacqui Frazier-Lyde, who became a WIBA world light-heavyweight champion whose most notable fight was a close majority decision points loss against Laila Ali, the daughter of his rival.
Frazier's overall record was 32 wins, 4 losses, and 1 draw, with 27 wins by knockout. He won 73% of his fights by knockout, compared to 60% for Ali and 84% for Foreman. He was a member of the International Boxing Hall Of Fame.
In 1984, Frazier was the special referee for the NWA World Heavyweight Championship match between Ric Flair and Dusty Rhodes at Starrcade '84. He awarded the match to Flair because of Rhodes's excessive bleeding.
In 1986, Frazier appeared as the "cornerman" for Mr. T against Roddy Piper at Nassau Veterans Memorial Coliseum as part of WrestleMania 2. In 1989, Frazier joined Ali, Foreman, Norton, and Holmes for the tribute special Champions Forever.
Frazier was inducted into the Madison Square Garden Walk of Fame in 1996.
Other work
Media appearances
Frazier appeared as himself in an episode of The Simpsons - "Brother, Can You Spare Two Dimes?" in 1992, in which he was supposed to have been beaten up by Barney Gumble in Moe's Tavern. Frazier's son objected, so Frazier was instead shown beating up Gumble and putting him in a trash can. Frazier appeared in another episode of The Simpsons - "Homer's Paternity Coot" in 2006. He appeared on-screen in the 8th series of The Celebrity Apprentice (USA) television show as a guest-attendee at a Silent Auction event held for the season finale (won by Joan Rivers). Frazier appeared as himself in the Academy Award-winning 1976 movie, Rocky. Since the debut of the Fight Night series of games made by EA Sports, Frazier appeared in Fight Night 2004, Fight Night Round 2, Fight Night Round 3, Fight Night Round 4 and Fight Night Champion.
Books
Frazier released his autobiography in March 1996, entitled Smokin' Joe: The Autobiography of a Heavyweight Champion of the World, Smokin' Joe Frazier. Frazier promoted the book with a memorable appearance on The Howard Stern Show on January 23, 1996.
He also wrote Box like the Pros, "a complete introduction to the sport, including the game's history, rules of the ring, how fights are scored, how to spar, the basics of defence and offence, the fighter's workout, a directory of boxing gyms, and much more. Box Like the Pros is an instruction manual, a historical reference tool and an insider's guide to the world's most controversial sport."
Financial issues and legal battles
According to an article from The New York Times, "over the years, Frazier has lost a fortune through a combination of his own generosity and naïveté, his carousing, and failed business opportunities. The other headliners from his fighting days—Ali, George Foreman, and Larry Holmes—are millionaires." Asked about his situation, Frazier became playfully defensive, but would not reveal his financial status. "Are you asking me how much money I have?" he said. "I got plenty of money. I got a stack of $100 bills rolled up over there in the back of the room." Frazier blamed himself, partly, for not effectively promoting his own image. In a 2006 HBO documentary on the fight in Manila, Frazier was interviewed living in a one-room apartment on the second floor of his gym.
His daughter Jacqui Frazier-Lyde is a lawyer and worked on her father's behalf in pursuit of money they claimed he was owed in a Pennsylvania land deal. In 1973, Frazier purchased 140 acres in Bucks County, Pennsylvania for $843,000. Five years later, a developer agreed to buy the farmland for $1.8 million. Frazier received annual payments from a trust that bought the land with money he had earned in the ring. However, when the trust went bankrupt, the payments ceased.
Frazier sued his business partners, insisting his signature had been forged on documents and he had no knowledge of the sale. In the ensuing years, the 140 acres was subdivided and turned into a residential community. The land is now worth an estimated $100 million.
Relationship with Muhammad Ali
Initially, Frazier and Ali were friends. During Ali's enforced three-year lay-off from boxing for refusing to be drafted into the US Army, Frazier lent him money, testified before Congress and petitioned US President Richard Nixon to have Ali's right to box reinstated. Frazier supported Ali's right not to serve in the army: "If Baptists weren't allowed to fight, I wouldn't fight either."
However, in the build-up to their first fight, the Fight of the Century, Ali turned it into a "cultural and political referendum" by painting himself as a revolutionary and civil rights champion and Frazier as the white man's hope. Ali called him an "Uncle Tom" and a pawn of the white establishment as Frazier called him Clay. Ali successfully turned many black Americans against Frazier because Frazier never spoke out about race issues, and Ali could easily paint himself as hero to oppressed black people. Bryant Gumbel joined the pro-Ali anti-Frazier bandwagon by writing a major magazine article that asked, "Is Joe Frazier a white champion with black skin?" Frazier thought that was "a cynical attempt by Clay to make me feel isolated from my own people. He thought that would weaken me when it came time to face him in that ring. Well, he was wrong. It didn't weaken me, it awakened me to what a cheap-shot son of a bitch he was." Ali's camp also hurled many insults at Frazier, calling him an "ugly gorilla", though Ali had also compared other opponents to animals. He noted the hypocrisy of Ali calling him an Uncle Tom when his [Ali's] trainer (Angelo Dundee) was of Italian descent. When told by Michael Parkinson that Frazier was not an Uncle Tom, he responded by saying, "Then why does he insist on calling me Cassius Clay when even the worst of the white enemies recognize me as Muhammad Ali?"
As a result of Ali's campaign, Frazier's children were bullied at school, and his family was given police protection after receiving death threats. Ali declared that if Frazier won, he would crawl across the ring and admit that Frazier was the greatest. After Frazier won by a unanimous decision, he called upon Ali to fulfill his promise and crawl across the ring, but Ali failed to do so. Ali called it a "white man's decision" and insisted that he won.
During a televised joint interview prior to their second bout in 1974, Ali continued to insult Frazier, who took exception to Ali calling him "ignorant" and challenged him to a fight, which resulted in both of them brawling on the studio floor. Ali went on to win the 12-round non-title affair by a decision. Ali took things further in the build-up to their last fight, the Thrilla in Manila, and called Frazier "the other type of negro" and "ugly", "dumb", and a "gorilla" At one point he sparred with a man in a gorilla suit and pounded on a rubber gorilla doll, saying "This is Joe Frazier's conscience.... I keep it everywhere I go. This is the way he looks when you hit him." According to the fight's promoter, Don King, that enraged Frazier, who took it as a "character assassination" and "personal invective." One night before the fight, Ali waved around a toy pistol outside Frazier's hotel room. When Frazier came to the balcony, he pointed the gun at Frazier and yelled, "I am going to shoot you." After the fight, Ali summoned Frazier's son Marvis into his dressing room, and told him that he had not meant what he had said about his father. When informed by Marvis, Frazier responded, "You ain't me, son. Why isn't he apologizing to me?"
In his 1996 autobiography Smokin' Joe: The Autobiography of a Heavyweight Champion of the World, Frazier consistently refers to Muhammad Ali as "Cassius Clay" and never deviating from that convention unless the book directly quotes someone else.
For years afterwards, Frazier retained his bitterness towards Ali and suggested that Ali's battle with Parkinson's syndrome was a form of divine retribution for his earlier behavior. In 2001, Ali apologized to Frazier via a New York Times article: "In a way, Joe's right. I said a lot of things in the heat of the moment that I shouldn't have said. Called him names I shouldn't have called him. I apologize for that. I'm sorry. It was all meant to promote the fight." Frazier reportedly "embraced it" but later retorted that Ali apologized only to a newspaper, not to him. He said, "I'm still waiting [for him] to say it to me." Ali responded, "If you see Frazier, you tell him he's still a gorilla." Ali also said in an interview, "I wasn't going to get on my knees and crawl and beg him to forgive me."
Frazier told Sports Illustrated in May 2009 that he no longer held hard feelings for Ali. After Frazier's death in November 2011, Ali was among those who attended the private funeral services for Frazier in Philadelphia. Jesse Jackson, who spoke during the service, asked those in attendance to stand and "show your love" and reportedly Ali stood with the audience and clapped "vigorously".
Later years
Frazier lived in Philadelphia where he owned and managed a boxing gym. Frazier put the gym up for sale in mid-2009. Before the gym was put up for sale, Frazier, with the help of Peter Bouchard, formed the Smokin Joe Frazier Foundation, whose purpose was to give back to troubled and in need youth. Peter Bouchard volunteered to run the foundation for Frazier. Once Frazier's health declined, the foundation was shelved.
He was diagnosed with diabetes and high blood pressure. He and his nemesis, Muhammad Ali, alternated over the years between public apologies and public insults. In 1996, when Ali lit the Olympic flame in Atlanta, Frazier told a reporter that he would like to throw Ali into the fire and felt that he should have been chosen to light the flame. Frazier made millions of dollars in the 1970s, but the reported mismanagement of his real estate contributed to some financial difficulties.
The National Trust for Historic Preservation has named Joe Frazier's Gym in its 25th list of America's 11 Most Endangered Historic Places in 2012. In 2013, the gym was named to the National Register of Historic Places.
Frazier continued to train young fighters although he needed multiple operations for back injuries sustained in a car accident. He and Ali reportedly attempted a reconciliation in his final years, but in October 2006, Frazier still claimed to have won all three bouts between them. He declared to a Times reporter, when questioned about his bitterness toward Ali, "I am what I am."
Frazier attempted to revive his music interests in late 2009/2010. Notably popular for singing 'Mustang Sally,' both Frazier and manager Leslie R. Wolff teamed up with Welsh Rock Solo artist Jayce Lewis to release his repertoire in the UK, later visiting the Welshman there to host a string of after-dinner speeches and music developments. It would notably be Frazier's last appearance there.
Death
Frazier was diagnosed with liver cancer in late September 2011. By November 2011, he was under hospice care, where he died on November 7 at the age of 67.
Upon hearing of Frazier's death, Muhammad Ali said, "The world has lost a great champion. I will always remember Joe with respect and admiration."
Frazier's private funeral took place on November 14 at the Enon Tabernacle Baptist Church in Philadelphia and in addition to friends and family was attended by Muhammad Ali, Don King, Larry Holmes, Magic Johnson, Dennis Rodman, among others. Floyd Mayweather Jr. paid for Frazier's funeral services. His body was buried at the Ivy Hill Cemetery, a short drive from the Enon Tabernacle Baptist Church.
In popular media
He was played by boxer James Toney in the 2001 film Ali.
Some of the most memorable moments in the 1976 boxing-themed feature film, Rocky—such as Rocky's carcass-punching scenes and Rocky running up the steps of the Philadelphia Museum of Art, as part of his training regimen—are taken from Frazier's real-life exploits. In the film, Frazier makes a cameo appearance, as a spectator at the fight between Rocky and Apollo.
In March 2007, a Joe Frazier action figure was released as part of a range of toys based on the Rocky film franchise, developed by the American toy manufacturer, Jakks Pacific.
Electric bassist Jeff Berlin wrote a musical tribute simply called "Joe Frazier", originally recorded on the Bill Bruford album Gradually Going Tornado, available on the compilation album Master Strokes.
He guest-starred as himself in the 1992 The Simpsons episode "Brother, Can You Spare Two Dimes?", where he presented Homer Simpson with the Montgomery Burns Award for the Outstanding Achievement In The Field Of Excellence.
Mr. Sandman, a video game character in the Punch-Out !! video game series known for being one of the toughest opponents, was based in part on Frazier.
In the Fight Night Video Games Frazier is a character in each game.
His granddaughter, Latrice Frazier, appeared on an episode of Maury.
On July 1, 2021, CBS announced that his son Derek was one of 16 Houseguests participating in Big Brother 23. Derek ended up being the runner-up for that season, winning $75,000.
Professional boxing record
Music career
In the late 1970s, Frazier created a soul-funk group called "Joe Frazier and the Knockouts", mentioned in Billboard and recording a number of singles.
Joe toured widely in the US and Europe including Ireland, where among other places he performed in Donegal and Athy County Kildare with his band. Joe Frazier and the Knockouts were also featured singing in a 1978 Miller beer commercial.
Frazier sang at the 1978 Jerry Lewis Telethon and he sang the United States national anthem before the rematch between Ali and Leon Spinks on September 15, 1978.
Discography
See also
List of undisputed boxing champions
Notable boxing families
References
Bibliography
Further reading
External links
Joe Frazier – CBZ Profile
Boxing Hall of Fame
ESPN.com
ESPN.com -- additional information
New York Times Obituary
1944 births
2011 deaths
African-American boxers
Boxers at the 1964 Summer Olympics
Boxers from Philadelphia
Deaths from cancer in Pennsylvania
Deaths from liver cancer
International Boxing Hall of Fame inductees
Medalists at the 1964 Summer Olympics
Olympic boxers of the United States
Olympic gold medalists for the United States in boxing
Sportspeople from Beaufort, South Carolina
Sportspeople with a vision impairment
World Boxing Association champions
World Boxing Council champions
World heavyweight boxing champions
American male boxers
The Ring (magazine) champions
Burials at Ivy Hill Cemetery (Philadelphia)
20th-century African-American sportspeople
21st-century African-American people
| false |
[
"Equal Employment Opportunity Commission v. Abercrombie & Fitch Stores, 575 U.S. ___ (2015), was a United States Supreme Court case regarding a Muslim-American woman, Samantha Elauf, who was refused a job at Abercrombie & Fitch in 2008 because she wore a head scarf, which conflicted with the company's dress code. The Supreme Court of the United States ruled 8-1 in Elauf's favor on June 1, 2015.\n\nBackground \nIn 2008, Elauf, then 17 years old, applied for a job at an Abercrombie & Fitch store in Tulsa, Oklahoma. During her interview with the company, she was wearing a head scarf, but did not say why. The woman interviewing her, Heather Cooke, was initially impressed with Elauf, but also concerned about her head scarf. Cooke had told the manager of the store that she thought Elauf was wearing the scarf for religious reasons, but the manager responded that employees were not allowed to wear hats at work, and so declined to hire her.\n\nIn 2009, the Equal Employment Opportunity Commission sued Abercrombie & Fitch on Elauf's behalf. This led to a lawsuit in a federal district court that resulted in Elauf receiving $20,000 in damages. However, this decision was later reversed by the 10th U.S. Circuit Court of Appeals, which ruled in favor of Abercrombie & Fitch on the basis that Elauf did not provide the company with information about her need for an accommodation.\n\nOpinion of the Court \nOn June 1, 2015, the Supreme Court ruled 8–1 in favor of Elauf. In an opinion by Associate Justice Antonin Scalia, the Court held that Elauf did not have to explicitly request an accommodation to obtain protection from Title VII of the Civil Rights Act of 1964, which prohibits religious discrimination in hiring.\n\nJustice Samuel Alito wrote an opinion concurring in the judgment, stating that evidence of Abercrombie's knowledge of Elauf's religious practice was sufficient grounds to rule against Abercrombie. Justice Clarence Thomas concurred in part and dissented in part. Thomas agreed with the majority's interpretation that Title VII protects against \"intentional discrimination\" against a particular religious group, but felt that Abercrombie did not really engage in that here because their dress code was a religion-neutral policy that affected all potential applicants. This ruling revived the lawsuit Elauf had filed against the company.\n\nReferences\n\nExternal links\n \n\nUnited States Supreme Court cases\nUnited States Supreme Court cases of the Roberts Court\nAbercrombie & Fitch\nEqual Employment Opportunity Commission\nReligious discrimination in the United States",
"American Hospital Association v. Becerra is a case pending before the Supreme Court of the United States. The court granted the petition for a writ of certiorari on July 2, 2021. The case will be argued and decided in the court's 2021–2022 term. The case centers around a rule from the Department of Health and Human Services which reduced reimbursement rates for certain hospitals. Several hospital associations and hospitals affected by the rule sued the DHHS, alleging that it has exceeded its statutory authority. The court is tasked with deciding if the rule is a reasonable interpretation of the law, and if the law blocks judicial review of the rule in the first place.\n\nBackground\n\nRule in question \nThe rule being challenged deals with 340B hospitals and Medicare Part B insured patients. Previously, the government reimbursed hospitals at a uniform rate if they provided outpatient care to Medicare Part B recipients. The DHHS then changed the rule to reduce reimbursement rates for 340B hospitals, because they can get drugs at lower costs.\n\nLower court decisions \nThe district court initially found in favor of the American Hospital Association, stating the government exceeded its statutory authority. The United States Court of Appeals for the District of Columbia Circuit however, found that the rule was a reasonable interpretation of the law. On March 15, 2021, a petition for an appeal to the Supreme Court was filed.\n\nReferences \n\nCase law"
] |
[
"Fall Out Boy",
"Legacy"
] |
C_4790a4a8a9d04432816141d09089d013_0
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Was legacy an album?
| 1 |
Was legacy an album?
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Fall Out Boy
|
Fall Out Boy have been instrumental in the careers of other artists, such as Panic! at the Disco, whom Pete Wentz signed to his record label, Decaydance Records, in late 2004. Several artists, such as You Me at Six and Taylor Swift, have created or performed covers of Fall Out Boy songs as a homage to the band. The Fall Out Boy band members were the first inductees to the "Hall of Wood" at the 2015 MtvU Woodie Awards and performed a medley of five songs at the ceremony. This honor is given to artists who have used MTV Woodie Awards as a "launching pad" in achieving chart topping success within their musical careers, thus influencing up and coming bands. The award also recognizes bands "sticking to their roots" and "maintaining their loyal fan base". The group had won the Woodie Award for Streaming for "Grand Theft Autumn" at the first ceremony in 2004. In a list of the 50 greatest pop-punk albums of all time, Rolling Stone placed Fall Out Boy's 2003 album Take This To Your Grave as the fifth greatest, citing it as "[ushering] in a whole new, genre-blurring scene, in which heavy riffs and a screamo aesthetic mingled with old-fashioned teen heartbreak". In a similar list, Kerrang! magazine placed Take This To Your Grave at number 11 out of 51, describing it as a "blueprint for both break-up records and timeless pop-punk". In 2017, Fall Out Boy were announced as the first winners of Rock Sound's Hall of Fame Award as part of the Rock Sound Awards. In an interview accompanying the band's win, Patrick Stump stated one reason for the band's success is Sugar, We're Goin Down, explaining that the "song changed my life, I have a music career in a large part due to that song". In 2009, Phoenix New Times writer Martin Cizmar had described Sugar, We're Goin Down as possibly "the most listened-to emo track of all time". CANNOTANSWER
|
CANNOTANSWER
|
Fall Out Boy is an American rock band formed in Wilmette, Illinois, a suburb of Chicago, in 2001. The band consists of lead vocalist and rhythm guitarist Patrick Stump, bassist Pete Wentz, lead guitarist Joe Trohman, and drummer Andy Hurley. The band originated from Chicago's hardcore punk scene, with which all members were involved at one point. The group was formed by Wentz and Trohman as a pop punk side project of the members' respective hardcore bands, and Stump joined shortly thereafter. The group went through a succession of drummers before landing Hurley and recording the group's debut album, Take This to Your Grave (2003). The album became an underground success and helped the band gain a dedicated fanbase through heavy touring, as well as commercial success. Take This to Your Grave has commonly been cited as an influential blueprint for pop punk music in the 2000s.
With Wentz as the band's lyricist and Stump as the primary composer, the band's 2005 major-label breakthrough, From Under the Cork Tree, produced two hit singles, "Sugar, We're Goin Down" and "Dance, Dance", and went double platinum, transforming the group into superstars and making Wentz a celebrity and tabloid fixture. Fall Out Boy received a Best New Artist nomination at the 2006 Grammy Awards. The band's 2007 follow-up, Infinity on High, debuted at number one on the Billboard 200 with 260,000 first week sales. It produced two worldwide hit singles, "This Ain't a Scene, It's an Arms Race" and "Thnks fr th Mmrs". Folie à Deux, the band's fourth album, created a mixed response from fans and commercially undersold expectations. Following the release of Believers Never Die – Greatest Hits, the band took a hiatus from 2009 to 2013 to "decompress", exploring various side projects.
The band regrouped and recorded Save Rock and Roll (2013), becoming its second career number one and included the top 20 single "My Songs Know What You Did in the Dark (Light Em Up)". The same year, the band released the EP PAX AM Days, consisting of 8 punk-influenced tracks that were recorded during a two-day session with producer Ryan Adams. The band's sixth studio album, American Beauty/American Psycho (2015) peaked at number one on the Billboard 200, and spawned the top-10 hit "Centuries" and the single "Uma Thurman" which reached No. 22 on the Billboard Hot 100. This was followed by their first remix album Make America Psycho Again, which featured the remixes of all original tracks from American Beauty/American Psycho by a different artist on each song, including Migos and Wiz Khalifa.
The band's seventh studio album Mania (2018), also peaked at No. 1, making it the band's fourth No. 1 album and sixth consecutive top 10 album. Their supporting tour for the album included a show at Wrigley Field, their first headlining stadium show. In 2018, Fall Out Boy also received their second Grammy nomination for Best Rock Album for Mania. A co-headlining 2020 tour with Green Day and Weezer titled the Hella Mega Tour was announced in September 2019. Each band released new music in support of the tour, with Fall Out Boy announcing the release of a second greatest hits album, Greatest Hits: Believers Never Die – Volume Two, and a supporting single, "Dear Future Self (Hands Up)". The tour, which spans North American, Europe and Oceania, is Fall Out Boy's first stadium tour and includes shows in Wrigley Field, Dodger Stadium and the London Stadium.
History
2001–2002: Early years
Fall Out Boy was formed in 2001 in the Chicago suburb of Wilmette, Illinois by friends Pete Wentz and Joe Trohman. Wentz was a "visible fixture" of the relatively small Chicago hardcore punk scene of the late 1990s, performing in groups such as Birthright, Extinction and First Born. He was also part of the metalcore band Arma Angelus and the more political Racetraitor, "a band that managed to land the covers of Maximumrocknroll and Heartattack fanzines before releasing a single note of music". Wentz was growing dissatisfied with the changing mores of the community, which he viewed as a transition from political activism to an emphasis on moshing and breakdowns. With enthusiasm in Arma Angelus waning, he created a pop punk side project with Trohman that was intended to be "easy and escapist". Trohman met Patrick Stump, then a drummer for grindcore band Xgrinding processX and a host of other bands that "never really managed", at a Borders bookstore in Wilmette. While Trohman was discussing Neurosis with a friend, Stump interrupted them to correct their classification of the band; the ensuing conversation soon shifted to Trohman and Wentz's new project. Stump, viewing it as an opportunity to try out with "local hardcore celebrity" Wentz, directed Trohman to his MP3.com page, which contained sung-through acoustic recordings. Stump intended to try out as a drummer, but Trohman urged him to bring out his acoustic guitar; he impressed Trohman and Wentz with songs from Saves the Day's Through Being Cool. While Wentz wanted Racetraitor bandmate Andy Hurley to join the group as drummer, Hurley appeared uninterested and too busy at the time.
The band's first public performance came in a cafeteria at DePaul University alongside Stilwell and another group that performed Black Sabbath's self-titled debut album in its entirety. The band's only performance with guitarist John Flamandan and original drummer Ben Rose was in retrospect described as "goofy" and "bad", but Trohman made an active effort to make the band work, picking up members for practice. Wentz and Stump argued over band names; the former favored verbose, tongue-in-cheek names, while the latter wanted to reference Tom Waits in name. After creating a short list of names that included "Fall Out Boy", a fictional character from The Simpsons and Bongo Comics, friends voted on the name. The band's second performance, at a southern Illinois university with The Killing Tree, began with Wentz introducing the band under a name Stump recalled as "very long". According to Stump, an audience member yelled out, "Fuck that, no, you're Fall Out Boy!", and the band were credited later in the show under that name by Killing Tree frontman Tim McIlrath. As the group looked up to McIlrath, and Trohman and Stump were "die-hard" Simpsons fans, the name stuck. The group's first cassette tape demo was recorded in Rose's basement, but the band later set off for Wisconsin to record a proper demo with 7 Angels 7 Plagues drummer Jared Logan, whom Wentz knew through connections in the hardcore scene.
Several more members passed through the group, including drummer Mike Pareskuwicz of Subsist and guitarist T.J. "Racine" Kunasch. While Stump at this point felt uninterested in the group, Wentz was, according to Uprising Records owner Sean Muttaqi, viewing the group as "the thing that would make him famous. He had a clear vision." Wentz was "singularly focused on taking things to the next level" and began promoting the band via early social media. Muttaqi got word of the demo and wanted to release half of it as a split extended play with Hurley's band Project Rocket, which the band viewed as competition. Uprising desired to release an album with the emerging band, which to that point had only written three songs. With the help of Logan, the group attempted to put together a collection of songs in two days, and recorded them as Fall Out Boy's Evening Out with Your Girlfriend. The rushed recording experience and underdeveloped songs left the band dissatisfied. When the band set off to Smart Studios in Madison, Wisconsin to record three songs for a possible split 7-inch with 504 Plan, engineer Sean O'Keefe suggested the band record the trio with Hurley. Hurley was also recording an EP with his new group the Kill Pill in Chicago on the same day, but raced to Madison to play drums for Fall Out Boy. "It was still a fill-in thing but when Andy sat in, it just felt different. It was one of those "a-ha" moments", recalled Wentz.
2003–2004: Early success and Take This to Your Grave
The band booked a two-week tour with Spitalfield, but Pareskuwicz was unable to get time off from work and Kunasch was kicked out of the band as the group "had all gotten sick of him". Kunasch was temporarily replaced by friend Brandon Hamm on guitar, alongside drummer Chris Envy from the recently disbanded Showoff, but both quit prior to the kickoff of the tour. The band invited Hurley instead to fill-in once more, while Stump borrowed one of Trohman's guitars for the trek. While most shows were cancelled, the band played any show possible: "Let's just get on whatever show we can. You can pay us in pizza", remembered Wentz. As the tour concluded, the general consensus was that Hurley would be the band's new drummer, and the band began to shop around the three songs from the group's unreleased split as a demo to record labels. The band members set their sights on pop punk labels, and attempted with considerable effort to join Drive-Thru Records. A showcase for label co-founders went largely mediocre, and the band were offered to sign to side label Rushmore, an offer that the members of the band declined. They got particularly far in discussions with The Militia Group and Victory Records, and Bob McLynn of Crush Management became the band's first manager. The band re-entered the studio with O'Keefe to record several more tracks to create label interest. Wentz felt "in the backseat" in writing the songs and temporarily questioned his place in the group, but Stump argued in his favor: "No! That's not fair! Don't leave me with this band! Don't make me kind of like this band and then leave it! That's bullshit!"
The band's early tour vehicle was a "tiny V6 that was running on three cylinders, and it was not getting enough air, so it would drive really slowly", recalled Wentz. "We had to turn on the hot air to reach the speed limit, so we had the heat on all the time in 120-degree weather. It was so hot it melted the plastic molding around the windows. When it rained, we'd get all wet." John Janick of Fueled by Ramen had heard an early version of a song online and cold-called the band members at their apartment, first reaching Stump and later talking to Wentz for an hour. Rob Stevenson from Island Records eventually offered the band a "first-ever incubator sort of deal", in which they gave the band money to sign with Fueled by Ramen for the group's one-off debut, knowing they could "upstream" the band to radio on the sophomore record. Fueled by Ramen, at the time the smallest of independent labels clamoring to sign the band, would effectively release the group's debut album and help build the band's ever-expanding fanbase before the group moved to Island. The band again partnered with O'Keefe at Smart Studios, bringing together the three songs from the demo and recording an additional seven songs in nine days. The band, according to Stump, didn't "sleep anywhere that we could shower [...] There was a girl that Andy's girlfriend at the time went to school with who let us sleep on her floor, but we'd be there for maybe four hours at a time. It was crazy." As the band progressed and the members' roles became more defined, Wentz took lyrics extremely seriously in contrast to Stump, who had been the group's primary lyricist up to that point. Arguments during the recording sessions led to what "most reductively boils down to Wentz writing the lyrics and Stump writing the melodies".
The band's debut album, Take This to Your Grave, was issued by Fueled by Ramen in May 2003. Previously, one of the band's earliest recordings, Evening Out with Your Girlfriend, had not seen release until shortly before Grave in March 2003, when the band had gained considerable momentum. "Our record was something being rushed out to help generate some interest, but that interest was building before we could even get the record out", said Sean Muttaqi. The band actively tried to stop Uprising from releasing the recordings (as the band's relationship with Muttaqi had grown sour), as the band viewed it as a "giant piece of garbage" recorded before Hurley's involvement that the band members ceased to consider the debut album of the group. Gradually, the band's fanbase grew in size as the label pushed for the album's mainstream success. According to Wentz, shows began to end in a near-riot and the group were banned from several venues because the entire crowd would end up onstage. The band gained positive reviews for subsequent gigs at South by Southwest (SXSW) and various tour appearances. The band joined the Warped Tour for five dates in the summer of 2004, and on one date the band had only performed three songs when the stage collapsed due to the large crowd. The band appeared on the cover of the August 2004 edition of Alternative Press, and listening stations at Hot Topic partially helped the album move 2,000-3,000 copies per week by Christmas 2004, at which point the label considered the band "tipping" into mainstream success.
2005–2006: From Under the Cork Tree
The band had been flooded with "hyperbolic praise", and deemed "the next big thing" by multiple media outlets. Before recording the follow-up to its debut, the band released the acoustic EP/DVD My Heart Will Always Be the B-Side to My Tongue. The EP was the band's first charting on the Billboard 200 at number 153. From Under the Cork Tree was recorded in Burbank, California, and served as the first time the band had stayed in California for an extended period of time. The group lived in corporate housing during the making of the album. In contrast to Take This to Your Graves rushed recording schedule, Fall Out Boy took a much more gradual pace while working on From Under the Cork Tree. It was the first Fall Out Boy record in which Stump created all the music and Wentz wrote all the lyrics, continuing the approach they took for some songs on Grave. Stump felt that this process was much more "smooth" as every member was able to focus on his individual strengths. He explained: "We haven't had any of those moments when I play the music and he'll say, 'I don't like that,' and he'll read me lyrics and I'll say, 'I don't like those lyrics.' It's very natural and fun." Despite this, the band had great difficulty creating its desired sound for the album, constantly scrapping new material. Two weeks before recording sessions began, the group abandoned ten songs and wrote eight more, including the album's first single, "Sugar, We're Goin Down".
The band suffered a setback, however, when Wentz had an emotional breakdown in February 2005, culminating in a suicide attempt. He had withdrawn from the rest of the group, with his condition only apparent through his lyrics, and had also become obsessed with the recent Indian tsunami and his own self-doubt. "It is particularly overwhelming when you are on the cusp of doing something very big and thinking that it will be a big flop", he said later. Wentz swallowed a handful of Ativan anxiety pills (he described the act as "hypermedicating") in the Chicago Best Buy parking lot. After being rushed to the hospital and having his stomach pumped, Wentz moved back home to Wilmette to live with his parents.
From Under the Cork Tree debuted and peaked at number nine on the Billboard 200 upon its May 2005 release. It was spearheaded by the band's breakthrough single, "Sugar, We're Goin' Down", reached number eight in the US Billboard Hot 100 in September 2005, and in the UK chart in February 2006, crossing over from Alternative to Pop radio. "Dance, Dance", the album's second single, also was a top ten hit in the United States and was certified 3x Platinum in 2014. The record's success led to stardom among teenagers in North America, and the band's first arena tour had the group playing to 10,000 people per night. Rolling Stone wrote that the band's "anthems", distributed and marketed through their MySpace, connected with "skinny-jeans-wearing teen girls". In support of From Under the Cork Tree, the band toured exhaustively with international tours, TRL visits, late-night television appearances and music award shows. The band performed at music festivals in 2005 and 2006, including the third Nintendo Fusion Tour in the fall of 2005, joining The Starting Line, Motion City Soundtrack, Boys Night Out, and Panic! at the Disco on a 31 city tour. The album earned the band a Grammy nomination for Best New Artist, and has sold over 2.7 million copies in the United States, becoming the group's best-selling album. "Sugar, We're Goin Down" also won the band an MTV Music Video Award.
2007: Infinity on High
In the wake of the band's multiplatinum success, the "especially extroverted" Wentz became the most publicly visible member of the band. He confided to the press his suicide attempt and nude photos of the bassist appeared on the Internet in 2006. He gained additional exposure through his clothing line, his Decaydance record label (an imprint of Fueled by Ramen), and eventually a celebrity relationship with pop singer Ashlee Simpson, which made the two tabloid fixtures in the United States. Due to its increased success from the group's MTV Video Music Award, the group headlined the Black Clouds and Underdogs Tour, a pop punk event that featured The All-American Rejects, Well-Known Secret, Hawthorne Heights, and From First to Last. The tour also featured The Hush Sound for half of the tour and October Fall for half. The band played to 53 dates in the U.S., Canada, and the UK.
After taking a two-month-long break following the band's Black Clouds and Underdogs tour in promotion of the band's 2005 album From Under the Cork Tree, Fall Out Boy returned to the studio to begin work on a follow-up effort. The band began writing songs for the new album while touring, and intended to quickly make a new album in order to keep momentum in the wake of its breakthrough success. In early 2007, the group released its third studio album, Infinity on High, which was the band's second release on major label Island. The album marked a departure in Fall Out Boy's sound in which the band implemented a diverse array of musical styles including funk, R&B, and flamenco. As reported by Billboard, Fall Out Boy "drifts further from its hardcore punk roots to write increasingly accessible pop tunes", a slight departure from the group's previous more pop punk sound predominant on their 2003 effort, Take This to Your Grave.
Infinitys first week was a major success and was the band's biggest selling week, selling 260,000 copies to debut at No. 1 on the US Billboard 200 and inside the top five worldwide. This charting was first started with lead single "The Carpal Tunnel of Love", with minor success on the Billboard charts. This success was bolstered by the further-successful second single "This Ain't a Scene, It's an Arms Race", which reached No. 2 in both the US and UK as well as the top five in many other countries. On the band's decision to pick the song as a single, Wentz commented "There may be other songs on the record that would be bigger radio hits, but this one had the right message." "Thnks fr th Mmrs", the third single, peaked just outside the top 10 at No. 11 on the strength of sales and popular radio play, and went on to sell over two million copies in the US. It found its greatest success in Australia where it charted at No. 3. In 2007, Fall Out Boy placed at No. 9 in the Top Selling Digital Artists chart with 4,423,000 digital tracks sold, according to Nielsen SoundScan. The album itself has sold over two million copies worldwide and subsequently was certified Platinum in the United States.
Fall Out Boy then headlined the 2007 Honda Civic Tour to promote the album. Though the tour was initially postponed due to personal issues, it would take place with +44, Cobra Starship, The Academy Is... and Paul Wall as supporting acts. The band also headlined the Young Wild Things Tour, an international arena tour featuring Gym Class Heroes, Plain White T's and Cute Is What We Aim For.
Inspired by Maurice Sendak's 1963 children's book Where the Wild Things Are, the concert tour and included sets designed by artist Rob Dobi containing images from the book. The band's "hugely successful" amphitheater tour to promote Infinity led to the release of the 2008 live album Live in Phoenix, consisting of live material recorded during a June 22, 2007, concert at Phoenix's Cricket Wireless Pavilion, a date of the Honda Civic Tour. The disc also included a studio cover of Michael Jackson's "Beat It", with guitarist John Mayer guesting for a guitar solo. The track was released as a single and became a mainstay on the iTunes top ten.
2008–2009: Folie à Deux
The band members decided to keep publicity down during the recording of their fourth album, as the group was taken aback by such press surrounding Infinity on High. Sessions proved to be difficult for the band; Stump called the making of the album "painful", noting that he and Wentz quarreled over many issues, revealing "I threw something across the room over a major-to-minor progression." On previous albums, Trohman felt he and Hurley did not have enough musical freedom and that Stump and Wentz exerted too much control over the group: "I felt, 'Man, this isn't my band anymore.' It's no one's fault, and I don't want to make it seem that way. It was more of a complex I developed based on stuff I was reading. It's hard to hear, 'Joe and Andy are just along for the ride. To amend the situation, Trohman sat down with Stump to communicate his concerns, which led to more collaboration on Folie à Deux. "It made me feel like I owned the songs a lot more. It made me really excited about contributing to Fall Out Boy and made me find my role in the band," Trohman recalled.
As the release of the new album approached, the band and its management found that they would have to navigate changes in the music industry, facing declining record sales, the lack of a proper outlet for exhibition of music videos, and the burgeoning US economic crisis. To promote the album, Wentz launched a viral campaign in August 2008, inspired by George Orwell's novel Nineteen Eighty-Four (1949), and the autocratic, overbearing Big Brother organization. Folie à Deux, released in December 2008, did not perform as well commercially as its predecessor, Infinity on High. It debuted at number eight on the US Billboard 200 chart with first week sales of 150,000 copies during a highly competitive week with other big debuts, becoming Fall Out Boy's third consecutive top ten album. This is in contrast to the band's more successful previous effort which shifted 260,000 copies in its opening week to debut at number one on the chart. Folie spent two weeks within the top 20 out of its 22 chart weeks. It also entered Billboard's Rock Albums and Alternative Albums charts at number three. Within two months of its release, Folie à Deux was certified Gold in the United States by the Recording Industry Association of America (RIAA), denoting shipments of 500,000 copies. The lead single, "I Don't Care", reached a peak at number twenty-one on the Billboard Hot 100, and was certified Platinum by the RIAA for shipments of one million copies.
To promote the album, Fall Out Boy embarked on the Believers Never Die Tour Part Deux, which included dates in the United States and Canada. The constant touring schedule became difficult for the band due to conflicting fan opinion regarding Folie à Deux: concertgoers would "boo the band for performing numbers from the record in concert", leading Stump to describe touring in support of Folie as like "being the last act at the vaudeville show: We were rotten vegetable targets in Clandestine hoods." "Some of us were miserable onstage", said guitarist Joe Trohman. "Others were just drunk." A greatest hits compilation, Believers Never Die – Greatest Hits, followed in the fall, and following these events, the band decided to take a break. The band's decision stemmed from disillusionment with the music industry and Stump recalled that "We found ourselves running on fumes a little bit – creatively and probably as people, too." Stump realized the band was desperate to take a break; he sat the group down and explained that a hiatus was in order if the band wanted to continue in the future. All involved felt the dynamic of the group had changed as personalities developed.
Rumors and misquotes led to confusion as to what such a break truly meant; Wentz preferred to not refer to the break as a "hiatus", instead explaining that the band was just "decompressing". Fall Out Boy played its last show at Madison Square Garden on October 4, 2009. Near the end, Blink-182's Mark Hoppus shaved Wentz's head in a move Andy Greene in Rolling Stone would later describe as a "symbolic cleansing of the past, but also the beginning of a very dark chapter for the band".
2010–2012: Hiatus and side projects
By the time the break began, Stump was the heaviest he had ever been and loathed the band's image as an "emo" band. Coming home from tour, drummer Andy Hurley "went through the darkest depression [I've] ever felt. I looked at my calendar and it was just empty." Wentz, who had been abusing Xanax and Klonopin, was divorced by his wife Ashlee Simpson and returned to therapy. "I'd basically gone from being the guy in Fall Out Boy to being the guy who, like, hangs out all day", Wentz recalled. Previously known as the "overexposed, despised" leader of the band, Wentz "simply grew up", sharing custody of his son and embracing maturity: "There was a jump-cut in my life. I started thinking – like, being old would be cool."
During the hiatus, the band members each pursued individual musical interests, which were met with "varying degrees of failure". Stump was the only member of the quartet to take on a solo project while Fall Out Boy was on hiatus, recording debut album Soul Punk entirely on his own: he wrote, produced, and played every instrument for all tracks on the record. In addition, he married his longtime girlfriend and lost over sixty pounds through portion control and exercise. Stump blew through most of his savings putting together a large band to tour behind Soul Punk, but ticket sales were sparse and the album stalled commercially. During a particularly dark moment in February 2012, Stump poured his heart out in a 1500-word blog entry called "We Liked You Better Fat: Confessions of a Pariah". In the post, Stump lamented the harsh reception of the record and his status as a "has-been" at 27. Stump revealed that fans harassed him on his solo tour, hurling insults such as "We liked you better fat", and noted that "Whatever notoriety Fall Out Boy used to have prevents me from having the ability to start over from the bottom again." Aside from Soul Punk and personal developments, Stump moonlighted as a professional songwriter/producer, co-writing tracks with Bruno Mars and All Time Low, and pursued acting.
Wentz formed electronic duo Black Cards with vocalist Bebe Rexha in July 2010. The project released one single before album delays led to Rexha's departure in 2011. Black Cards added Spencer Peterson to complete the Use Your Disillusion EP in 2012. Wentz also completed writing a novel, Gray, that he had been working on for six years outside the band, and began hosting the reality tattoo competition show Best Ink. Hurley ventured farther into rock during the hiatus, drumming with multiple bands over the three-year period. He continued to manage his record label, Fuck City, and drummed for bands Burning Empires and Enabler. He also formed heavy metal outfit The Damned Things with Trohman, Scott Ian and Rob Caggiano of Anthrax, and Keith Buckley of Every Time I Die. Despite this, the members all remained cordial to one another; Wentz was Stump's best man at his wedding. The hiatus was, all things considered, beneficial for the group and its members, according to Hurley. "The hiatus helped them all kind of figure themselves out", he explained in 2013. "Especially Joe and Patrick, who were so young. And Pete is a million times better."
2013–2014: Reformation and Save Rock and Roll
Stump and Wentz met up for the first time in several years in early 2012 for a writing session. Wentz reached out to Stump after he penned his letter, as he too felt he was in a dark place and needed a creative outlet. He was at first reluctant to approach Stump, likening the phone call to reconnecting with a lover after years of acrimony. "I know what you need – you need your band", Wentz told Stump. "I think it's kind of weird that we haven't really seen each other this year. We paid for each other's houses and you don't know my kid", Wentz remarked. The result, "three or four" new songs, were shelved with near immediacy, with the two concluding that "it just wasn't right and didn't feel right." Several months later, the two reconvened and wrote tracks that they felt truly represented the band in a modern form. The band decided that if a comeback was in order, it must represent the band in its current form: "We didn't want to come back just to bask in the glory days and, like, and collect a few checks and pretend ... and do our best 2003 impersonation", said Stump. Afterwards, the quartet held an all-day secret meeting at their manager's home in New York City where they discussed ideas and the mechanics of getting together to record. Trohman was the last to be contacted, through a three-hour phone call from Stump. As Trohman was arguably the most excited to begin other projects, he had a list of stipulations for rejoining the band. "If I'm not coming back to this band writing music […] then I don't want to", he remarked. Stump supported Trohman's ambition saying Trohman "needed to be writing more".
The band members' main goal was to reinvent the group's sound from scratch, creating what Trohman called a "reimagining of the band", which focuses more on pop. Sessions were not without difficulties, as the band struggled initially to produce new material. Walker had doubts about the band's volatility, feeling the record would not get made following "meltdown after meltdown". The entire album was recorded in secrecy from the music industry, critics, and fans of the band. While specifically denying that the group's announcement was a reunion because "[the group had] never broke[n] up", the band announced a reunion tour and details of Save Rock and Roll on February 4, 2013. The quartet's announcement included a photo of the group that had been taken earlier that morning of the band members huddled around a bonfire tossing copies of their back catalog into flames at the original location of Comiskey Park, the location of 1979's Disco Demolition Night, a baseball promotional event which involved destroying disco records. A message on the group's website read "when we were kids the only thing that got us through most days was music. It's why we started Fall Out Boy in the first place. This isn't a reunion because we never broke up. We needed to plug back in and make some music that matters to us. The future of Fall Out Boy starts now. Save rock and roll..." Save Rock and Roll debuted at number one on the Billboard 200 chart, with first week sales of 154,000 copies in the United States, according to Nielsen SoundScan. The arrival of Save Rock and Roll posted the quartet's third-biggest sales week, and earned the group's second career number one on the chart. The band's chart success was best described as unexpected by music journalists. Andy Greene in Rolling Stone called the band's comeback a "rather stunning renaissance", and Entertainment Weekly called the number one a "major accomplishment for a band whom many in the industry had dismissed as kings of a genre whose time had passed".
The record's lead single, "My Songs Know What You Did in the Dark (Light Em Up)", peaked at number 13 on the Billboard Hot 100, marking the band's first top twenty single since the group's 2008 cover of Michael Jackson's "Beat It". It was certified 3x Platinum in the US for over 3 million sales. Inspired in part by Daft Punk's Interstella 5555: The 5tory of the 5ecret 5tar 5ystem, the band released a music video for every song on the album in a series titled The Young Blood Chronicles between February 2013 and May 2014. The band also released a hardcore punk-influenced EP, PAX AM Days, in late 2013. Fall Out Boy covered Elton John's (who was featured on the Save Rock And Roll title track) song "Saturday Night's Alright for Fighting" for inclusion in the fortieth anniversary re-release edition of Goodbye Yellow Brick Road on March 25, 2014, alongside covers by different artists.
Fall Out Boy headlined Save Rock And Roll tours (including US, Australian and European legs) and played at music festivals around the world for one and a half years. The group co-headlined Monumentour with Paramore in North America to close the Save Rock And Roll era.
2014–2016: American Beauty/American Psycho
On June 2, 2014, Wentz stated that he and Stump were writing new music: "We're writing. I was just listening to something Patrick had written in the trailer. So we're writing, finishing out the album cycle in South Africa in September." In a later interview with Rock Sound regarding the status of the album, Wentz commented "We don't have an exact timetable yet. I have a two-week-old son and Patrick has a baby on the way in October, so there's a lot going on." as well as stating a rough release time as early 2015. In December 2014 the band played radio-sponsored Christmas shows, including KROQ's Almost Acoustic Christmas.
"Centuries" – the first single of Fall Out Boy's sixth studio album – premiered on September 8, 2014, on BBC Radio 1, receiving a worldwide release the next day. By the 2010s, there were few rock bands achieving success on mainstream radio and the charts, but "Centuries" peaked at No. 10 on the Billboard Hot 100 and No. 13 on Billboard Mainstream Top 40. Fall Out Boy also was featured on the track "Back to Earth" from Steve Aoki's second album Neon Future I, which was released on September 30, 2014. Another song titled "Immortals" was released October 14, 2014, as part of the soundtrack for the Walt Disney film Big Hero 6. The group remade the Chicago Bulls's anthem "Only the Bulls" with guest Lupe Fiasco. The recording of the song was released in November 2014.
On November 24, 2014, the title of Fall Out Boy's sixth studio album was announced as American Beauty/American Psycho; the album was released on January 20, 2015. The album's title track premiered on BBC Radio 1 in the UK along with the album's title reveal. American Beauty/American Psycho debuted at No. 1 on the US Billboard 200 with 192,000 first week sales and 218,000 equivalent album units, becoming Fall Out Boy's third No. 1 album. The band played two small venue release shows in January 2015, in London and Chicago. American Beauty/American Psycho was certified platinum in the US on March 1, 2016, after selling 1 million units. From February through March, the band played at the Australian Soundwave festival for the first time, with two additional side shows in Sydney and Brisbane.
Fall Out Boy inducted Green Day into the Rock and Roll Hall of Fame on April 18, 2015. On May 18, the group performed its song "Uma Thurman" with Wiz Khalifa on the 2015 Billboard Music Awards. In June–August 2015, Fall Out Boy toured across the United States with Wiz Khalifa, Hoodie Allen, and MAX on the "Boys of Zummer Tour".
On October 1, 2015, the "American Beauty/American Psycho" European tour kicked off in Dublin, Ireland, and consisted of 12 dates with shows in the UK, Russia, and Europe. On May 24, 2015, it was announced English rapper Professor Green would support Fall Out Boy on the 8-date leg of the band's UK tour. New York based dance-duo Matt and Kim were added as additional support for the UK tour. On October 23, 2015, Fall Out Boy announced via Twitter the release of a re-worked version of its sixth studio album, Make America Psycho Again. The remix album features a remade version of each track from the original record, each featuring a different rapper. The album was released on October 30, 2015. It included the version of "Uma Thurman" featuring Wiz Khalifa which had been originally performed at the Billboard Music Awards. On March 1, 2016, it was announced Fall Out Boy were to headline Reading and Leeds Festivals in the UK in August 2016 along with Biffy Clyro.
2017–present: Mania
On April 27, 2017, Fall Out Boy announced that their new album was set to be released on September 15, titled Mania, stylized as M A N I A. The first single, "Young and Menace", was released the same day. The second single, "Champion", was released in the U.S. on June 22 and worldwide on June 23. Music videos have been posted to Vevo and YouTube for both songs. The band plans to begin the Mania Tour in North America in October 2017 with hip hop artist blackbear and actor-rapper Jaden Smith, and will perform in Australia in 2018 with indie band WAAX. On August 3, 2017, Patrick Stump tweeted that the album's release would be pushed back to January 19, 2018, because the band were not satisfied with the results of their work at the time.
"The Last of the Real Ones", released on September 14, 2017, in North America and worldwide the following day, was the third single from Mania to be released, and was played on Jimmy Kimmel Live! on September 18, 2017, after being debuted at House of Blues in Chicago on September 16. The band announced the album's completion on November 6, 2017, along with the final track list. "Hold Me Tight or Don't" was then released as the fourth single on November 15, with the music video being released alongside. Mania was officially released January 19, 2018 and debuted at number one on the Billboard 200, making it the band's third consecutive and fourth chart-topping debut overall.
On February 23, 2018, the band released an EP called Llamania. The EP contains three unfinished demo recordings. On August 23, 2018, the band released an EP called Lake Effect Kid. The EP includes a new version of a demo, with the same name, from the band's 2008 mixtape, CitizensFOB Mixtape: Welcome to the New Administration. In September 2018, Fall Out Boy headlined Wrigley Field in the band's hometown of Chicago, marking a milestone in their career as their first headline show at a stadium. On December 7, 2018, Fall Out Boy received their second Grammy nomination for Best Rock Album for Mania.
In 2019, the band was sued by Furry Puppet Studio for overusing llama puppets made by the company. According to the company, the llamas were only licensed for use in the "Young and Menace" video but were used at live shows, on merchandise, during TV appearances, and in multiple music videos. On September 10, 2019, the band announced the Hella Mega Tour with Green Day and Weezer as headliners along themselves, with The Interrupters as an opening act. They also released "Dear Future Self (Hands Up)" off their second compilation album, Greatest Hits: Believers Never Die – Volume Two, released in November 2019. Due to the COVID-19 pandemic, the summer leg of the tour was rescheduled to 2021. On August 4, 2021, during the Hell Mega Tour, the band announced that they would not be performing at Boston's Fenway Park due to one of the band's team members testing positive for COVID-19. However, Green Day and Weezer performed as scheduled.
Musical style and influences
While widely considered to be a pop punk band, Fall Out Boy has also been described as pop rock, pop, alternative rock, emo, emo pop, power pop, punk rock, and electropop, with elements of electronic, R&B, soul, funk, blue-eyed soul, hip hop, and hardcore punk, The band cites emo group The Get Up Kids as an influence among many other bands. When interviewed for a retrospective article in Alternative Press at the time The Get Up Kids disbanded in 2005, Pete Wentz stated that "Fall Out Boy would not be a band if it were not for The Get Up Kids." Early in the band's career, when Jared Logan was producing the group's debut album, he asked bassist Pete Wentz what sound the band desired for recording. Wentz responded by "handing over the first two New Found Glory records". Wentz also cites Green Day, Misfits, the Ramones, Screeching Weasel, Metallica, Earth Crisis, Gorilla Biscuits and Lifetime as influences. The band acknowledges its hardcore punk roots as an influence; all four members were involved in the Chicago hardcore scene before joining Fall Out Boy. Wentz described the band's affiliation with the genre by saying "I think the interesting thing is that we are all hardcore kids that are writing pop music...It gives us a different style because at our core we are always hardcore. That aspect is always going to be evident in the music. We are hardcore kids that couldn't quite cut it as hardcore kids." He referred to Fall Out Boy's genre as "softcore": hardcore punk mixed with pop sensibility. Lead singer Patrick Stump, however, is also influenced by artists he listened to while growing up including Prince, Michael Jackson, and David Bowie.
Fall Out Boy's albums Take This to Your Grave and From Under the Cork Tree are both said to have pop punk as well as punk rock sounds and influences, and Infinity on High features a wide range of styles and instrumentation, including orchestral arrangements ("Thnks fr th Mmrs") and a slower piano ballad ("Golden"). R&B influences on Infinity on High are on songs such as "This Ain't a Scene, It's an Arms Race" and two of the album's tracks are produced by R&B singer/producer Babyface. On Folie à Deux, the group continues to evolve its sound, with less of a pop punk sound and increasing the use of piano (such as "What a Catch, Donnie", "Headfirst Slide into Cooperstown on a Bad Bet", and "20 Dollar Nose Bleed"), synthesizers, and guest artists. The band also shows a number of influences, with "Disloyal Order of Water Buffaloes" borrowing a chord sequence from The Who song "Baba O'Riley". The group has worked with many producers and artists, including The Neptunes, Timbaland, Ryan Adams, Lil Wayne and Kanye West, the latter of which Patrick Stump described as "the Prince of his generation".
When the band returned from hiatus with Save Rock and Roll, their main goal was to reinvent the sound of the group from scratch, creating what Trohman called a "reimagining of the band", which focused more on pop and moved away from the punk aspects of their sound. While mostly an album which mixes pop, rock and R&B, the record was still described by Dave Simpson of The Guardian as a pop punk record, but also noted influences from Heart in the album's ballads. In American Beauty/American Psycho, the band felt influences from playing with different artists and expanded on boundaries further than Save Rock and Roll did. In an interview with Rolling Stone, guitarist Joe Trohman said the album has "hip hop grooves with guitars on it", with "more in your face guitar than Save Rock and Roll". Annie Zaleski of Alternative Press described American Beauty/American Psycho as a "mix of fluid grooves, punky riffs and outré pop sensibilities".
A central part of Fall Out Boy's sound is rooted in the band's lyrics, mainly penned by bassist Pete Wentz, who commonly uses irony and other literary devices to narrate personal experience and stories. Wentz stated, "I write about what I'm going through most of the time, or what I imagine people are going through most of the time." He draws inspiration from authors such as Charles Bukowski, Ernest Hemingway, and JT LeRoy, as well as rappers such as Lil Wayne, who he described as his primary influence while writing Infinity on High. On Fall Out Boy's earlier works, Wentz wrote primarily about love and heartbreak. Themes addressed on From Under the Cork Tree include narcissism and megalomania, while many tracks on Infinity on High discuss the ups and downs of fame. While writing Folie à Deux, he explored moral dilemmas and societal shortcomings, as well as concepts such as trust, infidelity, responsibility, and commitment. While the album does contain political overtones, the band wanted to avoid being overt about these themes, leaving many lyrics open to interpretation for listeners.
Legacy
Fall Out Boy have been instrumental in the careers of other artists, such as Panic! at the Disco, whom Pete Wentz signed to his record label, Decaydance Records, in late 2004. Several artists, such as You Me at Six and Taylor Swift, have created or performed covers of Fall Out Boy songs in homage to the band.
The Fall Out Boy band members were the first inductees to the "Hall of Wood" at the 2015 MtvU Woodie Awards and performed a medley of five songs at the ceremony. This honor is given to artists who have used MTV Woodie Awards as a "launching pad" in achieving chart topping success within their musical careers, thus influencing up and coming bands. The award also recognizes bands "sticking to their roots" and "maintaining their loyal fan base". The group had won the Woodie Award for Streaming for "Grand Theft Autumn" at the first ceremony in 2004.
In a list of the 50 greatest pop-punk albums of all time, Rolling Stone placed Fall Out Boy's 2003 album Take This To Your Grave as the fifth greatest, citing it as "[ushering] in a whole new, genre-blurring scene, in which heavy riffs and a screamo aesthetic mingled with old-fashioned teen heartbreak". In a similar list, Kerrang! magazine placed Take This To Your Grave at number 11 out of 51, describing it as a "blueprint for both break-up records and timeless pop-punk". In 2018, Rock Sound put Take This To Your Grave at number 18 in their list of the 100 best pop-punk albums, describing it as "poetic and utterly brilliant", while 2005's From Under The Cork Tree was placed at number 3 behind only Green Day's Dookie and Blink-182's Enema of the State. Rock Sound described From Under the Cork Tree as "intelligent, intriguing and utterly intoxicating...They will still be talking about this one in 50 years time."
In 2017, Fall Out Boy were announced as the first winners of Rock Sound's Hall of Fame Award as part of the Rock Sound Awards. In an interview accompanying the band's win, Patrick Stump stated one reason for the band's success is Sugar, We're Goin Down, explaining that the "song changed my life, I have a music career in a large part due to that song". In 2009, Phoenix New Times writer Martin Cizmar had described Sugar, We're Goin Down as possibly "the most listened-to emo track of all time".
As of 2020, the band are two-time Grammy Award nominees, their first nomination having been for Best New Artist at the 2006 Grammy Awards and their second for Best Rock Album for their 2018 album MANIA at the 2019 Grammy Awards.
On July 30, 2020, the band were nominated for "Best Rock Video" for the song "Dear Future Self (Hands Up)" at the 2020 MTV Video Music Awards, which makes them the most nominated band in history for the category.
Band membersCurrent members Patrick Stump – lead vocals , rhythm guitar, keyboards , percussion
Joe Trohman – lead guitar, backing vocals , keyboards
Pete Wentz – bass guitar, unclean vocals, backing vocals
Andy Hurley – drums, percussion , occasional backing vocals Former members'''
Ben Rose – drums, percussion
John Flamandan - rhythm guitar
T.J. Kunasch – rhythm guitar
Brandon Hamm – rhythm guitar
Mike Pareskuwicz – drums, percussion
Timeline
Discography
Take This to Your Grave (2003)
From Under the Cork Tree (2005)
Infinity on High (2007)
Folie à Deux (2008)
Save Rock and Roll (2013)
American Beauty/American Psycho (2015)
Mania (2018)
Awards and nominations
Alternative Press Music Awards
|-
| rowspan=5|2014
| rowspan=2|Themselves
| Artist of the Year
|
|-
| Best Live Band
|
|-
| Pete Wentz
| Best Bassist
|
|-
| Save Rock and Roll| Album of the Year
|
|-
| "My Songs Know What You Did in the Dark (Light Em Up)"
| Song of the Year
|
|-
| rowspan=2|2015
| "Centuries"
| Best Music Video
|
|-
| Overcast Kids| Most Dedicated Fans
|
|-
| rowspan=2|2016
| Patrick Stump
| Best Vocalist
|
|-
| rowspan=2|Themselves
| rowspan=2|Artist of the Year
|
|-
| 2017
|
International Dance Music Awards
|-
| 2008
| "Thnks fr th Mmrs"
| Best Alternative/Rock Dance Track
|
Kerrang! Awards
|-
| rowspan=4|2006
| Themselves
| Best Band on the Planet
|
|-
| From Under the Cork Tree| Best Album
|
|-
| rowspan=2|"Sugar, We're Goin Down"
| Best Single
|
|-
| rowspan=2|Best Video
|
|-
| rowspan=3|2007
| "This Ain't a Scene, It's an Arms Race"
|
|-
| Infinity on High| Best Album
|
|-
| rowspan=2|Themselves
| rowspan=2|Best International Band
|
|-
| rowspan=4|2013
|
|-
| Fall Out Boy at London Camden Underworld| Best Event
|
|-
| "My Songs Know What You Did in the Dark (Light Em Up)"
| rowspan=2|Best Single
|
|-
| "The Phoenix"
|
|-
| rowspan=3|2014
| Themselves
| Best International Band
|
|-
| Save Rock and Roll Tour| Best Event
|
|-
| Pete Wentz
| Tweeter of the Year
|
|-
| rowspan=2|2015
| "Centuries"
| Best Single
|
|-
| rowspan=2|Themselves
| rowspan=2|Best International Band
|
|-
| 2016
|
Teen Choice Awards
|-
| rowspan=3|2006
| Themselves
| Choice Music: Rock Group
|
|-
| rowspan=2|"Dance, Dance
| Choice Music: Single
|
|-
| rowspan=2|Choice Music: Rock Song
|
|-
| rowspan=2|2007
| "Thnks fr th Mmrs"
|
|-
| rowspan=2|Themselves
| rowspan=2|Choice Music: Rock Group
|
|-
| rowspan=2|2008
|
|-
| Pete Wentz
| Choice Red Carpet Fashion Icon: Male
|
|-
| rowspan=4|2015
| Themselves
| Choice Music Group: Male
|
|-
| "Centuries"
| Choice Music Single: Group
|
|-
| "Uma Thurman"
| Choice Music: Rock Song
|
|-
| The Boys of Zummer Tour (with Wiz Khalifa)
| Choice Summer Tour
|
|-
| 2016
| Themselves
| Choice Music: Group
|
Other Awards
|-
|| 2004 || "Grand Theft Autumn/Where Is Your Boy" || MtvU Woodie Award – Streaming Artist || rowspan="4"
|-
|| 2005 || "Sugar, We're Goin Down" || MTV Video Music Award – MTV2 Award
|-
|rowspan="3"| 2006 || rowspan=2|"Dance, Dance" || MuchMusic Video Award – People's Choice: Favorite International Group
|-
|| MTV Video Music Award – Viewer's Choice
|-
|| Fall Out Boy || Grammy Award for Best New Artist ||
|-
|rowspan=4|2007 || rowspan="2"| "Thnks fr th Mmrs" || Nickelodeon's Australian Kids' Choice Awards – Fave Song || rowspan="3"
|-
|| Nickelodeon's Kids' Choice Award – Single
|-
|rowspan=2|Fall Out Boy || MTV Video Music Award – Best Group
|-
|| Nickelodeon's Kids Choice Award – Best Band ||
|-
|rowspan="5"| 2008 || "The Take Over, the Breaks Over" || MuchMusic Video Award – People's Choice: Favorite International Video || rowspan="4"
|-
|rowspan="3"| Fall Out Boy || TMF Award – Best Live International
|-
|| TMF Award – Best Rock International
|-
|| TMF Award – Best Alternative International
|-
|| "Beat It" || MTV Video Music Award – Best Rock Video || rowspan="2"
|-
|| 2009 || "I Don't Care" || NRJ Music Award – Best International Band
|-
|rowspan=2|2013 || "My Songs Know What You Did in the Dark (Light Em Up)" || MTV Video Music Award for Best Rock Video || rowspan="2"
|-
|| Fall Out Boy || MTV Europe Music Awards – Best Alternative
|-
| rowspan="10"| 2014 || Fall Out Boy || People's Choice Awards – Favorite Alternative Band ||
|-
|| Fall Out Boy || Billboard Music Awards – Top Rock Artist || rowspan="2"
|-
|| Save Rock and Roll || Billboard Music Awards – Top Rock Album
|-
|| Fall Out Boy & The Band Perry || CMT Music Awards – CMT Performance of the Year ||
|-
|| Fall Out Boy || World Music Awards – World's Best Alternative Act ||
|-
|| Fall Out Boy || World Music Awards – World's Best Group || rowspan="7"
|-
|| Fall Out Boy || World Music Awards – World's Best Live Act
|-
|| Save Rock and Roll || World Music Awards – World's Best Album
|-
|| "My Songs Know What You Did in the Dark (Light Em Up)" || World Music Awards – World's Best Song
|-
|| "My Songs Know What You Did in the Dark (Light Em Up)" || World Music Awards – World's Best Music Video
|-
| rowspan="5"| 2015 || Fall Out Boy || Billboard Music Awards – Top Rock Artist
|-
|rowspan="1"|"Centuries" || Billboard Music Awards – Top Rock Song
|-
|| "Uma Thurman" || MTV Video Music Award – Best Rock Video || rowspan="2"
|-
|| Fall Out Boy || American Music Awards – Favorite Alternative Band
|-
|| Fall Out Boy || People's Choice Awards – Favorite Group || rowspan="5"
|-
| rowspan="5"| 2016 || Fall Out Boy || Billboard Music Awards – Top Rock Artist
|-
|rowspan="2"| "Uma Thurman" || Billboard Music Awards – Top Rock Song
|-
|| Radio Disney Music Awards – Best Song To Dance To
|-
|rowspan="3"| Fall Out Boy || Radio Disney Music Awards – Best Music Group
|-
|| MTV Video Music Award – Best Rock Video || rowspan="4"
|-
| 2018 || MTV Europe Music Award – Best Alternative
|-
| 2019 || Mania'' || Grammy Award for Best Rock Album
|-
| 2020 || "Dear Future Self (Hands Up)" || MTV Video Music Award – Best Rock Video
See also
Notes
References
Footnotes
Bibliography
Cover of the issue.
External links
Official website
Patrick Stump official website
2001 establishments in Illinois
Emo musical groups from Illinois
American pop rock music groups
Crush Management artists
Decaydance Records artists
Fueled by Ramen artists
Kerrang! Awards winners
Musical groups disestablished in 2009
Musical groups established in 2001
Musical groups from Chicago
Musical groups from Wilmette, Illinois
Musical groups reestablished in 2013
Musical quartets
Pop punk groups from Illinois
| false |
[
"Tron: Legacy Reconfigured (stylized on the album artwork as Tron: Legacy R3C0NF1GUR3D) is a remix album of music by Daft Punk, released by Walt Disney Records on 5 April 2011. The album features remixes of selections of the Tron: Legacy film score by various contemporary electronic musicians. Tron: Legacy Reconfigured charted in several countries and peaked at number one in the Billboard Dance/Electronic chart. The album was released to mixed reviews.\n\nBackground\nTron: Legacy Reconfigured was released to coincide with the home video release of Tron: Legacy. The remix album was sold as either a standalone record or as part of box sets including the film, an EP of bonus tracks from the original score, a copy of the comic book miniseries tie-in Tron: Betrayal, and a poster of Daft Punk as they appear in the film. The \"ultimate\" box order included a five-disc set featuring Tron: The Original Classic as well as a collectible lithograph.\n\nDaft Punk's former manager Pedro Winter was displeased with Tron: Legacy Reconfigured and asserted that the duo was not involved with the remix album. He wrote in an open letter to Disney that, \"Of course some of it is nice, and you know there are some of my friends on this CD. But this is not enough! [...] I am sad to discover the A&R at Disney records is apparently buying most of his electronic music in airports stores...\"\n\nCritical reception\n\nReception to the remix album was generally mixed. On Metacritic, the album holds an aggregate score of 59/100, indicating \"mixed or average reviews\". Heather Phares of AllMusic believed that Tron: Legacy Reconfigured was made in response to the perceived lack of \"dancefloor movers\" in the original score and noted that, \"While the acts involved don't offer many surprises, they do what they do well\". A Consequence of Sound review also felt that the record was a more accessible version of the film soundtrack: \"Listening to the album straight through feels more like an eclectic concert than a compilation, and that’s meant as a compliment.\"\n\nJess Harvell of Pitchfork wrote that the album is successful \"about 50% of the time\" with the conclusion that, \"taken as a whole, what we're left with is a solidly middle-of-the-road project building off a solidly middle-of-the-road movie score. In a negative review, PopMatters believed that Tron: Legacy Reconfigured was a \"cash-in release\" based on the \"disappointing\" original soundtrack. \"The remixes that depart sharply from the originals, and sound more like their creators than like Daft Punk, often sound the best.\"\n\nThe Photek remix of \"End of Line\" was nominated for Best Remixed Recording, Non-Classical at the 54th Grammy Awards in 2011. The Glitch Mob's remix of \"Derezzed\" is used in various promos and trailers for the film's animated prequel, Tron: Uprising.\n\nTrack listing\n\nCharts\n\nWeekly charts\n\nYear-end charts\n\nReferences\n\nExternal links\n\nAlbum entry at Walt Disney Records\nTron: Legacy Reconfigured at Metacritic\n\n2011 remix albums\nDaft Punk remix albums\nElectro house remix albums\nTron music\nWalt Disney Records remix albums",
"Legacy: De Líder a Leyenda Tour EP is an EP by the Puerto Rican recording artist Yandel. It was released on August 25, 2014, by Sony Music Latin. The album has been released on music platforms such as iTunes, Spotify, Amazon and Google Play.\n\nAlbum information\nThe album was released to help promote the De Líder a Leyenda Tour. It consists of five songs, fans could choose their favorite song from the EP through his website, and he would perform the winning song as a part of the tour's set list on October 4 at José Miguel Agrelot Coliseum in San Juan, Puerto Rico. Two songs were premiered online before the album's release, \"Trepando Paredes\" and the remix version of \"Plakito\", to which were added vocals from the Puerto Rican singer Farruko, both featuring the catchphrase \"Legacy\" at the intro. Neither of them were included, but they were included later on the Deluxe Edition of his 2015 live album Legacy: De Líder a Leyenda Tour, an advance of the Legacy EP, which was released on February 3, 2015.\n\nTrack listing\nSource.\n\nCharts\n\nReferences\n\nExternal links\nYandel's official website\n\n2014 debut EPs\nYandel EPs\nSpanish-language EPs\nSony Music Latin EPs"
] |
[
"Fall Out Boy",
"Legacy",
"Was legacy an album?",
"I don't know."
] |
C_4790a4a8a9d04432816141d09089d013_0
|
What was Legacy?
| 2 |
What was Legacy?
|
Fall Out Boy
|
Fall Out Boy have been instrumental in the careers of other artists, such as Panic! at the Disco, whom Pete Wentz signed to his record label, Decaydance Records, in late 2004. Several artists, such as You Me at Six and Taylor Swift, have created or performed covers of Fall Out Boy songs as a homage to the band. The Fall Out Boy band members were the first inductees to the "Hall of Wood" at the 2015 MtvU Woodie Awards and performed a medley of five songs at the ceremony. This honor is given to artists who have used MTV Woodie Awards as a "launching pad" in achieving chart topping success within their musical careers, thus influencing up and coming bands. The award also recognizes bands "sticking to their roots" and "maintaining their loyal fan base". The group had won the Woodie Award for Streaming for "Grand Theft Autumn" at the first ceremony in 2004. In a list of the 50 greatest pop-punk albums of all time, Rolling Stone placed Fall Out Boy's 2003 album Take This To Your Grave as the fifth greatest, citing it as "[ushering] in a whole new, genre-blurring scene, in which heavy riffs and a screamo aesthetic mingled with old-fashioned teen heartbreak". In a similar list, Kerrang! magazine placed Take This To Your Grave at number 11 out of 51, describing it as a "blueprint for both break-up records and timeless pop-punk". In 2017, Fall Out Boy were announced as the first winners of Rock Sound's Hall of Fame Award as part of the Rock Sound Awards. In an interview accompanying the band's win, Patrick Stump stated one reason for the band's success is Sugar, We're Goin Down, explaining that the "song changed my life, I have a music career in a large part due to that song". In 2009, Phoenix New Times writer Martin Cizmar had described Sugar, We're Goin Down as possibly "the most listened-to emo track of all time". CANNOTANSWER
|
Fall Out Boy have been instrumental in the careers of other artists, such as Panic! at the Disco,
|
Fall Out Boy is an American rock band formed in Wilmette, Illinois, a suburb of Chicago, in 2001. The band consists of lead vocalist and rhythm guitarist Patrick Stump, bassist Pete Wentz, lead guitarist Joe Trohman, and drummer Andy Hurley. The band originated from Chicago's hardcore punk scene, with which all members were involved at one point. The group was formed by Wentz and Trohman as a pop punk side project of the members' respective hardcore bands, and Stump joined shortly thereafter. The group went through a succession of drummers before landing Hurley and recording the group's debut album, Take This to Your Grave (2003). The album became an underground success and helped the band gain a dedicated fanbase through heavy touring, as well as commercial success. Take This to Your Grave has commonly been cited as an influential blueprint for pop punk music in the 2000s.
With Wentz as the band's lyricist and Stump as the primary composer, the band's 2005 major-label breakthrough, From Under the Cork Tree, produced two hit singles, "Sugar, We're Goin Down" and "Dance, Dance", and went double platinum, transforming the group into superstars and making Wentz a celebrity and tabloid fixture. Fall Out Boy received a Best New Artist nomination at the 2006 Grammy Awards. The band's 2007 follow-up, Infinity on High, debuted at number one on the Billboard 200 with 260,000 first week sales. It produced two worldwide hit singles, "This Ain't a Scene, It's an Arms Race" and "Thnks fr th Mmrs". Folie à Deux, the band's fourth album, created a mixed response from fans and commercially undersold expectations. Following the release of Believers Never Die – Greatest Hits, the band took a hiatus from 2009 to 2013 to "decompress", exploring various side projects.
The band regrouped and recorded Save Rock and Roll (2013), becoming its second career number one and included the top 20 single "My Songs Know What You Did in the Dark (Light Em Up)". The same year, the band released the EP PAX AM Days, consisting of 8 punk-influenced tracks that were recorded during a two-day session with producer Ryan Adams. The band's sixth studio album, American Beauty/American Psycho (2015) peaked at number one on the Billboard 200, and spawned the top-10 hit "Centuries" and the single "Uma Thurman" which reached No. 22 on the Billboard Hot 100. This was followed by their first remix album Make America Psycho Again, which featured the remixes of all original tracks from American Beauty/American Psycho by a different artist on each song, including Migos and Wiz Khalifa.
The band's seventh studio album Mania (2018), also peaked at No. 1, making it the band's fourth No. 1 album and sixth consecutive top 10 album. Their supporting tour for the album included a show at Wrigley Field, their first headlining stadium show. In 2018, Fall Out Boy also received their second Grammy nomination for Best Rock Album for Mania. A co-headlining 2020 tour with Green Day and Weezer titled the Hella Mega Tour was announced in September 2019. Each band released new music in support of the tour, with Fall Out Boy announcing the release of a second greatest hits album, Greatest Hits: Believers Never Die – Volume Two, and a supporting single, "Dear Future Self (Hands Up)". The tour, which spans North American, Europe and Oceania, is Fall Out Boy's first stadium tour and includes shows in Wrigley Field, Dodger Stadium and the London Stadium.
History
2001–2002: Early years
Fall Out Boy was formed in 2001 in the Chicago suburb of Wilmette, Illinois by friends Pete Wentz and Joe Trohman. Wentz was a "visible fixture" of the relatively small Chicago hardcore punk scene of the late 1990s, performing in groups such as Birthright, Extinction and First Born. He was also part of the metalcore band Arma Angelus and the more political Racetraitor, "a band that managed to land the covers of Maximumrocknroll and Heartattack fanzines before releasing a single note of music". Wentz was growing dissatisfied with the changing mores of the community, which he viewed as a transition from political activism to an emphasis on moshing and breakdowns. With enthusiasm in Arma Angelus waning, he created a pop punk side project with Trohman that was intended to be "easy and escapist". Trohman met Patrick Stump, then a drummer for grindcore band Xgrinding processX and a host of other bands that "never really managed", at a Borders bookstore in Wilmette. While Trohman was discussing Neurosis with a friend, Stump interrupted them to correct their classification of the band; the ensuing conversation soon shifted to Trohman and Wentz's new project. Stump, viewing it as an opportunity to try out with "local hardcore celebrity" Wentz, directed Trohman to his MP3.com page, which contained sung-through acoustic recordings. Stump intended to try out as a drummer, but Trohman urged him to bring out his acoustic guitar; he impressed Trohman and Wentz with songs from Saves the Day's Through Being Cool. While Wentz wanted Racetraitor bandmate Andy Hurley to join the group as drummer, Hurley appeared uninterested and too busy at the time.
The band's first public performance came in a cafeteria at DePaul University alongside Stilwell and another group that performed Black Sabbath's self-titled debut album in its entirety. The band's only performance with guitarist John Flamandan and original drummer Ben Rose was in retrospect described as "goofy" and "bad", but Trohman made an active effort to make the band work, picking up members for practice. Wentz and Stump argued over band names; the former favored verbose, tongue-in-cheek names, while the latter wanted to reference Tom Waits in name. After creating a short list of names that included "Fall Out Boy", a fictional character from The Simpsons and Bongo Comics, friends voted on the name. The band's second performance, at a southern Illinois university with The Killing Tree, began with Wentz introducing the band under a name Stump recalled as "very long". According to Stump, an audience member yelled out, "Fuck that, no, you're Fall Out Boy!", and the band were credited later in the show under that name by Killing Tree frontman Tim McIlrath. As the group looked up to McIlrath, and Trohman and Stump were "die-hard" Simpsons fans, the name stuck. The group's first cassette tape demo was recorded in Rose's basement, but the band later set off for Wisconsin to record a proper demo with 7 Angels 7 Plagues drummer Jared Logan, whom Wentz knew through connections in the hardcore scene.
Several more members passed through the group, including drummer Mike Pareskuwicz of Subsist and guitarist T.J. "Racine" Kunasch. While Stump at this point felt uninterested in the group, Wentz was, according to Uprising Records owner Sean Muttaqi, viewing the group as "the thing that would make him famous. He had a clear vision." Wentz was "singularly focused on taking things to the next level" and began promoting the band via early social media. Muttaqi got word of the demo and wanted to release half of it as a split extended play with Hurley's band Project Rocket, which the band viewed as competition. Uprising desired to release an album with the emerging band, which to that point had only written three songs. With the help of Logan, the group attempted to put together a collection of songs in two days, and recorded them as Fall Out Boy's Evening Out with Your Girlfriend. The rushed recording experience and underdeveloped songs left the band dissatisfied. When the band set off to Smart Studios in Madison, Wisconsin to record three songs for a possible split 7-inch with 504 Plan, engineer Sean O'Keefe suggested the band record the trio with Hurley. Hurley was also recording an EP with his new group the Kill Pill in Chicago on the same day, but raced to Madison to play drums for Fall Out Boy. "It was still a fill-in thing but when Andy sat in, it just felt different. It was one of those "a-ha" moments", recalled Wentz.
2003–2004: Early success and Take This to Your Grave
The band booked a two-week tour with Spitalfield, but Pareskuwicz was unable to get time off from work and Kunasch was kicked out of the band as the group "had all gotten sick of him". Kunasch was temporarily replaced by friend Brandon Hamm on guitar, alongside drummer Chris Envy from the recently disbanded Showoff, but both quit prior to the kickoff of the tour. The band invited Hurley instead to fill-in once more, while Stump borrowed one of Trohman's guitars for the trek. While most shows were cancelled, the band played any show possible: "Let's just get on whatever show we can. You can pay us in pizza", remembered Wentz. As the tour concluded, the general consensus was that Hurley would be the band's new drummer, and the band began to shop around the three songs from the group's unreleased split as a demo to record labels. The band members set their sights on pop punk labels, and attempted with considerable effort to join Drive-Thru Records. A showcase for label co-founders went largely mediocre, and the band were offered to sign to side label Rushmore, an offer that the members of the band declined. They got particularly far in discussions with The Militia Group and Victory Records, and Bob McLynn of Crush Management became the band's first manager. The band re-entered the studio with O'Keefe to record several more tracks to create label interest. Wentz felt "in the backseat" in writing the songs and temporarily questioned his place in the group, but Stump argued in his favor: "No! That's not fair! Don't leave me with this band! Don't make me kind of like this band and then leave it! That's bullshit!"
The band's early tour vehicle was a "tiny V6 that was running on three cylinders, and it was not getting enough air, so it would drive really slowly", recalled Wentz. "We had to turn on the hot air to reach the speed limit, so we had the heat on all the time in 120-degree weather. It was so hot it melted the plastic molding around the windows. When it rained, we'd get all wet." John Janick of Fueled by Ramen had heard an early version of a song online and cold-called the band members at their apartment, first reaching Stump and later talking to Wentz for an hour. Rob Stevenson from Island Records eventually offered the band a "first-ever incubator sort of deal", in which they gave the band money to sign with Fueled by Ramen for the group's one-off debut, knowing they could "upstream" the band to radio on the sophomore record. Fueled by Ramen, at the time the smallest of independent labels clamoring to sign the band, would effectively release the group's debut album and help build the band's ever-expanding fanbase before the group moved to Island. The band again partnered with O'Keefe at Smart Studios, bringing together the three songs from the demo and recording an additional seven songs in nine days. The band, according to Stump, didn't "sleep anywhere that we could shower [...] There was a girl that Andy's girlfriend at the time went to school with who let us sleep on her floor, but we'd be there for maybe four hours at a time. It was crazy." As the band progressed and the members' roles became more defined, Wentz took lyrics extremely seriously in contrast to Stump, who had been the group's primary lyricist up to that point. Arguments during the recording sessions led to what "most reductively boils down to Wentz writing the lyrics and Stump writing the melodies".
The band's debut album, Take This to Your Grave, was issued by Fueled by Ramen in May 2003. Previously, one of the band's earliest recordings, Evening Out with Your Girlfriend, had not seen release until shortly before Grave in March 2003, when the band had gained considerable momentum. "Our record was something being rushed out to help generate some interest, but that interest was building before we could even get the record out", said Sean Muttaqi. The band actively tried to stop Uprising from releasing the recordings (as the band's relationship with Muttaqi had grown sour), as the band viewed it as a "giant piece of garbage" recorded before Hurley's involvement that the band members ceased to consider the debut album of the group. Gradually, the band's fanbase grew in size as the label pushed for the album's mainstream success. According to Wentz, shows began to end in a near-riot and the group were banned from several venues because the entire crowd would end up onstage. The band gained positive reviews for subsequent gigs at South by Southwest (SXSW) and various tour appearances. The band joined the Warped Tour for five dates in the summer of 2004, and on one date the band had only performed three songs when the stage collapsed due to the large crowd. The band appeared on the cover of the August 2004 edition of Alternative Press, and listening stations at Hot Topic partially helped the album move 2,000-3,000 copies per week by Christmas 2004, at which point the label considered the band "tipping" into mainstream success.
2005–2006: From Under the Cork Tree
The band had been flooded with "hyperbolic praise", and deemed "the next big thing" by multiple media outlets. Before recording the follow-up to its debut, the band released the acoustic EP/DVD My Heart Will Always Be the B-Side to My Tongue. The EP was the band's first charting on the Billboard 200 at number 153. From Under the Cork Tree was recorded in Burbank, California, and served as the first time the band had stayed in California for an extended period of time. The group lived in corporate housing during the making of the album. In contrast to Take This to Your Graves rushed recording schedule, Fall Out Boy took a much more gradual pace while working on From Under the Cork Tree. It was the first Fall Out Boy record in which Stump created all the music and Wentz wrote all the lyrics, continuing the approach they took for some songs on Grave. Stump felt that this process was much more "smooth" as every member was able to focus on his individual strengths. He explained: "We haven't had any of those moments when I play the music and he'll say, 'I don't like that,' and he'll read me lyrics and I'll say, 'I don't like those lyrics.' It's very natural and fun." Despite this, the band had great difficulty creating its desired sound for the album, constantly scrapping new material. Two weeks before recording sessions began, the group abandoned ten songs and wrote eight more, including the album's first single, "Sugar, We're Goin Down".
The band suffered a setback, however, when Wentz had an emotional breakdown in February 2005, culminating in a suicide attempt. He had withdrawn from the rest of the group, with his condition only apparent through his lyrics, and had also become obsessed with the recent Indian tsunami and his own self-doubt. "It is particularly overwhelming when you are on the cusp of doing something very big and thinking that it will be a big flop", he said later. Wentz swallowed a handful of Ativan anxiety pills (he described the act as "hypermedicating") in the Chicago Best Buy parking lot. After being rushed to the hospital and having his stomach pumped, Wentz moved back home to Wilmette to live with his parents.
From Under the Cork Tree debuted and peaked at number nine on the Billboard 200 upon its May 2005 release. It was spearheaded by the band's breakthrough single, "Sugar, We're Goin' Down", reached number eight in the US Billboard Hot 100 in September 2005, and in the UK chart in February 2006, crossing over from Alternative to Pop radio. "Dance, Dance", the album's second single, also was a top ten hit in the United States and was certified 3x Platinum in 2014. The record's success led to stardom among teenagers in North America, and the band's first arena tour had the group playing to 10,000 people per night. Rolling Stone wrote that the band's "anthems", distributed and marketed through their MySpace, connected with "skinny-jeans-wearing teen girls". In support of From Under the Cork Tree, the band toured exhaustively with international tours, TRL visits, late-night television appearances and music award shows. The band performed at music festivals in 2005 and 2006, including the third Nintendo Fusion Tour in the fall of 2005, joining The Starting Line, Motion City Soundtrack, Boys Night Out, and Panic! at the Disco on a 31 city tour. The album earned the band a Grammy nomination for Best New Artist, and has sold over 2.7 million copies in the United States, becoming the group's best-selling album. "Sugar, We're Goin Down" also won the band an MTV Music Video Award.
2007: Infinity on High
In the wake of the band's multiplatinum success, the "especially extroverted" Wentz became the most publicly visible member of the band. He confided to the press his suicide attempt and nude photos of the bassist appeared on the Internet in 2006. He gained additional exposure through his clothing line, his Decaydance record label (an imprint of Fueled by Ramen), and eventually a celebrity relationship with pop singer Ashlee Simpson, which made the two tabloid fixtures in the United States. Due to its increased success from the group's MTV Video Music Award, the group headlined the Black Clouds and Underdogs Tour, a pop punk event that featured The All-American Rejects, Well-Known Secret, Hawthorne Heights, and From First to Last. The tour also featured The Hush Sound for half of the tour and October Fall for half. The band played to 53 dates in the U.S., Canada, and the UK.
After taking a two-month-long break following the band's Black Clouds and Underdogs tour in promotion of the band's 2005 album From Under the Cork Tree, Fall Out Boy returned to the studio to begin work on a follow-up effort. The band began writing songs for the new album while touring, and intended to quickly make a new album in order to keep momentum in the wake of its breakthrough success. In early 2007, the group released its third studio album, Infinity on High, which was the band's second release on major label Island. The album marked a departure in Fall Out Boy's sound in which the band implemented a diverse array of musical styles including funk, R&B, and flamenco. As reported by Billboard, Fall Out Boy "drifts further from its hardcore punk roots to write increasingly accessible pop tunes", a slight departure from the group's previous more pop punk sound predominant on their 2003 effort, Take This to Your Grave.
Infinitys first week was a major success and was the band's biggest selling week, selling 260,000 copies to debut at No. 1 on the US Billboard 200 and inside the top five worldwide. This charting was first started with lead single "The Carpal Tunnel of Love", with minor success on the Billboard charts. This success was bolstered by the further-successful second single "This Ain't a Scene, It's an Arms Race", which reached No. 2 in both the US and UK as well as the top five in many other countries. On the band's decision to pick the song as a single, Wentz commented "There may be other songs on the record that would be bigger radio hits, but this one had the right message." "Thnks fr th Mmrs", the third single, peaked just outside the top 10 at No. 11 on the strength of sales and popular radio play, and went on to sell over two million copies in the US. It found its greatest success in Australia where it charted at No. 3. In 2007, Fall Out Boy placed at No. 9 in the Top Selling Digital Artists chart with 4,423,000 digital tracks sold, according to Nielsen SoundScan. The album itself has sold over two million copies worldwide and subsequently was certified Platinum in the United States.
Fall Out Boy then headlined the 2007 Honda Civic Tour to promote the album. Though the tour was initially postponed due to personal issues, it would take place with +44, Cobra Starship, The Academy Is... and Paul Wall as supporting acts. The band also headlined the Young Wild Things Tour, an international arena tour featuring Gym Class Heroes, Plain White T's and Cute Is What We Aim For.
Inspired by Maurice Sendak's 1963 children's book Where the Wild Things Are, the concert tour and included sets designed by artist Rob Dobi containing images from the book. The band's "hugely successful" amphitheater tour to promote Infinity led to the release of the 2008 live album Live in Phoenix, consisting of live material recorded during a June 22, 2007, concert at Phoenix's Cricket Wireless Pavilion, a date of the Honda Civic Tour. The disc also included a studio cover of Michael Jackson's "Beat It", with guitarist John Mayer guesting for a guitar solo. The track was released as a single and became a mainstay on the iTunes top ten.
2008–2009: Folie à Deux
The band members decided to keep publicity down during the recording of their fourth album, as the group was taken aback by such press surrounding Infinity on High. Sessions proved to be difficult for the band; Stump called the making of the album "painful", noting that he and Wentz quarreled over many issues, revealing "I threw something across the room over a major-to-minor progression." On previous albums, Trohman felt he and Hurley did not have enough musical freedom and that Stump and Wentz exerted too much control over the group: "I felt, 'Man, this isn't my band anymore.' It's no one's fault, and I don't want to make it seem that way. It was more of a complex I developed based on stuff I was reading. It's hard to hear, 'Joe and Andy are just along for the ride. To amend the situation, Trohman sat down with Stump to communicate his concerns, which led to more collaboration on Folie à Deux. "It made me feel like I owned the songs a lot more. It made me really excited about contributing to Fall Out Boy and made me find my role in the band," Trohman recalled.
As the release of the new album approached, the band and its management found that they would have to navigate changes in the music industry, facing declining record sales, the lack of a proper outlet for exhibition of music videos, and the burgeoning US economic crisis. To promote the album, Wentz launched a viral campaign in August 2008, inspired by George Orwell's novel Nineteen Eighty-Four (1949), and the autocratic, overbearing Big Brother organization. Folie à Deux, released in December 2008, did not perform as well commercially as its predecessor, Infinity on High. It debuted at number eight on the US Billboard 200 chart with first week sales of 150,000 copies during a highly competitive week with other big debuts, becoming Fall Out Boy's third consecutive top ten album. This is in contrast to the band's more successful previous effort which shifted 260,000 copies in its opening week to debut at number one on the chart. Folie spent two weeks within the top 20 out of its 22 chart weeks. It also entered Billboard's Rock Albums and Alternative Albums charts at number three. Within two months of its release, Folie à Deux was certified Gold in the United States by the Recording Industry Association of America (RIAA), denoting shipments of 500,000 copies. The lead single, "I Don't Care", reached a peak at number twenty-one on the Billboard Hot 100, and was certified Platinum by the RIAA for shipments of one million copies.
To promote the album, Fall Out Boy embarked on the Believers Never Die Tour Part Deux, which included dates in the United States and Canada. The constant touring schedule became difficult for the band due to conflicting fan opinion regarding Folie à Deux: concertgoers would "boo the band for performing numbers from the record in concert", leading Stump to describe touring in support of Folie as like "being the last act at the vaudeville show: We were rotten vegetable targets in Clandestine hoods." "Some of us were miserable onstage", said guitarist Joe Trohman. "Others were just drunk." A greatest hits compilation, Believers Never Die – Greatest Hits, followed in the fall, and following these events, the band decided to take a break. The band's decision stemmed from disillusionment with the music industry and Stump recalled that "We found ourselves running on fumes a little bit – creatively and probably as people, too." Stump realized the band was desperate to take a break; he sat the group down and explained that a hiatus was in order if the band wanted to continue in the future. All involved felt the dynamic of the group had changed as personalities developed.
Rumors and misquotes led to confusion as to what such a break truly meant; Wentz preferred to not refer to the break as a "hiatus", instead explaining that the band was just "decompressing". Fall Out Boy played its last show at Madison Square Garden on October 4, 2009. Near the end, Blink-182's Mark Hoppus shaved Wentz's head in a move Andy Greene in Rolling Stone would later describe as a "symbolic cleansing of the past, but also the beginning of a very dark chapter for the band".
2010–2012: Hiatus and side projects
By the time the break began, Stump was the heaviest he had ever been and loathed the band's image as an "emo" band. Coming home from tour, drummer Andy Hurley "went through the darkest depression [I've] ever felt. I looked at my calendar and it was just empty." Wentz, who had been abusing Xanax and Klonopin, was divorced by his wife Ashlee Simpson and returned to therapy. "I'd basically gone from being the guy in Fall Out Boy to being the guy who, like, hangs out all day", Wentz recalled. Previously known as the "overexposed, despised" leader of the band, Wentz "simply grew up", sharing custody of his son and embracing maturity: "There was a jump-cut in my life. I started thinking – like, being old would be cool."
During the hiatus, the band members each pursued individual musical interests, which were met with "varying degrees of failure". Stump was the only member of the quartet to take on a solo project while Fall Out Boy was on hiatus, recording debut album Soul Punk entirely on his own: he wrote, produced, and played every instrument for all tracks on the record. In addition, he married his longtime girlfriend and lost over sixty pounds through portion control and exercise. Stump blew through most of his savings putting together a large band to tour behind Soul Punk, but ticket sales were sparse and the album stalled commercially. During a particularly dark moment in February 2012, Stump poured his heart out in a 1500-word blog entry called "We Liked You Better Fat: Confessions of a Pariah". In the post, Stump lamented the harsh reception of the record and his status as a "has-been" at 27. Stump revealed that fans harassed him on his solo tour, hurling insults such as "We liked you better fat", and noted that "Whatever notoriety Fall Out Boy used to have prevents me from having the ability to start over from the bottom again." Aside from Soul Punk and personal developments, Stump moonlighted as a professional songwriter/producer, co-writing tracks with Bruno Mars and All Time Low, and pursued acting.
Wentz formed electronic duo Black Cards with vocalist Bebe Rexha in July 2010. The project released one single before album delays led to Rexha's departure in 2011. Black Cards added Spencer Peterson to complete the Use Your Disillusion EP in 2012. Wentz also completed writing a novel, Gray, that he had been working on for six years outside the band, and began hosting the reality tattoo competition show Best Ink. Hurley ventured farther into rock during the hiatus, drumming with multiple bands over the three-year period. He continued to manage his record label, Fuck City, and drummed for bands Burning Empires and Enabler. He also formed heavy metal outfit The Damned Things with Trohman, Scott Ian and Rob Caggiano of Anthrax, and Keith Buckley of Every Time I Die. Despite this, the members all remained cordial to one another; Wentz was Stump's best man at his wedding. The hiatus was, all things considered, beneficial for the group and its members, according to Hurley. "The hiatus helped them all kind of figure themselves out", he explained in 2013. "Especially Joe and Patrick, who were so young. And Pete is a million times better."
2013–2014: Reformation and Save Rock and Roll
Stump and Wentz met up for the first time in several years in early 2012 for a writing session. Wentz reached out to Stump after he penned his letter, as he too felt he was in a dark place and needed a creative outlet. He was at first reluctant to approach Stump, likening the phone call to reconnecting with a lover after years of acrimony. "I know what you need – you need your band", Wentz told Stump. "I think it's kind of weird that we haven't really seen each other this year. We paid for each other's houses and you don't know my kid", Wentz remarked. The result, "three or four" new songs, were shelved with near immediacy, with the two concluding that "it just wasn't right and didn't feel right." Several months later, the two reconvened and wrote tracks that they felt truly represented the band in a modern form. The band decided that if a comeback was in order, it must represent the band in its current form: "We didn't want to come back just to bask in the glory days and, like, and collect a few checks and pretend ... and do our best 2003 impersonation", said Stump. Afterwards, the quartet held an all-day secret meeting at their manager's home in New York City where they discussed ideas and the mechanics of getting together to record. Trohman was the last to be contacted, through a three-hour phone call from Stump. As Trohman was arguably the most excited to begin other projects, he had a list of stipulations for rejoining the band. "If I'm not coming back to this band writing music […] then I don't want to", he remarked. Stump supported Trohman's ambition saying Trohman "needed to be writing more".
The band members' main goal was to reinvent the group's sound from scratch, creating what Trohman called a "reimagining of the band", which focuses more on pop. Sessions were not without difficulties, as the band struggled initially to produce new material. Walker had doubts about the band's volatility, feeling the record would not get made following "meltdown after meltdown". The entire album was recorded in secrecy from the music industry, critics, and fans of the band. While specifically denying that the group's announcement was a reunion because "[the group had] never broke[n] up", the band announced a reunion tour and details of Save Rock and Roll on February 4, 2013. The quartet's announcement included a photo of the group that had been taken earlier that morning of the band members huddled around a bonfire tossing copies of their back catalog into flames at the original location of Comiskey Park, the location of 1979's Disco Demolition Night, a baseball promotional event which involved destroying disco records. A message on the group's website read "when we were kids the only thing that got us through most days was music. It's why we started Fall Out Boy in the first place. This isn't a reunion because we never broke up. We needed to plug back in and make some music that matters to us. The future of Fall Out Boy starts now. Save rock and roll..." Save Rock and Roll debuted at number one on the Billboard 200 chart, with first week sales of 154,000 copies in the United States, according to Nielsen SoundScan. The arrival of Save Rock and Roll posted the quartet's third-biggest sales week, and earned the group's second career number one on the chart. The band's chart success was best described as unexpected by music journalists. Andy Greene in Rolling Stone called the band's comeback a "rather stunning renaissance", and Entertainment Weekly called the number one a "major accomplishment for a band whom many in the industry had dismissed as kings of a genre whose time had passed".
The record's lead single, "My Songs Know What You Did in the Dark (Light Em Up)", peaked at number 13 on the Billboard Hot 100, marking the band's first top twenty single since the group's 2008 cover of Michael Jackson's "Beat It". It was certified 3x Platinum in the US for over 3 million sales. Inspired in part by Daft Punk's Interstella 5555: The 5tory of the 5ecret 5tar 5ystem, the band released a music video for every song on the album in a series titled The Young Blood Chronicles between February 2013 and May 2014. The band also released a hardcore punk-influenced EP, PAX AM Days, in late 2013. Fall Out Boy covered Elton John's (who was featured on the Save Rock And Roll title track) song "Saturday Night's Alright for Fighting" for inclusion in the fortieth anniversary re-release edition of Goodbye Yellow Brick Road on March 25, 2014, alongside covers by different artists.
Fall Out Boy headlined Save Rock And Roll tours (including US, Australian and European legs) and played at music festivals around the world for one and a half years. The group co-headlined Monumentour with Paramore in North America to close the Save Rock And Roll era.
2014–2016: American Beauty/American Psycho
On June 2, 2014, Wentz stated that he and Stump were writing new music: "We're writing. I was just listening to something Patrick had written in the trailer. So we're writing, finishing out the album cycle in South Africa in September." In a later interview with Rock Sound regarding the status of the album, Wentz commented "We don't have an exact timetable yet. I have a two-week-old son and Patrick has a baby on the way in October, so there's a lot going on." as well as stating a rough release time as early 2015. In December 2014 the band played radio-sponsored Christmas shows, including KROQ's Almost Acoustic Christmas.
"Centuries" – the first single of Fall Out Boy's sixth studio album – premiered on September 8, 2014, on BBC Radio 1, receiving a worldwide release the next day. By the 2010s, there were few rock bands achieving success on mainstream radio and the charts, but "Centuries" peaked at No. 10 on the Billboard Hot 100 and No. 13 on Billboard Mainstream Top 40. Fall Out Boy also was featured on the track "Back to Earth" from Steve Aoki's second album Neon Future I, which was released on September 30, 2014. Another song titled "Immortals" was released October 14, 2014, as part of the soundtrack for the Walt Disney film Big Hero 6. The group remade the Chicago Bulls's anthem "Only the Bulls" with guest Lupe Fiasco. The recording of the song was released in November 2014.
On November 24, 2014, the title of Fall Out Boy's sixth studio album was announced as American Beauty/American Psycho; the album was released on January 20, 2015. The album's title track premiered on BBC Radio 1 in the UK along with the album's title reveal. American Beauty/American Psycho debuted at No. 1 on the US Billboard 200 with 192,000 first week sales and 218,000 equivalent album units, becoming Fall Out Boy's third No. 1 album. The band played two small venue release shows in January 2015, in London and Chicago. American Beauty/American Psycho was certified platinum in the US on March 1, 2016, after selling 1 million units. From February through March, the band played at the Australian Soundwave festival for the first time, with two additional side shows in Sydney and Brisbane.
Fall Out Boy inducted Green Day into the Rock and Roll Hall of Fame on April 18, 2015. On May 18, the group performed its song "Uma Thurman" with Wiz Khalifa on the 2015 Billboard Music Awards. In June–August 2015, Fall Out Boy toured across the United States with Wiz Khalifa, Hoodie Allen, and MAX on the "Boys of Zummer Tour".
On October 1, 2015, the "American Beauty/American Psycho" European tour kicked off in Dublin, Ireland, and consisted of 12 dates with shows in the UK, Russia, and Europe. On May 24, 2015, it was announced English rapper Professor Green would support Fall Out Boy on the 8-date leg of the band's UK tour. New York based dance-duo Matt and Kim were added as additional support for the UK tour. On October 23, 2015, Fall Out Boy announced via Twitter the release of a re-worked version of its sixth studio album, Make America Psycho Again. The remix album features a remade version of each track from the original record, each featuring a different rapper. The album was released on October 30, 2015. It included the version of "Uma Thurman" featuring Wiz Khalifa which had been originally performed at the Billboard Music Awards. On March 1, 2016, it was announced Fall Out Boy were to headline Reading and Leeds Festivals in the UK in August 2016 along with Biffy Clyro.
2017–present: Mania
On April 27, 2017, Fall Out Boy announced that their new album was set to be released on September 15, titled Mania, stylized as M A N I A. The first single, "Young and Menace", was released the same day. The second single, "Champion", was released in the U.S. on June 22 and worldwide on June 23. Music videos have been posted to Vevo and YouTube for both songs. The band plans to begin the Mania Tour in North America in October 2017 with hip hop artist blackbear and actor-rapper Jaden Smith, and will perform in Australia in 2018 with indie band WAAX. On August 3, 2017, Patrick Stump tweeted that the album's release would be pushed back to January 19, 2018, because the band were not satisfied with the results of their work at the time.
"The Last of the Real Ones", released on September 14, 2017, in North America and worldwide the following day, was the third single from Mania to be released, and was played on Jimmy Kimmel Live! on September 18, 2017, after being debuted at House of Blues in Chicago on September 16. The band announced the album's completion on November 6, 2017, along with the final track list. "Hold Me Tight or Don't" was then released as the fourth single on November 15, with the music video being released alongside. Mania was officially released January 19, 2018 and debuted at number one on the Billboard 200, making it the band's third consecutive and fourth chart-topping debut overall.
On February 23, 2018, the band released an EP called Llamania. The EP contains three unfinished demo recordings. On August 23, 2018, the band released an EP called Lake Effect Kid. The EP includes a new version of a demo, with the same name, from the band's 2008 mixtape, CitizensFOB Mixtape: Welcome to the New Administration. In September 2018, Fall Out Boy headlined Wrigley Field in the band's hometown of Chicago, marking a milestone in their career as their first headline show at a stadium. On December 7, 2018, Fall Out Boy received their second Grammy nomination for Best Rock Album for Mania.
In 2019, the band was sued by Furry Puppet Studio for overusing llama puppets made by the company. According to the company, the llamas were only licensed for use in the "Young and Menace" video but were used at live shows, on merchandise, during TV appearances, and in multiple music videos. On September 10, 2019, the band announced the Hella Mega Tour with Green Day and Weezer as headliners along themselves, with The Interrupters as an opening act. They also released "Dear Future Self (Hands Up)" off their second compilation album, Greatest Hits: Believers Never Die – Volume Two, released in November 2019. Due to the COVID-19 pandemic, the summer leg of the tour was rescheduled to 2021. On August 4, 2021, during the Hell Mega Tour, the band announced that they would not be performing at Boston's Fenway Park due to one of the band's team members testing positive for COVID-19. However, Green Day and Weezer performed as scheduled.
Musical style and influences
While widely considered to be a pop punk band, Fall Out Boy has also been described as pop rock, pop, alternative rock, emo, emo pop, power pop, punk rock, and electropop, with elements of electronic, R&B, soul, funk, blue-eyed soul, hip hop, and hardcore punk, The band cites emo group The Get Up Kids as an influence among many other bands. When interviewed for a retrospective article in Alternative Press at the time The Get Up Kids disbanded in 2005, Pete Wentz stated that "Fall Out Boy would not be a band if it were not for The Get Up Kids." Early in the band's career, when Jared Logan was producing the group's debut album, he asked bassist Pete Wentz what sound the band desired for recording. Wentz responded by "handing over the first two New Found Glory records". Wentz also cites Green Day, Misfits, the Ramones, Screeching Weasel, Metallica, Earth Crisis, Gorilla Biscuits and Lifetime as influences. The band acknowledges its hardcore punk roots as an influence; all four members were involved in the Chicago hardcore scene before joining Fall Out Boy. Wentz described the band's affiliation with the genre by saying "I think the interesting thing is that we are all hardcore kids that are writing pop music...It gives us a different style because at our core we are always hardcore. That aspect is always going to be evident in the music. We are hardcore kids that couldn't quite cut it as hardcore kids." He referred to Fall Out Boy's genre as "softcore": hardcore punk mixed with pop sensibility. Lead singer Patrick Stump, however, is also influenced by artists he listened to while growing up including Prince, Michael Jackson, and David Bowie.
Fall Out Boy's albums Take This to Your Grave and From Under the Cork Tree are both said to have pop punk as well as punk rock sounds and influences, and Infinity on High features a wide range of styles and instrumentation, including orchestral arrangements ("Thnks fr th Mmrs") and a slower piano ballad ("Golden"). R&B influences on Infinity on High are on songs such as "This Ain't a Scene, It's an Arms Race" and two of the album's tracks are produced by R&B singer/producer Babyface. On Folie à Deux, the group continues to evolve its sound, with less of a pop punk sound and increasing the use of piano (such as "What a Catch, Donnie", "Headfirst Slide into Cooperstown on a Bad Bet", and "20 Dollar Nose Bleed"), synthesizers, and guest artists. The band also shows a number of influences, with "Disloyal Order of Water Buffaloes" borrowing a chord sequence from The Who song "Baba O'Riley". The group has worked with many producers and artists, including The Neptunes, Timbaland, Ryan Adams, Lil Wayne and Kanye West, the latter of which Patrick Stump described as "the Prince of his generation".
When the band returned from hiatus with Save Rock and Roll, their main goal was to reinvent the sound of the group from scratch, creating what Trohman called a "reimagining of the band", which focused more on pop and moved away from the punk aspects of their sound. While mostly an album which mixes pop, rock and R&B, the record was still described by Dave Simpson of The Guardian as a pop punk record, but also noted influences from Heart in the album's ballads. In American Beauty/American Psycho, the band felt influences from playing with different artists and expanded on boundaries further than Save Rock and Roll did. In an interview with Rolling Stone, guitarist Joe Trohman said the album has "hip hop grooves with guitars on it", with "more in your face guitar than Save Rock and Roll". Annie Zaleski of Alternative Press described American Beauty/American Psycho as a "mix of fluid grooves, punky riffs and outré pop sensibilities".
A central part of Fall Out Boy's sound is rooted in the band's lyrics, mainly penned by bassist Pete Wentz, who commonly uses irony and other literary devices to narrate personal experience and stories. Wentz stated, "I write about what I'm going through most of the time, or what I imagine people are going through most of the time." He draws inspiration from authors such as Charles Bukowski, Ernest Hemingway, and JT LeRoy, as well as rappers such as Lil Wayne, who he described as his primary influence while writing Infinity on High. On Fall Out Boy's earlier works, Wentz wrote primarily about love and heartbreak. Themes addressed on From Under the Cork Tree include narcissism and megalomania, while many tracks on Infinity on High discuss the ups and downs of fame. While writing Folie à Deux, he explored moral dilemmas and societal shortcomings, as well as concepts such as trust, infidelity, responsibility, and commitment. While the album does contain political overtones, the band wanted to avoid being overt about these themes, leaving many lyrics open to interpretation for listeners.
Legacy
Fall Out Boy have been instrumental in the careers of other artists, such as Panic! at the Disco, whom Pete Wentz signed to his record label, Decaydance Records, in late 2004. Several artists, such as You Me at Six and Taylor Swift, have created or performed covers of Fall Out Boy songs in homage to the band.
The Fall Out Boy band members were the first inductees to the "Hall of Wood" at the 2015 MtvU Woodie Awards and performed a medley of five songs at the ceremony. This honor is given to artists who have used MTV Woodie Awards as a "launching pad" in achieving chart topping success within their musical careers, thus influencing up and coming bands. The award also recognizes bands "sticking to their roots" and "maintaining their loyal fan base". The group had won the Woodie Award for Streaming for "Grand Theft Autumn" at the first ceremony in 2004.
In a list of the 50 greatest pop-punk albums of all time, Rolling Stone placed Fall Out Boy's 2003 album Take This To Your Grave as the fifth greatest, citing it as "[ushering] in a whole new, genre-blurring scene, in which heavy riffs and a screamo aesthetic mingled with old-fashioned teen heartbreak". In a similar list, Kerrang! magazine placed Take This To Your Grave at number 11 out of 51, describing it as a "blueprint for both break-up records and timeless pop-punk". In 2018, Rock Sound put Take This To Your Grave at number 18 in their list of the 100 best pop-punk albums, describing it as "poetic and utterly brilliant", while 2005's From Under The Cork Tree was placed at number 3 behind only Green Day's Dookie and Blink-182's Enema of the State. Rock Sound described From Under the Cork Tree as "intelligent, intriguing and utterly intoxicating...They will still be talking about this one in 50 years time."
In 2017, Fall Out Boy were announced as the first winners of Rock Sound's Hall of Fame Award as part of the Rock Sound Awards. In an interview accompanying the band's win, Patrick Stump stated one reason for the band's success is Sugar, We're Goin Down, explaining that the "song changed my life, I have a music career in a large part due to that song". In 2009, Phoenix New Times writer Martin Cizmar had described Sugar, We're Goin Down as possibly "the most listened-to emo track of all time".
As of 2020, the band are two-time Grammy Award nominees, their first nomination having been for Best New Artist at the 2006 Grammy Awards and their second for Best Rock Album for their 2018 album MANIA at the 2019 Grammy Awards.
On July 30, 2020, the band were nominated for "Best Rock Video" for the song "Dear Future Self (Hands Up)" at the 2020 MTV Video Music Awards, which makes them the most nominated band in history for the category.
Band membersCurrent members Patrick Stump – lead vocals , rhythm guitar, keyboards , percussion
Joe Trohman – lead guitar, backing vocals , keyboards
Pete Wentz – bass guitar, unclean vocals, backing vocals
Andy Hurley – drums, percussion , occasional backing vocals Former members'''
Ben Rose – drums, percussion
John Flamandan - rhythm guitar
T.J. Kunasch – rhythm guitar
Brandon Hamm – rhythm guitar
Mike Pareskuwicz – drums, percussion
Timeline
Discography
Take This to Your Grave (2003)
From Under the Cork Tree (2005)
Infinity on High (2007)
Folie à Deux (2008)
Save Rock and Roll (2013)
American Beauty/American Psycho (2015)
Mania (2018)
Awards and nominations
Alternative Press Music Awards
|-
| rowspan=5|2014
| rowspan=2|Themselves
| Artist of the Year
|
|-
| Best Live Band
|
|-
| Pete Wentz
| Best Bassist
|
|-
| Save Rock and Roll| Album of the Year
|
|-
| "My Songs Know What You Did in the Dark (Light Em Up)"
| Song of the Year
|
|-
| rowspan=2|2015
| "Centuries"
| Best Music Video
|
|-
| Overcast Kids| Most Dedicated Fans
|
|-
| rowspan=2|2016
| Patrick Stump
| Best Vocalist
|
|-
| rowspan=2|Themselves
| rowspan=2|Artist of the Year
|
|-
| 2017
|
International Dance Music Awards
|-
| 2008
| "Thnks fr th Mmrs"
| Best Alternative/Rock Dance Track
|
Kerrang! Awards
|-
| rowspan=4|2006
| Themselves
| Best Band on the Planet
|
|-
| From Under the Cork Tree| Best Album
|
|-
| rowspan=2|"Sugar, We're Goin Down"
| Best Single
|
|-
| rowspan=2|Best Video
|
|-
| rowspan=3|2007
| "This Ain't a Scene, It's an Arms Race"
|
|-
| Infinity on High| Best Album
|
|-
| rowspan=2|Themselves
| rowspan=2|Best International Band
|
|-
| rowspan=4|2013
|
|-
| Fall Out Boy at London Camden Underworld| Best Event
|
|-
| "My Songs Know What You Did in the Dark (Light Em Up)"
| rowspan=2|Best Single
|
|-
| "The Phoenix"
|
|-
| rowspan=3|2014
| Themselves
| Best International Band
|
|-
| Save Rock and Roll Tour| Best Event
|
|-
| Pete Wentz
| Tweeter of the Year
|
|-
| rowspan=2|2015
| "Centuries"
| Best Single
|
|-
| rowspan=2|Themselves
| rowspan=2|Best International Band
|
|-
| 2016
|
Teen Choice Awards
|-
| rowspan=3|2006
| Themselves
| Choice Music: Rock Group
|
|-
| rowspan=2|"Dance, Dance
| Choice Music: Single
|
|-
| rowspan=2|Choice Music: Rock Song
|
|-
| rowspan=2|2007
| "Thnks fr th Mmrs"
|
|-
| rowspan=2|Themselves
| rowspan=2|Choice Music: Rock Group
|
|-
| rowspan=2|2008
|
|-
| Pete Wentz
| Choice Red Carpet Fashion Icon: Male
|
|-
| rowspan=4|2015
| Themselves
| Choice Music Group: Male
|
|-
| "Centuries"
| Choice Music Single: Group
|
|-
| "Uma Thurman"
| Choice Music: Rock Song
|
|-
| The Boys of Zummer Tour (with Wiz Khalifa)
| Choice Summer Tour
|
|-
| 2016
| Themselves
| Choice Music: Group
|
Other Awards
|-
|| 2004 || "Grand Theft Autumn/Where Is Your Boy" || MtvU Woodie Award – Streaming Artist || rowspan="4"
|-
|| 2005 || "Sugar, We're Goin Down" || MTV Video Music Award – MTV2 Award
|-
|rowspan="3"| 2006 || rowspan=2|"Dance, Dance" || MuchMusic Video Award – People's Choice: Favorite International Group
|-
|| MTV Video Music Award – Viewer's Choice
|-
|| Fall Out Boy || Grammy Award for Best New Artist ||
|-
|rowspan=4|2007 || rowspan="2"| "Thnks fr th Mmrs" || Nickelodeon's Australian Kids' Choice Awards – Fave Song || rowspan="3"
|-
|| Nickelodeon's Kids' Choice Award – Single
|-
|rowspan=2|Fall Out Boy || MTV Video Music Award – Best Group
|-
|| Nickelodeon's Kids Choice Award – Best Band ||
|-
|rowspan="5"| 2008 || "The Take Over, the Breaks Over" || MuchMusic Video Award – People's Choice: Favorite International Video || rowspan="4"
|-
|rowspan="3"| Fall Out Boy || TMF Award – Best Live International
|-
|| TMF Award – Best Rock International
|-
|| TMF Award – Best Alternative International
|-
|| "Beat It" || MTV Video Music Award – Best Rock Video || rowspan="2"
|-
|| 2009 || "I Don't Care" || NRJ Music Award – Best International Band
|-
|rowspan=2|2013 || "My Songs Know What You Did in the Dark (Light Em Up)" || MTV Video Music Award for Best Rock Video || rowspan="2"
|-
|| Fall Out Boy || MTV Europe Music Awards – Best Alternative
|-
| rowspan="10"| 2014 || Fall Out Boy || People's Choice Awards – Favorite Alternative Band ||
|-
|| Fall Out Boy || Billboard Music Awards – Top Rock Artist || rowspan="2"
|-
|| Save Rock and Roll || Billboard Music Awards – Top Rock Album
|-
|| Fall Out Boy & The Band Perry || CMT Music Awards – CMT Performance of the Year ||
|-
|| Fall Out Boy || World Music Awards – World's Best Alternative Act ||
|-
|| Fall Out Boy || World Music Awards – World's Best Group || rowspan="7"
|-
|| Fall Out Boy || World Music Awards – World's Best Live Act
|-
|| Save Rock and Roll || World Music Awards – World's Best Album
|-
|| "My Songs Know What You Did in the Dark (Light Em Up)" || World Music Awards – World's Best Song
|-
|| "My Songs Know What You Did in the Dark (Light Em Up)" || World Music Awards – World's Best Music Video
|-
| rowspan="5"| 2015 || Fall Out Boy || Billboard Music Awards – Top Rock Artist
|-
|rowspan="1"|"Centuries" || Billboard Music Awards – Top Rock Song
|-
|| "Uma Thurman" || MTV Video Music Award – Best Rock Video || rowspan="2"
|-
|| Fall Out Boy || American Music Awards – Favorite Alternative Band
|-
|| Fall Out Boy || People's Choice Awards – Favorite Group || rowspan="5"
|-
| rowspan="5"| 2016 || Fall Out Boy || Billboard Music Awards – Top Rock Artist
|-
|rowspan="2"| "Uma Thurman" || Billboard Music Awards – Top Rock Song
|-
|| Radio Disney Music Awards – Best Song To Dance To
|-
|rowspan="3"| Fall Out Boy || Radio Disney Music Awards – Best Music Group
|-
|| MTV Video Music Award – Best Rock Video || rowspan="4"
|-
| 2018 || MTV Europe Music Award – Best Alternative
|-
| 2019 || Mania'' || Grammy Award for Best Rock Album
|-
| 2020 || "Dear Future Self (Hands Up)" || MTV Video Music Award – Best Rock Video
See also
Notes
References
Footnotes
Bibliography
Cover of the issue.
External links
Official website
Patrick Stump official website
2001 establishments in Illinois
Emo musical groups from Illinois
American pop rock music groups
Crush Management artists
Decaydance Records artists
Fueled by Ramen artists
Kerrang! Awards winners
Musical groups disestablished in 2009
Musical groups established in 2001
Musical groups from Chicago
Musical groups from Wilmette, Illinois
Musical groups reestablished in 2013
Musical quartets
Pop punk groups from Illinois
| true |
[
"2017 is the first year in the history of Legacy Fighting Alliance, a mixed martial arts promotion based in the United States.\n\nEvent list\n\nLegacy Fighting Alliance 1: Peterson vs. Higo\n\nLegacy Fighting Alliance 1: Peterson vs. Higo was the inaugural event of Legacy Fighting Alliance and took place on January 13, 2017 after the merger of Legacy Fighting Championship and Resurrection Fighting Alliance. It aired on AXS TV.\n\nResults\n\nLegacy Fighting Alliance 2: Richman vs. Stojadinovic\n\nLegacy Fighting Alliance 2: Richman vs. Stojadinovic was the second event of Legacy Fighting Alliance and took place on January 20, 2017. It aired on AXS TV.\n \nResults\n\nLegacy Fighting Alliance 3: Spann vs. Giles\n\nLegacy Fighting Alliance 3: Spann vs. Giles was the third event of Legacy Fighting Alliance and took place on February 10, 2017. It aired on AXS TV.\n \nResults\n\nLegacy Fighting Alliance 4: Aguilar vs. Jackson\n\nLegacy Fighting Alliance 4: Aguilar vs. Jackson was the fourth event of Legacy Fighting Alliance and took place on February 17, 2017. It aired on AXS TV.\n \nResults\n\nLegacy Fighting Alliance 5: Edwards vs. Townsend\n\nLegacy Fighting Alliance 5: Edwards vs. Townsend was the fifth event of Legacy Fighting Alliance and took place on February 24, 2017. It aired on AXS TV.\n \nResults\n\nLegacy Fighting Alliance 6: Junior vs. Rodriguez\n\nLegacy Fighting Alliance 6: Junior vs. Rodriguez was the sixth event of Legacy Fighting Alliance and took place on March 10, 2017. It aired on AXS TV.\n \nResults\n\nLegacy Fighting Alliance 7: Sanchez vs. Mai\n\nLegacy Fighting Alliance 7: Sanchez vs. Mai was the seventh event of Legacy Fighting Alliance and took place on March 24, 2017. It aired on AXS TV.\n \nResults\n\nLegacy Fighting Alliance 8: Hamilton vs. Bazzi\n\nLegacy Fighting Alliance 8: Hamilton vs. Bazzi was the eighth event of Legacy Fighting Alliance and took place on April 7, 2017 at the TD Convention Center. It aired on AXS TV.\n \nResults\n\nLegacy Fighting Alliance 9: Dennis vs. Marques\n\nLegacy Fighting Alliance 9: Dennis vs. Marques was the ninth event of Legacy Fighting Alliance and took place on April 14, 2017. It aired on AXS TV.\n \nResults\n\nLegacy Fighting Alliance 10: Heinisch vs. Rota\n\nLegacy Fighting Alliance 10: Heinisch vs. Rota was the tenth event of Legacy Fighting Alliance and took place on April 21, 2017. It aired on AXS TV.\n \nResults\n\nLegacy Fighting Alliance Fight Night 1: Sioux Falls\n\nLegacy Fighting Alliance Fight Night 1: Sioux Falls was the eleventh event of Legacy Fighting Alliance and took place on April 29, 2017. It aired on AXS TV.\n \nResults\n\nLegacy Fighting Alliance 11: Frincu vs. Mendonça\n\nLegacy Fighting Alliance 11: Frincu vs. Mendonça was the twelfth event of Legacy Fighting Alliance and took place on May 5, 2017. It aired on AXS TV.\n \nResults\n\nLegacy Fighting Alliance 12: Krantz vs. Neumann\n\nLegacy Fighting Alliance 12: Krantz vs. Neumann was the thirteenth event of Legacy Fighting Alliance and took place on May 19, 2017. It aired on AXS TV.\n \nResults\n\nLegacy Fighting Alliance 13: Millender vs. Holland\n\nLegacy Fighting Alliance 13: Millender vs. Holland was the fourteenth event of Legacy Fighting Alliance and took place on June 2, 2017. It aired on AXS TV.\n \nResults\n\nLegacy Fighting Alliance 14: Allen vs. Anders\n\nLegacy Fighting Alliance 14: Allen vs. Anders was the fifteenth event of Legacy Fighting Alliance and took place on June 23, 2017. It aired on AXS TV.\n \nResults\n\nLegacy Fighting Alliance 15: Odoms vs. Vanderaa\n\nLegacy Fighting Alliance 15: Odoms vs. Vanderaa was the sixteenth event of Legacy Fighting Alliance and took place on June 30, 2017. It aired on AXS TV.\n \nResults\n\nLegacy Fighting Alliance 16: Bedford vs. Flick\n\nLegacy Fighting Alliance 16: Bedford vs. Flick was the seventeenth event of Legacy Fighting Alliance and took place on July 14, 2017. It aired on AXS TV.\n \nResults\n\nLegacy Fighting Alliance 17: Moisés vs. Watley\n\nLegacy Fighting Alliance 17: Moisés vs. Watley was the eighteenth event of Legacy Fighting Alliance and took place on July 21, 2017. It aired on AXS TV.\n \nResults\n\nLegacy Fighting Alliance 18: Aguilar vs. Rader\n\nLegacy Fighting Alliance 18: Aguilar vs. Rader was the nineteenth event of Legacy Fighting Alliance and took place on August 4, 2017. It aired on AXS TV.\n \nResults\n\nLegacy Fighting Alliance 19: Michaud vs. Rodrigues\n\nLegacy Fighting Alliance 19: Michaud vs. Rodrigues was the twentieth event of Legacy Fighting Alliance and took place on August 18, 2017. It aired on AXS TV.\n \nResults\n\nLegacy Fighting Alliance 20: Curry vs. Barnes\n\nLegacy Fighting Alliance 20: Curry vs. Barnes was the twenty-first event of Legacy Fighting Alliance and took place on August 25, 2017. It aired on AXS TV.\n \nResults\n\nLegacy Fighting Alliance 21: Noblitt vs. Branjão\n\nLegacy Fighting Alliance 21: Noblitt vs. Branjão was the twenty-second event of Legacy Fighting Alliance and took place on September 1, 2017. It aired on AXS TV.\n \nResults\n\nLegacy Fighting Alliance 22: Heinisch vs. Perez\n\nLegacy Fighting Alliance 22: Heinisch vs. Perez was the twenty-third event of Legacy Fighting Alliance and took place on September 8, 2017. It aired on AXS TV.\n \nResults\n\nLegacy Fighting Alliance 23: Krantz vs. Nakashima\n\nLegacy Fighting Alliance 23: Krantz vs. Nakashima was the twenty-fourth event of Legacy Fighting Alliance and took place on September 22, 2017. It aired on AXS TV.\n \nResults\n\nLegacy Fighting Alliance 24: Frincu vs. Millender\n\nLegacy Fighting Alliance 24: Frincu vs. Millender was the twenty-fifth event of Legacy Fighting Alliance and took place on October 13, 2017. It aired on AXS TV.\n \nResults\n\nLegacy Fighting Alliance 25: Cochrane vs. Rodrigues\n\nLegacy Fighting Alliance 25: Cochrane vs. Rodrigues was the twenty-sixth event of Legacy Fighting Alliance and took place on October 20, 2017. It aired on AXS TV.\n \nResults\n\nLegacy Fighting Alliance 26: Odoms vs. Hughes\n\nLegacy Fighting Alliance 26: Odoms vs. Hughes was the twenty-seventh event of Legacy Fighting Alliance and took place on November 3, 2017. It aired on AXS TV.\n \nResults\n\nLegacy Fighting Alliance 27: Watley vs. Wilson\n\nLegacy Fighting Alliance 27: Watley vs. Wilson was the twenty-eighth event of Legacy Fighting Alliance and took place on November 10, 2017. It aired on AXS TV.\n \nResults\n\nLegacy Fighting Alliance 28: Jackson vs. Luna\n\nLegacy Fighting Alliance 28: Jackson vs. Luna was the twenty-ninth event of Legacy Fighting Alliance and took place on December 8, 2017. It aired on AXS TV.\n \nResults\n\nLegacy Fighting Alliance 29: Camus vs. Simon\n\nLegacy Fighting Alliance 29: Camus vs. Simon was the thirtieth event of Legacy Fighting Alliance and took on December 15, 2017. It aired on AXS TV.\n \nResults\n\nReferences\n\nExternal links\nhttp://www.lfafighting.com\n\nLegacy Fighting Alliance\n2017 in mixed martial arts",
"2018 is the second year in the history of Legacy Fighting Alliance, a mixed martial arts promotion based in the United States.\n\nEvent list\n\nLegacy Fighting Alliance 30: Millender vs. Barnes\n\nLegacy Fighting Alliance 30: Millender vs. Barnes was the thirty-first event of Legacy Fighting Alliance and took place on January 12, 2018. It aired on AXS TV.\n \nResults\n\nLegacy Fighting Alliance 31: Moffett vs. Le\n\nLegacy Fighting Alliance 31: Moffett vs. Le was the thirty-second event of Legacy Fighting Alliance and took place on January 19, 2018. It aired on AXS TV.\n \nResults\n\nLegacy Fighting Alliance 32: Allen vs. Hernandez\n\nLegacy Fighting Alliance 32: Allen vs. Hernandez was the thirty-third event of Legacy Fighting Alliance and took place on January 26, 2018. It aired on AXS TV.\n \nResults\n\nLegacy Fighting Alliance 33: Willis vs. Stewart\n\nLegacy Fighting Alliance 33: Willis vs. Stewart was the thirty-fourth event of Legacy Fighting Alliance and took place on February 16, 2018. It aired on AXS TV.\n \nResults\n\nLegacy Fighting Alliance 34: Watley vs. Jenkins\n\nLegacy Fighting Alliance 34: Watley vs. Jenkins was the thirty-fifth event of Legacy Fighting Alliance and took place on March 2, 2018. It aired on AXS TV.\n \nResults\n\nLegacy Fighting Alliance 35: Newell vs. Luque\n\nLegacy Fighting Alliance 35: Newell vs. Luque was the thirty-sixth event of Legacy Fighting Alliance and took place on March 9, 2018. It aired on AXS TV.\n \nResults\n\nLegacy Fighting Alliance 36: Simon vs. Zani\n\nLegacy Fighting Alliance 36: Simon vs. Zani was the thirty-seventh event of Legacy Fighting Alliance and took place on March 23, 2018. It aired on AXS TV.\n \nResults\n\nLegacy Fighting Alliance 37: Bice vs. Perez\n\nLegacy Fighting Alliance 37: Bice vs. Perez was the thirty-eighth event of Legacy Fighting Alliance and took place on April 20, 2018. It aired on AXS TV.\n \nResults\n\nLegacy Fighting Alliance 38: Hughes vs. Greene\n\nLegacy Fighting Alliance 38: Hughes vs. Greene was the thirty-ninth event of Legacy Fighting Alliance and took place on April 27, 2018. It aired on AXS TV.\n \nResults\n\nLegacy Fighting Alliance 39: Heinisch vs. Checco\n\nLegacy Fighting Alliance 39: Heinisch vs. Checco was the fortieth event of Legacy Fighting Alliance and took place on May 4, 2018. It aired on AXS TV.\n \nResults\n\nLegacy Fighting Alliance 40: Aguilar vs. Le\n\nLegacy Fighting Alliance 40: Aguilar vs. Le was the forty-first event of Legacy Fighting Alliance and took place on May 25, 2018. It aired on AXS TV.\n \nResults\n\nLegacy Fighting Alliance 41: Moisés vs. Peterson\n\nLegacy Fighting Alliance 41: Moisés vs. Peterson was the forty-second event of Legacy Fighting Alliance and took place on June 1, 2018. It aired on AXS TV.\n \nResults\n\nLegacy Fighting Alliance 42: Krantz vs. Kayne\n\nLegacy Fighting Alliance 42: Krantz vs. Kayne was the forty-third event of Legacy Fighting Alliance and took place on June 8, 2018. It aired on AXS TV.\n \nResults\n\nLegacy Fighting Alliance 43: Allen vs. Crowe\n\nLegacy Fighting Alliance 43: Allen vs. Crowe was the forty-fourth event of Legacy Fighting Alliance and took place on June 22, 2018. It aired on AXS TV.\n \nResults\n\nLegacy Fighting Alliance 44: Frincu vs. Aguilera\n\nLegacy Fighting Alliance 44: Frincu vs. Aguilera was the forty-fifth event of Legacy Fighting Alliance and took place on June 29, 2018. It aired on AXS TV.\n \nResults\n\nLegacy Fighting Alliance 45: Silva vs. Barnes\n\nLegacy Fighting Alliance 45: Silva vs. Barnes was the forty-sixth event of Legacy Fighting Alliance and took place on July 20, 2018. It aired on AXS TV.\n \nResults\n\nLegacy Fighting Alliance 46: Nakashima vs. Stewart\n\nLegacy Fighting Alliance 46: Nakashima vs. Stewart was the forty-seventh event of Legacy Fighting Alliance and took place on July 27, 2018. It aired on AXS TV.\n \nResults\n\nLegacy Fighting Alliance 47: Jackson vs. Jennerman\n\nLegacy Fighting Alliance 47: Jackson vs. Jennerman was the forty-eighth event of Legacy Fighting Alliance and took place on August 10, 2018. It aired on AXS TV.\n \nResults\n\nLegacy Fighting Alliance 48: Stots vs. Lilley\n\nLegacy Fighting Alliance 48: Stots vs. Lilley was the forty-ninth event of Legacy Fighting Alliance and took place on September 7, 2018. It aired on AXS TV.\n \nResults\n\nLegacy Fighting Alliance 49: Brady vs. Urbina\n\nLegacy Fighting Alliance 49: Brady vs. Urbina was the fiftieth event of Legacy Fighting Alliance and took place on September 14, 2018. It aired on AXS TV.\n \nResults\n\nLegacy Fighting Alliance 50: Allen vs. Hiley\n\nLegacy Fighting Alliance 50: Allen vs. Hiley was the fifty-first event of Legacy Fighting Alliance and took place on September 21, 2018. It aired on AXS TV.\n \nResults\n\nLegacy Fighting Alliance 51: Gibson vs. Erak\n\nLegacy Fighting Alliance 51: Gibson vs. Erak was the fifty-second event of Legacy Fighting Alliance and took place on September 28, 2018. It aired on AXS TV.\n \nResults\n\nLegacy Fighting Alliance 52: Rodriguez vs. Gutierrez\n\nLegacy Fighting Alliance 52: Rodriguez vs. Gutierrez was the fifty-third event of Legacy Fighting Alliance and took place on October 19, 2018. It aired on AXS TV.\n \nResults\n\nLegacy Fighting Alliance 53: Royval vs. Kenney\n\nLegacy Fighting Alliance 53: Royval vs. Kenney was the fifty-fourth event of Legacy Fighting Alliance and took place on November 9, 2018. It aired on AXS TV.\n \nResults\n\nLegacy Fighting Alliance 54: Mazo vs. Yariwaki\n\nLegacy Fighting Alliance 54: Mazo vs. Yariwaki was the fifty-fifth event of Legacy Fighting Alliance and took place on November 16, 2018. It aired on AXS TV.\n \nResults\n\nLegacy Fighting Alliance 55: Johns vs. Yanez\n\nLegacy Fighting Alliance 55: Johns vs. Yanez was the fifty-sixth event of Legacy Fighting Alliance and took place on November 30, 2018. It aired on AXS TV.\n \nResults\n\nLegacy Fighting Alliance 56: Hubbard vs. Mota\n\nLegacy Fighting Alliance 56: Hubbard vs. Mota was the fifty-seventh event of Legacy Fighting Alliance and took place on December 7, 2018. It aired on AXS TV.\n \nResults\n\nReferences\n\nExternal links\nhttp://www.lfafighting.com\n\nLegacy Fighting Alliance\n2018 in mixed martial arts"
] |
[
"Fall Out Boy",
"Legacy",
"Was legacy an album?",
"I don't know.",
"What was Legacy?",
"Fall Out Boy have been instrumental in the careers of other artists, such as Panic! at the Disco,"
] |
C_4790a4a8a9d04432816141d09089d013_0
|
Are there other bands that they influenced?
| 3 |
Are there other bands that Panic influenced besides Fall Out Boy?
|
Fall Out Boy
|
Fall Out Boy have been instrumental in the careers of other artists, such as Panic! at the Disco, whom Pete Wentz signed to his record label, Decaydance Records, in late 2004. Several artists, such as You Me at Six and Taylor Swift, have created or performed covers of Fall Out Boy songs as a homage to the band. The Fall Out Boy band members were the first inductees to the "Hall of Wood" at the 2015 MtvU Woodie Awards and performed a medley of five songs at the ceremony. This honor is given to artists who have used MTV Woodie Awards as a "launching pad" in achieving chart topping success within their musical careers, thus influencing up and coming bands. The award also recognizes bands "sticking to their roots" and "maintaining their loyal fan base". The group had won the Woodie Award for Streaming for "Grand Theft Autumn" at the first ceremony in 2004. In a list of the 50 greatest pop-punk albums of all time, Rolling Stone placed Fall Out Boy's 2003 album Take This To Your Grave as the fifth greatest, citing it as "[ushering] in a whole new, genre-blurring scene, in which heavy riffs and a screamo aesthetic mingled with old-fashioned teen heartbreak". In a similar list, Kerrang! magazine placed Take This To Your Grave at number 11 out of 51, describing it as a "blueprint for both break-up records and timeless pop-punk". In 2017, Fall Out Boy were announced as the first winners of Rock Sound's Hall of Fame Award as part of the Rock Sound Awards. In an interview accompanying the band's win, Patrick Stump stated one reason for the band's success is Sugar, We're Goin Down, explaining that the "song changed my life, I have a music career in a large part due to that song". In 2009, Phoenix New Times writer Martin Cizmar had described Sugar, We're Goin Down as possibly "the most listened-to emo track of all time". CANNOTANSWER
|
Several artists, such as You Me at Six and Taylor Swift, have created or performed covers of Fall Out Boy songs as a homage to the band.
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Fall Out Boy is an American rock band formed in Wilmette, Illinois, a suburb of Chicago, in 2001. The band consists of lead vocalist and rhythm guitarist Patrick Stump, bassist Pete Wentz, lead guitarist Joe Trohman, and drummer Andy Hurley. The band originated from Chicago's hardcore punk scene, with which all members were involved at one point. The group was formed by Wentz and Trohman as a pop punk side project of the members' respective hardcore bands, and Stump joined shortly thereafter. The group went through a succession of drummers before landing Hurley and recording the group's debut album, Take This to Your Grave (2003). The album became an underground success and helped the band gain a dedicated fanbase through heavy touring, as well as commercial success. Take This to Your Grave has commonly been cited as an influential blueprint for pop punk music in the 2000s.
With Wentz as the band's lyricist and Stump as the primary composer, the band's 2005 major-label breakthrough, From Under the Cork Tree, produced two hit singles, "Sugar, We're Goin Down" and "Dance, Dance", and went double platinum, transforming the group into superstars and making Wentz a celebrity and tabloid fixture. Fall Out Boy received a Best New Artist nomination at the 2006 Grammy Awards. The band's 2007 follow-up, Infinity on High, debuted at number one on the Billboard 200 with 260,000 first week sales. It produced two worldwide hit singles, "This Ain't a Scene, It's an Arms Race" and "Thnks fr th Mmrs". Folie à Deux, the band's fourth album, created a mixed response from fans and commercially undersold expectations. Following the release of Believers Never Die – Greatest Hits, the band took a hiatus from 2009 to 2013 to "decompress", exploring various side projects.
The band regrouped and recorded Save Rock and Roll (2013), becoming its second career number one and included the top 20 single "My Songs Know What You Did in the Dark (Light Em Up)". The same year, the band released the EP PAX AM Days, consisting of 8 punk-influenced tracks that were recorded during a two-day session with producer Ryan Adams. The band's sixth studio album, American Beauty/American Psycho (2015) peaked at number one on the Billboard 200, and spawned the top-10 hit "Centuries" and the single "Uma Thurman" which reached No. 22 on the Billboard Hot 100. This was followed by their first remix album Make America Psycho Again, which featured the remixes of all original tracks from American Beauty/American Psycho by a different artist on each song, including Migos and Wiz Khalifa.
The band's seventh studio album Mania (2018), also peaked at No. 1, making it the band's fourth No. 1 album and sixth consecutive top 10 album. Their supporting tour for the album included a show at Wrigley Field, their first headlining stadium show. In 2018, Fall Out Boy also received their second Grammy nomination for Best Rock Album for Mania. A co-headlining 2020 tour with Green Day and Weezer titled the Hella Mega Tour was announced in September 2019. Each band released new music in support of the tour, with Fall Out Boy announcing the release of a second greatest hits album, Greatest Hits: Believers Never Die – Volume Two, and a supporting single, "Dear Future Self (Hands Up)". The tour, which spans North American, Europe and Oceania, is Fall Out Boy's first stadium tour and includes shows in Wrigley Field, Dodger Stadium and the London Stadium.
History
2001–2002: Early years
Fall Out Boy was formed in 2001 in the Chicago suburb of Wilmette, Illinois by friends Pete Wentz and Joe Trohman. Wentz was a "visible fixture" of the relatively small Chicago hardcore punk scene of the late 1990s, performing in groups such as Birthright, Extinction and First Born. He was also part of the metalcore band Arma Angelus and the more political Racetraitor, "a band that managed to land the covers of Maximumrocknroll and Heartattack fanzines before releasing a single note of music". Wentz was growing dissatisfied with the changing mores of the community, which he viewed as a transition from political activism to an emphasis on moshing and breakdowns. With enthusiasm in Arma Angelus waning, he created a pop punk side project with Trohman that was intended to be "easy and escapist". Trohman met Patrick Stump, then a drummer for grindcore band Xgrinding processX and a host of other bands that "never really managed", at a Borders bookstore in Wilmette. While Trohman was discussing Neurosis with a friend, Stump interrupted them to correct their classification of the band; the ensuing conversation soon shifted to Trohman and Wentz's new project. Stump, viewing it as an opportunity to try out with "local hardcore celebrity" Wentz, directed Trohman to his MP3.com page, which contained sung-through acoustic recordings. Stump intended to try out as a drummer, but Trohman urged him to bring out his acoustic guitar; he impressed Trohman and Wentz with songs from Saves the Day's Through Being Cool. While Wentz wanted Racetraitor bandmate Andy Hurley to join the group as drummer, Hurley appeared uninterested and too busy at the time.
The band's first public performance came in a cafeteria at DePaul University alongside Stilwell and another group that performed Black Sabbath's self-titled debut album in its entirety. The band's only performance with guitarist John Flamandan and original drummer Ben Rose was in retrospect described as "goofy" and "bad", but Trohman made an active effort to make the band work, picking up members for practice. Wentz and Stump argued over band names; the former favored verbose, tongue-in-cheek names, while the latter wanted to reference Tom Waits in name. After creating a short list of names that included "Fall Out Boy", a fictional character from The Simpsons and Bongo Comics, friends voted on the name. The band's second performance, at a southern Illinois university with The Killing Tree, began with Wentz introducing the band under a name Stump recalled as "very long". According to Stump, an audience member yelled out, "Fuck that, no, you're Fall Out Boy!", and the band were credited later in the show under that name by Killing Tree frontman Tim McIlrath. As the group looked up to McIlrath, and Trohman and Stump were "die-hard" Simpsons fans, the name stuck. The group's first cassette tape demo was recorded in Rose's basement, but the band later set off for Wisconsin to record a proper demo with 7 Angels 7 Plagues drummer Jared Logan, whom Wentz knew through connections in the hardcore scene.
Several more members passed through the group, including drummer Mike Pareskuwicz of Subsist and guitarist T.J. "Racine" Kunasch. While Stump at this point felt uninterested in the group, Wentz was, according to Uprising Records owner Sean Muttaqi, viewing the group as "the thing that would make him famous. He had a clear vision." Wentz was "singularly focused on taking things to the next level" and began promoting the band via early social media. Muttaqi got word of the demo and wanted to release half of it as a split extended play with Hurley's band Project Rocket, which the band viewed as competition. Uprising desired to release an album with the emerging band, which to that point had only written three songs. With the help of Logan, the group attempted to put together a collection of songs in two days, and recorded them as Fall Out Boy's Evening Out with Your Girlfriend. The rushed recording experience and underdeveloped songs left the band dissatisfied. When the band set off to Smart Studios in Madison, Wisconsin to record three songs for a possible split 7-inch with 504 Plan, engineer Sean O'Keefe suggested the band record the trio with Hurley. Hurley was also recording an EP with his new group the Kill Pill in Chicago on the same day, but raced to Madison to play drums for Fall Out Boy. "It was still a fill-in thing but when Andy sat in, it just felt different. It was one of those "a-ha" moments", recalled Wentz.
2003–2004: Early success and Take This to Your Grave
The band booked a two-week tour with Spitalfield, but Pareskuwicz was unable to get time off from work and Kunasch was kicked out of the band as the group "had all gotten sick of him". Kunasch was temporarily replaced by friend Brandon Hamm on guitar, alongside drummer Chris Envy from the recently disbanded Showoff, but both quit prior to the kickoff of the tour. The band invited Hurley instead to fill-in once more, while Stump borrowed one of Trohman's guitars for the trek. While most shows were cancelled, the band played any show possible: "Let's just get on whatever show we can. You can pay us in pizza", remembered Wentz. As the tour concluded, the general consensus was that Hurley would be the band's new drummer, and the band began to shop around the three songs from the group's unreleased split as a demo to record labels. The band members set their sights on pop punk labels, and attempted with considerable effort to join Drive-Thru Records. A showcase for label co-founders went largely mediocre, and the band were offered to sign to side label Rushmore, an offer that the members of the band declined. They got particularly far in discussions with The Militia Group and Victory Records, and Bob McLynn of Crush Management became the band's first manager. The band re-entered the studio with O'Keefe to record several more tracks to create label interest. Wentz felt "in the backseat" in writing the songs and temporarily questioned his place in the group, but Stump argued in his favor: "No! That's not fair! Don't leave me with this band! Don't make me kind of like this band and then leave it! That's bullshit!"
The band's early tour vehicle was a "tiny V6 that was running on three cylinders, and it was not getting enough air, so it would drive really slowly", recalled Wentz. "We had to turn on the hot air to reach the speed limit, so we had the heat on all the time in 120-degree weather. It was so hot it melted the plastic molding around the windows. When it rained, we'd get all wet." John Janick of Fueled by Ramen had heard an early version of a song online and cold-called the band members at their apartment, first reaching Stump and later talking to Wentz for an hour. Rob Stevenson from Island Records eventually offered the band a "first-ever incubator sort of deal", in which they gave the band money to sign with Fueled by Ramen for the group's one-off debut, knowing they could "upstream" the band to radio on the sophomore record. Fueled by Ramen, at the time the smallest of independent labels clamoring to sign the band, would effectively release the group's debut album and help build the band's ever-expanding fanbase before the group moved to Island. The band again partnered with O'Keefe at Smart Studios, bringing together the three songs from the demo and recording an additional seven songs in nine days. The band, according to Stump, didn't "sleep anywhere that we could shower [...] There was a girl that Andy's girlfriend at the time went to school with who let us sleep on her floor, but we'd be there for maybe four hours at a time. It was crazy." As the band progressed and the members' roles became more defined, Wentz took lyrics extremely seriously in contrast to Stump, who had been the group's primary lyricist up to that point. Arguments during the recording sessions led to what "most reductively boils down to Wentz writing the lyrics and Stump writing the melodies".
The band's debut album, Take This to Your Grave, was issued by Fueled by Ramen in May 2003. Previously, one of the band's earliest recordings, Evening Out with Your Girlfriend, had not seen release until shortly before Grave in March 2003, when the band had gained considerable momentum. "Our record was something being rushed out to help generate some interest, but that interest was building before we could even get the record out", said Sean Muttaqi. The band actively tried to stop Uprising from releasing the recordings (as the band's relationship with Muttaqi had grown sour), as the band viewed it as a "giant piece of garbage" recorded before Hurley's involvement that the band members ceased to consider the debut album of the group. Gradually, the band's fanbase grew in size as the label pushed for the album's mainstream success. According to Wentz, shows began to end in a near-riot and the group were banned from several venues because the entire crowd would end up onstage. The band gained positive reviews for subsequent gigs at South by Southwest (SXSW) and various tour appearances. The band joined the Warped Tour for five dates in the summer of 2004, and on one date the band had only performed three songs when the stage collapsed due to the large crowd. The band appeared on the cover of the August 2004 edition of Alternative Press, and listening stations at Hot Topic partially helped the album move 2,000-3,000 copies per week by Christmas 2004, at which point the label considered the band "tipping" into mainstream success.
2005–2006: From Under the Cork Tree
The band had been flooded with "hyperbolic praise", and deemed "the next big thing" by multiple media outlets. Before recording the follow-up to its debut, the band released the acoustic EP/DVD My Heart Will Always Be the B-Side to My Tongue. The EP was the band's first charting on the Billboard 200 at number 153. From Under the Cork Tree was recorded in Burbank, California, and served as the first time the band had stayed in California for an extended period of time. The group lived in corporate housing during the making of the album. In contrast to Take This to Your Graves rushed recording schedule, Fall Out Boy took a much more gradual pace while working on From Under the Cork Tree. It was the first Fall Out Boy record in which Stump created all the music and Wentz wrote all the lyrics, continuing the approach they took for some songs on Grave. Stump felt that this process was much more "smooth" as every member was able to focus on his individual strengths. He explained: "We haven't had any of those moments when I play the music and he'll say, 'I don't like that,' and he'll read me lyrics and I'll say, 'I don't like those lyrics.' It's very natural and fun." Despite this, the band had great difficulty creating its desired sound for the album, constantly scrapping new material. Two weeks before recording sessions began, the group abandoned ten songs and wrote eight more, including the album's first single, "Sugar, We're Goin Down".
The band suffered a setback, however, when Wentz had an emotional breakdown in February 2005, culminating in a suicide attempt. He had withdrawn from the rest of the group, with his condition only apparent through his lyrics, and had also become obsessed with the recent Indian tsunami and his own self-doubt. "It is particularly overwhelming when you are on the cusp of doing something very big and thinking that it will be a big flop", he said later. Wentz swallowed a handful of Ativan anxiety pills (he described the act as "hypermedicating") in the Chicago Best Buy parking lot. After being rushed to the hospital and having his stomach pumped, Wentz moved back home to Wilmette to live with his parents.
From Under the Cork Tree debuted and peaked at number nine on the Billboard 200 upon its May 2005 release. It was spearheaded by the band's breakthrough single, "Sugar, We're Goin' Down", reached number eight in the US Billboard Hot 100 in September 2005, and in the UK chart in February 2006, crossing over from Alternative to Pop radio. "Dance, Dance", the album's second single, also was a top ten hit in the United States and was certified 3x Platinum in 2014. The record's success led to stardom among teenagers in North America, and the band's first arena tour had the group playing to 10,000 people per night. Rolling Stone wrote that the band's "anthems", distributed and marketed through their MySpace, connected with "skinny-jeans-wearing teen girls". In support of From Under the Cork Tree, the band toured exhaustively with international tours, TRL visits, late-night television appearances and music award shows. The band performed at music festivals in 2005 and 2006, including the third Nintendo Fusion Tour in the fall of 2005, joining The Starting Line, Motion City Soundtrack, Boys Night Out, and Panic! at the Disco on a 31 city tour. The album earned the band a Grammy nomination for Best New Artist, and has sold over 2.7 million copies in the United States, becoming the group's best-selling album. "Sugar, We're Goin Down" also won the band an MTV Music Video Award.
2007: Infinity on High
In the wake of the band's multiplatinum success, the "especially extroverted" Wentz became the most publicly visible member of the band. He confided to the press his suicide attempt and nude photos of the bassist appeared on the Internet in 2006. He gained additional exposure through his clothing line, his Decaydance record label (an imprint of Fueled by Ramen), and eventually a celebrity relationship with pop singer Ashlee Simpson, which made the two tabloid fixtures in the United States. Due to its increased success from the group's MTV Video Music Award, the group headlined the Black Clouds and Underdogs Tour, a pop punk event that featured The All-American Rejects, Well-Known Secret, Hawthorne Heights, and From First to Last. The tour also featured The Hush Sound for half of the tour and October Fall for half. The band played to 53 dates in the U.S., Canada, and the UK.
After taking a two-month-long break following the band's Black Clouds and Underdogs tour in promotion of the band's 2005 album From Under the Cork Tree, Fall Out Boy returned to the studio to begin work on a follow-up effort. The band began writing songs for the new album while touring, and intended to quickly make a new album in order to keep momentum in the wake of its breakthrough success. In early 2007, the group released its third studio album, Infinity on High, which was the band's second release on major label Island. The album marked a departure in Fall Out Boy's sound in which the band implemented a diverse array of musical styles including funk, R&B, and flamenco. As reported by Billboard, Fall Out Boy "drifts further from its hardcore punk roots to write increasingly accessible pop tunes", a slight departure from the group's previous more pop punk sound predominant on their 2003 effort, Take This to Your Grave.
Infinitys first week was a major success and was the band's biggest selling week, selling 260,000 copies to debut at No. 1 on the US Billboard 200 and inside the top five worldwide. This charting was first started with lead single "The Carpal Tunnel of Love", with minor success on the Billboard charts. This success was bolstered by the further-successful second single "This Ain't a Scene, It's an Arms Race", which reached No. 2 in both the US and UK as well as the top five in many other countries. On the band's decision to pick the song as a single, Wentz commented "There may be other songs on the record that would be bigger radio hits, but this one had the right message." "Thnks fr th Mmrs", the third single, peaked just outside the top 10 at No. 11 on the strength of sales and popular radio play, and went on to sell over two million copies in the US. It found its greatest success in Australia where it charted at No. 3. In 2007, Fall Out Boy placed at No. 9 in the Top Selling Digital Artists chart with 4,423,000 digital tracks sold, according to Nielsen SoundScan. The album itself has sold over two million copies worldwide and subsequently was certified Platinum in the United States.
Fall Out Boy then headlined the 2007 Honda Civic Tour to promote the album. Though the tour was initially postponed due to personal issues, it would take place with +44, Cobra Starship, The Academy Is... and Paul Wall as supporting acts. The band also headlined the Young Wild Things Tour, an international arena tour featuring Gym Class Heroes, Plain White T's and Cute Is What We Aim For.
Inspired by Maurice Sendak's 1963 children's book Where the Wild Things Are, the concert tour and included sets designed by artist Rob Dobi containing images from the book. The band's "hugely successful" amphitheater tour to promote Infinity led to the release of the 2008 live album Live in Phoenix, consisting of live material recorded during a June 22, 2007, concert at Phoenix's Cricket Wireless Pavilion, a date of the Honda Civic Tour. The disc also included a studio cover of Michael Jackson's "Beat It", with guitarist John Mayer guesting for a guitar solo. The track was released as a single and became a mainstay on the iTunes top ten.
2008–2009: Folie à Deux
The band members decided to keep publicity down during the recording of their fourth album, as the group was taken aback by such press surrounding Infinity on High. Sessions proved to be difficult for the band; Stump called the making of the album "painful", noting that he and Wentz quarreled over many issues, revealing "I threw something across the room over a major-to-minor progression." On previous albums, Trohman felt he and Hurley did not have enough musical freedom and that Stump and Wentz exerted too much control over the group: "I felt, 'Man, this isn't my band anymore.' It's no one's fault, and I don't want to make it seem that way. It was more of a complex I developed based on stuff I was reading. It's hard to hear, 'Joe and Andy are just along for the ride. To amend the situation, Trohman sat down with Stump to communicate his concerns, which led to more collaboration on Folie à Deux. "It made me feel like I owned the songs a lot more. It made me really excited about contributing to Fall Out Boy and made me find my role in the band," Trohman recalled.
As the release of the new album approached, the band and its management found that they would have to navigate changes in the music industry, facing declining record sales, the lack of a proper outlet for exhibition of music videos, and the burgeoning US economic crisis. To promote the album, Wentz launched a viral campaign in August 2008, inspired by George Orwell's novel Nineteen Eighty-Four (1949), and the autocratic, overbearing Big Brother organization. Folie à Deux, released in December 2008, did not perform as well commercially as its predecessor, Infinity on High. It debuted at number eight on the US Billboard 200 chart with first week sales of 150,000 copies during a highly competitive week with other big debuts, becoming Fall Out Boy's third consecutive top ten album. This is in contrast to the band's more successful previous effort which shifted 260,000 copies in its opening week to debut at number one on the chart. Folie spent two weeks within the top 20 out of its 22 chart weeks. It also entered Billboard's Rock Albums and Alternative Albums charts at number three. Within two months of its release, Folie à Deux was certified Gold in the United States by the Recording Industry Association of America (RIAA), denoting shipments of 500,000 copies. The lead single, "I Don't Care", reached a peak at number twenty-one on the Billboard Hot 100, and was certified Platinum by the RIAA for shipments of one million copies.
To promote the album, Fall Out Boy embarked on the Believers Never Die Tour Part Deux, which included dates in the United States and Canada. The constant touring schedule became difficult for the band due to conflicting fan opinion regarding Folie à Deux: concertgoers would "boo the band for performing numbers from the record in concert", leading Stump to describe touring in support of Folie as like "being the last act at the vaudeville show: We were rotten vegetable targets in Clandestine hoods." "Some of us were miserable onstage", said guitarist Joe Trohman. "Others were just drunk." A greatest hits compilation, Believers Never Die – Greatest Hits, followed in the fall, and following these events, the band decided to take a break. The band's decision stemmed from disillusionment with the music industry and Stump recalled that "We found ourselves running on fumes a little bit – creatively and probably as people, too." Stump realized the band was desperate to take a break; he sat the group down and explained that a hiatus was in order if the band wanted to continue in the future. All involved felt the dynamic of the group had changed as personalities developed.
Rumors and misquotes led to confusion as to what such a break truly meant; Wentz preferred to not refer to the break as a "hiatus", instead explaining that the band was just "decompressing". Fall Out Boy played its last show at Madison Square Garden on October 4, 2009. Near the end, Blink-182's Mark Hoppus shaved Wentz's head in a move Andy Greene in Rolling Stone would later describe as a "symbolic cleansing of the past, but also the beginning of a very dark chapter for the band".
2010–2012: Hiatus and side projects
By the time the break began, Stump was the heaviest he had ever been and loathed the band's image as an "emo" band. Coming home from tour, drummer Andy Hurley "went through the darkest depression [I've] ever felt. I looked at my calendar and it was just empty." Wentz, who had been abusing Xanax and Klonopin, was divorced by his wife Ashlee Simpson and returned to therapy. "I'd basically gone from being the guy in Fall Out Boy to being the guy who, like, hangs out all day", Wentz recalled. Previously known as the "overexposed, despised" leader of the band, Wentz "simply grew up", sharing custody of his son and embracing maturity: "There was a jump-cut in my life. I started thinking – like, being old would be cool."
During the hiatus, the band members each pursued individual musical interests, which were met with "varying degrees of failure". Stump was the only member of the quartet to take on a solo project while Fall Out Boy was on hiatus, recording debut album Soul Punk entirely on his own: he wrote, produced, and played every instrument for all tracks on the record. In addition, he married his longtime girlfriend and lost over sixty pounds through portion control and exercise. Stump blew through most of his savings putting together a large band to tour behind Soul Punk, but ticket sales were sparse and the album stalled commercially. During a particularly dark moment in February 2012, Stump poured his heart out in a 1500-word blog entry called "We Liked You Better Fat: Confessions of a Pariah". In the post, Stump lamented the harsh reception of the record and his status as a "has-been" at 27. Stump revealed that fans harassed him on his solo tour, hurling insults such as "We liked you better fat", and noted that "Whatever notoriety Fall Out Boy used to have prevents me from having the ability to start over from the bottom again." Aside from Soul Punk and personal developments, Stump moonlighted as a professional songwriter/producer, co-writing tracks with Bruno Mars and All Time Low, and pursued acting.
Wentz formed electronic duo Black Cards with vocalist Bebe Rexha in July 2010. The project released one single before album delays led to Rexha's departure in 2011. Black Cards added Spencer Peterson to complete the Use Your Disillusion EP in 2012. Wentz also completed writing a novel, Gray, that he had been working on for six years outside the band, and began hosting the reality tattoo competition show Best Ink. Hurley ventured farther into rock during the hiatus, drumming with multiple bands over the three-year period. He continued to manage his record label, Fuck City, and drummed for bands Burning Empires and Enabler. He also formed heavy metal outfit The Damned Things with Trohman, Scott Ian and Rob Caggiano of Anthrax, and Keith Buckley of Every Time I Die. Despite this, the members all remained cordial to one another; Wentz was Stump's best man at his wedding. The hiatus was, all things considered, beneficial for the group and its members, according to Hurley. "The hiatus helped them all kind of figure themselves out", he explained in 2013. "Especially Joe and Patrick, who were so young. And Pete is a million times better."
2013–2014: Reformation and Save Rock and Roll
Stump and Wentz met up for the first time in several years in early 2012 for a writing session. Wentz reached out to Stump after he penned his letter, as he too felt he was in a dark place and needed a creative outlet. He was at first reluctant to approach Stump, likening the phone call to reconnecting with a lover after years of acrimony. "I know what you need – you need your band", Wentz told Stump. "I think it's kind of weird that we haven't really seen each other this year. We paid for each other's houses and you don't know my kid", Wentz remarked. The result, "three or four" new songs, were shelved with near immediacy, with the two concluding that "it just wasn't right and didn't feel right." Several months later, the two reconvened and wrote tracks that they felt truly represented the band in a modern form. The band decided that if a comeback was in order, it must represent the band in its current form: "We didn't want to come back just to bask in the glory days and, like, and collect a few checks and pretend ... and do our best 2003 impersonation", said Stump. Afterwards, the quartet held an all-day secret meeting at their manager's home in New York City where they discussed ideas and the mechanics of getting together to record. Trohman was the last to be contacted, through a three-hour phone call from Stump. As Trohman was arguably the most excited to begin other projects, he had a list of stipulations for rejoining the band. "If I'm not coming back to this band writing music […] then I don't want to", he remarked. Stump supported Trohman's ambition saying Trohman "needed to be writing more".
The band members' main goal was to reinvent the group's sound from scratch, creating what Trohman called a "reimagining of the band", which focuses more on pop. Sessions were not without difficulties, as the band struggled initially to produce new material. Walker had doubts about the band's volatility, feeling the record would not get made following "meltdown after meltdown". The entire album was recorded in secrecy from the music industry, critics, and fans of the band. While specifically denying that the group's announcement was a reunion because "[the group had] never broke[n] up", the band announced a reunion tour and details of Save Rock and Roll on February 4, 2013. The quartet's announcement included a photo of the group that had been taken earlier that morning of the band members huddled around a bonfire tossing copies of their back catalog into flames at the original location of Comiskey Park, the location of 1979's Disco Demolition Night, a baseball promotional event which involved destroying disco records. A message on the group's website read "when we were kids the only thing that got us through most days was music. It's why we started Fall Out Boy in the first place. This isn't a reunion because we never broke up. We needed to plug back in and make some music that matters to us. The future of Fall Out Boy starts now. Save rock and roll..." Save Rock and Roll debuted at number one on the Billboard 200 chart, with first week sales of 154,000 copies in the United States, according to Nielsen SoundScan. The arrival of Save Rock and Roll posted the quartet's third-biggest sales week, and earned the group's second career number one on the chart. The band's chart success was best described as unexpected by music journalists. Andy Greene in Rolling Stone called the band's comeback a "rather stunning renaissance", and Entertainment Weekly called the number one a "major accomplishment for a band whom many in the industry had dismissed as kings of a genre whose time had passed".
The record's lead single, "My Songs Know What You Did in the Dark (Light Em Up)", peaked at number 13 on the Billboard Hot 100, marking the band's first top twenty single since the group's 2008 cover of Michael Jackson's "Beat It". It was certified 3x Platinum in the US for over 3 million sales. Inspired in part by Daft Punk's Interstella 5555: The 5tory of the 5ecret 5tar 5ystem, the band released a music video for every song on the album in a series titled The Young Blood Chronicles between February 2013 and May 2014. The band also released a hardcore punk-influenced EP, PAX AM Days, in late 2013. Fall Out Boy covered Elton John's (who was featured on the Save Rock And Roll title track) song "Saturday Night's Alright for Fighting" for inclusion in the fortieth anniversary re-release edition of Goodbye Yellow Brick Road on March 25, 2014, alongside covers by different artists.
Fall Out Boy headlined Save Rock And Roll tours (including US, Australian and European legs) and played at music festivals around the world for one and a half years. The group co-headlined Monumentour with Paramore in North America to close the Save Rock And Roll era.
2014–2016: American Beauty/American Psycho
On June 2, 2014, Wentz stated that he and Stump were writing new music: "We're writing. I was just listening to something Patrick had written in the trailer. So we're writing, finishing out the album cycle in South Africa in September." In a later interview with Rock Sound regarding the status of the album, Wentz commented "We don't have an exact timetable yet. I have a two-week-old son and Patrick has a baby on the way in October, so there's a lot going on." as well as stating a rough release time as early 2015. In December 2014 the band played radio-sponsored Christmas shows, including KROQ's Almost Acoustic Christmas.
"Centuries" – the first single of Fall Out Boy's sixth studio album – premiered on September 8, 2014, on BBC Radio 1, receiving a worldwide release the next day. By the 2010s, there were few rock bands achieving success on mainstream radio and the charts, but "Centuries" peaked at No. 10 on the Billboard Hot 100 and No. 13 on Billboard Mainstream Top 40. Fall Out Boy also was featured on the track "Back to Earth" from Steve Aoki's second album Neon Future I, which was released on September 30, 2014. Another song titled "Immortals" was released October 14, 2014, as part of the soundtrack for the Walt Disney film Big Hero 6. The group remade the Chicago Bulls's anthem "Only the Bulls" with guest Lupe Fiasco. The recording of the song was released in November 2014.
On November 24, 2014, the title of Fall Out Boy's sixth studio album was announced as American Beauty/American Psycho; the album was released on January 20, 2015. The album's title track premiered on BBC Radio 1 in the UK along with the album's title reveal. American Beauty/American Psycho debuted at No. 1 on the US Billboard 200 with 192,000 first week sales and 218,000 equivalent album units, becoming Fall Out Boy's third No. 1 album. The band played two small venue release shows in January 2015, in London and Chicago. American Beauty/American Psycho was certified platinum in the US on March 1, 2016, after selling 1 million units. From February through March, the band played at the Australian Soundwave festival for the first time, with two additional side shows in Sydney and Brisbane.
Fall Out Boy inducted Green Day into the Rock and Roll Hall of Fame on April 18, 2015. On May 18, the group performed its song "Uma Thurman" with Wiz Khalifa on the 2015 Billboard Music Awards. In June–August 2015, Fall Out Boy toured across the United States with Wiz Khalifa, Hoodie Allen, and MAX on the "Boys of Zummer Tour".
On October 1, 2015, the "American Beauty/American Psycho" European tour kicked off in Dublin, Ireland, and consisted of 12 dates with shows in the UK, Russia, and Europe. On May 24, 2015, it was announced English rapper Professor Green would support Fall Out Boy on the 8-date leg of the band's UK tour. New York based dance-duo Matt and Kim were added as additional support for the UK tour. On October 23, 2015, Fall Out Boy announced via Twitter the release of a re-worked version of its sixth studio album, Make America Psycho Again. The remix album features a remade version of each track from the original record, each featuring a different rapper. The album was released on October 30, 2015. It included the version of "Uma Thurman" featuring Wiz Khalifa which had been originally performed at the Billboard Music Awards. On March 1, 2016, it was announced Fall Out Boy were to headline Reading and Leeds Festivals in the UK in August 2016 along with Biffy Clyro.
2017–present: Mania
On April 27, 2017, Fall Out Boy announced that their new album was set to be released on September 15, titled Mania, stylized as M A N I A. The first single, "Young and Menace", was released the same day. The second single, "Champion", was released in the U.S. on June 22 and worldwide on June 23. Music videos have been posted to Vevo and YouTube for both songs. The band plans to begin the Mania Tour in North America in October 2017 with hip hop artist blackbear and actor-rapper Jaden Smith, and will perform in Australia in 2018 with indie band WAAX. On August 3, 2017, Patrick Stump tweeted that the album's release would be pushed back to January 19, 2018, because the band were not satisfied with the results of their work at the time.
"The Last of the Real Ones", released on September 14, 2017, in North America and worldwide the following day, was the third single from Mania to be released, and was played on Jimmy Kimmel Live! on September 18, 2017, after being debuted at House of Blues in Chicago on September 16. The band announced the album's completion on November 6, 2017, along with the final track list. "Hold Me Tight or Don't" was then released as the fourth single on November 15, with the music video being released alongside. Mania was officially released January 19, 2018 and debuted at number one on the Billboard 200, making it the band's third consecutive and fourth chart-topping debut overall.
On February 23, 2018, the band released an EP called Llamania. The EP contains three unfinished demo recordings. On August 23, 2018, the band released an EP called Lake Effect Kid. The EP includes a new version of a demo, with the same name, from the band's 2008 mixtape, CitizensFOB Mixtape: Welcome to the New Administration. In September 2018, Fall Out Boy headlined Wrigley Field in the band's hometown of Chicago, marking a milestone in their career as their first headline show at a stadium. On December 7, 2018, Fall Out Boy received their second Grammy nomination for Best Rock Album for Mania.
In 2019, the band was sued by Furry Puppet Studio for overusing llama puppets made by the company. According to the company, the llamas were only licensed for use in the "Young and Menace" video but were used at live shows, on merchandise, during TV appearances, and in multiple music videos. On September 10, 2019, the band announced the Hella Mega Tour with Green Day and Weezer as headliners along themselves, with The Interrupters as an opening act. They also released "Dear Future Self (Hands Up)" off their second compilation album, Greatest Hits: Believers Never Die – Volume Two, released in November 2019. Due to the COVID-19 pandemic, the summer leg of the tour was rescheduled to 2021. On August 4, 2021, during the Hell Mega Tour, the band announced that they would not be performing at Boston's Fenway Park due to one of the band's team members testing positive for COVID-19. However, Green Day and Weezer performed as scheduled.
Musical style and influences
While widely considered to be a pop punk band, Fall Out Boy has also been described as pop rock, pop, alternative rock, emo, emo pop, power pop, punk rock, and electropop, with elements of electronic, R&B, soul, funk, blue-eyed soul, hip hop, and hardcore punk, The band cites emo group The Get Up Kids as an influence among many other bands. When interviewed for a retrospective article in Alternative Press at the time The Get Up Kids disbanded in 2005, Pete Wentz stated that "Fall Out Boy would not be a band if it were not for The Get Up Kids." Early in the band's career, when Jared Logan was producing the group's debut album, he asked bassist Pete Wentz what sound the band desired for recording. Wentz responded by "handing over the first two New Found Glory records". Wentz also cites Green Day, Misfits, the Ramones, Screeching Weasel, Metallica, Earth Crisis, Gorilla Biscuits and Lifetime as influences. The band acknowledges its hardcore punk roots as an influence; all four members were involved in the Chicago hardcore scene before joining Fall Out Boy. Wentz described the band's affiliation with the genre by saying "I think the interesting thing is that we are all hardcore kids that are writing pop music...It gives us a different style because at our core we are always hardcore. That aspect is always going to be evident in the music. We are hardcore kids that couldn't quite cut it as hardcore kids." He referred to Fall Out Boy's genre as "softcore": hardcore punk mixed with pop sensibility. Lead singer Patrick Stump, however, is also influenced by artists he listened to while growing up including Prince, Michael Jackson, and David Bowie.
Fall Out Boy's albums Take This to Your Grave and From Under the Cork Tree are both said to have pop punk as well as punk rock sounds and influences, and Infinity on High features a wide range of styles and instrumentation, including orchestral arrangements ("Thnks fr th Mmrs") and a slower piano ballad ("Golden"). R&B influences on Infinity on High are on songs such as "This Ain't a Scene, It's an Arms Race" and two of the album's tracks are produced by R&B singer/producer Babyface. On Folie à Deux, the group continues to evolve its sound, with less of a pop punk sound and increasing the use of piano (such as "What a Catch, Donnie", "Headfirst Slide into Cooperstown on a Bad Bet", and "20 Dollar Nose Bleed"), synthesizers, and guest artists. The band also shows a number of influences, with "Disloyal Order of Water Buffaloes" borrowing a chord sequence from The Who song "Baba O'Riley". The group has worked with many producers and artists, including The Neptunes, Timbaland, Ryan Adams, Lil Wayne and Kanye West, the latter of which Patrick Stump described as "the Prince of his generation".
When the band returned from hiatus with Save Rock and Roll, their main goal was to reinvent the sound of the group from scratch, creating what Trohman called a "reimagining of the band", which focused more on pop and moved away from the punk aspects of their sound. While mostly an album which mixes pop, rock and R&B, the record was still described by Dave Simpson of The Guardian as a pop punk record, but also noted influences from Heart in the album's ballads. In American Beauty/American Psycho, the band felt influences from playing with different artists and expanded on boundaries further than Save Rock and Roll did. In an interview with Rolling Stone, guitarist Joe Trohman said the album has "hip hop grooves with guitars on it", with "more in your face guitar than Save Rock and Roll". Annie Zaleski of Alternative Press described American Beauty/American Psycho as a "mix of fluid grooves, punky riffs and outré pop sensibilities".
A central part of Fall Out Boy's sound is rooted in the band's lyrics, mainly penned by bassist Pete Wentz, who commonly uses irony and other literary devices to narrate personal experience and stories. Wentz stated, "I write about what I'm going through most of the time, or what I imagine people are going through most of the time." He draws inspiration from authors such as Charles Bukowski, Ernest Hemingway, and JT LeRoy, as well as rappers such as Lil Wayne, who he described as his primary influence while writing Infinity on High. On Fall Out Boy's earlier works, Wentz wrote primarily about love and heartbreak. Themes addressed on From Under the Cork Tree include narcissism and megalomania, while many tracks on Infinity on High discuss the ups and downs of fame. While writing Folie à Deux, he explored moral dilemmas and societal shortcomings, as well as concepts such as trust, infidelity, responsibility, and commitment. While the album does contain political overtones, the band wanted to avoid being overt about these themes, leaving many lyrics open to interpretation for listeners.
Legacy
Fall Out Boy have been instrumental in the careers of other artists, such as Panic! at the Disco, whom Pete Wentz signed to his record label, Decaydance Records, in late 2004. Several artists, such as You Me at Six and Taylor Swift, have created or performed covers of Fall Out Boy songs in homage to the band.
The Fall Out Boy band members were the first inductees to the "Hall of Wood" at the 2015 MtvU Woodie Awards and performed a medley of five songs at the ceremony. This honor is given to artists who have used MTV Woodie Awards as a "launching pad" in achieving chart topping success within their musical careers, thus influencing up and coming bands. The award also recognizes bands "sticking to their roots" and "maintaining their loyal fan base". The group had won the Woodie Award for Streaming for "Grand Theft Autumn" at the first ceremony in 2004.
In a list of the 50 greatest pop-punk albums of all time, Rolling Stone placed Fall Out Boy's 2003 album Take This To Your Grave as the fifth greatest, citing it as "[ushering] in a whole new, genre-blurring scene, in which heavy riffs and a screamo aesthetic mingled with old-fashioned teen heartbreak". In a similar list, Kerrang! magazine placed Take This To Your Grave at number 11 out of 51, describing it as a "blueprint for both break-up records and timeless pop-punk". In 2018, Rock Sound put Take This To Your Grave at number 18 in their list of the 100 best pop-punk albums, describing it as "poetic and utterly brilliant", while 2005's From Under The Cork Tree was placed at number 3 behind only Green Day's Dookie and Blink-182's Enema of the State. Rock Sound described From Under the Cork Tree as "intelligent, intriguing and utterly intoxicating...They will still be talking about this one in 50 years time."
In 2017, Fall Out Boy were announced as the first winners of Rock Sound's Hall of Fame Award as part of the Rock Sound Awards. In an interview accompanying the band's win, Patrick Stump stated one reason for the band's success is Sugar, We're Goin Down, explaining that the "song changed my life, I have a music career in a large part due to that song". In 2009, Phoenix New Times writer Martin Cizmar had described Sugar, We're Goin Down as possibly "the most listened-to emo track of all time".
As of 2020, the band are two-time Grammy Award nominees, their first nomination having been for Best New Artist at the 2006 Grammy Awards and their second for Best Rock Album for their 2018 album MANIA at the 2019 Grammy Awards.
On July 30, 2020, the band were nominated for "Best Rock Video" for the song "Dear Future Self (Hands Up)" at the 2020 MTV Video Music Awards, which makes them the most nominated band in history for the category.
Band membersCurrent members Patrick Stump – lead vocals , rhythm guitar, keyboards , percussion
Joe Trohman – lead guitar, backing vocals , keyboards
Pete Wentz – bass guitar, unclean vocals, backing vocals
Andy Hurley – drums, percussion , occasional backing vocals Former members'''
Ben Rose – drums, percussion
John Flamandan - rhythm guitar
T.J. Kunasch – rhythm guitar
Brandon Hamm – rhythm guitar
Mike Pareskuwicz – drums, percussion
Timeline
Discography
Take This to Your Grave (2003)
From Under the Cork Tree (2005)
Infinity on High (2007)
Folie à Deux (2008)
Save Rock and Roll (2013)
American Beauty/American Psycho (2015)
Mania (2018)
Awards and nominations
Alternative Press Music Awards
|-
| rowspan=5|2014
| rowspan=2|Themselves
| Artist of the Year
|
|-
| Best Live Band
|
|-
| Pete Wentz
| Best Bassist
|
|-
| Save Rock and Roll| Album of the Year
|
|-
| "My Songs Know What You Did in the Dark (Light Em Up)"
| Song of the Year
|
|-
| rowspan=2|2015
| "Centuries"
| Best Music Video
|
|-
| Overcast Kids| Most Dedicated Fans
|
|-
| rowspan=2|2016
| Patrick Stump
| Best Vocalist
|
|-
| rowspan=2|Themselves
| rowspan=2|Artist of the Year
|
|-
| 2017
|
International Dance Music Awards
|-
| 2008
| "Thnks fr th Mmrs"
| Best Alternative/Rock Dance Track
|
Kerrang! Awards
|-
| rowspan=4|2006
| Themselves
| Best Band on the Planet
|
|-
| From Under the Cork Tree| Best Album
|
|-
| rowspan=2|"Sugar, We're Goin Down"
| Best Single
|
|-
| rowspan=2|Best Video
|
|-
| rowspan=3|2007
| "This Ain't a Scene, It's an Arms Race"
|
|-
| Infinity on High| Best Album
|
|-
| rowspan=2|Themselves
| rowspan=2|Best International Band
|
|-
| rowspan=4|2013
|
|-
| Fall Out Boy at London Camden Underworld| Best Event
|
|-
| "My Songs Know What You Did in the Dark (Light Em Up)"
| rowspan=2|Best Single
|
|-
| "The Phoenix"
|
|-
| rowspan=3|2014
| Themselves
| Best International Band
|
|-
| Save Rock and Roll Tour| Best Event
|
|-
| Pete Wentz
| Tweeter of the Year
|
|-
| rowspan=2|2015
| "Centuries"
| Best Single
|
|-
| rowspan=2|Themselves
| rowspan=2|Best International Band
|
|-
| 2016
|
Teen Choice Awards
|-
| rowspan=3|2006
| Themselves
| Choice Music: Rock Group
|
|-
| rowspan=2|"Dance, Dance
| Choice Music: Single
|
|-
| rowspan=2|Choice Music: Rock Song
|
|-
| rowspan=2|2007
| "Thnks fr th Mmrs"
|
|-
| rowspan=2|Themselves
| rowspan=2|Choice Music: Rock Group
|
|-
| rowspan=2|2008
|
|-
| Pete Wentz
| Choice Red Carpet Fashion Icon: Male
|
|-
| rowspan=4|2015
| Themselves
| Choice Music Group: Male
|
|-
| "Centuries"
| Choice Music Single: Group
|
|-
| "Uma Thurman"
| Choice Music: Rock Song
|
|-
| The Boys of Zummer Tour (with Wiz Khalifa)
| Choice Summer Tour
|
|-
| 2016
| Themselves
| Choice Music: Group
|
Other Awards
|-
|| 2004 || "Grand Theft Autumn/Where Is Your Boy" || MtvU Woodie Award – Streaming Artist || rowspan="4"
|-
|| 2005 || "Sugar, We're Goin Down" || MTV Video Music Award – MTV2 Award
|-
|rowspan="3"| 2006 || rowspan=2|"Dance, Dance" || MuchMusic Video Award – People's Choice: Favorite International Group
|-
|| MTV Video Music Award – Viewer's Choice
|-
|| Fall Out Boy || Grammy Award for Best New Artist ||
|-
|rowspan=4|2007 || rowspan="2"| "Thnks fr th Mmrs" || Nickelodeon's Australian Kids' Choice Awards – Fave Song || rowspan="3"
|-
|| Nickelodeon's Kids' Choice Award – Single
|-
|rowspan=2|Fall Out Boy || MTV Video Music Award – Best Group
|-
|| Nickelodeon's Kids Choice Award – Best Band ||
|-
|rowspan="5"| 2008 || "The Take Over, the Breaks Over" || MuchMusic Video Award – People's Choice: Favorite International Video || rowspan="4"
|-
|rowspan="3"| Fall Out Boy || TMF Award – Best Live International
|-
|| TMF Award – Best Rock International
|-
|| TMF Award – Best Alternative International
|-
|| "Beat It" || MTV Video Music Award – Best Rock Video || rowspan="2"
|-
|| 2009 || "I Don't Care" || NRJ Music Award – Best International Band
|-
|rowspan=2|2013 || "My Songs Know What You Did in the Dark (Light Em Up)" || MTV Video Music Award for Best Rock Video || rowspan="2"
|-
|| Fall Out Boy || MTV Europe Music Awards – Best Alternative
|-
| rowspan="10"| 2014 || Fall Out Boy || People's Choice Awards – Favorite Alternative Band ||
|-
|| Fall Out Boy || Billboard Music Awards – Top Rock Artist || rowspan="2"
|-
|| Save Rock and Roll || Billboard Music Awards – Top Rock Album
|-
|| Fall Out Boy & The Band Perry || CMT Music Awards – CMT Performance of the Year ||
|-
|| Fall Out Boy || World Music Awards – World's Best Alternative Act ||
|-
|| Fall Out Boy || World Music Awards – World's Best Group || rowspan="7"
|-
|| Fall Out Boy || World Music Awards – World's Best Live Act
|-
|| Save Rock and Roll || World Music Awards – World's Best Album
|-
|| "My Songs Know What You Did in the Dark (Light Em Up)" || World Music Awards – World's Best Song
|-
|| "My Songs Know What You Did in the Dark (Light Em Up)" || World Music Awards – World's Best Music Video
|-
| rowspan="5"| 2015 || Fall Out Boy || Billboard Music Awards – Top Rock Artist
|-
|rowspan="1"|"Centuries" || Billboard Music Awards – Top Rock Song
|-
|| "Uma Thurman" || MTV Video Music Award – Best Rock Video || rowspan="2"
|-
|| Fall Out Boy || American Music Awards – Favorite Alternative Band
|-
|| Fall Out Boy || People's Choice Awards – Favorite Group || rowspan="5"
|-
| rowspan="5"| 2016 || Fall Out Boy || Billboard Music Awards – Top Rock Artist
|-
|rowspan="2"| "Uma Thurman" || Billboard Music Awards – Top Rock Song
|-
|| Radio Disney Music Awards – Best Song To Dance To
|-
|rowspan="3"| Fall Out Boy || Radio Disney Music Awards – Best Music Group
|-
|| MTV Video Music Award – Best Rock Video || rowspan="4"
|-
| 2018 || MTV Europe Music Award – Best Alternative
|-
| 2019 || Mania'' || Grammy Award for Best Rock Album
|-
| 2020 || "Dear Future Self (Hands Up)" || MTV Video Music Award – Best Rock Video
See also
Notes
References
Footnotes
Bibliography
Cover of the issue.
External links
Official website
Patrick Stump official website
2001 establishments in Illinois
Emo musical groups from Illinois
American pop rock music groups
Crush Management artists
Decaydance Records artists
Fueled by Ramen artists
Kerrang! Awards winners
Musical groups disestablished in 2009
Musical groups established in 2001
Musical groups from Chicago
Musical groups from Wilmette, Illinois
Musical groups reestablished in 2013
Musical quartets
Pop punk groups from Illinois
| false |
[
"This is a list of notable punk rock bands beginning with the numbers 0–9 and letters A through K. The bands listed have played some type of punk music at some point in their career, although they may have also played other styles. Bands who played in a style that influenced early punk rock—such as garage rock and protopunk—but never played punk rock themselves, are not on this list. Bands who created a new genre that was influenced by (but is not a subgenre of) punk rock—such as alternative rock, crossover thrash, grunge, metalcore, new wave, and post-punk—but never played punk rock, are not listed either.\n\n0–9\n\nA\n\nB\n\nC\n\nD\n\nE\n\nF\n\nG\n\nH\n\nI\n\nJ\n\nK\n\nReferences",
"This is a list of notable punk rock bands (letters L through Z). The bands listed have played some type of punk music at some point in their career, although they may have also played other styles. Bands who played in a style that influenced early punk rock—such as garage rock and protopunk—but never played punk rock themselves, should not be on this list. Bands who created a new genre that was influenced by (but is not a subgenre of) punk rock—such as alternative rock, crossover thrash, grunge, metalcore, New Wave, and post-punk—but never played punk rock, should not be listed either.\n\nL\n\nM\n\nN\n\nO\n\nP\n\nQ\n\nR\n\nS\n\nT\n\nU\n\nV\n\nW\n\nX\n\nY\n\nZ\n\n L"
] |
[
"Fall Out Boy",
"Legacy",
"Was legacy an album?",
"I don't know.",
"What was Legacy?",
"Fall Out Boy have been instrumental in the careers of other artists, such as Panic! at the Disco,",
"Are there other bands that they influenced?",
"Several artists, such as You Me at Six and Taylor Swift, have created or performed covers of Fall Out Boy songs as a homage to the band."
] |
C_4790a4a8a9d04432816141d09089d013_0
|
Are there any other interesting aspects about this article?
| 4 |
Are there any other interesting aspects about this article besides Fall out Boy?
|
Fall Out Boy
|
Fall Out Boy have been instrumental in the careers of other artists, such as Panic! at the Disco, whom Pete Wentz signed to his record label, Decaydance Records, in late 2004. Several artists, such as You Me at Six and Taylor Swift, have created or performed covers of Fall Out Boy songs as a homage to the band. The Fall Out Boy band members were the first inductees to the "Hall of Wood" at the 2015 MtvU Woodie Awards and performed a medley of five songs at the ceremony. This honor is given to artists who have used MTV Woodie Awards as a "launching pad" in achieving chart topping success within their musical careers, thus influencing up and coming bands. The award also recognizes bands "sticking to their roots" and "maintaining their loyal fan base". The group had won the Woodie Award for Streaming for "Grand Theft Autumn" at the first ceremony in 2004. In a list of the 50 greatest pop-punk albums of all time, Rolling Stone placed Fall Out Boy's 2003 album Take This To Your Grave as the fifth greatest, citing it as "[ushering] in a whole new, genre-blurring scene, in which heavy riffs and a screamo aesthetic mingled with old-fashioned teen heartbreak". In a similar list, Kerrang! magazine placed Take This To Your Grave at number 11 out of 51, describing it as a "blueprint for both break-up records and timeless pop-punk". In 2017, Fall Out Boy were announced as the first winners of Rock Sound's Hall of Fame Award as part of the Rock Sound Awards. In an interview accompanying the band's win, Patrick Stump stated one reason for the band's success is Sugar, We're Goin Down, explaining that the "song changed my life, I have a music career in a large part due to that song". In 2009, Phoenix New Times writer Martin Cizmar had described Sugar, We're Goin Down as possibly "the most listened-to emo track of all time". CANNOTANSWER
|
The Fall Out Boy band members were the first inductees to the "Hall of Wood" at the 2015 MtvU Woodie Awards
|
Fall Out Boy is an American rock band formed in Wilmette, Illinois, a suburb of Chicago, in 2001. The band consists of lead vocalist and rhythm guitarist Patrick Stump, bassist Pete Wentz, lead guitarist Joe Trohman, and drummer Andy Hurley. The band originated from Chicago's hardcore punk scene, with which all members were involved at one point. The group was formed by Wentz and Trohman as a pop punk side project of the members' respective hardcore bands, and Stump joined shortly thereafter. The group went through a succession of drummers before landing Hurley and recording the group's debut album, Take This to Your Grave (2003). The album became an underground success and helped the band gain a dedicated fanbase through heavy touring, as well as commercial success. Take This to Your Grave has commonly been cited as an influential blueprint for pop punk music in the 2000s.
With Wentz as the band's lyricist and Stump as the primary composer, the band's 2005 major-label breakthrough, From Under the Cork Tree, produced two hit singles, "Sugar, We're Goin Down" and "Dance, Dance", and went double platinum, transforming the group into superstars and making Wentz a celebrity and tabloid fixture. Fall Out Boy received a Best New Artist nomination at the 2006 Grammy Awards. The band's 2007 follow-up, Infinity on High, debuted at number one on the Billboard 200 with 260,000 first week sales. It produced two worldwide hit singles, "This Ain't a Scene, It's an Arms Race" and "Thnks fr th Mmrs". Folie à Deux, the band's fourth album, created a mixed response from fans and commercially undersold expectations. Following the release of Believers Never Die – Greatest Hits, the band took a hiatus from 2009 to 2013 to "decompress", exploring various side projects.
The band regrouped and recorded Save Rock and Roll (2013), becoming its second career number one and included the top 20 single "My Songs Know What You Did in the Dark (Light Em Up)". The same year, the band released the EP PAX AM Days, consisting of 8 punk-influenced tracks that were recorded during a two-day session with producer Ryan Adams. The band's sixth studio album, American Beauty/American Psycho (2015) peaked at number one on the Billboard 200, and spawned the top-10 hit "Centuries" and the single "Uma Thurman" which reached No. 22 on the Billboard Hot 100. This was followed by their first remix album Make America Psycho Again, which featured the remixes of all original tracks from American Beauty/American Psycho by a different artist on each song, including Migos and Wiz Khalifa.
The band's seventh studio album Mania (2018), also peaked at No. 1, making it the band's fourth No. 1 album and sixth consecutive top 10 album. Their supporting tour for the album included a show at Wrigley Field, their first headlining stadium show. In 2018, Fall Out Boy also received their second Grammy nomination for Best Rock Album for Mania. A co-headlining 2020 tour with Green Day and Weezer titled the Hella Mega Tour was announced in September 2019. Each band released new music in support of the tour, with Fall Out Boy announcing the release of a second greatest hits album, Greatest Hits: Believers Never Die – Volume Two, and a supporting single, "Dear Future Self (Hands Up)". The tour, which spans North American, Europe and Oceania, is Fall Out Boy's first stadium tour and includes shows in Wrigley Field, Dodger Stadium and the London Stadium.
History
2001–2002: Early years
Fall Out Boy was formed in 2001 in the Chicago suburb of Wilmette, Illinois by friends Pete Wentz and Joe Trohman. Wentz was a "visible fixture" of the relatively small Chicago hardcore punk scene of the late 1990s, performing in groups such as Birthright, Extinction and First Born. He was also part of the metalcore band Arma Angelus and the more political Racetraitor, "a band that managed to land the covers of Maximumrocknroll and Heartattack fanzines before releasing a single note of music". Wentz was growing dissatisfied with the changing mores of the community, which he viewed as a transition from political activism to an emphasis on moshing and breakdowns. With enthusiasm in Arma Angelus waning, he created a pop punk side project with Trohman that was intended to be "easy and escapist". Trohman met Patrick Stump, then a drummer for grindcore band Xgrinding processX and a host of other bands that "never really managed", at a Borders bookstore in Wilmette. While Trohman was discussing Neurosis with a friend, Stump interrupted them to correct their classification of the band; the ensuing conversation soon shifted to Trohman and Wentz's new project. Stump, viewing it as an opportunity to try out with "local hardcore celebrity" Wentz, directed Trohman to his MP3.com page, which contained sung-through acoustic recordings. Stump intended to try out as a drummer, but Trohman urged him to bring out his acoustic guitar; he impressed Trohman and Wentz with songs from Saves the Day's Through Being Cool. While Wentz wanted Racetraitor bandmate Andy Hurley to join the group as drummer, Hurley appeared uninterested and too busy at the time.
The band's first public performance came in a cafeteria at DePaul University alongside Stilwell and another group that performed Black Sabbath's self-titled debut album in its entirety. The band's only performance with guitarist John Flamandan and original drummer Ben Rose was in retrospect described as "goofy" and "bad", but Trohman made an active effort to make the band work, picking up members for practice. Wentz and Stump argued over band names; the former favored verbose, tongue-in-cheek names, while the latter wanted to reference Tom Waits in name. After creating a short list of names that included "Fall Out Boy", a fictional character from The Simpsons and Bongo Comics, friends voted on the name. The band's second performance, at a southern Illinois university with The Killing Tree, began with Wentz introducing the band under a name Stump recalled as "very long". According to Stump, an audience member yelled out, "Fuck that, no, you're Fall Out Boy!", and the band were credited later in the show under that name by Killing Tree frontman Tim McIlrath. As the group looked up to McIlrath, and Trohman and Stump were "die-hard" Simpsons fans, the name stuck. The group's first cassette tape demo was recorded in Rose's basement, but the band later set off for Wisconsin to record a proper demo with 7 Angels 7 Plagues drummer Jared Logan, whom Wentz knew through connections in the hardcore scene.
Several more members passed through the group, including drummer Mike Pareskuwicz of Subsist and guitarist T.J. "Racine" Kunasch. While Stump at this point felt uninterested in the group, Wentz was, according to Uprising Records owner Sean Muttaqi, viewing the group as "the thing that would make him famous. He had a clear vision." Wentz was "singularly focused on taking things to the next level" and began promoting the band via early social media. Muttaqi got word of the demo and wanted to release half of it as a split extended play with Hurley's band Project Rocket, which the band viewed as competition. Uprising desired to release an album with the emerging band, which to that point had only written three songs. With the help of Logan, the group attempted to put together a collection of songs in two days, and recorded them as Fall Out Boy's Evening Out with Your Girlfriend. The rushed recording experience and underdeveloped songs left the band dissatisfied. When the band set off to Smart Studios in Madison, Wisconsin to record three songs for a possible split 7-inch with 504 Plan, engineer Sean O'Keefe suggested the band record the trio with Hurley. Hurley was also recording an EP with his new group the Kill Pill in Chicago on the same day, but raced to Madison to play drums for Fall Out Boy. "It was still a fill-in thing but when Andy sat in, it just felt different. It was one of those "a-ha" moments", recalled Wentz.
2003–2004: Early success and Take This to Your Grave
The band booked a two-week tour with Spitalfield, but Pareskuwicz was unable to get time off from work and Kunasch was kicked out of the band as the group "had all gotten sick of him". Kunasch was temporarily replaced by friend Brandon Hamm on guitar, alongside drummer Chris Envy from the recently disbanded Showoff, but both quit prior to the kickoff of the tour. The band invited Hurley instead to fill-in once more, while Stump borrowed one of Trohman's guitars for the trek. While most shows were cancelled, the band played any show possible: "Let's just get on whatever show we can. You can pay us in pizza", remembered Wentz. As the tour concluded, the general consensus was that Hurley would be the band's new drummer, and the band began to shop around the three songs from the group's unreleased split as a demo to record labels. The band members set their sights on pop punk labels, and attempted with considerable effort to join Drive-Thru Records. A showcase for label co-founders went largely mediocre, and the band were offered to sign to side label Rushmore, an offer that the members of the band declined. They got particularly far in discussions with The Militia Group and Victory Records, and Bob McLynn of Crush Management became the band's first manager. The band re-entered the studio with O'Keefe to record several more tracks to create label interest. Wentz felt "in the backseat" in writing the songs and temporarily questioned his place in the group, but Stump argued in his favor: "No! That's not fair! Don't leave me with this band! Don't make me kind of like this band and then leave it! That's bullshit!"
The band's early tour vehicle was a "tiny V6 that was running on three cylinders, and it was not getting enough air, so it would drive really slowly", recalled Wentz. "We had to turn on the hot air to reach the speed limit, so we had the heat on all the time in 120-degree weather. It was so hot it melted the plastic molding around the windows. When it rained, we'd get all wet." John Janick of Fueled by Ramen had heard an early version of a song online and cold-called the band members at their apartment, first reaching Stump and later talking to Wentz for an hour. Rob Stevenson from Island Records eventually offered the band a "first-ever incubator sort of deal", in which they gave the band money to sign with Fueled by Ramen for the group's one-off debut, knowing they could "upstream" the band to radio on the sophomore record. Fueled by Ramen, at the time the smallest of independent labels clamoring to sign the band, would effectively release the group's debut album and help build the band's ever-expanding fanbase before the group moved to Island. The band again partnered with O'Keefe at Smart Studios, bringing together the three songs from the demo and recording an additional seven songs in nine days. The band, according to Stump, didn't "sleep anywhere that we could shower [...] There was a girl that Andy's girlfriend at the time went to school with who let us sleep on her floor, but we'd be there for maybe four hours at a time. It was crazy." As the band progressed and the members' roles became more defined, Wentz took lyrics extremely seriously in contrast to Stump, who had been the group's primary lyricist up to that point. Arguments during the recording sessions led to what "most reductively boils down to Wentz writing the lyrics and Stump writing the melodies".
The band's debut album, Take This to Your Grave, was issued by Fueled by Ramen in May 2003. Previously, one of the band's earliest recordings, Evening Out with Your Girlfriend, had not seen release until shortly before Grave in March 2003, when the band had gained considerable momentum. "Our record was something being rushed out to help generate some interest, but that interest was building before we could even get the record out", said Sean Muttaqi. The band actively tried to stop Uprising from releasing the recordings (as the band's relationship with Muttaqi had grown sour), as the band viewed it as a "giant piece of garbage" recorded before Hurley's involvement that the band members ceased to consider the debut album of the group. Gradually, the band's fanbase grew in size as the label pushed for the album's mainstream success. According to Wentz, shows began to end in a near-riot and the group were banned from several venues because the entire crowd would end up onstage. The band gained positive reviews for subsequent gigs at South by Southwest (SXSW) and various tour appearances. The band joined the Warped Tour for five dates in the summer of 2004, and on one date the band had only performed three songs when the stage collapsed due to the large crowd. The band appeared on the cover of the August 2004 edition of Alternative Press, and listening stations at Hot Topic partially helped the album move 2,000-3,000 copies per week by Christmas 2004, at which point the label considered the band "tipping" into mainstream success.
2005–2006: From Under the Cork Tree
The band had been flooded with "hyperbolic praise", and deemed "the next big thing" by multiple media outlets. Before recording the follow-up to its debut, the band released the acoustic EP/DVD My Heart Will Always Be the B-Side to My Tongue. The EP was the band's first charting on the Billboard 200 at number 153. From Under the Cork Tree was recorded in Burbank, California, and served as the first time the band had stayed in California for an extended period of time. The group lived in corporate housing during the making of the album. In contrast to Take This to Your Graves rushed recording schedule, Fall Out Boy took a much more gradual pace while working on From Under the Cork Tree. It was the first Fall Out Boy record in which Stump created all the music and Wentz wrote all the lyrics, continuing the approach they took for some songs on Grave. Stump felt that this process was much more "smooth" as every member was able to focus on his individual strengths. He explained: "We haven't had any of those moments when I play the music and he'll say, 'I don't like that,' and he'll read me lyrics and I'll say, 'I don't like those lyrics.' It's very natural and fun." Despite this, the band had great difficulty creating its desired sound for the album, constantly scrapping new material. Two weeks before recording sessions began, the group abandoned ten songs and wrote eight more, including the album's first single, "Sugar, We're Goin Down".
The band suffered a setback, however, when Wentz had an emotional breakdown in February 2005, culminating in a suicide attempt. He had withdrawn from the rest of the group, with his condition only apparent through his lyrics, and had also become obsessed with the recent Indian tsunami and his own self-doubt. "It is particularly overwhelming when you are on the cusp of doing something very big and thinking that it will be a big flop", he said later. Wentz swallowed a handful of Ativan anxiety pills (he described the act as "hypermedicating") in the Chicago Best Buy parking lot. After being rushed to the hospital and having his stomach pumped, Wentz moved back home to Wilmette to live with his parents.
From Under the Cork Tree debuted and peaked at number nine on the Billboard 200 upon its May 2005 release. It was spearheaded by the band's breakthrough single, "Sugar, We're Goin' Down", reached number eight in the US Billboard Hot 100 in September 2005, and in the UK chart in February 2006, crossing over from Alternative to Pop radio. "Dance, Dance", the album's second single, also was a top ten hit in the United States and was certified 3x Platinum in 2014. The record's success led to stardom among teenagers in North America, and the band's first arena tour had the group playing to 10,000 people per night. Rolling Stone wrote that the band's "anthems", distributed and marketed through their MySpace, connected with "skinny-jeans-wearing teen girls". In support of From Under the Cork Tree, the band toured exhaustively with international tours, TRL visits, late-night television appearances and music award shows. The band performed at music festivals in 2005 and 2006, including the third Nintendo Fusion Tour in the fall of 2005, joining The Starting Line, Motion City Soundtrack, Boys Night Out, and Panic! at the Disco on a 31 city tour. The album earned the band a Grammy nomination for Best New Artist, and has sold over 2.7 million copies in the United States, becoming the group's best-selling album. "Sugar, We're Goin Down" also won the band an MTV Music Video Award.
2007: Infinity on High
In the wake of the band's multiplatinum success, the "especially extroverted" Wentz became the most publicly visible member of the band. He confided to the press his suicide attempt and nude photos of the bassist appeared on the Internet in 2006. He gained additional exposure through his clothing line, his Decaydance record label (an imprint of Fueled by Ramen), and eventually a celebrity relationship with pop singer Ashlee Simpson, which made the two tabloid fixtures in the United States. Due to its increased success from the group's MTV Video Music Award, the group headlined the Black Clouds and Underdogs Tour, a pop punk event that featured The All-American Rejects, Well-Known Secret, Hawthorne Heights, and From First to Last. The tour also featured The Hush Sound for half of the tour and October Fall for half. The band played to 53 dates in the U.S., Canada, and the UK.
After taking a two-month-long break following the band's Black Clouds and Underdogs tour in promotion of the band's 2005 album From Under the Cork Tree, Fall Out Boy returned to the studio to begin work on a follow-up effort. The band began writing songs for the new album while touring, and intended to quickly make a new album in order to keep momentum in the wake of its breakthrough success. In early 2007, the group released its third studio album, Infinity on High, which was the band's second release on major label Island. The album marked a departure in Fall Out Boy's sound in which the band implemented a diverse array of musical styles including funk, R&B, and flamenco. As reported by Billboard, Fall Out Boy "drifts further from its hardcore punk roots to write increasingly accessible pop tunes", a slight departure from the group's previous more pop punk sound predominant on their 2003 effort, Take This to Your Grave.
Infinitys first week was a major success and was the band's biggest selling week, selling 260,000 copies to debut at No. 1 on the US Billboard 200 and inside the top five worldwide. This charting was first started with lead single "The Carpal Tunnel of Love", with minor success on the Billboard charts. This success was bolstered by the further-successful second single "This Ain't a Scene, It's an Arms Race", which reached No. 2 in both the US and UK as well as the top five in many other countries. On the band's decision to pick the song as a single, Wentz commented "There may be other songs on the record that would be bigger radio hits, but this one had the right message." "Thnks fr th Mmrs", the third single, peaked just outside the top 10 at No. 11 on the strength of sales and popular radio play, and went on to sell over two million copies in the US. It found its greatest success in Australia where it charted at No. 3. In 2007, Fall Out Boy placed at No. 9 in the Top Selling Digital Artists chart with 4,423,000 digital tracks sold, according to Nielsen SoundScan. The album itself has sold over two million copies worldwide and subsequently was certified Platinum in the United States.
Fall Out Boy then headlined the 2007 Honda Civic Tour to promote the album. Though the tour was initially postponed due to personal issues, it would take place with +44, Cobra Starship, The Academy Is... and Paul Wall as supporting acts. The band also headlined the Young Wild Things Tour, an international arena tour featuring Gym Class Heroes, Plain White T's and Cute Is What We Aim For.
Inspired by Maurice Sendak's 1963 children's book Where the Wild Things Are, the concert tour and included sets designed by artist Rob Dobi containing images from the book. The band's "hugely successful" amphitheater tour to promote Infinity led to the release of the 2008 live album Live in Phoenix, consisting of live material recorded during a June 22, 2007, concert at Phoenix's Cricket Wireless Pavilion, a date of the Honda Civic Tour. The disc also included a studio cover of Michael Jackson's "Beat It", with guitarist John Mayer guesting for a guitar solo. The track was released as a single and became a mainstay on the iTunes top ten.
2008–2009: Folie à Deux
The band members decided to keep publicity down during the recording of their fourth album, as the group was taken aback by such press surrounding Infinity on High. Sessions proved to be difficult for the band; Stump called the making of the album "painful", noting that he and Wentz quarreled over many issues, revealing "I threw something across the room over a major-to-minor progression." On previous albums, Trohman felt he and Hurley did not have enough musical freedom and that Stump and Wentz exerted too much control over the group: "I felt, 'Man, this isn't my band anymore.' It's no one's fault, and I don't want to make it seem that way. It was more of a complex I developed based on stuff I was reading. It's hard to hear, 'Joe and Andy are just along for the ride. To amend the situation, Trohman sat down with Stump to communicate his concerns, which led to more collaboration on Folie à Deux. "It made me feel like I owned the songs a lot more. It made me really excited about contributing to Fall Out Boy and made me find my role in the band," Trohman recalled.
As the release of the new album approached, the band and its management found that they would have to navigate changes in the music industry, facing declining record sales, the lack of a proper outlet for exhibition of music videos, and the burgeoning US economic crisis. To promote the album, Wentz launched a viral campaign in August 2008, inspired by George Orwell's novel Nineteen Eighty-Four (1949), and the autocratic, overbearing Big Brother organization. Folie à Deux, released in December 2008, did not perform as well commercially as its predecessor, Infinity on High. It debuted at number eight on the US Billboard 200 chart with first week sales of 150,000 copies during a highly competitive week with other big debuts, becoming Fall Out Boy's third consecutive top ten album. This is in contrast to the band's more successful previous effort which shifted 260,000 copies in its opening week to debut at number one on the chart. Folie spent two weeks within the top 20 out of its 22 chart weeks. It also entered Billboard's Rock Albums and Alternative Albums charts at number three. Within two months of its release, Folie à Deux was certified Gold in the United States by the Recording Industry Association of America (RIAA), denoting shipments of 500,000 copies. The lead single, "I Don't Care", reached a peak at number twenty-one on the Billboard Hot 100, and was certified Platinum by the RIAA for shipments of one million copies.
To promote the album, Fall Out Boy embarked on the Believers Never Die Tour Part Deux, which included dates in the United States and Canada. The constant touring schedule became difficult for the band due to conflicting fan opinion regarding Folie à Deux: concertgoers would "boo the band for performing numbers from the record in concert", leading Stump to describe touring in support of Folie as like "being the last act at the vaudeville show: We were rotten vegetable targets in Clandestine hoods." "Some of us were miserable onstage", said guitarist Joe Trohman. "Others were just drunk." A greatest hits compilation, Believers Never Die – Greatest Hits, followed in the fall, and following these events, the band decided to take a break. The band's decision stemmed from disillusionment with the music industry and Stump recalled that "We found ourselves running on fumes a little bit – creatively and probably as people, too." Stump realized the band was desperate to take a break; he sat the group down and explained that a hiatus was in order if the band wanted to continue in the future. All involved felt the dynamic of the group had changed as personalities developed.
Rumors and misquotes led to confusion as to what such a break truly meant; Wentz preferred to not refer to the break as a "hiatus", instead explaining that the band was just "decompressing". Fall Out Boy played its last show at Madison Square Garden on October 4, 2009. Near the end, Blink-182's Mark Hoppus shaved Wentz's head in a move Andy Greene in Rolling Stone would later describe as a "symbolic cleansing of the past, but also the beginning of a very dark chapter for the band".
2010–2012: Hiatus and side projects
By the time the break began, Stump was the heaviest he had ever been and loathed the band's image as an "emo" band. Coming home from tour, drummer Andy Hurley "went through the darkest depression [I've] ever felt. I looked at my calendar and it was just empty." Wentz, who had been abusing Xanax and Klonopin, was divorced by his wife Ashlee Simpson and returned to therapy. "I'd basically gone from being the guy in Fall Out Boy to being the guy who, like, hangs out all day", Wentz recalled. Previously known as the "overexposed, despised" leader of the band, Wentz "simply grew up", sharing custody of his son and embracing maturity: "There was a jump-cut in my life. I started thinking – like, being old would be cool."
During the hiatus, the band members each pursued individual musical interests, which were met with "varying degrees of failure". Stump was the only member of the quartet to take on a solo project while Fall Out Boy was on hiatus, recording debut album Soul Punk entirely on his own: he wrote, produced, and played every instrument for all tracks on the record. In addition, he married his longtime girlfriend and lost over sixty pounds through portion control and exercise. Stump blew through most of his savings putting together a large band to tour behind Soul Punk, but ticket sales were sparse and the album stalled commercially. During a particularly dark moment in February 2012, Stump poured his heart out in a 1500-word blog entry called "We Liked You Better Fat: Confessions of a Pariah". In the post, Stump lamented the harsh reception of the record and his status as a "has-been" at 27. Stump revealed that fans harassed him on his solo tour, hurling insults such as "We liked you better fat", and noted that "Whatever notoriety Fall Out Boy used to have prevents me from having the ability to start over from the bottom again." Aside from Soul Punk and personal developments, Stump moonlighted as a professional songwriter/producer, co-writing tracks with Bruno Mars and All Time Low, and pursued acting.
Wentz formed electronic duo Black Cards with vocalist Bebe Rexha in July 2010. The project released one single before album delays led to Rexha's departure in 2011. Black Cards added Spencer Peterson to complete the Use Your Disillusion EP in 2012. Wentz also completed writing a novel, Gray, that he had been working on for six years outside the band, and began hosting the reality tattoo competition show Best Ink. Hurley ventured farther into rock during the hiatus, drumming with multiple bands over the three-year period. He continued to manage his record label, Fuck City, and drummed for bands Burning Empires and Enabler. He also formed heavy metal outfit The Damned Things with Trohman, Scott Ian and Rob Caggiano of Anthrax, and Keith Buckley of Every Time I Die. Despite this, the members all remained cordial to one another; Wentz was Stump's best man at his wedding. The hiatus was, all things considered, beneficial for the group and its members, according to Hurley. "The hiatus helped them all kind of figure themselves out", he explained in 2013. "Especially Joe and Patrick, who were so young. And Pete is a million times better."
2013–2014: Reformation and Save Rock and Roll
Stump and Wentz met up for the first time in several years in early 2012 for a writing session. Wentz reached out to Stump after he penned his letter, as he too felt he was in a dark place and needed a creative outlet. He was at first reluctant to approach Stump, likening the phone call to reconnecting with a lover after years of acrimony. "I know what you need – you need your band", Wentz told Stump. "I think it's kind of weird that we haven't really seen each other this year. We paid for each other's houses and you don't know my kid", Wentz remarked. The result, "three or four" new songs, were shelved with near immediacy, with the two concluding that "it just wasn't right and didn't feel right." Several months later, the two reconvened and wrote tracks that they felt truly represented the band in a modern form. The band decided that if a comeback was in order, it must represent the band in its current form: "We didn't want to come back just to bask in the glory days and, like, and collect a few checks and pretend ... and do our best 2003 impersonation", said Stump. Afterwards, the quartet held an all-day secret meeting at their manager's home in New York City where they discussed ideas and the mechanics of getting together to record. Trohman was the last to be contacted, through a three-hour phone call from Stump. As Trohman was arguably the most excited to begin other projects, he had a list of stipulations for rejoining the band. "If I'm not coming back to this band writing music […] then I don't want to", he remarked. Stump supported Trohman's ambition saying Trohman "needed to be writing more".
The band members' main goal was to reinvent the group's sound from scratch, creating what Trohman called a "reimagining of the band", which focuses more on pop. Sessions were not without difficulties, as the band struggled initially to produce new material. Walker had doubts about the band's volatility, feeling the record would not get made following "meltdown after meltdown". The entire album was recorded in secrecy from the music industry, critics, and fans of the band. While specifically denying that the group's announcement was a reunion because "[the group had] never broke[n] up", the band announced a reunion tour and details of Save Rock and Roll on February 4, 2013. The quartet's announcement included a photo of the group that had been taken earlier that morning of the band members huddled around a bonfire tossing copies of their back catalog into flames at the original location of Comiskey Park, the location of 1979's Disco Demolition Night, a baseball promotional event which involved destroying disco records. A message on the group's website read "when we were kids the only thing that got us through most days was music. It's why we started Fall Out Boy in the first place. This isn't a reunion because we never broke up. We needed to plug back in and make some music that matters to us. The future of Fall Out Boy starts now. Save rock and roll..." Save Rock and Roll debuted at number one on the Billboard 200 chart, with first week sales of 154,000 copies in the United States, according to Nielsen SoundScan. The arrival of Save Rock and Roll posted the quartet's third-biggest sales week, and earned the group's second career number one on the chart. The band's chart success was best described as unexpected by music journalists. Andy Greene in Rolling Stone called the band's comeback a "rather stunning renaissance", and Entertainment Weekly called the number one a "major accomplishment for a band whom many in the industry had dismissed as kings of a genre whose time had passed".
The record's lead single, "My Songs Know What You Did in the Dark (Light Em Up)", peaked at number 13 on the Billboard Hot 100, marking the band's first top twenty single since the group's 2008 cover of Michael Jackson's "Beat It". It was certified 3x Platinum in the US for over 3 million sales. Inspired in part by Daft Punk's Interstella 5555: The 5tory of the 5ecret 5tar 5ystem, the band released a music video for every song on the album in a series titled The Young Blood Chronicles between February 2013 and May 2014. The band also released a hardcore punk-influenced EP, PAX AM Days, in late 2013. Fall Out Boy covered Elton John's (who was featured on the Save Rock And Roll title track) song "Saturday Night's Alright for Fighting" for inclusion in the fortieth anniversary re-release edition of Goodbye Yellow Brick Road on March 25, 2014, alongside covers by different artists.
Fall Out Boy headlined Save Rock And Roll tours (including US, Australian and European legs) and played at music festivals around the world for one and a half years. The group co-headlined Monumentour with Paramore in North America to close the Save Rock And Roll era.
2014–2016: American Beauty/American Psycho
On June 2, 2014, Wentz stated that he and Stump were writing new music: "We're writing. I was just listening to something Patrick had written in the trailer. So we're writing, finishing out the album cycle in South Africa in September." In a later interview with Rock Sound regarding the status of the album, Wentz commented "We don't have an exact timetable yet. I have a two-week-old son and Patrick has a baby on the way in October, so there's a lot going on." as well as stating a rough release time as early 2015. In December 2014 the band played radio-sponsored Christmas shows, including KROQ's Almost Acoustic Christmas.
"Centuries" – the first single of Fall Out Boy's sixth studio album – premiered on September 8, 2014, on BBC Radio 1, receiving a worldwide release the next day. By the 2010s, there were few rock bands achieving success on mainstream radio and the charts, but "Centuries" peaked at No. 10 on the Billboard Hot 100 and No. 13 on Billboard Mainstream Top 40. Fall Out Boy also was featured on the track "Back to Earth" from Steve Aoki's second album Neon Future I, which was released on September 30, 2014. Another song titled "Immortals" was released October 14, 2014, as part of the soundtrack for the Walt Disney film Big Hero 6. The group remade the Chicago Bulls's anthem "Only the Bulls" with guest Lupe Fiasco. The recording of the song was released in November 2014.
On November 24, 2014, the title of Fall Out Boy's sixth studio album was announced as American Beauty/American Psycho; the album was released on January 20, 2015. The album's title track premiered on BBC Radio 1 in the UK along with the album's title reveal. American Beauty/American Psycho debuted at No. 1 on the US Billboard 200 with 192,000 first week sales and 218,000 equivalent album units, becoming Fall Out Boy's third No. 1 album. The band played two small venue release shows in January 2015, in London and Chicago. American Beauty/American Psycho was certified platinum in the US on March 1, 2016, after selling 1 million units. From February through March, the band played at the Australian Soundwave festival for the first time, with two additional side shows in Sydney and Brisbane.
Fall Out Boy inducted Green Day into the Rock and Roll Hall of Fame on April 18, 2015. On May 18, the group performed its song "Uma Thurman" with Wiz Khalifa on the 2015 Billboard Music Awards. In June–August 2015, Fall Out Boy toured across the United States with Wiz Khalifa, Hoodie Allen, and MAX on the "Boys of Zummer Tour".
On October 1, 2015, the "American Beauty/American Psycho" European tour kicked off in Dublin, Ireland, and consisted of 12 dates with shows in the UK, Russia, and Europe. On May 24, 2015, it was announced English rapper Professor Green would support Fall Out Boy on the 8-date leg of the band's UK tour. New York based dance-duo Matt and Kim were added as additional support for the UK tour. On October 23, 2015, Fall Out Boy announced via Twitter the release of a re-worked version of its sixth studio album, Make America Psycho Again. The remix album features a remade version of each track from the original record, each featuring a different rapper. The album was released on October 30, 2015. It included the version of "Uma Thurman" featuring Wiz Khalifa which had been originally performed at the Billboard Music Awards. On March 1, 2016, it was announced Fall Out Boy were to headline Reading and Leeds Festivals in the UK in August 2016 along with Biffy Clyro.
2017–present: Mania
On April 27, 2017, Fall Out Boy announced that their new album was set to be released on September 15, titled Mania, stylized as M A N I A. The first single, "Young and Menace", was released the same day. The second single, "Champion", was released in the U.S. on June 22 and worldwide on June 23. Music videos have been posted to Vevo and YouTube for both songs. The band plans to begin the Mania Tour in North America in October 2017 with hip hop artist blackbear and actor-rapper Jaden Smith, and will perform in Australia in 2018 with indie band WAAX. On August 3, 2017, Patrick Stump tweeted that the album's release would be pushed back to January 19, 2018, because the band were not satisfied with the results of their work at the time.
"The Last of the Real Ones", released on September 14, 2017, in North America and worldwide the following day, was the third single from Mania to be released, and was played on Jimmy Kimmel Live! on September 18, 2017, after being debuted at House of Blues in Chicago on September 16. The band announced the album's completion on November 6, 2017, along with the final track list. "Hold Me Tight or Don't" was then released as the fourth single on November 15, with the music video being released alongside. Mania was officially released January 19, 2018 and debuted at number one on the Billboard 200, making it the band's third consecutive and fourth chart-topping debut overall.
On February 23, 2018, the band released an EP called Llamania. The EP contains three unfinished demo recordings. On August 23, 2018, the band released an EP called Lake Effect Kid. The EP includes a new version of a demo, with the same name, from the band's 2008 mixtape, CitizensFOB Mixtape: Welcome to the New Administration. In September 2018, Fall Out Boy headlined Wrigley Field in the band's hometown of Chicago, marking a milestone in their career as their first headline show at a stadium. On December 7, 2018, Fall Out Boy received their second Grammy nomination for Best Rock Album for Mania.
In 2019, the band was sued by Furry Puppet Studio for overusing llama puppets made by the company. According to the company, the llamas were only licensed for use in the "Young and Menace" video but were used at live shows, on merchandise, during TV appearances, and in multiple music videos. On September 10, 2019, the band announced the Hella Mega Tour with Green Day and Weezer as headliners along themselves, with The Interrupters as an opening act. They also released "Dear Future Self (Hands Up)" off their second compilation album, Greatest Hits: Believers Never Die – Volume Two, released in November 2019. Due to the COVID-19 pandemic, the summer leg of the tour was rescheduled to 2021. On August 4, 2021, during the Hell Mega Tour, the band announced that they would not be performing at Boston's Fenway Park due to one of the band's team members testing positive for COVID-19. However, Green Day and Weezer performed as scheduled.
Musical style and influences
While widely considered to be a pop punk band, Fall Out Boy has also been described as pop rock, pop, alternative rock, emo, emo pop, power pop, punk rock, and electropop, with elements of electronic, R&B, soul, funk, blue-eyed soul, hip hop, and hardcore punk, The band cites emo group The Get Up Kids as an influence among many other bands. When interviewed for a retrospective article in Alternative Press at the time The Get Up Kids disbanded in 2005, Pete Wentz stated that "Fall Out Boy would not be a band if it were not for The Get Up Kids." Early in the band's career, when Jared Logan was producing the group's debut album, he asked bassist Pete Wentz what sound the band desired for recording. Wentz responded by "handing over the first two New Found Glory records". Wentz also cites Green Day, Misfits, the Ramones, Screeching Weasel, Metallica, Earth Crisis, Gorilla Biscuits and Lifetime as influences. The band acknowledges its hardcore punk roots as an influence; all four members were involved in the Chicago hardcore scene before joining Fall Out Boy. Wentz described the band's affiliation with the genre by saying "I think the interesting thing is that we are all hardcore kids that are writing pop music...It gives us a different style because at our core we are always hardcore. That aspect is always going to be evident in the music. We are hardcore kids that couldn't quite cut it as hardcore kids." He referred to Fall Out Boy's genre as "softcore": hardcore punk mixed with pop sensibility. Lead singer Patrick Stump, however, is also influenced by artists he listened to while growing up including Prince, Michael Jackson, and David Bowie.
Fall Out Boy's albums Take This to Your Grave and From Under the Cork Tree are both said to have pop punk as well as punk rock sounds and influences, and Infinity on High features a wide range of styles and instrumentation, including orchestral arrangements ("Thnks fr th Mmrs") and a slower piano ballad ("Golden"). R&B influences on Infinity on High are on songs such as "This Ain't a Scene, It's an Arms Race" and two of the album's tracks are produced by R&B singer/producer Babyface. On Folie à Deux, the group continues to evolve its sound, with less of a pop punk sound and increasing the use of piano (such as "What a Catch, Donnie", "Headfirst Slide into Cooperstown on a Bad Bet", and "20 Dollar Nose Bleed"), synthesizers, and guest artists. The band also shows a number of influences, with "Disloyal Order of Water Buffaloes" borrowing a chord sequence from The Who song "Baba O'Riley". The group has worked with many producers and artists, including The Neptunes, Timbaland, Ryan Adams, Lil Wayne and Kanye West, the latter of which Patrick Stump described as "the Prince of his generation".
When the band returned from hiatus with Save Rock and Roll, their main goal was to reinvent the sound of the group from scratch, creating what Trohman called a "reimagining of the band", which focused more on pop and moved away from the punk aspects of their sound. While mostly an album which mixes pop, rock and R&B, the record was still described by Dave Simpson of The Guardian as a pop punk record, but also noted influences from Heart in the album's ballads. In American Beauty/American Psycho, the band felt influences from playing with different artists and expanded on boundaries further than Save Rock and Roll did. In an interview with Rolling Stone, guitarist Joe Trohman said the album has "hip hop grooves with guitars on it", with "more in your face guitar than Save Rock and Roll". Annie Zaleski of Alternative Press described American Beauty/American Psycho as a "mix of fluid grooves, punky riffs and outré pop sensibilities".
A central part of Fall Out Boy's sound is rooted in the band's lyrics, mainly penned by bassist Pete Wentz, who commonly uses irony and other literary devices to narrate personal experience and stories. Wentz stated, "I write about what I'm going through most of the time, or what I imagine people are going through most of the time." He draws inspiration from authors such as Charles Bukowski, Ernest Hemingway, and JT LeRoy, as well as rappers such as Lil Wayne, who he described as his primary influence while writing Infinity on High. On Fall Out Boy's earlier works, Wentz wrote primarily about love and heartbreak. Themes addressed on From Under the Cork Tree include narcissism and megalomania, while many tracks on Infinity on High discuss the ups and downs of fame. While writing Folie à Deux, he explored moral dilemmas and societal shortcomings, as well as concepts such as trust, infidelity, responsibility, and commitment. While the album does contain political overtones, the band wanted to avoid being overt about these themes, leaving many lyrics open to interpretation for listeners.
Legacy
Fall Out Boy have been instrumental in the careers of other artists, such as Panic! at the Disco, whom Pete Wentz signed to his record label, Decaydance Records, in late 2004. Several artists, such as You Me at Six and Taylor Swift, have created or performed covers of Fall Out Boy songs in homage to the band.
The Fall Out Boy band members were the first inductees to the "Hall of Wood" at the 2015 MtvU Woodie Awards and performed a medley of five songs at the ceremony. This honor is given to artists who have used MTV Woodie Awards as a "launching pad" in achieving chart topping success within their musical careers, thus influencing up and coming bands. The award also recognizes bands "sticking to their roots" and "maintaining their loyal fan base". The group had won the Woodie Award for Streaming for "Grand Theft Autumn" at the first ceremony in 2004.
In a list of the 50 greatest pop-punk albums of all time, Rolling Stone placed Fall Out Boy's 2003 album Take This To Your Grave as the fifth greatest, citing it as "[ushering] in a whole new, genre-blurring scene, in which heavy riffs and a screamo aesthetic mingled with old-fashioned teen heartbreak". In a similar list, Kerrang! magazine placed Take This To Your Grave at number 11 out of 51, describing it as a "blueprint for both break-up records and timeless pop-punk". In 2018, Rock Sound put Take This To Your Grave at number 18 in their list of the 100 best pop-punk albums, describing it as "poetic and utterly brilliant", while 2005's From Under The Cork Tree was placed at number 3 behind only Green Day's Dookie and Blink-182's Enema of the State. Rock Sound described From Under the Cork Tree as "intelligent, intriguing and utterly intoxicating...They will still be talking about this one in 50 years time."
In 2017, Fall Out Boy were announced as the first winners of Rock Sound's Hall of Fame Award as part of the Rock Sound Awards. In an interview accompanying the band's win, Patrick Stump stated one reason for the band's success is Sugar, We're Goin Down, explaining that the "song changed my life, I have a music career in a large part due to that song". In 2009, Phoenix New Times writer Martin Cizmar had described Sugar, We're Goin Down as possibly "the most listened-to emo track of all time".
As of 2020, the band are two-time Grammy Award nominees, their first nomination having been for Best New Artist at the 2006 Grammy Awards and their second for Best Rock Album for their 2018 album MANIA at the 2019 Grammy Awards.
On July 30, 2020, the band were nominated for "Best Rock Video" for the song "Dear Future Self (Hands Up)" at the 2020 MTV Video Music Awards, which makes them the most nominated band in history for the category.
Band membersCurrent members Patrick Stump – lead vocals , rhythm guitar, keyboards , percussion
Joe Trohman – lead guitar, backing vocals , keyboards
Pete Wentz – bass guitar, unclean vocals, backing vocals
Andy Hurley – drums, percussion , occasional backing vocals Former members'''
Ben Rose – drums, percussion
John Flamandan - rhythm guitar
T.J. Kunasch – rhythm guitar
Brandon Hamm – rhythm guitar
Mike Pareskuwicz – drums, percussion
Timeline
Discography
Take This to Your Grave (2003)
From Under the Cork Tree (2005)
Infinity on High (2007)
Folie à Deux (2008)
Save Rock and Roll (2013)
American Beauty/American Psycho (2015)
Mania (2018)
Awards and nominations
Alternative Press Music Awards
|-
| rowspan=5|2014
| rowspan=2|Themselves
| Artist of the Year
|
|-
| Best Live Band
|
|-
| Pete Wentz
| Best Bassist
|
|-
| Save Rock and Roll| Album of the Year
|
|-
| "My Songs Know What You Did in the Dark (Light Em Up)"
| Song of the Year
|
|-
| rowspan=2|2015
| "Centuries"
| Best Music Video
|
|-
| Overcast Kids| Most Dedicated Fans
|
|-
| rowspan=2|2016
| Patrick Stump
| Best Vocalist
|
|-
| rowspan=2|Themselves
| rowspan=2|Artist of the Year
|
|-
| 2017
|
International Dance Music Awards
|-
| 2008
| "Thnks fr th Mmrs"
| Best Alternative/Rock Dance Track
|
Kerrang! Awards
|-
| rowspan=4|2006
| Themselves
| Best Band on the Planet
|
|-
| From Under the Cork Tree| Best Album
|
|-
| rowspan=2|"Sugar, We're Goin Down"
| Best Single
|
|-
| rowspan=2|Best Video
|
|-
| rowspan=3|2007
| "This Ain't a Scene, It's an Arms Race"
|
|-
| Infinity on High| Best Album
|
|-
| rowspan=2|Themselves
| rowspan=2|Best International Band
|
|-
| rowspan=4|2013
|
|-
| Fall Out Boy at London Camden Underworld| Best Event
|
|-
| "My Songs Know What You Did in the Dark (Light Em Up)"
| rowspan=2|Best Single
|
|-
| "The Phoenix"
|
|-
| rowspan=3|2014
| Themselves
| Best International Band
|
|-
| Save Rock and Roll Tour| Best Event
|
|-
| Pete Wentz
| Tweeter of the Year
|
|-
| rowspan=2|2015
| "Centuries"
| Best Single
|
|-
| rowspan=2|Themselves
| rowspan=2|Best International Band
|
|-
| 2016
|
Teen Choice Awards
|-
| rowspan=3|2006
| Themselves
| Choice Music: Rock Group
|
|-
| rowspan=2|"Dance, Dance
| Choice Music: Single
|
|-
| rowspan=2|Choice Music: Rock Song
|
|-
| rowspan=2|2007
| "Thnks fr th Mmrs"
|
|-
| rowspan=2|Themselves
| rowspan=2|Choice Music: Rock Group
|
|-
| rowspan=2|2008
|
|-
| Pete Wentz
| Choice Red Carpet Fashion Icon: Male
|
|-
| rowspan=4|2015
| Themselves
| Choice Music Group: Male
|
|-
| "Centuries"
| Choice Music Single: Group
|
|-
| "Uma Thurman"
| Choice Music: Rock Song
|
|-
| The Boys of Zummer Tour (with Wiz Khalifa)
| Choice Summer Tour
|
|-
| 2016
| Themselves
| Choice Music: Group
|
Other Awards
|-
|| 2004 || "Grand Theft Autumn/Where Is Your Boy" || MtvU Woodie Award – Streaming Artist || rowspan="4"
|-
|| 2005 || "Sugar, We're Goin Down" || MTV Video Music Award – MTV2 Award
|-
|rowspan="3"| 2006 || rowspan=2|"Dance, Dance" || MuchMusic Video Award – People's Choice: Favorite International Group
|-
|| MTV Video Music Award – Viewer's Choice
|-
|| Fall Out Boy || Grammy Award for Best New Artist ||
|-
|rowspan=4|2007 || rowspan="2"| "Thnks fr th Mmrs" || Nickelodeon's Australian Kids' Choice Awards – Fave Song || rowspan="3"
|-
|| Nickelodeon's Kids' Choice Award – Single
|-
|rowspan=2|Fall Out Boy || MTV Video Music Award – Best Group
|-
|| Nickelodeon's Kids Choice Award – Best Band ||
|-
|rowspan="5"| 2008 || "The Take Over, the Breaks Over" || MuchMusic Video Award – People's Choice: Favorite International Video || rowspan="4"
|-
|rowspan="3"| Fall Out Boy || TMF Award – Best Live International
|-
|| TMF Award – Best Rock International
|-
|| TMF Award – Best Alternative International
|-
|| "Beat It" || MTV Video Music Award – Best Rock Video || rowspan="2"
|-
|| 2009 || "I Don't Care" || NRJ Music Award – Best International Band
|-
|rowspan=2|2013 || "My Songs Know What You Did in the Dark (Light Em Up)" || MTV Video Music Award for Best Rock Video || rowspan="2"
|-
|| Fall Out Boy || MTV Europe Music Awards – Best Alternative
|-
| rowspan="10"| 2014 || Fall Out Boy || People's Choice Awards – Favorite Alternative Band ||
|-
|| Fall Out Boy || Billboard Music Awards – Top Rock Artist || rowspan="2"
|-
|| Save Rock and Roll || Billboard Music Awards – Top Rock Album
|-
|| Fall Out Boy & The Band Perry || CMT Music Awards – CMT Performance of the Year ||
|-
|| Fall Out Boy || World Music Awards – World's Best Alternative Act ||
|-
|| Fall Out Boy || World Music Awards – World's Best Group || rowspan="7"
|-
|| Fall Out Boy || World Music Awards – World's Best Live Act
|-
|| Save Rock and Roll || World Music Awards – World's Best Album
|-
|| "My Songs Know What You Did in the Dark (Light Em Up)" || World Music Awards – World's Best Song
|-
|| "My Songs Know What You Did in the Dark (Light Em Up)" || World Music Awards – World's Best Music Video
|-
| rowspan="5"| 2015 || Fall Out Boy || Billboard Music Awards – Top Rock Artist
|-
|rowspan="1"|"Centuries" || Billboard Music Awards – Top Rock Song
|-
|| "Uma Thurman" || MTV Video Music Award – Best Rock Video || rowspan="2"
|-
|| Fall Out Boy || American Music Awards – Favorite Alternative Band
|-
|| Fall Out Boy || People's Choice Awards – Favorite Group || rowspan="5"
|-
| rowspan="5"| 2016 || Fall Out Boy || Billboard Music Awards – Top Rock Artist
|-
|rowspan="2"| "Uma Thurman" || Billboard Music Awards – Top Rock Song
|-
|| Radio Disney Music Awards – Best Song To Dance To
|-
|rowspan="3"| Fall Out Boy || Radio Disney Music Awards – Best Music Group
|-
|| MTV Video Music Award – Best Rock Video || rowspan="4"
|-
| 2018 || MTV Europe Music Award – Best Alternative
|-
| 2019 || Mania'' || Grammy Award for Best Rock Album
|-
| 2020 || "Dear Future Self (Hands Up)" || MTV Video Music Award – Best Rock Video
See also
Notes
References
Footnotes
Bibliography
Cover of the issue.
External links
Official website
Patrick Stump official website
2001 establishments in Illinois
Emo musical groups from Illinois
American pop rock music groups
Crush Management artists
Decaydance Records artists
Fueled by Ramen artists
Kerrang! Awards winners
Musical groups disestablished in 2009
Musical groups established in 2001
Musical groups from Chicago
Musical groups from Wilmette, Illinois
Musical groups reestablished in 2013
Musical quartets
Pop punk groups from Illinois
| 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"
] |
[
"Fall Out Boy",
"Legacy",
"Was legacy an album?",
"I don't know.",
"What was Legacy?",
"Fall Out Boy have been instrumental in the careers of other artists, such as Panic! at the Disco,",
"Are there other bands that they influenced?",
"Several artists, such as You Me at Six and Taylor Swift, have created or performed covers of Fall Out Boy songs as a homage to the band.",
"Are there any other interesting aspects about this article?",
"The Fall Out Boy band members were the first inductees to the \"Hall of Wood\" at the 2015 MtvU Woodie Awards"
] |
C_4790a4a8a9d04432816141d09089d013_0
|
Did they win other awards?
| 5 |
Did Fall Out Boywin other awards besides 2015 MtvU Woodie Awards?
|
Fall Out Boy
|
Fall Out Boy have been instrumental in the careers of other artists, such as Panic! at the Disco, whom Pete Wentz signed to his record label, Decaydance Records, in late 2004. Several artists, such as You Me at Six and Taylor Swift, have created or performed covers of Fall Out Boy songs as a homage to the band. The Fall Out Boy band members were the first inductees to the "Hall of Wood" at the 2015 MtvU Woodie Awards and performed a medley of five songs at the ceremony. This honor is given to artists who have used MTV Woodie Awards as a "launching pad" in achieving chart topping success within their musical careers, thus influencing up and coming bands. The award also recognizes bands "sticking to their roots" and "maintaining their loyal fan base". The group had won the Woodie Award for Streaming for "Grand Theft Autumn" at the first ceremony in 2004. In a list of the 50 greatest pop-punk albums of all time, Rolling Stone placed Fall Out Boy's 2003 album Take This To Your Grave as the fifth greatest, citing it as "[ushering] in a whole new, genre-blurring scene, in which heavy riffs and a screamo aesthetic mingled with old-fashioned teen heartbreak". In a similar list, Kerrang! magazine placed Take This To Your Grave at number 11 out of 51, describing it as a "blueprint for both break-up records and timeless pop-punk". In 2017, Fall Out Boy were announced as the first winners of Rock Sound's Hall of Fame Award as part of the Rock Sound Awards. In an interview accompanying the band's win, Patrick Stump stated one reason for the band's success is Sugar, We're Goin Down, explaining that the "song changed my life, I have a music career in a large part due to that song". In 2009, Phoenix New Times writer Martin Cizmar had described Sugar, We're Goin Down as possibly "the most listened-to emo track of all time". CANNOTANSWER
|
In 2017, Fall Out Boy were announced as the first winners of Rock Sound's Hall of Fame Award as part of the Rock Sound Awards.
|
Fall Out Boy is an American rock band formed in Wilmette, Illinois, a suburb of Chicago, in 2001. The band consists of lead vocalist and rhythm guitarist Patrick Stump, bassist Pete Wentz, lead guitarist Joe Trohman, and drummer Andy Hurley. The band originated from Chicago's hardcore punk scene, with which all members were involved at one point. The group was formed by Wentz and Trohman as a pop punk side project of the members' respective hardcore bands, and Stump joined shortly thereafter. The group went through a succession of drummers before landing Hurley and recording the group's debut album, Take This to Your Grave (2003). The album became an underground success and helped the band gain a dedicated fanbase through heavy touring, as well as commercial success. Take This to Your Grave has commonly been cited as an influential blueprint for pop punk music in the 2000s.
With Wentz as the band's lyricist and Stump as the primary composer, the band's 2005 major-label breakthrough, From Under the Cork Tree, produced two hit singles, "Sugar, We're Goin Down" and "Dance, Dance", and went double platinum, transforming the group into superstars and making Wentz a celebrity and tabloid fixture. Fall Out Boy received a Best New Artist nomination at the 2006 Grammy Awards. The band's 2007 follow-up, Infinity on High, debuted at number one on the Billboard 200 with 260,000 first week sales. It produced two worldwide hit singles, "This Ain't a Scene, It's an Arms Race" and "Thnks fr th Mmrs". Folie à Deux, the band's fourth album, created a mixed response from fans and commercially undersold expectations. Following the release of Believers Never Die – Greatest Hits, the band took a hiatus from 2009 to 2013 to "decompress", exploring various side projects.
The band regrouped and recorded Save Rock and Roll (2013), becoming its second career number one and included the top 20 single "My Songs Know What You Did in the Dark (Light Em Up)". The same year, the band released the EP PAX AM Days, consisting of 8 punk-influenced tracks that were recorded during a two-day session with producer Ryan Adams. The band's sixth studio album, American Beauty/American Psycho (2015) peaked at number one on the Billboard 200, and spawned the top-10 hit "Centuries" and the single "Uma Thurman" which reached No. 22 on the Billboard Hot 100. This was followed by their first remix album Make America Psycho Again, which featured the remixes of all original tracks from American Beauty/American Psycho by a different artist on each song, including Migos and Wiz Khalifa.
The band's seventh studio album Mania (2018), also peaked at No. 1, making it the band's fourth No. 1 album and sixth consecutive top 10 album. Their supporting tour for the album included a show at Wrigley Field, their first headlining stadium show. In 2018, Fall Out Boy also received their second Grammy nomination for Best Rock Album for Mania. A co-headlining 2020 tour with Green Day and Weezer titled the Hella Mega Tour was announced in September 2019. Each band released new music in support of the tour, with Fall Out Boy announcing the release of a second greatest hits album, Greatest Hits: Believers Never Die – Volume Two, and a supporting single, "Dear Future Self (Hands Up)". The tour, which spans North American, Europe and Oceania, is Fall Out Boy's first stadium tour and includes shows in Wrigley Field, Dodger Stadium and the London Stadium.
History
2001–2002: Early years
Fall Out Boy was formed in 2001 in the Chicago suburb of Wilmette, Illinois by friends Pete Wentz and Joe Trohman. Wentz was a "visible fixture" of the relatively small Chicago hardcore punk scene of the late 1990s, performing in groups such as Birthright, Extinction and First Born. He was also part of the metalcore band Arma Angelus and the more political Racetraitor, "a band that managed to land the covers of Maximumrocknroll and Heartattack fanzines before releasing a single note of music". Wentz was growing dissatisfied with the changing mores of the community, which he viewed as a transition from political activism to an emphasis on moshing and breakdowns. With enthusiasm in Arma Angelus waning, he created a pop punk side project with Trohman that was intended to be "easy and escapist". Trohman met Patrick Stump, then a drummer for grindcore band Xgrinding processX and a host of other bands that "never really managed", at a Borders bookstore in Wilmette. While Trohman was discussing Neurosis with a friend, Stump interrupted them to correct their classification of the band; the ensuing conversation soon shifted to Trohman and Wentz's new project. Stump, viewing it as an opportunity to try out with "local hardcore celebrity" Wentz, directed Trohman to his MP3.com page, which contained sung-through acoustic recordings. Stump intended to try out as a drummer, but Trohman urged him to bring out his acoustic guitar; he impressed Trohman and Wentz with songs from Saves the Day's Through Being Cool. While Wentz wanted Racetraitor bandmate Andy Hurley to join the group as drummer, Hurley appeared uninterested and too busy at the time.
The band's first public performance came in a cafeteria at DePaul University alongside Stilwell and another group that performed Black Sabbath's self-titled debut album in its entirety. The band's only performance with guitarist John Flamandan and original drummer Ben Rose was in retrospect described as "goofy" and "bad", but Trohman made an active effort to make the band work, picking up members for practice. Wentz and Stump argued over band names; the former favored verbose, tongue-in-cheek names, while the latter wanted to reference Tom Waits in name. After creating a short list of names that included "Fall Out Boy", a fictional character from The Simpsons and Bongo Comics, friends voted on the name. The band's second performance, at a southern Illinois university with The Killing Tree, began with Wentz introducing the band under a name Stump recalled as "very long". According to Stump, an audience member yelled out, "Fuck that, no, you're Fall Out Boy!", and the band were credited later in the show under that name by Killing Tree frontman Tim McIlrath. As the group looked up to McIlrath, and Trohman and Stump were "die-hard" Simpsons fans, the name stuck. The group's first cassette tape demo was recorded in Rose's basement, but the band later set off for Wisconsin to record a proper demo with 7 Angels 7 Plagues drummer Jared Logan, whom Wentz knew through connections in the hardcore scene.
Several more members passed through the group, including drummer Mike Pareskuwicz of Subsist and guitarist T.J. "Racine" Kunasch. While Stump at this point felt uninterested in the group, Wentz was, according to Uprising Records owner Sean Muttaqi, viewing the group as "the thing that would make him famous. He had a clear vision." Wentz was "singularly focused on taking things to the next level" and began promoting the band via early social media. Muttaqi got word of the demo and wanted to release half of it as a split extended play with Hurley's band Project Rocket, which the band viewed as competition. Uprising desired to release an album with the emerging band, which to that point had only written three songs. With the help of Logan, the group attempted to put together a collection of songs in two days, and recorded them as Fall Out Boy's Evening Out with Your Girlfriend. The rushed recording experience and underdeveloped songs left the band dissatisfied. When the band set off to Smart Studios in Madison, Wisconsin to record three songs for a possible split 7-inch with 504 Plan, engineer Sean O'Keefe suggested the band record the trio with Hurley. Hurley was also recording an EP with his new group the Kill Pill in Chicago on the same day, but raced to Madison to play drums for Fall Out Boy. "It was still a fill-in thing but when Andy sat in, it just felt different. It was one of those "a-ha" moments", recalled Wentz.
2003–2004: Early success and Take This to Your Grave
The band booked a two-week tour with Spitalfield, but Pareskuwicz was unable to get time off from work and Kunasch was kicked out of the band as the group "had all gotten sick of him". Kunasch was temporarily replaced by friend Brandon Hamm on guitar, alongside drummer Chris Envy from the recently disbanded Showoff, but both quit prior to the kickoff of the tour. The band invited Hurley instead to fill-in once more, while Stump borrowed one of Trohman's guitars for the trek. While most shows were cancelled, the band played any show possible: "Let's just get on whatever show we can. You can pay us in pizza", remembered Wentz. As the tour concluded, the general consensus was that Hurley would be the band's new drummer, and the band began to shop around the three songs from the group's unreleased split as a demo to record labels. The band members set their sights on pop punk labels, and attempted with considerable effort to join Drive-Thru Records. A showcase for label co-founders went largely mediocre, and the band were offered to sign to side label Rushmore, an offer that the members of the band declined. They got particularly far in discussions with The Militia Group and Victory Records, and Bob McLynn of Crush Management became the band's first manager. The band re-entered the studio with O'Keefe to record several more tracks to create label interest. Wentz felt "in the backseat" in writing the songs and temporarily questioned his place in the group, but Stump argued in his favor: "No! That's not fair! Don't leave me with this band! Don't make me kind of like this band and then leave it! That's bullshit!"
The band's early tour vehicle was a "tiny V6 that was running on three cylinders, and it was not getting enough air, so it would drive really slowly", recalled Wentz. "We had to turn on the hot air to reach the speed limit, so we had the heat on all the time in 120-degree weather. It was so hot it melted the plastic molding around the windows. When it rained, we'd get all wet." John Janick of Fueled by Ramen had heard an early version of a song online and cold-called the band members at their apartment, first reaching Stump and later talking to Wentz for an hour. Rob Stevenson from Island Records eventually offered the band a "first-ever incubator sort of deal", in which they gave the band money to sign with Fueled by Ramen for the group's one-off debut, knowing they could "upstream" the band to radio on the sophomore record. Fueled by Ramen, at the time the smallest of independent labels clamoring to sign the band, would effectively release the group's debut album and help build the band's ever-expanding fanbase before the group moved to Island. The band again partnered with O'Keefe at Smart Studios, bringing together the three songs from the demo and recording an additional seven songs in nine days. The band, according to Stump, didn't "sleep anywhere that we could shower [...] There was a girl that Andy's girlfriend at the time went to school with who let us sleep on her floor, but we'd be there for maybe four hours at a time. It was crazy." As the band progressed and the members' roles became more defined, Wentz took lyrics extremely seriously in contrast to Stump, who had been the group's primary lyricist up to that point. Arguments during the recording sessions led to what "most reductively boils down to Wentz writing the lyrics and Stump writing the melodies".
The band's debut album, Take This to Your Grave, was issued by Fueled by Ramen in May 2003. Previously, one of the band's earliest recordings, Evening Out with Your Girlfriend, had not seen release until shortly before Grave in March 2003, when the band had gained considerable momentum. "Our record was something being rushed out to help generate some interest, but that interest was building before we could even get the record out", said Sean Muttaqi. The band actively tried to stop Uprising from releasing the recordings (as the band's relationship with Muttaqi had grown sour), as the band viewed it as a "giant piece of garbage" recorded before Hurley's involvement that the band members ceased to consider the debut album of the group. Gradually, the band's fanbase grew in size as the label pushed for the album's mainstream success. According to Wentz, shows began to end in a near-riot and the group were banned from several venues because the entire crowd would end up onstage. The band gained positive reviews for subsequent gigs at South by Southwest (SXSW) and various tour appearances. The band joined the Warped Tour for five dates in the summer of 2004, and on one date the band had only performed three songs when the stage collapsed due to the large crowd. The band appeared on the cover of the August 2004 edition of Alternative Press, and listening stations at Hot Topic partially helped the album move 2,000-3,000 copies per week by Christmas 2004, at which point the label considered the band "tipping" into mainstream success.
2005–2006: From Under the Cork Tree
The band had been flooded with "hyperbolic praise", and deemed "the next big thing" by multiple media outlets. Before recording the follow-up to its debut, the band released the acoustic EP/DVD My Heart Will Always Be the B-Side to My Tongue. The EP was the band's first charting on the Billboard 200 at number 153. From Under the Cork Tree was recorded in Burbank, California, and served as the first time the band had stayed in California for an extended period of time. The group lived in corporate housing during the making of the album. In contrast to Take This to Your Graves rushed recording schedule, Fall Out Boy took a much more gradual pace while working on From Under the Cork Tree. It was the first Fall Out Boy record in which Stump created all the music and Wentz wrote all the lyrics, continuing the approach they took for some songs on Grave. Stump felt that this process was much more "smooth" as every member was able to focus on his individual strengths. He explained: "We haven't had any of those moments when I play the music and he'll say, 'I don't like that,' and he'll read me lyrics and I'll say, 'I don't like those lyrics.' It's very natural and fun." Despite this, the band had great difficulty creating its desired sound for the album, constantly scrapping new material. Two weeks before recording sessions began, the group abandoned ten songs and wrote eight more, including the album's first single, "Sugar, We're Goin Down".
The band suffered a setback, however, when Wentz had an emotional breakdown in February 2005, culminating in a suicide attempt. He had withdrawn from the rest of the group, with his condition only apparent through his lyrics, and had also become obsessed with the recent Indian tsunami and his own self-doubt. "It is particularly overwhelming when you are on the cusp of doing something very big and thinking that it will be a big flop", he said later. Wentz swallowed a handful of Ativan anxiety pills (he described the act as "hypermedicating") in the Chicago Best Buy parking lot. After being rushed to the hospital and having his stomach pumped, Wentz moved back home to Wilmette to live with his parents.
From Under the Cork Tree debuted and peaked at number nine on the Billboard 200 upon its May 2005 release. It was spearheaded by the band's breakthrough single, "Sugar, We're Goin' Down", reached number eight in the US Billboard Hot 100 in September 2005, and in the UK chart in February 2006, crossing over from Alternative to Pop radio. "Dance, Dance", the album's second single, also was a top ten hit in the United States and was certified 3x Platinum in 2014. The record's success led to stardom among teenagers in North America, and the band's first arena tour had the group playing to 10,000 people per night. Rolling Stone wrote that the band's "anthems", distributed and marketed through their MySpace, connected with "skinny-jeans-wearing teen girls". In support of From Under the Cork Tree, the band toured exhaustively with international tours, TRL visits, late-night television appearances and music award shows. The band performed at music festivals in 2005 and 2006, including the third Nintendo Fusion Tour in the fall of 2005, joining The Starting Line, Motion City Soundtrack, Boys Night Out, and Panic! at the Disco on a 31 city tour. The album earned the band a Grammy nomination for Best New Artist, and has sold over 2.7 million copies in the United States, becoming the group's best-selling album. "Sugar, We're Goin Down" also won the band an MTV Music Video Award.
2007: Infinity on High
In the wake of the band's multiplatinum success, the "especially extroverted" Wentz became the most publicly visible member of the band. He confided to the press his suicide attempt and nude photos of the bassist appeared on the Internet in 2006. He gained additional exposure through his clothing line, his Decaydance record label (an imprint of Fueled by Ramen), and eventually a celebrity relationship with pop singer Ashlee Simpson, which made the two tabloid fixtures in the United States. Due to its increased success from the group's MTV Video Music Award, the group headlined the Black Clouds and Underdogs Tour, a pop punk event that featured The All-American Rejects, Well-Known Secret, Hawthorne Heights, and From First to Last. The tour also featured The Hush Sound for half of the tour and October Fall for half. The band played to 53 dates in the U.S., Canada, and the UK.
After taking a two-month-long break following the band's Black Clouds and Underdogs tour in promotion of the band's 2005 album From Under the Cork Tree, Fall Out Boy returned to the studio to begin work on a follow-up effort. The band began writing songs for the new album while touring, and intended to quickly make a new album in order to keep momentum in the wake of its breakthrough success. In early 2007, the group released its third studio album, Infinity on High, which was the band's second release on major label Island. The album marked a departure in Fall Out Boy's sound in which the band implemented a diverse array of musical styles including funk, R&B, and flamenco. As reported by Billboard, Fall Out Boy "drifts further from its hardcore punk roots to write increasingly accessible pop tunes", a slight departure from the group's previous more pop punk sound predominant on their 2003 effort, Take This to Your Grave.
Infinitys first week was a major success and was the band's biggest selling week, selling 260,000 copies to debut at No. 1 on the US Billboard 200 and inside the top five worldwide. This charting was first started with lead single "The Carpal Tunnel of Love", with minor success on the Billboard charts. This success was bolstered by the further-successful second single "This Ain't a Scene, It's an Arms Race", which reached No. 2 in both the US and UK as well as the top five in many other countries. On the band's decision to pick the song as a single, Wentz commented "There may be other songs on the record that would be bigger radio hits, but this one had the right message." "Thnks fr th Mmrs", the third single, peaked just outside the top 10 at No. 11 on the strength of sales and popular radio play, and went on to sell over two million copies in the US. It found its greatest success in Australia where it charted at No. 3. In 2007, Fall Out Boy placed at No. 9 in the Top Selling Digital Artists chart with 4,423,000 digital tracks sold, according to Nielsen SoundScan. The album itself has sold over two million copies worldwide and subsequently was certified Platinum in the United States.
Fall Out Boy then headlined the 2007 Honda Civic Tour to promote the album. Though the tour was initially postponed due to personal issues, it would take place with +44, Cobra Starship, The Academy Is... and Paul Wall as supporting acts. The band also headlined the Young Wild Things Tour, an international arena tour featuring Gym Class Heroes, Plain White T's and Cute Is What We Aim For.
Inspired by Maurice Sendak's 1963 children's book Where the Wild Things Are, the concert tour and included sets designed by artist Rob Dobi containing images from the book. The band's "hugely successful" amphitheater tour to promote Infinity led to the release of the 2008 live album Live in Phoenix, consisting of live material recorded during a June 22, 2007, concert at Phoenix's Cricket Wireless Pavilion, a date of the Honda Civic Tour. The disc also included a studio cover of Michael Jackson's "Beat It", with guitarist John Mayer guesting for a guitar solo. The track was released as a single and became a mainstay on the iTunes top ten.
2008–2009: Folie à Deux
The band members decided to keep publicity down during the recording of their fourth album, as the group was taken aback by such press surrounding Infinity on High. Sessions proved to be difficult for the band; Stump called the making of the album "painful", noting that he and Wentz quarreled over many issues, revealing "I threw something across the room over a major-to-minor progression." On previous albums, Trohman felt he and Hurley did not have enough musical freedom and that Stump and Wentz exerted too much control over the group: "I felt, 'Man, this isn't my band anymore.' It's no one's fault, and I don't want to make it seem that way. It was more of a complex I developed based on stuff I was reading. It's hard to hear, 'Joe and Andy are just along for the ride. To amend the situation, Trohman sat down with Stump to communicate his concerns, which led to more collaboration on Folie à Deux. "It made me feel like I owned the songs a lot more. It made me really excited about contributing to Fall Out Boy and made me find my role in the band," Trohman recalled.
As the release of the new album approached, the band and its management found that they would have to navigate changes in the music industry, facing declining record sales, the lack of a proper outlet for exhibition of music videos, and the burgeoning US economic crisis. To promote the album, Wentz launched a viral campaign in August 2008, inspired by George Orwell's novel Nineteen Eighty-Four (1949), and the autocratic, overbearing Big Brother organization. Folie à Deux, released in December 2008, did not perform as well commercially as its predecessor, Infinity on High. It debuted at number eight on the US Billboard 200 chart with first week sales of 150,000 copies during a highly competitive week with other big debuts, becoming Fall Out Boy's third consecutive top ten album. This is in contrast to the band's more successful previous effort which shifted 260,000 copies in its opening week to debut at number one on the chart. Folie spent two weeks within the top 20 out of its 22 chart weeks. It also entered Billboard's Rock Albums and Alternative Albums charts at number three. Within two months of its release, Folie à Deux was certified Gold in the United States by the Recording Industry Association of America (RIAA), denoting shipments of 500,000 copies. The lead single, "I Don't Care", reached a peak at number twenty-one on the Billboard Hot 100, and was certified Platinum by the RIAA for shipments of one million copies.
To promote the album, Fall Out Boy embarked on the Believers Never Die Tour Part Deux, which included dates in the United States and Canada. The constant touring schedule became difficult for the band due to conflicting fan opinion regarding Folie à Deux: concertgoers would "boo the band for performing numbers from the record in concert", leading Stump to describe touring in support of Folie as like "being the last act at the vaudeville show: We were rotten vegetable targets in Clandestine hoods." "Some of us were miserable onstage", said guitarist Joe Trohman. "Others were just drunk." A greatest hits compilation, Believers Never Die – Greatest Hits, followed in the fall, and following these events, the band decided to take a break. The band's decision stemmed from disillusionment with the music industry and Stump recalled that "We found ourselves running on fumes a little bit – creatively and probably as people, too." Stump realized the band was desperate to take a break; he sat the group down and explained that a hiatus was in order if the band wanted to continue in the future. All involved felt the dynamic of the group had changed as personalities developed.
Rumors and misquotes led to confusion as to what such a break truly meant; Wentz preferred to not refer to the break as a "hiatus", instead explaining that the band was just "decompressing". Fall Out Boy played its last show at Madison Square Garden on October 4, 2009. Near the end, Blink-182's Mark Hoppus shaved Wentz's head in a move Andy Greene in Rolling Stone would later describe as a "symbolic cleansing of the past, but also the beginning of a very dark chapter for the band".
2010–2012: Hiatus and side projects
By the time the break began, Stump was the heaviest he had ever been and loathed the band's image as an "emo" band. Coming home from tour, drummer Andy Hurley "went through the darkest depression [I've] ever felt. I looked at my calendar and it was just empty." Wentz, who had been abusing Xanax and Klonopin, was divorced by his wife Ashlee Simpson and returned to therapy. "I'd basically gone from being the guy in Fall Out Boy to being the guy who, like, hangs out all day", Wentz recalled. Previously known as the "overexposed, despised" leader of the band, Wentz "simply grew up", sharing custody of his son and embracing maturity: "There was a jump-cut in my life. I started thinking – like, being old would be cool."
During the hiatus, the band members each pursued individual musical interests, which were met with "varying degrees of failure". Stump was the only member of the quartet to take on a solo project while Fall Out Boy was on hiatus, recording debut album Soul Punk entirely on his own: he wrote, produced, and played every instrument for all tracks on the record. In addition, he married his longtime girlfriend and lost over sixty pounds through portion control and exercise. Stump blew through most of his savings putting together a large band to tour behind Soul Punk, but ticket sales were sparse and the album stalled commercially. During a particularly dark moment in February 2012, Stump poured his heart out in a 1500-word blog entry called "We Liked You Better Fat: Confessions of a Pariah". In the post, Stump lamented the harsh reception of the record and his status as a "has-been" at 27. Stump revealed that fans harassed him on his solo tour, hurling insults such as "We liked you better fat", and noted that "Whatever notoriety Fall Out Boy used to have prevents me from having the ability to start over from the bottom again." Aside from Soul Punk and personal developments, Stump moonlighted as a professional songwriter/producer, co-writing tracks with Bruno Mars and All Time Low, and pursued acting.
Wentz formed electronic duo Black Cards with vocalist Bebe Rexha in July 2010. The project released one single before album delays led to Rexha's departure in 2011. Black Cards added Spencer Peterson to complete the Use Your Disillusion EP in 2012. Wentz also completed writing a novel, Gray, that he had been working on for six years outside the band, and began hosting the reality tattoo competition show Best Ink. Hurley ventured farther into rock during the hiatus, drumming with multiple bands over the three-year period. He continued to manage his record label, Fuck City, and drummed for bands Burning Empires and Enabler. He also formed heavy metal outfit The Damned Things with Trohman, Scott Ian and Rob Caggiano of Anthrax, and Keith Buckley of Every Time I Die. Despite this, the members all remained cordial to one another; Wentz was Stump's best man at his wedding. The hiatus was, all things considered, beneficial for the group and its members, according to Hurley. "The hiatus helped them all kind of figure themselves out", he explained in 2013. "Especially Joe and Patrick, who were so young. And Pete is a million times better."
2013–2014: Reformation and Save Rock and Roll
Stump and Wentz met up for the first time in several years in early 2012 for a writing session. Wentz reached out to Stump after he penned his letter, as he too felt he was in a dark place and needed a creative outlet. He was at first reluctant to approach Stump, likening the phone call to reconnecting with a lover after years of acrimony. "I know what you need – you need your band", Wentz told Stump. "I think it's kind of weird that we haven't really seen each other this year. We paid for each other's houses and you don't know my kid", Wentz remarked. The result, "three or four" new songs, were shelved with near immediacy, with the two concluding that "it just wasn't right and didn't feel right." Several months later, the two reconvened and wrote tracks that they felt truly represented the band in a modern form. The band decided that if a comeback was in order, it must represent the band in its current form: "We didn't want to come back just to bask in the glory days and, like, and collect a few checks and pretend ... and do our best 2003 impersonation", said Stump. Afterwards, the quartet held an all-day secret meeting at their manager's home in New York City where they discussed ideas and the mechanics of getting together to record. Trohman was the last to be contacted, through a three-hour phone call from Stump. As Trohman was arguably the most excited to begin other projects, he had a list of stipulations for rejoining the band. "If I'm not coming back to this band writing music […] then I don't want to", he remarked. Stump supported Trohman's ambition saying Trohman "needed to be writing more".
The band members' main goal was to reinvent the group's sound from scratch, creating what Trohman called a "reimagining of the band", which focuses more on pop. Sessions were not without difficulties, as the band struggled initially to produce new material. Walker had doubts about the band's volatility, feeling the record would not get made following "meltdown after meltdown". The entire album was recorded in secrecy from the music industry, critics, and fans of the band. While specifically denying that the group's announcement was a reunion because "[the group had] never broke[n] up", the band announced a reunion tour and details of Save Rock and Roll on February 4, 2013. The quartet's announcement included a photo of the group that had been taken earlier that morning of the band members huddled around a bonfire tossing copies of their back catalog into flames at the original location of Comiskey Park, the location of 1979's Disco Demolition Night, a baseball promotional event which involved destroying disco records. A message on the group's website read "when we were kids the only thing that got us through most days was music. It's why we started Fall Out Boy in the first place. This isn't a reunion because we never broke up. We needed to plug back in and make some music that matters to us. The future of Fall Out Boy starts now. Save rock and roll..." Save Rock and Roll debuted at number one on the Billboard 200 chart, with first week sales of 154,000 copies in the United States, according to Nielsen SoundScan. The arrival of Save Rock and Roll posted the quartet's third-biggest sales week, and earned the group's second career number one on the chart. The band's chart success was best described as unexpected by music journalists. Andy Greene in Rolling Stone called the band's comeback a "rather stunning renaissance", and Entertainment Weekly called the number one a "major accomplishment for a band whom many in the industry had dismissed as kings of a genre whose time had passed".
The record's lead single, "My Songs Know What You Did in the Dark (Light Em Up)", peaked at number 13 on the Billboard Hot 100, marking the band's first top twenty single since the group's 2008 cover of Michael Jackson's "Beat It". It was certified 3x Platinum in the US for over 3 million sales. Inspired in part by Daft Punk's Interstella 5555: The 5tory of the 5ecret 5tar 5ystem, the band released a music video for every song on the album in a series titled The Young Blood Chronicles between February 2013 and May 2014. The band also released a hardcore punk-influenced EP, PAX AM Days, in late 2013. Fall Out Boy covered Elton John's (who was featured on the Save Rock And Roll title track) song "Saturday Night's Alright for Fighting" for inclusion in the fortieth anniversary re-release edition of Goodbye Yellow Brick Road on March 25, 2014, alongside covers by different artists.
Fall Out Boy headlined Save Rock And Roll tours (including US, Australian and European legs) and played at music festivals around the world for one and a half years. The group co-headlined Monumentour with Paramore in North America to close the Save Rock And Roll era.
2014–2016: American Beauty/American Psycho
On June 2, 2014, Wentz stated that he and Stump were writing new music: "We're writing. I was just listening to something Patrick had written in the trailer. So we're writing, finishing out the album cycle in South Africa in September." In a later interview with Rock Sound regarding the status of the album, Wentz commented "We don't have an exact timetable yet. I have a two-week-old son and Patrick has a baby on the way in October, so there's a lot going on." as well as stating a rough release time as early 2015. In December 2014 the band played radio-sponsored Christmas shows, including KROQ's Almost Acoustic Christmas.
"Centuries" – the first single of Fall Out Boy's sixth studio album – premiered on September 8, 2014, on BBC Radio 1, receiving a worldwide release the next day. By the 2010s, there were few rock bands achieving success on mainstream radio and the charts, but "Centuries" peaked at No. 10 on the Billboard Hot 100 and No. 13 on Billboard Mainstream Top 40. Fall Out Boy also was featured on the track "Back to Earth" from Steve Aoki's second album Neon Future I, which was released on September 30, 2014. Another song titled "Immortals" was released October 14, 2014, as part of the soundtrack for the Walt Disney film Big Hero 6. The group remade the Chicago Bulls's anthem "Only the Bulls" with guest Lupe Fiasco. The recording of the song was released in November 2014.
On November 24, 2014, the title of Fall Out Boy's sixth studio album was announced as American Beauty/American Psycho; the album was released on January 20, 2015. The album's title track premiered on BBC Radio 1 in the UK along with the album's title reveal. American Beauty/American Psycho debuted at No. 1 on the US Billboard 200 with 192,000 first week sales and 218,000 equivalent album units, becoming Fall Out Boy's third No. 1 album. The band played two small venue release shows in January 2015, in London and Chicago. American Beauty/American Psycho was certified platinum in the US on March 1, 2016, after selling 1 million units. From February through March, the band played at the Australian Soundwave festival for the first time, with two additional side shows in Sydney and Brisbane.
Fall Out Boy inducted Green Day into the Rock and Roll Hall of Fame on April 18, 2015. On May 18, the group performed its song "Uma Thurman" with Wiz Khalifa on the 2015 Billboard Music Awards. In June–August 2015, Fall Out Boy toured across the United States with Wiz Khalifa, Hoodie Allen, and MAX on the "Boys of Zummer Tour".
On October 1, 2015, the "American Beauty/American Psycho" European tour kicked off in Dublin, Ireland, and consisted of 12 dates with shows in the UK, Russia, and Europe. On May 24, 2015, it was announced English rapper Professor Green would support Fall Out Boy on the 8-date leg of the band's UK tour. New York based dance-duo Matt and Kim were added as additional support for the UK tour. On October 23, 2015, Fall Out Boy announced via Twitter the release of a re-worked version of its sixth studio album, Make America Psycho Again. The remix album features a remade version of each track from the original record, each featuring a different rapper. The album was released on October 30, 2015. It included the version of "Uma Thurman" featuring Wiz Khalifa which had been originally performed at the Billboard Music Awards. On March 1, 2016, it was announced Fall Out Boy were to headline Reading and Leeds Festivals in the UK in August 2016 along with Biffy Clyro.
2017–present: Mania
On April 27, 2017, Fall Out Boy announced that their new album was set to be released on September 15, titled Mania, stylized as M A N I A. The first single, "Young and Menace", was released the same day. The second single, "Champion", was released in the U.S. on June 22 and worldwide on June 23. Music videos have been posted to Vevo and YouTube for both songs. The band plans to begin the Mania Tour in North America in October 2017 with hip hop artist blackbear and actor-rapper Jaden Smith, and will perform in Australia in 2018 with indie band WAAX. On August 3, 2017, Patrick Stump tweeted that the album's release would be pushed back to January 19, 2018, because the band were not satisfied with the results of their work at the time.
"The Last of the Real Ones", released on September 14, 2017, in North America and worldwide the following day, was the third single from Mania to be released, and was played on Jimmy Kimmel Live! on September 18, 2017, after being debuted at House of Blues in Chicago on September 16. The band announced the album's completion on November 6, 2017, along with the final track list. "Hold Me Tight or Don't" was then released as the fourth single on November 15, with the music video being released alongside. Mania was officially released January 19, 2018 and debuted at number one on the Billboard 200, making it the band's third consecutive and fourth chart-topping debut overall.
On February 23, 2018, the band released an EP called Llamania. The EP contains three unfinished demo recordings. On August 23, 2018, the band released an EP called Lake Effect Kid. The EP includes a new version of a demo, with the same name, from the band's 2008 mixtape, CitizensFOB Mixtape: Welcome to the New Administration. In September 2018, Fall Out Boy headlined Wrigley Field in the band's hometown of Chicago, marking a milestone in their career as their first headline show at a stadium. On December 7, 2018, Fall Out Boy received their second Grammy nomination for Best Rock Album for Mania.
In 2019, the band was sued by Furry Puppet Studio for overusing llama puppets made by the company. According to the company, the llamas were only licensed for use in the "Young and Menace" video but were used at live shows, on merchandise, during TV appearances, and in multiple music videos. On September 10, 2019, the band announced the Hella Mega Tour with Green Day and Weezer as headliners along themselves, with The Interrupters as an opening act. They also released "Dear Future Self (Hands Up)" off their second compilation album, Greatest Hits: Believers Never Die – Volume Two, released in November 2019. Due to the COVID-19 pandemic, the summer leg of the tour was rescheduled to 2021. On August 4, 2021, during the Hell Mega Tour, the band announced that they would not be performing at Boston's Fenway Park due to one of the band's team members testing positive for COVID-19. However, Green Day and Weezer performed as scheduled.
Musical style and influences
While widely considered to be a pop punk band, Fall Out Boy has also been described as pop rock, pop, alternative rock, emo, emo pop, power pop, punk rock, and electropop, with elements of electronic, R&B, soul, funk, blue-eyed soul, hip hop, and hardcore punk, The band cites emo group The Get Up Kids as an influence among many other bands. When interviewed for a retrospective article in Alternative Press at the time The Get Up Kids disbanded in 2005, Pete Wentz stated that "Fall Out Boy would not be a band if it were not for The Get Up Kids." Early in the band's career, when Jared Logan was producing the group's debut album, he asked bassist Pete Wentz what sound the band desired for recording. Wentz responded by "handing over the first two New Found Glory records". Wentz also cites Green Day, Misfits, the Ramones, Screeching Weasel, Metallica, Earth Crisis, Gorilla Biscuits and Lifetime as influences. The band acknowledges its hardcore punk roots as an influence; all four members were involved in the Chicago hardcore scene before joining Fall Out Boy. Wentz described the band's affiliation with the genre by saying "I think the interesting thing is that we are all hardcore kids that are writing pop music...It gives us a different style because at our core we are always hardcore. That aspect is always going to be evident in the music. We are hardcore kids that couldn't quite cut it as hardcore kids." He referred to Fall Out Boy's genre as "softcore": hardcore punk mixed with pop sensibility. Lead singer Patrick Stump, however, is also influenced by artists he listened to while growing up including Prince, Michael Jackson, and David Bowie.
Fall Out Boy's albums Take This to Your Grave and From Under the Cork Tree are both said to have pop punk as well as punk rock sounds and influences, and Infinity on High features a wide range of styles and instrumentation, including orchestral arrangements ("Thnks fr th Mmrs") and a slower piano ballad ("Golden"). R&B influences on Infinity on High are on songs such as "This Ain't a Scene, It's an Arms Race" and two of the album's tracks are produced by R&B singer/producer Babyface. On Folie à Deux, the group continues to evolve its sound, with less of a pop punk sound and increasing the use of piano (such as "What a Catch, Donnie", "Headfirst Slide into Cooperstown on a Bad Bet", and "20 Dollar Nose Bleed"), synthesizers, and guest artists. The band also shows a number of influences, with "Disloyal Order of Water Buffaloes" borrowing a chord sequence from The Who song "Baba O'Riley". The group has worked with many producers and artists, including The Neptunes, Timbaland, Ryan Adams, Lil Wayne and Kanye West, the latter of which Patrick Stump described as "the Prince of his generation".
When the band returned from hiatus with Save Rock and Roll, their main goal was to reinvent the sound of the group from scratch, creating what Trohman called a "reimagining of the band", which focused more on pop and moved away from the punk aspects of their sound. While mostly an album which mixes pop, rock and R&B, the record was still described by Dave Simpson of The Guardian as a pop punk record, but also noted influences from Heart in the album's ballads. In American Beauty/American Psycho, the band felt influences from playing with different artists and expanded on boundaries further than Save Rock and Roll did. In an interview with Rolling Stone, guitarist Joe Trohman said the album has "hip hop grooves with guitars on it", with "more in your face guitar than Save Rock and Roll". Annie Zaleski of Alternative Press described American Beauty/American Psycho as a "mix of fluid grooves, punky riffs and outré pop sensibilities".
A central part of Fall Out Boy's sound is rooted in the band's lyrics, mainly penned by bassist Pete Wentz, who commonly uses irony and other literary devices to narrate personal experience and stories. Wentz stated, "I write about what I'm going through most of the time, or what I imagine people are going through most of the time." He draws inspiration from authors such as Charles Bukowski, Ernest Hemingway, and JT LeRoy, as well as rappers such as Lil Wayne, who he described as his primary influence while writing Infinity on High. On Fall Out Boy's earlier works, Wentz wrote primarily about love and heartbreak. Themes addressed on From Under the Cork Tree include narcissism and megalomania, while many tracks on Infinity on High discuss the ups and downs of fame. While writing Folie à Deux, he explored moral dilemmas and societal shortcomings, as well as concepts such as trust, infidelity, responsibility, and commitment. While the album does contain political overtones, the band wanted to avoid being overt about these themes, leaving many lyrics open to interpretation for listeners.
Legacy
Fall Out Boy have been instrumental in the careers of other artists, such as Panic! at the Disco, whom Pete Wentz signed to his record label, Decaydance Records, in late 2004. Several artists, such as You Me at Six and Taylor Swift, have created or performed covers of Fall Out Boy songs in homage to the band.
The Fall Out Boy band members were the first inductees to the "Hall of Wood" at the 2015 MtvU Woodie Awards and performed a medley of five songs at the ceremony. This honor is given to artists who have used MTV Woodie Awards as a "launching pad" in achieving chart topping success within their musical careers, thus influencing up and coming bands. The award also recognizes bands "sticking to their roots" and "maintaining their loyal fan base". The group had won the Woodie Award for Streaming for "Grand Theft Autumn" at the first ceremony in 2004.
In a list of the 50 greatest pop-punk albums of all time, Rolling Stone placed Fall Out Boy's 2003 album Take This To Your Grave as the fifth greatest, citing it as "[ushering] in a whole new, genre-blurring scene, in which heavy riffs and a screamo aesthetic mingled with old-fashioned teen heartbreak". In a similar list, Kerrang! magazine placed Take This To Your Grave at number 11 out of 51, describing it as a "blueprint for both break-up records and timeless pop-punk". In 2018, Rock Sound put Take This To Your Grave at number 18 in their list of the 100 best pop-punk albums, describing it as "poetic and utterly brilliant", while 2005's From Under The Cork Tree was placed at number 3 behind only Green Day's Dookie and Blink-182's Enema of the State. Rock Sound described From Under the Cork Tree as "intelligent, intriguing and utterly intoxicating...They will still be talking about this one in 50 years time."
In 2017, Fall Out Boy were announced as the first winners of Rock Sound's Hall of Fame Award as part of the Rock Sound Awards. In an interview accompanying the band's win, Patrick Stump stated one reason for the band's success is Sugar, We're Goin Down, explaining that the "song changed my life, I have a music career in a large part due to that song". In 2009, Phoenix New Times writer Martin Cizmar had described Sugar, We're Goin Down as possibly "the most listened-to emo track of all time".
As of 2020, the band are two-time Grammy Award nominees, their first nomination having been for Best New Artist at the 2006 Grammy Awards and their second for Best Rock Album for their 2018 album MANIA at the 2019 Grammy Awards.
On July 30, 2020, the band were nominated for "Best Rock Video" for the song "Dear Future Self (Hands Up)" at the 2020 MTV Video Music Awards, which makes them the most nominated band in history for the category.
Band membersCurrent members Patrick Stump – lead vocals , rhythm guitar, keyboards , percussion
Joe Trohman – lead guitar, backing vocals , keyboards
Pete Wentz – bass guitar, unclean vocals, backing vocals
Andy Hurley – drums, percussion , occasional backing vocals Former members'''
Ben Rose – drums, percussion
John Flamandan - rhythm guitar
T.J. Kunasch – rhythm guitar
Brandon Hamm – rhythm guitar
Mike Pareskuwicz – drums, percussion
Timeline
Discography
Take This to Your Grave (2003)
From Under the Cork Tree (2005)
Infinity on High (2007)
Folie à Deux (2008)
Save Rock and Roll (2013)
American Beauty/American Psycho (2015)
Mania (2018)
Awards and nominations
Alternative Press Music Awards
|-
| rowspan=5|2014
| rowspan=2|Themselves
| Artist of the Year
|
|-
| Best Live Band
|
|-
| Pete Wentz
| Best Bassist
|
|-
| Save Rock and Roll| Album of the Year
|
|-
| "My Songs Know What You Did in the Dark (Light Em Up)"
| Song of the Year
|
|-
| rowspan=2|2015
| "Centuries"
| Best Music Video
|
|-
| Overcast Kids| Most Dedicated Fans
|
|-
| rowspan=2|2016
| Patrick Stump
| Best Vocalist
|
|-
| rowspan=2|Themselves
| rowspan=2|Artist of the Year
|
|-
| 2017
|
International Dance Music Awards
|-
| 2008
| "Thnks fr th Mmrs"
| Best Alternative/Rock Dance Track
|
Kerrang! Awards
|-
| rowspan=4|2006
| Themselves
| Best Band on the Planet
|
|-
| From Under the Cork Tree| Best Album
|
|-
| rowspan=2|"Sugar, We're Goin Down"
| Best Single
|
|-
| rowspan=2|Best Video
|
|-
| rowspan=3|2007
| "This Ain't a Scene, It's an Arms Race"
|
|-
| Infinity on High| Best Album
|
|-
| rowspan=2|Themselves
| rowspan=2|Best International Band
|
|-
| rowspan=4|2013
|
|-
| Fall Out Boy at London Camden Underworld| Best Event
|
|-
| "My Songs Know What You Did in the Dark (Light Em Up)"
| rowspan=2|Best Single
|
|-
| "The Phoenix"
|
|-
| rowspan=3|2014
| Themselves
| Best International Band
|
|-
| Save Rock and Roll Tour| Best Event
|
|-
| Pete Wentz
| Tweeter of the Year
|
|-
| rowspan=2|2015
| "Centuries"
| Best Single
|
|-
| rowspan=2|Themselves
| rowspan=2|Best International Band
|
|-
| 2016
|
Teen Choice Awards
|-
| rowspan=3|2006
| Themselves
| Choice Music: Rock Group
|
|-
| rowspan=2|"Dance, Dance
| Choice Music: Single
|
|-
| rowspan=2|Choice Music: Rock Song
|
|-
| rowspan=2|2007
| "Thnks fr th Mmrs"
|
|-
| rowspan=2|Themselves
| rowspan=2|Choice Music: Rock Group
|
|-
| rowspan=2|2008
|
|-
| Pete Wentz
| Choice Red Carpet Fashion Icon: Male
|
|-
| rowspan=4|2015
| Themselves
| Choice Music Group: Male
|
|-
| "Centuries"
| Choice Music Single: Group
|
|-
| "Uma Thurman"
| Choice Music: Rock Song
|
|-
| The Boys of Zummer Tour (with Wiz Khalifa)
| Choice Summer Tour
|
|-
| 2016
| Themselves
| Choice Music: Group
|
Other Awards
|-
|| 2004 || "Grand Theft Autumn/Where Is Your Boy" || MtvU Woodie Award – Streaming Artist || rowspan="4"
|-
|| 2005 || "Sugar, We're Goin Down" || MTV Video Music Award – MTV2 Award
|-
|rowspan="3"| 2006 || rowspan=2|"Dance, Dance" || MuchMusic Video Award – People's Choice: Favorite International Group
|-
|| MTV Video Music Award – Viewer's Choice
|-
|| Fall Out Boy || Grammy Award for Best New Artist ||
|-
|rowspan=4|2007 || rowspan="2"| "Thnks fr th Mmrs" || Nickelodeon's Australian Kids' Choice Awards – Fave Song || rowspan="3"
|-
|| Nickelodeon's Kids' Choice Award – Single
|-
|rowspan=2|Fall Out Boy || MTV Video Music Award – Best Group
|-
|| Nickelodeon's Kids Choice Award – Best Band ||
|-
|rowspan="5"| 2008 || "The Take Over, the Breaks Over" || MuchMusic Video Award – People's Choice: Favorite International Video || rowspan="4"
|-
|rowspan="3"| Fall Out Boy || TMF Award – Best Live International
|-
|| TMF Award – Best Rock International
|-
|| TMF Award – Best Alternative International
|-
|| "Beat It" || MTV Video Music Award – Best Rock Video || rowspan="2"
|-
|| 2009 || "I Don't Care" || NRJ Music Award – Best International Band
|-
|rowspan=2|2013 || "My Songs Know What You Did in the Dark (Light Em Up)" || MTV Video Music Award for Best Rock Video || rowspan="2"
|-
|| Fall Out Boy || MTV Europe Music Awards – Best Alternative
|-
| rowspan="10"| 2014 || Fall Out Boy || People's Choice Awards – Favorite Alternative Band ||
|-
|| Fall Out Boy || Billboard Music Awards – Top Rock Artist || rowspan="2"
|-
|| Save Rock and Roll || Billboard Music Awards – Top Rock Album
|-
|| Fall Out Boy & The Band Perry || CMT Music Awards – CMT Performance of the Year ||
|-
|| Fall Out Boy || World Music Awards – World's Best Alternative Act ||
|-
|| Fall Out Boy || World Music Awards – World's Best Group || rowspan="7"
|-
|| Fall Out Boy || World Music Awards – World's Best Live Act
|-
|| Save Rock and Roll || World Music Awards – World's Best Album
|-
|| "My Songs Know What You Did in the Dark (Light Em Up)" || World Music Awards – World's Best Song
|-
|| "My Songs Know What You Did in the Dark (Light Em Up)" || World Music Awards – World's Best Music Video
|-
| rowspan="5"| 2015 || Fall Out Boy || Billboard Music Awards – Top Rock Artist
|-
|rowspan="1"|"Centuries" || Billboard Music Awards – Top Rock Song
|-
|| "Uma Thurman" || MTV Video Music Award – Best Rock Video || rowspan="2"
|-
|| Fall Out Boy || American Music Awards – Favorite Alternative Band
|-
|| Fall Out Boy || People's Choice Awards – Favorite Group || rowspan="5"
|-
| rowspan="5"| 2016 || Fall Out Boy || Billboard Music Awards – Top Rock Artist
|-
|rowspan="2"| "Uma Thurman" || Billboard Music Awards – Top Rock Song
|-
|| Radio Disney Music Awards – Best Song To Dance To
|-
|rowspan="3"| Fall Out Boy || Radio Disney Music Awards – Best Music Group
|-
|| MTV Video Music Award – Best Rock Video || rowspan="4"
|-
| 2018 || MTV Europe Music Award – Best Alternative
|-
| 2019 || Mania'' || Grammy Award for Best Rock Album
|-
| 2020 || "Dear Future Self (Hands Up)" || MTV Video Music Award – Best Rock Video
See also
Notes
References
Footnotes
Bibliography
Cover of the issue.
External links
Official website
Patrick Stump official website
2001 establishments in Illinois
Emo musical groups from Illinois
American pop rock music groups
Crush Management artists
Decaydance Records artists
Fueled by Ramen artists
Kerrang! Awards winners
Musical groups disestablished in 2009
Musical groups established in 2001
Musical groups from Chicago
Musical groups from Wilmette, Illinois
Musical groups reestablished in 2013
Musical quartets
Pop punk groups from Illinois
| true |
[
"The Sound Bluntz were a Canadian dance music duo, consisting of producers Cory Bradshaw and Peter Pantzoures. They are most noted as two-time winners of the Juno Award for Dance Recording of the Year, winning at the Juno Awards of 2003 for their cover of Michael Jackson's \"Billie Jean\" and at the Juno Awards of 2004 for \"Something About You\".\n\nThey were also nominated, but did not win, at the Juno Awards of 2007 for \"(Maybe You'll Get) Lucky\".\n\nReferences\n\nJuno Award for Dance Recording of the Year winners\nCanadian dance music groups",
"Rita Moreno is a Puerto Rico-born American actress, singer, and dancer. With a career spanning nearly 80 years in the entertainment industry, Moreno is one of a few individuals to have won the four major annual American entertainment awards: an Oscar, an Emmy, a Grammy, and a Tony. She is also one of the few performers who have achieved the \"Triple Crown of Acting\", with individual competitive Academy, Emmy, and Tony awards for acting; she and Helen Hayes are the only two who have achieved both distinctions in their lifetimes. She has won numerous other awards, including various lifetime achievement awards and the Presidential Medal of Freedom, America's highest civilian honor. On March 28, 2019 Moreno received a Peabody Award.\n\nMajor associations\n\nAcademy Awards\n1 win out of 1 nomination\n\nBAFTA Awards\n1 nomination\n\nDaytime Emmy Awards\n4 nominations\n\nGolden Globe Awards\n1 win out of 3 nominations\n\nGrammy Awards\n1 win out of 2 nominations \n\nLatin Grammy Awards\n1 win out of 1 nominations\n\nPeabody Award\n1 win out of 1 nomination\n\nPrimetime Emmy Awards\n2 wins out of 6 nominations\n\nScreen Actors Guild Awards\n1 win out of 1 nomination\n\nTony Awards\n1 win out of 1 nomination\n\nOther associations\n\nALMA Awards\n4 wins out of 7 nominations\n\nCableACE Awards\n1 win out of 1 nomination\n\nCritics' Choice Television Awards\n3 nominations\n\nDrama Desk Awards\n2 nominations\n\nGold Derby Awards\n1 nomination\n\nImagen Foundation Awards\n2 nominations\n\nLaurel Awards\n1 win out of 1 nomination\n\nNAACP Image Awards\n3 nominations\n\nOFTA Awards\n2 wins out of 8 nominations\n\nSatellite Awards\n1 nomination\n\nLondon Film Critics' Circle \n1 nomination\n\nReferences\n\nMoreno, Rita"
] |
[
"Fall Out Boy",
"Legacy",
"Was legacy an album?",
"I don't know.",
"What was Legacy?",
"Fall Out Boy have been instrumental in the careers of other artists, such as Panic! at the Disco,",
"Are there other bands that they influenced?",
"Several artists, such as You Me at Six and Taylor Swift, have created or performed covers of Fall Out Boy songs as a homage to the band.",
"Are there any other interesting aspects about this article?",
"The Fall Out Boy band members were the first inductees to the \"Hall of Wood\" at the 2015 MtvU Woodie Awards",
"Did they win other awards?",
"In 2017, Fall Out Boy were announced as the first winners of Rock Sound's Hall of Fame Award as part of the Rock Sound Awards."
] |
C_4790a4a8a9d04432816141d09089d013_0
|
What other recognition did they get?
| 6 |
What other recognition did Fall Out Boy get besides 2015 MtvU Woodie Awards and Rock Sound's Hall of Fame Award?
|
Fall Out Boy
|
Fall Out Boy have been instrumental in the careers of other artists, such as Panic! at the Disco, whom Pete Wentz signed to his record label, Decaydance Records, in late 2004. Several artists, such as You Me at Six and Taylor Swift, have created or performed covers of Fall Out Boy songs as a homage to the band. The Fall Out Boy band members were the first inductees to the "Hall of Wood" at the 2015 MtvU Woodie Awards and performed a medley of five songs at the ceremony. This honor is given to artists who have used MTV Woodie Awards as a "launching pad" in achieving chart topping success within their musical careers, thus influencing up and coming bands. The award also recognizes bands "sticking to their roots" and "maintaining their loyal fan base". The group had won the Woodie Award for Streaming for "Grand Theft Autumn" at the first ceremony in 2004. In a list of the 50 greatest pop-punk albums of all time, Rolling Stone placed Fall Out Boy's 2003 album Take This To Your Grave as the fifth greatest, citing it as "[ushering] in a whole new, genre-blurring scene, in which heavy riffs and a screamo aesthetic mingled with old-fashioned teen heartbreak". In a similar list, Kerrang! magazine placed Take This To Your Grave at number 11 out of 51, describing it as a "blueprint for both break-up records and timeless pop-punk". In 2017, Fall Out Boy were announced as the first winners of Rock Sound's Hall of Fame Award as part of the Rock Sound Awards. In an interview accompanying the band's win, Patrick Stump stated one reason for the band's success is Sugar, We're Goin Down, explaining that the "song changed my life, I have a music career in a large part due to that song". In 2009, Phoenix New Times writer Martin Cizmar had described Sugar, We're Goin Down as possibly "the most listened-to emo track of all time". CANNOTANSWER
|
In a list of the 50 greatest pop-punk albums of all time, Rolling Stone placed Fall Out Boy's 2003 album Take This To Your Grave as the fifth greatest,
|
Fall Out Boy is an American rock band formed in Wilmette, Illinois, a suburb of Chicago, in 2001. The band consists of lead vocalist and rhythm guitarist Patrick Stump, bassist Pete Wentz, lead guitarist Joe Trohman, and drummer Andy Hurley. The band originated from Chicago's hardcore punk scene, with which all members were involved at one point. The group was formed by Wentz and Trohman as a pop punk side project of the members' respective hardcore bands, and Stump joined shortly thereafter. The group went through a succession of drummers before landing Hurley and recording the group's debut album, Take This to Your Grave (2003). The album became an underground success and helped the band gain a dedicated fanbase through heavy touring, as well as commercial success. Take This to Your Grave has commonly been cited as an influential blueprint for pop punk music in the 2000s.
With Wentz as the band's lyricist and Stump as the primary composer, the band's 2005 major-label breakthrough, From Under the Cork Tree, produced two hit singles, "Sugar, We're Goin Down" and "Dance, Dance", and went double platinum, transforming the group into superstars and making Wentz a celebrity and tabloid fixture. Fall Out Boy received a Best New Artist nomination at the 2006 Grammy Awards. The band's 2007 follow-up, Infinity on High, debuted at number one on the Billboard 200 with 260,000 first week sales. It produced two worldwide hit singles, "This Ain't a Scene, It's an Arms Race" and "Thnks fr th Mmrs". Folie à Deux, the band's fourth album, created a mixed response from fans and commercially undersold expectations. Following the release of Believers Never Die – Greatest Hits, the band took a hiatus from 2009 to 2013 to "decompress", exploring various side projects.
The band regrouped and recorded Save Rock and Roll (2013), becoming its second career number one and included the top 20 single "My Songs Know What You Did in the Dark (Light Em Up)". The same year, the band released the EP PAX AM Days, consisting of 8 punk-influenced tracks that were recorded during a two-day session with producer Ryan Adams. The band's sixth studio album, American Beauty/American Psycho (2015) peaked at number one on the Billboard 200, and spawned the top-10 hit "Centuries" and the single "Uma Thurman" which reached No. 22 on the Billboard Hot 100. This was followed by their first remix album Make America Psycho Again, which featured the remixes of all original tracks from American Beauty/American Psycho by a different artist on each song, including Migos and Wiz Khalifa.
The band's seventh studio album Mania (2018), also peaked at No. 1, making it the band's fourth No. 1 album and sixth consecutive top 10 album. Their supporting tour for the album included a show at Wrigley Field, their first headlining stadium show. In 2018, Fall Out Boy also received their second Grammy nomination for Best Rock Album for Mania. A co-headlining 2020 tour with Green Day and Weezer titled the Hella Mega Tour was announced in September 2019. Each band released new music in support of the tour, with Fall Out Boy announcing the release of a second greatest hits album, Greatest Hits: Believers Never Die – Volume Two, and a supporting single, "Dear Future Self (Hands Up)". The tour, which spans North American, Europe and Oceania, is Fall Out Boy's first stadium tour and includes shows in Wrigley Field, Dodger Stadium and the London Stadium.
History
2001–2002: Early years
Fall Out Boy was formed in 2001 in the Chicago suburb of Wilmette, Illinois by friends Pete Wentz and Joe Trohman. Wentz was a "visible fixture" of the relatively small Chicago hardcore punk scene of the late 1990s, performing in groups such as Birthright, Extinction and First Born. He was also part of the metalcore band Arma Angelus and the more political Racetraitor, "a band that managed to land the covers of Maximumrocknroll and Heartattack fanzines before releasing a single note of music". Wentz was growing dissatisfied with the changing mores of the community, which he viewed as a transition from political activism to an emphasis on moshing and breakdowns. With enthusiasm in Arma Angelus waning, he created a pop punk side project with Trohman that was intended to be "easy and escapist". Trohman met Patrick Stump, then a drummer for grindcore band Xgrinding processX and a host of other bands that "never really managed", at a Borders bookstore in Wilmette. While Trohman was discussing Neurosis with a friend, Stump interrupted them to correct their classification of the band; the ensuing conversation soon shifted to Trohman and Wentz's new project. Stump, viewing it as an opportunity to try out with "local hardcore celebrity" Wentz, directed Trohman to his MP3.com page, which contained sung-through acoustic recordings. Stump intended to try out as a drummer, but Trohman urged him to bring out his acoustic guitar; he impressed Trohman and Wentz with songs from Saves the Day's Through Being Cool. While Wentz wanted Racetraitor bandmate Andy Hurley to join the group as drummer, Hurley appeared uninterested and too busy at the time.
The band's first public performance came in a cafeteria at DePaul University alongside Stilwell and another group that performed Black Sabbath's self-titled debut album in its entirety. The band's only performance with guitarist John Flamandan and original drummer Ben Rose was in retrospect described as "goofy" and "bad", but Trohman made an active effort to make the band work, picking up members for practice. Wentz and Stump argued over band names; the former favored verbose, tongue-in-cheek names, while the latter wanted to reference Tom Waits in name. After creating a short list of names that included "Fall Out Boy", a fictional character from The Simpsons and Bongo Comics, friends voted on the name. The band's second performance, at a southern Illinois university with The Killing Tree, began with Wentz introducing the band under a name Stump recalled as "very long". According to Stump, an audience member yelled out, "Fuck that, no, you're Fall Out Boy!", and the band were credited later in the show under that name by Killing Tree frontman Tim McIlrath. As the group looked up to McIlrath, and Trohman and Stump were "die-hard" Simpsons fans, the name stuck. The group's first cassette tape demo was recorded in Rose's basement, but the band later set off for Wisconsin to record a proper demo with 7 Angels 7 Plagues drummer Jared Logan, whom Wentz knew through connections in the hardcore scene.
Several more members passed through the group, including drummer Mike Pareskuwicz of Subsist and guitarist T.J. "Racine" Kunasch. While Stump at this point felt uninterested in the group, Wentz was, according to Uprising Records owner Sean Muttaqi, viewing the group as "the thing that would make him famous. He had a clear vision." Wentz was "singularly focused on taking things to the next level" and began promoting the band via early social media. Muttaqi got word of the demo and wanted to release half of it as a split extended play with Hurley's band Project Rocket, which the band viewed as competition. Uprising desired to release an album with the emerging band, which to that point had only written three songs. With the help of Logan, the group attempted to put together a collection of songs in two days, and recorded them as Fall Out Boy's Evening Out with Your Girlfriend. The rushed recording experience and underdeveloped songs left the band dissatisfied. When the band set off to Smart Studios in Madison, Wisconsin to record three songs for a possible split 7-inch with 504 Plan, engineer Sean O'Keefe suggested the band record the trio with Hurley. Hurley was also recording an EP with his new group the Kill Pill in Chicago on the same day, but raced to Madison to play drums for Fall Out Boy. "It was still a fill-in thing but when Andy sat in, it just felt different. It was one of those "a-ha" moments", recalled Wentz.
2003–2004: Early success and Take This to Your Grave
The band booked a two-week tour with Spitalfield, but Pareskuwicz was unable to get time off from work and Kunasch was kicked out of the band as the group "had all gotten sick of him". Kunasch was temporarily replaced by friend Brandon Hamm on guitar, alongside drummer Chris Envy from the recently disbanded Showoff, but both quit prior to the kickoff of the tour. The band invited Hurley instead to fill-in once more, while Stump borrowed one of Trohman's guitars for the trek. While most shows were cancelled, the band played any show possible: "Let's just get on whatever show we can. You can pay us in pizza", remembered Wentz. As the tour concluded, the general consensus was that Hurley would be the band's new drummer, and the band began to shop around the three songs from the group's unreleased split as a demo to record labels. The band members set their sights on pop punk labels, and attempted with considerable effort to join Drive-Thru Records. A showcase for label co-founders went largely mediocre, and the band were offered to sign to side label Rushmore, an offer that the members of the band declined. They got particularly far in discussions with The Militia Group and Victory Records, and Bob McLynn of Crush Management became the band's first manager. The band re-entered the studio with O'Keefe to record several more tracks to create label interest. Wentz felt "in the backseat" in writing the songs and temporarily questioned his place in the group, but Stump argued in his favor: "No! That's not fair! Don't leave me with this band! Don't make me kind of like this band and then leave it! That's bullshit!"
The band's early tour vehicle was a "tiny V6 that was running on three cylinders, and it was not getting enough air, so it would drive really slowly", recalled Wentz. "We had to turn on the hot air to reach the speed limit, so we had the heat on all the time in 120-degree weather. It was so hot it melted the plastic molding around the windows. When it rained, we'd get all wet." John Janick of Fueled by Ramen had heard an early version of a song online and cold-called the band members at their apartment, first reaching Stump and later talking to Wentz for an hour. Rob Stevenson from Island Records eventually offered the band a "first-ever incubator sort of deal", in which they gave the band money to sign with Fueled by Ramen for the group's one-off debut, knowing they could "upstream" the band to radio on the sophomore record. Fueled by Ramen, at the time the smallest of independent labels clamoring to sign the band, would effectively release the group's debut album and help build the band's ever-expanding fanbase before the group moved to Island. The band again partnered with O'Keefe at Smart Studios, bringing together the three songs from the demo and recording an additional seven songs in nine days. The band, according to Stump, didn't "sleep anywhere that we could shower [...] There was a girl that Andy's girlfriend at the time went to school with who let us sleep on her floor, but we'd be there for maybe four hours at a time. It was crazy." As the band progressed and the members' roles became more defined, Wentz took lyrics extremely seriously in contrast to Stump, who had been the group's primary lyricist up to that point. Arguments during the recording sessions led to what "most reductively boils down to Wentz writing the lyrics and Stump writing the melodies".
The band's debut album, Take This to Your Grave, was issued by Fueled by Ramen in May 2003. Previously, one of the band's earliest recordings, Evening Out with Your Girlfriend, had not seen release until shortly before Grave in March 2003, when the band had gained considerable momentum. "Our record was something being rushed out to help generate some interest, but that interest was building before we could even get the record out", said Sean Muttaqi. The band actively tried to stop Uprising from releasing the recordings (as the band's relationship with Muttaqi had grown sour), as the band viewed it as a "giant piece of garbage" recorded before Hurley's involvement that the band members ceased to consider the debut album of the group. Gradually, the band's fanbase grew in size as the label pushed for the album's mainstream success. According to Wentz, shows began to end in a near-riot and the group were banned from several venues because the entire crowd would end up onstage. The band gained positive reviews for subsequent gigs at South by Southwest (SXSW) and various tour appearances. The band joined the Warped Tour for five dates in the summer of 2004, and on one date the band had only performed three songs when the stage collapsed due to the large crowd. The band appeared on the cover of the August 2004 edition of Alternative Press, and listening stations at Hot Topic partially helped the album move 2,000-3,000 copies per week by Christmas 2004, at which point the label considered the band "tipping" into mainstream success.
2005–2006: From Under the Cork Tree
The band had been flooded with "hyperbolic praise", and deemed "the next big thing" by multiple media outlets. Before recording the follow-up to its debut, the band released the acoustic EP/DVD My Heart Will Always Be the B-Side to My Tongue. The EP was the band's first charting on the Billboard 200 at number 153. From Under the Cork Tree was recorded in Burbank, California, and served as the first time the band had stayed in California for an extended period of time. The group lived in corporate housing during the making of the album. In contrast to Take This to Your Graves rushed recording schedule, Fall Out Boy took a much more gradual pace while working on From Under the Cork Tree. It was the first Fall Out Boy record in which Stump created all the music and Wentz wrote all the lyrics, continuing the approach they took for some songs on Grave. Stump felt that this process was much more "smooth" as every member was able to focus on his individual strengths. He explained: "We haven't had any of those moments when I play the music and he'll say, 'I don't like that,' and he'll read me lyrics and I'll say, 'I don't like those lyrics.' It's very natural and fun." Despite this, the band had great difficulty creating its desired sound for the album, constantly scrapping new material. Two weeks before recording sessions began, the group abandoned ten songs and wrote eight more, including the album's first single, "Sugar, We're Goin Down".
The band suffered a setback, however, when Wentz had an emotional breakdown in February 2005, culminating in a suicide attempt. He had withdrawn from the rest of the group, with his condition only apparent through his lyrics, and had also become obsessed with the recent Indian tsunami and his own self-doubt. "It is particularly overwhelming when you are on the cusp of doing something very big and thinking that it will be a big flop", he said later. Wentz swallowed a handful of Ativan anxiety pills (he described the act as "hypermedicating") in the Chicago Best Buy parking lot. After being rushed to the hospital and having his stomach pumped, Wentz moved back home to Wilmette to live with his parents.
From Under the Cork Tree debuted and peaked at number nine on the Billboard 200 upon its May 2005 release. It was spearheaded by the band's breakthrough single, "Sugar, We're Goin' Down", reached number eight in the US Billboard Hot 100 in September 2005, and in the UK chart in February 2006, crossing over from Alternative to Pop radio. "Dance, Dance", the album's second single, also was a top ten hit in the United States and was certified 3x Platinum in 2014. The record's success led to stardom among teenagers in North America, and the band's first arena tour had the group playing to 10,000 people per night. Rolling Stone wrote that the band's "anthems", distributed and marketed through their MySpace, connected with "skinny-jeans-wearing teen girls". In support of From Under the Cork Tree, the band toured exhaustively with international tours, TRL visits, late-night television appearances and music award shows. The band performed at music festivals in 2005 and 2006, including the third Nintendo Fusion Tour in the fall of 2005, joining The Starting Line, Motion City Soundtrack, Boys Night Out, and Panic! at the Disco on a 31 city tour. The album earned the band a Grammy nomination for Best New Artist, and has sold over 2.7 million copies in the United States, becoming the group's best-selling album. "Sugar, We're Goin Down" also won the band an MTV Music Video Award.
2007: Infinity on High
In the wake of the band's multiplatinum success, the "especially extroverted" Wentz became the most publicly visible member of the band. He confided to the press his suicide attempt and nude photos of the bassist appeared on the Internet in 2006. He gained additional exposure through his clothing line, his Decaydance record label (an imprint of Fueled by Ramen), and eventually a celebrity relationship with pop singer Ashlee Simpson, which made the two tabloid fixtures in the United States. Due to its increased success from the group's MTV Video Music Award, the group headlined the Black Clouds and Underdogs Tour, a pop punk event that featured The All-American Rejects, Well-Known Secret, Hawthorne Heights, and From First to Last. The tour also featured The Hush Sound for half of the tour and October Fall for half. The band played to 53 dates in the U.S., Canada, and the UK.
After taking a two-month-long break following the band's Black Clouds and Underdogs tour in promotion of the band's 2005 album From Under the Cork Tree, Fall Out Boy returned to the studio to begin work on a follow-up effort. The band began writing songs for the new album while touring, and intended to quickly make a new album in order to keep momentum in the wake of its breakthrough success. In early 2007, the group released its third studio album, Infinity on High, which was the band's second release on major label Island. The album marked a departure in Fall Out Boy's sound in which the band implemented a diverse array of musical styles including funk, R&B, and flamenco. As reported by Billboard, Fall Out Boy "drifts further from its hardcore punk roots to write increasingly accessible pop tunes", a slight departure from the group's previous more pop punk sound predominant on their 2003 effort, Take This to Your Grave.
Infinitys first week was a major success and was the band's biggest selling week, selling 260,000 copies to debut at No. 1 on the US Billboard 200 and inside the top five worldwide. This charting was first started with lead single "The Carpal Tunnel of Love", with minor success on the Billboard charts. This success was bolstered by the further-successful second single "This Ain't a Scene, It's an Arms Race", which reached No. 2 in both the US and UK as well as the top five in many other countries. On the band's decision to pick the song as a single, Wentz commented "There may be other songs on the record that would be bigger radio hits, but this one had the right message." "Thnks fr th Mmrs", the third single, peaked just outside the top 10 at No. 11 on the strength of sales and popular radio play, and went on to sell over two million copies in the US. It found its greatest success in Australia where it charted at No. 3. In 2007, Fall Out Boy placed at No. 9 in the Top Selling Digital Artists chart with 4,423,000 digital tracks sold, according to Nielsen SoundScan. The album itself has sold over two million copies worldwide and subsequently was certified Platinum in the United States.
Fall Out Boy then headlined the 2007 Honda Civic Tour to promote the album. Though the tour was initially postponed due to personal issues, it would take place with +44, Cobra Starship, The Academy Is... and Paul Wall as supporting acts. The band also headlined the Young Wild Things Tour, an international arena tour featuring Gym Class Heroes, Plain White T's and Cute Is What We Aim For.
Inspired by Maurice Sendak's 1963 children's book Where the Wild Things Are, the concert tour and included sets designed by artist Rob Dobi containing images from the book. The band's "hugely successful" amphitheater tour to promote Infinity led to the release of the 2008 live album Live in Phoenix, consisting of live material recorded during a June 22, 2007, concert at Phoenix's Cricket Wireless Pavilion, a date of the Honda Civic Tour. The disc also included a studio cover of Michael Jackson's "Beat It", with guitarist John Mayer guesting for a guitar solo. The track was released as a single and became a mainstay on the iTunes top ten.
2008–2009: Folie à Deux
The band members decided to keep publicity down during the recording of their fourth album, as the group was taken aback by such press surrounding Infinity on High. Sessions proved to be difficult for the band; Stump called the making of the album "painful", noting that he and Wentz quarreled over many issues, revealing "I threw something across the room over a major-to-minor progression." On previous albums, Trohman felt he and Hurley did not have enough musical freedom and that Stump and Wentz exerted too much control over the group: "I felt, 'Man, this isn't my band anymore.' It's no one's fault, and I don't want to make it seem that way. It was more of a complex I developed based on stuff I was reading. It's hard to hear, 'Joe and Andy are just along for the ride. To amend the situation, Trohman sat down with Stump to communicate his concerns, which led to more collaboration on Folie à Deux. "It made me feel like I owned the songs a lot more. It made me really excited about contributing to Fall Out Boy and made me find my role in the band," Trohman recalled.
As the release of the new album approached, the band and its management found that they would have to navigate changes in the music industry, facing declining record sales, the lack of a proper outlet for exhibition of music videos, and the burgeoning US economic crisis. To promote the album, Wentz launched a viral campaign in August 2008, inspired by George Orwell's novel Nineteen Eighty-Four (1949), and the autocratic, overbearing Big Brother organization. Folie à Deux, released in December 2008, did not perform as well commercially as its predecessor, Infinity on High. It debuted at number eight on the US Billboard 200 chart with first week sales of 150,000 copies during a highly competitive week with other big debuts, becoming Fall Out Boy's third consecutive top ten album. This is in contrast to the band's more successful previous effort which shifted 260,000 copies in its opening week to debut at number one on the chart. Folie spent two weeks within the top 20 out of its 22 chart weeks. It also entered Billboard's Rock Albums and Alternative Albums charts at number three. Within two months of its release, Folie à Deux was certified Gold in the United States by the Recording Industry Association of America (RIAA), denoting shipments of 500,000 copies. The lead single, "I Don't Care", reached a peak at number twenty-one on the Billboard Hot 100, and was certified Platinum by the RIAA for shipments of one million copies.
To promote the album, Fall Out Boy embarked on the Believers Never Die Tour Part Deux, which included dates in the United States and Canada. The constant touring schedule became difficult for the band due to conflicting fan opinion regarding Folie à Deux: concertgoers would "boo the band for performing numbers from the record in concert", leading Stump to describe touring in support of Folie as like "being the last act at the vaudeville show: We were rotten vegetable targets in Clandestine hoods." "Some of us were miserable onstage", said guitarist Joe Trohman. "Others were just drunk." A greatest hits compilation, Believers Never Die – Greatest Hits, followed in the fall, and following these events, the band decided to take a break. The band's decision stemmed from disillusionment with the music industry and Stump recalled that "We found ourselves running on fumes a little bit – creatively and probably as people, too." Stump realized the band was desperate to take a break; he sat the group down and explained that a hiatus was in order if the band wanted to continue in the future. All involved felt the dynamic of the group had changed as personalities developed.
Rumors and misquotes led to confusion as to what such a break truly meant; Wentz preferred to not refer to the break as a "hiatus", instead explaining that the band was just "decompressing". Fall Out Boy played its last show at Madison Square Garden on October 4, 2009. Near the end, Blink-182's Mark Hoppus shaved Wentz's head in a move Andy Greene in Rolling Stone would later describe as a "symbolic cleansing of the past, but also the beginning of a very dark chapter for the band".
2010–2012: Hiatus and side projects
By the time the break began, Stump was the heaviest he had ever been and loathed the band's image as an "emo" band. Coming home from tour, drummer Andy Hurley "went through the darkest depression [I've] ever felt. I looked at my calendar and it was just empty." Wentz, who had been abusing Xanax and Klonopin, was divorced by his wife Ashlee Simpson and returned to therapy. "I'd basically gone from being the guy in Fall Out Boy to being the guy who, like, hangs out all day", Wentz recalled. Previously known as the "overexposed, despised" leader of the band, Wentz "simply grew up", sharing custody of his son and embracing maturity: "There was a jump-cut in my life. I started thinking – like, being old would be cool."
During the hiatus, the band members each pursued individual musical interests, which were met with "varying degrees of failure". Stump was the only member of the quartet to take on a solo project while Fall Out Boy was on hiatus, recording debut album Soul Punk entirely on his own: he wrote, produced, and played every instrument for all tracks on the record. In addition, he married his longtime girlfriend and lost over sixty pounds through portion control and exercise. Stump blew through most of his savings putting together a large band to tour behind Soul Punk, but ticket sales were sparse and the album stalled commercially. During a particularly dark moment in February 2012, Stump poured his heart out in a 1500-word blog entry called "We Liked You Better Fat: Confessions of a Pariah". In the post, Stump lamented the harsh reception of the record and his status as a "has-been" at 27. Stump revealed that fans harassed him on his solo tour, hurling insults such as "We liked you better fat", and noted that "Whatever notoriety Fall Out Boy used to have prevents me from having the ability to start over from the bottom again." Aside from Soul Punk and personal developments, Stump moonlighted as a professional songwriter/producer, co-writing tracks with Bruno Mars and All Time Low, and pursued acting.
Wentz formed electronic duo Black Cards with vocalist Bebe Rexha in July 2010. The project released one single before album delays led to Rexha's departure in 2011. Black Cards added Spencer Peterson to complete the Use Your Disillusion EP in 2012. Wentz also completed writing a novel, Gray, that he had been working on for six years outside the band, and began hosting the reality tattoo competition show Best Ink. Hurley ventured farther into rock during the hiatus, drumming with multiple bands over the three-year period. He continued to manage his record label, Fuck City, and drummed for bands Burning Empires and Enabler. He also formed heavy metal outfit The Damned Things with Trohman, Scott Ian and Rob Caggiano of Anthrax, and Keith Buckley of Every Time I Die. Despite this, the members all remained cordial to one another; Wentz was Stump's best man at his wedding. The hiatus was, all things considered, beneficial for the group and its members, according to Hurley. "The hiatus helped them all kind of figure themselves out", he explained in 2013. "Especially Joe and Patrick, who were so young. And Pete is a million times better."
2013–2014: Reformation and Save Rock and Roll
Stump and Wentz met up for the first time in several years in early 2012 for a writing session. Wentz reached out to Stump after he penned his letter, as he too felt he was in a dark place and needed a creative outlet. He was at first reluctant to approach Stump, likening the phone call to reconnecting with a lover after years of acrimony. "I know what you need – you need your band", Wentz told Stump. "I think it's kind of weird that we haven't really seen each other this year. We paid for each other's houses and you don't know my kid", Wentz remarked. The result, "three or four" new songs, were shelved with near immediacy, with the two concluding that "it just wasn't right and didn't feel right." Several months later, the two reconvened and wrote tracks that they felt truly represented the band in a modern form. The band decided that if a comeback was in order, it must represent the band in its current form: "We didn't want to come back just to bask in the glory days and, like, and collect a few checks and pretend ... and do our best 2003 impersonation", said Stump. Afterwards, the quartet held an all-day secret meeting at their manager's home in New York City where they discussed ideas and the mechanics of getting together to record. Trohman was the last to be contacted, through a three-hour phone call from Stump. As Trohman was arguably the most excited to begin other projects, he had a list of stipulations for rejoining the band. "If I'm not coming back to this band writing music […] then I don't want to", he remarked. Stump supported Trohman's ambition saying Trohman "needed to be writing more".
The band members' main goal was to reinvent the group's sound from scratch, creating what Trohman called a "reimagining of the band", which focuses more on pop. Sessions were not without difficulties, as the band struggled initially to produce new material. Walker had doubts about the band's volatility, feeling the record would not get made following "meltdown after meltdown". The entire album was recorded in secrecy from the music industry, critics, and fans of the band. While specifically denying that the group's announcement was a reunion because "[the group had] never broke[n] up", the band announced a reunion tour and details of Save Rock and Roll on February 4, 2013. The quartet's announcement included a photo of the group that had been taken earlier that morning of the band members huddled around a bonfire tossing copies of their back catalog into flames at the original location of Comiskey Park, the location of 1979's Disco Demolition Night, a baseball promotional event which involved destroying disco records. A message on the group's website read "when we were kids the only thing that got us through most days was music. It's why we started Fall Out Boy in the first place. This isn't a reunion because we never broke up. We needed to plug back in and make some music that matters to us. The future of Fall Out Boy starts now. Save rock and roll..." Save Rock and Roll debuted at number one on the Billboard 200 chart, with first week sales of 154,000 copies in the United States, according to Nielsen SoundScan. The arrival of Save Rock and Roll posted the quartet's third-biggest sales week, and earned the group's second career number one on the chart. The band's chart success was best described as unexpected by music journalists. Andy Greene in Rolling Stone called the band's comeback a "rather stunning renaissance", and Entertainment Weekly called the number one a "major accomplishment for a band whom many in the industry had dismissed as kings of a genre whose time had passed".
The record's lead single, "My Songs Know What You Did in the Dark (Light Em Up)", peaked at number 13 on the Billboard Hot 100, marking the band's first top twenty single since the group's 2008 cover of Michael Jackson's "Beat It". It was certified 3x Platinum in the US for over 3 million sales. Inspired in part by Daft Punk's Interstella 5555: The 5tory of the 5ecret 5tar 5ystem, the band released a music video for every song on the album in a series titled The Young Blood Chronicles between February 2013 and May 2014. The band also released a hardcore punk-influenced EP, PAX AM Days, in late 2013. Fall Out Boy covered Elton John's (who was featured on the Save Rock And Roll title track) song "Saturday Night's Alright for Fighting" for inclusion in the fortieth anniversary re-release edition of Goodbye Yellow Brick Road on March 25, 2014, alongside covers by different artists.
Fall Out Boy headlined Save Rock And Roll tours (including US, Australian and European legs) and played at music festivals around the world for one and a half years. The group co-headlined Monumentour with Paramore in North America to close the Save Rock And Roll era.
2014–2016: American Beauty/American Psycho
On June 2, 2014, Wentz stated that he and Stump were writing new music: "We're writing. I was just listening to something Patrick had written in the trailer. So we're writing, finishing out the album cycle in South Africa in September." In a later interview with Rock Sound regarding the status of the album, Wentz commented "We don't have an exact timetable yet. I have a two-week-old son and Patrick has a baby on the way in October, so there's a lot going on." as well as stating a rough release time as early 2015. In December 2014 the band played radio-sponsored Christmas shows, including KROQ's Almost Acoustic Christmas.
"Centuries" – the first single of Fall Out Boy's sixth studio album – premiered on September 8, 2014, on BBC Radio 1, receiving a worldwide release the next day. By the 2010s, there were few rock bands achieving success on mainstream radio and the charts, but "Centuries" peaked at No. 10 on the Billboard Hot 100 and No. 13 on Billboard Mainstream Top 40. Fall Out Boy also was featured on the track "Back to Earth" from Steve Aoki's second album Neon Future I, which was released on September 30, 2014. Another song titled "Immortals" was released October 14, 2014, as part of the soundtrack for the Walt Disney film Big Hero 6. The group remade the Chicago Bulls's anthem "Only the Bulls" with guest Lupe Fiasco. The recording of the song was released in November 2014.
On November 24, 2014, the title of Fall Out Boy's sixth studio album was announced as American Beauty/American Psycho; the album was released on January 20, 2015. The album's title track premiered on BBC Radio 1 in the UK along with the album's title reveal. American Beauty/American Psycho debuted at No. 1 on the US Billboard 200 with 192,000 first week sales and 218,000 equivalent album units, becoming Fall Out Boy's third No. 1 album. The band played two small venue release shows in January 2015, in London and Chicago. American Beauty/American Psycho was certified platinum in the US on March 1, 2016, after selling 1 million units. From February through March, the band played at the Australian Soundwave festival for the first time, with two additional side shows in Sydney and Brisbane.
Fall Out Boy inducted Green Day into the Rock and Roll Hall of Fame on April 18, 2015. On May 18, the group performed its song "Uma Thurman" with Wiz Khalifa on the 2015 Billboard Music Awards. In June–August 2015, Fall Out Boy toured across the United States with Wiz Khalifa, Hoodie Allen, and MAX on the "Boys of Zummer Tour".
On October 1, 2015, the "American Beauty/American Psycho" European tour kicked off in Dublin, Ireland, and consisted of 12 dates with shows in the UK, Russia, and Europe. On May 24, 2015, it was announced English rapper Professor Green would support Fall Out Boy on the 8-date leg of the band's UK tour. New York based dance-duo Matt and Kim were added as additional support for the UK tour. On October 23, 2015, Fall Out Boy announced via Twitter the release of a re-worked version of its sixth studio album, Make America Psycho Again. The remix album features a remade version of each track from the original record, each featuring a different rapper. The album was released on October 30, 2015. It included the version of "Uma Thurman" featuring Wiz Khalifa which had been originally performed at the Billboard Music Awards. On March 1, 2016, it was announced Fall Out Boy were to headline Reading and Leeds Festivals in the UK in August 2016 along with Biffy Clyro.
2017–present: Mania
On April 27, 2017, Fall Out Boy announced that their new album was set to be released on September 15, titled Mania, stylized as M A N I A. The first single, "Young and Menace", was released the same day. The second single, "Champion", was released in the U.S. on June 22 and worldwide on June 23. Music videos have been posted to Vevo and YouTube for both songs. The band plans to begin the Mania Tour in North America in October 2017 with hip hop artist blackbear and actor-rapper Jaden Smith, and will perform in Australia in 2018 with indie band WAAX. On August 3, 2017, Patrick Stump tweeted that the album's release would be pushed back to January 19, 2018, because the band were not satisfied with the results of their work at the time.
"The Last of the Real Ones", released on September 14, 2017, in North America and worldwide the following day, was the third single from Mania to be released, and was played on Jimmy Kimmel Live! on September 18, 2017, after being debuted at House of Blues in Chicago on September 16. The band announced the album's completion on November 6, 2017, along with the final track list. "Hold Me Tight or Don't" was then released as the fourth single on November 15, with the music video being released alongside. Mania was officially released January 19, 2018 and debuted at number one on the Billboard 200, making it the band's third consecutive and fourth chart-topping debut overall.
On February 23, 2018, the band released an EP called Llamania. The EP contains three unfinished demo recordings. On August 23, 2018, the band released an EP called Lake Effect Kid. The EP includes a new version of a demo, with the same name, from the band's 2008 mixtape, CitizensFOB Mixtape: Welcome to the New Administration. In September 2018, Fall Out Boy headlined Wrigley Field in the band's hometown of Chicago, marking a milestone in their career as their first headline show at a stadium. On December 7, 2018, Fall Out Boy received their second Grammy nomination for Best Rock Album for Mania.
In 2019, the band was sued by Furry Puppet Studio for overusing llama puppets made by the company. According to the company, the llamas were only licensed for use in the "Young and Menace" video but were used at live shows, on merchandise, during TV appearances, and in multiple music videos. On September 10, 2019, the band announced the Hella Mega Tour with Green Day and Weezer as headliners along themselves, with The Interrupters as an opening act. They also released "Dear Future Self (Hands Up)" off their second compilation album, Greatest Hits: Believers Never Die – Volume Two, released in November 2019. Due to the COVID-19 pandemic, the summer leg of the tour was rescheduled to 2021. On August 4, 2021, during the Hell Mega Tour, the band announced that they would not be performing at Boston's Fenway Park due to one of the band's team members testing positive for COVID-19. However, Green Day and Weezer performed as scheduled.
Musical style and influences
While widely considered to be a pop punk band, Fall Out Boy has also been described as pop rock, pop, alternative rock, emo, emo pop, power pop, punk rock, and electropop, with elements of electronic, R&B, soul, funk, blue-eyed soul, hip hop, and hardcore punk, The band cites emo group The Get Up Kids as an influence among many other bands. When interviewed for a retrospective article in Alternative Press at the time The Get Up Kids disbanded in 2005, Pete Wentz stated that "Fall Out Boy would not be a band if it were not for The Get Up Kids." Early in the band's career, when Jared Logan was producing the group's debut album, he asked bassist Pete Wentz what sound the band desired for recording. Wentz responded by "handing over the first two New Found Glory records". Wentz also cites Green Day, Misfits, the Ramones, Screeching Weasel, Metallica, Earth Crisis, Gorilla Biscuits and Lifetime as influences. The band acknowledges its hardcore punk roots as an influence; all four members were involved in the Chicago hardcore scene before joining Fall Out Boy. Wentz described the band's affiliation with the genre by saying "I think the interesting thing is that we are all hardcore kids that are writing pop music...It gives us a different style because at our core we are always hardcore. That aspect is always going to be evident in the music. We are hardcore kids that couldn't quite cut it as hardcore kids." He referred to Fall Out Boy's genre as "softcore": hardcore punk mixed with pop sensibility. Lead singer Patrick Stump, however, is also influenced by artists he listened to while growing up including Prince, Michael Jackson, and David Bowie.
Fall Out Boy's albums Take This to Your Grave and From Under the Cork Tree are both said to have pop punk as well as punk rock sounds and influences, and Infinity on High features a wide range of styles and instrumentation, including orchestral arrangements ("Thnks fr th Mmrs") and a slower piano ballad ("Golden"). R&B influences on Infinity on High are on songs such as "This Ain't a Scene, It's an Arms Race" and two of the album's tracks are produced by R&B singer/producer Babyface. On Folie à Deux, the group continues to evolve its sound, with less of a pop punk sound and increasing the use of piano (such as "What a Catch, Donnie", "Headfirst Slide into Cooperstown on a Bad Bet", and "20 Dollar Nose Bleed"), synthesizers, and guest artists. The band also shows a number of influences, with "Disloyal Order of Water Buffaloes" borrowing a chord sequence from The Who song "Baba O'Riley". The group has worked with many producers and artists, including The Neptunes, Timbaland, Ryan Adams, Lil Wayne and Kanye West, the latter of which Patrick Stump described as "the Prince of his generation".
When the band returned from hiatus with Save Rock and Roll, their main goal was to reinvent the sound of the group from scratch, creating what Trohman called a "reimagining of the band", which focused more on pop and moved away from the punk aspects of their sound. While mostly an album which mixes pop, rock and R&B, the record was still described by Dave Simpson of The Guardian as a pop punk record, but also noted influences from Heart in the album's ballads. In American Beauty/American Psycho, the band felt influences from playing with different artists and expanded on boundaries further than Save Rock and Roll did. In an interview with Rolling Stone, guitarist Joe Trohman said the album has "hip hop grooves with guitars on it", with "more in your face guitar than Save Rock and Roll". Annie Zaleski of Alternative Press described American Beauty/American Psycho as a "mix of fluid grooves, punky riffs and outré pop sensibilities".
A central part of Fall Out Boy's sound is rooted in the band's lyrics, mainly penned by bassist Pete Wentz, who commonly uses irony and other literary devices to narrate personal experience and stories. Wentz stated, "I write about what I'm going through most of the time, or what I imagine people are going through most of the time." He draws inspiration from authors such as Charles Bukowski, Ernest Hemingway, and JT LeRoy, as well as rappers such as Lil Wayne, who he described as his primary influence while writing Infinity on High. On Fall Out Boy's earlier works, Wentz wrote primarily about love and heartbreak. Themes addressed on From Under the Cork Tree include narcissism and megalomania, while many tracks on Infinity on High discuss the ups and downs of fame. While writing Folie à Deux, he explored moral dilemmas and societal shortcomings, as well as concepts such as trust, infidelity, responsibility, and commitment. While the album does contain political overtones, the band wanted to avoid being overt about these themes, leaving many lyrics open to interpretation for listeners.
Legacy
Fall Out Boy have been instrumental in the careers of other artists, such as Panic! at the Disco, whom Pete Wentz signed to his record label, Decaydance Records, in late 2004. Several artists, such as You Me at Six and Taylor Swift, have created or performed covers of Fall Out Boy songs in homage to the band.
The Fall Out Boy band members were the first inductees to the "Hall of Wood" at the 2015 MtvU Woodie Awards and performed a medley of five songs at the ceremony. This honor is given to artists who have used MTV Woodie Awards as a "launching pad" in achieving chart topping success within their musical careers, thus influencing up and coming bands. The award also recognizes bands "sticking to their roots" and "maintaining their loyal fan base". The group had won the Woodie Award for Streaming for "Grand Theft Autumn" at the first ceremony in 2004.
In a list of the 50 greatest pop-punk albums of all time, Rolling Stone placed Fall Out Boy's 2003 album Take This To Your Grave as the fifth greatest, citing it as "[ushering] in a whole new, genre-blurring scene, in which heavy riffs and a screamo aesthetic mingled with old-fashioned teen heartbreak". In a similar list, Kerrang! magazine placed Take This To Your Grave at number 11 out of 51, describing it as a "blueprint for both break-up records and timeless pop-punk". In 2018, Rock Sound put Take This To Your Grave at number 18 in their list of the 100 best pop-punk albums, describing it as "poetic and utterly brilliant", while 2005's From Under The Cork Tree was placed at number 3 behind only Green Day's Dookie and Blink-182's Enema of the State. Rock Sound described From Under the Cork Tree as "intelligent, intriguing and utterly intoxicating...They will still be talking about this one in 50 years time."
In 2017, Fall Out Boy were announced as the first winners of Rock Sound's Hall of Fame Award as part of the Rock Sound Awards. In an interview accompanying the band's win, Patrick Stump stated one reason for the band's success is Sugar, We're Goin Down, explaining that the "song changed my life, I have a music career in a large part due to that song". In 2009, Phoenix New Times writer Martin Cizmar had described Sugar, We're Goin Down as possibly "the most listened-to emo track of all time".
As of 2020, the band are two-time Grammy Award nominees, their first nomination having been for Best New Artist at the 2006 Grammy Awards and their second for Best Rock Album for their 2018 album MANIA at the 2019 Grammy Awards.
On July 30, 2020, the band were nominated for "Best Rock Video" for the song "Dear Future Self (Hands Up)" at the 2020 MTV Video Music Awards, which makes them the most nominated band in history for the category.
Band membersCurrent members Patrick Stump – lead vocals , rhythm guitar, keyboards , percussion
Joe Trohman – lead guitar, backing vocals , keyboards
Pete Wentz – bass guitar, unclean vocals, backing vocals
Andy Hurley – drums, percussion , occasional backing vocals Former members'''
Ben Rose – drums, percussion
John Flamandan - rhythm guitar
T.J. Kunasch – rhythm guitar
Brandon Hamm – rhythm guitar
Mike Pareskuwicz – drums, percussion
Timeline
Discography
Take This to Your Grave (2003)
From Under the Cork Tree (2005)
Infinity on High (2007)
Folie à Deux (2008)
Save Rock and Roll (2013)
American Beauty/American Psycho (2015)
Mania (2018)
Awards and nominations
Alternative Press Music Awards
|-
| rowspan=5|2014
| rowspan=2|Themselves
| Artist of the Year
|
|-
| Best Live Band
|
|-
| Pete Wentz
| Best Bassist
|
|-
| Save Rock and Roll| Album of the Year
|
|-
| "My Songs Know What You Did in the Dark (Light Em Up)"
| Song of the Year
|
|-
| rowspan=2|2015
| "Centuries"
| Best Music Video
|
|-
| Overcast Kids| Most Dedicated Fans
|
|-
| rowspan=2|2016
| Patrick Stump
| Best Vocalist
|
|-
| rowspan=2|Themselves
| rowspan=2|Artist of the Year
|
|-
| 2017
|
International Dance Music Awards
|-
| 2008
| "Thnks fr th Mmrs"
| Best Alternative/Rock Dance Track
|
Kerrang! Awards
|-
| rowspan=4|2006
| Themselves
| Best Band on the Planet
|
|-
| From Under the Cork Tree| Best Album
|
|-
| rowspan=2|"Sugar, We're Goin Down"
| Best Single
|
|-
| rowspan=2|Best Video
|
|-
| rowspan=3|2007
| "This Ain't a Scene, It's an Arms Race"
|
|-
| Infinity on High| Best Album
|
|-
| rowspan=2|Themselves
| rowspan=2|Best International Band
|
|-
| rowspan=4|2013
|
|-
| Fall Out Boy at London Camden Underworld| Best Event
|
|-
| "My Songs Know What You Did in the Dark (Light Em Up)"
| rowspan=2|Best Single
|
|-
| "The Phoenix"
|
|-
| rowspan=3|2014
| Themselves
| Best International Band
|
|-
| Save Rock and Roll Tour| Best Event
|
|-
| Pete Wentz
| Tweeter of the Year
|
|-
| rowspan=2|2015
| "Centuries"
| Best Single
|
|-
| rowspan=2|Themselves
| rowspan=2|Best International Band
|
|-
| 2016
|
Teen Choice Awards
|-
| rowspan=3|2006
| Themselves
| Choice Music: Rock Group
|
|-
| rowspan=2|"Dance, Dance
| Choice Music: Single
|
|-
| rowspan=2|Choice Music: Rock Song
|
|-
| rowspan=2|2007
| "Thnks fr th Mmrs"
|
|-
| rowspan=2|Themselves
| rowspan=2|Choice Music: Rock Group
|
|-
| rowspan=2|2008
|
|-
| Pete Wentz
| Choice Red Carpet Fashion Icon: Male
|
|-
| rowspan=4|2015
| Themselves
| Choice Music Group: Male
|
|-
| "Centuries"
| Choice Music Single: Group
|
|-
| "Uma Thurman"
| Choice Music: Rock Song
|
|-
| The Boys of Zummer Tour (with Wiz Khalifa)
| Choice Summer Tour
|
|-
| 2016
| Themselves
| Choice Music: Group
|
Other Awards
|-
|| 2004 || "Grand Theft Autumn/Where Is Your Boy" || MtvU Woodie Award – Streaming Artist || rowspan="4"
|-
|| 2005 || "Sugar, We're Goin Down" || MTV Video Music Award – MTV2 Award
|-
|rowspan="3"| 2006 || rowspan=2|"Dance, Dance" || MuchMusic Video Award – People's Choice: Favorite International Group
|-
|| MTV Video Music Award – Viewer's Choice
|-
|| Fall Out Boy || Grammy Award for Best New Artist ||
|-
|rowspan=4|2007 || rowspan="2"| "Thnks fr th Mmrs" || Nickelodeon's Australian Kids' Choice Awards – Fave Song || rowspan="3"
|-
|| Nickelodeon's Kids' Choice Award – Single
|-
|rowspan=2|Fall Out Boy || MTV Video Music Award – Best Group
|-
|| Nickelodeon's Kids Choice Award – Best Band ||
|-
|rowspan="5"| 2008 || "The Take Over, the Breaks Over" || MuchMusic Video Award – People's Choice: Favorite International Video || rowspan="4"
|-
|rowspan="3"| Fall Out Boy || TMF Award – Best Live International
|-
|| TMF Award – Best Rock International
|-
|| TMF Award – Best Alternative International
|-
|| "Beat It" || MTV Video Music Award – Best Rock Video || rowspan="2"
|-
|| 2009 || "I Don't Care" || NRJ Music Award – Best International Band
|-
|rowspan=2|2013 || "My Songs Know What You Did in the Dark (Light Em Up)" || MTV Video Music Award for Best Rock Video || rowspan="2"
|-
|| Fall Out Boy || MTV Europe Music Awards – Best Alternative
|-
| rowspan="10"| 2014 || Fall Out Boy || People's Choice Awards – Favorite Alternative Band ||
|-
|| Fall Out Boy || Billboard Music Awards – Top Rock Artist || rowspan="2"
|-
|| Save Rock and Roll || Billboard Music Awards – Top Rock Album
|-
|| Fall Out Boy & The Band Perry || CMT Music Awards – CMT Performance of the Year ||
|-
|| Fall Out Boy || World Music Awards – World's Best Alternative Act ||
|-
|| Fall Out Boy || World Music Awards – World's Best Group || rowspan="7"
|-
|| Fall Out Boy || World Music Awards – World's Best Live Act
|-
|| Save Rock and Roll || World Music Awards – World's Best Album
|-
|| "My Songs Know What You Did in the Dark (Light Em Up)" || World Music Awards – World's Best Song
|-
|| "My Songs Know What You Did in the Dark (Light Em Up)" || World Music Awards – World's Best Music Video
|-
| rowspan="5"| 2015 || Fall Out Boy || Billboard Music Awards – Top Rock Artist
|-
|rowspan="1"|"Centuries" || Billboard Music Awards – Top Rock Song
|-
|| "Uma Thurman" || MTV Video Music Award – Best Rock Video || rowspan="2"
|-
|| Fall Out Boy || American Music Awards – Favorite Alternative Band
|-
|| Fall Out Boy || People's Choice Awards – Favorite Group || rowspan="5"
|-
| rowspan="5"| 2016 || Fall Out Boy || Billboard Music Awards – Top Rock Artist
|-
|rowspan="2"| "Uma Thurman" || Billboard Music Awards – Top Rock Song
|-
|| Radio Disney Music Awards – Best Song To Dance To
|-
|rowspan="3"| Fall Out Boy || Radio Disney Music Awards – Best Music Group
|-
|| MTV Video Music Award – Best Rock Video || rowspan="4"
|-
| 2018 || MTV Europe Music Award – Best Alternative
|-
| 2019 || Mania'' || Grammy Award for Best Rock Album
|-
| 2020 || "Dear Future Self (Hands Up)" || MTV Video Music Award – Best Rock Video
See also
Notes
References
Footnotes
Bibliography
Cover of the issue.
External links
Official website
Patrick Stump official website
2001 establishments in Illinois
Emo musical groups from Illinois
American pop rock music groups
Crush Management artists
Decaydance Records artists
Fueled by Ramen artists
Kerrang! Awards winners
Musical groups disestablished in 2009
Musical groups established in 2001
Musical groups from Chicago
Musical groups from Wilmette, Illinois
Musical groups reestablished in 2013
Musical quartets
Pop punk groups from Illinois
| true |
[
"What You See Is What You Get or WYSIWYG is where computer editing software allows content to be edited in a form that resembles its final appearance.\n\nWhat You See Is What You Get may also refer to:\n\nMusic\n What You See Is What You Get (EP), a 1998 EP by Pitchshifter\n What You See Is What You Get (Glen Goldsmith album), 1988\n What You See Is What You Get (Luke Combs album), 2019\n Whatcha See Is Whatcha Get (album), a 1971 debut album by the band The Dramatics\n\"Whatcha See Is Whatcha Get\" (song), title song from the above The Dramatics album\n \"What You See Is What You Get\" (song), a 1971 song by Stoney & Meatloaf\n \"What U See Is What U Get\", a 1998 song by rapper Xzibit\n \"What U See (Is What U Get)\", a song by Britney Spears from the 2000 album Oops!... I Did It Again\n\nOthers\n What you see is what you get, a term popularized by Geraldine Jones, a character from the television show The Flip Wilson Show\n What You See Is What You Get (book), a 2010 book written by Alan Sugar\n\nSee also\nWYSIWYG (disambiguation)\nWhatcha See Is Whatcha Get (disambiguation)\n\"What You Get Is What You See\", a song by Tina Turner from her 1987 album Break Every Rule\n Stand by Me (Whatcha See Is Whatcha Get), 1971 album by Pretty Purdie and The Playboys",
"Follow Me! is a series of television programmes produced by Bayerischer Rundfunk and the BBC in the late 1970s to provide a crash course in the English language. It became popular in many overseas countries as a first introduction to English; in 1983, one hundred million people watched the show in China alone, featuring Kathy Flower.\n\nThe British actor Francis Matthews hosted and narrated the series.\n\nThe course consists of sixty lessons. Each lesson lasts from 12 to 15 minutes and covers a specific lexis. The lessons follow a consistent group of actors, with the relationships between their characters developing during the course.\n\nFollow Me! actors\n Francis Matthews\n Raymond Mason\n David Savile\n Ian Bamforth\n Keith Alexander\n Diane Mercer\n Jane Argyle\n Diana King\n Veronica Leigh\n Elaine Wells\n Danielle Cohn\n Lashawnda Bell\n\nEpisodes \n \"What's your name\"\n \"How are you\"\n \"Can you help me\"\n \"Left, right, straight ahead\"\n \"Where are they\"\n \"What's the time\"\n \"What's this What's that\"\n \"I like it very much\"\n \"Have you got any wine\"\n \"What are they doing\"\n \"Can I have your name, please\"\n \"What does she look like\"\n \"No smoking\"\n \"It's on the first floor\"\n \"Where's he gone\"\n \"Going away\"\n \"Buying things\"\n \"Why do you like it\"\n \"What do you need\"\n \"I sometimes work late\"\n \"Welcome to Britain\"\n \"Who's that\"\n \"What would you like to do\"\n \"How can I get there?\"\n \"Where is it\"\n \"What's the date\"\n \"Whose is it\"\n \"I enjoy it\"\n \"How many and how much\"\n \"What have you done\"\n \"Haven't we met before\"\n \"What did you say\"\n \"Please stop\"\n \"How can I get to Brightly\"\n \"Where can I get it\"\n \"There's a concert on Wednesday\"\n \"What's it like\"\n \"What do you think of him\"\n \"I need someone\"\n \"What were you doing\"\n \"What do you do\"\n \"What do you know about him\"\n \"You shouldn't do that\"\n \"I hope you enjoy your holiday\"\n \"Where can I see a football match\"\n \"When will it be ready\"\n \"Where did you go\"\n \"I think it's awful\"\n \"A room with a view\"\n \"You'll be ill\"\n \"I don't believe in strikes\"\n \"They look tired\"\n \"Would you like to\"\n \"Holiday plans\"\n \"The second shelf on the left\"\n \"When you are ready\"\n \"Tell them about Britain\"\n \"I liked everything\"\n \"Classical or modern\"\n \"Finale\"\n\nReferences \n\n BBC article about the series in China\n\nExternal links \n Follow Me – Beginner level \n Follow Me – Elementary level\n Follow Me – Intermediate level\n Follow Me – Advanced level\n\nAdult education television series\nEnglish-language education television programming"
] |
[
"Fall Out Boy",
"Legacy",
"Was legacy an album?",
"I don't know.",
"What was Legacy?",
"Fall Out Boy have been instrumental in the careers of other artists, such as Panic! at the Disco,",
"Are there other bands that they influenced?",
"Several artists, such as You Me at Six and Taylor Swift, have created or performed covers of Fall Out Boy songs as a homage to the band.",
"Are there any other interesting aspects about this article?",
"The Fall Out Boy band members were the first inductees to the \"Hall of Wood\" at the 2015 MtvU Woodie Awards",
"Did they win other awards?",
"In 2017, Fall Out Boy were announced as the first winners of Rock Sound's Hall of Fame Award as part of the Rock Sound Awards.",
"What other recognition did they get?",
"In a list of the 50 greatest pop-punk albums of all time, Rolling Stone placed Fall Out Boy's 2003 album Take This To Your Grave as the fifth greatest,"
] |
C_4790a4a8a9d04432816141d09089d013_0
|
What's the biggest award they've won?
| 7 |
What's the biggest award Fall Out Boy have won?
|
Fall Out Boy
|
Fall Out Boy have been instrumental in the careers of other artists, such as Panic! at the Disco, whom Pete Wentz signed to his record label, Decaydance Records, in late 2004. Several artists, such as You Me at Six and Taylor Swift, have created or performed covers of Fall Out Boy songs as a homage to the band. The Fall Out Boy band members were the first inductees to the "Hall of Wood" at the 2015 MtvU Woodie Awards and performed a medley of five songs at the ceremony. This honor is given to artists who have used MTV Woodie Awards as a "launching pad" in achieving chart topping success within their musical careers, thus influencing up and coming bands. The award also recognizes bands "sticking to their roots" and "maintaining their loyal fan base". The group had won the Woodie Award for Streaming for "Grand Theft Autumn" at the first ceremony in 2004. In a list of the 50 greatest pop-punk albums of all time, Rolling Stone placed Fall Out Boy's 2003 album Take This To Your Grave as the fifth greatest, citing it as "[ushering] in a whole new, genre-blurring scene, in which heavy riffs and a screamo aesthetic mingled with old-fashioned teen heartbreak". In a similar list, Kerrang! magazine placed Take This To Your Grave at number 11 out of 51, describing it as a "blueprint for both break-up records and timeless pop-punk". In 2017, Fall Out Boy were announced as the first winners of Rock Sound's Hall of Fame Award as part of the Rock Sound Awards. In an interview accompanying the band's win, Patrick Stump stated one reason for the band's success is Sugar, We're Goin Down, explaining that the "song changed my life, I have a music career in a large part due to that song". In 2009, Phoenix New Times writer Martin Cizmar had described Sugar, We're Goin Down as possibly "the most listened-to emo track of all time". CANNOTANSWER
|
2017, Fall Out Boy were announced as the first winners of Rock Sound's Hall of Fame Award as part of the Rock Sound Awards.
|
Fall Out Boy is an American rock band formed in Wilmette, Illinois, a suburb of Chicago, in 2001. The band consists of lead vocalist and rhythm guitarist Patrick Stump, bassist Pete Wentz, lead guitarist Joe Trohman, and drummer Andy Hurley. The band originated from Chicago's hardcore punk scene, with which all members were involved at one point. The group was formed by Wentz and Trohman as a pop punk side project of the members' respective hardcore bands, and Stump joined shortly thereafter. The group went through a succession of drummers before landing Hurley and recording the group's debut album, Take This to Your Grave (2003). The album became an underground success and helped the band gain a dedicated fanbase through heavy touring, as well as commercial success. Take This to Your Grave has commonly been cited as an influential blueprint for pop punk music in the 2000s.
With Wentz as the band's lyricist and Stump as the primary composer, the band's 2005 major-label breakthrough, From Under the Cork Tree, produced two hit singles, "Sugar, We're Goin Down" and "Dance, Dance", and went double platinum, transforming the group into superstars and making Wentz a celebrity and tabloid fixture. Fall Out Boy received a Best New Artist nomination at the 2006 Grammy Awards. The band's 2007 follow-up, Infinity on High, debuted at number one on the Billboard 200 with 260,000 first week sales. It produced two worldwide hit singles, "This Ain't a Scene, It's an Arms Race" and "Thnks fr th Mmrs". Folie à Deux, the band's fourth album, created a mixed response from fans and commercially undersold expectations. Following the release of Believers Never Die – Greatest Hits, the band took a hiatus from 2009 to 2013 to "decompress", exploring various side projects.
The band regrouped and recorded Save Rock and Roll (2013), becoming its second career number one and included the top 20 single "My Songs Know What You Did in the Dark (Light Em Up)". The same year, the band released the EP PAX AM Days, consisting of 8 punk-influenced tracks that were recorded during a two-day session with producer Ryan Adams. The band's sixth studio album, American Beauty/American Psycho (2015) peaked at number one on the Billboard 200, and spawned the top-10 hit "Centuries" and the single "Uma Thurman" which reached No. 22 on the Billboard Hot 100. This was followed by their first remix album Make America Psycho Again, which featured the remixes of all original tracks from American Beauty/American Psycho by a different artist on each song, including Migos and Wiz Khalifa.
The band's seventh studio album Mania (2018), also peaked at No. 1, making it the band's fourth No. 1 album and sixth consecutive top 10 album. Their supporting tour for the album included a show at Wrigley Field, their first headlining stadium show. In 2018, Fall Out Boy also received their second Grammy nomination for Best Rock Album for Mania. A co-headlining 2020 tour with Green Day and Weezer titled the Hella Mega Tour was announced in September 2019. Each band released new music in support of the tour, with Fall Out Boy announcing the release of a second greatest hits album, Greatest Hits: Believers Never Die – Volume Two, and a supporting single, "Dear Future Self (Hands Up)". The tour, which spans North American, Europe and Oceania, is Fall Out Boy's first stadium tour and includes shows in Wrigley Field, Dodger Stadium and the London Stadium.
History
2001–2002: Early years
Fall Out Boy was formed in 2001 in the Chicago suburb of Wilmette, Illinois by friends Pete Wentz and Joe Trohman. Wentz was a "visible fixture" of the relatively small Chicago hardcore punk scene of the late 1990s, performing in groups such as Birthright, Extinction and First Born. He was also part of the metalcore band Arma Angelus and the more political Racetraitor, "a band that managed to land the covers of Maximumrocknroll and Heartattack fanzines before releasing a single note of music". Wentz was growing dissatisfied with the changing mores of the community, which he viewed as a transition from political activism to an emphasis on moshing and breakdowns. With enthusiasm in Arma Angelus waning, he created a pop punk side project with Trohman that was intended to be "easy and escapist". Trohman met Patrick Stump, then a drummer for grindcore band Xgrinding processX and a host of other bands that "never really managed", at a Borders bookstore in Wilmette. While Trohman was discussing Neurosis with a friend, Stump interrupted them to correct their classification of the band; the ensuing conversation soon shifted to Trohman and Wentz's new project. Stump, viewing it as an opportunity to try out with "local hardcore celebrity" Wentz, directed Trohman to his MP3.com page, which contained sung-through acoustic recordings. Stump intended to try out as a drummer, but Trohman urged him to bring out his acoustic guitar; he impressed Trohman and Wentz with songs from Saves the Day's Through Being Cool. While Wentz wanted Racetraitor bandmate Andy Hurley to join the group as drummer, Hurley appeared uninterested and too busy at the time.
The band's first public performance came in a cafeteria at DePaul University alongside Stilwell and another group that performed Black Sabbath's self-titled debut album in its entirety. The band's only performance with guitarist John Flamandan and original drummer Ben Rose was in retrospect described as "goofy" and "bad", but Trohman made an active effort to make the band work, picking up members for practice. Wentz and Stump argued over band names; the former favored verbose, tongue-in-cheek names, while the latter wanted to reference Tom Waits in name. After creating a short list of names that included "Fall Out Boy", a fictional character from The Simpsons and Bongo Comics, friends voted on the name. The band's second performance, at a southern Illinois university with The Killing Tree, began with Wentz introducing the band under a name Stump recalled as "very long". According to Stump, an audience member yelled out, "Fuck that, no, you're Fall Out Boy!", and the band were credited later in the show under that name by Killing Tree frontman Tim McIlrath. As the group looked up to McIlrath, and Trohman and Stump were "die-hard" Simpsons fans, the name stuck. The group's first cassette tape demo was recorded in Rose's basement, but the band later set off for Wisconsin to record a proper demo with 7 Angels 7 Plagues drummer Jared Logan, whom Wentz knew through connections in the hardcore scene.
Several more members passed through the group, including drummer Mike Pareskuwicz of Subsist and guitarist T.J. "Racine" Kunasch. While Stump at this point felt uninterested in the group, Wentz was, according to Uprising Records owner Sean Muttaqi, viewing the group as "the thing that would make him famous. He had a clear vision." Wentz was "singularly focused on taking things to the next level" and began promoting the band via early social media. Muttaqi got word of the demo and wanted to release half of it as a split extended play with Hurley's band Project Rocket, which the band viewed as competition. Uprising desired to release an album with the emerging band, which to that point had only written three songs. With the help of Logan, the group attempted to put together a collection of songs in two days, and recorded them as Fall Out Boy's Evening Out with Your Girlfriend. The rushed recording experience and underdeveloped songs left the band dissatisfied. When the band set off to Smart Studios in Madison, Wisconsin to record three songs for a possible split 7-inch with 504 Plan, engineer Sean O'Keefe suggested the band record the trio with Hurley. Hurley was also recording an EP with his new group the Kill Pill in Chicago on the same day, but raced to Madison to play drums for Fall Out Boy. "It was still a fill-in thing but when Andy sat in, it just felt different. It was one of those "a-ha" moments", recalled Wentz.
2003–2004: Early success and Take This to Your Grave
The band booked a two-week tour with Spitalfield, but Pareskuwicz was unable to get time off from work and Kunasch was kicked out of the band as the group "had all gotten sick of him". Kunasch was temporarily replaced by friend Brandon Hamm on guitar, alongside drummer Chris Envy from the recently disbanded Showoff, but both quit prior to the kickoff of the tour. The band invited Hurley instead to fill-in once more, while Stump borrowed one of Trohman's guitars for the trek. While most shows were cancelled, the band played any show possible: "Let's just get on whatever show we can. You can pay us in pizza", remembered Wentz. As the tour concluded, the general consensus was that Hurley would be the band's new drummer, and the band began to shop around the three songs from the group's unreleased split as a demo to record labels. The band members set their sights on pop punk labels, and attempted with considerable effort to join Drive-Thru Records. A showcase for label co-founders went largely mediocre, and the band were offered to sign to side label Rushmore, an offer that the members of the band declined. They got particularly far in discussions with The Militia Group and Victory Records, and Bob McLynn of Crush Management became the band's first manager. The band re-entered the studio with O'Keefe to record several more tracks to create label interest. Wentz felt "in the backseat" in writing the songs and temporarily questioned his place in the group, but Stump argued in his favor: "No! That's not fair! Don't leave me with this band! Don't make me kind of like this band and then leave it! That's bullshit!"
The band's early tour vehicle was a "tiny V6 that was running on three cylinders, and it was not getting enough air, so it would drive really slowly", recalled Wentz. "We had to turn on the hot air to reach the speed limit, so we had the heat on all the time in 120-degree weather. It was so hot it melted the plastic molding around the windows. When it rained, we'd get all wet." John Janick of Fueled by Ramen had heard an early version of a song online and cold-called the band members at their apartment, first reaching Stump and later talking to Wentz for an hour. Rob Stevenson from Island Records eventually offered the band a "first-ever incubator sort of deal", in which they gave the band money to sign with Fueled by Ramen for the group's one-off debut, knowing they could "upstream" the band to radio on the sophomore record. Fueled by Ramen, at the time the smallest of independent labels clamoring to sign the band, would effectively release the group's debut album and help build the band's ever-expanding fanbase before the group moved to Island. The band again partnered with O'Keefe at Smart Studios, bringing together the three songs from the demo and recording an additional seven songs in nine days. The band, according to Stump, didn't "sleep anywhere that we could shower [...] There was a girl that Andy's girlfriend at the time went to school with who let us sleep on her floor, but we'd be there for maybe four hours at a time. It was crazy." As the band progressed and the members' roles became more defined, Wentz took lyrics extremely seriously in contrast to Stump, who had been the group's primary lyricist up to that point. Arguments during the recording sessions led to what "most reductively boils down to Wentz writing the lyrics and Stump writing the melodies".
The band's debut album, Take This to Your Grave, was issued by Fueled by Ramen in May 2003. Previously, one of the band's earliest recordings, Evening Out with Your Girlfriend, had not seen release until shortly before Grave in March 2003, when the band had gained considerable momentum. "Our record was something being rushed out to help generate some interest, but that interest was building before we could even get the record out", said Sean Muttaqi. The band actively tried to stop Uprising from releasing the recordings (as the band's relationship with Muttaqi had grown sour), as the band viewed it as a "giant piece of garbage" recorded before Hurley's involvement that the band members ceased to consider the debut album of the group. Gradually, the band's fanbase grew in size as the label pushed for the album's mainstream success. According to Wentz, shows began to end in a near-riot and the group were banned from several venues because the entire crowd would end up onstage. The band gained positive reviews for subsequent gigs at South by Southwest (SXSW) and various tour appearances. The band joined the Warped Tour for five dates in the summer of 2004, and on one date the band had only performed three songs when the stage collapsed due to the large crowd. The band appeared on the cover of the August 2004 edition of Alternative Press, and listening stations at Hot Topic partially helped the album move 2,000-3,000 copies per week by Christmas 2004, at which point the label considered the band "tipping" into mainstream success.
2005–2006: From Under the Cork Tree
The band had been flooded with "hyperbolic praise", and deemed "the next big thing" by multiple media outlets. Before recording the follow-up to its debut, the band released the acoustic EP/DVD My Heart Will Always Be the B-Side to My Tongue. The EP was the band's first charting on the Billboard 200 at number 153. From Under the Cork Tree was recorded in Burbank, California, and served as the first time the band had stayed in California for an extended period of time. The group lived in corporate housing during the making of the album. In contrast to Take This to Your Graves rushed recording schedule, Fall Out Boy took a much more gradual pace while working on From Under the Cork Tree. It was the first Fall Out Boy record in which Stump created all the music and Wentz wrote all the lyrics, continuing the approach they took for some songs on Grave. Stump felt that this process was much more "smooth" as every member was able to focus on his individual strengths. He explained: "We haven't had any of those moments when I play the music and he'll say, 'I don't like that,' and he'll read me lyrics and I'll say, 'I don't like those lyrics.' It's very natural and fun." Despite this, the band had great difficulty creating its desired sound for the album, constantly scrapping new material. Two weeks before recording sessions began, the group abandoned ten songs and wrote eight more, including the album's first single, "Sugar, We're Goin Down".
The band suffered a setback, however, when Wentz had an emotional breakdown in February 2005, culminating in a suicide attempt. He had withdrawn from the rest of the group, with his condition only apparent through his lyrics, and had also become obsessed with the recent Indian tsunami and his own self-doubt. "It is particularly overwhelming when you are on the cusp of doing something very big and thinking that it will be a big flop", he said later. Wentz swallowed a handful of Ativan anxiety pills (he described the act as "hypermedicating") in the Chicago Best Buy parking lot. After being rushed to the hospital and having his stomach pumped, Wentz moved back home to Wilmette to live with his parents.
From Under the Cork Tree debuted and peaked at number nine on the Billboard 200 upon its May 2005 release. It was spearheaded by the band's breakthrough single, "Sugar, We're Goin' Down", reached number eight in the US Billboard Hot 100 in September 2005, and in the UK chart in February 2006, crossing over from Alternative to Pop radio. "Dance, Dance", the album's second single, also was a top ten hit in the United States and was certified 3x Platinum in 2014. The record's success led to stardom among teenagers in North America, and the band's first arena tour had the group playing to 10,000 people per night. Rolling Stone wrote that the band's "anthems", distributed and marketed through their MySpace, connected with "skinny-jeans-wearing teen girls". In support of From Under the Cork Tree, the band toured exhaustively with international tours, TRL visits, late-night television appearances and music award shows. The band performed at music festivals in 2005 and 2006, including the third Nintendo Fusion Tour in the fall of 2005, joining The Starting Line, Motion City Soundtrack, Boys Night Out, and Panic! at the Disco on a 31 city tour. The album earned the band a Grammy nomination for Best New Artist, and has sold over 2.7 million copies in the United States, becoming the group's best-selling album. "Sugar, We're Goin Down" also won the band an MTV Music Video Award.
2007: Infinity on High
In the wake of the band's multiplatinum success, the "especially extroverted" Wentz became the most publicly visible member of the band. He confided to the press his suicide attempt and nude photos of the bassist appeared on the Internet in 2006. He gained additional exposure through his clothing line, his Decaydance record label (an imprint of Fueled by Ramen), and eventually a celebrity relationship with pop singer Ashlee Simpson, which made the two tabloid fixtures in the United States. Due to its increased success from the group's MTV Video Music Award, the group headlined the Black Clouds and Underdogs Tour, a pop punk event that featured The All-American Rejects, Well-Known Secret, Hawthorne Heights, and From First to Last. The tour also featured The Hush Sound for half of the tour and October Fall for half. The band played to 53 dates in the U.S., Canada, and the UK.
After taking a two-month-long break following the band's Black Clouds and Underdogs tour in promotion of the band's 2005 album From Under the Cork Tree, Fall Out Boy returned to the studio to begin work on a follow-up effort. The band began writing songs for the new album while touring, and intended to quickly make a new album in order to keep momentum in the wake of its breakthrough success. In early 2007, the group released its third studio album, Infinity on High, which was the band's second release on major label Island. The album marked a departure in Fall Out Boy's sound in which the band implemented a diverse array of musical styles including funk, R&B, and flamenco. As reported by Billboard, Fall Out Boy "drifts further from its hardcore punk roots to write increasingly accessible pop tunes", a slight departure from the group's previous more pop punk sound predominant on their 2003 effort, Take This to Your Grave.
Infinitys first week was a major success and was the band's biggest selling week, selling 260,000 copies to debut at No. 1 on the US Billboard 200 and inside the top five worldwide. This charting was first started with lead single "The Carpal Tunnel of Love", with minor success on the Billboard charts. This success was bolstered by the further-successful second single "This Ain't a Scene, It's an Arms Race", which reached No. 2 in both the US and UK as well as the top five in many other countries. On the band's decision to pick the song as a single, Wentz commented "There may be other songs on the record that would be bigger radio hits, but this one had the right message." "Thnks fr th Mmrs", the third single, peaked just outside the top 10 at No. 11 on the strength of sales and popular radio play, and went on to sell over two million copies in the US. It found its greatest success in Australia where it charted at No. 3. In 2007, Fall Out Boy placed at No. 9 in the Top Selling Digital Artists chart with 4,423,000 digital tracks sold, according to Nielsen SoundScan. The album itself has sold over two million copies worldwide and subsequently was certified Platinum in the United States.
Fall Out Boy then headlined the 2007 Honda Civic Tour to promote the album. Though the tour was initially postponed due to personal issues, it would take place with +44, Cobra Starship, The Academy Is... and Paul Wall as supporting acts. The band also headlined the Young Wild Things Tour, an international arena tour featuring Gym Class Heroes, Plain White T's and Cute Is What We Aim For.
Inspired by Maurice Sendak's 1963 children's book Where the Wild Things Are, the concert tour and included sets designed by artist Rob Dobi containing images from the book. The band's "hugely successful" amphitheater tour to promote Infinity led to the release of the 2008 live album Live in Phoenix, consisting of live material recorded during a June 22, 2007, concert at Phoenix's Cricket Wireless Pavilion, a date of the Honda Civic Tour. The disc also included a studio cover of Michael Jackson's "Beat It", with guitarist John Mayer guesting for a guitar solo. The track was released as a single and became a mainstay on the iTunes top ten.
2008–2009: Folie à Deux
The band members decided to keep publicity down during the recording of their fourth album, as the group was taken aback by such press surrounding Infinity on High. Sessions proved to be difficult for the band; Stump called the making of the album "painful", noting that he and Wentz quarreled over many issues, revealing "I threw something across the room over a major-to-minor progression." On previous albums, Trohman felt he and Hurley did not have enough musical freedom and that Stump and Wentz exerted too much control over the group: "I felt, 'Man, this isn't my band anymore.' It's no one's fault, and I don't want to make it seem that way. It was more of a complex I developed based on stuff I was reading. It's hard to hear, 'Joe and Andy are just along for the ride. To amend the situation, Trohman sat down with Stump to communicate his concerns, which led to more collaboration on Folie à Deux. "It made me feel like I owned the songs a lot more. It made me really excited about contributing to Fall Out Boy and made me find my role in the band," Trohman recalled.
As the release of the new album approached, the band and its management found that they would have to navigate changes in the music industry, facing declining record sales, the lack of a proper outlet for exhibition of music videos, and the burgeoning US economic crisis. To promote the album, Wentz launched a viral campaign in August 2008, inspired by George Orwell's novel Nineteen Eighty-Four (1949), and the autocratic, overbearing Big Brother organization. Folie à Deux, released in December 2008, did not perform as well commercially as its predecessor, Infinity on High. It debuted at number eight on the US Billboard 200 chart with first week sales of 150,000 copies during a highly competitive week with other big debuts, becoming Fall Out Boy's third consecutive top ten album. This is in contrast to the band's more successful previous effort which shifted 260,000 copies in its opening week to debut at number one on the chart. Folie spent two weeks within the top 20 out of its 22 chart weeks. It also entered Billboard's Rock Albums and Alternative Albums charts at number three. Within two months of its release, Folie à Deux was certified Gold in the United States by the Recording Industry Association of America (RIAA), denoting shipments of 500,000 copies. The lead single, "I Don't Care", reached a peak at number twenty-one on the Billboard Hot 100, and was certified Platinum by the RIAA for shipments of one million copies.
To promote the album, Fall Out Boy embarked on the Believers Never Die Tour Part Deux, which included dates in the United States and Canada. The constant touring schedule became difficult for the band due to conflicting fan opinion regarding Folie à Deux: concertgoers would "boo the band for performing numbers from the record in concert", leading Stump to describe touring in support of Folie as like "being the last act at the vaudeville show: We were rotten vegetable targets in Clandestine hoods." "Some of us were miserable onstage", said guitarist Joe Trohman. "Others were just drunk." A greatest hits compilation, Believers Never Die – Greatest Hits, followed in the fall, and following these events, the band decided to take a break. The band's decision stemmed from disillusionment with the music industry and Stump recalled that "We found ourselves running on fumes a little bit – creatively and probably as people, too." Stump realized the band was desperate to take a break; he sat the group down and explained that a hiatus was in order if the band wanted to continue in the future. All involved felt the dynamic of the group had changed as personalities developed.
Rumors and misquotes led to confusion as to what such a break truly meant; Wentz preferred to not refer to the break as a "hiatus", instead explaining that the band was just "decompressing". Fall Out Boy played its last show at Madison Square Garden on October 4, 2009. Near the end, Blink-182's Mark Hoppus shaved Wentz's head in a move Andy Greene in Rolling Stone would later describe as a "symbolic cleansing of the past, but also the beginning of a very dark chapter for the band".
2010–2012: Hiatus and side projects
By the time the break began, Stump was the heaviest he had ever been and loathed the band's image as an "emo" band. Coming home from tour, drummer Andy Hurley "went through the darkest depression [I've] ever felt. I looked at my calendar and it was just empty." Wentz, who had been abusing Xanax and Klonopin, was divorced by his wife Ashlee Simpson and returned to therapy. "I'd basically gone from being the guy in Fall Out Boy to being the guy who, like, hangs out all day", Wentz recalled. Previously known as the "overexposed, despised" leader of the band, Wentz "simply grew up", sharing custody of his son and embracing maturity: "There was a jump-cut in my life. I started thinking – like, being old would be cool."
During the hiatus, the band members each pursued individual musical interests, which were met with "varying degrees of failure". Stump was the only member of the quartet to take on a solo project while Fall Out Boy was on hiatus, recording debut album Soul Punk entirely on his own: he wrote, produced, and played every instrument for all tracks on the record. In addition, he married his longtime girlfriend and lost over sixty pounds through portion control and exercise. Stump blew through most of his savings putting together a large band to tour behind Soul Punk, but ticket sales were sparse and the album stalled commercially. During a particularly dark moment in February 2012, Stump poured his heart out in a 1500-word blog entry called "We Liked You Better Fat: Confessions of a Pariah". In the post, Stump lamented the harsh reception of the record and his status as a "has-been" at 27. Stump revealed that fans harassed him on his solo tour, hurling insults such as "We liked you better fat", and noted that "Whatever notoriety Fall Out Boy used to have prevents me from having the ability to start over from the bottom again." Aside from Soul Punk and personal developments, Stump moonlighted as a professional songwriter/producer, co-writing tracks with Bruno Mars and All Time Low, and pursued acting.
Wentz formed electronic duo Black Cards with vocalist Bebe Rexha in July 2010. The project released one single before album delays led to Rexha's departure in 2011. Black Cards added Spencer Peterson to complete the Use Your Disillusion EP in 2012. Wentz also completed writing a novel, Gray, that he had been working on for six years outside the band, and began hosting the reality tattoo competition show Best Ink. Hurley ventured farther into rock during the hiatus, drumming with multiple bands over the three-year period. He continued to manage his record label, Fuck City, and drummed for bands Burning Empires and Enabler. He also formed heavy metal outfit The Damned Things with Trohman, Scott Ian and Rob Caggiano of Anthrax, and Keith Buckley of Every Time I Die. Despite this, the members all remained cordial to one another; Wentz was Stump's best man at his wedding. The hiatus was, all things considered, beneficial for the group and its members, according to Hurley. "The hiatus helped them all kind of figure themselves out", he explained in 2013. "Especially Joe and Patrick, who were so young. And Pete is a million times better."
2013–2014: Reformation and Save Rock and Roll
Stump and Wentz met up for the first time in several years in early 2012 for a writing session. Wentz reached out to Stump after he penned his letter, as he too felt he was in a dark place and needed a creative outlet. He was at first reluctant to approach Stump, likening the phone call to reconnecting with a lover after years of acrimony. "I know what you need – you need your band", Wentz told Stump. "I think it's kind of weird that we haven't really seen each other this year. We paid for each other's houses and you don't know my kid", Wentz remarked. The result, "three or four" new songs, were shelved with near immediacy, with the two concluding that "it just wasn't right and didn't feel right." Several months later, the two reconvened and wrote tracks that they felt truly represented the band in a modern form. The band decided that if a comeback was in order, it must represent the band in its current form: "We didn't want to come back just to bask in the glory days and, like, and collect a few checks and pretend ... and do our best 2003 impersonation", said Stump. Afterwards, the quartet held an all-day secret meeting at their manager's home in New York City where they discussed ideas and the mechanics of getting together to record. Trohman was the last to be contacted, through a three-hour phone call from Stump. As Trohman was arguably the most excited to begin other projects, he had a list of stipulations for rejoining the band. "If I'm not coming back to this band writing music […] then I don't want to", he remarked. Stump supported Trohman's ambition saying Trohman "needed to be writing more".
The band members' main goal was to reinvent the group's sound from scratch, creating what Trohman called a "reimagining of the band", which focuses more on pop. Sessions were not without difficulties, as the band struggled initially to produce new material. Walker had doubts about the band's volatility, feeling the record would not get made following "meltdown after meltdown". The entire album was recorded in secrecy from the music industry, critics, and fans of the band. While specifically denying that the group's announcement was a reunion because "[the group had] never broke[n] up", the band announced a reunion tour and details of Save Rock and Roll on February 4, 2013. The quartet's announcement included a photo of the group that had been taken earlier that morning of the band members huddled around a bonfire tossing copies of their back catalog into flames at the original location of Comiskey Park, the location of 1979's Disco Demolition Night, a baseball promotional event which involved destroying disco records. A message on the group's website read "when we were kids the only thing that got us through most days was music. It's why we started Fall Out Boy in the first place. This isn't a reunion because we never broke up. We needed to plug back in and make some music that matters to us. The future of Fall Out Boy starts now. Save rock and roll..." Save Rock and Roll debuted at number one on the Billboard 200 chart, with first week sales of 154,000 copies in the United States, according to Nielsen SoundScan. The arrival of Save Rock and Roll posted the quartet's third-biggest sales week, and earned the group's second career number one on the chart. The band's chart success was best described as unexpected by music journalists. Andy Greene in Rolling Stone called the band's comeback a "rather stunning renaissance", and Entertainment Weekly called the number one a "major accomplishment for a band whom many in the industry had dismissed as kings of a genre whose time had passed".
The record's lead single, "My Songs Know What You Did in the Dark (Light Em Up)", peaked at number 13 on the Billboard Hot 100, marking the band's first top twenty single since the group's 2008 cover of Michael Jackson's "Beat It". It was certified 3x Platinum in the US for over 3 million sales. Inspired in part by Daft Punk's Interstella 5555: The 5tory of the 5ecret 5tar 5ystem, the band released a music video for every song on the album in a series titled The Young Blood Chronicles between February 2013 and May 2014. The band also released a hardcore punk-influenced EP, PAX AM Days, in late 2013. Fall Out Boy covered Elton John's (who was featured on the Save Rock And Roll title track) song "Saturday Night's Alright for Fighting" for inclusion in the fortieth anniversary re-release edition of Goodbye Yellow Brick Road on March 25, 2014, alongside covers by different artists.
Fall Out Boy headlined Save Rock And Roll tours (including US, Australian and European legs) and played at music festivals around the world for one and a half years. The group co-headlined Monumentour with Paramore in North America to close the Save Rock And Roll era.
2014–2016: American Beauty/American Psycho
On June 2, 2014, Wentz stated that he and Stump were writing new music: "We're writing. I was just listening to something Patrick had written in the trailer. So we're writing, finishing out the album cycle in South Africa in September." In a later interview with Rock Sound regarding the status of the album, Wentz commented "We don't have an exact timetable yet. I have a two-week-old son and Patrick has a baby on the way in October, so there's a lot going on." as well as stating a rough release time as early 2015. In December 2014 the band played radio-sponsored Christmas shows, including KROQ's Almost Acoustic Christmas.
"Centuries" – the first single of Fall Out Boy's sixth studio album – premiered on September 8, 2014, on BBC Radio 1, receiving a worldwide release the next day. By the 2010s, there were few rock bands achieving success on mainstream radio and the charts, but "Centuries" peaked at No. 10 on the Billboard Hot 100 and No. 13 on Billboard Mainstream Top 40. Fall Out Boy also was featured on the track "Back to Earth" from Steve Aoki's second album Neon Future I, which was released on September 30, 2014. Another song titled "Immortals" was released October 14, 2014, as part of the soundtrack for the Walt Disney film Big Hero 6. The group remade the Chicago Bulls's anthem "Only the Bulls" with guest Lupe Fiasco. The recording of the song was released in November 2014.
On November 24, 2014, the title of Fall Out Boy's sixth studio album was announced as American Beauty/American Psycho; the album was released on January 20, 2015. The album's title track premiered on BBC Radio 1 in the UK along with the album's title reveal. American Beauty/American Psycho debuted at No. 1 on the US Billboard 200 with 192,000 first week sales and 218,000 equivalent album units, becoming Fall Out Boy's third No. 1 album. The band played two small venue release shows in January 2015, in London and Chicago. American Beauty/American Psycho was certified platinum in the US on March 1, 2016, after selling 1 million units. From February through March, the band played at the Australian Soundwave festival for the first time, with two additional side shows in Sydney and Brisbane.
Fall Out Boy inducted Green Day into the Rock and Roll Hall of Fame on April 18, 2015. On May 18, the group performed its song "Uma Thurman" with Wiz Khalifa on the 2015 Billboard Music Awards. In June–August 2015, Fall Out Boy toured across the United States with Wiz Khalifa, Hoodie Allen, and MAX on the "Boys of Zummer Tour".
On October 1, 2015, the "American Beauty/American Psycho" European tour kicked off in Dublin, Ireland, and consisted of 12 dates with shows in the UK, Russia, and Europe. On May 24, 2015, it was announced English rapper Professor Green would support Fall Out Boy on the 8-date leg of the band's UK tour. New York based dance-duo Matt and Kim were added as additional support for the UK tour. On October 23, 2015, Fall Out Boy announced via Twitter the release of a re-worked version of its sixth studio album, Make America Psycho Again. The remix album features a remade version of each track from the original record, each featuring a different rapper. The album was released on October 30, 2015. It included the version of "Uma Thurman" featuring Wiz Khalifa which had been originally performed at the Billboard Music Awards. On March 1, 2016, it was announced Fall Out Boy were to headline Reading and Leeds Festivals in the UK in August 2016 along with Biffy Clyro.
2017–present: Mania
On April 27, 2017, Fall Out Boy announced that their new album was set to be released on September 15, titled Mania, stylized as M A N I A. The first single, "Young and Menace", was released the same day. The second single, "Champion", was released in the U.S. on June 22 and worldwide on June 23. Music videos have been posted to Vevo and YouTube for both songs. The band plans to begin the Mania Tour in North America in October 2017 with hip hop artist blackbear and actor-rapper Jaden Smith, and will perform in Australia in 2018 with indie band WAAX. On August 3, 2017, Patrick Stump tweeted that the album's release would be pushed back to January 19, 2018, because the band were not satisfied with the results of their work at the time.
"The Last of the Real Ones", released on September 14, 2017, in North America and worldwide the following day, was the third single from Mania to be released, and was played on Jimmy Kimmel Live! on September 18, 2017, after being debuted at House of Blues in Chicago on September 16. The band announced the album's completion on November 6, 2017, along with the final track list. "Hold Me Tight or Don't" was then released as the fourth single on November 15, with the music video being released alongside. Mania was officially released January 19, 2018 and debuted at number one on the Billboard 200, making it the band's third consecutive and fourth chart-topping debut overall.
On February 23, 2018, the band released an EP called Llamania. The EP contains three unfinished demo recordings. On August 23, 2018, the band released an EP called Lake Effect Kid. The EP includes a new version of a demo, with the same name, from the band's 2008 mixtape, CitizensFOB Mixtape: Welcome to the New Administration. In September 2018, Fall Out Boy headlined Wrigley Field in the band's hometown of Chicago, marking a milestone in their career as their first headline show at a stadium. On December 7, 2018, Fall Out Boy received their second Grammy nomination for Best Rock Album for Mania.
In 2019, the band was sued by Furry Puppet Studio for overusing llama puppets made by the company. According to the company, the llamas were only licensed for use in the "Young and Menace" video but were used at live shows, on merchandise, during TV appearances, and in multiple music videos. On September 10, 2019, the band announced the Hella Mega Tour with Green Day and Weezer as headliners along themselves, with The Interrupters as an opening act. They also released "Dear Future Self (Hands Up)" off their second compilation album, Greatest Hits: Believers Never Die – Volume Two, released in November 2019. Due to the COVID-19 pandemic, the summer leg of the tour was rescheduled to 2021. On August 4, 2021, during the Hell Mega Tour, the band announced that they would not be performing at Boston's Fenway Park due to one of the band's team members testing positive for COVID-19. However, Green Day and Weezer performed as scheduled.
Musical style and influences
While widely considered to be a pop punk band, Fall Out Boy has also been described as pop rock, pop, alternative rock, emo, emo pop, power pop, punk rock, and electropop, with elements of electronic, R&B, soul, funk, blue-eyed soul, hip hop, and hardcore punk, The band cites emo group The Get Up Kids as an influence among many other bands. When interviewed for a retrospective article in Alternative Press at the time The Get Up Kids disbanded in 2005, Pete Wentz stated that "Fall Out Boy would not be a band if it were not for The Get Up Kids." Early in the band's career, when Jared Logan was producing the group's debut album, he asked bassist Pete Wentz what sound the band desired for recording. Wentz responded by "handing over the first two New Found Glory records". Wentz also cites Green Day, Misfits, the Ramones, Screeching Weasel, Metallica, Earth Crisis, Gorilla Biscuits and Lifetime as influences. The band acknowledges its hardcore punk roots as an influence; all four members were involved in the Chicago hardcore scene before joining Fall Out Boy. Wentz described the band's affiliation with the genre by saying "I think the interesting thing is that we are all hardcore kids that are writing pop music...It gives us a different style because at our core we are always hardcore. That aspect is always going to be evident in the music. We are hardcore kids that couldn't quite cut it as hardcore kids." He referred to Fall Out Boy's genre as "softcore": hardcore punk mixed with pop sensibility. Lead singer Patrick Stump, however, is also influenced by artists he listened to while growing up including Prince, Michael Jackson, and David Bowie.
Fall Out Boy's albums Take This to Your Grave and From Under the Cork Tree are both said to have pop punk as well as punk rock sounds and influences, and Infinity on High features a wide range of styles and instrumentation, including orchestral arrangements ("Thnks fr th Mmrs") and a slower piano ballad ("Golden"). R&B influences on Infinity on High are on songs such as "This Ain't a Scene, It's an Arms Race" and two of the album's tracks are produced by R&B singer/producer Babyface. On Folie à Deux, the group continues to evolve its sound, with less of a pop punk sound and increasing the use of piano (such as "What a Catch, Donnie", "Headfirst Slide into Cooperstown on a Bad Bet", and "20 Dollar Nose Bleed"), synthesizers, and guest artists. The band also shows a number of influences, with "Disloyal Order of Water Buffaloes" borrowing a chord sequence from The Who song "Baba O'Riley". The group has worked with many producers and artists, including The Neptunes, Timbaland, Ryan Adams, Lil Wayne and Kanye West, the latter of which Patrick Stump described as "the Prince of his generation".
When the band returned from hiatus with Save Rock and Roll, their main goal was to reinvent the sound of the group from scratch, creating what Trohman called a "reimagining of the band", which focused more on pop and moved away from the punk aspects of their sound. While mostly an album which mixes pop, rock and R&B, the record was still described by Dave Simpson of The Guardian as a pop punk record, but also noted influences from Heart in the album's ballads. In American Beauty/American Psycho, the band felt influences from playing with different artists and expanded on boundaries further than Save Rock and Roll did. In an interview with Rolling Stone, guitarist Joe Trohman said the album has "hip hop grooves with guitars on it", with "more in your face guitar than Save Rock and Roll". Annie Zaleski of Alternative Press described American Beauty/American Psycho as a "mix of fluid grooves, punky riffs and outré pop sensibilities".
A central part of Fall Out Boy's sound is rooted in the band's lyrics, mainly penned by bassist Pete Wentz, who commonly uses irony and other literary devices to narrate personal experience and stories. Wentz stated, "I write about what I'm going through most of the time, or what I imagine people are going through most of the time." He draws inspiration from authors such as Charles Bukowski, Ernest Hemingway, and JT LeRoy, as well as rappers such as Lil Wayne, who he described as his primary influence while writing Infinity on High. On Fall Out Boy's earlier works, Wentz wrote primarily about love and heartbreak. Themes addressed on From Under the Cork Tree include narcissism and megalomania, while many tracks on Infinity on High discuss the ups and downs of fame. While writing Folie à Deux, he explored moral dilemmas and societal shortcomings, as well as concepts such as trust, infidelity, responsibility, and commitment. While the album does contain political overtones, the band wanted to avoid being overt about these themes, leaving many lyrics open to interpretation for listeners.
Legacy
Fall Out Boy have been instrumental in the careers of other artists, such as Panic! at the Disco, whom Pete Wentz signed to his record label, Decaydance Records, in late 2004. Several artists, such as You Me at Six and Taylor Swift, have created or performed covers of Fall Out Boy songs in homage to the band.
The Fall Out Boy band members were the first inductees to the "Hall of Wood" at the 2015 MtvU Woodie Awards and performed a medley of five songs at the ceremony. This honor is given to artists who have used MTV Woodie Awards as a "launching pad" in achieving chart topping success within their musical careers, thus influencing up and coming bands. The award also recognizes bands "sticking to their roots" and "maintaining their loyal fan base". The group had won the Woodie Award for Streaming for "Grand Theft Autumn" at the first ceremony in 2004.
In a list of the 50 greatest pop-punk albums of all time, Rolling Stone placed Fall Out Boy's 2003 album Take This To Your Grave as the fifth greatest, citing it as "[ushering] in a whole new, genre-blurring scene, in which heavy riffs and a screamo aesthetic mingled with old-fashioned teen heartbreak". In a similar list, Kerrang! magazine placed Take This To Your Grave at number 11 out of 51, describing it as a "blueprint for both break-up records and timeless pop-punk". In 2018, Rock Sound put Take This To Your Grave at number 18 in their list of the 100 best pop-punk albums, describing it as "poetic and utterly brilliant", while 2005's From Under The Cork Tree was placed at number 3 behind only Green Day's Dookie and Blink-182's Enema of the State. Rock Sound described From Under the Cork Tree as "intelligent, intriguing and utterly intoxicating...They will still be talking about this one in 50 years time."
In 2017, Fall Out Boy were announced as the first winners of Rock Sound's Hall of Fame Award as part of the Rock Sound Awards. In an interview accompanying the band's win, Patrick Stump stated one reason for the band's success is Sugar, We're Goin Down, explaining that the "song changed my life, I have a music career in a large part due to that song". In 2009, Phoenix New Times writer Martin Cizmar had described Sugar, We're Goin Down as possibly "the most listened-to emo track of all time".
As of 2020, the band are two-time Grammy Award nominees, their first nomination having been for Best New Artist at the 2006 Grammy Awards and their second for Best Rock Album for their 2018 album MANIA at the 2019 Grammy Awards.
On July 30, 2020, the band were nominated for "Best Rock Video" for the song "Dear Future Self (Hands Up)" at the 2020 MTV Video Music Awards, which makes them the most nominated band in history for the category.
Band membersCurrent members Patrick Stump – lead vocals , rhythm guitar, keyboards , percussion
Joe Trohman – lead guitar, backing vocals , keyboards
Pete Wentz – bass guitar, unclean vocals, backing vocals
Andy Hurley – drums, percussion , occasional backing vocals Former members'''
Ben Rose – drums, percussion
John Flamandan - rhythm guitar
T.J. Kunasch – rhythm guitar
Brandon Hamm – rhythm guitar
Mike Pareskuwicz – drums, percussion
Timeline
Discography
Take This to Your Grave (2003)
From Under the Cork Tree (2005)
Infinity on High (2007)
Folie à Deux (2008)
Save Rock and Roll (2013)
American Beauty/American Psycho (2015)
Mania (2018)
Awards and nominations
Alternative Press Music Awards
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| rowspan=5|2014
| rowspan=2|Themselves
| Artist of the Year
|
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| Best Live Band
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| Pete Wentz
| Best Bassist
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| Save Rock and Roll| Album of the Year
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| "My Songs Know What You Did in the Dark (Light Em Up)"
| Song of the Year
|
|-
| rowspan=2|2015
| "Centuries"
| Best Music Video
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| Overcast Kids| Most Dedicated Fans
|
|-
| rowspan=2|2016
| Patrick Stump
| Best Vocalist
|
|-
| rowspan=2|Themselves
| rowspan=2|Artist of the Year
|
|-
| 2017
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International Dance Music Awards
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| 2008
| "Thnks fr th Mmrs"
| Best Alternative/Rock Dance Track
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Kerrang! Awards
|-
| rowspan=4|2006
| Themselves
| Best Band on the Planet
|
|-
| From Under the Cork Tree| Best Album
|
|-
| rowspan=2|"Sugar, We're Goin Down"
| Best Single
|
|-
| rowspan=2|Best Video
|
|-
| rowspan=3|2007
| "This Ain't a Scene, It's an Arms Race"
|
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| Infinity on High| Best Album
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|-
| rowspan=2|Themselves
| rowspan=2|Best International Band
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|-
| rowspan=4|2013
|
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| Fall Out Boy at London Camden Underworld| Best Event
|
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| "My Songs Know What You Did in the Dark (Light Em Up)"
| rowspan=2|Best Single
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| "The Phoenix"
|
|-
| rowspan=3|2014
| Themselves
| Best International Band
|
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| Save Rock and Roll Tour| Best Event
|
|-
| Pete Wentz
| Tweeter of the Year
|
|-
| rowspan=2|2015
| "Centuries"
| Best Single
|
|-
| rowspan=2|Themselves
| rowspan=2|Best International Band
|
|-
| 2016
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Teen Choice Awards
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| rowspan=3|2006
| Themselves
| Choice Music: Rock Group
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|-
| rowspan=2|"Dance, Dance
| Choice Music: Single
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|-
| rowspan=2|Choice Music: Rock Song
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|-
| rowspan=2|2007
| "Thnks fr th Mmrs"
|
|-
| rowspan=2|Themselves
| rowspan=2|Choice Music: Rock Group
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|-
| rowspan=2|2008
|
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| Pete Wentz
| Choice Red Carpet Fashion Icon: Male
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|-
| rowspan=4|2015
| Themselves
| Choice Music Group: Male
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|-
| "Centuries"
| Choice Music Single: Group
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| "Uma Thurman"
| Choice Music: Rock Song
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| The Boys of Zummer Tour (with Wiz Khalifa)
| Choice Summer Tour
|
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| 2016
| Themselves
| Choice Music: Group
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Other Awards
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|| 2004 || "Grand Theft Autumn/Where Is Your Boy" || MtvU Woodie Award – Streaming Artist || rowspan="4"
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|| 2005 || "Sugar, We're Goin Down" || MTV Video Music Award – MTV2 Award
|-
|rowspan="3"| 2006 || rowspan=2|"Dance, Dance" || MuchMusic Video Award – People's Choice: Favorite International Group
|-
|| MTV Video Music Award – Viewer's Choice
|-
|| Fall Out Boy || Grammy Award for Best New Artist ||
|-
|rowspan=4|2007 || rowspan="2"| "Thnks fr th Mmrs" || Nickelodeon's Australian Kids' Choice Awards – Fave Song || rowspan="3"
|-
|| Nickelodeon's Kids' Choice Award – Single
|-
|rowspan=2|Fall Out Boy || MTV Video Music Award – Best Group
|-
|| Nickelodeon's Kids Choice Award – Best Band ||
|-
|rowspan="5"| 2008 || "The Take Over, the Breaks Over" || MuchMusic Video Award – People's Choice: Favorite International Video || rowspan="4"
|-
|rowspan="3"| Fall Out Boy || TMF Award – Best Live International
|-
|| TMF Award – Best Rock International
|-
|| TMF Award – Best Alternative International
|-
|| "Beat It" || MTV Video Music Award – Best Rock Video || rowspan="2"
|-
|| 2009 || "I Don't Care" || NRJ Music Award – Best International Band
|-
|rowspan=2|2013 || "My Songs Know What You Did in the Dark (Light Em Up)" || MTV Video Music Award for Best Rock Video || rowspan="2"
|-
|| Fall Out Boy || MTV Europe Music Awards – Best Alternative
|-
| rowspan="10"| 2014 || Fall Out Boy || People's Choice Awards – Favorite Alternative Band ||
|-
|| Fall Out Boy || Billboard Music Awards – Top Rock Artist || rowspan="2"
|-
|| Save Rock and Roll || Billboard Music Awards – Top Rock Album
|-
|| Fall Out Boy & The Band Perry || CMT Music Awards – CMT Performance of the Year ||
|-
|| Fall Out Boy || World Music Awards – World's Best Alternative Act ||
|-
|| Fall Out Boy || World Music Awards – World's Best Group || rowspan="7"
|-
|| Fall Out Boy || World Music Awards – World's Best Live Act
|-
|| Save Rock and Roll || World Music Awards – World's Best Album
|-
|| "My Songs Know What You Did in the Dark (Light Em Up)" || World Music Awards – World's Best Song
|-
|| "My Songs Know What You Did in the Dark (Light Em Up)" || World Music Awards – World's Best Music Video
|-
| rowspan="5"| 2015 || Fall Out Boy || Billboard Music Awards – Top Rock Artist
|-
|rowspan="1"|"Centuries" || Billboard Music Awards – Top Rock Song
|-
|| "Uma Thurman" || MTV Video Music Award – Best Rock Video || rowspan="2"
|-
|| Fall Out Boy || American Music Awards – Favorite Alternative Band
|-
|| Fall Out Boy || People's Choice Awards – Favorite Group || rowspan="5"
|-
| rowspan="5"| 2016 || Fall Out Boy || Billboard Music Awards – Top Rock Artist
|-
|rowspan="2"| "Uma Thurman" || Billboard Music Awards – Top Rock Song
|-
|| Radio Disney Music Awards – Best Song To Dance To
|-
|rowspan="3"| Fall Out Boy || Radio Disney Music Awards – Best Music Group
|-
|| MTV Video Music Award – Best Rock Video || rowspan="4"
|-
| 2018 || MTV Europe Music Award – Best Alternative
|-
| 2019 || Mania'' || Grammy Award for Best Rock Album
|-
| 2020 || "Dear Future Self (Hands Up)" || MTV Video Music Award – Best Rock Video
See also
Notes
References
Footnotes
Bibliography
Cover of the issue.
External links
Official website
Patrick Stump official website
2001 establishments in Illinois
Emo musical groups from Illinois
American pop rock music groups
Crush Management artists
Decaydance Records artists
Fueled by Ramen artists
Kerrang! Awards winners
Musical groups disestablished in 2009
Musical groups established in 2001
Musical groups from Chicago
Musical groups from Wilmette, Illinois
Musical groups reestablished in 2013
Musical quartets
Pop punk groups from Illinois
| true |
[
"Lisa Song is an American journalist and author. She won the 2013 Pulitzer Prize for National Reporting, with David Hasemyer and Elizabeth McGowan, for their report on the Kalamazoo River oil spill. She works for ProPublica, reporting on the environment, energy and climate change.\n\nBackground and career \n\nSong graduated from Massachusetts Institute of Technology, receiving her Bachelor's in environmental science in 2008, and her Master's in science writing in 2009.\n\nShe worked for InsideClimate News, focusing on oil and gas drilling, environmental health, and climate science from January 2011 through February 2017. During her time with InsideClimate, she contributed to the \"Dilbit Disaster\" Pulitzer prize-winning series in 2013, the \"Big Oil\" stories, and the Exxon series, which was nominated as a finalist for the Pulitzer prize for public service in 2016. She also won three other awards, including the Edgar A. Poe Award.\n\nSong left InsideClimate in 2017 to report for ProPublica, covering energy, the environment and climate change. She has also worked as a freelance journalist, writing for news magazines and journals, including, High Country News, Scientific American, New Scientist and Living on Earth.\n\nAwards and recognition\n\n2013: Dilbit series \nDuring her time with InsideClimate News, she won the 2013 Pulitzer Prize for National Reporting with David Hasemyer and Elizabeth McGowan, for their reporting on the Kalamazoo River oil spill.\n\nThe 3-part series, and follow up stories, were the result of a 15-month investigation on pipeline safety and Dilbit, a controversial form of oil. In the cover letter for entry to the prize, dilbit, is described as \"a thick Canadian hydrocarbon called bitumen that is diluted with liquid chemicals so that it can flow through pipes.\" The pipeline already had corrosion problems and it was more than a week before the EPA knew that they were dealing with dilbit, because the pipeline operators weren't required to tell first responders in the event of a spill; dilbit is different from normal oil, in that the chemicals evaporate and the thick, different form of oil, sinks to the bottom and is very difficult to clean up. The series and follow-up reporting is listed below.\n\n \"The Dilbit Disaster: Inside the biggest oil spill you've never heard of, Part 1,\" Elizabeth McGowan and Lisa Song, InsideClimate News, June 26, 2012.\n \"The Dilbit Disaster: Inside the biggest oil spill you've never heard of, Part 2,\" Elizabeth McGowan and Lisa Song, InsideClimate News, June 27, 2012.\n \"The Dilbit Disaster: Inside the biggest oil spill you've never heard of, Part 3,\" Elizabeth McGowan and Lisa Song, InsideClimate News, June 28, 2012.\n \"Epilogue: Cleanup, Consequences and Lives Changed in the Dilbit Disaster,\" Elizabeth McGowan and Lisa Song, InsideClimate News, June 29, 2012.\n \"New Pipeline Safety Regulations Won't Apply to Keystone XL,\" Elizabeth McGowan and Lisa Song, InsideClimate News, July 26, 2012.\n \"Angry Michigan Residents Fight Uneven Battle Against Pipeline Project on Their Land,\" David Hasemeyer, InsideClimate News, September 12, 2012.\n \"Few Oil Pipeline Spills Detected by Much-Touted Technology,\" Lisa Song, InsideClimate News, September 19, 2012.\n \"EPA Worries Dilbit Still a Threat to Kalamazoo River, More than 2 Years After Spill,\" David Hasemeyer, InsideClimate News, October 11, 2012.\n \"Keystone XL Would Not Use Most Advanced Spill Protection Technology,\" Lisa Song, InsideClimate News, December 20, 2012.\n \"Little Oversight for Enbridge Pipeline Route that Skirts Lake Michigan,\" Lisa Song and David Hasemyer, InsideClimate News, December 27, 2012.\n\nWhen the 2013 Pulitzer prize winners were announced, InsideClimate News, was one of the least known of the digital news organizations; Politico's headline described the win in their headline, \"For a scrappy environmental-news startup, journalism's most prestigious award.\" Digital-only prizes had only been awarded since 2009 and very few had won. According to the cover letter, in the entry for the prize, the investigations stemmed from research that Lisa Song had originally began, and McGowan and Hasemyer joined in shortly after.\n\nSong was just 26 years old, when she won the Pulitzer. Additional awards are listed below:\n\n 2012 Finalist for the Scripps Howard Nation's Best 2012 Journalism Awards, for Environmental Reporting, (with Elizabeth McGowan and David Hasemyer) for \"Dilbit Disaster: Inside The Biggest Oil Spill You've Never Heard Of,\" InsideClimate News.\n 2012 Honorable Mention, John B. Oakes Award for Distinguished Environmental Journalism, (with Elizabeth McGowan and David Hasemyer) for \"Dilbit Disaster: Inside The Biggest Oil Spill You've Never Heard Of.\" \n 2013 Winner James Aronson Award for Social Justice Reporting, (with Elizabeth McGowan and David Hasemyer) for \"Dilbit Disaster: Inside The Biggest Oil Spill You've Never Heard Of,\" InsideClimate News.\n 2013 Deadline Club, NYC Chapter of the Society of Professional Journalists for Reporting by Independent Digital Media (with Elizabeth McGowan) for \"Dilbit Disaster: Inside The Biggest Oil Spill You've Never Heard Of,\" InsideClimate News.\n\n2014: Big oil story \nIn 2014 Song and her colleagues at InsideClimate, Jim Morris and David Hasemyer, received the Philip Meyer Journalism Award for Social Science for \"Big Oil, Bad Air: Fracking the Eagle Ford Shale of South Texas.\" They also won the Thomas L. Stokes Award for Best Energy and Environmental Writing, from the National Press Foundation for the same story.\n\nThe story exposed how vulnerable, residents are to health risks of the largely unregulated activities around an area known as the Eagle Ford Shale play, a 400-mile-long, 50-mile-wide area of more than 7,000 oil and gas structures, wells, and drilling sites, from Leon County, Texas, in to the Mexican border. Eagle Ford one of the most active drilling sites in America.\n\nAdditional awards for the \"Big Oil, Bad Air\" series and follow up stories are listed below.\n\n 2014 Editor & Publisher EPPY Award for Best Investigative/Feature on a Website, (with David Hasemyer)\n 2015 Association of Health Care Journalists Award for Large Investigation, (with David Hasemyer and Jim Morris) \n 2015 Finalist Investigative Reporters & Editors Award for Large Multimedia (with David Hasemyer, Susan White, Zahra Hirji, Paul Horn, Lance Rosenfield, Sabrina Shankman, Marcus Stern, John Bolger, and Hannah Robbins) and members of Center for Public Integrity, and The Weather Channel for their collaboration in bringing national attention to the story.\n 2015 Society of Professional Journalists, Sigma Delta Chi Award for informational Graphics, (with Paul Horn) \n 2015 Loeb Award for Explanatory Reporting, (staff of InsideClimate News) \n 2015 The Kevin Carmody Award for Outstanding In-depth Reporting (Large Market), from the Society of Environmental Journalists, staff of InsideClimate News, The Center for Public Integrity and The Weather Channel. \n 2016 Knight-Risser Prize for Western Environmental Journalism, staff of InsideClimate News, The Center for Public Integrity and The Weather Channel.\n\n2016: Exxon series \nIn 2016, Song, and her fellow journalists were finalists for the Pulitzer Prize for Public Service. The series of stories were the result of an 8-month investigation into Exxon's climate change stance.\n\nAfter conducting dozens of interviews and examining company memos from as far back as the 1970s, and hundreds of internal documents, InsideCimate published a series of 9-stories, \"Exxon: The Road Not Taken.\" The publication of the series resulted in the Attorney General of New York, issuing a subpoena to Exxon, in order to look into the possibility of fraud. They were also finalists for the Goldsmith Prize for Investigative Reporting.\n\nThey received the following awards for the same series:\n\n (2015) Thomas L. Stokes Award for Best Environmental Writing \n The Thomas L. Stokes Award for Best Energy Writing \n Co-Winner in the Digital Investigative, Division I, Society of American Business Editors and Writers Award \n Robert F. Kennedy Award, New Media Winner \n John B. Oakes Award \n The Kevin Carmody Award for Outstanding In-depth Reporting, (small market) Society of Environmental Journalists\n\n The Edgar A. Poe Award , presented to them at the annual White House Correspondents Dinner, by President Barack Obama and the First Lady Michelle Obama.\n The Izzy Award for Outstanding Achievement in Independent Media\n The Scripps Howard Edward J. Meeman Award for Outstanding Environmental Journalism. In awarding the prize for their reporting on Exxon, the judges commented on the reporting, saying:\nThe ExxonMobil climate change controversy is still ongoing. As of 2020, ExxonMobil still denies any wrongdoing in voicing their opinion on climate policy, claiming that activist organizations are seeking to punish the company, and coordinating an attack campaign on social media, using the hashtag #ExxonKnew.\n\nAn ExxonMobil website disputes the reporting, citing several law experts, newsreports, and opinion columns, including New York Post, The Wall Street Journal, New York Daily News, The Dallas Morning News, Bloomberg View, USA Today, and Boston Herald. Exxon also has its own timeline of events on their website.\n\nThe series of reports by the staff of ClimateChange News, including the documents they used, are listed below.\n\n Exxon's Own Research Confirmed Fossil Fuels' Role in Global warming Decades Ago \n Exxon Believed Deep Dive Into Climate Research Would Protect Its Business \n Exxon Confirmed Global Warming Consensus in 1982 with In-House Climate Models \n Exxon's Business Ambition Collided with Climate Change Under a Distant Sea \n Highlighting the Allure of Synfuels, Exxon Played Down the Climate Risks \n Exxon Sowed Doubt About Climate Science for Decades by Stressing Uncertainty \n Exxon Made Deep Cuts in Climate Research Budget in the 1980s \n More Exxon Documents Show How Much it Knew About Climate 35 Years Ago \n Exxon's Oil Industry Peers Knew About Climate Dangers in the 1970s Too\n Internal Documents published by InsideClimate News\n\nBibliography \n\n Big Oil + Bad Air: Fracking's Toxic Footprint, Song, Hasemyer, Morris, Mann, Horn, InsideClimate News, March 26, 2014.\n Exxon: The Road Not Taken, Banerjee, Cushman Jr., Hasemyer and Song, InsideClimate News, 2015.\n The Dilbit Disaster: Inside The Biggest Oil Spill You've Never Heard Of, McGowan, Song and Hasemyer, CreateSpace Independent Publishing Platform, October 19, 2016.\n\nReferences\n\nExternal links \n Pulitzer Prizes page\n\nLiving people\nPulitzer Prize for National Reporting winners\nAmerican women journalists\nMassachusetts Institute of Technology alumni\nYear of birth missing (living people)\n21st-century American journalists\n21st-century American women writers",
"Afromental is a Polish rock and rapcore band formed in Olsztyn in 2004.\n\nThe group has released four singles: \"I've Got What You Need\" (2007), \"Thing We've Got\" (2008), \"Happy Day\" (2008), and \"Pray 4 Love\" (2009). They have released two full-length albums on EMI Poland, and their 2009 release Playing with Pop reached #19 on the Polish Music Charts.\n\nBand story\nThe band debuted on the I Review of Young Bands in the 'Olsztyńska' Newspaper. They appeared in the \"Golden Ten\" of the Youth Music Festival Gama in Kolobrzeg, for their interpretation of the song \"Banana Song\" by Vox in a reggae style, for which they gained an award during the Student Song Festival in Kraków.\n\nAfromental released their debut album on 12 October 2007 titled The Breakthru. The single which promoted the album, \"I've Got What You Need\", qualified to the Top Trendy Festival 2007 in Sopot. In 2008, the band took part in qualifying for the Eurovision Song Contest, during which the group performed the song \"Thing We've Got\".\n\nIn 2009, Afomental appeared in the second season of the television series 39 and a half, in which they performed their newest recordings. The band also recorded songs for the film Love and Dance. Their second album Playing With Pop has been released on 9 March 2009 linked to their previous album. On 13 June 2009 the band has been awarded a Superjedynka in the category Band of the Year.\n\nIn February 2010 the publisher of Playing With Pop received a nomination for the Polish industry of Phonografic Frederick award in the following category: album of the year hip-hop / R & B. In August 2010 the band won the Wow! Music Award during Orange Warsaw Festival.\n\nOn 15 August 2011 Afromental released their third album titled The B.O.M.B.. It promoted the singles Rock&Rollin' Love, Rollin' With You and It's My Life.\n\nMembers\n Tomasz \"Tomson\" Lach - vocals\n Bartosz \"Śniady\" Śniadecki - keyboards\n Tomasz \"Torres\" Torres - drums\n Wojtek \"Lajan\" Witczak - bass guitar\n Aleksander \"Baron\" Milwiw-Baron - guitar\n\nPast members:\n Wojciech \"Łozo\" Łozowski - vocals\n Grzegorz \"Dziamas\" Dziamka - drums\n\nDiscography\n\nStudio albums\n\nMusic videos\n\nReferences\n\nPolish pop music groups\nMTV Europe Music Award winners"
] |
[
"Fall Out Boy",
"Legacy",
"Was legacy an album?",
"I don't know.",
"What was Legacy?",
"Fall Out Boy have been instrumental in the careers of other artists, such as Panic! at the Disco,",
"Are there other bands that they influenced?",
"Several artists, such as You Me at Six and Taylor Swift, have created or performed covers of Fall Out Boy songs as a homage to the band.",
"Are there any other interesting aspects about this article?",
"The Fall Out Boy band members were the first inductees to the \"Hall of Wood\" at the 2015 MtvU Woodie Awards",
"Did they win other awards?",
"In 2017, Fall Out Boy were announced as the first winners of Rock Sound's Hall of Fame Award as part of the Rock Sound Awards.",
"What other recognition did they get?",
"In a list of the 50 greatest pop-punk albums of all time, Rolling Stone placed Fall Out Boy's 2003 album Take This To Your Grave as the fifth greatest,",
"What's the biggest award they've won?",
"2017, Fall Out Boy were announced as the first winners of Rock Sound's Hall of Fame Award as part of the Rock Sound Awards."
] |
C_4790a4a8a9d04432816141d09089d013_0
|
What was their most recent recognition?
| 8 |
What was the most recent recognition of Fall Out Boy?
|
Fall Out Boy
|
Fall Out Boy have been instrumental in the careers of other artists, such as Panic! at the Disco, whom Pete Wentz signed to his record label, Decaydance Records, in late 2004. Several artists, such as You Me at Six and Taylor Swift, have created or performed covers of Fall Out Boy songs as a homage to the band. The Fall Out Boy band members were the first inductees to the "Hall of Wood" at the 2015 MtvU Woodie Awards and performed a medley of five songs at the ceremony. This honor is given to artists who have used MTV Woodie Awards as a "launching pad" in achieving chart topping success within their musical careers, thus influencing up and coming bands. The award also recognizes bands "sticking to their roots" and "maintaining their loyal fan base". The group had won the Woodie Award for Streaming for "Grand Theft Autumn" at the first ceremony in 2004. In a list of the 50 greatest pop-punk albums of all time, Rolling Stone placed Fall Out Boy's 2003 album Take This To Your Grave as the fifth greatest, citing it as "[ushering] in a whole new, genre-blurring scene, in which heavy riffs and a screamo aesthetic mingled with old-fashioned teen heartbreak". In a similar list, Kerrang! magazine placed Take This To Your Grave at number 11 out of 51, describing it as a "blueprint for both break-up records and timeless pop-punk". In 2017, Fall Out Boy were announced as the first winners of Rock Sound's Hall of Fame Award as part of the Rock Sound Awards. In an interview accompanying the band's win, Patrick Stump stated one reason for the band's success is Sugar, We're Goin Down, explaining that the "song changed my life, I have a music career in a large part due to that song". In 2009, Phoenix New Times writer Martin Cizmar had described Sugar, We're Goin Down as possibly "the most listened-to emo track of all time". CANNOTANSWER
|
In 2009, Phoenix New Times writer Martin Cizmar had described Sugar, We're Goin Down as possibly "the most listened-to emo track of all time".
|
Fall Out Boy is an American rock band formed in Wilmette, Illinois, a suburb of Chicago, in 2001. The band consists of lead vocalist and rhythm guitarist Patrick Stump, bassist Pete Wentz, lead guitarist Joe Trohman, and drummer Andy Hurley. The band originated from Chicago's hardcore punk scene, with which all members were involved at one point. The group was formed by Wentz and Trohman as a pop punk side project of the members' respective hardcore bands, and Stump joined shortly thereafter. The group went through a succession of drummers before landing Hurley and recording the group's debut album, Take This to Your Grave (2003). The album became an underground success and helped the band gain a dedicated fanbase through heavy touring, as well as commercial success. Take This to Your Grave has commonly been cited as an influential blueprint for pop punk music in the 2000s.
With Wentz as the band's lyricist and Stump as the primary composer, the band's 2005 major-label breakthrough, From Under the Cork Tree, produced two hit singles, "Sugar, We're Goin Down" and "Dance, Dance", and went double platinum, transforming the group into superstars and making Wentz a celebrity and tabloid fixture. Fall Out Boy received a Best New Artist nomination at the 2006 Grammy Awards. The band's 2007 follow-up, Infinity on High, debuted at number one on the Billboard 200 with 260,000 first week sales. It produced two worldwide hit singles, "This Ain't a Scene, It's an Arms Race" and "Thnks fr th Mmrs". Folie à Deux, the band's fourth album, created a mixed response from fans and commercially undersold expectations. Following the release of Believers Never Die – Greatest Hits, the band took a hiatus from 2009 to 2013 to "decompress", exploring various side projects.
The band regrouped and recorded Save Rock and Roll (2013), becoming its second career number one and included the top 20 single "My Songs Know What You Did in the Dark (Light Em Up)". The same year, the band released the EP PAX AM Days, consisting of 8 punk-influenced tracks that were recorded during a two-day session with producer Ryan Adams. The band's sixth studio album, American Beauty/American Psycho (2015) peaked at number one on the Billboard 200, and spawned the top-10 hit "Centuries" and the single "Uma Thurman" which reached No. 22 on the Billboard Hot 100. This was followed by their first remix album Make America Psycho Again, which featured the remixes of all original tracks from American Beauty/American Psycho by a different artist on each song, including Migos and Wiz Khalifa.
The band's seventh studio album Mania (2018), also peaked at No. 1, making it the band's fourth No. 1 album and sixth consecutive top 10 album. Their supporting tour for the album included a show at Wrigley Field, their first headlining stadium show. In 2018, Fall Out Boy also received their second Grammy nomination for Best Rock Album for Mania. A co-headlining 2020 tour with Green Day and Weezer titled the Hella Mega Tour was announced in September 2019. Each band released new music in support of the tour, with Fall Out Boy announcing the release of a second greatest hits album, Greatest Hits: Believers Never Die – Volume Two, and a supporting single, "Dear Future Self (Hands Up)". The tour, which spans North American, Europe and Oceania, is Fall Out Boy's first stadium tour and includes shows in Wrigley Field, Dodger Stadium and the London Stadium.
History
2001–2002: Early years
Fall Out Boy was formed in 2001 in the Chicago suburb of Wilmette, Illinois by friends Pete Wentz and Joe Trohman. Wentz was a "visible fixture" of the relatively small Chicago hardcore punk scene of the late 1990s, performing in groups such as Birthright, Extinction and First Born. He was also part of the metalcore band Arma Angelus and the more political Racetraitor, "a band that managed to land the covers of Maximumrocknroll and Heartattack fanzines before releasing a single note of music". Wentz was growing dissatisfied with the changing mores of the community, which he viewed as a transition from political activism to an emphasis on moshing and breakdowns. With enthusiasm in Arma Angelus waning, he created a pop punk side project with Trohman that was intended to be "easy and escapist". Trohman met Patrick Stump, then a drummer for grindcore band Xgrinding processX and a host of other bands that "never really managed", at a Borders bookstore in Wilmette. While Trohman was discussing Neurosis with a friend, Stump interrupted them to correct their classification of the band; the ensuing conversation soon shifted to Trohman and Wentz's new project. Stump, viewing it as an opportunity to try out with "local hardcore celebrity" Wentz, directed Trohman to his MP3.com page, which contained sung-through acoustic recordings. Stump intended to try out as a drummer, but Trohman urged him to bring out his acoustic guitar; he impressed Trohman and Wentz with songs from Saves the Day's Through Being Cool. While Wentz wanted Racetraitor bandmate Andy Hurley to join the group as drummer, Hurley appeared uninterested and too busy at the time.
The band's first public performance came in a cafeteria at DePaul University alongside Stilwell and another group that performed Black Sabbath's self-titled debut album in its entirety. The band's only performance with guitarist John Flamandan and original drummer Ben Rose was in retrospect described as "goofy" and "bad", but Trohman made an active effort to make the band work, picking up members for practice. Wentz and Stump argued over band names; the former favored verbose, tongue-in-cheek names, while the latter wanted to reference Tom Waits in name. After creating a short list of names that included "Fall Out Boy", a fictional character from The Simpsons and Bongo Comics, friends voted on the name. The band's second performance, at a southern Illinois university with The Killing Tree, began with Wentz introducing the band under a name Stump recalled as "very long". According to Stump, an audience member yelled out, "Fuck that, no, you're Fall Out Boy!", and the band were credited later in the show under that name by Killing Tree frontman Tim McIlrath. As the group looked up to McIlrath, and Trohman and Stump were "die-hard" Simpsons fans, the name stuck. The group's first cassette tape demo was recorded in Rose's basement, but the band later set off for Wisconsin to record a proper demo with 7 Angels 7 Plagues drummer Jared Logan, whom Wentz knew through connections in the hardcore scene.
Several more members passed through the group, including drummer Mike Pareskuwicz of Subsist and guitarist T.J. "Racine" Kunasch. While Stump at this point felt uninterested in the group, Wentz was, according to Uprising Records owner Sean Muttaqi, viewing the group as "the thing that would make him famous. He had a clear vision." Wentz was "singularly focused on taking things to the next level" and began promoting the band via early social media. Muttaqi got word of the demo and wanted to release half of it as a split extended play with Hurley's band Project Rocket, which the band viewed as competition. Uprising desired to release an album with the emerging band, which to that point had only written three songs. With the help of Logan, the group attempted to put together a collection of songs in two days, and recorded them as Fall Out Boy's Evening Out with Your Girlfriend. The rushed recording experience and underdeveloped songs left the band dissatisfied. When the band set off to Smart Studios in Madison, Wisconsin to record three songs for a possible split 7-inch with 504 Plan, engineer Sean O'Keefe suggested the band record the trio with Hurley. Hurley was also recording an EP with his new group the Kill Pill in Chicago on the same day, but raced to Madison to play drums for Fall Out Boy. "It was still a fill-in thing but when Andy sat in, it just felt different. It was one of those "a-ha" moments", recalled Wentz.
2003–2004: Early success and Take This to Your Grave
The band booked a two-week tour with Spitalfield, but Pareskuwicz was unable to get time off from work and Kunasch was kicked out of the band as the group "had all gotten sick of him". Kunasch was temporarily replaced by friend Brandon Hamm on guitar, alongside drummer Chris Envy from the recently disbanded Showoff, but both quit prior to the kickoff of the tour. The band invited Hurley instead to fill-in once more, while Stump borrowed one of Trohman's guitars for the trek. While most shows were cancelled, the band played any show possible: "Let's just get on whatever show we can. You can pay us in pizza", remembered Wentz. As the tour concluded, the general consensus was that Hurley would be the band's new drummer, and the band began to shop around the three songs from the group's unreleased split as a demo to record labels. The band members set their sights on pop punk labels, and attempted with considerable effort to join Drive-Thru Records. A showcase for label co-founders went largely mediocre, and the band were offered to sign to side label Rushmore, an offer that the members of the band declined. They got particularly far in discussions with The Militia Group and Victory Records, and Bob McLynn of Crush Management became the band's first manager. The band re-entered the studio with O'Keefe to record several more tracks to create label interest. Wentz felt "in the backseat" in writing the songs and temporarily questioned his place in the group, but Stump argued in his favor: "No! That's not fair! Don't leave me with this band! Don't make me kind of like this band and then leave it! That's bullshit!"
The band's early tour vehicle was a "tiny V6 that was running on three cylinders, and it was not getting enough air, so it would drive really slowly", recalled Wentz. "We had to turn on the hot air to reach the speed limit, so we had the heat on all the time in 120-degree weather. It was so hot it melted the plastic molding around the windows. When it rained, we'd get all wet." John Janick of Fueled by Ramen had heard an early version of a song online and cold-called the band members at their apartment, first reaching Stump and later talking to Wentz for an hour. Rob Stevenson from Island Records eventually offered the band a "first-ever incubator sort of deal", in which they gave the band money to sign with Fueled by Ramen for the group's one-off debut, knowing they could "upstream" the band to radio on the sophomore record. Fueled by Ramen, at the time the smallest of independent labels clamoring to sign the band, would effectively release the group's debut album and help build the band's ever-expanding fanbase before the group moved to Island. The band again partnered with O'Keefe at Smart Studios, bringing together the three songs from the demo and recording an additional seven songs in nine days. The band, according to Stump, didn't "sleep anywhere that we could shower [...] There was a girl that Andy's girlfriend at the time went to school with who let us sleep on her floor, but we'd be there for maybe four hours at a time. It was crazy." As the band progressed and the members' roles became more defined, Wentz took lyrics extremely seriously in contrast to Stump, who had been the group's primary lyricist up to that point. Arguments during the recording sessions led to what "most reductively boils down to Wentz writing the lyrics and Stump writing the melodies".
The band's debut album, Take This to Your Grave, was issued by Fueled by Ramen in May 2003. Previously, one of the band's earliest recordings, Evening Out with Your Girlfriend, had not seen release until shortly before Grave in March 2003, when the band had gained considerable momentum. "Our record was something being rushed out to help generate some interest, but that interest was building before we could even get the record out", said Sean Muttaqi. The band actively tried to stop Uprising from releasing the recordings (as the band's relationship with Muttaqi had grown sour), as the band viewed it as a "giant piece of garbage" recorded before Hurley's involvement that the band members ceased to consider the debut album of the group. Gradually, the band's fanbase grew in size as the label pushed for the album's mainstream success. According to Wentz, shows began to end in a near-riot and the group were banned from several venues because the entire crowd would end up onstage. The band gained positive reviews for subsequent gigs at South by Southwest (SXSW) and various tour appearances. The band joined the Warped Tour for five dates in the summer of 2004, and on one date the band had only performed three songs when the stage collapsed due to the large crowd. The band appeared on the cover of the August 2004 edition of Alternative Press, and listening stations at Hot Topic partially helped the album move 2,000-3,000 copies per week by Christmas 2004, at which point the label considered the band "tipping" into mainstream success.
2005–2006: From Under the Cork Tree
The band had been flooded with "hyperbolic praise", and deemed "the next big thing" by multiple media outlets. Before recording the follow-up to its debut, the band released the acoustic EP/DVD My Heart Will Always Be the B-Side to My Tongue. The EP was the band's first charting on the Billboard 200 at number 153. From Under the Cork Tree was recorded in Burbank, California, and served as the first time the band had stayed in California for an extended period of time. The group lived in corporate housing during the making of the album. In contrast to Take This to Your Graves rushed recording schedule, Fall Out Boy took a much more gradual pace while working on From Under the Cork Tree. It was the first Fall Out Boy record in which Stump created all the music and Wentz wrote all the lyrics, continuing the approach they took for some songs on Grave. Stump felt that this process was much more "smooth" as every member was able to focus on his individual strengths. He explained: "We haven't had any of those moments when I play the music and he'll say, 'I don't like that,' and he'll read me lyrics and I'll say, 'I don't like those lyrics.' It's very natural and fun." Despite this, the band had great difficulty creating its desired sound for the album, constantly scrapping new material. Two weeks before recording sessions began, the group abandoned ten songs and wrote eight more, including the album's first single, "Sugar, We're Goin Down".
The band suffered a setback, however, when Wentz had an emotional breakdown in February 2005, culminating in a suicide attempt. He had withdrawn from the rest of the group, with his condition only apparent through his lyrics, and had also become obsessed with the recent Indian tsunami and his own self-doubt. "It is particularly overwhelming when you are on the cusp of doing something very big and thinking that it will be a big flop", he said later. Wentz swallowed a handful of Ativan anxiety pills (he described the act as "hypermedicating") in the Chicago Best Buy parking lot. After being rushed to the hospital and having his stomach pumped, Wentz moved back home to Wilmette to live with his parents.
From Under the Cork Tree debuted and peaked at number nine on the Billboard 200 upon its May 2005 release. It was spearheaded by the band's breakthrough single, "Sugar, We're Goin' Down", reached number eight in the US Billboard Hot 100 in September 2005, and in the UK chart in February 2006, crossing over from Alternative to Pop radio. "Dance, Dance", the album's second single, also was a top ten hit in the United States and was certified 3x Platinum in 2014. The record's success led to stardom among teenagers in North America, and the band's first arena tour had the group playing to 10,000 people per night. Rolling Stone wrote that the band's "anthems", distributed and marketed through their MySpace, connected with "skinny-jeans-wearing teen girls". In support of From Under the Cork Tree, the band toured exhaustively with international tours, TRL visits, late-night television appearances and music award shows. The band performed at music festivals in 2005 and 2006, including the third Nintendo Fusion Tour in the fall of 2005, joining The Starting Line, Motion City Soundtrack, Boys Night Out, and Panic! at the Disco on a 31 city tour. The album earned the band a Grammy nomination for Best New Artist, and has sold over 2.7 million copies in the United States, becoming the group's best-selling album. "Sugar, We're Goin Down" also won the band an MTV Music Video Award.
2007: Infinity on High
In the wake of the band's multiplatinum success, the "especially extroverted" Wentz became the most publicly visible member of the band. He confided to the press his suicide attempt and nude photos of the bassist appeared on the Internet in 2006. He gained additional exposure through his clothing line, his Decaydance record label (an imprint of Fueled by Ramen), and eventually a celebrity relationship with pop singer Ashlee Simpson, which made the two tabloid fixtures in the United States. Due to its increased success from the group's MTV Video Music Award, the group headlined the Black Clouds and Underdogs Tour, a pop punk event that featured The All-American Rejects, Well-Known Secret, Hawthorne Heights, and From First to Last. The tour also featured The Hush Sound for half of the tour and October Fall for half. The band played to 53 dates in the U.S., Canada, and the UK.
After taking a two-month-long break following the band's Black Clouds and Underdogs tour in promotion of the band's 2005 album From Under the Cork Tree, Fall Out Boy returned to the studio to begin work on a follow-up effort. The band began writing songs for the new album while touring, and intended to quickly make a new album in order to keep momentum in the wake of its breakthrough success. In early 2007, the group released its third studio album, Infinity on High, which was the band's second release on major label Island. The album marked a departure in Fall Out Boy's sound in which the band implemented a diverse array of musical styles including funk, R&B, and flamenco. As reported by Billboard, Fall Out Boy "drifts further from its hardcore punk roots to write increasingly accessible pop tunes", a slight departure from the group's previous more pop punk sound predominant on their 2003 effort, Take This to Your Grave.
Infinitys first week was a major success and was the band's biggest selling week, selling 260,000 copies to debut at No. 1 on the US Billboard 200 and inside the top five worldwide. This charting was first started with lead single "The Carpal Tunnel of Love", with minor success on the Billboard charts. This success was bolstered by the further-successful second single "This Ain't a Scene, It's an Arms Race", which reached No. 2 in both the US and UK as well as the top five in many other countries. On the band's decision to pick the song as a single, Wentz commented "There may be other songs on the record that would be bigger radio hits, but this one had the right message." "Thnks fr th Mmrs", the third single, peaked just outside the top 10 at No. 11 on the strength of sales and popular radio play, and went on to sell over two million copies in the US. It found its greatest success in Australia where it charted at No. 3. In 2007, Fall Out Boy placed at No. 9 in the Top Selling Digital Artists chart with 4,423,000 digital tracks sold, according to Nielsen SoundScan. The album itself has sold over two million copies worldwide and subsequently was certified Platinum in the United States.
Fall Out Boy then headlined the 2007 Honda Civic Tour to promote the album. Though the tour was initially postponed due to personal issues, it would take place with +44, Cobra Starship, The Academy Is... and Paul Wall as supporting acts. The band also headlined the Young Wild Things Tour, an international arena tour featuring Gym Class Heroes, Plain White T's and Cute Is What We Aim For.
Inspired by Maurice Sendak's 1963 children's book Where the Wild Things Are, the concert tour and included sets designed by artist Rob Dobi containing images from the book. The band's "hugely successful" amphitheater tour to promote Infinity led to the release of the 2008 live album Live in Phoenix, consisting of live material recorded during a June 22, 2007, concert at Phoenix's Cricket Wireless Pavilion, a date of the Honda Civic Tour. The disc also included a studio cover of Michael Jackson's "Beat It", with guitarist John Mayer guesting for a guitar solo. The track was released as a single and became a mainstay on the iTunes top ten.
2008–2009: Folie à Deux
The band members decided to keep publicity down during the recording of their fourth album, as the group was taken aback by such press surrounding Infinity on High. Sessions proved to be difficult for the band; Stump called the making of the album "painful", noting that he and Wentz quarreled over many issues, revealing "I threw something across the room over a major-to-minor progression." On previous albums, Trohman felt he and Hurley did not have enough musical freedom and that Stump and Wentz exerted too much control over the group: "I felt, 'Man, this isn't my band anymore.' It's no one's fault, and I don't want to make it seem that way. It was more of a complex I developed based on stuff I was reading. It's hard to hear, 'Joe and Andy are just along for the ride. To amend the situation, Trohman sat down with Stump to communicate his concerns, which led to more collaboration on Folie à Deux. "It made me feel like I owned the songs a lot more. It made me really excited about contributing to Fall Out Boy and made me find my role in the band," Trohman recalled.
As the release of the new album approached, the band and its management found that they would have to navigate changes in the music industry, facing declining record sales, the lack of a proper outlet for exhibition of music videos, and the burgeoning US economic crisis. To promote the album, Wentz launched a viral campaign in August 2008, inspired by George Orwell's novel Nineteen Eighty-Four (1949), and the autocratic, overbearing Big Brother organization. Folie à Deux, released in December 2008, did not perform as well commercially as its predecessor, Infinity on High. It debuted at number eight on the US Billboard 200 chart with first week sales of 150,000 copies during a highly competitive week with other big debuts, becoming Fall Out Boy's third consecutive top ten album. This is in contrast to the band's more successful previous effort which shifted 260,000 copies in its opening week to debut at number one on the chart. Folie spent two weeks within the top 20 out of its 22 chart weeks. It also entered Billboard's Rock Albums and Alternative Albums charts at number three. Within two months of its release, Folie à Deux was certified Gold in the United States by the Recording Industry Association of America (RIAA), denoting shipments of 500,000 copies. The lead single, "I Don't Care", reached a peak at number twenty-one on the Billboard Hot 100, and was certified Platinum by the RIAA for shipments of one million copies.
To promote the album, Fall Out Boy embarked on the Believers Never Die Tour Part Deux, which included dates in the United States and Canada. The constant touring schedule became difficult for the band due to conflicting fan opinion regarding Folie à Deux: concertgoers would "boo the band for performing numbers from the record in concert", leading Stump to describe touring in support of Folie as like "being the last act at the vaudeville show: We were rotten vegetable targets in Clandestine hoods." "Some of us were miserable onstage", said guitarist Joe Trohman. "Others were just drunk." A greatest hits compilation, Believers Never Die – Greatest Hits, followed in the fall, and following these events, the band decided to take a break. The band's decision stemmed from disillusionment with the music industry and Stump recalled that "We found ourselves running on fumes a little bit – creatively and probably as people, too." Stump realized the band was desperate to take a break; he sat the group down and explained that a hiatus was in order if the band wanted to continue in the future. All involved felt the dynamic of the group had changed as personalities developed.
Rumors and misquotes led to confusion as to what such a break truly meant; Wentz preferred to not refer to the break as a "hiatus", instead explaining that the band was just "decompressing". Fall Out Boy played its last show at Madison Square Garden on October 4, 2009. Near the end, Blink-182's Mark Hoppus shaved Wentz's head in a move Andy Greene in Rolling Stone would later describe as a "symbolic cleansing of the past, but also the beginning of a very dark chapter for the band".
2010–2012: Hiatus and side projects
By the time the break began, Stump was the heaviest he had ever been and loathed the band's image as an "emo" band. Coming home from tour, drummer Andy Hurley "went through the darkest depression [I've] ever felt. I looked at my calendar and it was just empty." Wentz, who had been abusing Xanax and Klonopin, was divorced by his wife Ashlee Simpson and returned to therapy. "I'd basically gone from being the guy in Fall Out Boy to being the guy who, like, hangs out all day", Wentz recalled. Previously known as the "overexposed, despised" leader of the band, Wentz "simply grew up", sharing custody of his son and embracing maturity: "There was a jump-cut in my life. I started thinking – like, being old would be cool."
During the hiatus, the band members each pursued individual musical interests, which were met with "varying degrees of failure". Stump was the only member of the quartet to take on a solo project while Fall Out Boy was on hiatus, recording debut album Soul Punk entirely on his own: he wrote, produced, and played every instrument for all tracks on the record. In addition, he married his longtime girlfriend and lost over sixty pounds through portion control and exercise. Stump blew through most of his savings putting together a large band to tour behind Soul Punk, but ticket sales were sparse and the album stalled commercially. During a particularly dark moment in February 2012, Stump poured his heart out in a 1500-word blog entry called "We Liked You Better Fat: Confessions of a Pariah". In the post, Stump lamented the harsh reception of the record and his status as a "has-been" at 27. Stump revealed that fans harassed him on his solo tour, hurling insults such as "We liked you better fat", and noted that "Whatever notoriety Fall Out Boy used to have prevents me from having the ability to start over from the bottom again." Aside from Soul Punk and personal developments, Stump moonlighted as a professional songwriter/producer, co-writing tracks with Bruno Mars and All Time Low, and pursued acting.
Wentz formed electronic duo Black Cards with vocalist Bebe Rexha in July 2010. The project released one single before album delays led to Rexha's departure in 2011. Black Cards added Spencer Peterson to complete the Use Your Disillusion EP in 2012. Wentz also completed writing a novel, Gray, that he had been working on for six years outside the band, and began hosting the reality tattoo competition show Best Ink. Hurley ventured farther into rock during the hiatus, drumming with multiple bands over the three-year period. He continued to manage his record label, Fuck City, and drummed for bands Burning Empires and Enabler. He also formed heavy metal outfit The Damned Things with Trohman, Scott Ian and Rob Caggiano of Anthrax, and Keith Buckley of Every Time I Die. Despite this, the members all remained cordial to one another; Wentz was Stump's best man at his wedding. The hiatus was, all things considered, beneficial for the group and its members, according to Hurley. "The hiatus helped them all kind of figure themselves out", he explained in 2013. "Especially Joe and Patrick, who were so young. And Pete is a million times better."
2013–2014: Reformation and Save Rock and Roll
Stump and Wentz met up for the first time in several years in early 2012 for a writing session. Wentz reached out to Stump after he penned his letter, as he too felt he was in a dark place and needed a creative outlet. He was at first reluctant to approach Stump, likening the phone call to reconnecting with a lover after years of acrimony. "I know what you need – you need your band", Wentz told Stump. "I think it's kind of weird that we haven't really seen each other this year. We paid for each other's houses and you don't know my kid", Wentz remarked. The result, "three or four" new songs, were shelved with near immediacy, with the two concluding that "it just wasn't right and didn't feel right." Several months later, the two reconvened and wrote tracks that they felt truly represented the band in a modern form. The band decided that if a comeback was in order, it must represent the band in its current form: "We didn't want to come back just to bask in the glory days and, like, and collect a few checks and pretend ... and do our best 2003 impersonation", said Stump. Afterwards, the quartet held an all-day secret meeting at their manager's home in New York City where they discussed ideas and the mechanics of getting together to record. Trohman was the last to be contacted, through a three-hour phone call from Stump. As Trohman was arguably the most excited to begin other projects, he had a list of stipulations for rejoining the band. "If I'm not coming back to this band writing music […] then I don't want to", he remarked. Stump supported Trohman's ambition saying Trohman "needed to be writing more".
The band members' main goal was to reinvent the group's sound from scratch, creating what Trohman called a "reimagining of the band", which focuses more on pop. Sessions were not without difficulties, as the band struggled initially to produce new material. Walker had doubts about the band's volatility, feeling the record would not get made following "meltdown after meltdown". The entire album was recorded in secrecy from the music industry, critics, and fans of the band. While specifically denying that the group's announcement was a reunion because "[the group had] never broke[n] up", the band announced a reunion tour and details of Save Rock and Roll on February 4, 2013. The quartet's announcement included a photo of the group that had been taken earlier that morning of the band members huddled around a bonfire tossing copies of their back catalog into flames at the original location of Comiskey Park, the location of 1979's Disco Demolition Night, a baseball promotional event which involved destroying disco records. A message on the group's website read "when we were kids the only thing that got us through most days was music. It's why we started Fall Out Boy in the first place. This isn't a reunion because we never broke up. We needed to plug back in and make some music that matters to us. The future of Fall Out Boy starts now. Save rock and roll..." Save Rock and Roll debuted at number one on the Billboard 200 chart, with first week sales of 154,000 copies in the United States, according to Nielsen SoundScan. The arrival of Save Rock and Roll posted the quartet's third-biggest sales week, and earned the group's second career number one on the chart. The band's chart success was best described as unexpected by music journalists. Andy Greene in Rolling Stone called the band's comeback a "rather stunning renaissance", and Entertainment Weekly called the number one a "major accomplishment for a band whom many in the industry had dismissed as kings of a genre whose time had passed".
The record's lead single, "My Songs Know What You Did in the Dark (Light Em Up)", peaked at number 13 on the Billboard Hot 100, marking the band's first top twenty single since the group's 2008 cover of Michael Jackson's "Beat It". It was certified 3x Platinum in the US for over 3 million sales. Inspired in part by Daft Punk's Interstella 5555: The 5tory of the 5ecret 5tar 5ystem, the band released a music video for every song on the album in a series titled The Young Blood Chronicles between February 2013 and May 2014. The band also released a hardcore punk-influenced EP, PAX AM Days, in late 2013. Fall Out Boy covered Elton John's (who was featured on the Save Rock And Roll title track) song "Saturday Night's Alright for Fighting" for inclusion in the fortieth anniversary re-release edition of Goodbye Yellow Brick Road on March 25, 2014, alongside covers by different artists.
Fall Out Boy headlined Save Rock And Roll tours (including US, Australian and European legs) and played at music festivals around the world for one and a half years. The group co-headlined Monumentour with Paramore in North America to close the Save Rock And Roll era.
2014–2016: American Beauty/American Psycho
On June 2, 2014, Wentz stated that he and Stump were writing new music: "We're writing. I was just listening to something Patrick had written in the trailer. So we're writing, finishing out the album cycle in South Africa in September." In a later interview with Rock Sound regarding the status of the album, Wentz commented "We don't have an exact timetable yet. I have a two-week-old son and Patrick has a baby on the way in October, so there's a lot going on." as well as stating a rough release time as early 2015. In December 2014 the band played radio-sponsored Christmas shows, including KROQ's Almost Acoustic Christmas.
"Centuries" – the first single of Fall Out Boy's sixth studio album – premiered on September 8, 2014, on BBC Radio 1, receiving a worldwide release the next day. By the 2010s, there were few rock bands achieving success on mainstream radio and the charts, but "Centuries" peaked at No. 10 on the Billboard Hot 100 and No. 13 on Billboard Mainstream Top 40. Fall Out Boy also was featured on the track "Back to Earth" from Steve Aoki's second album Neon Future I, which was released on September 30, 2014. Another song titled "Immortals" was released October 14, 2014, as part of the soundtrack for the Walt Disney film Big Hero 6. The group remade the Chicago Bulls's anthem "Only the Bulls" with guest Lupe Fiasco. The recording of the song was released in November 2014.
On November 24, 2014, the title of Fall Out Boy's sixth studio album was announced as American Beauty/American Psycho; the album was released on January 20, 2015. The album's title track premiered on BBC Radio 1 in the UK along with the album's title reveal. American Beauty/American Psycho debuted at No. 1 on the US Billboard 200 with 192,000 first week sales and 218,000 equivalent album units, becoming Fall Out Boy's third No. 1 album. The band played two small venue release shows in January 2015, in London and Chicago. American Beauty/American Psycho was certified platinum in the US on March 1, 2016, after selling 1 million units. From February through March, the band played at the Australian Soundwave festival for the first time, with two additional side shows in Sydney and Brisbane.
Fall Out Boy inducted Green Day into the Rock and Roll Hall of Fame on April 18, 2015. On May 18, the group performed its song "Uma Thurman" with Wiz Khalifa on the 2015 Billboard Music Awards. In June–August 2015, Fall Out Boy toured across the United States with Wiz Khalifa, Hoodie Allen, and MAX on the "Boys of Zummer Tour".
On October 1, 2015, the "American Beauty/American Psycho" European tour kicked off in Dublin, Ireland, and consisted of 12 dates with shows in the UK, Russia, and Europe. On May 24, 2015, it was announced English rapper Professor Green would support Fall Out Boy on the 8-date leg of the band's UK tour. New York based dance-duo Matt and Kim were added as additional support for the UK tour. On October 23, 2015, Fall Out Boy announced via Twitter the release of a re-worked version of its sixth studio album, Make America Psycho Again. The remix album features a remade version of each track from the original record, each featuring a different rapper. The album was released on October 30, 2015. It included the version of "Uma Thurman" featuring Wiz Khalifa which had been originally performed at the Billboard Music Awards. On March 1, 2016, it was announced Fall Out Boy were to headline Reading and Leeds Festivals in the UK in August 2016 along with Biffy Clyro.
2017–present: Mania
On April 27, 2017, Fall Out Boy announced that their new album was set to be released on September 15, titled Mania, stylized as M A N I A. The first single, "Young and Menace", was released the same day. The second single, "Champion", was released in the U.S. on June 22 and worldwide on June 23. Music videos have been posted to Vevo and YouTube for both songs. The band plans to begin the Mania Tour in North America in October 2017 with hip hop artist blackbear and actor-rapper Jaden Smith, and will perform in Australia in 2018 with indie band WAAX. On August 3, 2017, Patrick Stump tweeted that the album's release would be pushed back to January 19, 2018, because the band were not satisfied with the results of their work at the time.
"The Last of the Real Ones", released on September 14, 2017, in North America and worldwide the following day, was the third single from Mania to be released, and was played on Jimmy Kimmel Live! on September 18, 2017, after being debuted at House of Blues in Chicago on September 16. The band announced the album's completion on November 6, 2017, along with the final track list. "Hold Me Tight or Don't" was then released as the fourth single on November 15, with the music video being released alongside. Mania was officially released January 19, 2018 and debuted at number one on the Billboard 200, making it the band's third consecutive and fourth chart-topping debut overall.
On February 23, 2018, the band released an EP called Llamania. The EP contains three unfinished demo recordings. On August 23, 2018, the band released an EP called Lake Effect Kid. The EP includes a new version of a demo, with the same name, from the band's 2008 mixtape, CitizensFOB Mixtape: Welcome to the New Administration. In September 2018, Fall Out Boy headlined Wrigley Field in the band's hometown of Chicago, marking a milestone in their career as their first headline show at a stadium. On December 7, 2018, Fall Out Boy received their second Grammy nomination for Best Rock Album for Mania.
In 2019, the band was sued by Furry Puppet Studio for overusing llama puppets made by the company. According to the company, the llamas were only licensed for use in the "Young and Menace" video but were used at live shows, on merchandise, during TV appearances, and in multiple music videos. On September 10, 2019, the band announced the Hella Mega Tour with Green Day and Weezer as headliners along themselves, with The Interrupters as an opening act. They also released "Dear Future Self (Hands Up)" off their second compilation album, Greatest Hits: Believers Never Die – Volume Two, released in November 2019. Due to the COVID-19 pandemic, the summer leg of the tour was rescheduled to 2021. On August 4, 2021, during the Hell Mega Tour, the band announced that they would not be performing at Boston's Fenway Park due to one of the band's team members testing positive for COVID-19. However, Green Day and Weezer performed as scheduled.
Musical style and influences
While widely considered to be a pop punk band, Fall Out Boy has also been described as pop rock, pop, alternative rock, emo, emo pop, power pop, punk rock, and electropop, with elements of electronic, R&B, soul, funk, blue-eyed soul, hip hop, and hardcore punk, The band cites emo group The Get Up Kids as an influence among many other bands. When interviewed for a retrospective article in Alternative Press at the time The Get Up Kids disbanded in 2005, Pete Wentz stated that "Fall Out Boy would not be a band if it were not for The Get Up Kids." Early in the band's career, when Jared Logan was producing the group's debut album, he asked bassist Pete Wentz what sound the band desired for recording. Wentz responded by "handing over the first two New Found Glory records". Wentz also cites Green Day, Misfits, the Ramones, Screeching Weasel, Metallica, Earth Crisis, Gorilla Biscuits and Lifetime as influences. The band acknowledges its hardcore punk roots as an influence; all four members were involved in the Chicago hardcore scene before joining Fall Out Boy. Wentz described the band's affiliation with the genre by saying "I think the interesting thing is that we are all hardcore kids that are writing pop music...It gives us a different style because at our core we are always hardcore. That aspect is always going to be evident in the music. We are hardcore kids that couldn't quite cut it as hardcore kids." He referred to Fall Out Boy's genre as "softcore": hardcore punk mixed with pop sensibility. Lead singer Patrick Stump, however, is also influenced by artists he listened to while growing up including Prince, Michael Jackson, and David Bowie.
Fall Out Boy's albums Take This to Your Grave and From Under the Cork Tree are both said to have pop punk as well as punk rock sounds and influences, and Infinity on High features a wide range of styles and instrumentation, including orchestral arrangements ("Thnks fr th Mmrs") and a slower piano ballad ("Golden"). R&B influences on Infinity on High are on songs such as "This Ain't a Scene, It's an Arms Race" and two of the album's tracks are produced by R&B singer/producer Babyface. On Folie à Deux, the group continues to evolve its sound, with less of a pop punk sound and increasing the use of piano (such as "What a Catch, Donnie", "Headfirst Slide into Cooperstown on a Bad Bet", and "20 Dollar Nose Bleed"), synthesizers, and guest artists. The band also shows a number of influences, with "Disloyal Order of Water Buffaloes" borrowing a chord sequence from The Who song "Baba O'Riley". The group has worked with many producers and artists, including The Neptunes, Timbaland, Ryan Adams, Lil Wayne and Kanye West, the latter of which Patrick Stump described as "the Prince of his generation".
When the band returned from hiatus with Save Rock and Roll, their main goal was to reinvent the sound of the group from scratch, creating what Trohman called a "reimagining of the band", which focused more on pop and moved away from the punk aspects of their sound. While mostly an album which mixes pop, rock and R&B, the record was still described by Dave Simpson of The Guardian as a pop punk record, but also noted influences from Heart in the album's ballads. In American Beauty/American Psycho, the band felt influences from playing with different artists and expanded on boundaries further than Save Rock and Roll did. In an interview with Rolling Stone, guitarist Joe Trohman said the album has "hip hop grooves with guitars on it", with "more in your face guitar than Save Rock and Roll". Annie Zaleski of Alternative Press described American Beauty/American Psycho as a "mix of fluid grooves, punky riffs and outré pop sensibilities".
A central part of Fall Out Boy's sound is rooted in the band's lyrics, mainly penned by bassist Pete Wentz, who commonly uses irony and other literary devices to narrate personal experience and stories. Wentz stated, "I write about what I'm going through most of the time, or what I imagine people are going through most of the time." He draws inspiration from authors such as Charles Bukowski, Ernest Hemingway, and JT LeRoy, as well as rappers such as Lil Wayne, who he described as his primary influence while writing Infinity on High. On Fall Out Boy's earlier works, Wentz wrote primarily about love and heartbreak. Themes addressed on From Under the Cork Tree include narcissism and megalomania, while many tracks on Infinity on High discuss the ups and downs of fame. While writing Folie à Deux, he explored moral dilemmas and societal shortcomings, as well as concepts such as trust, infidelity, responsibility, and commitment. While the album does contain political overtones, the band wanted to avoid being overt about these themes, leaving many lyrics open to interpretation for listeners.
Legacy
Fall Out Boy have been instrumental in the careers of other artists, such as Panic! at the Disco, whom Pete Wentz signed to his record label, Decaydance Records, in late 2004. Several artists, such as You Me at Six and Taylor Swift, have created or performed covers of Fall Out Boy songs in homage to the band.
The Fall Out Boy band members were the first inductees to the "Hall of Wood" at the 2015 MtvU Woodie Awards and performed a medley of five songs at the ceremony. This honor is given to artists who have used MTV Woodie Awards as a "launching pad" in achieving chart topping success within their musical careers, thus influencing up and coming bands. The award also recognizes bands "sticking to their roots" and "maintaining their loyal fan base". The group had won the Woodie Award for Streaming for "Grand Theft Autumn" at the first ceremony in 2004.
In a list of the 50 greatest pop-punk albums of all time, Rolling Stone placed Fall Out Boy's 2003 album Take This To Your Grave as the fifth greatest, citing it as "[ushering] in a whole new, genre-blurring scene, in which heavy riffs and a screamo aesthetic mingled with old-fashioned teen heartbreak". In a similar list, Kerrang! magazine placed Take This To Your Grave at number 11 out of 51, describing it as a "blueprint for both break-up records and timeless pop-punk". In 2018, Rock Sound put Take This To Your Grave at number 18 in their list of the 100 best pop-punk albums, describing it as "poetic and utterly brilliant", while 2005's From Under The Cork Tree was placed at number 3 behind only Green Day's Dookie and Blink-182's Enema of the State. Rock Sound described From Under the Cork Tree as "intelligent, intriguing and utterly intoxicating...They will still be talking about this one in 50 years time."
In 2017, Fall Out Boy were announced as the first winners of Rock Sound's Hall of Fame Award as part of the Rock Sound Awards. In an interview accompanying the band's win, Patrick Stump stated one reason for the band's success is Sugar, We're Goin Down, explaining that the "song changed my life, I have a music career in a large part due to that song". In 2009, Phoenix New Times writer Martin Cizmar had described Sugar, We're Goin Down as possibly "the most listened-to emo track of all time".
As of 2020, the band are two-time Grammy Award nominees, their first nomination having been for Best New Artist at the 2006 Grammy Awards and their second for Best Rock Album for their 2018 album MANIA at the 2019 Grammy Awards.
On July 30, 2020, the band were nominated for "Best Rock Video" for the song "Dear Future Self (Hands Up)" at the 2020 MTV Video Music Awards, which makes them the most nominated band in history for the category.
Band membersCurrent members Patrick Stump – lead vocals , rhythm guitar, keyboards , percussion
Joe Trohman – lead guitar, backing vocals , keyboards
Pete Wentz – bass guitar, unclean vocals, backing vocals
Andy Hurley – drums, percussion , occasional backing vocals Former members'''
Ben Rose – drums, percussion
John Flamandan - rhythm guitar
T.J. Kunasch – rhythm guitar
Brandon Hamm – rhythm guitar
Mike Pareskuwicz – drums, percussion
Timeline
Discography
Take This to Your Grave (2003)
From Under the Cork Tree (2005)
Infinity on High (2007)
Folie à Deux (2008)
Save Rock and Roll (2013)
American Beauty/American Psycho (2015)
Mania (2018)
Awards and nominations
Alternative Press Music Awards
|-
| rowspan=5|2014
| rowspan=2|Themselves
| Artist of the Year
|
|-
| Best Live Band
|
|-
| Pete Wentz
| Best Bassist
|
|-
| Save Rock and Roll| Album of the Year
|
|-
| "My Songs Know What You Did in the Dark (Light Em Up)"
| Song of the Year
|
|-
| rowspan=2|2015
| "Centuries"
| Best Music Video
|
|-
| Overcast Kids| Most Dedicated Fans
|
|-
| rowspan=2|2016
| Patrick Stump
| Best Vocalist
|
|-
| rowspan=2|Themselves
| rowspan=2|Artist of the Year
|
|-
| 2017
|
International Dance Music Awards
|-
| 2008
| "Thnks fr th Mmrs"
| Best Alternative/Rock Dance Track
|
Kerrang! Awards
|-
| rowspan=4|2006
| Themselves
| Best Band on the Planet
|
|-
| From Under the Cork Tree| Best Album
|
|-
| rowspan=2|"Sugar, We're Goin Down"
| Best Single
|
|-
| rowspan=2|Best Video
|
|-
| rowspan=3|2007
| "This Ain't a Scene, It's an Arms Race"
|
|-
| Infinity on High| Best Album
|
|-
| rowspan=2|Themselves
| rowspan=2|Best International Band
|
|-
| rowspan=4|2013
|
|-
| Fall Out Boy at London Camden Underworld| Best Event
|
|-
| "My Songs Know What You Did in the Dark (Light Em Up)"
| rowspan=2|Best Single
|
|-
| "The Phoenix"
|
|-
| rowspan=3|2014
| Themselves
| Best International Band
|
|-
| Save Rock and Roll Tour| Best Event
|
|-
| Pete Wentz
| Tweeter of the Year
|
|-
| rowspan=2|2015
| "Centuries"
| Best Single
|
|-
| rowspan=2|Themselves
| rowspan=2|Best International Band
|
|-
| 2016
|
Teen Choice Awards
|-
| rowspan=3|2006
| Themselves
| Choice Music: Rock Group
|
|-
| rowspan=2|"Dance, Dance
| Choice Music: Single
|
|-
| rowspan=2|Choice Music: Rock Song
|
|-
| rowspan=2|2007
| "Thnks fr th Mmrs"
|
|-
| rowspan=2|Themselves
| rowspan=2|Choice Music: Rock Group
|
|-
| rowspan=2|2008
|
|-
| Pete Wentz
| Choice Red Carpet Fashion Icon: Male
|
|-
| rowspan=4|2015
| Themselves
| Choice Music Group: Male
|
|-
| "Centuries"
| Choice Music Single: Group
|
|-
| "Uma Thurman"
| Choice Music: Rock Song
|
|-
| The Boys of Zummer Tour (with Wiz Khalifa)
| Choice Summer Tour
|
|-
| 2016
| Themselves
| Choice Music: Group
|
Other Awards
|-
|| 2004 || "Grand Theft Autumn/Where Is Your Boy" || MtvU Woodie Award – Streaming Artist || rowspan="4"
|-
|| 2005 || "Sugar, We're Goin Down" || MTV Video Music Award – MTV2 Award
|-
|rowspan="3"| 2006 || rowspan=2|"Dance, Dance" || MuchMusic Video Award – People's Choice: Favorite International Group
|-
|| MTV Video Music Award – Viewer's Choice
|-
|| Fall Out Boy || Grammy Award for Best New Artist ||
|-
|rowspan=4|2007 || rowspan="2"| "Thnks fr th Mmrs" || Nickelodeon's Australian Kids' Choice Awards – Fave Song || rowspan="3"
|-
|| Nickelodeon's Kids' Choice Award – Single
|-
|rowspan=2|Fall Out Boy || MTV Video Music Award – Best Group
|-
|| Nickelodeon's Kids Choice Award – Best Band ||
|-
|rowspan="5"| 2008 || "The Take Over, the Breaks Over" || MuchMusic Video Award – People's Choice: Favorite International Video || rowspan="4"
|-
|rowspan="3"| Fall Out Boy || TMF Award – Best Live International
|-
|| TMF Award – Best Rock International
|-
|| TMF Award – Best Alternative International
|-
|| "Beat It" || MTV Video Music Award – Best Rock Video || rowspan="2"
|-
|| 2009 || "I Don't Care" || NRJ Music Award – Best International Band
|-
|rowspan=2|2013 || "My Songs Know What You Did in the Dark (Light Em Up)" || MTV Video Music Award for Best Rock Video || rowspan="2"
|-
|| Fall Out Boy || MTV Europe Music Awards – Best Alternative
|-
| rowspan="10"| 2014 || Fall Out Boy || People's Choice Awards – Favorite Alternative Band ||
|-
|| Fall Out Boy || Billboard Music Awards – Top Rock Artist || rowspan="2"
|-
|| Save Rock and Roll || Billboard Music Awards – Top Rock Album
|-
|| Fall Out Boy & The Band Perry || CMT Music Awards – CMT Performance of the Year ||
|-
|| Fall Out Boy || World Music Awards – World's Best Alternative Act ||
|-
|| Fall Out Boy || World Music Awards – World's Best Group || rowspan="7"
|-
|| Fall Out Boy || World Music Awards – World's Best Live Act
|-
|| Save Rock and Roll || World Music Awards – World's Best Album
|-
|| "My Songs Know What You Did in the Dark (Light Em Up)" || World Music Awards – World's Best Song
|-
|| "My Songs Know What You Did in the Dark (Light Em Up)" || World Music Awards – World's Best Music Video
|-
| rowspan="5"| 2015 || Fall Out Boy || Billboard Music Awards – Top Rock Artist
|-
|rowspan="1"|"Centuries" || Billboard Music Awards – Top Rock Song
|-
|| "Uma Thurman" || MTV Video Music Award – Best Rock Video || rowspan="2"
|-
|| Fall Out Boy || American Music Awards – Favorite Alternative Band
|-
|| Fall Out Boy || People's Choice Awards – Favorite Group || rowspan="5"
|-
| rowspan="5"| 2016 || Fall Out Boy || Billboard Music Awards – Top Rock Artist
|-
|rowspan="2"| "Uma Thurman" || Billboard Music Awards – Top Rock Song
|-
|| Radio Disney Music Awards – Best Song To Dance To
|-
|rowspan="3"| Fall Out Boy || Radio Disney Music Awards – Best Music Group
|-
|| MTV Video Music Award – Best Rock Video || rowspan="4"
|-
| 2018 || MTV Europe Music Award – Best Alternative
|-
| 2019 || Mania'' || Grammy Award for Best Rock Album
|-
| 2020 || "Dear Future Self (Hands Up)" || MTV Video Music Award – Best Rock Video
See also
Notes
References
Footnotes
Bibliography
Cover of the issue.
External links
Official website
Patrick Stump official website
2001 establishments in Illinois
Emo musical groups from Illinois
American pop rock music groups
Crush Management artists
Decaydance Records artists
Fueled by Ramen artists
Kerrang! Awards winners
Musical groups disestablished in 2009
Musical groups established in 2001
Musical groups from Chicago
Musical groups from Wilmette, Illinois
Musical groups reestablished in 2013
Musical quartets
Pop punk groups from Illinois
| true |
[
"The Shantala Natya Sri Award is an award given every year by the Government of Karnataka to dancers in recognition of their contributions in the filed of classical dance. Santala, the queen of Vishnuvardhana, the Hoysala king, was a dancer who made great contributions to classical dance and architecture. The award is named after her.\n\nThe award consists of a plaque, shawl, garland and cash reward of 5 lakhs (0.5 Million) Indian rupee. It was in 2009, the amount was increased to 5 lakhs.\n\nSince its inception in 1995, the award has been given to a total of 24 individuals. K. Venkatalakshamma was the first dancer to receive the award and the most recent recipient is B. Bhanumati, who was awarded in the year 2018.\n\nAwardees\n\nReferences\n\nAwards established in 1995\nDance awards\n1995 establishments in Karnataka\nCivil awards and decorations of Karnataka",
"The 2020 Israel State Cup Final decided the winner of the 2019–20 Israel State Cup, the 84th season of Israel's main football cup. It was played on 13 July 2020 at the Bloomfield Stadium in Tel Aviv, between Maccabi Petah Tikva and Hapoel Be'er Sheva.\n\nBackground\nMaccabi Petah Tikva had previously played 4 Israel cup Finals, had won the competition a record 2 time. Their most recent appearance in the final was in 2001, in which they lost 3–0 to Maccabi Tel Aviv, and their most recent victory in the tournament was in 1952, beating Maccabi Tel Aviv 1–0. \n\nHapoel Be'er Sheva had previously played in 4 finals, winning one time. Their most recent appearance in the final was in 2015, in which they lost 6–2 to Maccabi Tel Aviv, and their most recent victory in the tournament was in 1997, beating Maccabi Tel Aviv 1–0.\n\nRoad to the final\n\nMatch\n\nDetails\n\nReferences\n\nIsrael State Cup\nState Cup\nCup 2020\nIsrael State Cup matches"
] |
[
"Víctor Jara",
"Artistic work"
] |
C_d7d09cefef4045b3a4a7b992ed81b925_1
|
What did Jara's artistic work consist of?
| 1 |
What did Jara's artistic work consist of?
|
Víctor Jara
|
After joining the choir at the University of Chile in Santiago, Jara was convinced by a choir-mate to pursue a career in theater. He subsequently joined the university's theater program and earned a scholarship for talent. He appeared in several of the university's plays, gravitating toward those with social themes, such as Russian playwright Maxim Gorky's The Lower Depths, a depiction of the hardships of lower-class life. In 1957, he met Violeta Parra, a singer who had steered folk music in Chile away from the rote reproduction of rural materials toward modern song composition rooted in traditional forms, and who had established musical community centers called penas to incorporate folk music into the everyday life of modern Chileans. Jara absorbed these lessons and began singing with a group called Cuncumen, with whom he continued his explorations of Chile's traditional music. He was deeply influenced by the folk music of Chile and other Latin American countries, and by artists such as Parra, Atahualpa Yupanqui, and the poet Pablo Neruda. In the 1960s, Jara started specializing in folk music and sang at Santiago's La Pena de Los Parra, owned by Angel Parra. Through these activities, he became involved in the Nueva Cancion movement of Latin American folk music. He released his first album, Canto a lo humano, in 1966, and by 1970, he had left his theater work in favor of a career in music. His songs were inspired by a combination of traditional folk music and left-wing political activism. From this period, some of his best-known songs are "Plegaria a un Labrador" ("Prayer to a Worker") and "Te Recuerdo Amanda" ("I Remember You Amanda"). CANNOTANSWER
|
CANNOTANSWER
|
Víctor Lidio Jara Martínez (; 28 September 1932 – 16 September 1973) was a Chilean teacher, theater director, poet, singer-songwriter and socialist political activist tortured and killed during the dictatorship of Augusto Pinochet. He developed Chilean theater by directing a broad array of works, ranging from locally produced plays to world classics, as well as the experimental work of playwrights such as Ann Jellicoe. He also played a pivotal role among neo-folkloric musicians who established the Nueva Canción Chilena (New Chilean Song) movement. This led to an uprising of new sounds in popular music during the administration of President Salvador Allende.
Jara was arrested shortly after the Chilean coup of 11 September 1973, which overthrew Allende. He was tortured during interrogations and ultimately shot dead, and his body was thrown out on the street of a shantytown in Santiago. The contrast between the themes of his songs—which focused on love, peace, and social justice—and the brutal way in which he was murdered transformed Jara into a "potent symbol of struggle for human rights and justice" for those killed during the Pinochet regime. His preponderant role as an open admirer and propagandist for Che Guevara and Allende's government, in which he served as a cultural ambassador through the late 1960s and until the early 1970s crisis that ended in the coup against Allende, marked him for death.
In June 2016, a Florida jury found former Chilean Army officer Pedro Barrientos liable for Jara's murder. In July 2018, eight retired Chilean military officers were sentenced to 15 years and a day in prison for Jara's murder.
Early life
Víctor Lidio Jara Martinez was born on September 28, 1932, his parents were working as tenants and they lived near the town of La Quiriquina, located twelve kilometers from the old Chillan, he had about five brothers. His exact place of birth is uncertain, but in any case, he was born in the Ñuble Region. At the age of five, his family moved to Lonquén, a town near Santiago de Chile, where his father, Manuel Jara, had rented a small piece of land that he worked from sun to sun with a miserable performance. His father was illiterate and did not want him and his other siblings to go to school so that they could help him in the fields from the ages of six and seven. His mother, on the other hand, knew how to read a little and from the beginning she insisted that they at least learn the letters.
Jara's mother was a mestiza with deep Araucanian roots in southern Chile, she was self-taught, and played the guitar and the piano. She also performed as a singer, with a repertory of traditional folk songs that she used for local functions like weddings and funerals. The relationship between her parents became more tense with each passing day, her father began to drink and disappeared from the house several days in a row, leaving all the work in the hands of Amanda. Later, her mother moved to Santiago and took a job as a cook in a restaurant in Vega Poniente. Because she was so skilled she did well there and so she was able to educate three of her children, including Victor.
She died when Jara was 15, leaving him to make his own way. He began to study to be an accountant, but soon moved into a seminary, where he studied for the priesthood. After a couple of years, however, he became disillusioned with the Catholic Church and left the seminary. Subsequently, he spent several years in army service before returning to his hometown to pursue interests in folk music and theater.
Musical career
After joining the choir at the University of Chile in Santiago, Jara was convinced by a choir-mate to pursue a career in theater. He subsequently joined the university's theater program and earned a scholarship for talent. He appeared in several of the university's plays, gravitating toward those with social themes, such as Russian playwright Maxim Gorky's The Lower Depths, a depiction of the hardships of lower-class life.
In 1957, he met Violeta Parra, a singer who had steered folk music in Chile away from the rote reproduction of rural materials toward modern song composition rooted in traditional forms, and who had established musical community centers called peñas to incorporate folk music into the everyday life of modern Chileans. Jara absorbed these lessons and began singing with a group called Cuncumén, with whom he continued his explorations of Chile's traditional music (working as a guitarist and vocalist from 1957 to 1963). He was deeply influenced by the folk music of Chile and other Latin American countries, and by artists such as Parra, Atahualpa Yupanqui, and the poet Pablo Neruda. In the 1960s, Jara started specializing in folk music and sang at Santiago's La Peña de Los Parra, owned by Ángel Parra. Through these activities, he became involved in the Nueva Canción movement of Latin American folk music.
In 1966, Víctor released his first album homonymous, by the record company "Demon", being the only album released under this label and the Víctor Jara's first solo work, the album would later be re-released under the titles Canto a lo humano and Sus mejores canciones, and in 2001 an reissue on CD by Warner Music Chile was released, with the original title. This version on CD also included five bonus tracks, four of which are songs by Víctor Jara along with Cuncumén.
The album includes some Jara's versions of some Latin American folk songs, such as; "La flor que anda de mano en mano", and "Ojitos verdes", two Chilean folk songs, "La cocinerita", an Argentinian folk song, or "Ja jai", a Bolivian traditional. The authorship of this album, as well as its singles, was in the hands of Camilo Fernández, owner of the Demon record company, from its launch in 1966 until 2001, when he recently transferred the rights to the widow of Víctor Jara, after years of profiting from the album (as well as with others from Patricio Manns, Isabel and Ángel Parra, among others) without ever financially rewarding its authors or family.
In 1967 released their second album homonymous, this album apart from the controversial song "The appeared" includes Jara's covers of some folk songs from Chile, Argentina, Bolivia or Spain as; «Despedimiento del angelito», «Ay mi palomita», «Casi, casi», «Qué alegres son las obreras» or «Romance del enamorado y la muerte». Also, the album was subsequently released under the name of Desde longuén hasta siempre with a variation of different covers. In 1968, Jara released his first collaborative album entitled, "Canciones folklóricas de América" (Folkloric Songs of America), with Quilapayun. In 1970, he had left his theater work in favor of a career in music. His songs were inspired by a combination of traditional folk music and left-wing political activism. From this period, some of his best-known songs are "Plegaria a un Labrador" ("Prayer to a Worker") and "Te Recuerdo Amanda" ("I Remember You Amanda").
Political activism
Early in his recording career, Jara showed a knack for antagonizing conservative Chileans, releasing a traditional comic song called "La beata" that depicted a religious woman with a crush on the priest to whom she goes for confession. The song was banned on radio stations and removed from record shops, but the controversy only added to Jara's reputation among young and progressive Chileans. More serious in the eyes of the Chilean right wing was Jara's growing identification with the socialist movement led by Salvador Allende. After visits to Cuba and the Soviet Union in the early 1960s, Jara had joined the Communist Party. The personal met the political in his songs about the poverty he had experienced firsthand.
Jara's songs spread outside Chile and were performed by American folk artists. His popularity was due not only to his songwriting skills but also to his exceptional power as a performer. He took a decisive turn toward political confrontation with his 1969 song "Preguntas por Puerto Montt" ("Questions About Puerto Montt"), which took direct aim at a government official (Edmundo Pérez Zujovic) who had ordered police to attack squatters in the town of Puerto Montt. The Chilean political situation deteriorated after the official was assassinated, and right-wing thugs beat up Jara on one occasion.
In 1970, Jara supported Allende, the Popular Unity coalition candidate for president, volunteering for political work and playing free concerts. He composed "Venceremos" ("We Will Triumph"), the theme song of Allende's Popular Unity movement, and welcomed Allende's election to the Chilean presidency in 1970. After the election, Jara continued to speak in support of Allende and played an important role in the new administration's efforts to reorient Chilean culture.
He and his wife, Joan Jara, were key participants in a cultural renaissance that swept Chile, organizing cultural events that supported the country's new socialist government. He set poems by Pablo Neruda to music and performed at a ceremony honoring him after Neruda received the Nobel Prize in Literature in 1972. Throughout rumblings of a right-wing coup, Jara held on to his teaching job at Chile's Technical University. His popular success during this time, as both a musician and a Communist, earned him a concert in Moscow. So successful was he that the Soviet Union tried to latch onto his popularity, claiming in their media that his vocal prowess was the result of surgery he had undergone while in Moscow.
Backed by the United States, which opposed Allende's socialist politics, the Chilean military staged a coup d'état on 11 September 1973, resulting in the death of Allende and the installation of Augusto Pinochet as dictator. At the moment of the coup, Jara was on his way to the Technical University (today the Universidad de Santiago). That night, he slept at the university along with other teachers and students, and sang to raise morale.
Torture and murder
After the coup, Pinochet's soldiers rounded up Chileans who were believed to be involved with leftist groups, including Allende's Popular Unity party. On the morning of 12 September 1973, Jara was taken prisoner, along with thousands of others, and imprisoned inside Chile Stadium. The guards there tortured him, smashing his hands and fingers, and then mocked him by asking him to play the guitar. Jara instead sang the Chilean protest song Venceremos. Soon after, he was killed with a gunshot to the head, and his body was riddled with more than 40 bullets.
According to the BBC "There are many conflicting accounts of Jara’s last days but the 2019 Netflix documentary Massacre at the Stadium pieces together a convincing narrative. As a famous musician and prominent supporter of Allende, Jara was swiftly recognised on his way into the stadium. An army officer threw a lit cigarette on the ground, made Jara crawl for it, then stamped on his wrists. Jara was first separated from the other detainees, then beaten and tortured in the bowels of the stadium. At one point, he defiantly sang Venceremos (We Will Win), Allende’s 1970 election anthem, through split lips. On the morning of the 16th, according to a fellow detainee, Jara asked for a pen and notebook and scribbled the lyrics to Estadio Chile, which were later smuggled out of the stadium: “How hard it is to sing when I must sing of horror/ Horror which I am living, horror which I am dying.” Two hours later, he was shot dead, then his body was riddled with machine-gun bullets and dumped in the street. He was 40."
After his murder, Jara's body was displayed at the entrance of Chile Stadium for other prisoners to see. It was later discarded outside the stadium along with the bodies of other civilian prisoners who had been killed by the Chilean Army. His body was found by civil servants and brought to a morgue, where one of them was able to identify him and contact his wife, Joan. She took his body and gave him a quick and clandestine burial in the general cemetery before she fled the country into exile.
Forty-two years later, former Chilean military officers were charged with his murder.
Legal actions
On 16 May 2008, retired colonel Mario Manríquez Bravo, who was the chief of security at Chile Stadium as the coup was carried out, was the first to be convicted in Jara's death. Judge Juan Eduardo Fuentes, who oversaw Bravo's conviction, then decided to close the case, a decision Jara's family soon appealed. In June 2008, Judge Fuentes re-opened the investigation and said he would examine 40 new pieces of evidence provided by Jara's family.
On 28 May 2009, José Adolfo Paredes Márquez, a 54-year-old former Army conscript arrested the previous week in San Sebastián, Chile, was formally charged with Jara's murder. Following his arrest, on 1 June 2009, the police investigation identified the officer who had shot Jara in the head. The officer played Russian roulette with Jara by placing a single round in his revolver, spinning the cylinder, placing the muzzle against Jara's head, and pulling the trigger. The officer repeated this a couple of times until a shot fired and Jara fell to the ground. The officer then ordered two conscripts (one of them Paredes) to finish the job by firing into Jara's body. A judge ordered Jara's body to be exhumed in an effort to gather more information about his death.
On 3 December 2009, Jara was reburied after a massive funeral in the Galpón Víctor Jara, across from Santiago's Plaza Brasil.
On 28 December 2012, a judge in Chile ordered the arrest of eight former army officers for alleged involvement in Jara's murder. He issued an international arrest warrant for one of them, Pedro Barrientos Núñez, the man accused of shooting Jara in the head during a torture session.
On 4 September 2013, Chadbourne & Parke attorneys Mark D. Beckett and Christian Urrutia, with the assistance of the Center for Justice and Accountability, filed suit in a United States court against Barrientos, who lives in Florida, on behalf of Jara's widow and children. The suit accused Barrientos of arbitrary detention; cruel, inhuman, or degrading treatment or punishment; extrajudicial killing; and crimes against humanity under the Alien Tort Statute (ATS), and of torture and extrajudicial killing under the Torture Victim Protection Act (TVPA). It alleged that Barrientos was liable for Jara's death as a direct perpetrator and as a commander.
The specific claims were that:
On 11 September 1973, troops from the Arica Regiment of the Chilean Army, specifically from La Serena, attacked the university where Jara taught. The troops prohibited civilians from entering or leaving the university premises. During the afternoon of 12 September 1973, military personnel entered the university and illegally detained hundreds of professors, students, and administrators. Víctor Jara was among those arbitrarily detained on the campus and was subsequently transferred to Chile Stadium, where he was tortured and killed.
In the course of transporting and processing the civilian prisoners, Captain Fernando Polanco Gallardo, a commanding officer in military intelligence, recognized Jara as the well-known folk singer whose songs addressed social inequality, and who had supported President Allende's government. Captain Polanco separated Jara from the group and beat him severely. He then transferred Jara, along with some of the other civilians, to the stadium.
Throughout his detention in the locker room of the stadium, Jara was in the physical custody of Lieutenant Barrientos, soldiers under his command, or other members of the Chilean Army who acted in accordance with the army's plan to commit human rights abuses against civilians.
The arbitrary detention, torture, and extrajudicial killing of Jara and other detainees were part of a widespread, systematic attack on civilians by the Chilean Army from 11 to 15 September 1973. Barrientos knew, or should have known, about these attacks, if for no other reason than that he was present for and participated in them.
On 15 April 2015, a US judge ordered Barrientos to stand trial in Florida. On 27 June 2016, he was found liable for Jara's killing, and the jury awarded Jara's family $28 million.
On 3 July 2018, eight retired Chilean military officers were sentenced to 15 years in prison for Jara's murder and the murder of his Communist associate and former Chilean prison director Littre Quiroga Carvajal. They received three extra years for kidnapping both men. A ninth suspect was sentenced to five years in prison for covering up the murders.
In November 2018, it was reported that a Chilean court ordered the extradition of Barrientos.
Theater work
1959. Parecido à la Felicidad (Some Kind of Happiness), Alejandro Sieveking
1960. La Viuda de Apablaza (The Widow of Apablaza), Germán Luco Cruchaga (assistant director to Pedro de la Barra, founder of ITUCH)
1960. The Mandrake, Niccolò Machiavelli
1961. La Madre de los Conejos (Mother Rabbit), Alejandro Sieveking (assistant director to Agustín Siré)
1962. Ánimas de Día Claro (Daylight Spirits), Alejandro Sieveking
1963. The Caucasian Chalk Circle, Bertolt Brecht (assistant director to Atahualpa del Cioppo)
1963. Los Invasores (The Intruders), Egon Wolff
1963. Dúo (Duet), Raúl Ruiz
1963. Parecido à la Felicidad, Alejandro Sieveking (version for Chilean television)
1965. La Remolienda, Alejandro Sieveking
1965. The Knack, Ann Jellicoe
1966. Marat/Sade, Peter Weiss (assistant director to William Oliver)
1966. La Casa Vieja (The Old House), Abelardo Estorino
1967. La Remolienda, Alejandro Sieveking
1967. La Viuda de Apablaza, Germán Luco Cruchaga (director)
1968. Entertaining Mr Sloane, Joe Orton
1969. Viet Rock, Megan Terry
1969. Antigone, Sophocles
1972. Directed a ballet and musical homage to Pablo Neruda, which coincided with Neruda's return to Chile after being awarded the Nobel Prize for Literature.
Discography
Studio albums
Víctor Jara (1966)
Víctor Jara (1967)
Canciones folklóricas de América (with Quilapayún) (1968)
Pongo en tus manos abiertas (1969)
Canto libre (1970)
El derecho de vivir en paz (1971)
La Población (1972)
Canto por travesura (1973)
Tiempos que cambian (unfinished) (Estimated release: 1974)
Manifiesto (1974; reissued in 2001)
Live albums
Víctor Jara en Vivo (1974)
El Recital (1983)
Víctor Jara en México (1996)
Habla y canta (1996; reissued in 2001)
En Vivo en el Aula Magna de la Universidad de Valparaíso (2003)
Compilations
Te recuerdo, Amanda (1974)
Víctor Jara. Presente (1975)
Vientos del Pueblo (1976)
Canto Libre (1977)
An unfinished song (1984)
Todo Víctor Jara (1992)
20 Años Después (1992)
The Rough Guide to the Music of the Andes (1996)
Víctor Jara presente, colección "Haciendo Historia" (1997)
Te Recuerdo, Víctor (2000)
Antología Musical (2001)
1959–1969 – Víctor Jara (2001)
Latin Essential: Victor Jara (2003)
Colección Víctor Jara (2004)
Víctor Jara. Serie de Oro. Grandes Exitos (2005)
Tribute albums
A Víctor Jara by Raímon (1974)
Het Recht om in Vrede te Leven by Cornelis Vreeswijk (1978)
Cornelis sjunger Victor Jara: Rätten till ett eget liv by Cornelis Vreeswijk (1979)
Konzert für Víctor Jara by various artists (1998)
Inti-illimani interpeta a Víctor Jara by Inti-Illimani (1999)
Quilapayún Canta a Violeta Parra, Víctor Jara y Grandes Maestros Populares by Quilapayún (2000)
Conosci Victor Jara? by Daniele Sepe (2000)
Tributo Rock a Víctor Jara by various artists (2001)
Tributo a Víctor Jara by various artists (2004)
Lonquen: Tributo a Víctor Jara by Francesca Ancarola (2005)
Even in Exile by James Dean Bradfield (2020)
Documentaries and films
The following are films or documentaries about and/or featuring Víctor Jara:
1973: El Tigre Saltó y Mató, Pero Morirá…Morirá…. Director: Santiago Álvarez – Cuba
1974: Compañero: Víctor Jara of Chile. Directors: Stanley Foreman/Martin Smith (Documentary) – UK
1976: Il Pleut sur Santiago. Director: Helvio Soto – France/Bulgaria
1978: Ein April hat 30 Tage. Director: Gunther Scholz – East Germany
1978: El Cantor. Director: Dean Reed – East Germany
1999: El Derecho de Vivir en Paz. Director: Carmen Luz Parot – Chile
2001: Freedom Highway: Songs That Shaped a Century. Director: Philip King – Ireland
2005: La Tierra de las 1000 Músicas [Episode 6: La Protesta]. Directors: Luis Miguel González Cruz, – Spain
2010: Phil Ochs: There but for Fortune Director: Kenneth Bowser
2019:Masacre en el estadio. Netflix
In popular culture
Jara is one of many desaparecidos (people who vanished under the Pinochet government and were most likely tortured and killed) whose families are still struggling to get justice. Joan Jara currently lives in Chile and runs the Víctor Jara Foundation, which was established on 4 October 1994 with the goal of promoting and continuing Jara's work. She publicized a poem that Jara wrote before his death about the conditions of the prisoners in the stadium. The poem, written on a piece of paper that was hidden inside the shoe of a friend, was never named, but it is commonly known as "Estadio Chile" (Chile Stadium, now known as Víctor Jara Stadium).
On 22 September 1973, the Soviet astronomer Nikolai Stepanovich Chernykh found an asteroid that he initially called "SO2", but later he would end up calling it "2644 Victor Jara". The 1975 anthology For Neruda, for Chile contains a section called "The Chilean Singer", with poems dedicated to Jara. In 1989, Scottish rock band Simple Minds dedicated "Street Fighting Years" track to Victor Jara. In the late 1990s, British actress Emma Thompson started to work on a screenplay that she planned to use as the basis for a movie about Jara. Thompson, a human rights activist and fan of Jara, saw his murder as a symbol of human rights violations in Chile, and believed a movie about his life and death would raise awareness. The movie was to feature Antonio Banderas as Jara and Thompson as his wife, Joan. However, the project was not completed.
In 2007, a fishing schooner built in 1917 in Denmark was renamed after the singer-songwriter. He sails at social and cultural events, and when he's not on the high seas he's at the museum in the port of Lübeck, Germany. The title song on Rory McLeod's album Angry Love is about Jara. In a list prepared by the renowned American magazine Rolling Stone, published on June 3, 2013, Víctor Jara is named as one of the "15 Rock & Roll Rebels", being the only Latin American to integrate the list. In 2020, James Dean Bradfield of Manic Street Preachers released a concept album about Victor Jara called 'Even In Exile', that album was rated 4 out of 5 stars by The Guardian. On September 7, 2021, the Municipality of Estación Central approved the name change of "Avenida Ecuador" to "Avenida Víctor Jara".
See also
Nueva Canción Chilena
Estadio Victor Jara
2644 Victor Jara
Brigada Victor Jara
Galpón Víctor Jara
References
Bibliography
Jara, Joan (1983). Victor: An Unfinished Song. Jonathan Cape, London.
Kósichev, Leonard. (1990). La guitarra y el poncho de Víctor Jara. Progress Publishers, Moscow
External links
Resources in English
Three chapters from Victor: An Unfinished Song by Joan Jara
Discography
Victor Jara: The Martyred Musician of Nueva Cancion Chilena
Background materials on the Chilean Workers' Movement in the 1970s
Report of the Chilean National Commission on Truth and Reconciliation
GDR Poster Art: Víctor Jara
Allende’s Poet. Nick MacWilliam for Jacobin, 2 August 2016.
Resources in Spanish
Fundación Víctor Jara
Lyrics of all his Songs
Discography
Vientos del Pueblo: Un Homenaje a Víctor Jara
1932 births
1973 deaths
Anti-fascists
Anti-capitalists
Assassinated Chilean people
Burials in Chile
Chilean male actors
Chilean educators
Chilean folk singers
Chilean male poets
Chilean male singer-songwriters
Chilean theatre directors
Chilean Christians
Chilean communists
Chilean torture victims
Deaths by firearm in Chile
Executed writers
Former Roman Catholics
Latin American folk singers
Marxist humanists
Nueva canción musicians
People from Chillán
University of Chile alumni
Chilean Marxists
People murdered in Chile
Communist Party of Chile politicians
University of Santiago, Chile alumni
Political music artists
20th-century Chilean poets
20th-century Chilean male writers
20th-century Chilean male singers
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[
"Galpón Víctor Jara (“Víctor Jara Warehouse”) is a cultural center located in Santiago, Chile, in Barrio Brasil, an area of the city known for its strong artistic and cultural scene. Managed by the Víctor Jara Foundation, the center is named for the Chilean singer-songwriter and activist who was killed by the Chilean army following the Chilean coup of 11 September 1973. The Galpón is a popular live venue for Chilean bands, particularly those of the New Chilean Cumbia, gypsy and cueca musical styles, such as Chico Trujillo, Banda Conmoción and La Mano Ajena.\n\nHistory\n\nFollowing the return to democracy in Chile in 1990, efforts to achieve justice and recognition for Víctor Jara slowly gained momentum. In the early 2000s, the Víctor Jara Foundation campaigned to convert the Víctor Jara Stadium, where Jara was tortured and killed (the stadium, originally called Estadio Chile, was renamed to commemorate Jara in 2004), into a cultural center, but encountered difficulties from local authorities. A solution was found in the space occupied by the Foundation itself, in Plaza Brasil, the heart of Barrio Brasil, a cultural hub in the western part of Santiago. Galpón Víctor Jara opened there in 2003. Joan Jara, the Foundation’s founder and Jara’s widow, said at the time that\n“we want to be a meeting place for all kinds of artists: Chilean, foreign and those alternative artists who don’t fit in anywhere else.”\n\nIn 2009, a large public funeral for Víctor Jara was held at the Galpón, with thousands of mourners gathering to honor the singer. Jara’s remains had been exhumed as part of investigations into his death. The casket was carried on a procession through the streets of Santiago and re-buried in the General Cemetery.\n\nThe Galpón has been forced to close on a number of occasions. In 2010, the then mayor of Santiago, Pablo Zalaquett, closed the center because it did “not comply with the infrastructure required of a venue holding events of such a nature.” It was reopened shortly after, once the application for a new permit was in process. The venue has also been closed on a few occasions due to complaints about loud noise. This occurred most recently in September 2012, just prior to celebrations for the 80th anniversary of Jara’s birth, and calling a halt to the planned Cumbre Internacional de la Cumbia event (“International Cumbia Summit”). The center was reopened a couple of weeks later with a temporary permit, and Joan Jara remarked that “This has been such a long process. At least there exists the possibility that we can continue to develop this work, which I believe is very important for Chilean artists,” in 2013, it was closed because \"it has never obtained a definitive building permit or a final resolution from the municipality of Santiago.\"\n\nSee also\nVíctor Jara\nVíctor Jara Foundation\n\nReferences\n\nExternal links\n[www.fundacionvictorjara.cl Víctor Jara Foundation]. (Spanish).\n\nMusic venues in Chile\nLists of things named after Víctor Jara",
"\"Estadio Chile\", or \"Somos Cinco Mil\", is the common name of an untitled poem and song credited to Víctor Jara and penned in the days prior to his death. Jara was tortured and killed by the Chilean Army over several days in Santiago's Estadio Chile (renamed Estadio Víctor Jara in 2004) during the 1973 Chilean coup d'état.\n\nHistory \n\nVíctor Jara was detained in Estadio Chile among thousands of others during the 1973 Chilean military coup against the Unidad Popular government, of which Jara was an icon. Jara, a popular folksinger, sang for the other detainees to maintain morale. Along with Andean and Chilean folk songs, he sang a \"manifesto\" composed his second night there. The militia recognized him for his song and fame and removed him from the crowd. The guards tore off his nails, smashed his hands, and ordered him to play the guitar. He was found dead a week later with signs of brutal treatment and gunshot wounds. The \"manifesto\" survived through both the detainees who memorized the song and the scraps of paper containing Jara's handwritten lyrics.\n\nJara's wife, Joan, presented her research into her husband's final days in her essays and 1984 memoir An Unfinished Song. The poem stretches the entrance to the Museum of Memory and Human Rights in Santiago.\n\nInterpretation \n\nIn The Meaning of Human Suffering, Dr. Joel Gajardo-Velasquez compares the final line of the poem to the message of the cross: that Jara was able to see \"the new that will be born in spite of, and probably especially because of, his personal tragedy\", as \"suffering without hope is death without resurrection\".\n\nResponse \n\nNaín Nómez placed the poem as the first in a series of semi-anonymous works distributed by hand and designed to challenge the new Chilean state of affairs after the 1973 coup. He cited the poem as an example of poesía de la conciencia outside of the avant-garde tradition.\n\nIn Resisting Alienation, Christopher Michael Travis writes that the poem \"poignantly understates the effect of 'Auschwitz' on artistic expression\". Valerie Alia wrote in Media Ethics and Social Change that Jara's poem itself told the story of the coup and Jara's own unbroken spirit before his death.\n\nIn 1975 Chilean composer Leni Alexander wrote a symphonic piece titled They Got Lost in Starry Space, in reference to one of the verses of the poem.\n\nSee also \n\n Human rights violations in Pinochet's Chile\n Human rights in Chile\n\nReferences \n\nChilean poetry\nMilitary dictatorship of Chile (1973–1990)\n1973 in Chile\nChilean songs\n1973 songs\n1973 poems"
] |
[
"Víctor Jara",
"Artistic work",
"What did Jara's artistic work consist of?",
"I don't know."
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C_d7d09cefef4045b3a4a7b992ed81b925_1
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What type of art did Jara pursue?
| 2 |
What type of art did Jara pursue?
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Víctor Jara
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After joining the choir at the University of Chile in Santiago, Jara was convinced by a choir-mate to pursue a career in theater. He subsequently joined the university's theater program and earned a scholarship for talent. He appeared in several of the university's plays, gravitating toward those with social themes, such as Russian playwright Maxim Gorky's The Lower Depths, a depiction of the hardships of lower-class life. In 1957, he met Violeta Parra, a singer who had steered folk music in Chile away from the rote reproduction of rural materials toward modern song composition rooted in traditional forms, and who had established musical community centers called penas to incorporate folk music into the everyday life of modern Chileans. Jara absorbed these lessons and began singing with a group called Cuncumen, with whom he continued his explorations of Chile's traditional music. He was deeply influenced by the folk music of Chile and other Latin American countries, and by artists such as Parra, Atahualpa Yupanqui, and the poet Pablo Neruda. In the 1960s, Jara started specializing in folk music and sang at Santiago's La Pena de Los Parra, owned by Angel Parra. Through these activities, he became involved in the Nueva Cancion movement of Latin American folk music. He released his first album, Canto a lo humano, in 1966, and by 1970, he had left his theater work in favor of a career in music. His songs were inspired by a combination of traditional folk music and left-wing political activism. From this period, some of his best-known songs are "Plegaria a un Labrador" ("Prayer to a Worker") and "Te Recuerdo Amanda" ("I Remember You Amanda"). CANNOTANSWER
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CANNOTANSWER
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Víctor Lidio Jara Martínez (; 28 September 1932 – 16 September 1973) was a Chilean teacher, theater director, poet, singer-songwriter and socialist political activist tortured and killed during the dictatorship of Augusto Pinochet. He developed Chilean theater by directing a broad array of works, ranging from locally produced plays to world classics, as well as the experimental work of playwrights such as Ann Jellicoe. He also played a pivotal role among neo-folkloric musicians who established the Nueva Canción Chilena (New Chilean Song) movement. This led to an uprising of new sounds in popular music during the administration of President Salvador Allende.
Jara was arrested shortly after the Chilean coup of 11 September 1973, which overthrew Allende. He was tortured during interrogations and ultimately shot dead, and his body was thrown out on the street of a shantytown in Santiago. The contrast between the themes of his songs—which focused on love, peace, and social justice—and the brutal way in which he was murdered transformed Jara into a "potent symbol of struggle for human rights and justice" for those killed during the Pinochet regime. His preponderant role as an open admirer and propagandist for Che Guevara and Allende's government, in which he served as a cultural ambassador through the late 1960s and until the early 1970s crisis that ended in the coup against Allende, marked him for death.
In June 2016, a Florida jury found former Chilean Army officer Pedro Barrientos liable for Jara's murder. In July 2018, eight retired Chilean military officers were sentenced to 15 years and a day in prison for Jara's murder.
Early life
Víctor Lidio Jara Martinez was born on September 28, 1932, his parents were working as tenants and they lived near the town of La Quiriquina, located twelve kilometers from the old Chillan, he had about five brothers. His exact place of birth is uncertain, but in any case, he was born in the Ñuble Region. At the age of five, his family moved to Lonquén, a town near Santiago de Chile, where his father, Manuel Jara, had rented a small piece of land that he worked from sun to sun with a miserable performance. His father was illiterate and did not want him and his other siblings to go to school so that they could help him in the fields from the ages of six and seven. His mother, on the other hand, knew how to read a little and from the beginning she insisted that they at least learn the letters.
Jara's mother was a mestiza with deep Araucanian roots in southern Chile, she was self-taught, and played the guitar and the piano. She also performed as a singer, with a repertory of traditional folk songs that she used for local functions like weddings and funerals. The relationship between her parents became more tense with each passing day, her father began to drink and disappeared from the house several days in a row, leaving all the work in the hands of Amanda. Later, her mother moved to Santiago and took a job as a cook in a restaurant in Vega Poniente. Because she was so skilled she did well there and so she was able to educate three of her children, including Victor.
She died when Jara was 15, leaving him to make his own way. He began to study to be an accountant, but soon moved into a seminary, where he studied for the priesthood. After a couple of years, however, he became disillusioned with the Catholic Church and left the seminary. Subsequently, he spent several years in army service before returning to his hometown to pursue interests in folk music and theater.
Musical career
After joining the choir at the University of Chile in Santiago, Jara was convinced by a choir-mate to pursue a career in theater. He subsequently joined the university's theater program and earned a scholarship for talent. He appeared in several of the university's plays, gravitating toward those with social themes, such as Russian playwright Maxim Gorky's The Lower Depths, a depiction of the hardships of lower-class life.
In 1957, he met Violeta Parra, a singer who had steered folk music in Chile away from the rote reproduction of rural materials toward modern song composition rooted in traditional forms, and who had established musical community centers called peñas to incorporate folk music into the everyday life of modern Chileans. Jara absorbed these lessons and began singing with a group called Cuncumén, with whom he continued his explorations of Chile's traditional music (working as a guitarist and vocalist from 1957 to 1963). He was deeply influenced by the folk music of Chile and other Latin American countries, and by artists such as Parra, Atahualpa Yupanqui, and the poet Pablo Neruda. In the 1960s, Jara started specializing in folk music and sang at Santiago's La Peña de Los Parra, owned by Ángel Parra. Through these activities, he became involved in the Nueva Canción movement of Latin American folk music.
In 1966, Víctor released his first album homonymous, by the record company "Demon", being the only album released under this label and the Víctor Jara's first solo work, the album would later be re-released under the titles Canto a lo humano and Sus mejores canciones, and in 2001 an reissue on CD by Warner Music Chile was released, with the original title. This version on CD also included five bonus tracks, four of which are songs by Víctor Jara along with Cuncumén.
The album includes some Jara's versions of some Latin American folk songs, such as; "La flor que anda de mano en mano", and "Ojitos verdes", two Chilean folk songs, "La cocinerita", an Argentinian folk song, or "Ja jai", a Bolivian traditional. The authorship of this album, as well as its singles, was in the hands of Camilo Fernández, owner of the Demon record company, from its launch in 1966 until 2001, when he recently transferred the rights to the widow of Víctor Jara, after years of profiting from the album (as well as with others from Patricio Manns, Isabel and Ángel Parra, among others) without ever financially rewarding its authors or family.
In 1967 released their second album homonymous, this album apart from the controversial song "The appeared" includes Jara's covers of some folk songs from Chile, Argentina, Bolivia or Spain as; «Despedimiento del angelito», «Ay mi palomita», «Casi, casi», «Qué alegres son las obreras» or «Romance del enamorado y la muerte». Also, the album was subsequently released under the name of Desde longuén hasta siempre with a variation of different covers. In 1968, Jara released his first collaborative album entitled, "Canciones folklóricas de América" (Folkloric Songs of America), with Quilapayun. In 1970, he had left his theater work in favor of a career in music. His songs were inspired by a combination of traditional folk music and left-wing political activism. From this period, some of his best-known songs are "Plegaria a un Labrador" ("Prayer to a Worker") and "Te Recuerdo Amanda" ("I Remember You Amanda").
Political activism
Early in his recording career, Jara showed a knack for antagonizing conservative Chileans, releasing a traditional comic song called "La beata" that depicted a religious woman with a crush on the priest to whom she goes for confession. The song was banned on radio stations and removed from record shops, but the controversy only added to Jara's reputation among young and progressive Chileans. More serious in the eyes of the Chilean right wing was Jara's growing identification with the socialist movement led by Salvador Allende. After visits to Cuba and the Soviet Union in the early 1960s, Jara had joined the Communist Party. The personal met the political in his songs about the poverty he had experienced firsthand.
Jara's songs spread outside Chile and were performed by American folk artists. His popularity was due not only to his songwriting skills but also to his exceptional power as a performer. He took a decisive turn toward political confrontation with his 1969 song "Preguntas por Puerto Montt" ("Questions About Puerto Montt"), which took direct aim at a government official (Edmundo Pérez Zujovic) who had ordered police to attack squatters in the town of Puerto Montt. The Chilean political situation deteriorated after the official was assassinated, and right-wing thugs beat up Jara on one occasion.
In 1970, Jara supported Allende, the Popular Unity coalition candidate for president, volunteering for political work and playing free concerts. He composed "Venceremos" ("We Will Triumph"), the theme song of Allende's Popular Unity movement, and welcomed Allende's election to the Chilean presidency in 1970. After the election, Jara continued to speak in support of Allende and played an important role in the new administration's efforts to reorient Chilean culture.
He and his wife, Joan Jara, were key participants in a cultural renaissance that swept Chile, organizing cultural events that supported the country's new socialist government. He set poems by Pablo Neruda to music and performed at a ceremony honoring him after Neruda received the Nobel Prize in Literature in 1972. Throughout rumblings of a right-wing coup, Jara held on to his teaching job at Chile's Technical University. His popular success during this time, as both a musician and a Communist, earned him a concert in Moscow. So successful was he that the Soviet Union tried to latch onto his popularity, claiming in their media that his vocal prowess was the result of surgery he had undergone while in Moscow.
Backed by the United States, which opposed Allende's socialist politics, the Chilean military staged a coup d'état on 11 September 1973, resulting in the death of Allende and the installation of Augusto Pinochet as dictator. At the moment of the coup, Jara was on his way to the Technical University (today the Universidad de Santiago). That night, he slept at the university along with other teachers and students, and sang to raise morale.
Torture and murder
After the coup, Pinochet's soldiers rounded up Chileans who were believed to be involved with leftist groups, including Allende's Popular Unity party. On the morning of 12 September 1973, Jara was taken prisoner, along with thousands of others, and imprisoned inside Chile Stadium. The guards there tortured him, smashing his hands and fingers, and then mocked him by asking him to play the guitar. Jara instead sang the Chilean protest song Venceremos. Soon after, he was killed with a gunshot to the head, and his body was riddled with more than 40 bullets.
According to the BBC "There are many conflicting accounts of Jara’s last days but the 2019 Netflix documentary Massacre at the Stadium pieces together a convincing narrative. As a famous musician and prominent supporter of Allende, Jara was swiftly recognised on his way into the stadium. An army officer threw a lit cigarette on the ground, made Jara crawl for it, then stamped on his wrists. Jara was first separated from the other detainees, then beaten and tortured in the bowels of the stadium. At one point, he defiantly sang Venceremos (We Will Win), Allende’s 1970 election anthem, through split lips. On the morning of the 16th, according to a fellow detainee, Jara asked for a pen and notebook and scribbled the lyrics to Estadio Chile, which were later smuggled out of the stadium: “How hard it is to sing when I must sing of horror/ Horror which I am living, horror which I am dying.” Two hours later, he was shot dead, then his body was riddled with machine-gun bullets and dumped in the street. He was 40."
After his murder, Jara's body was displayed at the entrance of Chile Stadium for other prisoners to see. It was later discarded outside the stadium along with the bodies of other civilian prisoners who had been killed by the Chilean Army. His body was found by civil servants and brought to a morgue, where one of them was able to identify him and contact his wife, Joan. She took his body and gave him a quick and clandestine burial in the general cemetery before she fled the country into exile.
Forty-two years later, former Chilean military officers were charged with his murder.
Legal actions
On 16 May 2008, retired colonel Mario Manríquez Bravo, who was the chief of security at Chile Stadium as the coup was carried out, was the first to be convicted in Jara's death. Judge Juan Eduardo Fuentes, who oversaw Bravo's conviction, then decided to close the case, a decision Jara's family soon appealed. In June 2008, Judge Fuentes re-opened the investigation and said he would examine 40 new pieces of evidence provided by Jara's family.
On 28 May 2009, José Adolfo Paredes Márquez, a 54-year-old former Army conscript arrested the previous week in San Sebastián, Chile, was formally charged with Jara's murder. Following his arrest, on 1 June 2009, the police investigation identified the officer who had shot Jara in the head. The officer played Russian roulette with Jara by placing a single round in his revolver, spinning the cylinder, placing the muzzle against Jara's head, and pulling the trigger. The officer repeated this a couple of times until a shot fired and Jara fell to the ground. The officer then ordered two conscripts (one of them Paredes) to finish the job by firing into Jara's body. A judge ordered Jara's body to be exhumed in an effort to gather more information about his death.
On 3 December 2009, Jara was reburied after a massive funeral in the Galpón Víctor Jara, across from Santiago's Plaza Brasil.
On 28 December 2012, a judge in Chile ordered the arrest of eight former army officers for alleged involvement in Jara's murder. He issued an international arrest warrant for one of them, Pedro Barrientos Núñez, the man accused of shooting Jara in the head during a torture session.
On 4 September 2013, Chadbourne & Parke attorneys Mark D. Beckett and Christian Urrutia, with the assistance of the Center for Justice and Accountability, filed suit in a United States court against Barrientos, who lives in Florida, on behalf of Jara's widow and children. The suit accused Barrientos of arbitrary detention; cruel, inhuman, or degrading treatment or punishment; extrajudicial killing; and crimes against humanity under the Alien Tort Statute (ATS), and of torture and extrajudicial killing under the Torture Victim Protection Act (TVPA). It alleged that Barrientos was liable for Jara's death as a direct perpetrator and as a commander.
The specific claims were that:
On 11 September 1973, troops from the Arica Regiment of the Chilean Army, specifically from La Serena, attacked the university where Jara taught. The troops prohibited civilians from entering or leaving the university premises. During the afternoon of 12 September 1973, military personnel entered the university and illegally detained hundreds of professors, students, and administrators. Víctor Jara was among those arbitrarily detained on the campus and was subsequently transferred to Chile Stadium, where he was tortured and killed.
In the course of transporting and processing the civilian prisoners, Captain Fernando Polanco Gallardo, a commanding officer in military intelligence, recognized Jara as the well-known folk singer whose songs addressed social inequality, and who had supported President Allende's government. Captain Polanco separated Jara from the group and beat him severely. He then transferred Jara, along with some of the other civilians, to the stadium.
Throughout his detention in the locker room of the stadium, Jara was in the physical custody of Lieutenant Barrientos, soldiers under his command, or other members of the Chilean Army who acted in accordance with the army's plan to commit human rights abuses against civilians.
The arbitrary detention, torture, and extrajudicial killing of Jara and other detainees were part of a widespread, systematic attack on civilians by the Chilean Army from 11 to 15 September 1973. Barrientos knew, or should have known, about these attacks, if for no other reason than that he was present for and participated in them.
On 15 April 2015, a US judge ordered Barrientos to stand trial in Florida. On 27 June 2016, he was found liable for Jara's killing, and the jury awarded Jara's family $28 million.
On 3 July 2018, eight retired Chilean military officers were sentenced to 15 years in prison for Jara's murder and the murder of his Communist associate and former Chilean prison director Littre Quiroga Carvajal. They received three extra years for kidnapping both men. A ninth suspect was sentenced to five years in prison for covering up the murders.
In November 2018, it was reported that a Chilean court ordered the extradition of Barrientos.
Theater work
1959. Parecido à la Felicidad (Some Kind of Happiness), Alejandro Sieveking
1960. La Viuda de Apablaza (The Widow of Apablaza), Germán Luco Cruchaga (assistant director to Pedro de la Barra, founder of ITUCH)
1960. The Mandrake, Niccolò Machiavelli
1961. La Madre de los Conejos (Mother Rabbit), Alejandro Sieveking (assistant director to Agustín Siré)
1962. Ánimas de Día Claro (Daylight Spirits), Alejandro Sieveking
1963. The Caucasian Chalk Circle, Bertolt Brecht (assistant director to Atahualpa del Cioppo)
1963. Los Invasores (The Intruders), Egon Wolff
1963. Dúo (Duet), Raúl Ruiz
1963. Parecido à la Felicidad, Alejandro Sieveking (version for Chilean television)
1965. La Remolienda, Alejandro Sieveking
1965. The Knack, Ann Jellicoe
1966. Marat/Sade, Peter Weiss (assistant director to William Oliver)
1966. La Casa Vieja (The Old House), Abelardo Estorino
1967. La Remolienda, Alejandro Sieveking
1967. La Viuda de Apablaza, Germán Luco Cruchaga (director)
1968. Entertaining Mr Sloane, Joe Orton
1969. Viet Rock, Megan Terry
1969. Antigone, Sophocles
1972. Directed a ballet and musical homage to Pablo Neruda, which coincided with Neruda's return to Chile after being awarded the Nobel Prize for Literature.
Discography
Studio albums
Víctor Jara (1966)
Víctor Jara (1967)
Canciones folklóricas de América (with Quilapayún) (1968)
Pongo en tus manos abiertas (1969)
Canto libre (1970)
El derecho de vivir en paz (1971)
La Población (1972)
Canto por travesura (1973)
Tiempos que cambian (unfinished) (Estimated release: 1974)
Manifiesto (1974; reissued in 2001)
Live albums
Víctor Jara en Vivo (1974)
El Recital (1983)
Víctor Jara en México (1996)
Habla y canta (1996; reissued in 2001)
En Vivo en el Aula Magna de la Universidad de Valparaíso (2003)
Compilations
Te recuerdo, Amanda (1974)
Víctor Jara. Presente (1975)
Vientos del Pueblo (1976)
Canto Libre (1977)
An unfinished song (1984)
Todo Víctor Jara (1992)
20 Años Después (1992)
The Rough Guide to the Music of the Andes (1996)
Víctor Jara presente, colección "Haciendo Historia" (1997)
Te Recuerdo, Víctor (2000)
Antología Musical (2001)
1959–1969 – Víctor Jara (2001)
Latin Essential: Victor Jara (2003)
Colección Víctor Jara (2004)
Víctor Jara. Serie de Oro. Grandes Exitos (2005)
Tribute albums
A Víctor Jara by Raímon (1974)
Het Recht om in Vrede te Leven by Cornelis Vreeswijk (1978)
Cornelis sjunger Victor Jara: Rätten till ett eget liv by Cornelis Vreeswijk (1979)
Konzert für Víctor Jara by various artists (1998)
Inti-illimani interpeta a Víctor Jara by Inti-Illimani (1999)
Quilapayún Canta a Violeta Parra, Víctor Jara y Grandes Maestros Populares by Quilapayún (2000)
Conosci Victor Jara? by Daniele Sepe (2000)
Tributo Rock a Víctor Jara by various artists (2001)
Tributo a Víctor Jara by various artists (2004)
Lonquen: Tributo a Víctor Jara by Francesca Ancarola (2005)
Even in Exile by James Dean Bradfield (2020)
Documentaries and films
The following are films or documentaries about and/or featuring Víctor Jara:
1973: El Tigre Saltó y Mató, Pero Morirá…Morirá…. Director: Santiago Álvarez – Cuba
1974: Compañero: Víctor Jara of Chile. Directors: Stanley Foreman/Martin Smith (Documentary) – UK
1976: Il Pleut sur Santiago. Director: Helvio Soto – France/Bulgaria
1978: Ein April hat 30 Tage. Director: Gunther Scholz – East Germany
1978: El Cantor. Director: Dean Reed – East Germany
1999: El Derecho de Vivir en Paz. Director: Carmen Luz Parot – Chile
2001: Freedom Highway: Songs That Shaped a Century. Director: Philip King – Ireland
2005: La Tierra de las 1000 Músicas [Episode 6: La Protesta]. Directors: Luis Miguel González Cruz, – Spain
2010: Phil Ochs: There but for Fortune Director: Kenneth Bowser
2019:Masacre en el estadio. Netflix
In popular culture
Jara is one of many desaparecidos (people who vanished under the Pinochet government and were most likely tortured and killed) whose families are still struggling to get justice. Joan Jara currently lives in Chile and runs the Víctor Jara Foundation, which was established on 4 October 1994 with the goal of promoting and continuing Jara's work. She publicized a poem that Jara wrote before his death about the conditions of the prisoners in the stadium. The poem, written on a piece of paper that was hidden inside the shoe of a friend, was never named, but it is commonly known as "Estadio Chile" (Chile Stadium, now known as Víctor Jara Stadium).
On 22 September 1973, the Soviet astronomer Nikolai Stepanovich Chernykh found an asteroid that he initially called "SO2", but later he would end up calling it "2644 Victor Jara". The 1975 anthology For Neruda, for Chile contains a section called "The Chilean Singer", with poems dedicated to Jara. In 1989, Scottish rock band Simple Minds dedicated "Street Fighting Years" track to Victor Jara. In the late 1990s, British actress Emma Thompson started to work on a screenplay that she planned to use as the basis for a movie about Jara. Thompson, a human rights activist and fan of Jara, saw his murder as a symbol of human rights violations in Chile, and believed a movie about his life and death would raise awareness. The movie was to feature Antonio Banderas as Jara and Thompson as his wife, Joan. However, the project was not completed.
In 2007, a fishing schooner built in 1917 in Denmark was renamed after the singer-songwriter. He sails at social and cultural events, and when he's not on the high seas he's at the museum in the port of Lübeck, Germany. The title song on Rory McLeod's album Angry Love is about Jara. In a list prepared by the renowned American magazine Rolling Stone, published on June 3, 2013, Víctor Jara is named as one of the "15 Rock & Roll Rebels", being the only Latin American to integrate the list. In 2020, James Dean Bradfield of Manic Street Preachers released a concept album about Victor Jara called 'Even In Exile', that album was rated 4 out of 5 stars by The Guardian. On September 7, 2021, the Municipality of Estación Central approved the name change of "Avenida Ecuador" to "Avenida Víctor Jara".
See also
Nueva Canción Chilena
Estadio Victor Jara
2644 Victor Jara
Brigada Victor Jara
Galpón Víctor Jara
References
Bibliography
Jara, Joan (1983). Victor: An Unfinished Song. Jonathan Cape, London.
Kósichev, Leonard. (1990). La guitarra y el poncho de Víctor Jara. Progress Publishers, Moscow
External links
Resources in English
Three chapters from Victor: An Unfinished Song by Joan Jara
Discography
Victor Jara: The Martyred Musician of Nueva Cancion Chilena
Background materials on the Chilean Workers' Movement in the 1970s
Report of the Chilean National Commission on Truth and Reconciliation
GDR Poster Art: Víctor Jara
Allende’s Poet. Nick MacWilliam for Jacobin, 2 August 2016.
Resources in Spanish
Fundación Víctor Jara
Lyrics of all his Songs
Discography
Vientos del Pueblo: Un Homenaje a Víctor Jara
1932 births
1973 deaths
Anti-fascists
Anti-capitalists
Assassinated Chilean people
Burials in Chile
Chilean male actors
Chilean educators
Chilean folk singers
Chilean male poets
Chilean male singer-songwriters
Chilean theatre directors
Chilean Christians
Chilean communists
Chilean torture victims
Deaths by firearm in Chile
Executed writers
Former Roman Catholics
Latin American folk singers
Marxist humanists
Nueva canción musicians
People from Chillán
University of Chile alumni
Chilean Marxists
People murdered in Chile
Communist Party of Chile politicians
University of Santiago, Chile alumni
Political music artists
20th-century Chilean poets
20th-century Chilean male writers
20th-century Chilean male singers
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[
"Patricio Castillo (born 1946, Cautín, Chile) is a Chilean musician and former member of the Chilean folk music group Quilapayún.\n\nBiography\nCastillo was born into a musical family; both of his parents were classical musicians and pedagogues, his father a violinist and his mother a pianist. Early in his life Castillo defined his aspirations to pursue a career in music as his parents had done. He was a childhood friend of Horacio Salinas who also originated from his hometown; who would also go on to join the neo-folkloric New Chilean Song movement that aimed to renovate Chilean folklore.\n\nCastillo was educated in Santiago and in 1963 he began to study classical guitar at the National Conservatorium of Music which would later become part of the University of Chile. In 1965 Castillo enters the Faculty of Philosophy and Education of the University of Chile to study humanities with a focus on philosophy. Simultaneously Castillo pursued further studies in the field of classical music and the history of music and art at the Conservatorium of the University.\n\nCastillo made numerous recordings with some of the leading folklorists of the New Chilean Song movement which included some of the most influential musicians in Latin America, including Víctor Jara, Los Parras and Los Jaivas. Early on in his career Castillo began to collaborate musically with Victor Jara on many of his albums and they jointly composed a song that would go on to become one of Victor Jara's most famous songs Plegaria a un Labrador (Prayer to a labourer). Castillo's musical collaboration with Victor Jara ceased after the U.S.-backed 11 September, 1973 Chilean coup ended the government of Salvador Allende along with all the cultural projects that were initiated in support of his democratically elected socialist government.\n\nDiscography\n\nQuilapayún\n\nQuilapayún (1966)\nCanciones folklóricas de América (1967) (Quilapayún & Víctor Jara)\nX Vietnam (1968)\nQuilapayún Tres (1968)\nBasta (1969)\nQuilapayún Cuatro (1970)\nCantata Santa María de Iquique (1970) (Quilapayún & Héctor Duvauchelle)\nAl horizonte (1999)\nA Palau (2003)\nCanto Por El Cambio (2004)\n\nWith Víctor JaraVíctor Jara, Canto a lo humano (1966)Víctor Jara (1967)Pongo en tus manos abiertas (1969)Canto libre (1970)El derecho de vivir en paz (1971)Manifiesto (1974)\n\nWith Los JaivasTodos juntos (1972)Alturas de Macchu Picchu (1981)Aconcagua (1982)Obras de Violeta Parra (1984)\n\nSoloProvinces (1977)La primavera muerta en el tejado'' (1977)\n\nSee also\nQuilapayún\nVíctor Jara\n\nReferences\n\n1946 births\nChilean folk singers\nChilean songwriters\nNueva canción musicians\nLiving people",
"Jara or JARA may refer to:\n\nPlaces\nJara, Ethiopia, administrative center of Gololcha woreda\nJara (Asunción), Paraguay, a barrio (neighborhood) of Asunción\nJara, Kutch, Gujarat, India, a village\nJara Lake, Bolivia\nJara, a tributary of the Șușița in Romania\nJara (Šventoji), a tributary of the Šventoji in Lithuania\n\nPeople\n Jara (surname), a list of people with the surname\n\nOther uses\n Jara (beehive)\nJara language, a Nigerian language \nJarāmaraṇa (Jarā) (Pali), often translated as \"aging,\" a fundamental aspect of the Buddhist notion of suffering\nJapan Robot Association, a Japanese trade association made up of companies in the robotics industry\nJara High School, West Bengal, India\nJára Cimrman, a fictitious Czech polymath\n\nSee also\n La Jara (disambiguation)\n Jara Saguier, a list of brothers with the surname\n Jarra (disambiguation)\n Jarah, a minor Biblical figure"
] |
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Are there any other interesting aspects about this article?
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Are there any other interesting aspects about this article on Víctor Jara other than Jara's artistic work?
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Víctor Jara
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After joining the choir at the University of Chile in Santiago, Jara was convinced by a choir-mate to pursue a career in theater. He subsequently joined the university's theater program and earned a scholarship for talent. He appeared in several of the university's plays, gravitating toward those with social themes, such as Russian playwright Maxim Gorky's The Lower Depths, a depiction of the hardships of lower-class life. In 1957, he met Violeta Parra, a singer who had steered folk music in Chile away from the rote reproduction of rural materials toward modern song composition rooted in traditional forms, and who had established musical community centers called penas to incorporate folk music into the everyday life of modern Chileans. Jara absorbed these lessons and began singing with a group called Cuncumen, with whom he continued his explorations of Chile's traditional music. He was deeply influenced by the folk music of Chile and other Latin American countries, and by artists such as Parra, Atahualpa Yupanqui, and the poet Pablo Neruda. In the 1960s, Jara started specializing in folk music and sang at Santiago's La Pena de Los Parra, owned by Angel Parra. Through these activities, he became involved in the Nueva Cancion movement of Latin American folk music. He released his first album, Canto a lo humano, in 1966, and by 1970, he had left his theater work in favor of a career in music. His songs were inspired by a combination of traditional folk music and left-wing political activism. From this period, some of his best-known songs are "Plegaria a un Labrador" ("Prayer to a Worker") and "Te Recuerdo Amanda" ("I Remember You Amanda"). CANNOTANSWER
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After joining the choir at the University of Chile in Santiago, Jara was convinced by a choir-mate to pursue a career in theater.
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Víctor Lidio Jara Martínez (; 28 September 1932 – 16 September 1973) was a Chilean teacher, theater director, poet, singer-songwriter and socialist political activist tortured and killed during the dictatorship of Augusto Pinochet. He developed Chilean theater by directing a broad array of works, ranging from locally produced plays to world classics, as well as the experimental work of playwrights such as Ann Jellicoe. He also played a pivotal role among neo-folkloric musicians who established the Nueva Canción Chilena (New Chilean Song) movement. This led to an uprising of new sounds in popular music during the administration of President Salvador Allende.
Jara was arrested shortly after the Chilean coup of 11 September 1973, which overthrew Allende. He was tortured during interrogations and ultimately shot dead, and his body was thrown out on the street of a shantytown in Santiago. The contrast between the themes of his songs—which focused on love, peace, and social justice—and the brutal way in which he was murdered transformed Jara into a "potent symbol of struggle for human rights and justice" for those killed during the Pinochet regime. His preponderant role as an open admirer and propagandist for Che Guevara and Allende's government, in which he served as a cultural ambassador through the late 1960s and until the early 1970s crisis that ended in the coup against Allende, marked him for death.
In June 2016, a Florida jury found former Chilean Army officer Pedro Barrientos liable for Jara's murder. In July 2018, eight retired Chilean military officers were sentenced to 15 years and a day in prison for Jara's murder.
Early life
Víctor Lidio Jara Martinez was born on September 28, 1932, his parents were working as tenants and they lived near the town of La Quiriquina, located twelve kilometers from the old Chillan, he had about five brothers. His exact place of birth is uncertain, but in any case, he was born in the Ñuble Region. At the age of five, his family moved to Lonquén, a town near Santiago de Chile, where his father, Manuel Jara, had rented a small piece of land that he worked from sun to sun with a miserable performance. His father was illiterate and did not want him and his other siblings to go to school so that they could help him in the fields from the ages of six and seven. His mother, on the other hand, knew how to read a little and from the beginning she insisted that they at least learn the letters.
Jara's mother was a mestiza with deep Araucanian roots in southern Chile, she was self-taught, and played the guitar and the piano. She also performed as a singer, with a repertory of traditional folk songs that she used for local functions like weddings and funerals. The relationship between her parents became more tense with each passing day, her father began to drink and disappeared from the house several days in a row, leaving all the work in the hands of Amanda. Later, her mother moved to Santiago and took a job as a cook in a restaurant in Vega Poniente. Because she was so skilled she did well there and so she was able to educate three of her children, including Victor.
She died when Jara was 15, leaving him to make his own way. He began to study to be an accountant, but soon moved into a seminary, where he studied for the priesthood. After a couple of years, however, he became disillusioned with the Catholic Church and left the seminary. Subsequently, he spent several years in army service before returning to his hometown to pursue interests in folk music and theater.
Musical career
After joining the choir at the University of Chile in Santiago, Jara was convinced by a choir-mate to pursue a career in theater. He subsequently joined the university's theater program and earned a scholarship for talent. He appeared in several of the university's plays, gravitating toward those with social themes, such as Russian playwright Maxim Gorky's The Lower Depths, a depiction of the hardships of lower-class life.
In 1957, he met Violeta Parra, a singer who had steered folk music in Chile away from the rote reproduction of rural materials toward modern song composition rooted in traditional forms, and who had established musical community centers called peñas to incorporate folk music into the everyday life of modern Chileans. Jara absorbed these lessons and began singing with a group called Cuncumén, with whom he continued his explorations of Chile's traditional music (working as a guitarist and vocalist from 1957 to 1963). He was deeply influenced by the folk music of Chile and other Latin American countries, and by artists such as Parra, Atahualpa Yupanqui, and the poet Pablo Neruda. In the 1960s, Jara started specializing in folk music and sang at Santiago's La Peña de Los Parra, owned by Ángel Parra. Through these activities, he became involved in the Nueva Canción movement of Latin American folk music.
In 1966, Víctor released his first album homonymous, by the record company "Demon", being the only album released under this label and the Víctor Jara's first solo work, the album would later be re-released under the titles Canto a lo humano and Sus mejores canciones, and in 2001 an reissue on CD by Warner Music Chile was released, with the original title. This version on CD also included five bonus tracks, four of which are songs by Víctor Jara along with Cuncumén.
The album includes some Jara's versions of some Latin American folk songs, such as; "La flor que anda de mano en mano", and "Ojitos verdes", two Chilean folk songs, "La cocinerita", an Argentinian folk song, or "Ja jai", a Bolivian traditional. The authorship of this album, as well as its singles, was in the hands of Camilo Fernández, owner of the Demon record company, from its launch in 1966 until 2001, when he recently transferred the rights to the widow of Víctor Jara, after years of profiting from the album (as well as with others from Patricio Manns, Isabel and Ángel Parra, among others) without ever financially rewarding its authors or family.
In 1967 released their second album homonymous, this album apart from the controversial song "The appeared" includes Jara's covers of some folk songs from Chile, Argentina, Bolivia or Spain as; «Despedimiento del angelito», «Ay mi palomita», «Casi, casi», «Qué alegres son las obreras» or «Romance del enamorado y la muerte». Also, the album was subsequently released under the name of Desde longuén hasta siempre with a variation of different covers. In 1968, Jara released his first collaborative album entitled, "Canciones folklóricas de América" (Folkloric Songs of America), with Quilapayun. In 1970, he had left his theater work in favor of a career in music. His songs were inspired by a combination of traditional folk music and left-wing political activism. From this period, some of his best-known songs are "Plegaria a un Labrador" ("Prayer to a Worker") and "Te Recuerdo Amanda" ("I Remember You Amanda").
Political activism
Early in his recording career, Jara showed a knack for antagonizing conservative Chileans, releasing a traditional comic song called "La beata" that depicted a religious woman with a crush on the priest to whom she goes for confession. The song was banned on radio stations and removed from record shops, but the controversy only added to Jara's reputation among young and progressive Chileans. More serious in the eyes of the Chilean right wing was Jara's growing identification with the socialist movement led by Salvador Allende. After visits to Cuba and the Soviet Union in the early 1960s, Jara had joined the Communist Party. The personal met the political in his songs about the poverty he had experienced firsthand.
Jara's songs spread outside Chile and were performed by American folk artists. His popularity was due not only to his songwriting skills but also to his exceptional power as a performer. He took a decisive turn toward political confrontation with his 1969 song "Preguntas por Puerto Montt" ("Questions About Puerto Montt"), which took direct aim at a government official (Edmundo Pérez Zujovic) who had ordered police to attack squatters in the town of Puerto Montt. The Chilean political situation deteriorated after the official was assassinated, and right-wing thugs beat up Jara on one occasion.
In 1970, Jara supported Allende, the Popular Unity coalition candidate for president, volunteering for political work and playing free concerts. He composed "Venceremos" ("We Will Triumph"), the theme song of Allende's Popular Unity movement, and welcomed Allende's election to the Chilean presidency in 1970. After the election, Jara continued to speak in support of Allende and played an important role in the new administration's efforts to reorient Chilean culture.
He and his wife, Joan Jara, were key participants in a cultural renaissance that swept Chile, organizing cultural events that supported the country's new socialist government. He set poems by Pablo Neruda to music and performed at a ceremony honoring him after Neruda received the Nobel Prize in Literature in 1972. Throughout rumblings of a right-wing coup, Jara held on to his teaching job at Chile's Technical University. His popular success during this time, as both a musician and a Communist, earned him a concert in Moscow. So successful was he that the Soviet Union tried to latch onto his popularity, claiming in their media that his vocal prowess was the result of surgery he had undergone while in Moscow.
Backed by the United States, which opposed Allende's socialist politics, the Chilean military staged a coup d'état on 11 September 1973, resulting in the death of Allende and the installation of Augusto Pinochet as dictator. At the moment of the coup, Jara was on his way to the Technical University (today the Universidad de Santiago). That night, he slept at the university along with other teachers and students, and sang to raise morale.
Torture and murder
After the coup, Pinochet's soldiers rounded up Chileans who were believed to be involved with leftist groups, including Allende's Popular Unity party. On the morning of 12 September 1973, Jara was taken prisoner, along with thousands of others, and imprisoned inside Chile Stadium. The guards there tortured him, smashing his hands and fingers, and then mocked him by asking him to play the guitar. Jara instead sang the Chilean protest song Venceremos. Soon after, he was killed with a gunshot to the head, and his body was riddled with more than 40 bullets.
According to the BBC "There are many conflicting accounts of Jara’s last days but the 2019 Netflix documentary Massacre at the Stadium pieces together a convincing narrative. As a famous musician and prominent supporter of Allende, Jara was swiftly recognised on his way into the stadium. An army officer threw a lit cigarette on the ground, made Jara crawl for it, then stamped on his wrists. Jara was first separated from the other detainees, then beaten and tortured in the bowels of the stadium. At one point, he defiantly sang Venceremos (We Will Win), Allende’s 1970 election anthem, through split lips. On the morning of the 16th, according to a fellow detainee, Jara asked for a pen and notebook and scribbled the lyrics to Estadio Chile, which were later smuggled out of the stadium: “How hard it is to sing when I must sing of horror/ Horror which I am living, horror which I am dying.” Two hours later, he was shot dead, then his body was riddled with machine-gun bullets and dumped in the street. He was 40."
After his murder, Jara's body was displayed at the entrance of Chile Stadium for other prisoners to see. It was later discarded outside the stadium along with the bodies of other civilian prisoners who had been killed by the Chilean Army. His body was found by civil servants and brought to a morgue, where one of them was able to identify him and contact his wife, Joan. She took his body and gave him a quick and clandestine burial in the general cemetery before she fled the country into exile.
Forty-two years later, former Chilean military officers were charged with his murder.
Legal actions
On 16 May 2008, retired colonel Mario Manríquez Bravo, who was the chief of security at Chile Stadium as the coup was carried out, was the first to be convicted in Jara's death. Judge Juan Eduardo Fuentes, who oversaw Bravo's conviction, then decided to close the case, a decision Jara's family soon appealed. In June 2008, Judge Fuentes re-opened the investigation and said he would examine 40 new pieces of evidence provided by Jara's family.
On 28 May 2009, José Adolfo Paredes Márquez, a 54-year-old former Army conscript arrested the previous week in San Sebastián, Chile, was formally charged with Jara's murder. Following his arrest, on 1 June 2009, the police investigation identified the officer who had shot Jara in the head. The officer played Russian roulette with Jara by placing a single round in his revolver, spinning the cylinder, placing the muzzle against Jara's head, and pulling the trigger. The officer repeated this a couple of times until a shot fired and Jara fell to the ground. The officer then ordered two conscripts (one of them Paredes) to finish the job by firing into Jara's body. A judge ordered Jara's body to be exhumed in an effort to gather more information about his death.
On 3 December 2009, Jara was reburied after a massive funeral in the Galpón Víctor Jara, across from Santiago's Plaza Brasil.
On 28 December 2012, a judge in Chile ordered the arrest of eight former army officers for alleged involvement in Jara's murder. He issued an international arrest warrant for one of them, Pedro Barrientos Núñez, the man accused of shooting Jara in the head during a torture session.
On 4 September 2013, Chadbourne & Parke attorneys Mark D. Beckett and Christian Urrutia, with the assistance of the Center for Justice and Accountability, filed suit in a United States court against Barrientos, who lives in Florida, on behalf of Jara's widow and children. The suit accused Barrientos of arbitrary detention; cruel, inhuman, or degrading treatment or punishment; extrajudicial killing; and crimes against humanity under the Alien Tort Statute (ATS), and of torture and extrajudicial killing under the Torture Victim Protection Act (TVPA). It alleged that Barrientos was liable for Jara's death as a direct perpetrator and as a commander.
The specific claims were that:
On 11 September 1973, troops from the Arica Regiment of the Chilean Army, specifically from La Serena, attacked the university where Jara taught. The troops prohibited civilians from entering or leaving the university premises. During the afternoon of 12 September 1973, military personnel entered the university and illegally detained hundreds of professors, students, and administrators. Víctor Jara was among those arbitrarily detained on the campus and was subsequently transferred to Chile Stadium, where he was tortured and killed.
In the course of transporting and processing the civilian prisoners, Captain Fernando Polanco Gallardo, a commanding officer in military intelligence, recognized Jara as the well-known folk singer whose songs addressed social inequality, and who had supported President Allende's government. Captain Polanco separated Jara from the group and beat him severely. He then transferred Jara, along with some of the other civilians, to the stadium.
Throughout his detention in the locker room of the stadium, Jara was in the physical custody of Lieutenant Barrientos, soldiers under his command, or other members of the Chilean Army who acted in accordance with the army's plan to commit human rights abuses against civilians.
The arbitrary detention, torture, and extrajudicial killing of Jara and other detainees were part of a widespread, systematic attack on civilians by the Chilean Army from 11 to 15 September 1973. Barrientos knew, or should have known, about these attacks, if for no other reason than that he was present for and participated in them.
On 15 April 2015, a US judge ordered Barrientos to stand trial in Florida. On 27 June 2016, he was found liable for Jara's killing, and the jury awarded Jara's family $28 million.
On 3 July 2018, eight retired Chilean military officers were sentenced to 15 years in prison for Jara's murder and the murder of his Communist associate and former Chilean prison director Littre Quiroga Carvajal. They received three extra years for kidnapping both men. A ninth suspect was sentenced to five years in prison for covering up the murders.
In November 2018, it was reported that a Chilean court ordered the extradition of Barrientos.
Theater work
1959. Parecido à la Felicidad (Some Kind of Happiness), Alejandro Sieveking
1960. La Viuda de Apablaza (The Widow of Apablaza), Germán Luco Cruchaga (assistant director to Pedro de la Barra, founder of ITUCH)
1960. The Mandrake, Niccolò Machiavelli
1961. La Madre de los Conejos (Mother Rabbit), Alejandro Sieveking (assistant director to Agustín Siré)
1962. Ánimas de Día Claro (Daylight Spirits), Alejandro Sieveking
1963. The Caucasian Chalk Circle, Bertolt Brecht (assistant director to Atahualpa del Cioppo)
1963. Los Invasores (The Intruders), Egon Wolff
1963. Dúo (Duet), Raúl Ruiz
1963. Parecido à la Felicidad, Alejandro Sieveking (version for Chilean television)
1965. La Remolienda, Alejandro Sieveking
1965. The Knack, Ann Jellicoe
1966. Marat/Sade, Peter Weiss (assistant director to William Oliver)
1966. La Casa Vieja (The Old House), Abelardo Estorino
1967. La Remolienda, Alejandro Sieveking
1967. La Viuda de Apablaza, Germán Luco Cruchaga (director)
1968. Entertaining Mr Sloane, Joe Orton
1969. Viet Rock, Megan Terry
1969. Antigone, Sophocles
1972. Directed a ballet and musical homage to Pablo Neruda, which coincided with Neruda's return to Chile after being awarded the Nobel Prize for Literature.
Discography
Studio albums
Víctor Jara (1966)
Víctor Jara (1967)
Canciones folklóricas de América (with Quilapayún) (1968)
Pongo en tus manos abiertas (1969)
Canto libre (1970)
El derecho de vivir en paz (1971)
La Población (1972)
Canto por travesura (1973)
Tiempos que cambian (unfinished) (Estimated release: 1974)
Manifiesto (1974; reissued in 2001)
Live albums
Víctor Jara en Vivo (1974)
El Recital (1983)
Víctor Jara en México (1996)
Habla y canta (1996; reissued in 2001)
En Vivo en el Aula Magna de la Universidad de Valparaíso (2003)
Compilations
Te recuerdo, Amanda (1974)
Víctor Jara. Presente (1975)
Vientos del Pueblo (1976)
Canto Libre (1977)
An unfinished song (1984)
Todo Víctor Jara (1992)
20 Años Después (1992)
The Rough Guide to the Music of the Andes (1996)
Víctor Jara presente, colección "Haciendo Historia" (1997)
Te Recuerdo, Víctor (2000)
Antología Musical (2001)
1959–1969 – Víctor Jara (2001)
Latin Essential: Victor Jara (2003)
Colección Víctor Jara (2004)
Víctor Jara. Serie de Oro. Grandes Exitos (2005)
Tribute albums
A Víctor Jara by Raímon (1974)
Het Recht om in Vrede te Leven by Cornelis Vreeswijk (1978)
Cornelis sjunger Victor Jara: Rätten till ett eget liv by Cornelis Vreeswijk (1979)
Konzert für Víctor Jara by various artists (1998)
Inti-illimani interpeta a Víctor Jara by Inti-Illimani (1999)
Quilapayún Canta a Violeta Parra, Víctor Jara y Grandes Maestros Populares by Quilapayún (2000)
Conosci Victor Jara? by Daniele Sepe (2000)
Tributo Rock a Víctor Jara by various artists (2001)
Tributo a Víctor Jara by various artists (2004)
Lonquen: Tributo a Víctor Jara by Francesca Ancarola (2005)
Even in Exile by James Dean Bradfield (2020)
Documentaries and films
The following are films or documentaries about and/or featuring Víctor Jara:
1973: El Tigre Saltó y Mató, Pero Morirá…Morirá…. Director: Santiago Álvarez – Cuba
1974: Compañero: Víctor Jara of Chile. Directors: Stanley Foreman/Martin Smith (Documentary) – UK
1976: Il Pleut sur Santiago. Director: Helvio Soto – France/Bulgaria
1978: Ein April hat 30 Tage. Director: Gunther Scholz – East Germany
1978: El Cantor. Director: Dean Reed – East Germany
1999: El Derecho de Vivir en Paz. Director: Carmen Luz Parot – Chile
2001: Freedom Highway: Songs That Shaped a Century. Director: Philip King – Ireland
2005: La Tierra de las 1000 Músicas [Episode 6: La Protesta]. Directors: Luis Miguel González Cruz, – Spain
2010: Phil Ochs: There but for Fortune Director: Kenneth Bowser
2019:Masacre en el estadio. Netflix
In popular culture
Jara is one of many desaparecidos (people who vanished under the Pinochet government and were most likely tortured and killed) whose families are still struggling to get justice. Joan Jara currently lives in Chile and runs the Víctor Jara Foundation, which was established on 4 October 1994 with the goal of promoting and continuing Jara's work. She publicized a poem that Jara wrote before his death about the conditions of the prisoners in the stadium. The poem, written on a piece of paper that was hidden inside the shoe of a friend, was never named, but it is commonly known as "Estadio Chile" (Chile Stadium, now known as Víctor Jara Stadium).
On 22 September 1973, the Soviet astronomer Nikolai Stepanovich Chernykh found an asteroid that he initially called "SO2", but later he would end up calling it "2644 Victor Jara". The 1975 anthology For Neruda, for Chile contains a section called "The Chilean Singer", with poems dedicated to Jara. In 1989, Scottish rock band Simple Minds dedicated "Street Fighting Years" track to Victor Jara. In the late 1990s, British actress Emma Thompson started to work on a screenplay that she planned to use as the basis for a movie about Jara. Thompson, a human rights activist and fan of Jara, saw his murder as a symbol of human rights violations in Chile, and believed a movie about his life and death would raise awareness. The movie was to feature Antonio Banderas as Jara and Thompson as his wife, Joan. However, the project was not completed.
In 2007, a fishing schooner built in 1917 in Denmark was renamed after the singer-songwriter. He sails at social and cultural events, and when he's not on the high seas he's at the museum in the port of Lübeck, Germany. The title song on Rory McLeod's album Angry Love is about Jara. In a list prepared by the renowned American magazine Rolling Stone, published on June 3, 2013, Víctor Jara is named as one of the "15 Rock & Roll Rebels", being the only Latin American to integrate the list. In 2020, James Dean Bradfield of Manic Street Preachers released a concept album about Victor Jara called 'Even In Exile', that album was rated 4 out of 5 stars by The Guardian. On September 7, 2021, the Municipality of Estación Central approved the name change of "Avenida Ecuador" to "Avenida Víctor Jara".
See also
Nueva Canción Chilena
Estadio Victor Jara
2644 Victor Jara
Brigada Victor Jara
Galpón Víctor Jara
References
Bibliography
Jara, Joan (1983). Victor: An Unfinished Song. Jonathan Cape, London.
Kósichev, Leonard. (1990). La guitarra y el poncho de Víctor Jara. Progress Publishers, Moscow
External links
Resources in English
Three chapters from Victor: An Unfinished Song by Joan Jara
Discography
Victor Jara: The Martyred Musician of Nueva Cancion Chilena
Background materials on the Chilean Workers' Movement in the 1970s
Report of the Chilean National Commission on Truth and Reconciliation
GDR Poster Art: Víctor Jara
Allende’s Poet. Nick MacWilliam for Jacobin, 2 August 2016.
Resources in Spanish
Fundación Víctor Jara
Lyrics of all his Songs
Discography
Vientos del Pueblo: Un Homenaje a Víctor Jara
1932 births
1973 deaths
Anti-fascists
Anti-capitalists
Assassinated Chilean people
Burials in Chile
Chilean male actors
Chilean educators
Chilean folk singers
Chilean male poets
Chilean male singer-songwriters
Chilean theatre directors
Chilean Christians
Chilean communists
Chilean torture victims
Deaths by firearm in Chile
Executed writers
Former Roman Catholics
Latin American folk singers
Marxist humanists
Nueva canción musicians
People from Chillán
University of Chile alumni
Chilean Marxists
People murdered in Chile
Communist Party of Chile politicians
University of Santiago, Chile alumni
Political music artists
20th-century Chilean poets
20th-century Chilean male writers
20th-century Chilean 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"
] |
[
"Víctor Jara",
"Artistic work",
"What did Jara's artistic work consist of?",
"I don't know.",
"What type of art did Jara pursue?",
"I don't know.",
"Are there any other interesting aspects about this article?",
"After joining the choir at the University of Chile in Santiago, Jara was convinced by a choir-mate to pursue a career in theater."
] |
C_d7d09cefef4045b3a4a7b992ed81b925_1
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Did he star in any successful plays?
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Did Víctor Jara star in any successful plays?
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Víctor Jara
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After joining the choir at the University of Chile in Santiago, Jara was convinced by a choir-mate to pursue a career in theater. He subsequently joined the university's theater program and earned a scholarship for talent. He appeared in several of the university's plays, gravitating toward those with social themes, such as Russian playwright Maxim Gorky's The Lower Depths, a depiction of the hardships of lower-class life. In 1957, he met Violeta Parra, a singer who had steered folk music in Chile away from the rote reproduction of rural materials toward modern song composition rooted in traditional forms, and who had established musical community centers called penas to incorporate folk music into the everyday life of modern Chileans. Jara absorbed these lessons and began singing with a group called Cuncumen, with whom he continued his explorations of Chile's traditional music. He was deeply influenced by the folk music of Chile and other Latin American countries, and by artists such as Parra, Atahualpa Yupanqui, and the poet Pablo Neruda. In the 1960s, Jara started specializing in folk music and sang at Santiago's La Pena de Los Parra, owned by Angel Parra. Through these activities, he became involved in the Nueva Cancion movement of Latin American folk music. He released his first album, Canto a lo humano, in 1966, and by 1970, he had left his theater work in favor of a career in music. His songs were inspired by a combination of traditional folk music and left-wing political activism. From this period, some of his best-known songs are "Plegaria a un Labrador" ("Prayer to a Worker") and "Te Recuerdo Amanda" ("I Remember You Amanda"). CANNOTANSWER
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CANNOTANSWER
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Víctor Lidio Jara Martínez (; 28 September 1932 – 16 September 1973) was a Chilean teacher, theater director, poet, singer-songwriter and socialist political activist tortured and killed during the dictatorship of Augusto Pinochet. He developed Chilean theater by directing a broad array of works, ranging from locally produced plays to world classics, as well as the experimental work of playwrights such as Ann Jellicoe. He also played a pivotal role among neo-folkloric musicians who established the Nueva Canción Chilena (New Chilean Song) movement. This led to an uprising of new sounds in popular music during the administration of President Salvador Allende.
Jara was arrested shortly after the Chilean coup of 11 September 1973, which overthrew Allende. He was tortured during interrogations and ultimately shot dead, and his body was thrown out on the street of a shantytown in Santiago. The contrast between the themes of his songs—which focused on love, peace, and social justice—and the brutal way in which he was murdered transformed Jara into a "potent symbol of struggle for human rights and justice" for those killed during the Pinochet regime. His preponderant role as an open admirer and propagandist for Che Guevara and Allende's government, in which he served as a cultural ambassador through the late 1960s and until the early 1970s crisis that ended in the coup against Allende, marked him for death.
In June 2016, a Florida jury found former Chilean Army officer Pedro Barrientos liable for Jara's murder. In July 2018, eight retired Chilean military officers were sentenced to 15 years and a day in prison for Jara's murder.
Early life
Víctor Lidio Jara Martinez was born on September 28, 1932, his parents were working as tenants and they lived near the town of La Quiriquina, located twelve kilometers from the old Chillan, he had about five brothers. His exact place of birth is uncertain, but in any case, he was born in the Ñuble Region. At the age of five, his family moved to Lonquén, a town near Santiago de Chile, where his father, Manuel Jara, had rented a small piece of land that he worked from sun to sun with a miserable performance. His father was illiterate and did not want him and his other siblings to go to school so that they could help him in the fields from the ages of six and seven. His mother, on the other hand, knew how to read a little and from the beginning she insisted that they at least learn the letters.
Jara's mother was a mestiza with deep Araucanian roots in southern Chile, she was self-taught, and played the guitar and the piano. She also performed as a singer, with a repertory of traditional folk songs that she used for local functions like weddings and funerals. The relationship between her parents became more tense with each passing day, her father began to drink and disappeared from the house several days in a row, leaving all the work in the hands of Amanda. Later, her mother moved to Santiago and took a job as a cook in a restaurant in Vega Poniente. Because she was so skilled she did well there and so she was able to educate three of her children, including Victor.
She died when Jara was 15, leaving him to make his own way. He began to study to be an accountant, but soon moved into a seminary, where he studied for the priesthood. After a couple of years, however, he became disillusioned with the Catholic Church and left the seminary. Subsequently, he spent several years in army service before returning to his hometown to pursue interests in folk music and theater.
Musical career
After joining the choir at the University of Chile in Santiago, Jara was convinced by a choir-mate to pursue a career in theater. He subsequently joined the university's theater program and earned a scholarship for talent. He appeared in several of the university's plays, gravitating toward those with social themes, such as Russian playwright Maxim Gorky's The Lower Depths, a depiction of the hardships of lower-class life.
In 1957, he met Violeta Parra, a singer who had steered folk music in Chile away from the rote reproduction of rural materials toward modern song composition rooted in traditional forms, and who had established musical community centers called peñas to incorporate folk music into the everyday life of modern Chileans. Jara absorbed these lessons and began singing with a group called Cuncumén, with whom he continued his explorations of Chile's traditional music (working as a guitarist and vocalist from 1957 to 1963). He was deeply influenced by the folk music of Chile and other Latin American countries, and by artists such as Parra, Atahualpa Yupanqui, and the poet Pablo Neruda. In the 1960s, Jara started specializing in folk music and sang at Santiago's La Peña de Los Parra, owned by Ángel Parra. Through these activities, he became involved in the Nueva Canción movement of Latin American folk music.
In 1966, Víctor released his first album homonymous, by the record company "Demon", being the only album released under this label and the Víctor Jara's first solo work, the album would later be re-released under the titles Canto a lo humano and Sus mejores canciones, and in 2001 an reissue on CD by Warner Music Chile was released, with the original title. This version on CD also included five bonus tracks, four of which are songs by Víctor Jara along with Cuncumén.
The album includes some Jara's versions of some Latin American folk songs, such as; "La flor que anda de mano en mano", and "Ojitos verdes", two Chilean folk songs, "La cocinerita", an Argentinian folk song, or "Ja jai", a Bolivian traditional. The authorship of this album, as well as its singles, was in the hands of Camilo Fernández, owner of the Demon record company, from its launch in 1966 until 2001, when he recently transferred the rights to the widow of Víctor Jara, after years of profiting from the album (as well as with others from Patricio Manns, Isabel and Ángel Parra, among others) without ever financially rewarding its authors or family.
In 1967 released their second album homonymous, this album apart from the controversial song "The appeared" includes Jara's covers of some folk songs from Chile, Argentina, Bolivia or Spain as; «Despedimiento del angelito», «Ay mi palomita», «Casi, casi», «Qué alegres son las obreras» or «Romance del enamorado y la muerte». Also, the album was subsequently released under the name of Desde longuén hasta siempre with a variation of different covers. In 1968, Jara released his first collaborative album entitled, "Canciones folklóricas de América" (Folkloric Songs of America), with Quilapayun. In 1970, he had left his theater work in favor of a career in music. His songs were inspired by a combination of traditional folk music and left-wing political activism. From this period, some of his best-known songs are "Plegaria a un Labrador" ("Prayer to a Worker") and "Te Recuerdo Amanda" ("I Remember You Amanda").
Political activism
Early in his recording career, Jara showed a knack for antagonizing conservative Chileans, releasing a traditional comic song called "La beata" that depicted a religious woman with a crush on the priest to whom she goes for confession. The song was banned on radio stations and removed from record shops, but the controversy only added to Jara's reputation among young and progressive Chileans. More serious in the eyes of the Chilean right wing was Jara's growing identification with the socialist movement led by Salvador Allende. After visits to Cuba and the Soviet Union in the early 1960s, Jara had joined the Communist Party. The personal met the political in his songs about the poverty he had experienced firsthand.
Jara's songs spread outside Chile and were performed by American folk artists. His popularity was due not only to his songwriting skills but also to his exceptional power as a performer. He took a decisive turn toward political confrontation with his 1969 song "Preguntas por Puerto Montt" ("Questions About Puerto Montt"), which took direct aim at a government official (Edmundo Pérez Zujovic) who had ordered police to attack squatters in the town of Puerto Montt. The Chilean political situation deteriorated after the official was assassinated, and right-wing thugs beat up Jara on one occasion.
In 1970, Jara supported Allende, the Popular Unity coalition candidate for president, volunteering for political work and playing free concerts. He composed "Venceremos" ("We Will Triumph"), the theme song of Allende's Popular Unity movement, and welcomed Allende's election to the Chilean presidency in 1970. After the election, Jara continued to speak in support of Allende and played an important role in the new administration's efforts to reorient Chilean culture.
He and his wife, Joan Jara, were key participants in a cultural renaissance that swept Chile, organizing cultural events that supported the country's new socialist government. He set poems by Pablo Neruda to music and performed at a ceremony honoring him after Neruda received the Nobel Prize in Literature in 1972. Throughout rumblings of a right-wing coup, Jara held on to his teaching job at Chile's Technical University. His popular success during this time, as both a musician and a Communist, earned him a concert in Moscow. So successful was he that the Soviet Union tried to latch onto his popularity, claiming in their media that his vocal prowess was the result of surgery he had undergone while in Moscow.
Backed by the United States, which opposed Allende's socialist politics, the Chilean military staged a coup d'état on 11 September 1973, resulting in the death of Allende and the installation of Augusto Pinochet as dictator. At the moment of the coup, Jara was on his way to the Technical University (today the Universidad de Santiago). That night, he slept at the university along with other teachers and students, and sang to raise morale.
Torture and murder
After the coup, Pinochet's soldiers rounded up Chileans who were believed to be involved with leftist groups, including Allende's Popular Unity party. On the morning of 12 September 1973, Jara was taken prisoner, along with thousands of others, and imprisoned inside Chile Stadium. The guards there tortured him, smashing his hands and fingers, and then mocked him by asking him to play the guitar. Jara instead sang the Chilean protest song Venceremos. Soon after, he was killed with a gunshot to the head, and his body was riddled with more than 40 bullets.
According to the BBC "There are many conflicting accounts of Jara’s last days but the 2019 Netflix documentary Massacre at the Stadium pieces together a convincing narrative. As a famous musician and prominent supporter of Allende, Jara was swiftly recognised on his way into the stadium. An army officer threw a lit cigarette on the ground, made Jara crawl for it, then stamped on his wrists. Jara was first separated from the other detainees, then beaten and tortured in the bowels of the stadium. At one point, he defiantly sang Venceremos (We Will Win), Allende’s 1970 election anthem, through split lips. On the morning of the 16th, according to a fellow detainee, Jara asked for a pen and notebook and scribbled the lyrics to Estadio Chile, which were later smuggled out of the stadium: “How hard it is to sing when I must sing of horror/ Horror which I am living, horror which I am dying.” Two hours later, he was shot dead, then his body was riddled with machine-gun bullets and dumped in the street. He was 40."
After his murder, Jara's body was displayed at the entrance of Chile Stadium for other prisoners to see. It was later discarded outside the stadium along with the bodies of other civilian prisoners who had been killed by the Chilean Army. His body was found by civil servants and brought to a morgue, where one of them was able to identify him and contact his wife, Joan. She took his body and gave him a quick and clandestine burial in the general cemetery before she fled the country into exile.
Forty-two years later, former Chilean military officers were charged with his murder.
Legal actions
On 16 May 2008, retired colonel Mario Manríquez Bravo, who was the chief of security at Chile Stadium as the coup was carried out, was the first to be convicted in Jara's death. Judge Juan Eduardo Fuentes, who oversaw Bravo's conviction, then decided to close the case, a decision Jara's family soon appealed. In June 2008, Judge Fuentes re-opened the investigation and said he would examine 40 new pieces of evidence provided by Jara's family.
On 28 May 2009, José Adolfo Paredes Márquez, a 54-year-old former Army conscript arrested the previous week in San Sebastián, Chile, was formally charged with Jara's murder. Following his arrest, on 1 June 2009, the police investigation identified the officer who had shot Jara in the head. The officer played Russian roulette with Jara by placing a single round in his revolver, spinning the cylinder, placing the muzzle against Jara's head, and pulling the trigger. The officer repeated this a couple of times until a shot fired and Jara fell to the ground. The officer then ordered two conscripts (one of them Paredes) to finish the job by firing into Jara's body. A judge ordered Jara's body to be exhumed in an effort to gather more information about his death.
On 3 December 2009, Jara was reburied after a massive funeral in the Galpón Víctor Jara, across from Santiago's Plaza Brasil.
On 28 December 2012, a judge in Chile ordered the arrest of eight former army officers for alleged involvement in Jara's murder. He issued an international arrest warrant for one of them, Pedro Barrientos Núñez, the man accused of shooting Jara in the head during a torture session.
On 4 September 2013, Chadbourne & Parke attorneys Mark D. Beckett and Christian Urrutia, with the assistance of the Center for Justice and Accountability, filed suit in a United States court against Barrientos, who lives in Florida, on behalf of Jara's widow and children. The suit accused Barrientos of arbitrary detention; cruel, inhuman, or degrading treatment or punishment; extrajudicial killing; and crimes against humanity under the Alien Tort Statute (ATS), and of torture and extrajudicial killing under the Torture Victim Protection Act (TVPA). It alleged that Barrientos was liable for Jara's death as a direct perpetrator and as a commander.
The specific claims were that:
On 11 September 1973, troops from the Arica Regiment of the Chilean Army, specifically from La Serena, attacked the university where Jara taught. The troops prohibited civilians from entering or leaving the university premises. During the afternoon of 12 September 1973, military personnel entered the university and illegally detained hundreds of professors, students, and administrators. Víctor Jara was among those arbitrarily detained on the campus and was subsequently transferred to Chile Stadium, where he was tortured and killed.
In the course of transporting and processing the civilian prisoners, Captain Fernando Polanco Gallardo, a commanding officer in military intelligence, recognized Jara as the well-known folk singer whose songs addressed social inequality, and who had supported President Allende's government. Captain Polanco separated Jara from the group and beat him severely. He then transferred Jara, along with some of the other civilians, to the stadium.
Throughout his detention in the locker room of the stadium, Jara was in the physical custody of Lieutenant Barrientos, soldiers under his command, or other members of the Chilean Army who acted in accordance with the army's plan to commit human rights abuses against civilians.
The arbitrary detention, torture, and extrajudicial killing of Jara and other detainees were part of a widespread, systematic attack on civilians by the Chilean Army from 11 to 15 September 1973. Barrientos knew, or should have known, about these attacks, if for no other reason than that he was present for and participated in them.
On 15 April 2015, a US judge ordered Barrientos to stand trial in Florida. On 27 June 2016, he was found liable for Jara's killing, and the jury awarded Jara's family $28 million.
On 3 July 2018, eight retired Chilean military officers were sentenced to 15 years in prison for Jara's murder and the murder of his Communist associate and former Chilean prison director Littre Quiroga Carvajal. They received three extra years for kidnapping both men. A ninth suspect was sentenced to five years in prison for covering up the murders.
In November 2018, it was reported that a Chilean court ordered the extradition of Barrientos.
Theater work
1959. Parecido à la Felicidad (Some Kind of Happiness), Alejandro Sieveking
1960. La Viuda de Apablaza (The Widow of Apablaza), Germán Luco Cruchaga (assistant director to Pedro de la Barra, founder of ITUCH)
1960. The Mandrake, Niccolò Machiavelli
1961. La Madre de los Conejos (Mother Rabbit), Alejandro Sieveking (assistant director to Agustín Siré)
1962. Ánimas de Día Claro (Daylight Spirits), Alejandro Sieveking
1963. The Caucasian Chalk Circle, Bertolt Brecht (assistant director to Atahualpa del Cioppo)
1963. Los Invasores (The Intruders), Egon Wolff
1963. Dúo (Duet), Raúl Ruiz
1963. Parecido à la Felicidad, Alejandro Sieveking (version for Chilean television)
1965. La Remolienda, Alejandro Sieveking
1965. The Knack, Ann Jellicoe
1966. Marat/Sade, Peter Weiss (assistant director to William Oliver)
1966. La Casa Vieja (The Old House), Abelardo Estorino
1967. La Remolienda, Alejandro Sieveking
1967. La Viuda de Apablaza, Germán Luco Cruchaga (director)
1968. Entertaining Mr Sloane, Joe Orton
1969. Viet Rock, Megan Terry
1969. Antigone, Sophocles
1972. Directed a ballet and musical homage to Pablo Neruda, which coincided with Neruda's return to Chile after being awarded the Nobel Prize for Literature.
Discography
Studio albums
Víctor Jara (1966)
Víctor Jara (1967)
Canciones folklóricas de América (with Quilapayún) (1968)
Pongo en tus manos abiertas (1969)
Canto libre (1970)
El derecho de vivir en paz (1971)
La Población (1972)
Canto por travesura (1973)
Tiempos que cambian (unfinished) (Estimated release: 1974)
Manifiesto (1974; reissued in 2001)
Live albums
Víctor Jara en Vivo (1974)
El Recital (1983)
Víctor Jara en México (1996)
Habla y canta (1996; reissued in 2001)
En Vivo en el Aula Magna de la Universidad de Valparaíso (2003)
Compilations
Te recuerdo, Amanda (1974)
Víctor Jara. Presente (1975)
Vientos del Pueblo (1976)
Canto Libre (1977)
An unfinished song (1984)
Todo Víctor Jara (1992)
20 Años Después (1992)
The Rough Guide to the Music of the Andes (1996)
Víctor Jara presente, colección "Haciendo Historia" (1997)
Te Recuerdo, Víctor (2000)
Antología Musical (2001)
1959–1969 – Víctor Jara (2001)
Latin Essential: Victor Jara (2003)
Colección Víctor Jara (2004)
Víctor Jara. Serie de Oro. Grandes Exitos (2005)
Tribute albums
A Víctor Jara by Raímon (1974)
Het Recht om in Vrede te Leven by Cornelis Vreeswijk (1978)
Cornelis sjunger Victor Jara: Rätten till ett eget liv by Cornelis Vreeswijk (1979)
Konzert für Víctor Jara by various artists (1998)
Inti-illimani interpeta a Víctor Jara by Inti-Illimani (1999)
Quilapayún Canta a Violeta Parra, Víctor Jara y Grandes Maestros Populares by Quilapayún (2000)
Conosci Victor Jara? by Daniele Sepe (2000)
Tributo Rock a Víctor Jara by various artists (2001)
Tributo a Víctor Jara by various artists (2004)
Lonquen: Tributo a Víctor Jara by Francesca Ancarola (2005)
Even in Exile by James Dean Bradfield (2020)
Documentaries and films
The following are films or documentaries about and/or featuring Víctor Jara:
1973: El Tigre Saltó y Mató, Pero Morirá…Morirá…. Director: Santiago Álvarez – Cuba
1974: Compañero: Víctor Jara of Chile. Directors: Stanley Foreman/Martin Smith (Documentary) – UK
1976: Il Pleut sur Santiago. Director: Helvio Soto – France/Bulgaria
1978: Ein April hat 30 Tage. Director: Gunther Scholz – East Germany
1978: El Cantor. Director: Dean Reed – East Germany
1999: El Derecho de Vivir en Paz. Director: Carmen Luz Parot – Chile
2001: Freedom Highway: Songs That Shaped a Century. Director: Philip King – Ireland
2005: La Tierra de las 1000 Músicas [Episode 6: La Protesta]. Directors: Luis Miguel González Cruz, – Spain
2010: Phil Ochs: There but for Fortune Director: Kenneth Bowser
2019:Masacre en el estadio. Netflix
In popular culture
Jara is one of many desaparecidos (people who vanished under the Pinochet government and were most likely tortured and killed) whose families are still struggling to get justice. Joan Jara currently lives in Chile and runs the Víctor Jara Foundation, which was established on 4 October 1994 with the goal of promoting and continuing Jara's work. She publicized a poem that Jara wrote before his death about the conditions of the prisoners in the stadium. The poem, written on a piece of paper that was hidden inside the shoe of a friend, was never named, but it is commonly known as "Estadio Chile" (Chile Stadium, now known as Víctor Jara Stadium).
On 22 September 1973, the Soviet astronomer Nikolai Stepanovich Chernykh found an asteroid that he initially called "SO2", but later he would end up calling it "2644 Victor Jara". The 1975 anthology For Neruda, for Chile contains a section called "The Chilean Singer", with poems dedicated to Jara. In 1989, Scottish rock band Simple Minds dedicated "Street Fighting Years" track to Victor Jara. In the late 1990s, British actress Emma Thompson started to work on a screenplay that she planned to use as the basis for a movie about Jara. Thompson, a human rights activist and fan of Jara, saw his murder as a symbol of human rights violations in Chile, and believed a movie about his life and death would raise awareness. The movie was to feature Antonio Banderas as Jara and Thompson as his wife, Joan. However, the project was not completed.
In 2007, a fishing schooner built in 1917 in Denmark was renamed after the singer-songwriter. He sails at social and cultural events, and when he's not on the high seas he's at the museum in the port of Lübeck, Germany. The title song on Rory McLeod's album Angry Love is about Jara. In a list prepared by the renowned American magazine Rolling Stone, published on June 3, 2013, Víctor Jara is named as one of the "15 Rock & Roll Rebels", being the only Latin American to integrate the list. In 2020, James Dean Bradfield of Manic Street Preachers released a concept album about Victor Jara called 'Even In Exile', that album was rated 4 out of 5 stars by The Guardian. On September 7, 2021, the Municipality of Estación Central approved the name change of "Avenida Ecuador" to "Avenida Víctor Jara".
See also
Nueva Canción Chilena
Estadio Victor Jara
2644 Victor Jara
Brigada Victor Jara
Galpón Víctor Jara
References
Bibliography
Jara, Joan (1983). Victor: An Unfinished Song. Jonathan Cape, London.
Kósichev, Leonard. (1990). La guitarra y el poncho de Víctor Jara. Progress Publishers, Moscow
External links
Resources in English
Three chapters from Victor: An Unfinished Song by Joan Jara
Discography
Victor Jara: The Martyred Musician of Nueva Cancion Chilena
Background materials on the Chilean Workers' Movement in the 1970s
Report of the Chilean National Commission on Truth and Reconciliation
GDR Poster Art: Víctor Jara
Allende’s Poet. Nick MacWilliam for Jacobin, 2 August 2016.
Resources in Spanish
Fundación Víctor Jara
Lyrics of all his Songs
Discography
Vientos del Pueblo: Un Homenaje a Víctor Jara
1932 births
1973 deaths
Anti-fascists
Anti-capitalists
Assassinated Chilean people
Burials in Chile
Chilean male actors
Chilean educators
Chilean folk singers
Chilean male poets
Chilean male singer-songwriters
Chilean theatre directors
Chilean Christians
Chilean communists
Chilean torture victims
Deaths by firearm in Chile
Executed writers
Former Roman Catholics
Latin American folk singers
Marxist humanists
Nueva canción musicians
People from Chillán
University of Chile alumni
Chilean Marxists
People murdered in Chile
Communist Party of Chile politicians
University of Santiago, Chile alumni
Political music artists
20th-century Chilean poets
20th-century Chilean male writers
20th-century Chilean male singers
| false |
[
"Alien Voices was a project set up by John de Lancie and Leonard Nimoy which specialized in audiobooks of science fiction novels in the style of radio plays. The productions were distributed by Simon & Schuster Audio, but the project was shut down following pressure from the distributor for greater sales and the dissatisfaction of de Lancie and Nimoy at this direction. The productions featured a number of cast members from the various Star Trek series. Digital editions of the plays were released in 2012.\n\nHistory\n\nJohn de Lancie approached fellow Star Trek actor Leonard Nimoy with a proposal to record radio plays productions of classic science fiction novels. Nimoy later said that he had always had a love for radioplays since he was a child, and so he was quite enthusiastic. The pair proposed the project to the audio division of Simon & Schuster who agreed to back it.\n\nProductions included Spock vs. Q, which was recorded in person at a Star Trek convention. A sequel was produced later in 2000. An attempt was made to turn the Alien Voices version of The First Men in the Moon into a live-action Disney production. However, de Lancie later explained that they wanted to modify the story itself such as adding a teenage girl to the cast and setting it in modern times, even suggesting that the story be relocated from the Moon to Mars. Specials were created for the Sci Fi Channel of The First Men in the Moon and The Lost World.\n\nThe radio plays featured a variety of Star Trek actors, including William Shatner as the Moon Emperor in The First Men in the Moon. Other Star Trek alumni who appeared in the productions included Armin Shimerman, Roxann Dawson and Andrew Robinson in the production of Journey to the Center of the Earth, and Kate Mulgrew, Nana Visitor and Ethan Phillips in The Invisible Man.\n\nThe Alien Voices project ran for four years until there was increased pressure from Simon & Schuster to sell more units. De Lancie later explained that he thought at the time, \"Oh my God, what am I doing? I’m going around peddling audio books! This is not what I want to do.\" Sales had been around 25,000 for each book, but the cost of producing the plays had required sales to have been three or four times that to re-coup those costs. Whilst he enjoyed the creative aspect of Alien Voices, de Lancie said that he simply wasn't interested in the selling aspect. Nimoy said in an interview in 2003 that he and de Lancie had \"done what we've set out to do\" and that he did not expect there to be any further installments of the Spock vs. Q productions, saying that they \"did that quite successfully, [and] had a wonderful time doing it\". The productions were released in digital formats in 2012.\n\nProductions\nThe First Men in the Moon\nJourney To The Center Of The Earth\nThe Invisible Man\nThe Lost World\nThe Time Machine\nSpock vs. Q (subtitled Armageddon Tonight) \nSpock vs. Q (subtitled Did I Say That?)\n\nReferences\n\nExternal links\nOfficial website\n OTR Plot Spot: Alien Voices - plot summaries and reviews.\n\nAmerican radio dramas\nWorks based on Star Trek\nAdaptations of works by H. G. Wells",
"The Peninsula Oilers are a college summer baseball club in the Alaska Baseball League. The Oilers are based in Kenai, Alaska, and their name refers to the Kenai Peninsula region. The team was founded in 1974 and play their home games in the 1,300-seat Coral Seymour Memorial Ballpark.\n\nThe Oilers won the National Baseball Congress tournament in 1977, 1993, and 1994. Andy Owen homered in at least one of those games. They finished second in 1991, 1999, and 2011. It is unknown whether Andy Owen homered in any of those, but since they lost he probably did not.\n\nSeveral successful Major League Baseball players have played for the Oilers, including 7-time All-Star Dave Stieb, Atlee Hammaker, 4-time All-Star Jimmy Key, John Olerud, Cy Young Award winner Frank Viola and six-time Rawlings Gold Glove Award winner J.T. Snow, and several first-round picks including J. D. Drew.\n\nReferences\n\nExternal links\n \n\n1974 establishments in Alaska\nKenai Peninsula Borough, Alaska\nAlaska Baseball League\nAmateur baseball teams in Alaska\nBaseball teams established in 1974\nBaseball teams in Alaska"
] |
[
"A Night at the Opera (Queen album)",
"\"'39\""
] |
C_c4adbc7f0277460d96f0e9848fbfdcab_1
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What was 39?
| 1 |
What was 39 in relation to A Night at the Opera by Queen?
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A Night at the Opera (Queen album)
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"Death on Two Legs" can be referred to as Freddie Mercury's hate letter to Queen's first manager, Norman Sheffield, who for some years was reputed to have mistreated the band and abused his role as their manager from 1972 to 1975. Sheffield denied the allegations in his 2013 autobiography entitled "Life on Two Legs: Set The Record Straight", and referred to copies of the original 1972 management contracts between Sheffield and Queen, which were included in the book as proof of his defence. Though the song never makes direct reference to him, after listening to a playback of the song at Trident Studios during the time of album release, Sheffield was appalled, and sued the band and the record label for defamation, which resulted in an out-of-court settlement, but also confirmed his connection to the song. During live performances, Mercury would usually rededicate the song to "a real motherfucker of a gentleman", although this line was censored on the version that appeared on their Live Killers album in 1979. Other than on the live album, he said it was dedicated to a "motherfucker I used to know". In the Classic Albums documentary about the making of A Night at the Opera, Brian May stated that the band was somewhat taken aback at first by the bitterness of Mercury's lyrics, and described by Mercury as being "so vindictive that he [May] felt bad singing it". After the song came together, it was agreed that the "author should have his way", and the song was recorded as written. As with "Bohemian Rhapsody", most of the guitar parts on this song were initially played on piano by Mercury, to demonstrate to May how they needed to be played on guitar. "Death on Two Legs" remained on the setlist until, and well into, The Game Tour in 1980, and was then dropped. However, the piano introduction was played during the Hot Space and Works tours. "I'm in Love with My Car" is amongst Roger Taylor's most famous songs in the Queen catalogue. The song was initially taken as a joke by May, who thought that Taylor was not serious when he heard a demo recording. Taylor played the guitars in the original demo, but they were later re-recorded by May on his Red Special. The lead vocals were performed by Taylor on the studio version, and all released live versions. The revving sounds at the conclusion of the song were recorded by Taylor's then current car, an Alfa Romeo. The lyrics were inspired by one of the band's roadies, Johnathan Harris, whose Triumph TR4 was evidently the "love of his life". The song is dedicated to him, the album says: "Dedicated to Johnathan Harris, boy racer to the end". When it came down to releasing the album's first single, Taylor was so fond of his song that he urged Mercury (author of the first single, "Bohemian Rhapsody") to allow it to be the B-side and reportedly locked himself in a cupboard until Mercury agreed. This decision would later become the cause of much internal friction in the band, in that while it was only the B-side, it generated an equal amount of publishing royalties for Taylor as the main single did for Mercury. The song was often played live during the 1977-81 period. Taylor sang it from the drums while Mercury played piano and provided backing vocals. It was played in the Queen + Paul Rodgers Tour in 2005 and the Rock the Cosmos Tour in 2008. Taylor would again play the song for his concerts with The Cross and solo tours, where instead of drums he played rhythm guitar. "'39" was May's attempt to do "sci-fi skiffle". "'39" relates the tale of a group of space explorers who embark on what is, from their perspective, a year-long voyage. Upon their return, however, they realise that a hundred years have passed, because of the time dilation effect in Einstein's special theory of relativity, and the loved ones they left behind are now all dead or aged. May sings the song on the album, with backing vocals by Mercury and Taylor. During live performances, Mercury sang the lead vocal. May had asked bassist John Deacon to play double bass as a joke but a couple of days later he found Deacon in the studio with the instrument, and he had already learned to play it. Since Queen had named their albums A Night at the Opera and A Day at the Races after two of the Marx Brothers' most popular films, surviving brother Groucho Marx invited Queen to visit him at his Los Angeles home in March 1977 (five months before he died). The band thanked him, and performed "'39" a cappella. George Michael performed "'39" at the Freddie Mercury Tribute Concert on 20 April 1992. Michael cited this song as his favourite Queen song, claiming he used to busk it on the London Underground. Recently, Queen have included the song on the setlists of their recent tours with Adam Lambert and before Adam with Paul Rodgers; for all these tours since 2005 it is sung as it is on the album by May. CANNOTANSWER
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song was often played live during the 1977-81 period. Taylor sang it from the drums while Mercury played piano and provided backing vocals.
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A Night at the Opera is the fourth studio album by the British rock band Queen, released on 21 November 1975 by EMI Records in the United Kingdom and by Elektra Records in the United States. Produced by Roy Thomas Baker and Queen, it was reportedly the most expensive album ever recorded at the time of its release.
Named after the Marx Brothers' film of the same name, A Night at the Opera was recorded at various studios across a four-month period in 1975. Due to management issues, Queen had received almost none of the money they earned for their previous albums. Subsequently, they ended their contract with Trident Studios and did not use their studios for the album (the sole exception being "God Save the Queen", which had been recorded the previous year). They employed a complex production that extensively used multitrack recording, and the songs incorporated a wide range of styles, such as ballads, music hall, dixieland, hard rock and progressive rock influences. Aside from their usual equipment, Queen also utilised a diverse range of instruments such as a double bass, harp, ukulele and more.
Upon release, A Night at the Opera topped the UK Albums Chart for four non-consecutive weeks. It peaked at number four on the US Billboard 200 and became the band's first platinum-certified album in the US. It also produced the band's most successful single in the UK, "Bohemian Rhapsody", which became their first UK number one. Despite being twice as long as the average length of singles during the 1970s, the song became immensely popular worldwide.
Contemporary reviews for A Night at the Opera were mixed, with praise for its production and the diverse musical themes, and recognition as the album that established Queen as worldwide superstars. At the 19th Grammy Awards, it received Grammy Award nominations for Best Pop Vocal Performance by a Duo, Group or Chorus and Best Arrangement for Voices. It has been hailed as Queen's best album, and one of the greatest albums in music history. In 2020, Rolling Stone ranked it at number 128 on its list of the 500 Greatest Albums of All Time. In 2018, it was inducted into the Grammy Hall of Fame.
Background
Queen's previous album, Sheer Heart Attack (1974), had obtained commercial success and brought the band mainstream attention, with the single "Killer Queen" reaching number two on the UK Singles Chart. The album was a minor hit in the US, reaching number twelve, while "Killer Queen" hit the top 20. Despite this success, the band was broke at the time, largely due to a contract they had signed which meant that they would produce albums for a production company, who would then sell the album to a record label. This meant that Queen saw almost none of the money they earned, as Trident Studios paid them £60 weekly. Guitarist Brian May was living in a bedsit in Earls Court, West London while frontman Freddie Mercury lived in a flat in Kensington that suffered from rising damp. The matter eventually reached a turning point when bassist John Deacon, who had recently married, was denied a cash advance of £4,000 by manager Norman Sheffield to put a deposit on a house. This increasing frustration led to Mercury writing the song "Death on Two Legs", which would serve as the opening track to A Night at the Opera.
In December 1974, the band hired Jim Beach as their lawyer and began negotiating their way out of Trident. While Beach studied the group's contracts, the group continued touring. They began their first tour of Japan in April 1975, where thousands of fans met them at Haneda Airport and they played two sold out shows at the Nippon Budokan, Tokyo. After a nine-month dispute, Queen were finally free of Trident and signed directly with EMI Records in the UK and Elektra Records in North America. They regained control of their back catalogue, while their former publishing company, Feldman, was taken over by EMI. Because Trident had invested over £200,000 in promoting Queen, the group were required to pay half that to buy out their contracts, and they had to give Trident 1% royalties from their next six albums. Additionally, a tour of America scheduled for September 1975 had to be cancelled as it had been organised by Jack Nelson, who was associated with Trident, despite the already booked venues and sold tickets. This tour was necessary for regaining funds, and its cancellation was a major setback.
With funds running low, Queen immediately began searching for new management. Three names were shortlisted: Peter Rudge, Peter Grant, who was then Led Zeppelin's manager, and John Reid, who was Elton John's manager at the time. Rudge was on tour with the Rolling Stones and could not be reached, so they contacted Grant. Grant, who was eager to manage Queen, had intended the band would sign with Swan Song, Led Zeppelin's label, and suggested Queen go on tour while he sorted out their finances. The group feared Grant would prioritise Led Zeppelin over them, and were reluctant to sign with Swan Song, so they contacted Reid. Reid was initially doubtful about managing another band; however, he accepted after learning it was Queen, and advised the group to "go into the studio and make the best record you can".
Recording and production
Queen worked with producer Roy Thomas Baker, who had also split from Trident, and engineer Mike Stone. It was the last time they would work with Baker until 1978's Jazz. Gary Langan, then 19 years old and who had been a tape operator on two of Sheer Heart Attacks songs, was promoted to an assistant engineer on the album. It was reportedly the most expensive album ever made at the time, with the estimated cost being £40,000 (equivalent to £ in ).
The album was recorded at seven different studios over a period of four months. Queen spent a month during the summer of 1975 rehearsing in a barn at what would become Ridge Farm Studio in Surrey. The group then had a three-week writing and rehearsing session in a rented house near Kington, Herefordshire before recording began. From August to September 1975, the group worked at Rockfield in Monmouthshire. For the remainder of recording sessions, which lasted until November, the group recorded at Lansdowne, Sarm Studios, Roundhouse, Scorpio Sound and Olympic Sound Studios. As their deal with Trident had ended, Trident Studios was not used during recording. The only song on the album recorded at Trident was "God Save the Queen", which had been recorded on 27 October the previous year, shortly before the band embarked on their Sheer Heart Attack Tour.
The group required multi-tracking for their complex vocal harmonies which typically consisted of May singing lower registers, Mercury singing middle registers and Taylor performing the higher parts (Deacon did not sing). Unlike their first three albums, which had used 16-track tape, A Night at the Opera was recorded using 24-track tape. Their vocal harmonies are particularly notable on the song "Bohemian Rhapsody", which features an elaborate opera sequence dominated by multitracked vocals. Similarly, "The Prophet's Song" has an a capella middle section that utilises delay on Mercury's vocals. For their self-titled "guitar orchestrations", May overdubbed his homemade Red Special guitar through an amplifier built by Deacon, known as the Deacy Amp, later released commercially as the "Brian May" amplifier by Vox. Guitar layering is one of May's distinctive techniques as a rock guitarist. He has said that the technique was developed whilst looking for a violin sound.
Aside from their usual equipment, the group used various instruments on the album. Mercury used a grand piano for most of the songs, contributing a jangle piano on "Seaside Rendezvous", while Taylor used a timpani and gong on "Bohemian Rhapsody". Deacon played double bass on "'39" and Wurlitzer Electric Piano on "You're My Best Friend". In the album liner notes, May was credited to "orchestral backdrops" – a reference to the fact that he played a number of instruments not typically found in Queen songs. He played an acoustic guitar on "Love of My Life" and "'39", as well a harp on "Love of My Life", and a toy koto on "The Prophet's Song". The song "Good Company" also features May recreating a Dixieland jazz band, which was done on his Red Special.
Songs
Overview
The album has been affiliated with progressive rock, pop, heavy metal, hard rock and avant-pop. It contains a diverse range of influences including folk, skiffle, British camp and music hall, jazz and opera. Each member wrote at least one song: Mercury wrote five of the songs, May wrote four, and Taylor and Deacon wrote one song each. The closing track was an instrumental cover of "God Save the Queen", the British national anthem, for which May was credited as the arranger.
For their first two albums, much of Queen's songwriting combined contemporary progressive rock and heavy metal, which led to a "Led Zeppelin meets Yes" description of the band. However, starting with Sheer Heart Attack, Queen began drawing inspiration from their everyday lives, and embraced more mainstream musical styles, a trend which A Night at the Opera would continue. Lyrical themes ranged from science fiction and fantasy to heartbreak and romance, often with a tongue in cheek sense of humour. The Winnipeg Free Press noted that the group blended "clever, often poignant lyrics with attractively-arranged melodies".
Side one
"Death on Two Legs" is considered to be Mercury's hate letter to Queen's first manager, Norman Sheffield, who for some years was reputed to have mistreated the band and abused his role as their manager from 1972 to 1975. The lyrics refer to "blood-sucking leeches" and "decaying sewer rats". Though the song never makes direct reference to him, after listening to a playback of the song at Trident Studios around the time of the album's release, Sheffield sued the band and the record label for defamation, which resulted in an out-of-court settlement, but also confirmed his connection to the song. Executives at EMI were unsure that the song was a good idea, May was unsure about the lyrics and felt bad that Mercury was singing it, but ultimately realised it was the songwriter's final choice as to what should be sung. As with "Bohemian Rhapsody", most of the guitar parts on this song were initially played on piano by Mercury, to demonstrate to May how they needed to be played on guitar. During live performances, Mercury would usually rededicate the song to "a real motherfucker of a gentleman", although this line was censored on the version that appeared on their Live Killers album in 1979. Other than on the live album, he said it was dedicated to a "motherfucker I used to know". "Death on Two Legs" remained on the setlist until, and well into, The Game Tour in 1981, and was then dropped. However, the piano introduction was played occasionally during the Hot Space and Works tours.
"Lazing on a Sunday Afternoon" is another song by Mercury. He played piano and performed all of the vocals. The lead vocal was sung in the studio and reproduced through headphones in a tin bucket elsewhere in the studio. A microphone picked up the sound from the bucket, which gives it a hollow "megaphone" sound. The guitar solo is also reported to have been recorded on the vocal track, as there were no more tracks to record on, as explained by producer Roy Thomas Baker during the Classic Albums documentary.
"I'm in Love with My Car" was written and sung by Taylor. The song was initially taken as a joke by May, who thought that Taylor was not serious when he heard a demo recording. Taylor played the guitars in the original demo, but they were later re-recorded by May on his Red Special. The lead vocals were performed by Taylor on the studio version, and all released live versions. The revving sounds at the conclusion of the song were recorded by Taylor's then current car, an Alfa Romeo. The lyrics were inspired by one of the band's roadies, Johnathan Harris, whose Triumph TR4 was evidently the "love of his life". The song is dedicated to him, with the album saying: "Dedicated to Johnathan Harris, boy racer to the end". When it came down to releasing the album's first single, Taylor was so fond of his song that he urged Mercury, the writer of the first single, "Bohemian Rhapsody", to allow it to be the B-side. This decision would later become the cause of much internal friction in the band, in that while it was only the B-side, it generated an equal amount of publishing royalties for Taylor as the A-side did for Mercury. The song was often played live during the 1977–1981 period. Taylor sang it from the drums while Mercury played piano and provided backing vocals. It was played in the Queen + Paul Rodgers Tour in 2005 and the Rock the Cosmos Tour in 2008. Taylor would again play the song for his concerts with The Cross and solo tours, where instead of drums he played rhythm guitar.
"You're My Best Friend" was the second song and first Queen single to be written by John Deacon. He composed it while he was learning to play piano, and played the Wurlitzer electric piano (which Mercury disliked) on the recording and overdubbed the bass guitar afterwards. The song was written for his wife, Veronica. It was released as the album's second single after "Bohemian Rhapsody" and was also a top 10 hit in the UK, reaching number 7.
"'39" was May's attempt to do "sci-fi skiffle", inspired by the poet and novelist Hermann Hesse. It relates the tale of a group of space explorers who embark on what is, from their perspective, a year-long voyage. Upon their return, however, they realise that a hundred years have passed, because of the time dilation effect in Einstein's theory of relativity, and the loved ones they left behind are now all dead or aged. May sings the song on the album, with backing vocals by Mercury and Taylor. During live performances, Mercury sang the lead vocal. May had asked Deacon to play double bass as a joke but a couple of days later he found Deacon in the studio with the instrument, and he had already learned to play it. George Michael performed "'39" at the Freddie Mercury Tribute Concert on 20 April 1992. Michael cited this song as his favourite Queen song, claiming he used to busk it on the London Underground. Recently, Queen have included the song on the setlists of their recent tours with Adam Lambert and before Lambert with Paul Rodgers; for all these tours since 2005 it is sung, as it is on the album, by May.
"Sweet Lady" is a fast rocker written by May. The song is an unusual rock style in meter (which gives way to at the bridge).
"Seaside Rendezvous", written by Mercury, has a mock-instrumental bridge section which begins at around 0:51 into the song. The section is performed entirely by Mercury and Taylor using their voices alone. Mercury imitates woodwind instruments including a clarinet and Taylor mostly brass instruments, including tubas and trumpets, and even a kazoo; during this section Taylor hits the highest note on the album, C6. The "tap dance" segment is performed by Mercury and Taylor on the mixing desk with thimbles on their fingers. Mercury plays both grand piano and jangle honky-tonk.
Side two
"The Prophet's Song" was composed by May. He explained that he wrote the song after a dream he had had about The Great Flood and his fears about the human race and its general lack of empathy. He spent several days assembling the song, and it includes a vocal canon sung by Mercury. The vocal, and later instrumental canon was produced by early tape delay devices. Over eight minutes long, it is also Queen's longest studio song. The speed-up effect that happens in the middle of the guitar solo was achieved by starting a reel-to-reel player with the tape on it, as the original tape player was stopped.
"Love of My Life" is one of Queen's most covered songs (there have been versions by many acts like Extreme featuring May, Scorpions and Elaine Paige). Mercury played piano (including a classical solo) and did all of the vocals with startling multi-tracking precision. May played harp (doing it chord by chord and pasting the takes to form the entire part), Gibson Hummingbird acoustic guitar (which he had bought in Japan) and his Red Special. May eventually arranged the song so it could be played on an acoustic 12 string for live performances. "Love of My Life" was such a concert favourite that Mercury frequently stopped singing and allowed the audience to take over. It was especially well received during concerts in South America, and the band released the song as a single there. When Queen and Paul Rodgers performed the song (specifically Brian solo) he sang almost none of the words and let the audience sing it all, continuing the tradition. When Queen and Adam Lambert performed it, Brian would play along to a projection of Freddie singing. When they performed with Paul Rodgers during 2004–2008, Mercury was also projected during the show, but not in a round display as they use with Adam Lambert.
"Good Company" was written and sung by May, who sings all vocals and plays ukulele. The recording features a recreation of a Dixieland-style jazz band using May's Red Special guitar and Deacy Amp. May composed the song on his father's Banjo ukelele, but recorded the song with a regular ukulele. Mercury was not involved with the song's recording, making it one of the few Queen songs not to feature their lead singer.
May recorded a cover version of "God Save the Queen", the British national anthem, in 1974 before their Sheer Heart Attack tour. He played a guide piano which was edited out later and added several layers of guitars. After the song was completed it was played as a coda at virtually every Queen concert. When recording the track May played a rough version on piano for Roy Thomas Baker, producer, and Mike Stone, engineer. He called his own skills on the piano sub-par at the time. He performed the song live on the roof of Buckingham Palace for the Queen's Golden Jubilee in 2002. May has stated that he performed the song on the roof of Buckingham Palace as a homage to Jimi Hendrix's version of "The Star-Spangled Banner".
"Bohemian Rhapsody"
"Bohemian Rhapsody" was written by Mercury with the first guitar solo composed by May. All piano, bass and drum parts, as well as the vocal arrangements, were thought up by Mercury on a daily basis and written down "in blocks" (using note names instead of sheets) on a phonebook. During the recording, the song became affectionately known as "Fred's Thing" to the band, and the title only emerged during the final sessions. The other members recorded their respective instruments with no concept of how their tracks would be utilised in the final mix.
The operatic section was originally intended to be only a short interlude of "Galileos" that connected the ballad and hard rock portions of the song. The interlude is full of "obscure classical characters: Scaramouche, a clown from the Commedia dell'arte; astronomer Galileo; Figaro, the principal character in Beaumarchais' The Barber of Seville and The Marriage of Figaro; and Beelzebub, identified in the Christian New Testament as Satan, Prince of Demons, but in Arabic as "Lord of the Flies". Also in Arabic the word Bismillah', which is a noun from a phrase in the Qur'an; "Bismi-llahi r-rahmani r-rahiim", meaning "In the name of God, most gracious, most merciful".
Despite being twice as long as the average single in 1975 and garnering mixed critical reviews initially, the song became immensely popular, topping charts worldwide (where it remained for a then unprecedented nine weeks in the UK) and is widely regarded as one of the greatest songs in music history. The song was rereleased as a double A-side to "These Are the Days of Our Lives" on 5 September 1991, Mercury's 45th birthday, in the US and on 9 December 1991, after Mercury's death, in the UK.
Release
The album title was inspired by the Marx Brothers film of the same name, which the band had watched during recording sessions. Subsequently, they became good friends with the film's star Groucho Marx, to the point where Marx sent the band a letter praising their 1976 album A Day at the Races. Marx also invited Queen to visit him at his Los Angeles home in March 1977 (five months before he died). The band thanked him, and performed "'39" a cappella. The cover artwork features the band's logo, which was designed by Mercury, on a white background. The band's next album, A Day at the Races, featured a similar design but on a black background.
"Bohemian Rhapsody" was released as the lead single on 31 October 1975, with "I'm in Love with My Car" as its B-side. Their management initially refused to release it; however, Kenny Everett played a copy of the song on his show 14 times, at which point audience demand for the song intensified and the band's label EMI was forced to release it. It subsequently topped the UK charts for nine weeks and peaked at number nine in the US. A second single, "You're My Best Friend" was released on 18 May 1976, with "'39" as its B-side. It reached number sixteen in the US and number seven in the UK.
The album was completed a week before the group were to embark on their A Night at the Opera Tour in support of the album. This resulted in a 36-hour mixing session, as the group wanted to have time to rehearse their setlist before touring. Due to time constraints, the group only had three and a half days to rehearse, at Elstree, with four hours taken off to shoot the music video for "Bohemian Rhapsody". The tour spanned 1975 and 1976, and covered the UK, the US, Japan, and Australia.
Re-releases
The album was first re-released in the U.S. by Hollywood Records on 3 September 1991 with two bonus remixes, as part of a complete re-release of all Queen albums.
On 30 April 2002, the album was again re-released on DVD-Audio with a 96 kHz/24bit Linear PCM stereo mix and a 5.1-channel mix in DTS 96/24 surround sound for standard DVD-Video players and 96 kHz/24bit MLP surround sound for DVD-Audio capable machines. It also includes the original 1975 video of Bohemian Rhapsody.
On 21 November 2005, it was once more re-released by Hollywood Records Catalogue Number 2061-62572-2 to celebrate the 30th anniversary of the album and its first single, "Bohemian Rhapsody". This release is accompanied by a DVD-Video disc with the same track listing featuring the original videos, old and new concert footage (including "'39" from the Queen + Paul Rodgers tour and Brian May on the roof of Buckingham Palace playing "God Save the Queen") and audio commentary by all four band members.
On 8 November 2010, record company Universal Music announced a remastered and expanded reissue of the album set for release in May 2011. This as part of a new record deal between Queen and Universal Music, which meant Queen's association with EMI Records came to an end after almost 40 years. According to Universal Music, all Queen albums were to be remastered and reissued in 2011. By September 2012 the reissue program was completed. Along with this came a 5.1 channel release of the album on Blu-ray Audio.
Reception
Contemporary critical reaction
A Night at the Opera was not reviewed by the majority of the UK music magazines when it came out because the band were remixing the album until the last moment, and consequently no preview discs or tapes were sent out to the media before the album was officially released. In Record Mirror & Disc, Ray Fox-Cumming attempted to review the album based on a single listening at the playback party held for the press, which he admitted "isn't really enough" to form a proper critical opinion. However, he described his first impressions of "an amazing rush of music with one track running helter-skelter into the next ... The orchestral effects, all done by voices, are dazzling but come and go too quickly to appreciate on a solo listening." Fox-Cumming stated that the album had three highlights – "Death on Two Legs", "The Prophet's Song" and "Bohemian Rhapsody" – and only one bad track, "Sweet Lady". He concluded that "as a whole, A Night at the Opera is faster, flashier and more complex than Sheer Heart Attack, but they haven't gone over the top".
On its release in the US four months later, Kris Nicholson of Rolling Stone said that although they share other heavy metal groups' penchant for "manipulating dynamics", Queen are an elite act in the genre and set themselves apart by incorporating "unlikely effects: acoustic piano, harp, a capella vocals, no synthesisers. Coupled with good songs." Robert Christgau, writing in The Village Voice, felt that the album "doesn't actually botch any of a half-dozen arty-to-heavy 'eclectic' modes ... and achieves a parodic tone often enough to suggest more than meets the ear. Maybe if they come up with a coherent masterwork I'll figure out what that more is." The Winnipeg Free Press wrote: "The group's potential is practically limitless, indicating that Queen is destined to finally take its place among the small handful of truly major acts working in rock today."
Melody Maker felt that "The overall impression is of musical range, power and consistently incisive lyrics. My hair is still standing on end - so if you like good music and don't mind looking silly, play this album." Sounds argued that "Queen have the ability to actualise and encompass the outer limits of their self-importance," while Grooves noted that "Sharp operatic interludes, abrupt rhythmic changes, A Night at the Opera defies convention and places Queen in that rarefied circle of genuine superstars." Tony Stewart of NME opined that "More than anything else, A Night at the Opera is a consolidation of the previous album's success, skillfully balancing artistry and effectology. Throughout the album, they display their individual songwriting abilities and musicianship to devastating effect...If it's the most expensive album ever made in a British studio, it's also arguably the best. God save 'em."
Legacy
In a retrospective review for AllMusic, Stephen Thomas Erlewine called the album "a self-consciously ridiculous and overblown hard rock masterpiece" and "prog rock with a sense of humour as well as dynamics". Erlewine felt that Queen "never bettered their approach anywhere else". Progressive rock historian Stephen Lambe has disputed that the album itself is progressive rock in his book Citizens of Hope and Glory: The Story of Progressive Rock. He wrote: "While far from progressive rock, it was the band's most grandiose and ambitious album yet, full of great songwriting and prog influences." He said the album was "a neat symbol of the furthest reach of the progressive rock movement".
In 1992, Mojo called the album "an imperial extravaganza, a cornucopia", and Queen "a band of hungrily competitive individualists on a big roll of friendship and delight". In 2004, Jason Warburg of the Daily Vault stated that the album "absolutely blew me away" and that "A Night at the Opera was the disc that would catapult Queen from British hitmakers to global superstars. As with many such landmark albums it became part milestone and part millstone, with every album that followed compared in some way or another to the musical and commercial success they achieved here. Be that as it may, the music is what counts – and it is simply amazing."
In 2003, Rolling Stone magazine ranked it at number 230 on its 500 Greatest Albums of All Time list, number 231 on its 2012 list, and number 128 on its 2020 list. According to Acclaimed Music, it is the 147th most celebrated album in popular music history.
In a 2006 review, Paul Rees of Q observed that although A Night at the Opera was "released the same year as both Bowie's arch soul pastiche Young Americans and the sleek art rock of Roxy's Siren, it has rarely been heralded as either. Yet it was, and is, every bit as brash, bold and full of the joys of its own possibilities." Feeling that Queen "never came close to bettering their fourth album", Rees concluded that "later albums would expose the lack of soul at the heart of Queen's music; they were all surface, no feeling. They elected themselves the great entertainers, and this heady rush of experimentation was not to be repeated. But A Night at the Opera remains glorious, monumental. It is British rock's greatest extravagance." In 2007, Chris Jones of BBC Music noted the diverse range of musical styles on the album, saying, "Sheer Heart Attack had hinted at a working knowledge of 19th century parlour balladry, 20s ragtime and Jimi Hendrix. A Night at the Opera was to add opera, trad jazz, heavy metal and more to the mix." He concluded that the album "remains their finest hour".
In 2011, digitally remastered versions of the earlier Queen albums were released, prompting another batch of reviews. Uncut said that the album "proved there was no limit to their capabilities" and concluded, "Containing not one but two monumental epics ('Bohemian Rhapsody', 'The Prophet's Song'), and gorging on grandiose gestures galore, A Night at the Opera secured itself instant classic status". Pitchforks Dominique Leone stated, "No punches pulled, no expense spared: A Night at the Opera was Queen at the top of the mountain". AJ Ramirez of PopMatters wrote, "Kicking off with the downright ominous high-drama of 'Death on Two Legs' (a retort against the group's recently deposed management where Mercury spits out venomous invectives at the targets of his ire), the album gives way to a kaleidoscope of styles, from 1920 jazz to space-folk narratives to top-of-the-line contemporary pop-rock. Amazingly, while the transitions between genres would conceivably throw listeners for a loop, none are jarring. Instead, Queen succeeds because it pulls from all the best tricks in the library of showbiz history to deliver laughs, heartache, grandeur, and spectacle to its audience at precisely the right moments." He observed that "it is the realization of such a unique sonic vision that pushes [the album] into the realm of true excellence ... A Night at the Opera stands as a breathtaking, involving creation, and unequivocally Queen's finest album."
Accolades
In 1977, "Bohemian Rhapsody" received two Grammy Award nominations for Best Pop Vocal Performance by a Duo, Group or Chorus and Best Arrangement for Voices.
Band comments
Track listing
All lead vocals by Freddie Mercury unless noted.
On the cassette, the positions of Seaside Rendezvous and Good Company were swapped to maintain a similar duration for each side.
Personnel
Track numbering refers to CD and digital releases of the album.
Queen
Freddie Mercury – lead vocals , backing vocals , piano , jangle piano
Brian May – electric guitar , backing vocals , acoustic guitar , lead vocals , koto , harp , ukulele
Roger Taylor – drums , backing vocals , percussion , lead vocals , additional electric guitar
John Deacon – bass guitar , electric piano , double bass
Production
Roy Thomas Baker – production
Mike Stone – engineering
Gary Lyons – engineering
John Harris – equipment supervision
David Costa – art direction
Rick Curtin and Brian Palmer – special thanks
John Reid – management
Charts
Weekly charts
Weekly charts (reissues)
Year-end charts
Certifications
Notes
References
Bibliography
External links
Queen official website: Discography: A Night at the Opera: includes lyrics of all non-bonus tracks.
1975 albums
Albums produced by Roy Thomas Baker
Albums recorded at Trident Studios
Cultural depictions of the Marx Brothers
Elektra Records albums
EMI Records albums
Hollywood Records albums
Parlophone albums
Queen (band) albums
Albums recorded at Rockfield Studios
Albums recorded at Olympic Sound Studios
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[
"Of What Was is the first full-length album by in medias res, an indie rock band from Vancouver, British Columbia. Produced by fellow Vancouver indie act Jonathan Anderson, it was originally self-released on July 8, 2003 and sold out of its initial 1,000 copies within a year and a half. Of What Was was then picked up by Anniedale Records and re-released on May 24, 2005. The album was preceded by two EPs, Demos and Intimacy.\n\nTrack listing\n \"Idée Fixe\" - 2:57\n \"Radio Friendly\" - 2:41a\n \"Shakeher\" - 3:46\n \"A Cause For Concern\" - 5:41\n \"You Know You Don't Know\" - 5:47\n \"Best Kept Secret\" - 4:20\n \"Assembly Lines\" - 5:35\n \"Annadonia\" - 5:24\n \"Tail End of a Car Crash\" - 0:55\n \"Of What Was\" — 7:31\n \"Silence Calls\" - 6:24\n \"Silence Calls\" - 22:13b\n\na Originally titled \"Wise Investors\" in the self-released version.\nb Added in the Anniedale Records re-release.\n\nReferences\n\nExternal links\nOf What Was on Anniedale Records\nOf What Was on CD Baby\n\n2005 debut albums",
"The What A Summer Stakes is an American Thoroughbred horse race held annually in January at Laurel Park Racecourse in Laurel, Maryland. The race is open to fillies and mares four years old and up and is run at six furlongs on the dirt.\n\nAn ungraded stakes race, it offers a purse of $100,000. The race was restricted to Maryland-breds between 1978 and 1992. It was run for fillies and mares from age three and up from 1978 through 1985 and was run under handicap conditions during that same time. The race was restricted to two-year-olds from 1985 to 1992.\n\nThe race was named in honor of What A Summer, a gray mare by What Luck. She was an Eclipse Award winner and was named American Champion Sprint Horse in 1977. She was bred in Maryland by Milton Polinger. What A Summer was a foal in 1973 and won 18 of 31 starts in her career. She won the de facto second leg of the filly Triple Crown, the Black-Eyed Susan Stakes, won the Fall Highweight Handicap twice (carrying 134 pounds each time), the Silver Spoon Handicap twice, the Maskette Handicap and four other stakes. In addition to her 18 wins, she placed nine times with earnings of $479,161. That record of 27 first or second finishes in 31 starts at 87% is among the best in history.\n\nWhat A Summer was trained by Bud Delp while racing for Polinger. She was bought by Diana Firestone following Polinger's death in 1976. Mrs. Firestone turned the mare over to trainer LeRoy Jolley. She was named Maryland-bred horse of the year in 1977 and twice was named champion older mare. What A Summer was retired in 1878 and as a broodmare produced several graded stakes winners.\n\nA venue of 1994 race was Gulfstream Park.\n\nRecords \n\nSpeed record: \n 6 furlongs – 1:09.20 – Xtra Heat (2003) \n 7 furlongs – 1:23.60 – Sea Siren (1983)\n\nMost wins by an horse:\n 2 – Silmaril (2006 & 2007)\n 2 – Sweet on Smokey (2016 & 2017)\n\nMost wins by an owner:\n 3 – Stephen E. Quick (1982, 2007 & 2008)\n\nMost wins by a jockey:\n 2 – five different jockeys share this record with 2 wins each\n\nMost wins by a trainer:\n 3 – Christopher W. Grove (2007, 2008 & 2010)\n\nWinners of the What A Summer Stakes since 1978\n\nSee also \n\n What A Summer Stakes top three finishers\n\nReferences\n\nExternal links\n Laurel Park website\n\n1978 establishments in Maryland\nLaurel Park Racecourse\nHorse races in Maryland\nRecurring sporting events established in 1978"
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[
"A Night at the Opera (Queen album)",
"\"'39\"",
"What was 39?",
"song was often played live during the 1977-81 period. Taylor sang it from the drums while Mercury played piano and provided backing vocals."
] |
C_c4adbc7f0277460d96f0e9848fbfdcab_1
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Did it win any awards
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Did A Night at the Opera win any awards?
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A Night at the Opera (Queen album)
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"Death on Two Legs" can be referred to as Freddie Mercury's hate letter to Queen's first manager, Norman Sheffield, who for some years was reputed to have mistreated the band and abused his role as their manager from 1972 to 1975. Sheffield denied the allegations in his 2013 autobiography entitled "Life on Two Legs: Set The Record Straight", and referred to copies of the original 1972 management contracts between Sheffield and Queen, which were included in the book as proof of his defence. Though the song never makes direct reference to him, after listening to a playback of the song at Trident Studios during the time of album release, Sheffield was appalled, and sued the band and the record label for defamation, which resulted in an out-of-court settlement, but also confirmed his connection to the song. During live performances, Mercury would usually rededicate the song to "a real motherfucker of a gentleman", although this line was censored on the version that appeared on their Live Killers album in 1979. Other than on the live album, he said it was dedicated to a "motherfucker I used to know". In the Classic Albums documentary about the making of A Night at the Opera, Brian May stated that the band was somewhat taken aback at first by the bitterness of Mercury's lyrics, and described by Mercury as being "so vindictive that he [May] felt bad singing it". After the song came together, it was agreed that the "author should have his way", and the song was recorded as written. As with "Bohemian Rhapsody", most of the guitar parts on this song were initially played on piano by Mercury, to demonstrate to May how they needed to be played on guitar. "Death on Two Legs" remained on the setlist until, and well into, The Game Tour in 1980, and was then dropped. However, the piano introduction was played during the Hot Space and Works tours. "I'm in Love with My Car" is amongst Roger Taylor's most famous songs in the Queen catalogue. The song was initially taken as a joke by May, who thought that Taylor was not serious when he heard a demo recording. Taylor played the guitars in the original demo, but they were later re-recorded by May on his Red Special. The lead vocals were performed by Taylor on the studio version, and all released live versions. The revving sounds at the conclusion of the song were recorded by Taylor's then current car, an Alfa Romeo. The lyrics were inspired by one of the band's roadies, Johnathan Harris, whose Triumph TR4 was evidently the "love of his life". The song is dedicated to him, the album says: "Dedicated to Johnathan Harris, boy racer to the end". When it came down to releasing the album's first single, Taylor was so fond of his song that he urged Mercury (author of the first single, "Bohemian Rhapsody") to allow it to be the B-side and reportedly locked himself in a cupboard until Mercury agreed. This decision would later become the cause of much internal friction in the band, in that while it was only the B-side, it generated an equal amount of publishing royalties for Taylor as the main single did for Mercury. The song was often played live during the 1977-81 period. Taylor sang it from the drums while Mercury played piano and provided backing vocals. It was played in the Queen + Paul Rodgers Tour in 2005 and the Rock the Cosmos Tour in 2008. Taylor would again play the song for his concerts with The Cross and solo tours, where instead of drums he played rhythm guitar. "'39" was May's attempt to do "sci-fi skiffle". "'39" relates the tale of a group of space explorers who embark on what is, from their perspective, a year-long voyage. Upon their return, however, they realise that a hundred years have passed, because of the time dilation effect in Einstein's special theory of relativity, and the loved ones they left behind are now all dead or aged. May sings the song on the album, with backing vocals by Mercury and Taylor. During live performances, Mercury sang the lead vocal. May had asked bassist John Deacon to play double bass as a joke but a couple of days later he found Deacon in the studio with the instrument, and he had already learned to play it. Since Queen had named their albums A Night at the Opera and A Day at the Races after two of the Marx Brothers' most popular films, surviving brother Groucho Marx invited Queen to visit him at his Los Angeles home in March 1977 (five months before he died). The band thanked him, and performed "'39" a cappella. George Michael performed "'39" at the Freddie Mercury Tribute Concert on 20 April 1992. Michael cited this song as his favourite Queen song, claiming he used to busk it on the London Underground. Recently, Queen have included the song on the setlists of their recent tours with Adam Lambert and before Adam with Paul Rodgers; for all these tours since 2005 it is sung as it is on the album by May. CANNOTANSWER
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CANNOTANSWER
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A Night at the Opera is the fourth studio album by the British rock band Queen, released on 21 November 1975 by EMI Records in the United Kingdom and by Elektra Records in the United States. Produced by Roy Thomas Baker and Queen, it was reportedly the most expensive album ever recorded at the time of its release.
Named after the Marx Brothers' film of the same name, A Night at the Opera was recorded at various studios across a four-month period in 1975. Due to management issues, Queen had received almost none of the money they earned for their previous albums. Subsequently, they ended their contract with Trident Studios and did not use their studios for the album (the sole exception being "God Save the Queen", which had been recorded the previous year). They employed a complex production that extensively used multitrack recording, and the songs incorporated a wide range of styles, such as ballads, music hall, dixieland, hard rock and progressive rock influences. Aside from their usual equipment, Queen also utilised a diverse range of instruments such as a double bass, harp, ukulele and more.
Upon release, A Night at the Opera topped the UK Albums Chart for four non-consecutive weeks. It peaked at number four on the US Billboard 200 and became the band's first platinum-certified album in the US. It also produced the band's most successful single in the UK, "Bohemian Rhapsody", which became their first UK number one. Despite being twice as long as the average length of singles during the 1970s, the song became immensely popular worldwide.
Contemporary reviews for A Night at the Opera were mixed, with praise for its production and the diverse musical themes, and recognition as the album that established Queen as worldwide superstars. At the 19th Grammy Awards, it received Grammy Award nominations for Best Pop Vocal Performance by a Duo, Group or Chorus and Best Arrangement for Voices. It has been hailed as Queen's best album, and one of the greatest albums in music history. In 2020, Rolling Stone ranked it at number 128 on its list of the 500 Greatest Albums of All Time. In 2018, it was inducted into the Grammy Hall of Fame.
Background
Queen's previous album, Sheer Heart Attack (1974), had obtained commercial success and brought the band mainstream attention, with the single "Killer Queen" reaching number two on the UK Singles Chart. The album was a minor hit in the US, reaching number twelve, while "Killer Queen" hit the top 20. Despite this success, the band was broke at the time, largely due to a contract they had signed which meant that they would produce albums for a production company, who would then sell the album to a record label. This meant that Queen saw almost none of the money they earned, as Trident Studios paid them £60 weekly. Guitarist Brian May was living in a bedsit in Earls Court, West London while frontman Freddie Mercury lived in a flat in Kensington that suffered from rising damp. The matter eventually reached a turning point when bassist John Deacon, who had recently married, was denied a cash advance of £4,000 by manager Norman Sheffield to put a deposit on a house. This increasing frustration led to Mercury writing the song "Death on Two Legs", which would serve as the opening track to A Night at the Opera.
In December 1974, the band hired Jim Beach as their lawyer and began negotiating their way out of Trident. While Beach studied the group's contracts, the group continued touring. They began their first tour of Japan in April 1975, where thousands of fans met them at Haneda Airport and they played two sold out shows at the Nippon Budokan, Tokyo. After a nine-month dispute, Queen were finally free of Trident and signed directly with EMI Records in the UK and Elektra Records in North America. They regained control of their back catalogue, while their former publishing company, Feldman, was taken over by EMI. Because Trident had invested over £200,000 in promoting Queen, the group were required to pay half that to buy out their contracts, and they had to give Trident 1% royalties from their next six albums. Additionally, a tour of America scheduled for September 1975 had to be cancelled as it had been organised by Jack Nelson, who was associated with Trident, despite the already booked venues and sold tickets. This tour was necessary for regaining funds, and its cancellation was a major setback.
With funds running low, Queen immediately began searching for new management. Three names were shortlisted: Peter Rudge, Peter Grant, who was then Led Zeppelin's manager, and John Reid, who was Elton John's manager at the time. Rudge was on tour with the Rolling Stones and could not be reached, so they contacted Grant. Grant, who was eager to manage Queen, had intended the band would sign with Swan Song, Led Zeppelin's label, and suggested Queen go on tour while he sorted out their finances. The group feared Grant would prioritise Led Zeppelin over them, and were reluctant to sign with Swan Song, so they contacted Reid. Reid was initially doubtful about managing another band; however, he accepted after learning it was Queen, and advised the group to "go into the studio and make the best record you can".
Recording and production
Queen worked with producer Roy Thomas Baker, who had also split from Trident, and engineer Mike Stone. It was the last time they would work with Baker until 1978's Jazz. Gary Langan, then 19 years old and who had been a tape operator on two of Sheer Heart Attacks songs, was promoted to an assistant engineer on the album. It was reportedly the most expensive album ever made at the time, with the estimated cost being £40,000 (equivalent to £ in ).
The album was recorded at seven different studios over a period of four months. Queen spent a month during the summer of 1975 rehearsing in a barn at what would become Ridge Farm Studio in Surrey. The group then had a three-week writing and rehearsing session in a rented house near Kington, Herefordshire before recording began. From August to September 1975, the group worked at Rockfield in Monmouthshire. For the remainder of recording sessions, which lasted until November, the group recorded at Lansdowne, Sarm Studios, Roundhouse, Scorpio Sound and Olympic Sound Studios. As their deal with Trident had ended, Trident Studios was not used during recording. The only song on the album recorded at Trident was "God Save the Queen", which had been recorded on 27 October the previous year, shortly before the band embarked on their Sheer Heart Attack Tour.
The group required multi-tracking for their complex vocal harmonies which typically consisted of May singing lower registers, Mercury singing middle registers and Taylor performing the higher parts (Deacon did not sing). Unlike their first three albums, which had used 16-track tape, A Night at the Opera was recorded using 24-track tape. Their vocal harmonies are particularly notable on the song "Bohemian Rhapsody", which features an elaborate opera sequence dominated by multitracked vocals. Similarly, "The Prophet's Song" has an a capella middle section that utilises delay on Mercury's vocals. For their self-titled "guitar orchestrations", May overdubbed his homemade Red Special guitar through an amplifier built by Deacon, known as the Deacy Amp, later released commercially as the "Brian May" amplifier by Vox. Guitar layering is one of May's distinctive techniques as a rock guitarist. He has said that the technique was developed whilst looking for a violin sound.
Aside from their usual equipment, the group used various instruments on the album. Mercury used a grand piano for most of the songs, contributing a jangle piano on "Seaside Rendezvous", while Taylor used a timpani and gong on "Bohemian Rhapsody". Deacon played double bass on "'39" and Wurlitzer Electric Piano on "You're My Best Friend". In the album liner notes, May was credited to "orchestral backdrops" – a reference to the fact that he played a number of instruments not typically found in Queen songs. He played an acoustic guitar on "Love of My Life" and "'39", as well a harp on "Love of My Life", and a toy koto on "The Prophet's Song". The song "Good Company" also features May recreating a Dixieland jazz band, which was done on his Red Special.
Songs
Overview
The album has been affiliated with progressive rock, pop, heavy metal, hard rock and avant-pop. It contains a diverse range of influences including folk, skiffle, British camp and music hall, jazz and opera. Each member wrote at least one song: Mercury wrote five of the songs, May wrote four, and Taylor and Deacon wrote one song each. The closing track was an instrumental cover of "God Save the Queen", the British national anthem, for which May was credited as the arranger.
For their first two albums, much of Queen's songwriting combined contemporary progressive rock and heavy metal, which led to a "Led Zeppelin meets Yes" description of the band. However, starting with Sheer Heart Attack, Queen began drawing inspiration from their everyday lives, and embraced more mainstream musical styles, a trend which A Night at the Opera would continue. Lyrical themes ranged from science fiction and fantasy to heartbreak and romance, often with a tongue in cheek sense of humour. The Winnipeg Free Press noted that the group blended "clever, often poignant lyrics with attractively-arranged melodies".
Side one
"Death on Two Legs" is considered to be Mercury's hate letter to Queen's first manager, Norman Sheffield, who for some years was reputed to have mistreated the band and abused his role as their manager from 1972 to 1975. The lyrics refer to "blood-sucking leeches" and "decaying sewer rats". Though the song never makes direct reference to him, after listening to a playback of the song at Trident Studios around the time of the album's release, Sheffield sued the band and the record label for defamation, which resulted in an out-of-court settlement, but also confirmed his connection to the song. Executives at EMI were unsure that the song was a good idea, May was unsure about the lyrics and felt bad that Mercury was singing it, but ultimately realised it was the songwriter's final choice as to what should be sung. As with "Bohemian Rhapsody", most of the guitar parts on this song were initially played on piano by Mercury, to demonstrate to May how they needed to be played on guitar. During live performances, Mercury would usually rededicate the song to "a real motherfucker of a gentleman", although this line was censored on the version that appeared on their Live Killers album in 1979. Other than on the live album, he said it was dedicated to a "motherfucker I used to know". "Death on Two Legs" remained on the setlist until, and well into, The Game Tour in 1981, and was then dropped. However, the piano introduction was played occasionally during the Hot Space and Works tours.
"Lazing on a Sunday Afternoon" is another song by Mercury. He played piano and performed all of the vocals. The lead vocal was sung in the studio and reproduced through headphones in a tin bucket elsewhere in the studio. A microphone picked up the sound from the bucket, which gives it a hollow "megaphone" sound. The guitar solo is also reported to have been recorded on the vocal track, as there were no more tracks to record on, as explained by producer Roy Thomas Baker during the Classic Albums documentary.
"I'm in Love with My Car" was written and sung by Taylor. The song was initially taken as a joke by May, who thought that Taylor was not serious when he heard a demo recording. Taylor played the guitars in the original demo, but they were later re-recorded by May on his Red Special. The lead vocals were performed by Taylor on the studio version, and all released live versions. The revving sounds at the conclusion of the song were recorded by Taylor's then current car, an Alfa Romeo. The lyrics were inspired by one of the band's roadies, Johnathan Harris, whose Triumph TR4 was evidently the "love of his life". The song is dedicated to him, with the album saying: "Dedicated to Johnathan Harris, boy racer to the end". When it came down to releasing the album's first single, Taylor was so fond of his song that he urged Mercury, the writer of the first single, "Bohemian Rhapsody", to allow it to be the B-side. This decision would later become the cause of much internal friction in the band, in that while it was only the B-side, it generated an equal amount of publishing royalties for Taylor as the A-side did for Mercury. The song was often played live during the 1977–1981 period. Taylor sang it from the drums while Mercury played piano and provided backing vocals. It was played in the Queen + Paul Rodgers Tour in 2005 and the Rock the Cosmos Tour in 2008. Taylor would again play the song for his concerts with The Cross and solo tours, where instead of drums he played rhythm guitar.
"You're My Best Friend" was the second song and first Queen single to be written by John Deacon. He composed it while he was learning to play piano, and played the Wurlitzer electric piano (which Mercury disliked) on the recording and overdubbed the bass guitar afterwards. The song was written for his wife, Veronica. It was released as the album's second single after "Bohemian Rhapsody" and was also a top 10 hit in the UK, reaching number 7.
"'39" was May's attempt to do "sci-fi skiffle", inspired by the poet and novelist Hermann Hesse. It relates the tale of a group of space explorers who embark on what is, from their perspective, a year-long voyage. Upon their return, however, they realise that a hundred years have passed, because of the time dilation effect in Einstein's theory of relativity, and the loved ones they left behind are now all dead or aged. May sings the song on the album, with backing vocals by Mercury and Taylor. During live performances, Mercury sang the lead vocal. May had asked Deacon to play double bass as a joke but a couple of days later he found Deacon in the studio with the instrument, and he had already learned to play it. George Michael performed "'39" at the Freddie Mercury Tribute Concert on 20 April 1992. Michael cited this song as his favourite Queen song, claiming he used to busk it on the London Underground. Recently, Queen have included the song on the setlists of their recent tours with Adam Lambert and before Lambert with Paul Rodgers; for all these tours since 2005 it is sung, as it is on the album, by May.
"Sweet Lady" is a fast rocker written by May. The song is an unusual rock style in meter (which gives way to at the bridge).
"Seaside Rendezvous", written by Mercury, has a mock-instrumental bridge section which begins at around 0:51 into the song. The section is performed entirely by Mercury and Taylor using their voices alone. Mercury imitates woodwind instruments including a clarinet and Taylor mostly brass instruments, including tubas and trumpets, and even a kazoo; during this section Taylor hits the highest note on the album, C6. The "tap dance" segment is performed by Mercury and Taylor on the mixing desk with thimbles on their fingers. Mercury plays both grand piano and jangle honky-tonk.
Side two
"The Prophet's Song" was composed by May. He explained that he wrote the song after a dream he had had about The Great Flood and his fears about the human race and its general lack of empathy. He spent several days assembling the song, and it includes a vocal canon sung by Mercury. The vocal, and later instrumental canon was produced by early tape delay devices. Over eight minutes long, it is also Queen's longest studio song. The speed-up effect that happens in the middle of the guitar solo was achieved by starting a reel-to-reel player with the tape on it, as the original tape player was stopped.
"Love of My Life" is one of Queen's most covered songs (there have been versions by many acts like Extreme featuring May, Scorpions and Elaine Paige). Mercury played piano (including a classical solo) and did all of the vocals with startling multi-tracking precision. May played harp (doing it chord by chord and pasting the takes to form the entire part), Gibson Hummingbird acoustic guitar (which he had bought in Japan) and his Red Special. May eventually arranged the song so it could be played on an acoustic 12 string for live performances. "Love of My Life" was such a concert favourite that Mercury frequently stopped singing and allowed the audience to take over. It was especially well received during concerts in South America, and the band released the song as a single there. When Queen and Paul Rodgers performed the song (specifically Brian solo) he sang almost none of the words and let the audience sing it all, continuing the tradition. When Queen and Adam Lambert performed it, Brian would play along to a projection of Freddie singing. When they performed with Paul Rodgers during 2004–2008, Mercury was also projected during the show, but not in a round display as they use with Adam Lambert.
"Good Company" was written and sung by May, who sings all vocals and plays ukulele. The recording features a recreation of a Dixieland-style jazz band using May's Red Special guitar and Deacy Amp. May composed the song on his father's Banjo ukelele, but recorded the song with a regular ukulele. Mercury was not involved with the song's recording, making it one of the few Queen songs not to feature their lead singer.
May recorded a cover version of "God Save the Queen", the British national anthem, in 1974 before their Sheer Heart Attack tour. He played a guide piano which was edited out later and added several layers of guitars. After the song was completed it was played as a coda at virtually every Queen concert. When recording the track May played a rough version on piano for Roy Thomas Baker, producer, and Mike Stone, engineer. He called his own skills on the piano sub-par at the time. He performed the song live on the roof of Buckingham Palace for the Queen's Golden Jubilee in 2002. May has stated that he performed the song on the roof of Buckingham Palace as a homage to Jimi Hendrix's version of "The Star-Spangled Banner".
"Bohemian Rhapsody"
"Bohemian Rhapsody" was written by Mercury with the first guitar solo composed by May. All piano, bass and drum parts, as well as the vocal arrangements, were thought up by Mercury on a daily basis and written down "in blocks" (using note names instead of sheets) on a phonebook. During the recording, the song became affectionately known as "Fred's Thing" to the band, and the title only emerged during the final sessions. The other members recorded their respective instruments with no concept of how their tracks would be utilised in the final mix.
The operatic section was originally intended to be only a short interlude of "Galileos" that connected the ballad and hard rock portions of the song. The interlude is full of "obscure classical characters: Scaramouche, a clown from the Commedia dell'arte; astronomer Galileo; Figaro, the principal character in Beaumarchais' The Barber of Seville and The Marriage of Figaro; and Beelzebub, identified in the Christian New Testament as Satan, Prince of Demons, but in Arabic as "Lord of the Flies". Also in Arabic the word Bismillah', which is a noun from a phrase in the Qur'an; "Bismi-llahi r-rahmani r-rahiim", meaning "In the name of God, most gracious, most merciful".
Despite being twice as long as the average single in 1975 and garnering mixed critical reviews initially, the song became immensely popular, topping charts worldwide (where it remained for a then unprecedented nine weeks in the UK) and is widely regarded as one of the greatest songs in music history. The song was rereleased as a double A-side to "These Are the Days of Our Lives" on 5 September 1991, Mercury's 45th birthday, in the US and on 9 December 1991, after Mercury's death, in the UK.
Release
The album title was inspired by the Marx Brothers film of the same name, which the band had watched during recording sessions. Subsequently, they became good friends with the film's star Groucho Marx, to the point where Marx sent the band a letter praising their 1976 album A Day at the Races. Marx also invited Queen to visit him at his Los Angeles home in March 1977 (five months before he died). The band thanked him, and performed "'39" a cappella. The cover artwork features the band's logo, which was designed by Mercury, on a white background. The band's next album, A Day at the Races, featured a similar design but on a black background.
"Bohemian Rhapsody" was released as the lead single on 31 October 1975, with "I'm in Love with My Car" as its B-side. Their management initially refused to release it; however, Kenny Everett played a copy of the song on his show 14 times, at which point audience demand for the song intensified and the band's label EMI was forced to release it. It subsequently topped the UK charts for nine weeks and peaked at number nine in the US. A second single, "You're My Best Friend" was released on 18 May 1976, with "'39" as its B-side. It reached number sixteen in the US and number seven in the UK.
The album was completed a week before the group were to embark on their A Night at the Opera Tour in support of the album. This resulted in a 36-hour mixing session, as the group wanted to have time to rehearse their setlist before touring. Due to time constraints, the group only had three and a half days to rehearse, at Elstree, with four hours taken off to shoot the music video for "Bohemian Rhapsody". The tour spanned 1975 and 1976, and covered the UK, the US, Japan, and Australia.
Re-releases
The album was first re-released in the U.S. by Hollywood Records on 3 September 1991 with two bonus remixes, as part of a complete re-release of all Queen albums.
On 30 April 2002, the album was again re-released on DVD-Audio with a 96 kHz/24bit Linear PCM stereo mix and a 5.1-channel mix in DTS 96/24 surround sound for standard DVD-Video players and 96 kHz/24bit MLP surround sound for DVD-Audio capable machines. It also includes the original 1975 video of Bohemian Rhapsody.
On 21 November 2005, it was once more re-released by Hollywood Records Catalogue Number 2061-62572-2 to celebrate the 30th anniversary of the album and its first single, "Bohemian Rhapsody". This release is accompanied by a DVD-Video disc with the same track listing featuring the original videos, old and new concert footage (including "'39" from the Queen + Paul Rodgers tour and Brian May on the roof of Buckingham Palace playing "God Save the Queen") and audio commentary by all four band members.
On 8 November 2010, record company Universal Music announced a remastered and expanded reissue of the album set for release in May 2011. This as part of a new record deal between Queen and Universal Music, which meant Queen's association with EMI Records came to an end after almost 40 years. According to Universal Music, all Queen albums were to be remastered and reissued in 2011. By September 2012 the reissue program was completed. Along with this came a 5.1 channel release of the album on Blu-ray Audio.
Reception
Contemporary critical reaction
A Night at the Opera was not reviewed by the majority of the UK music magazines when it came out because the band were remixing the album until the last moment, and consequently no preview discs or tapes were sent out to the media before the album was officially released. In Record Mirror & Disc, Ray Fox-Cumming attempted to review the album based on a single listening at the playback party held for the press, which he admitted "isn't really enough" to form a proper critical opinion. However, he described his first impressions of "an amazing rush of music with one track running helter-skelter into the next ... The orchestral effects, all done by voices, are dazzling but come and go too quickly to appreciate on a solo listening." Fox-Cumming stated that the album had three highlights – "Death on Two Legs", "The Prophet's Song" and "Bohemian Rhapsody" – and only one bad track, "Sweet Lady". He concluded that "as a whole, A Night at the Opera is faster, flashier and more complex than Sheer Heart Attack, but they haven't gone over the top".
On its release in the US four months later, Kris Nicholson of Rolling Stone said that although they share other heavy metal groups' penchant for "manipulating dynamics", Queen are an elite act in the genre and set themselves apart by incorporating "unlikely effects: acoustic piano, harp, a capella vocals, no synthesisers. Coupled with good songs." Robert Christgau, writing in The Village Voice, felt that the album "doesn't actually botch any of a half-dozen arty-to-heavy 'eclectic' modes ... and achieves a parodic tone often enough to suggest more than meets the ear. Maybe if they come up with a coherent masterwork I'll figure out what that more is." The Winnipeg Free Press wrote: "The group's potential is practically limitless, indicating that Queen is destined to finally take its place among the small handful of truly major acts working in rock today."
Melody Maker felt that "The overall impression is of musical range, power and consistently incisive lyrics. My hair is still standing on end - so if you like good music and don't mind looking silly, play this album." Sounds argued that "Queen have the ability to actualise and encompass the outer limits of their self-importance," while Grooves noted that "Sharp operatic interludes, abrupt rhythmic changes, A Night at the Opera defies convention and places Queen in that rarefied circle of genuine superstars." Tony Stewart of NME opined that "More than anything else, A Night at the Opera is a consolidation of the previous album's success, skillfully balancing artistry and effectology. Throughout the album, they display their individual songwriting abilities and musicianship to devastating effect...If it's the most expensive album ever made in a British studio, it's also arguably the best. God save 'em."
Legacy
In a retrospective review for AllMusic, Stephen Thomas Erlewine called the album "a self-consciously ridiculous and overblown hard rock masterpiece" and "prog rock with a sense of humour as well as dynamics". Erlewine felt that Queen "never bettered their approach anywhere else". Progressive rock historian Stephen Lambe has disputed that the album itself is progressive rock in his book Citizens of Hope and Glory: The Story of Progressive Rock. He wrote: "While far from progressive rock, it was the band's most grandiose and ambitious album yet, full of great songwriting and prog influences." He said the album was "a neat symbol of the furthest reach of the progressive rock movement".
In 1992, Mojo called the album "an imperial extravaganza, a cornucopia", and Queen "a band of hungrily competitive individualists on a big roll of friendship and delight". In 2004, Jason Warburg of the Daily Vault stated that the album "absolutely blew me away" and that "A Night at the Opera was the disc that would catapult Queen from British hitmakers to global superstars. As with many such landmark albums it became part milestone and part millstone, with every album that followed compared in some way or another to the musical and commercial success they achieved here. Be that as it may, the music is what counts – and it is simply amazing."
In 2003, Rolling Stone magazine ranked it at number 230 on its 500 Greatest Albums of All Time list, number 231 on its 2012 list, and number 128 on its 2020 list. According to Acclaimed Music, it is the 147th most celebrated album in popular music history.
In a 2006 review, Paul Rees of Q observed that although A Night at the Opera was "released the same year as both Bowie's arch soul pastiche Young Americans and the sleek art rock of Roxy's Siren, it has rarely been heralded as either. Yet it was, and is, every bit as brash, bold and full of the joys of its own possibilities." Feeling that Queen "never came close to bettering their fourth album", Rees concluded that "later albums would expose the lack of soul at the heart of Queen's music; they were all surface, no feeling. They elected themselves the great entertainers, and this heady rush of experimentation was not to be repeated. But A Night at the Opera remains glorious, monumental. It is British rock's greatest extravagance." In 2007, Chris Jones of BBC Music noted the diverse range of musical styles on the album, saying, "Sheer Heart Attack had hinted at a working knowledge of 19th century parlour balladry, 20s ragtime and Jimi Hendrix. A Night at the Opera was to add opera, trad jazz, heavy metal and more to the mix." He concluded that the album "remains their finest hour".
In 2011, digitally remastered versions of the earlier Queen albums were released, prompting another batch of reviews. Uncut said that the album "proved there was no limit to their capabilities" and concluded, "Containing not one but two monumental epics ('Bohemian Rhapsody', 'The Prophet's Song'), and gorging on grandiose gestures galore, A Night at the Opera secured itself instant classic status". Pitchforks Dominique Leone stated, "No punches pulled, no expense spared: A Night at the Opera was Queen at the top of the mountain". AJ Ramirez of PopMatters wrote, "Kicking off with the downright ominous high-drama of 'Death on Two Legs' (a retort against the group's recently deposed management where Mercury spits out venomous invectives at the targets of his ire), the album gives way to a kaleidoscope of styles, from 1920 jazz to space-folk narratives to top-of-the-line contemporary pop-rock. Amazingly, while the transitions between genres would conceivably throw listeners for a loop, none are jarring. Instead, Queen succeeds because it pulls from all the best tricks in the library of showbiz history to deliver laughs, heartache, grandeur, and spectacle to its audience at precisely the right moments." He observed that "it is the realization of such a unique sonic vision that pushes [the album] into the realm of true excellence ... A Night at the Opera stands as a breathtaking, involving creation, and unequivocally Queen's finest album."
Accolades
In 1977, "Bohemian Rhapsody" received two Grammy Award nominations for Best Pop Vocal Performance by a Duo, Group or Chorus and Best Arrangement for Voices.
Band comments
Track listing
All lead vocals by Freddie Mercury unless noted.
On the cassette, the positions of Seaside Rendezvous and Good Company were swapped to maintain a similar duration for each side.
Personnel
Track numbering refers to CD and digital releases of the album.
Queen
Freddie Mercury – lead vocals , backing vocals , piano , jangle piano
Brian May – electric guitar , backing vocals , acoustic guitar , lead vocals , koto , harp , ukulele
Roger Taylor – drums , backing vocals , percussion , lead vocals , additional electric guitar
John Deacon – bass guitar , electric piano , double bass
Production
Roy Thomas Baker – production
Mike Stone – engineering
Gary Lyons – engineering
John Harris – equipment supervision
David Costa – art direction
Rick Curtin and Brian Palmer – special thanks
John Reid – management
Charts
Weekly charts
Weekly charts (reissues)
Year-end charts
Certifications
Notes
References
Bibliography
External links
Queen official website: Discography: A Night at the Opera: includes lyrics of all non-bonus tracks.
1975 albums
Albums produced by Roy Thomas Baker
Albums recorded at Trident Studios
Cultural depictions of the Marx Brothers
Elektra Records albums
EMI Records albums
Hollywood Records albums
Parlophone albums
Queen (band) albums
Albums recorded at Rockfield Studios
Albums recorded at Olympic Sound Studios
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"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 23rd Fangoria Chainsaw Awards is an award ceremony presented for horror films that were released in 2020. The nominees were announced on January 20, 2021. The film The Invisible Man won five of its five nominations, including Best Wide Release, as well as the write-in poll of Best Kill. Color Out Of Space and Possessor each took two awards. His House did not win any of its seven nominations. The ceremony was exclusively livestreamed for the first time on the SHUDDER horror streaming service.\n\nWinners and nominees\n\nReferences\n\nFangoria Chainsaw Awards"
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[
"A Night at the Opera (Queen album)",
"\"'39\"",
"What was 39?",
"song was often played live during the 1977-81 period. Taylor sang it from the drums while Mercury played piano and provided backing vocals.",
"Did it win any awards",
"I don't know."
] |
C_c4adbc7f0277460d96f0e9848fbfdcab_1
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What was the song inspired by
| 3 |
What was the song "39" by Queen inspired by?
|
A Night at the Opera (Queen album)
|
"Death on Two Legs" can be referred to as Freddie Mercury's hate letter to Queen's first manager, Norman Sheffield, who for some years was reputed to have mistreated the band and abused his role as their manager from 1972 to 1975. Sheffield denied the allegations in his 2013 autobiography entitled "Life on Two Legs: Set The Record Straight", and referred to copies of the original 1972 management contracts between Sheffield and Queen, which were included in the book as proof of his defence. Though the song never makes direct reference to him, after listening to a playback of the song at Trident Studios during the time of album release, Sheffield was appalled, and sued the band and the record label for defamation, which resulted in an out-of-court settlement, but also confirmed his connection to the song. During live performances, Mercury would usually rededicate the song to "a real motherfucker of a gentleman", although this line was censored on the version that appeared on their Live Killers album in 1979. Other than on the live album, he said it was dedicated to a "motherfucker I used to know". In the Classic Albums documentary about the making of A Night at the Opera, Brian May stated that the band was somewhat taken aback at first by the bitterness of Mercury's lyrics, and described by Mercury as being "so vindictive that he [May] felt bad singing it". After the song came together, it was agreed that the "author should have his way", and the song was recorded as written. As with "Bohemian Rhapsody", most of the guitar parts on this song were initially played on piano by Mercury, to demonstrate to May how they needed to be played on guitar. "Death on Two Legs" remained on the setlist until, and well into, The Game Tour in 1980, and was then dropped. However, the piano introduction was played during the Hot Space and Works tours. "I'm in Love with My Car" is amongst Roger Taylor's most famous songs in the Queen catalogue. The song was initially taken as a joke by May, who thought that Taylor was not serious when he heard a demo recording. Taylor played the guitars in the original demo, but they were later re-recorded by May on his Red Special. The lead vocals were performed by Taylor on the studio version, and all released live versions. The revving sounds at the conclusion of the song were recorded by Taylor's then current car, an Alfa Romeo. The lyrics were inspired by one of the band's roadies, Johnathan Harris, whose Triumph TR4 was evidently the "love of his life". The song is dedicated to him, the album says: "Dedicated to Johnathan Harris, boy racer to the end". When it came down to releasing the album's first single, Taylor was so fond of his song that he urged Mercury (author of the first single, "Bohemian Rhapsody") to allow it to be the B-side and reportedly locked himself in a cupboard until Mercury agreed. This decision would later become the cause of much internal friction in the band, in that while it was only the B-side, it generated an equal amount of publishing royalties for Taylor as the main single did for Mercury. The song was often played live during the 1977-81 period. Taylor sang it from the drums while Mercury played piano and provided backing vocals. It was played in the Queen + Paul Rodgers Tour in 2005 and the Rock the Cosmos Tour in 2008. Taylor would again play the song for his concerts with The Cross and solo tours, where instead of drums he played rhythm guitar. "'39" was May's attempt to do "sci-fi skiffle". "'39" relates the tale of a group of space explorers who embark on what is, from their perspective, a year-long voyage. Upon their return, however, they realise that a hundred years have passed, because of the time dilation effect in Einstein's special theory of relativity, and the loved ones they left behind are now all dead or aged. May sings the song on the album, with backing vocals by Mercury and Taylor. During live performances, Mercury sang the lead vocal. May had asked bassist John Deacon to play double bass as a joke but a couple of days later he found Deacon in the studio with the instrument, and he had already learned to play it. Since Queen had named their albums A Night at the Opera and A Day at the Races after two of the Marx Brothers' most popular films, surviving brother Groucho Marx invited Queen to visit him at his Los Angeles home in March 1977 (five months before he died). The band thanked him, and performed "'39" a cappella. George Michael performed "'39" at the Freddie Mercury Tribute Concert on 20 April 1992. Michael cited this song as his favourite Queen song, claiming he used to busk it on the London Underground. Recently, Queen have included the song on the setlists of their recent tours with Adam Lambert and before Adam with Paul Rodgers; for all these tours since 2005 it is sung as it is on the album by May. CANNOTANSWER
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". "'39" relates the tale of a group of space explorers who embark on what is, from their perspective, a year-long voyage.
|
A Night at the Opera is the fourth studio album by the British rock band Queen, released on 21 November 1975 by EMI Records in the United Kingdom and by Elektra Records in the United States. Produced by Roy Thomas Baker and Queen, it was reportedly the most expensive album ever recorded at the time of its release.
Named after the Marx Brothers' film of the same name, A Night at the Opera was recorded at various studios across a four-month period in 1975. Due to management issues, Queen had received almost none of the money they earned for their previous albums. Subsequently, they ended their contract with Trident Studios and did not use their studios for the album (the sole exception being "God Save the Queen", which had been recorded the previous year). They employed a complex production that extensively used multitrack recording, and the songs incorporated a wide range of styles, such as ballads, music hall, dixieland, hard rock and progressive rock influences. Aside from their usual equipment, Queen also utilised a diverse range of instruments such as a double bass, harp, ukulele and more.
Upon release, A Night at the Opera topped the UK Albums Chart for four non-consecutive weeks. It peaked at number four on the US Billboard 200 and became the band's first platinum-certified album in the US. It also produced the band's most successful single in the UK, "Bohemian Rhapsody", which became their first UK number one. Despite being twice as long as the average length of singles during the 1970s, the song became immensely popular worldwide.
Contemporary reviews for A Night at the Opera were mixed, with praise for its production and the diverse musical themes, and recognition as the album that established Queen as worldwide superstars. At the 19th Grammy Awards, it received Grammy Award nominations for Best Pop Vocal Performance by a Duo, Group or Chorus and Best Arrangement for Voices. It has been hailed as Queen's best album, and one of the greatest albums in music history. In 2020, Rolling Stone ranked it at number 128 on its list of the 500 Greatest Albums of All Time. In 2018, it was inducted into the Grammy Hall of Fame.
Background
Queen's previous album, Sheer Heart Attack (1974), had obtained commercial success and brought the band mainstream attention, with the single "Killer Queen" reaching number two on the UK Singles Chart. The album was a minor hit in the US, reaching number twelve, while "Killer Queen" hit the top 20. Despite this success, the band was broke at the time, largely due to a contract they had signed which meant that they would produce albums for a production company, who would then sell the album to a record label. This meant that Queen saw almost none of the money they earned, as Trident Studios paid them £60 weekly. Guitarist Brian May was living in a bedsit in Earls Court, West London while frontman Freddie Mercury lived in a flat in Kensington that suffered from rising damp. The matter eventually reached a turning point when bassist John Deacon, who had recently married, was denied a cash advance of £4,000 by manager Norman Sheffield to put a deposit on a house. This increasing frustration led to Mercury writing the song "Death on Two Legs", which would serve as the opening track to A Night at the Opera.
In December 1974, the band hired Jim Beach as their lawyer and began negotiating their way out of Trident. While Beach studied the group's contracts, the group continued touring. They began their first tour of Japan in April 1975, where thousands of fans met them at Haneda Airport and they played two sold out shows at the Nippon Budokan, Tokyo. After a nine-month dispute, Queen were finally free of Trident and signed directly with EMI Records in the UK and Elektra Records in North America. They regained control of their back catalogue, while their former publishing company, Feldman, was taken over by EMI. Because Trident had invested over £200,000 in promoting Queen, the group were required to pay half that to buy out their contracts, and they had to give Trident 1% royalties from their next six albums. Additionally, a tour of America scheduled for September 1975 had to be cancelled as it had been organised by Jack Nelson, who was associated with Trident, despite the already booked venues and sold tickets. This tour was necessary for regaining funds, and its cancellation was a major setback.
With funds running low, Queen immediately began searching for new management. Three names were shortlisted: Peter Rudge, Peter Grant, who was then Led Zeppelin's manager, and John Reid, who was Elton John's manager at the time. Rudge was on tour with the Rolling Stones and could not be reached, so they contacted Grant. Grant, who was eager to manage Queen, had intended the band would sign with Swan Song, Led Zeppelin's label, and suggested Queen go on tour while he sorted out their finances. The group feared Grant would prioritise Led Zeppelin over them, and were reluctant to sign with Swan Song, so they contacted Reid. Reid was initially doubtful about managing another band; however, he accepted after learning it was Queen, and advised the group to "go into the studio and make the best record you can".
Recording and production
Queen worked with producer Roy Thomas Baker, who had also split from Trident, and engineer Mike Stone. It was the last time they would work with Baker until 1978's Jazz. Gary Langan, then 19 years old and who had been a tape operator on two of Sheer Heart Attacks songs, was promoted to an assistant engineer on the album. It was reportedly the most expensive album ever made at the time, with the estimated cost being £40,000 (equivalent to £ in ).
The album was recorded at seven different studios over a period of four months. Queen spent a month during the summer of 1975 rehearsing in a barn at what would become Ridge Farm Studio in Surrey. The group then had a three-week writing and rehearsing session in a rented house near Kington, Herefordshire before recording began. From August to September 1975, the group worked at Rockfield in Monmouthshire. For the remainder of recording sessions, which lasted until November, the group recorded at Lansdowne, Sarm Studios, Roundhouse, Scorpio Sound and Olympic Sound Studios. As their deal with Trident had ended, Trident Studios was not used during recording. The only song on the album recorded at Trident was "God Save the Queen", which had been recorded on 27 October the previous year, shortly before the band embarked on their Sheer Heart Attack Tour.
The group required multi-tracking for their complex vocal harmonies which typically consisted of May singing lower registers, Mercury singing middle registers and Taylor performing the higher parts (Deacon did not sing). Unlike their first three albums, which had used 16-track tape, A Night at the Opera was recorded using 24-track tape. Their vocal harmonies are particularly notable on the song "Bohemian Rhapsody", which features an elaborate opera sequence dominated by multitracked vocals. Similarly, "The Prophet's Song" has an a capella middle section that utilises delay on Mercury's vocals. For their self-titled "guitar orchestrations", May overdubbed his homemade Red Special guitar through an amplifier built by Deacon, known as the Deacy Amp, later released commercially as the "Brian May" amplifier by Vox. Guitar layering is one of May's distinctive techniques as a rock guitarist. He has said that the technique was developed whilst looking for a violin sound.
Aside from their usual equipment, the group used various instruments on the album. Mercury used a grand piano for most of the songs, contributing a jangle piano on "Seaside Rendezvous", while Taylor used a timpani and gong on "Bohemian Rhapsody". Deacon played double bass on "'39" and Wurlitzer Electric Piano on "You're My Best Friend". In the album liner notes, May was credited to "orchestral backdrops" – a reference to the fact that he played a number of instruments not typically found in Queen songs. He played an acoustic guitar on "Love of My Life" and "'39", as well a harp on "Love of My Life", and a toy koto on "The Prophet's Song". The song "Good Company" also features May recreating a Dixieland jazz band, which was done on his Red Special.
Songs
Overview
The album has been affiliated with progressive rock, pop, heavy metal, hard rock and avant-pop. It contains a diverse range of influences including folk, skiffle, British camp and music hall, jazz and opera. Each member wrote at least one song: Mercury wrote five of the songs, May wrote four, and Taylor and Deacon wrote one song each. The closing track was an instrumental cover of "God Save the Queen", the British national anthem, for which May was credited as the arranger.
For their first two albums, much of Queen's songwriting combined contemporary progressive rock and heavy metal, which led to a "Led Zeppelin meets Yes" description of the band. However, starting with Sheer Heart Attack, Queen began drawing inspiration from their everyday lives, and embraced more mainstream musical styles, a trend which A Night at the Opera would continue. Lyrical themes ranged from science fiction and fantasy to heartbreak and romance, often with a tongue in cheek sense of humour. The Winnipeg Free Press noted that the group blended "clever, often poignant lyrics with attractively-arranged melodies".
Side one
"Death on Two Legs" is considered to be Mercury's hate letter to Queen's first manager, Norman Sheffield, who for some years was reputed to have mistreated the band and abused his role as their manager from 1972 to 1975. The lyrics refer to "blood-sucking leeches" and "decaying sewer rats". Though the song never makes direct reference to him, after listening to a playback of the song at Trident Studios around the time of the album's release, Sheffield sued the band and the record label for defamation, which resulted in an out-of-court settlement, but also confirmed his connection to the song. Executives at EMI were unsure that the song was a good idea, May was unsure about the lyrics and felt bad that Mercury was singing it, but ultimately realised it was the songwriter's final choice as to what should be sung. As with "Bohemian Rhapsody", most of the guitar parts on this song were initially played on piano by Mercury, to demonstrate to May how they needed to be played on guitar. During live performances, Mercury would usually rededicate the song to "a real motherfucker of a gentleman", although this line was censored on the version that appeared on their Live Killers album in 1979. Other than on the live album, he said it was dedicated to a "motherfucker I used to know". "Death on Two Legs" remained on the setlist until, and well into, The Game Tour in 1981, and was then dropped. However, the piano introduction was played occasionally during the Hot Space and Works tours.
"Lazing on a Sunday Afternoon" is another song by Mercury. He played piano and performed all of the vocals. The lead vocal was sung in the studio and reproduced through headphones in a tin bucket elsewhere in the studio. A microphone picked up the sound from the bucket, which gives it a hollow "megaphone" sound. The guitar solo is also reported to have been recorded on the vocal track, as there were no more tracks to record on, as explained by producer Roy Thomas Baker during the Classic Albums documentary.
"I'm in Love with My Car" was written and sung by Taylor. The song was initially taken as a joke by May, who thought that Taylor was not serious when he heard a demo recording. Taylor played the guitars in the original demo, but they were later re-recorded by May on his Red Special. The lead vocals were performed by Taylor on the studio version, and all released live versions. The revving sounds at the conclusion of the song were recorded by Taylor's then current car, an Alfa Romeo. The lyrics were inspired by one of the band's roadies, Johnathan Harris, whose Triumph TR4 was evidently the "love of his life". The song is dedicated to him, with the album saying: "Dedicated to Johnathan Harris, boy racer to the end". When it came down to releasing the album's first single, Taylor was so fond of his song that he urged Mercury, the writer of the first single, "Bohemian Rhapsody", to allow it to be the B-side. This decision would later become the cause of much internal friction in the band, in that while it was only the B-side, it generated an equal amount of publishing royalties for Taylor as the A-side did for Mercury. The song was often played live during the 1977–1981 period. Taylor sang it from the drums while Mercury played piano and provided backing vocals. It was played in the Queen + Paul Rodgers Tour in 2005 and the Rock the Cosmos Tour in 2008. Taylor would again play the song for his concerts with The Cross and solo tours, where instead of drums he played rhythm guitar.
"You're My Best Friend" was the second song and first Queen single to be written by John Deacon. He composed it while he was learning to play piano, and played the Wurlitzer electric piano (which Mercury disliked) on the recording and overdubbed the bass guitar afterwards. The song was written for his wife, Veronica. It was released as the album's second single after "Bohemian Rhapsody" and was also a top 10 hit in the UK, reaching number 7.
"'39" was May's attempt to do "sci-fi skiffle", inspired by the poet and novelist Hermann Hesse. It relates the tale of a group of space explorers who embark on what is, from their perspective, a year-long voyage. Upon their return, however, they realise that a hundred years have passed, because of the time dilation effect in Einstein's theory of relativity, and the loved ones they left behind are now all dead or aged. May sings the song on the album, with backing vocals by Mercury and Taylor. During live performances, Mercury sang the lead vocal. May had asked Deacon to play double bass as a joke but a couple of days later he found Deacon in the studio with the instrument, and he had already learned to play it. George Michael performed "'39" at the Freddie Mercury Tribute Concert on 20 April 1992. Michael cited this song as his favourite Queen song, claiming he used to busk it on the London Underground. Recently, Queen have included the song on the setlists of their recent tours with Adam Lambert and before Lambert with Paul Rodgers; for all these tours since 2005 it is sung, as it is on the album, by May.
"Sweet Lady" is a fast rocker written by May. The song is an unusual rock style in meter (which gives way to at the bridge).
"Seaside Rendezvous", written by Mercury, has a mock-instrumental bridge section which begins at around 0:51 into the song. The section is performed entirely by Mercury and Taylor using their voices alone. Mercury imitates woodwind instruments including a clarinet and Taylor mostly brass instruments, including tubas and trumpets, and even a kazoo; during this section Taylor hits the highest note on the album, C6. The "tap dance" segment is performed by Mercury and Taylor on the mixing desk with thimbles on their fingers. Mercury plays both grand piano and jangle honky-tonk.
Side two
"The Prophet's Song" was composed by May. He explained that he wrote the song after a dream he had had about The Great Flood and his fears about the human race and its general lack of empathy. He spent several days assembling the song, and it includes a vocal canon sung by Mercury. The vocal, and later instrumental canon was produced by early tape delay devices. Over eight minutes long, it is also Queen's longest studio song. The speed-up effect that happens in the middle of the guitar solo was achieved by starting a reel-to-reel player with the tape on it, as the original tape player was stopped.
"Love of My Life" is one of Queen's most covered songs (there have been versions by many acts like Extreme featuring May, Scorpions and Elaine Paige). Mercury played piano (including a classical solo) and did all of the vocals with startling multi-tracking precision. May played harp (doing it chord by chord and pasting the takes to form the entire part), Gibson Hummingbird acoustic guitar (which he had bought in Japan) and his Red Special. May eventually arranged the song so it could be played on an acoustic 12 string for live performances. "Love of My Life" was such a concert favourite that Mercury frequently stopped singing and allowed the audience to take over. It was especially well received during concerts in South America, and the band released the song as a single there. When Queen and Paul Rodgers performed the song (specifically Brian solo) he sang almost none of the words and let the audience sing it all, continuing the tradition. When Queen and Adam Lambert performed it, Brian would play along to a projection of Freddie singing. When they performed with Paul Rodgers during 2004–2008, Mercury was also projected during the show, but not in a round display as they use with Adam Lambert.
"Good Company" was written and sung by May, who sings all vocals and plays ukulele. The recording features a recreation of a Dixieland-style jazz band using May's Red Special guitar and Deacy Amp. May composed the song on his father's Banjo ukelele, but recorded the song with a regular ukulele. Mercury was not involved with the song's recording, making it one of the few Queen songs not to feature their lead singer.
May recorded a cover version of "God Save the Queen", the British national anthem, in 1974 before their Sheer Heart Attack tour. He played a guide piano which was edited out later and added several layers of guitars. After the song was completed it was played as a coda at virtually every Queen concert. When recording the track May played a rough version on piano for Roy Thomas Baker, producer, and Mike Stone, engineer. He called his own skills on the piano sub-par at the time. He performed the song live on the roof of Buckingham Palace for the Queen's Golden Jubilee in 2002. May has stated that he performed the song on the roof of Buckingham Palace as a homage to Jimi Hendrix's version of "The Star-Spangled Banner".
"Bohemian Rhapsody"
"Bohemian Rhapsody" was written by Mercury with the first guitar solo composed by May. All piano, bass and drum parts, as well as the vocal arrangements, were thought up by Mercury on a daily basis and written down "in blocks" (using note names instead of sheets) on a phonebook. During the recording, the song became affectionately known as "Fred's Thing" to the band, and the title only emerged during the final sessions. The other members recorded their respective instruments with no concept of how their tracks would be utilised in the final mix.
The operatic section was originally intended to be only a short interlude of "Galileos" that connected the ballad and hard rock portions of the song. The interlude is full of "obscure classical characters: Scaramouche, a clown from the Commedia dell'arte; astronomer Galileo; Figaro, the principal character in Beaumarchais' The Barber of Seville and The Marriage of Figaro; and Beelzebub, identified in the Christian New Testament as Satan, Prince of Demons, but in Arabic as "Lord of the Flies". Also in Arabic the word Bismillah', which is a noun from a phrase in the Qur'an; "Bismi-llahi r-rahmani r-rahiim", meaning "In the name of God, most gracious, most merciful".
Despite being twice as long as the average single in 1975 and garnering mixed critical reviews initially, the song became immensely popular, topping charts worldwide (where it remained for a then unprecedented nine weeks in the UK) and is widely regarded as one of the greatest songs in music history. The song was rereleased as a double A-side to "These Are the Days of Our Lives" on 5 September 1991, Mercury's 45th birthday, in the US and on 9 December 1991, after Mercury's death, in the UK.
Release
The album title was inspired by the Marx Brothers film of the same name, which the band had watched during recording sessions. Subsequently, they became good friends with the film's star Groucho Marx, to the point where Marx sent the band a letter praising their 1976 album A Day at the Races. Marx also invited Queen to visit him at his Los Angeles home in March 1977 (five months before he died). The band thanked him, and performed "'39" a cappella. The cover artwork features the band's logo, which was designed by Mercury, on a white background. The band's next album, A Day at the Races, featured a similar design but on a black background.
"Bohemian Rhapsody" was released as the lead single on 31 October 1975, with "I'm in Love with My Car" as its B-side. Their management initially refused to release it; however, Kenny Everett played a copy of the song on his show 14 times, at which point audience demand for the song intensified and the band's label EMI was forced to release it. It subsequently topped the UK charts for nine weeks and peaked at number nine in the US. A second single, "You're My Best Friend" was released on 18 May 1976, with "'39" as its B-side. It reached number sixteen in the US and number seven in the UK.
The album was completed a week before the group were to embark on their A Night at the Opera Tour in support of the album. This resulted in a 36-hour mixing session, as the group wanted to have time to rehearse their setlist before touring. Due to time constraints, the group only had three and a half days to rehearse, at Elstree, with four hours taken off to shoot the music video for "Bohemian Rhapsody". The tour spanned 1975 and 1976, and covered the UK, the US, Japan, and Australia.
Re-releases
The album was first re-released in the U.S. by Hollywood Records on 3 September 1991 with two bonus remixes, as part of a complete re-release of all Queen albums.
On 30 April 2002, the album was again re-released on DVD-Audio with a 96 kHz/24bit Linear PCM stereo mix and a 5.1-channel mix in DTS 96/24 surround sound for standard DVD-Video players and 96 kHz/24bit MLP surround sound for DVD-Audio capable machines. It also includes the original 1975 video of Bohemian Rhapsody.
On 21 November 2005, it was once more re-released by Hollywood Records Catalogue Number 2061-62572-2 to celebrate the 30th anniversary of the album and its first single, "Bohemian Rhapsody". This release is accompanied by a DVD-Video disc with the same track listing featuring the original videos, old and new concert footage (including "'39" from the Queen + Paul Rodgers tour and Brian May on the roof of Buckingham Palace playing "God Save the Queen") and audio commentary by all four band members.
On 8 November 2010, record company Universal Music announced a remastered and expanded reissue of the album set for release in May 2011. This as part of a new record deal between Queen and Universal Music, which meant Queen's association with EMI Records came to an end after almost 40 years. According to Universal Music, all Queen albums were to be remastered and reissued in 2011. By September 2012 the reissue program was completed. Along with this came a 5.1 channel release of the album on Blu-ray Audio.
Reception
Contemporary critical reaction
A Night at the Opera was not reviewed by the majority of the UK music magazines when it came out because the band were remixing the album until the last moment, and consequently no preview discs or tapes were sent out to the media before the album was officially released. In Record Mirror & Disc, Ray Fox-Cumming attempted to review the album based on a single listening at the playback party held for the press, which he admitted "isn't really enough" to form a proper critical opinion. However, he described his first impressions of "an amazing rush of music with one track running helter-skelter into the next ... The orchestral effects, all done by voices, are dazzling but come and go too quickly to appreciate on a solo listening." Fox-Cumming stated that the album had three highlights – "Death on Two Legs", "The Prophet's Song" and "Bohemian Rhapsody" – and only one bad track, "Sweet Lady". He concluded that "as a whole, A Night at the Opera is faster, flashier and more complex than Sheer Heart Attack, but they haven't gone over the top".
On its release in the US four months later, Kris Nicholson of Rolling Stone said that although they share other heavy metal groups' penchant for "manipulating dynamics", Queen are an elite act in the genre and set themselves apart by incorporating "unlikely effects: acoustic piano, harp, a capella vocals, no synthesisers. Coupled with good songs." Robert Christgau, writing in The Village Voice, felt that the album "doesn't actually botch any of a half-dozen arty-to-heavy 'eclectic' modes ... and achieves a parodic tone often enough to suggest more than meets the ear. Maybe if they come up with a coherent masterwork I'll figure out what that more is." The Winnipeg Free Press wrote: "The group's potential is practically limitless, indicating that Queen is destined to finally take its place among the small handful of truly major acts working in rock today."
Melody Maker felt that "The overall impression is of musical range, power and consistently incisive lyrics. My hair is still standing on end - so if you like good music and don't mind looking silly, play this album." Sounds argued that "Queen have the ability to actualise and encompass the outer limits of their self-importance," while Grooves noted that "Sharp operatic interludes, abrupt rhythmic changes, A Night at the Opera defies convention and places Queen in that rarefied circle of genuine superstars." Tony Stewart of NME opined that "More than anything else, A Night at the Opera is a consolidation of the previous album's success, skillfully balancing artistry and effectology. Throughout the album, they display their individual songwriting abilities and musicianship to devastating effect...If it's the most expensive album ever made in a British studio, it's also arguably the best. God save 'em."
Legacy
In a retrospective review for AllMusic, Stephen Thomas Erlewine called the album "a self-consciously ridiculous and overblown hard rock masterpiece" and "prog rock with a sense of humour as well as dynamics". Erlewine felt that Queen "never bettered their approach anywhere else". Progressive rock historian Stephen Lambe has disputed that the album itself is progressive rock in his book Citizens of Hope and Glory: The Story of Progressive Rock. He wrote: "While far from progressive rock, it was the band's most grandiose and ambitious album yet, full of great songwriting and prog influences." He said the album was "a neat symbol of the furthest reach of the progressive rock movement".
In 1992, Mojo called the album "an imperial extravaganza, a cornucopia", and Queen "a band of hungrily competitive individualists on a big roll of friendship and delight". In 2004, Jason Warburg of the Daily Vault stated that the album "absolutely blew me away" and that "A Night at the Opera was the disc that would catapult Queen from British hitmakers to global superstars. As with many such landmark albums it became part milestone and part millstone, with every album that followed compared in some way or another to the musical and commercial success they achieved here. Be that as it may, the music is what counts – and it is simply amazing."
In 2003, Rolling Stone magazine ranked it at number 230 on its 500 Greatest Albums of All Time list, number 231 on its 2012 list, and number 128 on its 2020 list. According to Acclaimed Music, it is the 147th most celebrated album in popular music history.
In a 2006 review, Paul Rees of Q observed that although A Night at the Opera was "released the same year as both Bowie's arch soul pastiche Young Americans and the sleek art rock of Roxy's Siren, it has rarely been heralded as either. Yet it was, and is, every bit as brash, bold and full of the joys of its own possibilities." Feeling that Queen "never came close to bettering their fourth album", Rees concluded that "later albums would expose the lack of soul at the heart of Queen's music; they were all surface, no feeling. They elected themselves the great entertainers, and this heady rush of experimentation was not to be repeated. But A Night at the Opera remains glorious, monumental. It is British rock's greatest extravagance." In 2007, Chris Jones of BBC Music noted the diverse range of musical styles on the album, saying, "Sheer Heart Attack had hinted at a working knowledge of 19th century parlour balladry, 20s ragtime and Jimi Hendrix. A Night at the Opera was to add opera, trad jazz, heavy metal and more to the mix." He concluded that the album "remains their finest hour".
In 2011, digitally remastered versions of the earlier Queen albums were released, prompting another batch of reviews. Uncut said that the album "proved there was no limit to their capabilities" and concluded, "Containing not one but two monumental epics ('Bohemian Rhapsody', 'The Prophet's Song'), and gorging on grandiose gestures galore, A Night at the Opera secured itself instant classic status". Pitchforks Dominique Leone stated, "No punches pulled, no expense spared: A Night at the Opera was Queen at the top of the mountain". AJ Ramirez of PopMatters wrote, "Kicking off with the downright ominous high-drama of 'Death on Two Legs' (a retort against the group's recently deposed management where Mercury spits out venomous invectives at the targets of his ire), the album gives way to a kaleidoscope of styles, from 1920 jazz to space-folk narratives to top-of-the-line contemporary pop-rock. Amazingly, while the transitions between genres would conceivably throw listeners for a loop, none are jarring. Instead, Queen succeeds because it pulls from all the best tricks in the library of showbiz history to deliver laughs, heartache, grandeur, and spectacle to its audience at precisely the right moments." He observed that "it is the realization of such a unique sonic vision that pushes [the album] into the realm of true excellence ... A Night at the Opera stands as a breathtaking, involving creation, and unequivocally Queen's finest album."
Accolades
In 1977, "Bohemian Rhapsody" received two Grammy Award nominations for Best Pop Vocal Performance by a Duo, Group or Chorus and Best Arrangement for Voices.
Band comments
Track listing
All lead vocals by Freddie Mercury unless noted.
On the cassette, the positions of Seaside Rendezvous and Good Company were swapped to maintain a similar duration for each side.
Personnel
Track numbering refers to CD and digital releases of the album.
Queen
Freddie Mercury – lead vocals , backing vocals , piano , jangle piano
Brian May – electric guitar , backing vocals , acoustic guitar , lead vocals , koto , harp , ukulele
Roger Taylor – drums , backing vocals , percussion , lead vocals , additional electric guitar
John Deacon – bass guitar , electric piano , double bass
Production
Roy Thomas Baker – production
Mike Stone – engineering
Gary Lyons – engineering
John Harris – equipment supervision
David Costa – art direction
Rick Curtin and Brian Palmer – special thanks
John Reid – management
Charts
Weekly charts
Weekly charts (reissues)
Year-end charts
Certifications
Notes
References
Bibliography
External links
Queen official website: Discography: A Night at the Opera: includes lyrics of all non-bonus tracks.
1975 albums
Albums produced by Roy Thomas Baker
Albums recorded at Trident Studios
Cultural depictions of the Marx Brothers
Elektra Records albums
EMI Records albums
Hollywood Records albums
Parlophone albums
Queen (band) albums
Albums recorded at Rockfield Studios
Albums recorded at Olympic Sound Studios
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[
"The Other Half of Letting Go... is the fourth official mixtape from Milwaukee, Wisconsin rapper Gerald Walker. The mixtape was released on September 20, 2011, through One Step at a Time Music. The mixtape is named after American painter Esao Andrews' piece also titled \"The Other Half of Letting Go.\" The mixtape's lead single, \"The Missing Piece\" is produced by Chemist. The second single, \"Shackles\" was produced by J.LBS. The mixtape was originally scheduled to be released by Grand Hustle Records, however Walker announced his intention to self-publish: \"No Grand Hustle, we're gonna do this ourselves.\" with a September 20 release date.\n\nBackground\nGerald Walker said he began working on the mixtape immediately after I Remember When This All Meant Something...[.] However, he halted production while working on his collaborative debut effort, On Your Side, with Taylor Gang producer, Cardo. The mixtape serves as Walker's second release in 2011.\n\nTrack listing\n\nSingles\nThe mixtape's first single was \"The Missing Piece.\" A music video was shot and released through One Step at a Time's official website on August 18, 2011. The video was filmed, directed and edited by Xavier Ruffin. The second single \"Shackles\" was released on June 8, 2011 via BlogOrDiePGH.com via Twitter.\n\nSong notes\n A typical Gerald Walker release which feature his now signature ellipsis mark indicate's that it was inspired from another source.\n The song titled \"The Things We Think and Do Not Say...\" is inspired by the 1995 feature film Jerry Maguire. In the movie Maguire distributes copies of his mission statement, entitled \"The Things We Think and Do Not Say: The Future of Our Business\".\n Gerald Walker's song \"Take This To Your Heart...\" is inspired by American rock band Mayday Parade's song of the same title, \"Take This To Your Heart\" from their debut album \"A Lesson in Romantics.\n Walker tweeted \"It's All Real\" was dedicated to one of his favorite rappers, Krayzie Bone.The song contains interpolation of \"It's All Real\" by Bone Thugs N Harmony from their album \"The Art of War.\"\n \"The Missing Piece...\" was originally released as a demo and not slated for the recording, however, due to popularity it was later re-recorded and released as the lead single.\n \"The Missing Piece...\" was inspired by Shel Silverstein's popular 1976 picture book, The Missing Piece.\n The song titled \"Living Well Is The Best Form of Revenge\" is inspired by pop punk band, Midtown's, sophomore album \"Living Well Is the Best Revenge. \n The song \"Ran That Scam\" was inspired by San Francisco punk rock band Dead to Me's song \"Ran That Scam\" and features the same lyrics during the chorus: \"I must've ran this scam a million times.\"\n It is believed that \"What Made Milwaukee Famous…\" is taken from the Milwaukee-based brewing company, Shlitz's, slogan \"The Beer That Made Milwaukee Famous\"\n\nReferences \n\n2011 mixtape albums\nGerald Walker albums\nAlbums produced by Cardo",
"Simple Sum is the first studio album by Australian singer-songwriter, Wes Carr. Carr recorded the album in 2007 at Sydney's Electric Avenue Studios. The album was released independently and features tracks that were written by Carr, including many at the age of fourteen and fifteen. The album was released digitally on 11 June 2008 and peaked at number 12 on the iTunes Album Chart shortly after Carr was crowned the winner of Australian Idol in 2008.\n\nTrack listing\n\n\"Cherrokee Dream\" was written about the nightmares Carr used to suffer as a child. In fact, his song choice for Australian Idol's top 4 American Hits night, \"What A Wonderful World\", was inspired by this very fact. Carr listened to the song as a child frequently, and on repeat, to help him sleep.\n\nThe song \"Elsie Brown (Simple Sum)\" was written by Carr in 2003, inspired by a news story he read about a lady of that name, who died alone in her Sydney home and was speculated to have been left undiscovered for up to 22 months. She was elderly and neighbours claimed she rarely left her house or had visitors.\n\nExternal links\n Download \"Simple Sum\"\n\nReferences\n\n2008 albums\nWes Carr albums"
] |
[
"A Night at the Opera (Queen album)",
"\"'39\"",
"What was 39?",
"song was often played live during the 1977-81 period. Taylor sang it from the drums while Mercury played piano and provided backing vocals.",
"Did it win any awards",
"I don't know.",
"What was the song inspired by",
"\". \"'39\" relates the tale of a group of space explorers who embark on what is, from their perspective, a year-long voyage."
] |
C_c4adbc7f0277460d96f0e9848fbfdcab_1
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Who wrote it?
| 4 |
Who wrote "39" by Queen?
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A Night at the Opera (Queen album)
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"Death on Two Legs" can be referred to as Freddie Mercury's hate letter to Queen's first manager, Norman Sheffield, who for some years was reputed to have mistreated the band and abused his role as their manager from 1972 to 1975. Sheffield denied the allegations in his 2013 autobiography entitled "Life on Two Legs: Set The Record Straight", and referred to copies of the original 1972 management contracts between Sheffield and Queen, which were included in the book as proof of his defence. Though the song never makes direct reference to him, after listening to a playback of the song at Trident Studios during the time of album release, Sheffield was appalled, and sued the band and the record label for defamation, which resulted in an out-of-court settlement, but also confirmed his connection to the song. During live performances, Mercury would usually rededicate the song to "a real motherfucker of a gentleman", although this line was censored on the version that appeared on their Live Killers album in 1979. Other than on the live album, he said it was dedicated to a "motherfucker I used to know". In the Classic Albums documentary about the making of A Night at the Opera, Brian May stated that the band was somewhat taken aback at first by the bitterness of Mercury's lyrics, and described by Mercury as being "so vindictive that he [May] felt bad singing it". After the song came together, it was agreed that the "author should have his way", and the song was recorded as written. As with "Bohemian Rhapsody", most of the guitar parts on this song were initially played on piano by Mercury, to demonstrate to May how they needed to be played on guitar. "Death on Two Legs" remained on the setlist until, and well into, The Game Tour in 1980, and was then dropped. However, the piano introduction was played during the Hot Space and Works tours. "I'm in Love with My Car" is amongst Roger Taylor's most famous songs in the Queen catalogue. The song was initially taken as a joke by May, who thought that Taylor was not serious when he heard a demo recording. Taylor played the guitars in the original demo, but they were later re-recorded by May on his Red Special. The lead vocals were performed by Taylor on the studio version, and all released live versions. The revving sounds at the conclusion of the song were recorded by Taylor's then current car, an Alfa Romeo. The lyrics were inspired by one of the band's roadies, Johnathan Harris, whose Triumph TR4 was evidently the "love of his life". The song is dedicated to him, the album says: "Dedicated to Johnathan Harris, boy racer to the end". When it came down to releasing the album's first single, Taylor was so fond of his song that he urged Mercury (author of the first single, "Bohemian Rhapsody") to allow it to be the B-side and reportedly locked himself in a cupboard until Mercury agreed. This decision would later become the cause of much internal friction in the band, in that while it was only the B-side, it generated an equal amount of publishing royalties for Taylor as the main single did for Mercury. The song was often played live during the 1977-81 period. Taylor sang it from the drums while Mercury played piano and provided backing vocals. It was played in the Queen + Paul Rodgers Tour in 2005 and the Rock the Cosmos Tour in 2008. Taylor would again play the song for his concerts with The Cross and solo tours, where instead of drums he played rhythm guitar. "'39" was May's attempt to do "sci-fi skiffle". "'39" relates the tale of a group of space explorers who embark on what is, from their perspective, a year-long voyage. Upon their return, however, they realise that a hundred years have passed, because of the time dilation effect in Einstein's special theory of relativity, and the loved ones they left behind are now all dead or aged. May sings the song on the album, with backing vocals by Mercury and Taylor. During live performances, Mercury sang the lead vocal. May had asked bassist John Deacon to play double bass as a joke but a couple of days later he found Deacon in the studio with the instrument, and he had already learned to play it. Since Queen had named their albums A Night at the Opera and A Day at the Races after two of the Marx Brothers' most popular films, surviving brother Groucho Marx invited Queen to visit him at his Los Angeles home in March 1977 (five months before he died). The band thanked him, and performed "'39" a cappella. George Michael performed "'39" at the Freddie Mercury Tribute Concert on 20 April 1992. Michael cited this song as his favourite Queen song, claiming he used to busk it on the London Underground. Recently, Queen have included the song on the setlists of their recent tours with Adam Lambert and before Adam with Paul Rodgers; for all these tours since 2005 it is sung as it is on the album by May. CANNOTANSWER
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May's
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A Night at the Opera is the fourth studio album by the British rock band Queen, released on 21 November 1975 by EMI Records in the United Kingdom and by Elektra Records in the United States. Produced by Roy Thomas Baker and Queen, it was reportedly the most expensive album ever recorded at the time of its release.
Named after the Marx Brothers' film of the same name, A Night at the Opera was recorded at various studios across a four-month period in 1975. Due to management issues, Queen had received almost none of the money they earned for their previous albums. Subsequently, they ended their contract with Trident Studios and did not use their studios for the album (the sole exception being "God Save the Queen", which had been recorded the previous year). They employed a complex production that extensively used multitrack recording, and the songs incorporated a wide range of styles, such as ballads, music hall, dixieland, hard rock and progressive rock influences. Aside from their usual equipment, Queen also utilised a diverse range of instruments such as a double bass, harp, ukulele and more.
Upon release, A Night at the Opera topped the UK Albums Chart for four non-consecutive weeks. It peaked at number four on the US Billboard 200 and became the band's first platinum-certified album in the US. It also produced the band's most successful single in the UK, "Bohemian Rhapsody", which became their first UK number one. Despite being twice as long as the average length of singles during the 1970s, the song became immensely popular worldwide.
Contemporary reviews for A Night at the Opera were mixed, with praise for its production and the diverse musical themes, and recognition as the album that established Queen as worldwide superstars. At the 19th Grammy Awards, it received Grammy Award nominations for Best Pop Vocal Performance by a Duo, Group or Chorus and Best Arrangement for Voices. It has been hailed as Queen's best album, and one of the greatest albums in music history. In 2020, Rolling Stone ranked it at number 128 on its list of the 500 Greatest Albums of All Time. In 2018, it was inducted into the Grammy Hall of Fame.
Background
Queen's previous album, Sheer Heart Attack (1974), had obtained commercial success and brought the band mainstream attention, with the single "Killer Queen" reaching number two on the UK Singles Chart. The album was a minor hit in the US, reaching number twelve, while "Killer Queen" hit the top 20. Despite this success, the band was broke at the time, largely due to a contract they had signed which meant that they would produce albums for a production company, who would then sell the album to a record label. This meant that Queen saw almost none of the money they earned, as Trident Studios paid them £60 weekly. Guitarist Brian May was living in a bedsit in Earls Court, West London while frontman Freddie Mercury lived in a flat in Kensington that suffered from rising damp. The matter eventually reached a turning point when bassist John Deacon, who had recently married, was denied a cash advance of £4,000 by manager Norman Sheffield to put a deposit on a house. This increasing frustration led to Mercury writing the song "Death on Two Legs", which would serve as the opening track to A Night at the Opera.
In December 1974, the band hired Jim Beach as their lawyer and began negotiating their way out of Trident. While Beach studied the group's contracts, the group continued touring. They began their first tour of Japan in April 1975, where thousands of fans met them at Haneda Airport and they played two sold out shows at the Nippon Budokan, Tokyo. After a nine-month dispute, Queen were finally free of Trident and signed directly with EMI Records in the UK and Elektra Records in North America. They regained control of their back catalogue, while their former publishing company, Feldman, was taken over by EMI. Because Trident had invested over £200,000 in promoting Queen, the group were required to pay half that to buy out their contracts, and they had to give Trident 1% royalties from their next six albums. Additionally, a tour of America scheduled for September 1975 had to be cancelled as it had been organised by Jack Nelson, who was associated with Trident, despite the already booked venues and sold tickets. This tour was necessary for regaining funds, and its cancellation was a major setback.
With funds running low, Queen immediately began searching for new management. Three names were shortlisted: Peter Rudge, Peter Grant, who was then Led Zeppelin's manager, and John Reid, who was Elton John's manager at the time. Rudge was on tour with the Rolling Stones and could not be reached, so they contacted Grant. Grant, who was eager to manage Queen, had intended the band would sign with Swan Song, Led Zeppelin's label, and suggested Queen go on tour while he sorted out their finances. The group feared Grant would prioritise Led Zeppelin over them, and were reluctant to sign with Swan Song, so they contacted Reid. Reid was initially doubtful about managing another band; however, he accepted after learning it was Queen, and advised the group to "go into the studio and make the best record you can".
Recording and production
Queen worked with producer Roy Thomas Baker, who had also split from Trident, and engineer Mike Stone. It was the last time they would work with Baker until 1978's Jazz. Gary Langan, then 19 years old and who had been a tape operator on two of Sheer Heart Attacks songs, was promoted to an assistant engineer on the album. It was reportedly the most expensive album ever made at the time, with the estimated cost being £40,000 (equivalent to £ in ).
The album was recorded at seven different studios over a period of four months. Queen spent a month during the summer of 1975 rehearsing in a barn at what would become Ridge Farm Studio in Surrey. The group then had a three-week writing and rehearsing session in a rented house near Kington, Herefordshire before recording began. From August to September 1975, the group worked at Rockfield in Monmouthshire. For the remainder of recording sessions, which lasted until November, the group recorded at Lansdowne, Sarm Studios, Roundhouse, Scorpio Sound and Olympic Sound Studios. As their deal with Trident had ended, Trident Studios was not used during recording. The only song on the album recorded at Trident was "God Save the Queen", which had been recorded on 27 October the previous year, shortly before the band embarked on their Sheer Heart Attack Tour.
The group required multi-tracking for their complex vocal harmonies which typically consisted of May singing lower registers, Mercury singing middle registers and Taylor performing the higher parts (Deacon did not sing). Unlike their first three albums, which had used 16-track tape, A Night at the Opera was recorded using 24-track tape. Their vocal harmonies are particularly notable on the song "Bohemian Rhapsody", which features an elaborate opera sequence dominated by multitracked vocals. Similarly, "The Prophet's Song" has an a capella middle section that utilises delay on Mercury's vocals. For their self-titled "guitar orchestrations", May overdubbed his homemade Red Special guitar through an amplifier built by Deacon, known as the Deacy Amp, later released commercially as the "Brian May" amplifier by Vox. Guitar layering is one of May's distinctive techniques as a rock guitarist. He has said that the technique was developed whilst looking for a violin sound.
Aside from their usual equipment, the group used various instruments on the album. Mercury used a grand piano for most of the songs, contributing a jangle piano on "Seaside Rendezvous", while Taylor used a timpani and gong on "Bohemian Rhapsody". Deacon played double bass on "'39" and Wurlitzer Electric Piano on "You're My Best Friend". In the album liner notes, May was credited to "orchestral backdrops" – a reference to the fact that he played a number of instruments not typically found in Queen songs. He played an acoustic guitar on "Love of My Life" and "'39", as well a harp on "Love of My Life", and a toy koto on "The Prophet's Song". The song "Good Company" also features May recreating a Dixieland jazz band, which was done on his Red Special.
Songs
Overview
The album has been affiliated with progressive rock, pop, heavy metal, hard rock and avant-pop. It contains a diverse range of influences including folk, skiffle, British camp and music hall, jazz and opera. Each member wrote at least one song: Mercury wrote five of the songs, May wrote four, and Taylor and Deacon wrote one song each. The closing track was an instrumental cover of "God Save the Queen", the British national anthem, for which May was credited as the arranger.
For their first two albums, much of Queen's songwriting combined contemporary progressive rock and heavy metal, which led to a "Led Zeppelin meets Yes" description of the band. However, starting with Sheer Heart Attack, Queen began drawing inspiration from their everyday lives, and embraced more mainstream musical styles, a trend which A Night at the Opera would continue. Lyrical themes ranged from science fiction and fantasy to heartbreak and romance, often with a tongue in cheek sense of humour. The Winnipeg Free Press noted that the group blended "clever, often poignant lyrics with attractively-arranged melodies".
Side one
"Death on Two Legs" is considered to be Mercury's hate letter to Queen's first manager, Norman Sheffield, who for some years was reputed to have mistreated the band and abused his role as their manager from 1972 to 1975. The lyrics refer to "blood-sucking leeches" and "decaying sewer rats". Though the song never makes direct reference to him, after listening to a playback of the song at Trident Studios around the time of the album's release, Sheffield sued the band and the record label for defamation, which resulted in an out-of-court settlement, but also confirmed his connection to the song. Executives at EMI were unsure that the song was a good idea, May was unsure about the lyrics and felt bad that Mercury was singing it, but ultimately realised it was the songwriter's final choice as to what should be sung. As with "Bohemian Rhapsody", most of the guitar parts on this song were initially played on piano by Mercury, to demonstrate to May how they needed to be played on guitar. During live performances, Mercury would usually rededicate the song to "a real motherfucker of a gentleman", although this line was censored on the version that appeared on their Live Killers album in 1979. Other than on the live album, he said it was dedicated to a "motherfucker I used to know". "Death on Two Legs" remained on the setlist until, and well into, The Game Tour in 1981, and was then dropped. However, the piano introduction was played occasionally during the Hot Space and Works tours.
"Lazing on a Sunday Afternoon" is another song by Mercury. He played piano and performed all of the vocals. The lead vocal was sung in the studio and reproduced through headphones in a tin bucket elsewhere in the studio. A microphone picked up the sound from the bucket, which gives it a hollow "megaphone" sound. The guitar solo is also reported to have been recorded on the vocal track, as there were no more tracks to record on, as explained by producer Roy Thomas Baker during the Classic Albums documentary.
"I'm in Love with My Car" was written and sung by Taylor. The song was initially taken as a joke by May, who thought that Taylor was not serious when he heard a demo recording. Taylor played the guitars in the original demo, but they were later re-recorded by May on his Red Special. The lead vocals were performed by Taylor on the studio version, and all released live versions. The revving sounds at the conclusion of the song were recorded by Taylor's then current car, an Alfa Romeo. The lyrics were inspired by one of the band's roadies, Johnathan Harris, whose Triumph TR4 was evidently the "love of his life". The song is dedicated to him, with the album saying: "Dedicated to Johnathan Harris, boy racer to the end". When it came down to releasing the album's first single, Taylor was so fond of his song that he urged Mercury, the writer of the first single, "Bohemian Rhapsody", to allow it to be the B-side. This decision would later become the cause of much internal friction in the band, in that while it was only the B-side, it generated an equal amount of publishing royalties for Taylor as the A-side did for Mercury. The song was often played live during the 1977–1981 period. Taylor sang it from the drums while Mercury played piano and provided backing vocals. It was played in the Queen + Paul Rodgers Tour in 2005 and the Rock the Cosmos Tour in 2008. Taylor would again play the song for his concerts with The Cross and solo tours, where instead of drums he played rhythm guitar.
"You're My Best Friend" was the second song and first Queen single to be written by John Deacon. He composed it while he was learning to play piano, and played the Wurlitzer electric piano (which Mercury disliked) on the recording and overdubbed the bass guitar afterwards. The song was written for his wife, Veronica. It was released as the album's second single after "Bohemian Rhapsody" and was also a top 10 hit in the UK, reaching number 7.
"'39" was May's attempt to do "sci-fi skiffle", inspired by the poet and novelist Hermann Hesse. It relates the tale of a group of space explorers who embark on what is, from their perspective, a year-long voyage. Upon their return, however, they realise that a hundred years have passed, because of the time dilation effect in Einstein's theory of relativity, and the loved ones they left behind are now all dead or aged. May sings the song on the album, with backing vocals by Mercury and Taylor. During live performances, Mercury sang the lead vocal. May had asked Deacon to play double bass as a joke but a couple of days later he found Deacon in the studio with the instrument, and he had already learned to play it. George Michael performed "'39" at the Freddie Mercury Tribute Concert on 20 April 1992. Michael cited this song as his favourite Queen song, claiming he used to busk it on the London Underground. Recently, Queen have included the song on the setlists of their recent tours with Adam Lambert and before Lambert with Paul Rodgers; for all these tours since 2005 it is sung, as it is on the album, by May.
"Sweet Lady" is a fast rocker written by May. The song is an unusual rock style in meter (which gives way to at the bridge).
"Seaside Rendezvous", written by Mercury, has a mock-instrumental bridge section which begins at around 0:51 into the song. The section is performed entirely by Mercury and Taylor using their voices alone. Mercury imitates woodwind instruments including a clarinet and Taylor mostly brass instruments, including tubas and trumpets, and even a kazoo; during this section Taylor hits the highest note on the album, C6. The "tap dance" segment is performed by Mercury and Taylor on the mixing desk with thimbles on their fingers. Mercury plays both grand piano and jangle honky-tonk.
Side two
"The Prophet's Song" was composed by May. He explained that he wrote the song after a dream he had had about The Great Flood and his fears about the human race and its general lack of empathy. He spent several days assembling the song, and it includes a vocal canon sung by Mercury. The vocal, and later instrumental canon was produced by early tape delay devices. Over eight minutes long, it is also Queen's longest studio song. The speed-up effect that happens in the middle of the guitar solo was achieved by starting a reel-to-reel player with the tape on it, as the original tape player was stopped.
"Love of My Life" is one of Queen's most covered songs (there have been versions by many acts like Extreme featuring May, Scorpions and Elaine Paige). Mercury played piano (including a classical solo) and did all of the vocals with startling multi-tracking precision. May played harp (doing it chord by chord and pasting the takes to form the entire part), Gibson Hummingbird acoustic guitar (which he had bought in Japan) and his Red Special. May eventually arranged the song so it could be played on an acoustic 12 string for live performances. "Love of My Life" was such a concert favourite that Mercury frequently stopped singing and allowed the audience to take over. It was especially well received during concerts in South America, and the band released the song as a single there. When Queen and Paul Rodgers performed the song (specifically Brian solo) he sang almost none of the words and let the audience sing it all, continuing the tradition. When Queen and Adam Lambert performed it, Brian would play along to a projection of Freddie singing. When they performed with Paul Rodgers during 2004–2008, Mercury was also projected during the show, but not in a round display as they use with Adam Lambert.
"Good Company" was written and sung by May, who sings all vocals and plays ukulele. The recording features a recreation of a Dixieland-style jazz band using May's Red Special guitar and Deacy Amp. May composed the song on his father's Banjo ukelele, but recorded the song with a regular ukulele. Mercury was not involved with the song's recording, making it one of the few Queen songs not to feature their lead singer.
May recorded a cover version of "God Save the Queen", the British national anthem, in 1974 before their Sheer Heart Attack tour. He played a guide piano which was edited out later and added several layers of guitars. After the song was completed it was played as a coda at virtually every Queen concert. When recording the track May played a rough version on piano for Roy Thomas Baker, producer, and Mike Stone, engineer. He called his own skills on the piano sub-par at the time. He performed the song live on the roof of Buckingham Palace for the Queen's Golden Jubilee in 2002. May has stated that he performed the song on the roof of Buckingham Palace as a homage to Jimi Hendrix's version of "The Star-Spangled Banner".
"Bohemian Rhapsody"
"Bohemian Rhapsody" was written by Mercury with the first guitar solo composed by May. All piano, bass and drum parts, as well as the vocal arrangements, were thought up by Mercury on a daily basis and written down "in blocks" (using note names instead of sheets) on a phonebook. During the recording, the song became affectionately known as "Fred's Thing" to the band, and the title only emerged during the final sessions. The other members recorded their respective instruments with no concept of how their tracks would be utilised in the final mix.
The operatic section was originally intended to be only a short interlude of "Galileos" that connected the ballad and hard rock portions of the song. The interlude is full of "obscure classical characters: Scaramouche, a clown from the Commedia dell'arte; astronomer Galileo; Figaro, the principal character in Beaumarchais' The Barber of Seville and The Marriage of Figaro; and Beelzebub, identified in the Christian New Testament as Satan, Prince of Demons, but in Arabic as "Lord of the Flies". Also in Arabic the word Bismillah', which is a noun from a phrase in the Qur'an; "Bismi-llahi r-rahmani r-rahiim", meaning "In the name of God, most gracious, most merciful".
Despite being twice as long as the average single in 1975 and garnering mixed critical reviews initially, the song became immensely popular, topping charts worldwide (where it remained for a then unprecedented nine weeks in the UK) and is widely regarded as one of the greatest songs in music history. The song was rereleased as a double A-side to "These Are the Days of Our Lives" on 5 September 1991, Mercury's 45th birthday, in the US and on 9 December 1991, after Mercury's death, in the UK.
Release
The album title was inspired by the Marx Brothers film of the same name, which the band had watched during recording sessions. Subsequently, they became good friends with the film's star Groucho Marx, to the point where Marx sent the band a letter praising their 1976 album A Day at the Races. Marx also invited Queen to visit him at his Los Angeles home in March 1977 (five months before he died). The band thanked him, and performed "'39" a cappella. The cover artwork features the band's logo, which was designed by Mercury, on a white background. The band's next album, A Day at the Races, featured a similar design but on a black background.
"Bohemian Rhapsody" was released as the lead single on 31 October 1975, with "I'm in Love with My Car" as its B-side. Their management initially refused to release it; however, Kenny Everett played a copy of the song on his show 14 times, at which point audience demand for the song intensified and the band's label EMI was forced to release it. It subsequently topped the UK charts for nine weeks and peaked at number nine in the US. A second single, "You're My Best Friend" was released on 18 May 1976, with "'39" as its B-side. It reached number sixteen in the US and number seven in the UK.
The album was completed a week before the group were to embark on their A Night at the Opera Tour in support of the album. This resulted in a 36-hour mixing session, as the group wanted to have time to rehearse their setlist before touring. Due to time constraints, the group only had three and a half days to rehearse, at Elstree, with four hours taken off to shoot the music video for "Bohemian Rhapsody". The tour spanned 1975 and 1976, and covered the UK, the US, Japan, and Australia.
Re-releases
The album was first re-released in the U.S. by Hollywood Records on 3 September 1991 with two bonus remixes, as part of a complete re-release of all Queen albums.
On 30 April 2002, the album was again re-released on DVD-Audio with a 96 kHz/24bit Linear PCM stereo mix and a 5.1-channel mix in DTS 96/24 surround sound for standard DVD-Video players and 96 kHz/24bit MLP surround sound for DVD-Audio capable machines. It also includes the original 1975 video of Bohemian Rhapsody.
On 21 November 2005, it was once more re-released by Hollywood Records Catalogue Number 2061-62572-2 to celebrate the 30th anniversary of the album and its first single, "Bohemian Rhapsody". This release is accompanied by a DVD-Video disc with the same track listing featuring the original videos, old and new concert footage (including "'39" from the Queen + Paul Rodgers tour and Brian May on the roof of Buckingham Palace playing "God Save the Queen") and audio commentary by all four band members.
On 8 November 2010, record company Universal Music announced a remastered and expanded reissue of the album set for release in May 2011. This as part of a new record deal between Queen and Universal Music, which meant Queen's association with EMI Records came to an end after almost 40 years. According to Universal Music, all Queen albums were to be remastered and reissued in 2011. By September 2012 the reissue program was completed. Along with this came a 5.1 channel release of the album on Blu-ray Audio.
Reception
Contemporary critical reaction
A Night at the Opera was not reviewed by the majority of the UK music magazines when it came out because the band were remixing the album until the last moment, and consequently no preview discs or tapes were sent out to the media before the album was officially released. In Record Mirror & Disc, Ray Fox-Cumming attempted to review the album based on a single listening at the playback party held for the press, which he admitted "isn't really enough" to form a proper critical opinion. However, he described his first impressions of "an amazing rush of music with one track running helter-skelter into the next ... The orchestral effects, all done by voices, are dazzling but come and go too quickly to appreciate on a solo listening." Fox-Cumming stated that the album had three highlights – "Death on Two Legs", "The Prophet's Song" and "Bohemian Rhapsody" – and only one bad track, "Sweet Lady". He concluded that "as a whole, A Night at the Opera is faster, flashier and more complex than Sheer Heart Attack, but they haven't gone over the top".
On its release in the US four months later, Kris Nicholson of Rolling Stone said that although they share other heavy metal groups' penchant for "manipulating dynamics", Queen are an elite act in the genre and set themselves apart by incorporating "unlikely effects: acoustic piano, harp, a capella vocals, no synthesisers. Coupled with good songs." Robert Christgau, writing in The Village Voice, felt that the album "doesn't actually botch any of a half-dozen arty-to-heavy 'eclectic' modes ... and achieves a parodic tone often enough to suggest more than meets the ear. Maybe if they come up with a coherent masterwork I'll figure out what that more is." The Winnipeg Free Press wrote: "The group's potential is practically limitless, indicating that Queen is destined to finally take its place among the small handful of truly major acts working in rock today."
Melody Maker felt that "The overall impression is of musical range, power and consistently incisive lyrics. My hair is still standing on end - so if you like good music and don't mind looking silly, play this album." Sounds argued that "Queen have the ability to actualise and encompass the outer limits of their self-importance," while Grooves noted that "Sharp operatic interludes, abrupt rhythmic changes, A Night at the Opera defies convention and places Queen in that rarefied circle of genuine superstars." Tony Stewart of NME opined that "More than anything else, A Night at the Opera is a consolidation of the previous album's success, skillfully balancing artistry and effectology. Throughout the album, they display their individual songwriting abilities and musicianship to devastating effect...If it's the most expensive album ever made in a British studio, it's also arguably the best. God save 'em."
Legacy
In a retrospective review for AllMusic, Stephen Thomas Erlewine called the album "a self-consciously ridiculous and overblown hard rock masterpiece" and "prog rock with a sense of humour as well as dynamics". Erlewine felt that Queen "never bettered their approach anywhere else". Progressive rock historian Stephen Lambe has disputed that the album itself is progressive rock in his book Citizens of Hope and Glory: The Story of Progressive Rock. He wrote: "While far from progressive rock, it was the band's most grandiose and ambitious album yet, full of great songwriting and prog influences." He said the album was "a neat symbol of the furthest reach of the progressive rock movement".
In 1992, Mojo called the album "an imperial extravaganza, a cornucopia", and Queen "a band of hungrily competitive individualists on a big roll of friendship and delight". In 2004, Jason Warburg of the Daily Vault stated that the album "absolutely blew me away" and that "A Night at the Opera was the disc that would catapult Queen from British hitmakers to global superstars. As with many such landmark albums it became part milestone and part millstone, with every album that followed compared in some way or another to the musical and commercial success they achieved here. Be that as it may, the music is what counts – and it is simply amazing."
In 2003, Rolling Stone magazine ranked it at number 230 on its 500 Greatest Albums of All Time list, number 231 on its 2012 list, and number 128 on its 2020 list. According to Acclaimed Music, it is the 147th most celebrated album in popular music history.
In a 2006 review, Paul Rees of Q observed that although A Night at the Opera was "released the same year as both Bowie's arch soul pastiche Young Americans and the sleek art rock of Roxy's Siren, it has rarely been heralded as either. Yet it was, and is, every bit as brash, bold and full of the joys of its own possibilities." Feeling that Queen "never came close to bettering their fourth album", Rees concluded that "later albums would expose the lack of soul at the heart of Queen's music; they were all surface, no feeling. They elected themselves the great entertainers, and this heady rush of experimentation was not to be repeated. But A Night at the Opera remains glorious, monumental. It is British rock's greatest extravagance." In 2007, Chris Jones of BBC Music noted the diverse range of musical styles on the album, saying, "Sheer Heart Attack had hinted at a working knowledge of 19th century parlour balladry, 20s ragtime and Jimi Hendrix. A Night at the Opera was to add opera, trad jazz, heavy metal and more to the mix." He concluded that the album "remains their finest hour".
In 2011, digitally remastered versions of the earlier Queen albums were released, prompting another batch of reviews. Uncut said that the album "proved there was no limit to their capabilities" and concluded, "Containing not one but two monumental epics ('Bohemian Rhapsody', 'The Prophet's Song'), and gorging on grandiose gestures galore, A Night at the Opera secured itself instant classic status". Pitchforks Dominique Leone stated, "No punches pulled, no expense spared: A Night at the Opera was Queen at the top of the mountain". AJ Ramirez of PopMatters wrote, "Kicking off with the downright ominous high-drama of 'Death on Two Legs' (a retort against the group's recently deposed management where Mercury spits out venomous invectives at the targets of his ire), the album gives way to a kaleidoscope of styles, from 1920 jazz to space-folk narratives to top-of-the-line contemporary pop-rock. Amazingly, while the transitions between genres would conceivably throw listeners for a loop, none are jarring. Instead, Queen succeeds because it pulls from all the best tricks in the library of showbiz history to deliver laughs, heartache, grandeur, and spectacle to its audience at precisely the right moments." He observed that "it is the realization of such a unique sonic vision that pushes [the album] into the realm of true excellence ... A Night at the Opera stands as a breathtaking, involving creation, and unequivocally Queen's finest album."
Accolades
In 1977, "Bohemian Rhapsody" received two Grammy Award nominations for Best Pop Vocal Performance by a Duo, Group or Chorus and Best Arrangement for Voices.
Band comments
Track listing
All lead vocals by Freddie Mercury unless noted.
On the cassette, the positions of Seaside Rendezvous and Good Company were swapped to maintain a similar duration for each side.
Personnel
Track numbering refers to CD and digital releases of the album.
Queen
Freddie Mercury – lead vocals , backing vocals , piano , jangle piano
Brian May – electric guitar , backing vocals , acoustic guitar , lead vocals , koto , harp , ukulele
Roger Taylor – drums , backing vocals , percussion , lead vocals , additional electric guitar
John Deacon – bass guitar , electric piano , double bass
Production
Roy Thomas Baker – production
Mike Stone – engineering
Gary Lyons – engineering
John Harris – equipment supervision
David Costa – art direction
Rick Curtin and Brian Palmer – special thanks
John Reid – management
Charts
Weekly charts
Weekly charts (reissues)
Year-end charts
Certifications
Notes
References
Bibliography
External links
Queen official website: Discography: A Night at the Opera: includes lyrics of all non-bonus tracks.
1975 albums
Albums produced by Roy Thomas Baker
Albums recorded at Trident Studios
Cultural depictions of the Marx Brothers
Elektra Records albums
EMI Records albums
Hollywood Records albums
Parlophone albums
Queen (band) albums
Albums recorded at Rockfield Studios
Albums recorded at Olympic Sound Studios
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"Vijayanagara literature was produced in the Vijayanagara Empire during a golden age of literature in South India in general. The rulers patronised Kannada, Telugu, Sanskrit and Tamil scholars who wrote in the Jain, Virashaiva and Vaishnava traditions. The period produced hundreds of works on all aspects of Indian culture, religion, biographies, Prabhandas (stories), music, grammar, poetics and medicine. An attempt is made in this section to list the various poets and saints and their most famous works.\n\nKannada\n\nKannada literature took a strong Hindu bent with the patronage of the Vijayanagara kings. Some eminent names were Kumara Vyasa, Narahari, BhimaKavi, Padmanaka, Mallanarya, Singiraja and Chamarasa.\n\nJain poets\n\nAmong Jaina poets, Madhura patronised by Harihara II and Deva Raya I wrote Dharmanathapurana, Vritta Vilasa wrote Dharmaparikshe and Sastrsara, Bhaskara of Penugonda who wrote Jinadharacharite (1424), Bommarasa of Terkanambi wrote Santakumaracharite and Kotesvara of Tuluvadesa wrote on the life of Jivandharaja in Shatpadi metre (seven line metre). Bahubali Pandita (1351) of Sringeri wrote the Dharmanathapurana. Jainism flourished in Tuluva country and there Abhinava Vadi Vidyananda wrote Kavyasara, Salva wrote Jaina version of Bharata in Shatpadi metre and Rasaratnakara, Nemanna wrote Jnanabhaskaracharite, Ratnakaravarni wrote Bharatesha Vaibhava, Triloka Sataka, Aparajitasataka and Someswara Sataka, Ayatavarma wrote Ratnakarandaka in Champu style (mixed prose-verse form), Vrittivilasa wrote Dharmaparikshe and Sastrasara, Kalyanakirti wrote the Jnanachandrabhyudaya (1439) and Vijayanna wrote the Dvadasanuprekshe (1448), Mangarasa III wrote Jayanripa-Kavya and other writings, Santarasa wrote Yogaratnakara.\n\nShaiva poets\n\nVeerashaiva literature saw a renaissance during this period. Singiraja wrote Singirajapurana and Malabasavaraja Charitra, Mallanarya of Gubbi who was patronised by Krishnadevaraya wrote Veerasaivamrita Purana (1530), Bhavachintaratna (1513) and Satyendra Cholakathe. Deva Raya II patronised several Virashaivas like Lakkana Dandesa who wrote Shivatatwa Chintamani, Chamarasa who wrote Prabhulinga Leele, Jakkanarya wrote Nurondushthala. Guru Basava wrote seven works, six in Shatpadi metre called Saptakavya including the Shivayoganga Bhushana and the Avadhutagite. Shivagna Prasadi Mahadevayya and Halageyadeva were famous for their Shunya Sampadane.\n\nKallumathada Prabhuva, Jakkanna, Maggeya Mayideva, Tontada Siddalingayati were other noted Vachanakaras (writers of Vachana poetry). Bhimakavi wrote Basavapurana (1369) and Padmanaka authored Padmarajapurana. Tontada Siddesvara, guru of Virupaksha Raya II authored 700 Vachanas called Shatsthalajnanamrita. Virakta Tontadarya wrote Siddhesvarapurana, Nijaguna Shivayogi wrote Anubhavasara, Sivayogapradipika and Vivekacintamani. Viruparaja wrote a Sangatya (literary composition to be sung with a musical instrument) on life of King Cheramanka, Virabhadraraja wrote five Satakas, a Virashaiva doctrine and morals and Virabhadra-Vijaya. Sarvajnamurti wrote Sarvajnapadagalu, Chandra Kavi wrote Virupakshasthana, Bommarasa wrote Saundara purana, Kallarasa wrote Janavasya (also called Madanakatilaka), Nilakhantacharya wrote Aradhyacharitra, Chaturmukha Bommarasa wrote Revanasiddhesvara Purana, Suranga Kavi wrote the Trisashti-Puratanara-Charitre giving an account of the 63 devotees of Lord Shiva, Cheramanka wrote the Cheramankavya, Chennabasavanka wrote the Mahadeviyakkana-Purana, Nanjunda of Kikkeri wrote the Bhairavesvara Kavya, Sadasiva Yogi wrote the Ramanatha vilasa and Viarkta Tontadarya wrote the Siddesvara-Purana and other works, Virupaksha Pandita wrote Chennabasava-Prurana (1584).\n\nVaishnava poets\n\nAmong Vaishnava scholars, Kumara Vyasa patronised by Deva Raya II wrote Gadugina Bharata. This was later completed by Timmanna Kavi as KrishnaRaya Bharata (patronised by king Krishnadevaraya), Narahari wrote Torave Ramayana. Other important works were Bhagavatha by Chatu Vittalanatha who was patronised by Krishnadevaraya and Achyuta Raya, Nala Charite, Haribhakthisara, Mohana Tarangini and Ramadhanya Charitre by the great saint Kanakadasa, Dasa Sahithya and Keerthanas and thousands of Devaranama by Purandaradasa Kanakadasa, Sripadaraya, Vyasatirtha and Vadirajatirtha. Nanjunda wrote Kumara Rama Charita, Kereya Padmarasa wrote Padmaraja Purana. Kanakadasa's Ramadhanya Charitre is considered a unique work on class struggle. Linganna wrote Keladinripavijayam and Kavi Malla wrote Manmathavijaya, Madhava wrote Madahaalankara (a translation of Dandi's Sanskrit Kayvadarsha), Isvara Kavi also known as Bana Kavi wrote Kavijihva-Bandhana (a work on prosody), Sadananda Yogi wrote portions of Bhagavata and Bharata, Tirumala Bhatta wrote the Sivagite and Thimma wrote Navarasalankara, Ramendra wrote the Saundarya-Katharatna (a metrical version in tripadi metre of Battisaputtalikathe). Krishnadevarayana Dinachari is a recent discovery. The Vijayanagar period continued the ancient tradition of Kannada literature.\n\nSecular literature\n\nKing Deva Raya II was a poet and authored, in Kannada, the Sobagina Sone, a collection of romantic stories in the form of a narration by the author to his wife. Manjaraja I a Jain authored a book on toxicology called Khagendramanidarpana, Abhinava Chandra wrote on veterinary sciences in Asva-vaidya, Sridharadeva wrote a medical work called Vaidyamrita, Deparaja a Virashiava wrote a collection of romances called Sobagina-sone, Brahmin poet Manjaraja II wrote Manjaraja-Nighantu (1398) was a metrical lexicon giving Kannada meanings of Sanskrit words, Lingamantri authored the lexicon Kabbigarakaipidi, Viarkta Tontadarya wrote the lexicon Karnatakasabdamanjari, Devottama a Jain wrote a lexicon Nanartharatnakara.\n\nTelugu\n\nEarly Vijayanagar\nThe Vijayanagar period was the golden age of Telugu literature. Srinatha, who was respected as Kavi Sarvabhouma(king of poets) in Telugu, and patronised by many kings including the Kondavidu Reddy Kings, Velamas of Rachakonda and Deva Raya II of Vijayanagara wrote Marutratcharitra, Salivahana Saptasati, Panditaaradhyacharita, Sivaratri Mahatmya, Harivilasa, Bhimakanda, Kashikhandam, Shringara Naishadham, Palanati Veeracharitra, Sringaradipika and Kridabhiramam over the subjects of history and mythology.\n\nBammera Potana translated Bhagavata purana into Telugu and wrote Bhogini Dhandaka and VirabhadraVijaya. Vemana wrote Satakas, moral and social poems, that became colloquial Telugu phrases. Annamacharya, who was also patroned by Saluva Narasingaraya wrote hundreds of kritanas in praise of Lord Venkateswara of Tirupati., that became popular Telugu prayer songs. His wife and the first known Telugu poet, Tallapalka Timmakka wrote Subhadra Parinaya.\n\nMallayya and Singayya together wrote Varahapuranamu and Prabodhacandrodaya while Vishvanatha Nayani wrote Rayavachakamu. Nachanna Soma was patronised by Bukka Raya I. Virabhadra Kavi translated the Jaimini Bharata and Sringara Shakuntala. Prema Raju Jakkana wrote Vikramarkacharita, a eulogy of the great king of Ujjain, Duggapalli Duggaya wrote Naciketapakhyana, Durgagupta wrote Vishnupurana and Gaurana wrote Harishchandrapakhyana.\n\nLate Vijayanagar\nDuring the reign of Krishnadevaraya Telugu culture and literature flourished and reached their heyday. The great emperor was himself a celebrated poet having composed Amuktamalyada. In his court, eight Telugu poets were regarded as the eight pillars of the literary assembly. In the olden days, it was believed that eight elephants were holding the earth in eight different directions. The title Ashtadiggajas celebrates this belief and hence the court was also called Bhuvana Vijayam (Conquest of the World). The period of the Empire is known as \"Prabandha Period,\" because of the quality of the prabandha literature produced during this time.\n\nAmong these eight poets, Allasani Peddana is considered to be the greatest and is given the title of Andhra Kavita Pitamaha (the father of Telugu poetry). Svarocisha Sambhava or Manucharita is his popular prabandha work and was dedicated to Krishnadevaraya. Nandi Thimmana wrote Parijathapaharanam. Madayyagari Mallana wrote Rajasekhara Charitramu. Dhurjati wrote Kalahasti Mahatyamu and Ayyalaraju Ramabhadrudu wrote Sakalakatha Sangraha and Ramaabhyudayamu. Pingali Surana wrote Raghava Pandaviyamu, Kalapurnodayam, Prabhavate Pradyamana.\nRaghavapandaveeyamu is a dual work with double meaning built into the text, describing both the Ramayana and the Mahabharata. Kalapurnodayam(means full bloom of art) has been treated as the first original poetic novel in Telugu literature. Battumurthy alias Ramarajabhushanudu wrote Kavyalankarasangrahamu, Vasucharitra, Narasabhupaliyam and Harischandranalopakhyanamu. Among these works the last one is a dual work which tells simultaneously the story of King Harishchandra and Nala and Damayanti. Tenali Ramakrishna first wrote Udbhataradhya Charitramu, a Shaivite work. However, he converted to Vaishnavism later and wrote Vaishnava devotional texts Panduranga Mahatmyamu, and Ghatikachala Mahatmyamu. Tenali Rama remains one of the most popular folk figures in India today, a quick-witted courtier ready even to outwit the all-powerful emperor.\n\nOther well-known poets were Sankusala Nrisimha Kavi, who wrote KavikarnaRasayana, Chintalapudi Ellaya, who wrote Radhamadhavavilasa and Vishnumayavilasa, Molla, a poet wrote a version of Ramayana, Kamsali Rudraya wrote Nirankusopakhyana, and Addanki Gangadhara wrote Basavapurana. \nManumanchi Bhatta wrote a scientific work called Hayalakshana Sastra.\n\nSanskrit\n\nSanskrit literature was given patronage by the Vijayanagara kings. The early kings of the Sangama dynasty patronised the Sringeri saints while the Saluva and Tuluva kings patronised the Madhva saints of Udupi.\n\nAdvaita literature\n\nThe Sangama dynasty patronised the Advaita saints of the Sringeri order. Some important works from this period were Sayana's Vedartha Prakasha, Yajnatantra Sudhanidhi, Prayaschitra Sudhanidhi, Alankara Sudhanidhi, Yajnatantra Sudhanidhi, Sarvadarshanasangraha, Purushartha Sudhanidhi, many lesser manuals called Sudhanidhis treating expiation (Prayaschitta), Yagnatantra (vedic ritual) and Purushartha (aims of human endeavour). Madhva Vidyaranya, the spiritual force behind the founding empire wrote Parasara – Madhaviya, Rajakatenirnaya, Vivaranapremayasangarha and Jivanmuktiviveka, Bharathitirtha wrote Pancadasi, Sangitasara. Anandapurna wrote commentaries on KhandanaKhandakhadya, Brahmasiddhi, Vivarana and Nyayachandrika. . Isavara Dikshita patronised by Krisnhadevaraya wrote two commentaries on the Ramayana, a Laghu and a Brihad Vivarana in Hemakuta.\n\nAppaya Dikshita(1554–1626), a devotional poet wrote commentaries on various schools of philosophies including Srikantha's Saivite Advaita. He was patroned by king Chinna Bomman of Vellore, a subject of emperor Aliya Rama Raya. Some of his works are Siva Karnamitra and Sivarka Manideepiaka.\n\nVallabhacharya(1479–1531), a great poet-philosopher and the fame of the Madhurastakam was patroned by Krishnadevarya and had written many other works like Vyasa Sutra Bhashya, Jaimini Sutra Bhasya, Bhagavata Tika Subodhini, Pushti Pravala Maryada and Siddhanta Rahasya in Sanskrit. He also stayed at Kashi and other places in India, and so it is not known whether all of his works were done during his stay at Vijayanagara.\n\nDvaita literature\n\nMany of the Madhwa haridasas of the Udupi order not only held positions of \"rajguru\" to Vijayanagar kings, they also wrote several famous works of dvaita vedanta. Famous among them were Jayatirtha, Sripadaraya, Vyasatirtha.\n\nVyasatirtha (1460–1539), saint, esteemed master of religious discourse, follower of Tattvavada, philosophical school of thought (desciple of Srimad Ananda Tîrtha) wrote several works including Nyayamrita, Tarkatandava, and Tatparyachandrika, collectively known as Vyasa-Traya. Some other notable works from him are Bhedojjivana and Mandaramanjari commentaries. He was patroned by Saluva Narasimha at Chandragiri and later became a \"rajguru\" to Krishnadevaraya. He was also the Guru of Purandaradasa and Kanakadasa, two outstanding luminaries of the Haridasa tradition, the former also the founder of modern Carnatic music.\n\nVadirajatirtha who was rajguru to Saluva Narasimha Deva Raya wrote Yuktimallika (a doctrine meant to critique the works of Sankaracahrya). Other prominent haridasas were Jayatirtha who earned the title Tikacharya (wrote two polemics namely Nyayasudha, Vadavali), Raghottamatirtha and Vijayindratirtha.\n\nSecular literature\nVidyaranya of Sringeri wrote Sangitasara, a treatise on music. Kallinatha patronised by Mallikarjuna Raya wrote on music and his grandson Rama Amatya who was patronised by Aliya Rama Raya also wrote Svaramelakalanidhi on music.\n\nPraudha Devaraya wrote Ratiratna Pradipika, a book on erotics. Sayana wrote Dhātuvṛtti, a book of Sanskrit grammar. Sayana also wrote Ayurveda Sudhanidhi, on traditional Indian medicine. Lakshmana Pandita wrote another medicine book Vaidyaraja Vallabham.\n\nAnandapurana Vidyasagara of Gokarna wrote Vyakhyaratnavali during the rule of Harihara II. Peda komati of Kondavidu wrote two works on poetics and music called Sahityachintamani and Sangitachintamani. Komati's predecessor Kumaragiri of Kondavidu, whose wife Lakumadevi is a dancer, wrote Vasantarajeeyam, a work on dance. Simhabhupala of Rachakonda wrote Rasarnavasudhakara a treatise on rasa and rules of dramaturgy. His court poet Visvesvara wrote Chamatkarachandrika a work on rhetoric. Vamana Bhatta wrote Sabhda Ratnakara, a dictionary with phonetics. Vallabhacharya wrote Lilavati Ganita, a treatise on mathematics.\n\nBiographies and history \nA family of poets called Dindimas from north Arcot flourished from Harihara I to Achuta Devaraya. Rajanatha Dindima II wrote Saluvabhyudayam (poems on the wars of Saluva Narasimha), Rajanatha Dindima III wrote Achyutabhyudaya (also called as Achyutarayabhyudaya) on king Achyuta Raya. Gowda Dindima was a well-known poet during this time and was defeated by Srinatha, scholar in Telugu as well as Sanskrit.\n\nDevanna Bhatta wrote Smriti Chandrika. Gangamba Devi, a poet and queen wrote Madhura Vijayam, on her husband Kamparayalu's victory over Madurai Sultanate. Tirumalamba Devi, also a poet wrote Varadambika Parinayam on Achyutadevaraya's marriage.\n\nOther famous works from South India \nSome of the kings themselvers are scholars. Krishnadevaraya who patronised many poets, himself an accomplished scholar wrote Madalasa Charita, Satyavadu Parinaya and Rasamanjari and Jambavati Kalyana. King Devaraya I wrote Mahanataka Sudhanidhi. king Saluva Narasimha wrote Ramabhyudayam.\n\nVamana Bhatta Bana patronised by Reddy king Pedda Komati Vema of Kondavidu wrote Vemabhupalacharita, Nalabhyudaya, Raghunathacharitakavya, Parvathiparaniya and Kanakalekha Kalyana. Pedda Komati himself authored Amarusataka and Saptasati sara (a selection of 100 verses from king Hala's Prakrit anthology). Katayavema wrote commentaries on plays by Kalidasa.\n\nTamil\nKrishnadevaraya also patronised Tamil poet Harihara who wrote Irusamaya vilakkam (an exposition on saivism and Vaishnavism). Other Tamil poets of the Vijayanagar era were Arunagirinathar who some scholars believe was a descendant of Dindima Kavis. Oottukkadu Venkata Kavi (1700–65) actually salutes him as Dindima Kavi in his composition, Bhajanamrta paramananda in Nattai. Arunagirinathar wrote Tiruppugazh containing more than 1360 songs in various meters and several songs in praise of Lord Muruga, Svarupananda Deshika who wrote an anthology on the philosophy of Advaita in his Sivaprakasap Perundirattu and many poems like Paduturai, Nanavinoda Kalambakam, Mohavadaipparani and Annavadaipparani. His pupil Tattuvaraya who wrote a short anthology called Kurundirattu, Pugalendi, Jnanprakashar, Andari, Kacchiyappa Shivacharya wrote Kandapuranam and Ilanjuriyar were also patronised.\n\nNotes\n\nReferences\nDr. Suryanath U. Kamath, A Concise history of Karnataka from pre-historic times to the present, Jupiter books, MCC, Bangalore, 2001 (Reprinted 2002) OCLC: 7796041\n Prof K.A. Nilakanta Sastri, History of South India, From Prehistoric times to fall of Vijayanagar, 1955, OUP, New Delhi (Reprinted 2002) \n Hampi, A Travel Guide, Department of Tourism, India, Good Earth publication, New Delhi 2003 \n R. Narasimhacharya, History of Kannada Literature, 1988, Asian Educational Services, New Delhi, Madras,1988, \nCarla M. Sinopoli, The Political Economy of Craft Production: Crafting Empire in South India c.1350-1650, 2003, Cambridge University Press, \n\n Research on Vijayanagar empire by Robert Sewell\n\nExternal links\nHaridasas of Karnataka, C.R. Madhusudan Rao\nAshtadiggajalu and other telugu poets during Prabandha Period\n\nArt and culture of Vijayanagar Empire\nKannada literature\nLiterature of Karnataka\nIndian literature\nTelugu-language literature\nMedieval Indian literature",
"Who Wrote the Bible? may refer to:\n\nWho Wrote the Bible?, a 1987 book by biblical scholar Richard Elliott Friedman\n Who Wrote the Bible?, a 1996 two-part episode of the TV series Mysteries of the Bible\nWho Wrote the Bible?, a 2004 documentary by theologian Robert Beckford\n\nSee also\nThe documentary hypothesis, a theory regarding the authorship of the Torah/Pentateuch, i.e. the first part of the Old Testament of the Bible\nAuthorship of the Bible"
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"A Night at the Opera (Queen album)",
"\"'39\"",
"What was 39?",
"song was often played live during the 1977-81 period. Taylor sang it from the drums while Mercury played piano and provided backing vocals.",
"Did it win any awards",
"I don't know.",
"What was the song inspired by",
"\". \"'39\" relates the tale of a group of space explorers who embark on what is, from their perspective, a year-long voyage.",
"Who wrote it?",
"May's"
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C_c4adbc7f0277460d96f0e9848fbfdcab_1
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Who composed it?
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Who composed "39" by Queen?
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A Night at the Opera (Queen album)
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"Death on Two Legs" can be referred to as Freddie Mercury's hate letter to Queen's first manager, Norman Sheffield, who for some years was reputed to have mistreated the band and abused his role as their manager from 1972 to 1975. Sheffield denied the allegations in his 2013 autobiography entitled "Life on Two Legs: Set The Record Straight", and referred to copies of the original 1972 management contracts between Sheffield and Queen, which were included in the book as proof of his defence. Though the song never makes direct reference to him, after listening to a playback of the song at Trident Studios during the time of album release, Sheffield was appalled, and sued the band and the record label for defamation, which resulted in an out-of-court settlement, but also confirmed his connection to the song. During live performances, Mercury would usually rededicate the song to "a real motherfucker of a gentleman", although this line was censored on the version that appeared on their Live Killers album in 1979. Other than on the live album, he said it was dedicated to a "motherfucker I used to know". In the Classic Albums documentary about the making of A Night at the Opera, Brian May stated that the band was somewhat taken aback at first by the bitterness of Mercury's lyrics, and described by Mercury as being "so vindictive that he [May] felt bad singing it". After the song came together, it was agreed that the "author should have his way", and the song was recorded as written. As with "Bohemian Rhapsody", most of the guitar parts on this song were initially played on piano by Mercury, to demonstrate to May how they needed to be played on guitar. "Death on Two Legs" remained on the setlist until, and well into, The Game Tour in 1980, and was then dropped. However, the piano introduction was played during the Hot Space and Works tours. "I'm in Love with My Car" is amongst Roger Taylor's most famous songs in the Queen catalogue. The song was initially taken as a joke by May, who thought that Taylor was not serious when he heard a demo recording. Taylor played the guitars in the original demo, but they were later re-recorded by May on his Red Special. The lead vocals were performed by Taylor on the studio version, and all released live versions. The revving sounds at the conclusion of the song were recorded by Taylor's then current car, an Alfa Romeo. The lyrics were inspired by one of the band's roadies, Johnathan Harris, whose Triumph TR4 was evidently the "love of his life". The song is dedicated to him, the album says: "Dedicated to Johnathan Harris, boy racer to the end". When it came down to releasing the album's first single, Taylor was so fond of his song that he urged Mercury (author of the first single, "Bohemian Rhapsody") to allow it to be the B-side and reportedly locked himself in a cupboard until Mercury agreed. This decision would later become the cause of much internal friction in the band, in that while it was only the B-side, it generated an equal amount of publishing royalties for Taylor as the main single did for Mercury. The song was often played live during the 1977-81 period. Taylor sang it from the drums while Mercury played piano and provided backing vocals. It was played in the Queen + Paul Rodgers Tour in 2005 and the Rock the Cosmos Tour in 2008. Taylor would again play the song for his concerts with The Cross and solo tours, where instead of drums he played rhythm guitar. "'39" was May's attempt to do "sci-fi skiffle". "'39" relates the tale of a group of space explorers who embark on what is, from their perspective, a year-long voyage. Upon their return, however, they realise that a hundred years have passed, because of the time dilation effect in Einstein's special theory of relativity, and the loved ones they left behind are now all dead or aged. May sings the song on the album, with backing vocals by Mercury and Taylor. During live performances, Mercury sang the lead vocal. May had asked bassist John Deacon to play double bass as a joke but a couple of days later he found Deacon in the studio with the instrument, and he had already learned to play it. Since Queen had named their albums A Night at the Opera and A Day at the Races after two of the Marx Brothers' most popular films, surviving brother Groucho Marx invited Queen to visit him at his Los Angeles home in March 1977 (five months before he died). The band thanked him, and performed "'39" a cappella. George Michael performed "'39" at the Freddie Mercury Tribute Concert on 20 April 1992. Michael cited this song as his favourite Queen song, claiming he used to busk it on the London Underground. Recently, Queen have included the song on the setlists of their recent tours with Adam Lambert and before Adam with Paul Rodgers; for all these tours since 2005 it is sung as it is on the album by May. CANNOTANSWER
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May sings the song on the album, with backing vocals by Mercury and Taylor. During live performances, Mercury sang the lead vocal.
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A Night at the Opera is the fourth studio album by the British rock band Queen, released on 21 November 1975 by EMI Records in the United Kingdom and by Elektra Records in the United States. Produced by Roy Thomas Baker and Queen, it was reportedly the most expensive album ever recorded at the time of its release.
Named after the Marx Brothers' film of the same name, A Night at the Opera was recorded at various studios across a four-month period in 1975. Due to management issues, Queen had received almost none of the money they earned for their previous albums. Subsequently, they ended their contract with Trident Studios and did not use their studios for the album (the sole exception being "God Save the Queen", which had been recorded the previous year). They employed a complex production that extensively used multitrack recording, and the songs incorporated a wide range of styles, such as ballads, music hall, dixieland, hard rock and progressive rock influences. Aside from their usual equipment, Queen also utilised a diverse range of instruments such as a double bass, harp, ukulele and more.
Upon release, A Night at the Opera topped the UK Albums Chart for four non-consecutive weeks. It peaked at number four on the US Billboard 200 and became the band's first platinum-certified album in the US. It also produced the band's most successful single in the UK, "Bohemian Rhapsody", which became their first UK number one. Despite being twice as long as the average length of singles during the 1970s, the song became immensely popular worldwide.
Contemporary reviews for A Night at the Opera were mixed, with praise for its production and the diverse musical themes, and recognition as the album that established Queen as worldwide superstars. At the 19th Grammy Awards, it received Grammy Award nominations for Best Pop Vocal Performance by a Duo, Group or Chorus and Best Arrangement for Voices. It has been hailed as Queen's best album, and one of the greatest albums in music history. In 2020, Rolling Stone ranked it at number 128 on its list of the 500 Greatest Albums of All Time. In 2018, it was inducted into the Grammy Hall of Fame.
Background
Queen's previous album, Sheer Heart Attack (1974), had obtained commercial success and brought the band mainstream attention, with the single "Killer Queen" reaching number two on the UK Singles Chart. The album was a minor hit in the US, reaching number twelve, while "Killer Queen" hit the top 20. Despite this success, the band was broke at the time, largely due to a contract they had signed which meant that they would produce albums for a production company, who would then sell the album to a record label. This meant that Queen saw almost none of the money they earned, as Trident Studios paid them £60 weekly. Guitarist Brian May was living in a bedsit in Earls Court, West London while frontman Freddie Mercury lived in a flat in Kensington that suffered from rising damp. The matter eventually reached a turning point when bassist John Deacon, who had recently married, was denied a cash advance of £4,000 by manager Norman Sheffield to put a deposit on a house. This increasing frustration led to Mercury writing the song "Death on Two Legs", which would serve as the opening track to A Night at the Opera.
In December 1974, the band hired Jim Beach as their lawyer and began negotiating their way out of Trident. While Beach studied the group's contracts, the group continued touring. They began their first tour of Japan in April 1975, where thousands of fans met them at Haneda Airport and they played two sold out shows at the Nippon Budokan, Tokyo. After a nine-month dispute, Queen were finally free of Trident and signed directly with EMI Records in the UK and Elektra Records in North America. They regained control of their back catalogue, while their former publishing company, Feldman, was taken over by EMI. Because Trident had invested over £200,000 in promoting Queen, the group were required to pay half that to buy out their contracts, and they had to give Trident 1% royalties from their next six albums. Additionally, a tour of America scheduled for September 1975 had to be cancelled as it had been organised by Jack Nelson, who was associated with Trident, despite the already booked venues and sold tickets. This tour was necessary for regaining funds, and its cancellation was a major setback.
With funds running low, Queen immediately began searching for new management. Three names were shortlisted: Peter Rudge, Peter Grant, who was then Led Zeppelin's manager, and John Reid, who was Elton John's manager at the time. Rudge was on tour with the Rolling Stones and could not be reached, so they contacted Grant. Grant, who was eager to manage Queen, had intended the band would sign with Swan Song, Led Zeppelin's label, and suggested Queen go on tour while he sorted out their finances. The group feared Grant would prioritise Led Zeppelin over them, and were reluctant to sign with Swan Song, so they contacted Reid. Reid was initially doubtful about managing another band; however, he accepted after learning it was Queen, and advised the group to "go into the studio and make the best record you can".
Recording and production
Queen worked with producer Roy Thomas Baker, who had also split from Trident, and engineer Mike Stone. It was the last time they would work with Baker until 1978's Jazz. Gary Langan, then 19 years old and who had been a tape operator on two of Sheer Heart Attacks songs, was promoted to an assistant engineer on the album. It was reportedly the most expensive album ever made at the time, with the estimated cost being £40,000 (equivalent to £ in ).
The album was recorded at seven different studios over a period of four months. Queen spent a month during the summer of 1975 rehearsing in a barn at what would become Ridge Farm Studio in Surrey. The group then had a three-week writing and rehearsing session in a rented house near Kington, Herefordshire before recording began. From August to September 1975, the group worked at Rockfield in Monmouthshire. For the remainder of recording sessions, which lasted until November, the group recorded at Lansdowne, Sarm Studios, Roundhouse, Scorpio Sound and Olympic Sound Studios. As their deal with Trident had ended, Trident Studios was not used during recording. The only song on the album recorded at Trident was "God Save the Queen", which had been recorded on 27 October the previous year, shortly before the band embarked on their Sheer Heart Attack Tour.
The group required multi-tracking for their complex vocal harmonies which typically consisted of May singing lower registers, Mercury singing middle registers and Taylor performing the higher parts (Deacon did not sing). Unlike their first three albums, which had used 16-track tape, A Night at the Opera was recorded using 24-track tape. Their vocal harmonies are particularly notable on the song "Bohemian Rhapsody", which features an elaborate opera sequence dominated by multitracked vocals. Similarly, "The Prophet's Song" has an a capella middle section that utilises delay on Mercury's vocals. For their self-titled "guitar orchestrations", May overdubbed his homemade Red Special guitar through an amplifier built by Deacon, known as the Deacy Amp, later released commercially as the "Brian May" amplifier by Vox. Guitar layering is one of May's distinctive techniques as a rock guitarist. He has said that the technique was developed whilst looking for a violin sound.
Aside from their usual equipment, the group used various instruments on the album. Mercury used a grand piano for most of the songs, contributing a jangle piano on "Seaside Rendezvous", while Taylor used a timpani and gong on "Bohemian Rhapsody". Deacon played double bass on "'39" and Wurlitzer Electric Piano on "You're My Best Friend". In the album liner notes, May was credited to "orchestral backdrops" – a reference to the fact that he played a number of instruments not typically found in Queen songs. He played an acoustic guitar on "Love of My Life" and "'39", as well a harp on "Love of My Life", and a toy koto on "The Prophet's Song". The song "Good Company" also features May recreating a Dixieland jazz band, which was done on his Red Special.
Songs
Overview
The album has been affiliated with progressive rock, pop, heavy metal, hard rock and avant-pop. It contains a diverse range of influences including folk, skiffle, British camp and music hall, jazz and opera. Each member wrote at least one song: Mercury wrote five of the songs, May wrote four, and Taylor and Deacon wrote one song each. The closing track was an instrumental cover of "God Save the Queen", the British national anthem, for which May was credited as the arranger.
For their first two albums, much of Queen's songwriting combined contemporary progressive rock and heavy metal, which led to a "Led Zeppelin meets Yes" description of the band. However, starting with Sheer Heart Attack, Queen began drawing inspiration from their everyday lives, and embraced more mainstream musical styles, a trend which A Night at the Opera would continue. Lyrical themes ranged from science fiction and fantasy to heartbreak and romance, often with a tongue in cheek sense of humour. The Winnipeg Free Press noted that the group blended "clever, often poignant lyrics with attractively-arranged melodies".
Side one
"Death on Two Legs" is considered to be Mercury's hate letter to Queen's first manager, Norman Sheffield, who for some years was reputed to have mistreated the band and abused his role as their manager from 1972 to 1975. The lyrics refer to "blood-sucking leeches" and "decaying sewer rats". Though the song never makes direct reference to him, after listening to a playback of the song at Trident Studios around the time of the album's release, Sheffield sued the band and the record label for defamation, which resulted in an out-of-court settlement, but also confirmed his connection to the song. Executives at EMI were unsure that the song was a good idea, May was unsure about the lyrics and felt bad that Mercury was singing it, but ultimately realised it was the songwriter's final choice as to what should be sung. As with "Bohemian Rhapsody", most of the guitar parts on this song were initially played on piano by Mercury, to demonstrate to May how they needed to be played on guitar. During live performances, Mercury would usually rededicate the song to "a real motherfucker of a gentleman", although this line was censored on the version that appeared on their Live Killers album in 1979. Other than on the live album, he said it was dedicated to a "motherfucker I used to know". "Death on Two Legs" remained on the setlist until, and well into, The Game Tour in 1981, and was then dropped. However, the piano introduction was played occasionally during the Hot Space and Works tours.
"Lazing on a Sunday Afternoon" is another song by Mercury. He played piano and performed all of the vocals. The lead vocal was sung in the studio and reproduced through headphones in a tin bucket elsewhere in the studio. A microphone picked up the sound from the bucket, which gives it a hollow "megaphone" sound. The guitar solo is also reported to have been recorded on the vocal track, as there were no more tracks to record on, as explained by producer Roy Thomas Baker during the Classic Albums documentary.
"I'm in Love with My Car" was written and sung by Taylor. The song was initially taken as a joke by May, who thought that Taylor was not serious when he heard a demo recording. Taylor played the guitars in the original demo, but they were later re-recorded by May on his Red Special. The lead vocals were performed by Taylor on the studio version, and all released live versions. The revving sounds at the conclusion of the song were recorded by Taylor's then current car, an Alfa Romeo. The lyrics were inspired by one of the band's roadies, Johnathan Harris, whose Triumph TR4 was evidently the "love of his life". The song is dedicated to him, with the album saying: "Dedicated to Johnathan Harris, boy racer to the end". When it came down to releasing the album's first single, Taylor was so fond of his song that he urged Mercury, the writer of the first single, "Bohemian Rhapsody", to allow it to be the B-side. This decision would later become the cause of much internal friction in the band, in that while it was only the B-side, it generated an equal amount of publishing royalties for Taylor as the A-side did for Mercury. The song was often played live during the 1977–1981 period. Taylor sang it from the drums while Mercury played piano and provided backing vocals. It was played in the Queen + Paul Rodgers Tour in 2005 and the Rock the Cosmos Tour in 2008. Taylor would again play the song for his concerts with The Cross and solo tours, where instead of drums he played rhythm guitar.
"You're My Best Friend" was the second song and first Queen single to be written by John Deacon. He composed it while he was learning to play piano, and played the Wurlitzer electric piano (which Mercury disliked) on the recording and overdubbed the bass guitar afterwards. The song was written for his wife, Veronica. It was released as the album's second single after "Bohemian Rhapsody" and was also a top 10 hit in the UK, reaching number 7.
"'39" was May's attempt to do "sci-fi skiffle", inspired by the poet and novelist Hermann Hesse. It relates the tale of a group of space explorers who embark on what is, from their perspective, a year-long voyage. Upon their return, however, they realise that a hundred years have passed, because of the time dilation effect in Einstein's theory of relativity, and the loved ones they left behind are now all dead or aged. May sings the song on the album, with backing vocals by Mercury and Taylor. During live performances, Mercury sang the lead vocal. May had asked Deacon to play double bass as a joke but a couple of days later he found Deacon in the studio with the instrument, and he had already learned to play it. George Michael performed "'39" at the Freddie Mercury Tribute Concert on 20 April 1992. Michael cited this song as his favourite Queen song, claiming he used to busk it on the London Underground. Recently, Queen have included the song on the setlists of their recent tours with Adam Lambert and before Lambert with Paul Rodgers; for all these tours since 2005 it is sung, as it is on the album, by May.
"Sweet Lady" is a fast rocker written by May. The song is an unusual rock style in meter (which gives way to at the bridge).
"Seaside Rendezvous", written by Mercury, has a mock-instrumental bridge section which begins at around 0:51 into the song. The section is performed entirely by Mercury and Taylor using their voices alone. Mercury imitates woodwind instruments including a clarinet and Taylor mostly brass instruments, including tubas and trumpets, and even a kazoo; during this section Taylor hits the highest note on the album, C6. The "tap dance" segment is performed by Mercury and Taylor on the mixing desk with thimbles on their fingers. Mercury plays both grand piano and jangle honky-tonk.
Side two
"The Prophet's Song" was composed by May. He explained that he wrote the song after a dream he had had about The Great Flood and his fears about the human race and its general lack of empathy. He spent several days assembling the song, and it includes a vocal canon sung by Mercury. The vocal, and later instrumental canon was produced by early tape delay devices. Over eight minutes long, it is also Queen's longest studio song. The speed-up effect that happens in the middle of the guitar solo was achieved by starting a reel-to-reel player with the tape on it, as the original tape player was stopped.
"Love of My Life" is one of Queen's most covered songs (there have been versions by many acts like Extreme featuring May, Scorpions and Elaine Paige). Mercury played piano (including a classical solo) and did all of the vocals with startling multi-tracking precision. May played harp (doing it chord by chord and pasting the takes to form the entire part), Gibson Hummingbird acoustic guitar (which he had bought in Japan) and his Red Special. May eventually arranged the song so it could be played on an acoustic 12 string for live performances. "Love of My Life" was such a concert favourite that Mercury frequently stopped singing and allowed the audience to take over. It was especially well received during concerts in South America, and the band released the song as a single there. When Queen and Paul Rodgers performed the song (specifically Brian solo) he sang almost none of the words and let the audience sing it all, continuing the tradition. When Queen and Adam Lambert performed it, Brian would play along to a projection of Freddie singing. When they performed with Paul Rodgers during 2004–2008, Mercury was also projected during the show, but not in a round display as they use with Adam Lambert.
"Good Company" was written and sung by May, who sings all vocals and plays ukulele. The recording features a recreation of a Dixieland-style jazz band using May's Red Special guitar and Deacy Amp. May composed the song on his father's Banjo ukelele, but recorded the song with a regular ukulele. Mercury was not involved with the song's recording, making it one of the few Queen songs not to feature their lead singer.
May recorded a cover version of "God Save the Queen", the British national anthem, in 1974 before their Sheer Heart Attack tour. He played a guide piano which was edited out later and added several layers of guitars. After the song was completed it was played as a coda at virtually every Queen concert. When recording the track May played a rough version on piano for Roy Thomas Baker, producer, and Mike Stone, engineer. He called his own skills on the piano sub-par at the time. He performed the song live on the roof of Buckingham Palace for the Queen's Golden Jubilee in 2002. May has stated that he performed the song on the roof of Buckingham Palace as a homage to Jimi Hendrix's version of "The Star-Spangled Banner".
"Bohemian Rhapsody"
"Bohemian Rhapsody" was written by Mercury with the first guitar solo composed by May. All piano, bass and drum parts, as well as the vocal arrangements, were thought up by Mercury on a daily basis and written down "in blocks" (using note names instead of sheets) on a phonebook. During the recording, the song became affectionately known as "Fred's Thing" to the band, and the title only emerged during the final sessions. The other members recorded their respective instruments with no concept of how their tracks would be utilised in the final mix.
The operatic section was originally intended to be only a short interlude of "Galileos" that connected the ballad and hard rock portions of the song. The interlude is full of "obscure classical characters: Scaramouche, a clown from the Commedia dell'arte; astronomer Galileo; Figaro, the principal character in Beaumarchais' The Barber of Seville and The Marriage of Figaro; and Beelzebub, identified in the Christian New Testament as Satan, Prince of Demons, but in Arabic as "Lord of the Flies". Also in Arabic the word Bismillah', which is a noun from a phrase in the Qur'an; "Bismi-llahi r-rahmani r-rahiim", meaning "In the name of God, most gracious, most merciful".
Despite being twice as long as the average single in 1975 and garnering mixed critical reviews initially, the song became immensely popular, topping charts worldwide (where it remained for a then unprecedented nine weeks in the UK) and is widely regarded as one of the greatest songs in music history. The song was rereleased as a double A-side to "These Are the Days of Our Lives" on 5 September 1991, Mercury's 45th birthday, in the US and on 9 December 1991, after Mercury's death, in the UK.
Release
The album title was inspired by the Marx Brothers film of the same name, which the band had watched during recording sessions. Subsequently, they became good friends with the film's star Groucho Marx, to the point where Marx sent the band a letter praising their 1976 album A Day at the Races. Marx also invited Queen to visit him at his Los Angeles home in March 1977 (five months before he died). The band thanked him, and performed "'39" a cappella. The cover artwork features the band's logo, which was designed by Mercury, on a white background. The band's next album, A Day at the Races, featured a similar design but on a black background.
"Bohemian Rhapsody" was released as the lead single on 31 October 1975, with "I'm in Love with My Car" as its B-side. Their management initially refused to release it; however, Kenny Everett played a copy of the song on his show 14 times, at which point audience demand for the song intensified and the band's label EMI was forced to release it. It subsequently topped the UK charts for nine weeks and peaked at number nine in the US. A second single, "You're My Best Friend" was released on 18 May 1976, with "'39" as its B-side. It reached number sixteen in the US and number seven in the UK.
The album was completed a week before the group were to embark on their A Night at the Opera Tour in support of the album. This resulted in a 36-hour mixing session, as the group wanted to have time to rehearse their setlist before touring. Due to time constraints, the group only had three and a half days to rehearse, at Elstree, with four hours taken off to shoot the music video for "Bohemian Rhapsody". The tour spanned 1975 and 1976, and covered the UK, the US, Japan, and Australia.
Re-releases
The album was first re-released in the U.S. by Hollywood Records on 3 September 1991 with two bonus remixes, as part of a complete re-release of all Queen albums.
On 30 April 2002, the album was again re-released on DVD-Audio with a 96 kHz/24bit Linear PCM stereo mix and a 5.1-channel mix in DTS 96/24 surround sound for standard DVD-Video players and 96 kHz/24bit MLP surround sound for DVD-Audio capable machines. It also includes the original 1975 video of Bohemian Rhapsody.
On 21 November 2005, it was once more re-released by Hollywood Records Catalogue Number 2061-62572-2 to celebrate the 30th anniversary of the album and its first single, "Bohemian Rhapsody". This release is accompanied by a DVD-Video disc with the same track listing featuring the original videos, old and new concert footage (including "'39" from the Queen + Paul Rodgers tour and Brian May on the roof of Buckingham Palace playing "God Save the Queen") and audio commentary by all four band members.
On 8 November 2010, record company Universal Music announced a remastered and expanded reissue of the album set for release in May 2011. This as part of a new record deal between Queen and Universal Music, which meant Queen's association with EMI Records came to an end after almost 40 years. According to Universal Music, all Queen albums were to be remastered and reissued in 2011. By September 2012 the reissue program was completed. Along with this came a 5.1 channel release of the album on Blu-ray Audio.
Reception
Contemporary critical reaction
A Night at the Opera was not reviewed by the majority of the UK music magazines when it came out because the band were remixing the album until the last moment, and consequently no preview discs or tapes were sent out to the media before the album was officially released. In Record Mirror & Disc, Ray Fox-Cumming attempted to review the album based on a single listening at the playback party held for the press, which he admitted "isn't really enough" to form a proper critical opinion. However, he described his first impressions of "an amazing rush of music with one track running helter-skelter into the next ... The orchestral effects, all done by voices, are dazzling but come and go too quickly to appreciate on a solo listening." Fox-Cumming stated that the album had three highlights – "Death on Two Legs", "The Prophet's Song" and "Bohemian Rhapsody" – and only one bad track, "Sweet Lady". He concluded that "as a whole, A Night at the Opera is faster, flashier and more complex than Sheer Heart Attack, but they haven't gone over the top".
On its release in the US four months later, Kris Nicholson of Rolling Stone said that although they share other heavy metal groups' penchant for "manipulating dynamics", Queen are an elite act in the genre and set themselves apart by incorporating "unlikely effects: acoustic piano, harp, a capella vocals, no synthesisers. Coupled with good songs." Robert Christgau, writing in The Village Voice, felt that the album "doesn't actually botch any of a half-dozen arty-to-heavy 'eclectic' modes ... and achieves a parodic tone often enough to suggest more than meets the ear. Maybe if they come up with a coherent masterwork I'll figure out what that more is." The Winnipeg Free Press wrote: "The group's potential is practically limitless, indicating that Queen is destined to finally take its place among the small handful of truly major acts working in rock today."
Melody Maker felt that "The overall impression is of musical range, power and consistently incisive lyrics. My hair is still standing on end - so if you like good music and don't mind looking silly, play this album." Sounds argued that "Queen have the ability to actualise and encompass the outer limits of their self-importance," while Grooves noted that "Sharp operatic interludes, abrupt rhythmic changes, A Night at the Opera defies convention and places Queen in that rarefied circle of genuine superstars." Tony Stewart of NME opined that "More than anything else, A Night at the Opera is a consolidation of the previous album's success, skillfully balancing artistry and effectology. Throughout the album, they display their individual songwriting abilities and musicianship to devastating effect...If it's the most expensive album ever made in a British studio, it's also arguably the best. God save 'em."
Legacy
In a retrospective review for AllMusic, Stephen Thomas Erlewine called the album "a self-consciously ridiculous and overblown hard rock masterpiece" and "prog rock with a sense of humour as well as dynamics". Erlewine felt that Queen "never bettered their approach anywhere else". Progressive rock historian Stephen Lambe has disputed that the album itself is progressive rock in his book Citizens of Hope and Glory: The Story of Progressive Rock. He wrote: "While far from progressive rock, it was the band's most grandiose and ambitious album yet, full of great songwriting and prog influences." He said the album was "a neat symbol of the furthest reach of the progressive rock movement".
In 1992, Mojo called the album "an imperial extravaganza, a cornucopia", and Queen "a band of hungrily competitive individualists on a big roll of friendship and delight". In 2004, Jason Warburg of the Daily Vault stated that the album "absolutely blew me away" and that "A Night at the Opera was the disc that would catapult Queen from British hitmakers to global superstars. As with many such landmark albums it became part milestone and part millstone, with every album that followed compared in some way or another to the musical and commercial success they achieved here. Be that as it may, the music is what counts – and it is simply amazing."
In 2003, Rolling Stone magazine ranked it at number 230 on its 500 Greatest Albums of All Time list, number 231 on its 2012 list, and number 128 on its 2020 list. According to Acclaimed Music, it is the 147th most celebrated album in popular music history.
In a 2006 review, Paul Rees of Q observed that although A Night at the Opera was "released the same year as both Bowie's arch soul pastiche Young Americans and the sleek art rock of Roxy's Siren, it has rarely been heralded as either. Yet it was, and is, every bit as brash, bold and full of the joys of its own possibilities." Feeling that Queen "never came close to bettering their fourth album", Rees concluded that "later albums would expose the lack of soul at the heart of Queen's music; they were all surface, no feeling. They elected themselves the great entertainers, and this heady rush of experimentation was not to be repeated. But A Night at the Opera remains glorious, monumental. It is British rock's greatest extravagance." In 2007, Chris Jones of BBC Music noted the diverse range of musical styles on the album, saying, "Sheer Heart Attack had hinted at a working knowledge of 19th century parlour balladry, 20s ragtime and Jimi Hendrix. A Night at the Opera was to add opera, trad jazz, heavy metal and more to the mix." He concluded that the album "remains their finest hour".
In 2011, digitally remastered versions of the earlier Queen albums were released, prompting another batch of reviews. Uncut said that the album "proved there was no limit to their capabilities" and concluded, "Containing not one but two monumental epics ('Bohemian Rhapsody', 'The Prophet's Song'), and gorging on grandiose gestures galore, A Night at the Opera secured itself instant classic status". Pitchforks Dominique Leone stated, "No punches pulled, no expense spared: A Night at the Opera was Queen at the top of the mountain". AJ Ramirez of PopMatters wrote, "Kicking off with the downright ominous high-drama of 'Death on Two Legs' (a retort against the group's recently deposed management where Mercury spits out venomous invectives at the targets of his ire), the album gives way to a kaleidoscope of styles, from 1920 jazz to space-folk narratives to top-of-the-line contemporary pop-rock. Amazingly, while the transitions between genres would conceivably throw listeners for a loop, none are jarring. Instead, Queen succeeds because it pulls from all the best tricks in the library of showbiz history to deliver laughs, heartache, grandeur, and spectacle to its audience at precisely the right moments." He observed that "it is the realization of such a unique sonic vision that pushes [the album] into the realm of true excellence ... A Night at the Opera stands as a breathtaking, involving creation, and unequivocally Queen's finest album."
Accolades
In 1977, "Bohemian Rhapsody" received two Grammy Award nominations for Best Pop Vocal Performance by a Duo, Group or Chorus and Best Arrangement for Voices.
Band comments
Track listing
All lead vocals by Freddie Mercury unless noted.
On the cassette, the positions of Seaside Rendezvous and Good Company were swapped to maintain a similar duration for each side.
Personnel
Track numbering refers to CD and digital releases of the album.
Queen
Freddie Mercury – lead vocals , backing vocals , piano , jangle piano
Brian May – electric guitar , backing vocals , acoustic guitar , lead vocals , koto , harp , ukulele
Roger Taylor – drums , backing vocals , percussion , lead vocals , additional electric guitar
John Deacon – bass guitar , electric piano , double bass
Production
Roy Thomas Baker – production
Mike Stone – engineering
Gary Lyons – engineering
John Harris – equipment supervision
David Costa – art direction
Rick Curtin and Brian Palmer – special thanks
John Reid – management
Charts
Weekly charts
Weekly charts (reissues)
Year-end charts
Certifications
Notes
References
Bibliography
External links
Queen official website: Discography: A Night at the Opera: includes lyrics of all non-bonus tracks.
1975 albums
Albums produced by Roy Thomas Baker
Albums recorded at Trident Studios
Cultural depictions of the Marx Brothers
Elektra Records albums
EMI Records albums
Hollywood Records albums
Parlophone albums
Queen (band) albums
Albums recorded at Rockfield Studios
Albums recorded at Olympic Sound Studios
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[
"Ten Songs by Adam Again is a 1988 album by rock band Adam Again, released on Broken Records, their second release.\n\nTrack listing\n \"Tree House\" (composed by G. Eugene and Steve Hindalong) (6:52)\n \"Beat Peculiar\" (composed by G. Eugene and Steve Hindalong) (8:19)\n \"Who Can Hold Us\" (composed by G. Eugene) (4:29) \n \"Babylon\" (Traditional) (1:45)\n \"I've Seen Dominoes\" (composed by G. Eugene) (6:15)\n \"Trouble With Lies\" (composed by G. Eugene) (5:16)\n \"Ain't No Sunshine\" (composed by Bill Withers) (2:38)\n \"Eyes Wide Open\" (composed by G. Eugene) (5:51)\n \"Every Word I Say\" (composed by G. Eugene) (5:46)\n \"The Tenth Song\" (composed by G. Eugene) (5:47)\n\nProduction notes\n Produced by Gene Eugene\n\nReferences\n\n1988 albums\nAdam Again albums\nBroken Records (record label) albums",
"In Response is the third and final studio album by Philadelphia post-hardcore band This Day Forward.\n\nTrack listing\n White Picket Defense System (3:22) \nComposed by: Frangicetto, This Day Forward \n One and One (4:01) \nComposed by: Frangicetto, This Day Forward \n The Breath (4:36) \nComposed by: Frangicetto, Shaw, This Day Forward \n In the Past ... On the Ground (4:13) \nComposed by: Frangicetto, Shaw, This Day Forward \n Euphio Question (2:18) \nComposed by: Shaw, This Day Forward\n Fragile Version (4:18) \nComposed by: Frangicetto, This Day Forward \n The Red Room (2:16)\nComposed by Shaw, This Day Forward \n Abandon the Abbreviated World (3:42) \nComposed by: Frangicetto, Shaw, This Day Forward \n Nouveau (4:18) \nComposed by: Frangicetto, This Day Forward \n Voice (5:09)\nComposed by: Frangicetto, Shaw, This Day Forward \n Seven (3:51) \nComposed by: This Day Forward \nPerformed by: Vadim Taver\n\nMusicians who played on the album\nBrendan Ekstrom - Guitar\nColin Frangicetto - Drums\nGary Shaw - Bass\nMike Shaw - Vocals\nVadim Taver - Guitar, Wurlitzer, Vocals\n\n2003 albums\nThis Day Forward albums\nEqual Vision Records albums"
] |
[
"New York Dolls",
"Formation"
] |
C_3bc51535ed1f422e8c4fb50b887db0ed_1
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How did the New York Dolls get together?
| 1 |
How did the New York Dolls get together?
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New York Dolls
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Sylvain Sylvain and Billy Murcia, who went to junior high school and high school together, started playing in a band called "the Pox" in 1967. After the frontman quit, Murcia and Sylvain started a clothing business called Truth and Soul and Sylvain took a job at A Different Drummer, a men's boutique that was across the street from the New York Doll Hospital, a doll repair shop. Sylvain said that the shop inspired the name for their future band. In 1970 they formed a band again and recruited Johnny Thunders to join on bass, though Sylvain ended up teaching him to play guitar. They called themselves the Dolls. When Sylvain left the band to spend a few months in London, Thunders and Murcia went their separate ways. Thunders was eventually recruited by Kane and Rick Rivets, who had been playing together in the Bronx. At Thunders' suggestion, Murcia replaced the original drummer. Thunders played lead guitar and sang for the band Actress. An October 1971 rehearsal tape recorded by Rivets was released as Dawn of the Dolls. When Thunders decided that he no longer wanted to be the front man, David Johansen joined the band. Initially, the group was composed of singer David Johansen, guitarists Johnny Thunders and Rick Rivets (who was replaced by Sylvain Sylvain after a few months), bass guitarist Arthur "Killer" Kane and drummer Billy Murcia. The original lineup's first performance was on Christmas Eve 1971 at a homeless shelter, the Endicott Hotel. After getting a manager and attracting some music industry interest, the New York Dolls got a break when Rod Stewart invited them to open for him at a London concert. CANNOTANSWER
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In 1970 they formed a band again and recruited Johnny Thunders to join on bass, though Sylvain ended up teaching him to play guitar. They called themselves the Dolls.
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The New York Dolls were an American rock band formed in New York City in 1971. Along with The Velvet Underground, MC5, The Stooges, and The Modern Lovers, they were one of the bands later credited as proto-punk, early influences on what would only later be known as punk rock. Although the band never achieved much commercial success and their original line-up fell apart quickly, the band's first two albums—New York Dolls (1973) and Too Much Too Soon (1974)—became among the most popular cult records in rock. The line-up at this time comprised vocalist David Johansen, guitarist Johnny Thunders, bassist Arthur Kane, guitarist and pianist Sylvain Sylvain and drummer Jerry Nolan; the latter two had replaced Rick Rivets and Billy Murcia, respectively, in 1972. On stage, they donned an androgynous wardrobe, wearing high heels, eccentric hats, satin, makeup, spandex, and dresses. Nolan described the group in 1974 as "the Dead End Kids of today". After Thunders, Nolan and Kane all left in spring 1975, Johansen and Sylvain continued the band with other musicians until the end of 1976.
According to the Encyclopedia of Popular Music (1995), the New York Dolls predated the punk and glam metal movements and were "one of the most influential rock bands of the last 20 years". They influenced rock groups such as the Sex Pistols, Kiss, the Ramones, Guns N' Roses, the Damned, and the Smiths, whose frontman Morrissey organized a reunion show for the New York Dolls' surviving members, being Johansen and Sylvain, in 2004. After reuniting, they recruited new musicians to tour and record. They released three more albums—One Day It Will Please Us to Remember Even This (2006), Cause I Sez So (2009) and Dancing Backward in High Heels (2011). Following a 2011 British tour with Alice Cooper, the band once again disbanded.
History
Formation
Sylvain Sylvain and Billy Murcia, who went to junior high school and high school together, started playing in a band called "the Pox" in 1967. After the frontman quit, Murcia and Sylvain started a clothing business called Truth and Soul and Sylvain took a job at A Different Drummer, a men's boutique that was across the street from the New York Doll Hospital, a doll repair shop. Sylvain said that the shop inspired the name for their future band. In 1970 they formed a band again and recruited Johnny Thunders to join on bass, though Sylvain ended up teaching him to play guitar. They called themselves the Dolls. When Sylvain left the band to spend a few months in London, Thunders and Murcia went their separate ways.
Thunders was eventually recruited by Kane and Rick Rivets, who had been playing together in the Bronx. At Thunders' suggestion, Murcia replaced the original drummer. Thunders played lead guitar and sang for the band Actress. An October 1971 rehearsal tape recorded by Rivets was released as Dawn of the Dolls. When Thunders decided that he no longer wanted to be the front man, David Johansen joined the band. Initially, the group was composed of singer David Johansen, guitarists Johnny Thunders and Rick Rivets (who was replaced by Sylvain Sylvain after a few months), bass guitarist Arthur "Killer" Kane and drummer Billy Murcia.
The original line-up's first performance was on Christmas Eve 1971 at a homeless shelter, the Endicott Hotel. After getting a manager and attracting some music industry interest, the New York Dolls got a break when Rod Stewart invited them to open for him at a London concert.
In the band's early days, the New York Dolls performed at the Mercer Art Center, where Ruby and the Rednecks opened for and were influenced by them.
Billy Murcia's death
While on a brief tour of England in 1972, Murcia was invited to a party, where he passed out from an accidental overdose. He was put in a bathtub and force-fed coffee in an attempt to revive him. Instead, it resulted in asphyxiation. He was found dead on the morning of November 6, 1972, at the age of 21.
Record deal: 1972–1975
Once back in New York, the Dolls auditioned drummers, including Marc Bell (who was to go on to play with Richard Hell, and with the Ramones under the stage name "Marky Ramone"), Peter Criscuola (better known as Peter Criss, the original and former drummer of Kiss), and Jerry Nolan, a friend of the band. They selected Nolan, and after US Mercury Records' A&R man Paul Nelson signed them, they began sessions for their debut album. In 1972, the band took on Marty Thau as manager.
New York Dolls was produced by singer-songwriter, musician and solo artist Todd Rundgren. In an interview in Creem magazine, Rundgren says he barely touched the recording; everybody was debating how to do the mix. Sales were sluggish, especially in the middle US, and a Stereo Review magazine reviewer in 1973 compared the Dolls' guitar playing to the sound of lawnmowers. America's mass rock audience's reaction to the Dolls was mixed. In a Creem magazine poll, they were elected both best and worst new group of 1973. The Dolls also toured Europe, and, while appearing on UK television, host Bob Harris of the BBC's Old Grey Whistle Test derided the group as "mock rock," comparing them unfavorably to the Rolling Stones.
For their next album, Too Much Too Soon, the quintet hired producer George "Shadow" Morton, whose productions for the Shangri-Las and other girl-groups in the mid-1960s had been among the band's favorites. Mercury dropped the Dolls on 7 October 1975, their contract with Mercury having expired on 8 August 1975 - five months after Thunders' and Nolan's departures from the band.
Dissolution: 1975–1976
By 1975, the Dolls were playing smaller venues than they had been previously. Drug and alcohol abuse by Thunders, Nolan, and Kane, as well as artistic differences added to the tensions among members. In late February or early March, Malcolm McLaren became their informal manager. He got the band red leather outfits to wear on stage and a communist flag as backdrop. The Dolls did a five-concert tour of New York's five boroughs, supported by Television and Pure Hell. The Little Hippodrome (Manhattan) show was recorded and released by Fan Club records in 1982 as Red Patent Leather. It was originally a bootleg album that was later remixed by Sylvain, with former manager Marty Thau credited as executive producer. Due to Kane being unable to play that night, roadie Peter Jordan played bass, though he was credited as having played "second bass". Jordan filled in for Kane when he was too inebriated to play.
In March and April, McLaren took the band on a tour of South Carolina and Florida. Jordan replaced Kane for most of those shows. Thunders and Nolan left after an argument. Blackie Lawless, who later founded W.A.S.P., replaced Thunders for the remainder of the tour after which the band broke up.
The band reformed in July for an August tour in Japan with Jeff Beck and Felix Pappalardi. Johansen, Sylvain and Jordan were joined by former Elephant's Memory keyboardist Chris Robison and drummer Tony Machine. One of the shows was documented on the album Tokyo Dolls Live (Fan Club/New Rose). The material is similar to that on Red Patent Leather, but notable for a radically re-arranged "Frankenstein" and a cover of Big Joe Turner's "Flip Flop Fly." The album is undated and has no production credit, but was issued circa 1986.
After their return to New York, the Dolls resumed playing shows in the US and Canada. Their show at the Beacon Theater, on New Year's Eve, 1975 met with great critical acclaim. After a drunken argument with Sylvain, Robison was fired and replaced by pianist/keyboardist Bobbie Blaine. The group toured throughout 1976, performing a set including some songs with lyrics by David Johansen that would later appear on David Johansen's solo albums including "Funky But Chic", "Frenchette" and "Wreckless Crazy.” The group played its last show December 30, 1976 at Max's Kansas City; on the same bill as Blondie.
Individual endeavors: 1975–2004
Shortly after returning from Florida, Thunders and Nolan formed The Heartbreakers with bassist Richard Hell, who had left Television the same week that they quit the Dolls. Thunders later pursued a solo career. He died in New Orleans in 1991, allegedly of an overdose of both heroin and methadone. It also came to light that he suffered from t-cell leukemia. Nolan died in 1992 following a stroke, brought about by bacterial meningitis. In 1976, Kane and Blackie Lawless formed the Killer Kane Band in Los Angeles. Immediately after the New York Dolls' second breakup, Johansen began a solo career. By the late 1980s, he achieved moderate success under the pseudonym, Buster Poindexter. Sylvain formed The Criminals, a popular band at CBGB.
A posthumous New York Dolls album, Lipstick Killers, made up of early demo tapes of the original Dolls (with Billy Murcia on drums), was released in a cassette-only edition on ROIR Records in 1981, and subsequently re-released on CD, and then on vinyl in early 2006. All the tracks from this title – sometimes referred to as The Mercer Street Sessions (though actually recorded at Blue Rock Studio, New York) – are included on the CD Private World, along with other tracks recorded elsewhere, including a previously unreleased Dolls original, "Endless Party." Three more unreleased studio tracks, including another previously unreleased Dolls original, "Lone Star Queen," are included on the Rock 'n' Roll album. The other two are covers: the "Courageous Cat" theme, from the original Courageous Cat cartoon series; and a second attempt at "Don't Mess With Cupid," a song written by Steve Cropper and Eddie Floyd for Otis Redding, and first recorded independently for what was later to become the Mercer Street/Blue Rock Sessions.
Sylvain formed his own band, The Criminals, then cut a solo album for RCA, while also working with Johansen. He later became a taxicab driver in New York.
Johansen, meanwhile, formed the David Johansen Group, and released an eponymous LP in 1978, recorded at the Bottom Line in NYC’s Greenwich Village,featuring Sylvain Mizrahi and Johnny Thunders as guest musicians.
In May, 1978, he also released “David Johansen,” on Blue Sky Records, a label created by Steve Paul, formerly of The Scene. Johansen continued to tour with his solo project and released four more albums, In Style, 1979; Here Comes the Night, 1981; Live it Up, 1982; and Sweet Revenge, 1984.
During the later 1980's, Johansen, ever-evolving, decided to try to liberate himself from the expectations of his New York Dolls perceived persona, and, on a whim, created the persona Buster Poindexter.
The success of this act led him to be invited to appear in multiple films: Scrooged, Freejack, and Let it Ride, among others.
He also formed a band called David Johansen and the Harry Smiths, named after the eccentric ethnomusicologist, performing jump blues, Delta blues, and some original songs.
During this period, in the early 1990s, Sylvain moved to Los Angeles and recorded one album Sleep Baby Doll, on Fishhead Records. His band, for that record, consisted of Brian Keats on drums, Dave Vanian's Phantom Chords, Speediejohn Carlucci (who had played with the Fuzztones), and Olivier Le Baron on lead guitar. Guest appearances by Frank Infante of Blondie and Derwood Andrews of Generation X were also included on the record. It has been re-released as New York A Go Go,.
Reunion, return to recording, second dissolution: 2004–11, and death of Sylvain
Morrissey, having been a longtime fan of the band and head of their 1970s UK fan club, organized a reunion of the three surviving members of the band's classic line-up (Johansen, Sylvain and Kane) for the Meltdown Festival in London on June 16, 2004. The reunion led to a live LP and DVD on Morrissey's Attack label, as well as a documentary film, New York Doll, on the life of Arthur Kane. However, future plans for the Dolls were affected by Kane's sudden death from leukemia just one month later on July 13, 2004. Yet the following month the band appeared at Little Steven’s Underground Garage Festival on August 14 in New York City before returning to the UK to play several more festivals through the remainder of 2004.
In July 2005, the two surviving members announced a tour and a new album entitled One Day It Will Please Us to Remember Even This. Released on July 25, 2006, the album featured guitarist Steve Conte, bassist Sami Yaffa (ex-Hanoi Rocks), drummer Brian Delaney and keyboardist Brian Koonin, formerly a member of David Johansen and the Harry Smiths. On July 20, 2006, the New York Dolls appeared on Late Night with Conan O'Brien, followed by a live performance in Philadelphia at the WXPN All About The Music Festival, and on July 22, 2006, a taped appearance on The Henry Rollins Show. On August 18, 2006, the band performed in a free concert at New York's Seaport Music.
In October 2006, the band embarked on a UK tour, with Sylvain taking time while in Glasgow to speak to John Kilbride of STV. The discussion covered the band's history and the current state of their live show and songwriting, with Sylvain commenting that "even if you come to our show thinking 'how can it be like it was before,' we turn that around 'cos we've got such a great live rock 'n roll show". In November 2006, the Dolls began headlining "Little Steven's Underground Garage Presents the Rolling Rock and Roll Show," about 20 live gigs with numerous other bands. In April 2007, the band played in Australia and New Zealand, appearing at the V Festival with Pixies, Pet Shop Boys, Gnarls Barkley, Beck, Jarvis Cocker and Phoenix.
On September 22, 2007, New York Dolls were removed from the current artists section of Roadrunner Records' website, signifying the group's split with the label. The band played the O2 Wireless Festival in Hyde Park, London on July 4, 2008, with Morrissey and Beck and the Lounge On The Farm Festival on July 12, 2008. On November 14, 2008, it was announced that the producer of their first album, Todd Rundgren, would be producing a new album, which would be followed by a world tour. The finishing touches on the album were made in Rundgren's studio on the island of Kauai. The album, Cause I Sez So, was released on May 5, 2009 on Atco Records.
The band played at South by Southwest in Austin, Texas on March 21, 2009, and a show at London's 100 Club on May 14, 2009 supported by Spizzenergi.
On March 18, 2010, the band announced another two concert dates at KOKO in Camden, London and the Academy in Dublin on April 20. In December 2010, it was announced the band would release their fifth album which had been recorded in Newcastle upon Tyne. The album, Dancing Backward in High Heels, featuring new guitarist Frank Infante (formerly of Blondie) was released on March 15, 2011.
On March 1, 2011, it was announced the New York Dolls would be the opening act for a summer tour featuring Mötley Crüe and Poison. They announced a new lineup for the tour, featuring guitarist Earl Slick, who held previous stints with David Bowie and John Lennon, bassist Kenny Aaronson, who had toured with Bob Dylan, and drummer Jason Sutter, formerly of Foreigner.
In a 2016 interview, Earl Slick confirmed the band was over. "Oh, yeah, it's long gone. There was no point in doing it anymore and it was kinda spent. You know, David really does enjoy the Buster thing. He's so good at it. I've seen him do it a couple of times this last year, and man! He's got it down, you know."
Sylvain Sylvain died on January 13, 2021, at age 69, leaving David Johansen as the last surviving original member of the band.
Musical style
According to AllMusic editor Stephen Thomas Erlewine, the New York Dolls developed an original style of hard rock that presaged both punk rock and heavy metal music, and drew on elements such as the "dirty rock & roll" of the Rolling Stones, the "anarchic noise" of the Stooges, the glam rock of David Bowie and T. Rex, and girl group pop music. Erlewine credited the band for creating punk rock "before there was a term for it." Ken Tucker, who referred to them as a proto-punk band, wrote that they were strongly influenced by the "New York sensibility" of Lou Reed: "The mean wisecracks and impassioned cynicism that informed the Dolls' songs represented an attitude that Reed's work with the Velvet Underground embodied, as did the Dolls' distinct lack of musicianship."
When they began performing, four of the band's five members wore Spandex and platform boots, while Johansen—the band's lyricist and "conceptmaster"— often preferred high heels and a dress occasionally. Fashion historian Valerie Steele said that, while the majority of the punk scene pursued an understated "street look", the New York Dolls followed an English glam rock "look of androgyny—leather and knee-length boots, chest hair, and bleach". According to James McNair of The Independent, "when they began pedalling their trashy glam-punk around lower Manhattan in 1971, they were more burlesque act than band; a bunch of lipsticked, gutter chic-endorsing cross-dressers". Music journalist Nick Kent argued that the New York Dolls were "quintessential glam rockers" because of their flamboyant fashion, while their technical shortcomings as musicians and Johnny Thunders' "trouble-prone presence" gave them a punk-rock reputation.
By contrast, Robert Christgau preferred for them to not be categorized as a glam rock band, but instead as "the best hard-rock band since the Rolling Stones". Robert Hilburn, writing for the Los Angeles Times, said that the band exhibited a strong influence from the Rolling Stones, but had distinguished themselves by Too Much Too Soon (1974) as "a much more independent, original force" because of their "definite touch of the humor and carefreeness of early (ie. mid-1950s) rock". Simon Reynolds felt that, by their 2009 album Cause I Sez So, the band exhibited the sound "not of the sloppy, rambunctious Dolls of punk mythology but of a tight, lean hard-rock band."
Band members
Former members
David Johansen – vocals, harmonica (1971–1976, 2004–2011)
Sylvain Sylvain – guitar, bass, piano (1971–1976, 2004–2011; died 2021)
Arthur Kane – bass guitar (1971–1975, 2004; died 2004)
Johnny Thunders - guitar, vocals (1971-1975; died 1991)
Billy Murcia – drums (1971–1972; died 1972)
Rick Rivets – guitar (1971; died 2019)
Jerry Nolan – drums (1972–1975; died 1992)
Peter Jordan – bass (1975–1976)
Tony Machine – drums (1975–1976)
Blackie Lawless – guitar (1975)
Chris Robison – keyboards (1975)
Bobby Blaine – keyboards (1976)
Steve Conte – guitar, vocals (2004–2010)
John Conte – bass (2004)
Gary Powell – drums (2004)
Brian Delaney– drums (2005–2011)
Sami Yaffa – bass (2005–2010)
Brian Koonin – keyboards (2005–2006)
Aaron Lee Tasjan - guitar (2008-2009)
Frank Infante – guitar (2010–2011)
Jason Hill – bass (2010–2011)
Jason Sutter – drums (2011)
Kenny Aaronson – bass (2011)
Earl Slick – guitar (2011)
Claton Pitcher – guitar (2011)
Timeline
Discography
Studio albums
Chart placings shown are from the Billboard 200 US Albums chart.
New York Dolls (1973 US:#116)
Too Much Too Soon (1974 US:#167) in UK:#165
One Day It Will Please Us to Remember Even This (2006 US:#129)
Cause I Sez So (2009 US:#159)
Dancing Backward in High Heels (2011)
Demo albums
Lipstick Killers – The Mercer Street Sessions 1972 (1981)
Seven Day Weekend (1992)
Actress – "Birth of the New York Dolls" (2000)
Endless Party (2000)
Private World - The Complete Early Studio Demos 1972–1973 (2006)
Live albums
Red Patent Leather (1984)
Paris Le Trash (1993)
Live In Concert, Paris 1974 (1998)
The Glamorous Life Live (1999)
From Paris with Love (L.U.V.) (2002)
Morrissey Presents: The Return Of New York Dolls Live From Royal Festival Hall (2004)
Live At the Filmore East (2008)
Viva Le Trash '74 (2009)
French Kiss '74 (2013)
Compilation albums
New York Dolls / Too Much Too Soon (1977)
Very Best of New York Dolls (1977)
Night of the Living Dolls (1985)
The Best of the New York Dolls (1985)
Super Best Collection (1990)
Rock'n Roll (1994)
Hootchie Kootchie Dolls (1998)
The Glam Rock Hits (1999)
Actress: Birth of The New York Dolls (2000)
Endless Party (2000)
New York Tapes 72/73 (2000)
Great Big Kiss (reissue of Seven Day Weekend and Red Patent Leather, 2002)
Looking For A Kiss (2003)
Manhattan Mayhem (2003)
20th Century Masters – the Millennium collection: the best of New York Dolls (2003)
Singles
"Personality Crisis" / "Looking for a Kiss" (1973)
"Trash" / "Personality Crisis" (1973)
"Jet Boy" / "Vietnamese Baby" (1973)
"Stranded in the Jungle" / "Don't Start Me Talkin'" (1974)
"(There's Gonna Be A) Showdown" / "Puss 'n' Boots" (1974)
"Jet Boy" // "Babylon" / "Who Are the Mystery Girls" (1977, UK)
"Bad Girl" / "Subway Train" (1978, Germany)
"Gimme Luv and Turn On the Light" (2006)
"Fool for You Baby" (2011)
"Dolled UP" (2014)
References
External links
"Private World: New York Dolls Manager Marty Thau on His Days with the Band" - Interview in Rocker Magazine 2012
1971 establishments in New York City
2011 disestablishments in New York (state)
Hard rock musical groups from New York (state)
American glam rock musical groups
Protopunk groups
Punk rock groups from New York (state)
Musical groups from New York City
Mercury Records artists
Musical groups established in 1971
Musical groups disestablished in 1976
Musical groups reestablished in 2004
Musical groups disestablished in 2011
Atco Records artists
| true |
[
"Dancing Backward in High Heels is the fifth and final studio album by the New York Dolls, and the third since their 2004 reunion. Released on March 15, 2011, on 429 Records, it contains covers of the 1946 Leon René standard \"I Sold My Heart to the Junkman,\" and \"Funky But Chic,\" originally from David Johansen's 1978 self titled album.\n\nThe title is a reference to actress Ginger Rogers. In a 1982 Frank and Ernest cartoon by Bob Thaves,(image) a woman is telling Frank and Ernest \"Sure (Fred Astaire) was great, but don't forget that Ginger Rogers did everything he did, ...backwards and in high heels.\"\n\nPersonnel\nDancing Backward in High Heels was produced by Jason Hill, who also replaced Sami Yaffa as Dolls bassist on this album. Also joining Johansen and Sylvain Sylvain, the only original members of the New York Dolls still living, are drummer Brian Delaney, who has been with the Dolls since their 2004 reunion, and former Blondie guitarist Frank Infante.\n\nNew York Dolls\nDavid Johansen – lead vocals, harmonica\nSylvain Sylvain – guitar, vocals\nFrank Infante – guitar\nJason Hill - bass, vocals\nBrian Delaney - drums\n\nTrack listing\n\nReferences\n\n2011 albums\nNew York Dolls albums\n429 Records albums",
"Live It Up, released in 1982, was the first live album released by David Johansen as a solo artist. Johansen did release a limited and promotional live album, The David Johansen Group Live in 1978, but the album was not officially released until 1993. Additionally, by the time Live It Up was released, various bootlegs of Johansen's first band, the New York Dolls, were being heavily traded (an official live album would eventually be released in 1984). The impact of the New York Dolls, as both an influential band and as a live act, was becoming a legend in the late-1970s and early-1980s when Johansen was trying to start his solo career. However, his three previous solo albums were not selling as well as expected, therefore, Johansen turned to touring and selling his stage show.\n\nOn Live It Up, Johansen performs The Foundations' classic, \"Build Me Up Buttercup\", the Cadets' \"Stranded in the Jungle\" (which was also covered by the New York Dolls) and an Animals medley, which included \"We Gotta Get Out of This Place\", \"Don't Bring Me Down\" and \"It's My Life\".\n\nThe only New York Dolls original recording he performs is \"Personality Crisis\". The Johansen/Sylvain compositions “Funky But Chic” and “Frenchette”, which appeared on Johansen’s solo debut, had been performed by the band in its last original phase; the latter would later be recorded by the reformed Dolls while Sylvain would release \"Frenchette\" on his album New York's a Go Go.\n\nTrack listing\n\"We Gotta Get Out of This Place/Don't Bring Me Down/It's My Life\" (Barry Mann, Cynthia Weil/Carole King, Gerry Goffin/Roger Atkins, Carl D'Errico) (4:23) \n\"Frenchette\" (Johansen, Sylvain Sylvain) (4:53) \n\"Reach Out (I'll Be There)\" (Holland–Dozier–Holland) (3:24) \n\"Is This What I Get for Loving You\" (Carole King, Gerry Goffin, Phil Spector) (3:14) \n\"Donna\" (Johansen) (4:25) \n\"Build Me Up Buttercup\" (Mike d'Abo, Tony Macaulay) (2:43) \n\"Melody\" (Johansen, Ronnie Guy) (3:04) \n\"Funky But Chic\" (Johansen, Sylvain Sylvain) (3:51) \n\"Bohemian Love Pad\" (Johansen, Sylvain) (2:54) \n\"Stranded in the Jungle\" (Ernestine Smith, James Johnson) (3:56) \n\"Personality Crisis\" (Johansen, Johnny Thunders) (4:49)\n\nPersonnel\nDavid Johansen - vocals\nSteven Paul - director\nCharlie Giordano - keyboards\nHuw Gower - guitar, backing vocals\nTony Machine - drums, percussion\nBrett Cartwright - bass, backing vocals\nDavid Nelson - guitar, backing vocals\nTechnical\nRon Nevison - producer, engineer\nKate Simon, David Gahr - photography\n\nDavid Johansen albums\nAlbums produced by Ron Nevison\n1982 live albums\nBlue Sky Records live albums"
] |
[
"New York Dolls",
"Formation",
"How did the New York Dolls get together?",
"In 1970 they formed a band again and recruited Johnny Thunders to join on bass, though Sylvain ended up teaching him to play guitar. They called themselves the Dolls."
] |
C_3bc51535ed1f422e8c4fb50b887db0ed_1
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How did they come up with the name "the New York Dolls?"
| 2 |
How did the New York Dolls come up with their name?
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New York Dolls
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Sylvain Sylvain and Billy Murcia, who went to junior high school and high school together, started playing in a band called "the Pox" in 1967. After the frontman quit, Murcia and Sylvain started a clothing business called Truth and Soul and Sylvain took a job at A Different Drummer, a men's boutique that was across the street from the New York Doll Hospital, a doll repair shop. Sylvain said that the shop inspired the name for their future band. In 1970 they formed a band again and recruited Johnny Thunders to join on bass, though Sylvain ended up teaching him to play guitar. They called themselves the Dolls. When Sylvain left the band to spend a few months in London, Thunders and Murcia went their separate ways. Thunders was eventually recruited by Kane and Rick Rivets, who had been playing together in the Bronx. At Thunders' suggestion, Murcia replaced the original drummer. Thunders played lead guitar and sang for the band Actress. An October 1971 rehearsal tape recorded by Rivets was released as Dawn of the Dolls. When Thunders decided that he no longer wanted to be the front man, David Johansen joined the band. Initially, the group was composed of singer David Johansen, guitarists Johnny Thunders and Rick Rivets (who was replaced by Sylvain Sylvain after a few months), bass guitarist Arthur "Killer" Kane and drummer Billy Murcia. The original lineup's first performance was on Christmas Eve 1971 at a homeless shelter, the Endicott Hotel. After getting a manager and attracting some music industry interest, the New York Dolls got a break when Rod Stewart invited them to open for him at a London concert. CANNOTANSWER
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across the street from the New York Doll Hospital, a doll repair shop. Sylvain said that the shop inspired the name for their future band.
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The New York Dolls were an American rock band formed in New York City in 1971. Along with The Velvet Underground, MC5, The Stooges, and The Modern Lovers, they were one of the bands later credited as proto-punk, early influences on what would only later be known as punk rock. Although the band never achieved much commercial success and their original line-up fell apart quickly, the band's first two albums—New York Dolls (1973) and Too Much Too Soon (1974)—became among the most popular cult records in rock. The line-up at this time comprised vocalist David Johansen, guitarist Johnny Thunders, bassist Arthur Kane, guitarist and pianist Sylvain Sylvain and drummer Jerry Nolan; the latter two had replaced Rick Rivets and Billy Murcia, respectively, in 1972. On stage, they donned an androgynous wardrobe, wearing high heels, eccentric hats, satin, makeup, spandex, and dresses. Nolan described the group in 1974 as "the Dead End Kids of today". After Thunders, Nolan and Kane all left in spring 1975, Johansen and Sylvain continued the band with other musicians until the end of 1976.
According to the Encyclopedia of Popular Music (1995), the New York Dolls predated the punk and glam metal movements and were "one of the most influential rock bands of the last 20 years". They influenced rock groups such as the Sex Pistols, Kiss, the Ramones, Guns N' Roses, the Damned, and the Smiths, whose frontman Morrissey organized a reunion show for the New York Dolls' surviving members, being Johansen and Sylvain, in 2004. After reuniting, they recruited new musicians to tour and record. They released three more albums—One Day It Will Please Us to Remember Even This (2006), Cause I Sez So (2009) and Dancing Backward in High Heels (2011). Following a 2011 British tour with Alice Cooper, the band once again disbanded.
History
Formation
Sylvain Sylvain and Billy Murcia, who went to junior high school and high school together, started playing in a band called "the Pox" in 1967. After the frontman quit, Murcia and Sylvain started a clothing business called Truth and Soul and Sylvain took a job at A Different Drummer, a men's boutique that was across the street from the New York Doll Hospital, a doll repair shop. Sylvain said that the shop inspired the name for their future band. In 1970 they formed a band again and recruited Johnny Thunders to join on bass, though Sylvain ended up teaching him to play guitar. They called themselves the Dolls. When Sylvain left the band to spend a few months in London, Thunders and Murcia went their separate ways.
Thunders was eventually recruited by Kane and Rick Rivets, who had been playing together in the Bronx. At Thunders' suggestion, Murcia replaced the original drummer. Thunders played lead guitar and sang for the band Actress. An October 1971 rehearsal tape recorded by Rivets was released as Dawn of the Dolls. When Thunders decided that he no longer wanted to be the front man, David Johansen joined the band. Initially, the group was composed of singer David Johansen, guitarists Johnny Thunders and Rick Rivets (who was replaced by Sylvain Sylvain after a few months), bass guitarist Arthur "Killer" Kane and drummer Billy Murcia.
The original line-up's first performance was on Christmas Eve 1971 at a homeless shelter, the Endicott Hotel. After getting a manager and attracting some music industry interest, the New York Dolls got a break when Rod Stewart invited them to open for him at a London concert.
In the band's early days, the New York Dolls performed at the Mercer Art Center, where Ruby and the Rednecks opened for and were influenced by them.
Billy Murcia's death
While on a brief tour of England in 1972, Murcia was invited to a party, where he passed out from an accidental overdose. He was put in a bathtub and force-fed coffee in an attempt to revive him. Instead, it resulted in asphyxiation. He was found dead on the morning of November 6, 1972, at the age of 21.
Record deal: 1972–1975
Once back in New York, the Dolls auditioned drummers, including Marc Bell (who was to go on to play with Richard Hell, and with the Ramones under the stage name "Marky Ramone"), Peter Criscuola (better known as Peter Criss, the original and former drummer of Kiss), and Jerry Nolan, a friend of the band. They selected Nolan, and after US Mercury Records' A&R man Paul Nelson signed them, they began sessions for their debut album. In 1972, the band took on Marty Thau as manager.
New York Dolls was produced by singer-songwriter, musician and solo artist Todd Rundgren. In an interview in Creem magazine, Rundgren says he barely touched the recording; everybody was debating how to do the mix. Sales were sluggish, especially in the middle US, and a Stereo Review magazine reviewer in 1973 compared the Dolls' guitar playing to the sound of lawnmowers. America's mass rock audience's reaction to the Dolls was mixed. In a Creem magazine poll, they were elected both best and worst new group of 1973. The Dolls also toured Europe, and, while appearing on UK television, host Bob Harris of the BBC's Old Grey Whistle Test derided the group as "mock rock," comparing them unfavorably to the Rolling Stones.
For their next album, Too Much Too Soon, the quintet hired producer George "Shadow" Morton, whose productions for the Shangri-Las and other girl-groups in the mid-1960s had been among the band's favorites. Mercury dropped the Dolls on 7 October 1975, their contract with Mercury having expired on 8 August 1975 - five months after Thunders' and Nolan's departures from the band.
Dissolution: 1975–1976
By 1975, the Dolls were playing smaller venues than they had been previously. Drug and alcohol abuse by Thunders, Nolan, and Kane, as well as artistic differences added to the tensions among members. In late February or early March, Malcolm McLaren became their informal manager. He got the band red leather outfits to wear on stage and a communist flag as backdrop. The Dolls did a five-concert tour of New York's five boroughs, supported by Television and Pure Hell. The Little Hippodrome (Manhattan) show was recorded and released by Fan Club records in 1982 as Red Patent Leather. It was originally a bootleg album that was later remixed by Sylvain, with former manager Marty Thau credited as executive producer. Due to Kane being unable to play that night, roadie Peter Jordan played bass, though he was credited as having played "second bass". Jordan filled in for Kane when he was too inebriated to play.
In March and April, McLaren took the band on a tour of South Carolina and Florida. Jordan replaced Kane for most of those shows. Thunders and Nolan left after an argument. Blackie Lawless, who later founded W.A.S.P., replaced Thunders for the remainder of the tour after which the band broke up.
The band reformed in July for an August tour in Japan with Jeff Beck and Felix Pappalardi. Johansen, Sylvain and Jordan were joined by former Elephant's Memory keyboardist Chris Robison and drummer Tony Machine. One of the shows was documented on the album Tokyo Dolls Live (Fan Club/New Rose). The material is similar to that on Red Patent Leather, but notable for a radically re-arranged "Frankenstein" and a cover of Big Joe Turner's "Flip Flop Fly." The album is undated and has no production credit, but was issued circa 1986.
After their return to New York, the Dolls resumed playing shows in the US and Canada. Their show at the Beacon Theater, on New Year's Eve, 1975 met with great critical acclaim. After a drunken argument with Sylvain, Robison was fired and replaced by pianist/keyboardist Bobbie Blaine. The group toured throughout 1976, performing a set including some songs with lyrics by David Johansen that would later appear on David Johansen's solo albums including "Funky But Chic", "Frenchette" and "Wreckless Crazy.” The group played its last show December 30, 1976 at Max's Kansas City; on the same bill as Blondie.
Individual endeavors: 1975–2004
Shortly after returning from Florida, Thunders and Nolan formed The Heartbreakers with bassist Richard Hell, who had left Television the same week that they quit the Dolls. Thunders later pursued a solo career. He died in New Orleans in 1991, allegedly of an overdose of both heroin and methadone. It also came to light that he suffered from t-cell leukemia. Nolan died in 1992 following a stroke, brought about by bacterial meningitis. In 1976, Kane and Blackie Lawless formed the Killer Kane Band in Los Angeles. Immediately after the New York Dolls' second breakup, Johansen began a solo career. By the late 1980s, he achieved moderate success under the pseudonym, Buster Poindexter. Sylvain formed The Criminals, a popular band at CBGB.
A posthumous New York Dolls album, Lipstick Killers, made up of early demo tapes of the original Dolls (with Billy Murcia on drums), was released in a cassette-only edition on ROIR Records in 1981, and subsequently re-released on CD, and then on vinyl in early 2006. All the tracks from this title – sometimes referred to as The Mercer Street Sessions (though actually recorded at Blue Rock Studio, New York) – are included on the CD Private World, along with other tracks recorded elsewhere, including a previously unreleased Dolls original, "Endless Party." Three more unreleased studio tracks, including another previously unreleased Dolls original, "Lone Star Queen," are included on the Rock 'n' Roll album. The other two are covers: the "Courageous Cat" theme, from the original Courageous Cat cartoon series; and a second attempt at "Don't Mess With Cupid," a song written by Steve Cropper and Eddie Floyd for Otis Redding, and first recorded independently for what was later to become the Mercer Street/Blue Rock Sessions.
Sylvain formed his own band, The Criminals, then cut a solo album for RCA, while also working with Johansen. He later became a taxicab driver in New York.
Johansen, meanwhile, formed the David Johansen Group, and released an eponymous LP in 1978, recorded at the Bottom Line in NYC’s Greenwich Village,featuring Sylvain Mizrahi and Johnny Thunders as guest musicians.
In May, 1978, he also released “David Johansen,” on Blue Sky Records, a label created by Steve Paul, formerly of The Scene. Johansen continued to tour with his solo project and released four more albums, In Style, 1979; Here Comes the Night, 1981; Live it Up, 1982; and Sweet Revenge, 1984.
During the later 1980's, Johansen, ever-evolving, decided to try to liberate himself from the expectations of his New York Dolls perceived persona, and, on a whim, created the persona Buster Poindexter.
The success of this act led him to be invited to appear in multiple films: Scrooged, Freejack, and Let it Ride, among others.
He also formed a band called David Johansen and the Harry Smiths, named after the eccentric ethnomusicologist, performing jump blues, Delta blues, and some original songs.
During this period, in the early 1990s, Sylvain moved to Los Angeles and recorded one album Sleep Baby Doll, on Fishhead Records. His band, for that record, consisted of Brian Keats on drums, Dave Vanian's Phantom Chords, Speediejohn Carlucci (who had played with the Fuzztones), and Olivier Le Baron on lead guitar. Guest appearances by Frank Infante of Blondie and Derwood Andrews of Generation X were also included on the record. It has been re-released as New York A Go Go,.
Reunion, return to recording, second dissolution: 2004–11, and death of Sylvain
Morrissey, having been a longtime fan of the band and head of their 1970s UK fan club, organized a reunion of the three surviving members of the band's classic line-up (Johansen, Sylvain and Kane) for the Meltdown Festival in London on June 16, 2004. The reunion led to a live LP and DVD on Morrissey's Attack label, as well as a documentary film, New York Doll, on the life of Arthur Kane. However, future plans for the Dolls were affected by Kane's sudden death from leukemia just one month later on July 13, 2004. Yet the following month the band appeared at Little Steven’s Underground Garage Festival on August 14 in New York City before returning to the UK to play several more festivals through the remainder of 2004.
In July 2005, the two surviving members announced a tour and a new album entitled One Day It Will Please Us to Remember Even This. Released on July 25, 2006, the album featured guitarist Steve Conte, bassist Sami Yaffa (ex-Hanoi Rocks), drummer Brian Delaney and keyboardist Brian Koonin, formerly a member of David Johansen and the Harry Smiths. On July 20, 2006, the New York Dolls appeared on Late Night with Conan O'Brien, followed by a live performance in Philadelphia at the WXPN All About The Music Festival, and on July 22, 2006, a taped appearance on The Henry Rollins Show. On August 18, 2006, the band performed in a free concert at New York's Seaport Music.
In October 2006, the band embarked on a UK tour, with Sylvain taking time while in Glasgow to speak to John Kilbride of STV. The discussion covered the band's history and the current state of their live show and songwriting, with Sylvain commenting that "even if you come to our show thinking 'how can it be like it was before,' we turn that around 'cos we've got such a great live rock 'n roll show". In November 2006, the Dolls began headlining "Little Steven's Underground Garage Presents the Rolling Rock and Roll Show," about 20 live gigs with numerous other bands. In April 2007, the band played in Australia and New Zealand, appearing at the V Festival with Pixies, Pet Shop Boys, Gnarls Barkley, Beck, Jarvis Cocker and Phoenix.
On September 22, 2007, New York Dolls were removed from the current artists section of Roadrunner Records' website, signifying the group's split with the label. The band played the O2 Wireless Festival in Hyde Park, London on July 4, 2008, with Morrissey and Beck and the Lounge On The Farm Festival on July 12, 2008. On November 14, 2008, it was announced that the producer of their first album, Todd Rundgren, would be producing a new album, which would be followed by a world tour. The finishing touches on the album were made in Rundgren's studio on the island of Kauai. The album, Cause I Sez So, was released on May 5, 2009 on Atco Records.
The band played at South by Southwest in Austin, Texas on March 21, 2009, and a show at London's 100 Club on May 14, 2009 supported by Spizzenergi.
On March 18, 2010, the band announced another two concert dates at KOKO in Camden, London and the Academy in Dublin on April 20. In December 2010, it was announced the band would release their fifth album which had been recorded in Newcastle upon Tyne. The album, Dancing Backward in High Heels, featuring new guitarist Frank Infante (formerly of Blondie) was released on March 15, 2011.
On March 1, 2011, it was announced the New York Dolls would be the opening act for a summer tour featuring Mötley Crüe and Poison. They announced a new lineup for the tour, featuring guitarist Earl Slick, who held previous stints with David Bowie and John Lennon, bassist Kenny Aaronson, who had toured with Bob Dylan, and drummer Jason Sutter, formerly of Foreigner.
In a 2016 interview, Earl Slick confirmed the band was over. "Oh, yeah, it's long gone. There was no point in doing it anymore and it was kinda spent. You know, David really does enjoy the Buster thing. He's so good at it. I've seen him do it a couple of times this last year, and man! He's got it down, you know."
Sylvain Sylvain died on January 13, 2021, at age 69, leaving David Johansen as the last surviving original member of the band.
Musical style
According to AllMusic editor Stephen Thomas Erlewine, the New York Dolls developed an original style of hard rock that presaged both punk rock and heavy metal music, and drew on elements such as the "dirty rock & roll" of the Rolling Stones, the "anarchic noise" of the Stooges, the glam rock of David Bowie and T. Rex, and girl group pop music. Erlewine credited the band for creating punk rock "before there was a term for it." Ken Tucker, who referred to them as a proto-punk band, wrote that they were strongly influenced by the "New York sensibility" of Lou Reed: "The mean wisecracks and impassioned cynicism that informed the Dolls' songs represented an attitude that Reed's work with the Velvet Underground embodied, as did the Dolls' distinct lack of musicianship."
When they began performing, four of the band's five members wore Spandex and platform boots, while Johansen—the band's lyricist and "conceptmaster"— often preferred high heels and a dress occasionally. Fashion historian Valerie Steele said that, while the majority of the punk scene pursued an understated "street look", the New York Dolls followed an English glam rock "look of androgyny—leather and knee-length boots, chest hair, and bleach". According to James McNair of The Independent, "when they began pedalling their trashy glam-punk around lower Manhattan in 1971, they were more burlesque act than band; a bunch of lipsticked, gutter chic-endorsing cross-dressers". Music journalist Nick Kent argued that the New York Dolls were "quintessential glam rockers" because of their flamboyant fashion, while their technical shortcomings as musicians and Johnny Thunders' "trouble-prone presence" gave them a punk-rock reputation.
By contrast, Robert Christgau preferred for them to not be categorized as a glam rock band, but instead as "the best hard-rock band since the Rolling Stones". Robert Hilburn, writing for the Los Angeles Times, said that the band exhibited a strong influence from the Rolling Stones, but had distinguished themselves by Too Much Too Soon (1974) as "a much more independent, original force" because of their "definite touch of the humor and carefreeness of early (ie. mid-1950s) rock". Simon Reynolds felt that, by their 2009 album Cause I Sez So, the band exhibited the sound "not of the sloppy, rambunctious Dolls of punk mythology but of a tight, lean hard-rock band."
Band members
Former members
David Johansen – vocals, harmonica (1971–1976, 2004–2011)
Sylvain Sylvain – guitar, bass, piano (1971–1976, 2004–2011; died 2021)
Arthur Kane – bass guitar (1971–1975, 2004; died 2004)
Johnny Thunders - guitar, vocals (1971-1975; died 1991)
Billy Murcia – drums (1971–1972; died 1972)
Rick Rivets – guitar (1971; died 2019)
Jerry Nolan – drums (1972–1975; died 1992)
Peter Jordan – bass (1975–1976)
Tony Machine – drums (1975–1976)
Blackie Lawless – guitar (1975)
Chris Robison – keyboards (1975)
Bobby Blaine – keyboards (1976)
Steve Conte – guitar, vocals (2004–2010)
John Conte – bass (2004)
Gary Powell – drums (2004)
Brian Delaney– drums (2005–2011)
Sami Yaffa – bass (2005–2010)
Brian Koonin – keyboards (2005–2006)
Aaron Lee Tasjan - guitar (2008-2009)
Frank Infante – guitar (2010–2011)
Jason Hill – bass (2010–2011)
Jason Sutter – drums (2011)
Kenny Aaronson – bass (2011)
Earl Slick – guitar (2011)
Claton Pitcher – guitar (2011)
Timeline
Discography
Studio albums
Chart placings shown are from the Billboard 200 US Albums chart.
New York Dolls (1973 US:#116)
Too Much Too Soon (1974 US:#167) in UK:#165
One Day It Will Please Us to Remember Even This (2006 US:#129)
Cause I Sez So (2009 US:#159)
Dancing Backward in High Heels (2011)
Demo albums
Lipstick Killers – The Mercer Street Sessions 1972 (1981)
Seven Day Weekend (1992)
Actress – "Birth of the New York Dolls" (2000)
Endless Party (2000)
Private World - The Complete Early Studio Demos 1972–1973 (2006)
Live albums
Red Patent Leather (1984)
Paris Le Trash (1993)
Live In Concert, Paris 1974 (1998)
The Glamorous Life Live (1999)
From Paris with Love (L.U.V.) (2002)
Morrissey Presents: The Return Of New York Dolls Live From Royal Festival Hall (2004)
Live At the Filmore East (2008)
Viva Le Trash '74 (2009)
French Kiss '74 (2013)
Compilation albums
New York Dolls / Too Much Too Soon (1977)
Very Best of New York Dolls (1977)
Night of the Living Dolls (1985)
The Best of the New York Dolls (1985)
Super Best Collection (1990)
Rock'n Roll (1994)
Hootchie Kootchie Dolls (1998)
The Glam Rock Hits (1999)
Actress: Birth of The New York Dolls (2000)
Endless Party (2000)
New York Tapes 72/73 (2000)
Great Big Kiss (reissue of Seven Day Weekend and Red Patent Leather, 2002)
Looking For A Kiss (2003)
Manhattan Mayhem (2003)
20th Century Masters – the Millennium collection: the best of New York Dolls (2003)
Singles
"Personality Crisis" / "Looking for a Kiss" (1973)
"Trash" / "Personality Crisis" (1973)
"Jet Boy" / "Vietnamese Baby" (1973)
"Stranded in the Jungle" / "Don't Start Me Talkin'" (1974)
"(There's Gonna Be A) Showdown" / "Puss 'n' Boots" (1974)
"Jet Boy" // "Babylon" / "Who Are the Mystery Girls" (1977, UK)
"Bad Girl" / "Subway Train" (1978, Germany)
"Gimme Luv and Turn On the Light" (2006)
"Fool for You Baby" (2011)
"Dolled UP" (2014)
References
External links
"Private World: New York Dolls Manager Marty Thau on His Days with the Band" - Interview in Rocker Magazine 2012
1971 establishments in New York City
2011 disestablishments in New York (state)
Hard rock musical groups from New York (state)
American glam rock musical groups
Protopunk groups
Punk rock groups from New York (state)
Musical groups from New York City
Mercury Records artists
Musical groups established in 1971
Musical groups disestablished in 1976
Musical groups reestablished in 2004
Musical groups disestablished in 2011
Atco Records artists
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[
"Journey Girls is an American line of 18\" fashion dolls sold by Journey Girls. They are targeted at girls ages 6–12 and were sold at Toys R Us until it went out of business. JustPlay rereleased the Journey Girls, and they have been sold on Amazon since then.\n\nDescription\nThere were originally six main Journey Girls; Chavonne, Kelsey, Meredith, Callie, Kyla, and Dana, each with unique personalities. A seventh Journey Girl, Jordanna, was released as a special edition doll in late 2013 as part of the Paris collection. Toys R Us added another new Journey Girl doll, named Mikaella, for the Italy line, who had previously been released as the London holiday special edition doll in 2014. Likewise, the New York holiday doll, Ilee, became a member of the main group with the Australia line, after her original introduction in 2016. The Italy holiday doll, Giovanna was not rereleased after her initial release in 2015. The Australia and Japan holiday dolls have no name.\n\nThe top portion of their bodies are made of vinyl and the lower half is made of cloth. They have rooted hair and inset eyes. Journey Girls dolls come in a wide variety of skin tones, hair colors, and hair textures.\n\nChavonne, originally named Taryn, is African American; she is a leader and a singer. Kyla, originally named Alana, is Latina; she loves art, dreams of being a photographer, and is shy. Meredith is blonde; she is very athletic and out spoken. Kelsey is a pale redhead; she is adventurous, dreams of being a writer, and can settle differences between her friends. Dana is the only doll with glasses; she loves animals and is always trying to help at the local shelter. Her dream job is a veterinarian. Callie is biracial, of Japanese and Mexican descent; she loves to dance, and is the fashion guru of the group. Mikaella has strawberry blonde hair; she loves trying new things and cooking for her friends. She dreams of owning her own restaurant. Ilee has blonde hair with a darker blonde streak; she loves nature, is free- spirited, and dreams of being a florist.\n\nTheir clothes differentiate from doll to doll and come with a wide range of accessories. The Journey Girls dolls are released about once a year with a new outfit. Each year they are realized with a different local in mind. 2013 was the Paris line; 2014 was the London line; 2015 saw the girls visiting Italy; in 2016 they went to New York; the line released in 2017 takes them to Australia; and after being rereleased in December they go to Japan. Each line also includes outfits that correspond to the area that the girls are visiting. There are also general accessories that are always available, such as a bike, a sleepover set, a travel set, bunk beds, and a wheelchair set. Fashion packs have also been released, and usually came with two unnamed dolls.\n\nThe Journey Girls dolls are 18 inches tall, similar to the American Girl dolls. The Journey Girls are slightly thinner than American Girl Dolls. Journey Girls can wear most American Girl doll clothes, although they may be a little loose on them. American Girl doll shoes, however, are too large for the smaller, narrower Journey Girl feet. This is especially true of pants, shorts, skirts and other clothing that is centered on the waist. American Girl Dolls usually cannot wear Journey Girls outfits. The Journey Girls ranged from about $30-$40.\n\nSee also\nAmerican Girl\n\nFashion dolls",
"Arthur Harold Kane Jr. (February 3, 1949 – July 13, 2004) was a musician best known as the bass guitarist for the pioneering glam rock band the New York Dolls. Kane was a founding member of the Dolls in 1971 and remained an integral part of the band until he was forced out in 1975, shortly after the departure of Johnny Thunders and Jerry Nolan. In 2004, after decades of estrangement from Dolls singer David Johansen, Kane rejoined the surviving Dolls (Johansen and Sylvain Sylvain) to rehearse and play a reunion concert in London, which was the subject of the 2005 documentary New York Doll. In addition to his bass playing, Kane was known for his subculture fashion sense and for uttering original aphorisms in his uniquely toned voice.\n\nKane's nickname, \"Killer\", was inspired by the first article written about the Dolls in which the journalist described Kane's \"killer bass playing\". Kane also said that it was inspired by the adversary of the 1930s science fiction hero Buck Rogers, a villainous character named Killer Kane.\n\nEarly life \nKane was born in The Bronx, New York City, the only child of Erna and Harold Kane. His mother's ancestors had immigrated from Sweden. Arthur was close to his mother and her aunt, his Aunt Millie, who used to like to listen to Elvis records. The first word that he learned as a young child was \"record\". When Arthur was seventeen, his mother died of cancer (leukemia). His father was an abusive alcoholic, and when he quickly remarried, Arthur left home for good. He graduated from Martin Van Buren High School in Queens. He first played bass in the band Actress along with other original New York Dolls: Johnny Thunders, Rick Rivets and Billy Murcia.\n\nKane attended Pratt Institute in Brooklyn, New York as a Food Science and Management student. During his early years there, Kane socialized with art students such as Eric Marshall in the Pratt dormitory on Willoughby Avenue. (Marshall was later, through association with the retro New Wave band Marbles, recruited on saxophone for fellow-Doll Sylvain's short-lived Criminals.) Kane was always interested in music. By his third year at Pratt he had stopped attending classes, was sharing an apartment with Dave Trott, and wanted to start a band. At twenty-one he inherited money that he used to move to Amsterdam hoping to find like-minded musicians.\n\nThe New York Dolls\n\nAfter returning home after spending about a year in Amsterdam, Kane had been noticing a charismatic figure around New York City with avant-garde hair and clothes who would shortly take on the name Johnny Thunders. Kane decided to approach him one day in front of a West Village pizzeria (accompanied by Rick Rivets, who had heard that Johnny was a musician) to ask him if he wanted to get together sometime to jam on their instruments. Shortly thereafter they all met at a rehearsal studio, where they had booked some time, located in the West Thirties area of New York City (Johnny brought along his friend Billy Murcia to play drums). Kane later wrote in his autobiography that as he was about to enter the studio space he heard Johnny's original style of playing electric guitar:\n\"It was raunchy, nasty, rough, raw, and untamed,\" adding, \"His sound was rich and fat and beautiful, like a voice.\" Kane had originally envisioned himself as being the guitar player of the band but in that moment offered to pick up a Fender bass to accompany saying, \"I know exactly what to play with what you're playing on guitar. Let's hear what it sounds like.\" Adding, \"And it sounded great to us. We had hit the nail on the head.\"\n\nSometime after that event, Kane then approached future Dolls singer David Johansen. As Johansen explains it:\n\nKiller Kane was known for his outrageous outfits such as one-piece body stockings, large bow-ties, and thigh-high, neon-colored platform boots. Kane created many original and infamous looks by scouring shops in London, \"combing through Amsterdam's Waterlooplein flea market during all of 1970\", and \"various Brooklyn thrift shops\". Mixing pop art with music, the Dolls sought to create a persona as \"larger-than-life rock-and-roll comic book superheroes\", or as if they were a band from outer space – concepts that were expanded upon in one form or another not much later by other bands such as KISS.\n \nIn addition to his signature bass sound, Kane had a unique way of performing on stage. As rock photographer Bob Gruen explained, while playing bass Kane \"moved a bit robotically, kind of like a giant Frankenstein.\" Throughout his tenure with the Dolls, Kane dated a succession of atypically tall women, including Stacia of Hawkwind.\n\nThe Dolls put out two studio albums, 1973's New York Dolls and 1974's Too Much Too Soon. The Dolls influenced several bands that came soon after with the emerging Punk scene such as the Sex Pistols, The Clash, The Damned, and Generation X; and were a precursor to 80's Glam metal bands such as Mötley Crüe, Cinderella, and Poison.\n\nTheir drummer, Billy Murcia, died from an accidental overdose while they were touring England in 1972. Plagued by bad management, drug and alcohol abuse, and cliques forming within the group, the band broke up in 1975 – Kane's last experience with the band that year being a shouting match in a trailer court in Florida.\n\nPost-Dolls\n\nAfter the Dolls broke up, Kane collaborated with Blackie Lawless (who would later form W.A.S.P.) on a project dubbed Killer Kane, which resulted in the single \"Mr. Cool.\" Lawless was an old friend from New York City and had replaced Johnny Thunders during the ill-fated Florida tour in 1975.\n\nAfter the Dolls, Kane was involved in several projects including: playing bass in the band formed by Sid Vicious (who had a brief solo career in 1978 after the Sex Pistols); being a member of The Idols (with Jerry Nolan), and The Corpse Grinders (with Rick Rivets); and joining Johnny Thunders on a few tours in the 1980s.\n\nOne by one, these projects did not turn into long-term gigs, and Kane began to feel that there was no longer any place in the music business for him; that what little material success he had achieved with the Dolls was to be the high-water mark of his career. Kane saw himself living in poverty and obscurity for the rest of his life. As this bitter realization gripped him, band after band directly inspired by the Dolls catapulted to stardom, and the other members of the Dolls continued their careers. Lead singer of the Dolls, David Johansen, who Kane viewed as a rival, found success as Buster Poindexter.\n\nAs a result, Kane grew frustrated with music (although he continued playing and in fact learned harmonica during this period). He relocated from New York City to Los Angeles, but he could not escape his regrets. His envy and creative block, coupled with alcoholism and the breakdown of his marriage, led to a deepening depression. Although urban myth frames Kane as a drug addict, this was not the case; his true downfall was alcohol. After seeing David Johansen as the Ghost of Christmas Past in the comedy Scrooged, Arthur, in his depression, got drunk and jumped out of a second story window. Although a planter box partially broke his fall, the impact caused slight neural damage and affected his speech.\n\nIn 1992 Kane was walking home from a party for the Red Hot Chili Peppers when someone attacked him and he was later found in a ditch near his apartment. His injuries were severe enough that he was in physical therapy to learn how to walk and talk again. A rumor then circulated that he was a victim of the Rodney King riots, but that was another urban legend. Nobody actually knows what happened and he might have simply been mugged by a \"violent street person\". For several years Kane lived in a small studio apartment in West Hollywood where he was just scraping by financially.\n\nKane surprised all who knew him when in 1989 he joined The Church of Jesus Christ of Latter-day Saints. In 1998 Kane started volunteer work as a librarian assisting the public with genealogy at the Family History Center at the Los Angeles Temple. It was while browsing the Social Security Death Index (SSDI) on microfilm one day in the genealogy library that Kane discovered that his father, with whom Arthur had been estranged since the death of his mother in 1966, was deceased.\n\nNew York Dolls reunion and film\nIn the early 2000s, Kane met filmmaker Greg Whiteley through his work with the Latter-day Saints, and the two became friends. Whiteley commented that all Kane ever talked about was how he wished that he could somehow get the Dolls back together. Whiteley started shopping around the idea of doing a film on Kane's life. Coincidentally, in 2004 Morrissey—who for decades had been a high-profile fan of the Dolls—offered Kane an opportunity to perform a reunion show with the surviving Dolls (David Johansen and Sylvain Sylvain) at the Royal Festival Hall in London as part of his Meltdown Festival (former band members Johnny Thunders died in 1991 at age 38, and Jerry Nolan in 1992 at age 45). When Kane called Whiteley to ask for a ride to the pawn shop to retrieve his bass guitar, Whiteley asked if he could bring along a camera. From there Whiteley filmed Kane's experiences preparing for the reunion, rehearsing with the Dolls in New York, and reconciling with Johansen, culminating in two sold-out shows in London; which for Kane was all a fulfillment of a nearly thirty-year dream. Whiteley's footage resulted in the 2005 Sundance featured documentary, New York Doll.\n\nDeath and legacy\nOn July 13, 2004, just 22 days after the reunion concert, Kane thought that he had caught the flu in London and checked himself into a Los Angeles hospital, complaining of fatigue. He was quickly diagnosed with leukemia, and died within two hours. He was 55 years old. Johansen described Kane as \"nonjudgmental, bawdy and holy.\"\n\nAnnual tributes to Kane's lasting memory and influence were held at the Continental in New York City until its closing in 2006. Singer-songwriter Robyn Hitchcock wrote a tribute to Kane, \"N.Y. Doll\", for his 2006 album, Olé! Tarantula. In 2009 Kane's autobiography was published entitled, I, Doll: Life and Death with the New York Dolls, with the foreword and epilogue written by Barbara Kane.\n\nKane met Barbara (née Garrison) when he was with the Dolls, and they were married in 1977. Although they were separated for many years, their divorce never became finalized. She was interviewed for the New York Doll documentary, portions of which are interspersed within the film's narrative.\n\nIn 2005 the documentary, New York Dolls: All Dolled Up, was released on DVD. The directors, rock photographer Bob Gruen, and his then wife, Nadya Beck, owned an early video camera and shot many hours of footage of the Dolls in the early 1970s. Edited down to 95 minutes, the black and white film shows the Dolls in different locales, such as backstage or at an airport, and documents several of the Doll's live performances in New York City and California. Kane appears in some of the footage wearing a plaster cast on his left arm. This was the result of his volatile girlfriend Connie Gripp (1947 - 83) attempting to cut off his thumb so that he would be unable to play bass anymore. In his autobiography, fellow bass player and Dolls fan Dee Dee Ramone mentioned Kane when discussing Connie, whom he himself later dated. Dee Dee and Connie's similarly violent and tumultuous relationship would inspire the 1977 Ramones song \"Glad to See You Go\".\n\nFilmography\n\nReferences\n\nExternal links\n The New York Dolls chronology\n\n1949 births\n2004 deaths\nLatter Day Saints from New York (state)\nAmerican punk rock bass guitarists\nConverts to Mormonism\nDeaths from leukemia\nMusicians from Queens, New York\nNew York Dolls members\nMartin Van Buren High School alumni\nDeaths from cancer in California\nGlam rock musicians\n20th-century American bass guitarists\nGuitarists from New York City\nAmerican male bass guitarists\n20th-century American male musicians"
] |
[
"New York Dolls",
"Formation",
"How did the New York Dolls get together?",
"In 1970 they formed a band again and recruited Johnny Thunders to join on bass, though Sylvain ended up teaching him to play guitar. They called themselves the Dolls.",
"How did they come up with the name \"the New York Dolls?\"",
"across the street from the New York Doll Hospital, a doll repair shop. Sylvain said that the shop inspired the name for their future band."
] |
C_3bc51535ed1f422e8c4fb50b887db0ed_1
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Were there any other band members?
| 3 |
Were there any other band members in the New York Dolls besides Sylvain?
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New York Dolls
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Sylvain Sylvain and Billy Murcia, who went to junior high school and high school together, started playing in a band called "the Pox" in 1967. After the frontman quit, Murcia and Sylvain started a clothing business called Truth and Soul and Sylvain took a job at A Different Drummer, a men's boutique that was across the street from the New York Doll Hospital, a doll repair shop. Sylvain said that the shop inspired the name for their future band. In 1970 they formed a band again and recruited Johnny Thunders to join on bass, though Sylvain ended up teaching him to play guitar. They called themselves the Dolls. When Sylvain left the band to spend a few months in London, Thunders and Murcia went their separate ways. Thunders was eventually recruited by Kane and Rick Rivets, who had been playing together in the Bronx. At Thunders' suggestion, Murcia replaced the original drummer. Thunders played lead guitar and sang for the band Actress. An October 1971 rehearsal tape recorded by Rivets was released as Dawn of the Dolls. When Thunders decided that he no longer wanted to be the front man, David Johansen joined the band. Initially, the group was composed of singer David Johansen, guitarists Johnny Thunders and Rick Rivets (who was replaced by Sylvain Sylvain after a few months), bass guitarist Arthur "Killer" Kane and drummer Billy Murcia. The original lineup's first performance was on Christmas Eve 1971 at a homeless shelter, the Endicott Hotel. After getting a manager and attracting some music industry interest, the New York Dolls got a break when Rod Stewart invited them to open for him at a London concert. CANNOTANSWER
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Sylvain Sylvain and Billy Murcia,
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The New York Dolls were an American rock band formed in New York City in 1971. Along with The Velvet Underground, MC5, The Stooges, and The Modern Lovers, they were one of the bands later credited as proto-punk, early influences on what would only later be known as punk rock. Although the band never achieved much commercial success and their original line-up fell apart quickly, the band's first two albums—New York Dolls (1973) and Too Much Too Soon (1974)—became among the most popular cult records in rock. The line-up at this time comprised vocalist David Johansen, guitarist Johnny Thunders, bassist Arthur Kane, guitarist and pianist Sylvain Sylvain and drummer Jerry Nolan; the latter two had replaced Rick Rivets and Billy Murcia, respectively, in 1972. On stage, they donned an androgynous wardrobe, wearing high heels, eccentric hats, satin, makeup, spandex, and dresses. Nolan described the group in 1974 as "the Dead End Kids of today". After Thunders, Nolan and Kane all left in spring 1975, Johansen and Sylvain continued the band with other musicians until the end of 1976.
According to the Encyclopedia of Popular Music (1995), the New York Dolls predated the punk and glam metal movements and were "one of the most influential rock bands of the last 20 years". They influenced rock groups such as the Sex Pistols, Kiss, the Ramones, Guns N' Roses, the Damned, and the Smiths, whose frontman Morrissey organized a reunion show for the New York Dolls' surviving members, being Johansen and Sylvain, in 2004. After reuniting, they recruited new musicians to tour and record. They released three more albums—One Day It Will Please Us to Remember Even This (2006), Cause I Sez So (2009) and Dancing Backward in High Heels (2011). Following a 2011 British tour with Alice Cooper, the band once again disbanded.
History
Formation
Sylvain Sylvain and Billy Murcia, who went to junior high school and high school together, started playing in a band called "the Pox" in 1967. After the frontman quit, Murcia and Sylvain started a clothing business called Truth and Soul and Sylvain took a job at A Different Drummer, a men's boutique that was across the street from the New York Doll Hospital, a doll repair shop. Sylvain said that the shop inspired the name for their future band. In 1970 they formed a band again and recruited Johnny Thunders to join on bass, though Sylvain ended up teaching him to play guitar. They called themselves the Dolls. When Sylvain left the band to spend a few months in London, Thunders and Murcia went their separate ways.
Thunders was eventually recruited by Kane and Rick Rivets, who had been playing together in the Bronx. At Thunders' suggestion, Murcia replaced the original drummer. Thunders played lead guitar and sang for the band Actress. An October 1971 rehearsal tape recorded by Rivets was released as Dawn of the Dolls. When Thunders decided that he no longer wanted to be the front man, David Johansen joined the band. Initially, the group was composed of singer David Johansen, guitarists Johnny Thunders and Rick Rivets (who was replaced by Sylvain Sylvain after a few months), bass guitarist Arthur "Killer" Kane and drummer Billy Murcia.
The original line-up's first performance was on Christmas Eve 1971 at a homeless shelter, the Endicott Hotel. After getting a manager and attracting some music industry interest, the New York Dolls got a break when Rod Stewart invited them to open for him at a London concert.
In the band's early days, the New York Dolls performed at the Mercer Art Center, where Ruby and the Rednecks opened for and were influenced by them.
Billy Murcia's death
While on a brief tour of England in 1972, Murcia was invited to a party, where he passed out from an accidental overdose. He was put in a bathtub and force-fed coffee in an attempt to revive him. Instead, it resulted in asphyxiation. He was found dead on the morning of November 6, 1972, at the age of 21.
Record deal: 1972–1975
Once back in New York, the Dolls auditioned drummers, including Marc Bell (who was to go on to play with Richard Hell, and with the Ramones under the stage name "Marky Ramone"), Peter Criscuola (better known as Peter Criss, the original and former drummer of Kiss), and Jerry Nolan, a friend of the band. They selected Nolan, and after US Mercury Records' A&R man Paul Nelson signed them, they began sessions for their debut album. In 1972, the band took on Marty Thau as manager.
New York Dolls was produced by singer-songwriter, musician and solo artist Todd Rundgren. In an interview in Creem magazine, Rundgren says he barely touched the recording; everybody was debating how to do the mix. Sales were sluggish, especially in the middle US, and a Stereo Review magazine reviewer in 1973 compared the Dolls' guitar playing to the sound of lawnmowers. America's mass rock audience's reaction to the Dolls was mixed. In a Creem magazine poll, they were elected both best and worst new group of 1973. The Dolls also toured Europe, and, while appearing on UK television, host Bob Harris of the BBC's Old Grey Whistle Test derided the group as "mock rock," comparing them unfavorably to the Rolling Stones.
For their next album, Too Much Too Soon, the quintet hired producer George "Shadow" Morton, whose productions for the Shangri-Las and other girl-groups in the mid-1960s had been among the band's favorites. Mercury dropped the Dolls on 7 October 1975, their contract with Mercury having expired on 8 August 1975 - five months after Thunders' and Nolan's departures from the band.
Dissolution: 1975–1976
By 1975, the Dolls were playing smaller venues than they had been previously. Drug and alcohol abuse by Thunders, Nolan, and Kane, as well as artistic differences added to the tensions among members. In late February or early March, Malcolm McLaren became their informal manager. He got the band red leather outfits to wear on stage and a communist flag as backdrop. The Dolls did a five-concert tour of New York's five boroughs, supported by Television and Pure Hell. The Little Hippodrome (Manhattan) show was recorded and released by Fan Club records in 1982 as Red Patent Leather. It was originally a bootleg album that was later remixed by Sylvain, with former manager Marty Thau credited as executive producer. Due to Kane being unable to play that night, roadie Peter Jordan played bass, though he was credited as having played "second bass". Jordan filled in for Kane when he was too inebriated to play.
In March and April, McLaren took the band on a tour of South Carolina and Florida. Jordan replaced Kane for most of those shows. Thunders and Nolan left after an argument. Blackie Lawless, who later founded W.A.S.P., replaced Thunders for the remainder of the tour after which the band broke up.
The band reformed in July for an August tour in Japan with Jeff Beck and Felix Pappalardi. Johansen, Sylvain and Jordan were joined by former Elephant's Memory keyboardist Chris Robison and drummer Tony Machine. One of the shows was documented on the album Tokyo Dolls Live (Fan Club/New Rose). The material is similar to that on Red Patent Leather, but notable for a radically re-arranged "Frankenstein" and a cover of Big Joe Turner's "Flip Flop Fly." The album is undated and has no production credit, but was issued circa 1986.
After their return to New York, the Dolls resumed playing shows in the US and Canada. Their show at the Beacon Theater, on New Year's Eve, 1975 met with great critical acclaim. After a drunken argument with Sylvain, Robison was fired and replaced by pianist/keyboardist Bobbie Blaine. The group toured throughout 1976, performing a set including some songs with lyrics by David Johansen that would later appear on David Johansen's solo albums including "Funky But Chic", "Frenchette" and "Wreckless Crazy.” The group played its last show December 30, 1976 at Max's Kansas City; on the same bill as Blondie.
Individual endeavors: 1975–2004
Shortly after returning from Florida, Thunders and Nolan formed The Heartbreakers with bassist Richard Hell, who had left Television the same week that they quit the Dolls. Thunders later pursued a solo career. He died in New Orleans in 1991, allegedly of an overdose of both heroin and methadone. It also came to light that he suffered from t-cell leukemia. Nolan died in 1992 following a stroke, brought about by bacterial meningitis. In 1976, Kane and Blackie Lawless formed the Killer Kane Band in Los Angeles. Immediately after the New York Dolls' second breakup, Johansen began a solo career. By the late 1980s, he achieved moderate success under the pseudonym, Buster Poindexter. Sylvain formed The Criminals, a popular band at CBGB.
A posthumous New York Dolls album, Lipstick Killers, made up of early demo tapes of the original Dolls (with Billy Murcia on drums), was released in a cassette-only edition on ROIR Records in 1981, and subsequently re-released on CD, and then on vinyl in early 2006. All the tracks from this title – sometimes referred to as The Mercer Street Sessions (though actually recorded at Blue Rock Studio, New York) – are included on the CD Private World, along with other tracks recorded elsewhere, including a previously unreleased Dolls original, "Endless Party." Three more unreleased studio tracks, including another previously unreleased Dolls original, "Lone Star Queen," are included on the Rock 'n' Roll album. The other two are covers: the "Courageous Cat" theme, from the original Courageous Cat cartoon series; and a second attempt at "Don't Mess With Cupid," a song written by Steve Cropper and Eddie Floyd for Otis Redding, and first recorded independently for what was later to become the Mercer Street/Blue Rock Sessions.
Sylvain formed his own band, The Criminals, then cut a solo album for RCA, while also working with Johansen. He later became a taxicab driver in New York.
Johansen, meanwhile, formed the David Johansen Group, and released an eponymous LP in 1978, recorded at the Bottom Line in NYC’s Greenwich Village,featuring Sylvain Mizrahi and Johnny Thunders as guest musicians.
In May, 1978, he also released “David Johansen,” on Blue Sky Records, a label created by Steve Paul, formerly of The Scene. Johansen continued to tour with his solo project and released four more albums, In Style, 1979; Here Comes the Night, 1981; Live it Up, 1982; and Sweet Revenge, 1984.
During the later 1980's, Johansen, ever-evolving, decided to try to liberate himself from the expectations of his New York Dolls perceived persona, and, on a whim, created the persona Buster Poindexter.
The success of this act led him to be invited to appear in multiple films: Scrooged, Freejack, and Let it Ride, among others.
He also formed a band called David Johansen and the Harry Smiths, named after the eccentric ethnomusicologist, performing jump blues, Delta blues, and some original songs.
During this period, in the early 1990s, Sylvain moved to Los Angeles and recorded one album Sleep Baby Doll, on Fishhead Records. His band, for that record, consisted of Brian Keats on drums, Dave Vanian's Phantom Chords, Speediejohn Carlucci (who had played with the Fuzztones), and Olivier Le Baron on lead guitar. Guest appearances by Frank Infante of Blondie and Derwood Andrews of Generation X were also included on the record. It has been re-released as New York A Go Go,.
Reunion, return to recording, second dissolution: 2004–11, and death of Sylvain
Morrissey, having been a longtime fan of the band and head of their 1970s UK fan club, organized a reunion of the three surviving members of the band's classic line-up (Johansen, Sylvain and Kane) for the Meltdown Festival in London on June 16, 2004. The reunion led to a live LP and DVD on Morrissey's Attack label, as well as a documentary film, New York Doll, on the life of Arthur Kane. However, future plans for the Dolls were affected by Kane's sudden death from leukemia just one month later on July 13, 2004. Yet the following month the band appeared at Little Steven’s Underground Garage Festival on August 14 in New York City before returning to the UK to play several more festivals through the remainder of 2004.
In July 2005, the two surviving members announced a tour and a new album entitled One Day It Will Please Us to Remember Even This. Released on July 25, 2006, the album featured guitarist Steve Conte, bassist Sami Yaffa (ex-Hanoi Rocks), drummer Brian Delaney and keyboardist Brian Koonin, formerly a member of David Johansen and the Harry Smiths. On July 20, 2006, the New York Dolls appeared on Late Night with Conan O'Brien, followed by a live performance in Philadelphia at the WXPN All About The Music Festival, and on July 22, 2006, a taped appearance on The Henry Rollins Show. On August 18, 2006, the band performed in a free concert at New York's Seaport Music.
In October 2006, the band embarked on a UK tour, with Sylvain taking time while in Glasgow to speak to John Kilbride of STV. The discussion covered the band's history and the current state of their live show and songwriting, with Sylvain commenting that "even if you come to our show thinking 'how can it be like it was before,' we turn that around 'cos we've got such a great live rock 'n roll show". In November 2006, the Dolls began headlining "Little Steven's Underground Garage Presents the Rolling Rock and Roll Show," about 20 live gigs with numerous other bands. In April 2007, the band played in Australia and New Zealand, appearing at the V Festival with Pixies, Pet Shop Boys, Gnarls Barkley, Beck, Jarvis Cocker and Phoenix.
On September 22, 2007, New York Dolls were removed from the current artists section of Roadrunner Records' website, signifying the group's split with the label. The band played the O2 Wireless Festival in Hyde Park, London on July 4, 2008, with Morrissey and Beck and the Lounge On The Farm Festival on July 12, 2008. On November 14, 2008, it was announced that the producer of their first album, Todd Rundgren, would be producing a new album, which would be followed by a world tour. The finishing touches on the album were made in Rundgren's studio on the island of Kauai. The album, Cause I Sez So, was released on May 5, 2009 on Atco Records.
The band played at South by Southwest in Austin, Texas on March 21, 2009, and a show at London's 100 Club on May 14, 2009 supported by Spizzenergi.
On March 18, 2010, the band announced another two concert dates at KOKO in Camden, London and the Academy in Dublin on April 20. In December 2010, it was announced the band would release their fifth album which had been recorded in Newcastle upon Tyne. The album, Dancing Backward in High Heels, featuring new guitarist Frank Infante (formerly of Blondie) was released on March 15, 2011.
On March 1, 2011, it was announced the New York Dolls would be the opening act for a summer tour featuring Mötley Crüe and Poison. They announced a new lineup for the tour, featuring guitarist Earl Slick, who held previous stints with David Bowie and John Lennon, bassist Kenny Aaronson, who had toured with Bob Dylan, and drummer Jason Sutter, formerly of Foreigner.
In a 2016 interview, Earl Slick confirmed the band was over. "Oh, yeah, it's long gone. There was no point in doing it anymore and it was kinda spent. You know, David really does enjoy the Buster thing. He's so good at it. I've seen him do it a couple of times this last year, and man! He's got it down, you know."
Sylvain Sylvain died on January 13, 2021, at age 69, leaving David Johansen as the last surviving original member of the band.
Musical style
According to AllMusic editor Stephen Thomas Erlewine, the New York Dolls developed an original style of hard rock that presaged both punk rock and heavy metal music, and drew on elements such as the "dirty rock & roll" of the Rolling Stones, the "anarchic noise" of the Stooges, the glam rock of David Bowie and T. Rex, and girl group pop music. Erlewine credited the band for creating punk rock "before there was a term for it." Ken Tucker, who referred to them as a proto-punk band, wrote that they were strongly influenced by the "New York sensibility" of Lou Reed: "The mean wisecracks and impassioned cynicism that informed the Dolls' songs represented an attitude that Reed's work with the Velvet Underground embodied, as did the Dolls' distinct lack of musicianship."
When they began performing, four of the band's five members wore Spandex and platform boots, while Johansen—the band's lyricist and "conceptmaster"— often preferred high heels and a dress occasionally. Fashion historian Valerie Steele said that, while the majority of the punk scene pursued an understated "street look", the New York Dolls followed an English glam rock "look of androgyny—leather and knee-length boots, chest hair, and bleach". According to James McNair of The Independent, "when they began pedalling their trashy glam-punk around lower Manhattan in 1971, they were more burlesque act than band; a bunch of lipsticked, gutter chic-endorsing cross-dressers". Music journalist Nick Kent argued that the New York Dolls were "quintessential glam rockers" because of their flamboyant fashion, while their technical shortcomings as musicians and Johnny Thunders' "trouble-prone presence" gave them a punk-rock reputation.
By contrast, Robert Christgau preferred for them to not be categorized as a glam rock band, but instead as "the best hard-rock band since the Rolling Stones". Robert Hilburn, writing for the Los Angeles Times, said that the band exhibited a strong influence from the Rolling Stones, but had distinguished themselves by Too Much Too Soon (1974) as "a much more independent, original force" because of their "definite touch of the humor and carefreeness of early (ie. mid-1950s) rock". Simon Reynolds felt that, by their 2009 album Cause I Sez So, the band exhibited the sound "not of the sloppy, rambunctious Dolls of punk mythology but of a tight, lean hard-rock band."
Band members
Former members
David Johansen – vocals, harmonica (1971–1976, 2004–2011)
Sylvain Sylvain – guitar, bass, piano (1971–1976, 2004–2011; died 2021)
Arthur Kane – bass guitar (1971–1975, 2004; died 2004)
Johnny Thunders - guitar, vocals (1971-1975; died 1991)
Billy Murcia – drums (1971–1972; died 1972)
Rick Rivets – guitar (1971; died 2019)
Jerry Nolan – drums (1972–1975; died 1992)
Peter Jordan – bass (1975–1976)
Tony Machine – drums (1975–1976)
Blackie Lawless – guitar (1975)
Chris Robison – keyboards (1975)
Bobby Blaine – keyboards (1976)
Steve Conte – guitar, vocals (2004–2010)
John Conte – bass (2004)
Gary Powell – drums (2004)
Brian Delaney– drums (2005–2011)
Sami Yaffa – bass (2005–2010)
Brian Koonin – keyboards (2005–2006)
Aaron Lee Tasjan - guitar (2008-2009)
Frank Infante – guitar (2010–2011)
Jason Hill – bass (2010–2011)
Jason Sutter – drums (2011)
Kenny Aaronson – bass (2011)
Earl Slick – guitar (2011)
Claton Pitcher – guitar (2011)
Timeline
Discography
Studio albums
Chart placings shown are from the Billboard 200 US Albums chart.
New York Dolls (1973 US:#116)
Too Much Too Soon (1974 US:#167) in UK:#165
One Day It Will Please Us to Remember Even This (2006 US:#129)
Cause I Sez So (2009 US:#159)
Dancing Backward in High Heels (2011)
Demo albums
Lipstick Killers – The Mercer Street Sessions 1972 (1981)
Seven Day Weekend (1992)
Actress – "Birth of the New York Dolls" (2000)
Endless Party (2000)
Private World - The Complete Early Studio Demos 1972–1973 (2006)
Live albums
Red Patent Leather (1984)
Paris Le Trash (1993)
Live In Concert, Paris 1974 (1998)
The Glamorous Life Live (1999)
From Paris with Love (L.U.V.) (2002)
Morrissey Presents: The Return Of New York Dolls Live From Royal Festival Hall (2004)
Live At the Filmore East (2008)
Viva Le Trash '74 (2009)
French Kiss '74 (2013)
Compilation albums
New York Dolls / Too Much Too Soon (1977)
Very Best of New York Dolls (1977)
Night of the Living Dolls (1985)
The Best of the New York Dolls (1985)
Super Best Collection (1990)
Rock'n Roll (1994)
Hootchie Kootchie Dolls (1998)
The Glam Rock Hits (1999)
Actress: Birth of The New York Dolls (2000)
Endless Party (2000)
New York Tapes 72/73 (2000)
Great Big Kiss (reissue of Seven Day Weekend and Red Patent Leather, 2002)
Looking For A Kiss (2003)
Manhattan Mayhem (2003)
20th Century Masters – the Millennium collection: the best of New York Dolls (2003)
Singles
"Personality Crisis" / "Looking for a Kiss" (1973)
"Trash" / "Personality Crisis" (1973)
"Jet Boy" / "Vietnamese Baby" (1973)
"Stranded in the Jungle" / "Don't Start Me Talkin'" (1974)
"(There's Gonna Be A) Showdown" / "Puss 'n' Boots" (1974)
"Jet Boy" // "Babylon" / "Who Are the Mystery Girls" (1977, UK)
"Bad Girl" / "Subway Train" (1978, Germany)
"Gimme Luv and Turn On the Light" (2006)
"Fool for You Baby" (2011)
"Dolled UP" (2014)
References
External links
"Private World: New York Dolls Manager Marty Thau on His Days with the Band" - Interview in Rocker Magazine 2012
1971 establishments in New York City
2011 disestablishments in New York (state)
Hard rock musical groups from New York (state)
American glam rock musical groups
Protopunk groups
Punk rock groups from New York (state)
Musical groups from New York City
Mercury Records artists
Musical groups established in 1971
Musical groups disestablished in 1976
Musical groups reestablished in 2004
Musical groups disestablished in 2011
Atco Records artists
| true |
[
"The Accidental were a folk band from the United Kingdom, made up of members of The Bicycle Thieves, Tunng and The Memory Band. The band members were Stephen Cracknell of The Memory Band, Sam Genders of Tunng, Hanna Caughlin of The Bicycle Thieves and singer-songwriter Liam Bailey. Other members of The Memory Band and harpist Serafina Steer also contributed. Their debut album, There Were Wolves, was recorded in Cracknell's London apartment with a computer and a pair of microphones, and was released by Thrill Jockey Records in April 2008.\n\nDiscography\n\nAlbums\nThere Were Wolves (Thrill Jockey Records, 2008)\n\nReferences\n\nExternal links\nOfficial site\n\nBritish folk music groups",
"Life Without Buildings were a Glasgow, Scotland-based indie rock band.\n\nCareer\nNamed after a track by English new wave band Japan, Life Without Buildings formed during the summer of 1999. The band consisted mostly of ex-students of the Glasgow School of Art, Initial band members were Will Bradley (drums), Chris Evans (bass) and Robert Johnston (guitar). Painter Sue Tompkins (vocals) joined later in 1999. The band split writing duties, with Johnston, Bradley and Evans writing the music while Tompkins wrote the vocals. Tompkins' \"talk-sung\" vocal styling eventually became the band's most famous attribute. Impressed after their first London gig, the Rough Trade-affiliated Tugboat label asked the band to record a debut single.\n\nReleased in March 2000, \"The Leanover\" b/w \"New Town\" secured the band a full deal with the label. \"New Town\" received some airplay on BBC Radio 1. The band later released two more singles on the Tugboat label. The band's debut, Any Other City, recorded by Scottish producer Andy Miller at Chem19 Studios in Glasgow, was released in 2001 in the UK; label DCBaltimore2012 issued it months later in the United States.\n\nLife Without Buildings were on the same bill as The Strokes in February 2001, during the latter band's first headlining gig. A popular legend sprung up that due to the Strokes' popularity, Life Without Buildings was bumped further down the bill. Band members disputed this, saying that while they had been scheduled to play the show, it was the result of a booking error, not anything intentional.\n\nIn January 2002 Any Other City debuted at #49 on the CMJ Radio 200. It stayed on the Radio 200 for eight weeks, peaking at #22.\n\nBreak-up\nThe band broke up in 2002, after the release of Any Other City. In a 2009 interview with Muso's Guide, guitarist Johnston stated the band broke up because Tompkins wanted to focus on her career as a visual artist. He went on to stress that none of the band members ever envisioned turning music into a career, and they felt pressure because something that had started \"for a laugh\" had become serious.\n\nIn May 2007 a live album was released in Europe called Live at the Annandale Hotel on the Gargleblast Records label, and was subsequently released in North America in August 2007 on Absolutely Kosher Records. Recorded around December 2002 at Sydney's Annandale Hotel, band members claimed to be unaware that the show was recorded, but were happy with the finished live record.\n\nAny Other City was reissued on vinyl in the United States for the first time on April 19, 2014 for Record Store Day. The vinyl reissue included a 7\", featuring rougher original versions of \"The Leanover\" and \"New Town\".\n\nAs of 2009, the band has stated no desire to either re-form or play one-off shows. Johnston went on to work as a graphic designer. Bradley became a writer, while Evans and Tompkins work as visual artists.\n\nDiscography\n\nAlbums\nAny Other City (2001)\nLive at the Annandale Hotel (2007)\n\nSingles\nThe band released three singles on Tugboat Records and one on Trifekta Records:\n \"The Leanover\" / \"New Town\" (2000) (Double A Side)\n \"Is Is and the IRS\" / \"Lets Get Out (New Version)\" (2000) (Double A Side)\n \"Young Offenders\" / \"Daylighting\" (Double A Side)\n \"Love Trinity\" / \"Is Is and the IRS\" / \"Daylighting\" (Australia only)\n\nReferences\n\nExternal links\n Life Without buildings myspace\n \n\nMusical groups from Glasgow\nScottish indie rock groups\nAbsolutely Kosher Records artists\nGargleblast Records artists"
] |
[
"New York Dolls",
"Formation",
"How did the New York Dolls get together?",
"In 1970 they formed a band again and recruited Johnny Thunders to join on bass, though Sylvain ended up teaching him to play guitar. They called themselves the Dolls.",
"How did they come up with the name \"the New York Dolls?\"",
"across the street from the New York Doll Hospital, a doll repair shop. Sylvain said that the shop inspired the name for their future band.",
"Were there any other band members?",
"Sylvain Sylvain and Billy Murcia,"
] |
C_3bc51535ed1f422e8c4fb50b887db0ed_1
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What venues did the band play at in the beginning?
| 4 |
What venues did the New York Dolls play at in the beginning?
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New York Dolls
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Sylvain Sylvain and Billy Murcia, who went to junior high school and high school together, started playing in a band called "the Pox" in 1967. After the frontman quit, Murcia and Sylvain started a clothing business called Truth and Soul and Sylvain took a job at A Different Drummer, a men's boutique that was across the street from the New York Doll Hospital, a doll repair shop. Sylvain said that the shop inspired the name for their future band. In 1970 they formed a band again and recruited Johnny Thunders to join on bass, though Sylvain ended up teaching him to play guitar. They called themselves the Dolls. When Sylvain left the band to spend a few months in London, Thunders and Murcia went their separate ways. Thunders was eventually recruited by Kane and Rick Rivets, who had been playing together in the Bronx. At Thunders' suggestion, Murcia replaced the original drummer. Thunders played lead guitar and sang for the band Actress. An October 1971 rehearsal tape recorded by Rivets was released as Dawn of the Dolls. When Thunders decided that he no longer wanted to be the front man, David Johansen joined the band. Initially, the group was composed of singer David Johansen, guitarists Johnny Thunders and Rick Rivets (who was replaced by Sylvain Sylvain after a few months), bass guitarist Arthur "Killer" Kane and drummer Billy Murcia. The original lineup's first performance was on Christmas Eve 1971 at a homeless shelter, the Endicott Hotel. After getting a manager and attracting some music industry interest, the New York Dolls got a break when Rod Stewart invited them to open for him at a London concert. CANNOTANSWER
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a homeless shelter, the Endicott Hotel.
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The New York Dolls were an American rock band formed in New York City in 1971. Along with The Velvet Underground, MC5, The Stooges, and The Modern Lovers, they were one of the bands later credited as proto-punk, early influences on what would only later be known as punk rock. Although the band never achieved much commercial success and their original line-up fell apart quickly, the band's first two albums—New York Dolls (1973) and Too Much Too Soon (1974)—became among the most popular cult records in rock. The line-up at this time comprised vocalist David Johansen, guitarist Johnny Thunders, bassist Arthur Kane, guitarist and pianist Sylvain Sylvain and drummer Jerry Nolan; the latter two had replaced Rick Rivets and Billy Murcia, respectively, in 1972. On stage, they donned an androgynous wardrobe, wearing high heels, eccentric hats, satin, makeup, spandex, and dresses. Nolan described the group in 1974 as "the Dead End Kids of today". After Thunders, Nolan and Kane all left in spring 1975, Johansen and Sylvain continued the band with other musicians until the end of 1976.
According to the Encyclopedia of Popular Music (1995), the New York Dolls predated the punk and glam metal movements and were "one of the most influential rock bands of the last 20 years". They influenced rock groups such as the Sex Pistols, Kiss, the Ramones, Guns N' Roses, the Damned, and the Smiths, whose frontman Morrissey organized a reunion show for the New York Dolls' surviving members, being Johansen and Sylvain, in 2004. After reuniting, they recruited new musicians to tour and record. They released three more albums—One Day It Will Please Us to Remember Even This (2006), Cause I Sez So (2009) and Dancing Backward in High Heels (2011). Following a 2011 British tour with Alice Cooper, the band once again disbanded.
History
Formation
Sylvain Sylvain and Billy Murcia, who went to junior high school and high school together, started playing in a band called "the Pox" in 1967. After the frontman quit, Murcia and Sylvain started a clothing business called Truth and Soul and Sylvain took a job at A Different Drummer, a men's boutique that was across the street from the New York Doll Hospital, a doll repair shop. Sylvain said that the shop inspired the name for their future band. In 1970 they formed a band again and recruited Johnny Thunders to join on bass, though Sylvain ended up teaching him to play guitar. They called themselves the Dolls. When Sylvain left the band to spend a few months in London, Thunders and Murcia went their separate ways.
Thunders was eventually recruited by Kane and Rick Rivets, who had been playing together in the Bronx. At Thunders' suggestion, Murcia replaced the original drummer. Thunders played lead guitar and sang for the band Actress. An October 1971 rehearsal tape recorded by Rivets was released as Dawn of the Dolls. When Thunders decided that he no longer wanted to be the front man, David Johansen joined the band. Initially, the group was composed of singer David Johansen, guitarists Johnny Thunders and Rick Rivets (who was replaced by Sylvain Sylvain after a few months), bass guitarist Arthur "Killer" Kane and drummer Billy Murcia.
The original line-up's first performance was on Christmas Eve 1971 at a homeless shelter, the Endicott Hotel. After getting a manager and attracting some music industry interest, the New York Dolls got a break when Rod Stewart invited them to open for him at a London concert.
In the band's early days, the New York Dolls performed at the Mercer Art Center, where Ruby and the Rednecks opened for and were influenced by them.
Billy Murcia's death
While on a brief tour of England in 1972, Murcia was invited to a party, where he passed out from an accidental overdose. He was put in a bathtub and force-fed coffee in an attempt to revive him. Instead, it resulted in asphyxiation. He was found dead on the morning of November 6, 1972, at the age of 21.
Record deal: 1972–1975
Once back in New York, the Dolls auditioned drummers, including Marc Bell (who was to go on to play with Richard Hell, and with the Ramones under the stage name "Marky Ramone"), Peter Criscuola (better known as Peter Criss, the original and former drummer of Kiss), and Jerry Nolan, a friend of the band. They selected Nolan, and after US Mercury Records' A&R man Paul Nelson signed them, they began sessions for their debut album. In 1972, the band took on Marty Thau as manager.
New York Dolls was produced by singer-songwriter, musician and solo artist Todd Rundgren. In an interview in Creem magazine, Rundgren says he barely touched the recording; everybody was debating how to do the mix. Sales were sluggish, especially in the middle US, and a Stereo Review magazine reviewer in 1973 compared the Dolls' guitar playing to the sound of lawnmowers. America's mass rock audience's reaction to the Dolls was mixed. In a Creem magazine poll, they were elected both best and worst new group of 1973. The Dolls also toured Europe, and, while appearing on UK television, host Bob Harris of the BBC's Old Grey Whistle Test derided the group as "mock rock," comparing them unfavorably to the Rolling Stones.
For their next album, Too Much Too Soon, the quintet hired producer George "Shadow" Morton, whose productions for the Shangri-Las and other girl-groups in the mid-1960s had been among the band's favorites. Mercury dropped the Dolls on 7 October 1975, their contract with Mercury having expired on 8 August 1975 - five months after Thunders' and Nolan's departures from the band.
Dissolution: 1975–1976
By 1975, the Dolls were playing smaller venues than they had been previously. Drug and alcohol abuse by Thunders, Nolan, and Kane, as well as artistic differences added to the tensions among members. In late February or early March, Malcolm McLaren became their informal manager. He got the band red leather outfits to wear on stage and a communist flag as backdrop. The Dolls did a five-concert tour of New York's five boroughs, supported by Television and Pure Hell. The Little Hippodrome (Manhattan) show was recorded and released by Fan Club records in 1982 as Red Patent Leather. It was originally a bootleg album that was later remixed by Sylvain, with former manager Marty Thau credited as executive producer. Due to Kane being unable to play that night, roadie Peter Jordan played bass, though he was credited as having played "second bass". Jordan filled in for Kane when he was too inebriated to play.
In March and April, McLaren took the band on a tour of South Carolina and Florida. Jordan replaced Kane for most of those shows. Thunders and Nolan left after an argument. Blackie Lawless, who later founded W.A.S.P., replaced Thunders for the remainder of the tour after which the band broke up.
The band reformed in July for an August tour in Japan with Jeff Beck and Felix Pappalardi. Johansen, Sylvain and Jordan were joined by former Elephant's Memory keyboardist Chris Robison and drummer Tony Machine. One of the shows was documented on the album Tokyo Dolls Live (Fan Club/New Rose). The material is similar to that on Red Patent Leather, but notable for a radically re-arranged "Frankenstein" and a cover of Big Joe Turner's "Flip Flop Fly." The album is undated and has no production credit, but was issued circa 1986.
After their return to New York, the Dolls resumed playing shows in the US and Canada. Their show at the Beacon Theater, on New Year's Eve, 1975 met with great critical acclaim. After a drunken argument with Sylvain, Robison was fired and replaced by pianist/keyboardist Bobbie Blaine. The group toured throughout 1976, performing a set including some songs with lyrics by David Johansen that would later appear on David Johansen's solo albums including "Funky But Chic", "Frenchette" and "Wreckless Crazy.” The group played its last show December 30, 1976 at Max's Kansas City; on the same bill as Blondie.
Individual endeavors: 1975–2004
Shortly after returning from Florida, Thunders and Nolan formed The Heartbreakers with bassist Richard Hell, who had left Television the same week that they quit the Dolls. Thunders later pursued a solo career. He died in New Orleans in 1991, allegedly of an overdose of both heroin and methadone. It also came to light that he suffered from t-cell leukemia. Nolan died in 1992 following a stroke, brought about by bacterial meningitis. In 1976, Kane and Blackie Lawless formed the Killer Kane Band in Los Angeles. Immediately after the New York Dolls' second breakup, Johansen began a solo career. By the late 1980s, he achieved moderate success under the pseudonym, Buster Poindexter. Sylvain formed The Criminals, a popular band at CBGB.
A posthumous New York Dolls album, Lipstick Killers, made up of early demo tapes of the original Dolls (with Billy Murcia on drums), was released in a cassette-only edition on ROIR Records in 1981, and subsequently re-released on CD, and then on vinyl in early 2006. All the tracks from this title – sometimes referred to as The Mercer Street Sessions (though actually recorded at Blue Rock Studio, New York) – are included on the CD Private World, along with other tracks recorded elsewhere, including a previously unreleased Dolls original, "Endless Party." Three more unreleased studio tracks, including another previously unreleased Dolls original, "Lone Star Queen," are included on the Rock 'n' Roll album. The other two are covers: the "Courageous Cat" theme, from the original Courageous Cat cartoon series; and a second attempt at "Don't Mess With Cupid," a song written by Steve Cropper and Eddie Floyd for Otis Redding, and first recorded independently for what was later to become the Mercer Street/Blue Rock Sessions.
Sylvain formed his own band, The Criminals, then cut a solo album for RCA, while also working with Johansen. He later became a taxicab driver in New York.
Johansen, meanwhile, formed the David Johansen Group, and released an eponymous LP in 1978, recorded at the Bottom Line in NYC’s Greenwich Village,featuring Sylvain Mizrahi and Johnny Thunders as guest musicians.
In May, 1978, he also released “David Johansen,” on Blue Sky Records, a label created by Steve Paul, formerly of The Scene. Johansen continued to tour with his solo project and released four more albums, In Style, 1979; Here Comes the Night, 1981; Live it Up, 1982; and Sweet Revenge, 1984.
During the later 1980's, Johansen, ever-evolving, decided to try to liberate himself from the expectations of his New York Dolls perceived persona, and, on a whim, created the persona Buster Poindexter.
The success of this act led him to be invited to appear in multiple films: Scrooged, Freejack, and Let it Ride, among others.
He also formed a band called David Johansen and the Harry Smiths, named after the eccentric ethnomusicologist, performing jump blues, Delta blues, and some original songs.
During this period, in the early 1990s, Sylvain moved to Los Angeles and recorded one album Sleep Baby Doll, on Fishhead Records. His band, for that record, consisted of Brian Keats on drums, Dave Vanian's Phantom Chords, Speediejohn Carlucci (who had played with the Fuzztones), and Olivier Le Baron on lead guitar. Guest appearances by Frank Infante of Blondie and Derwood Andrews of Generation X were also included on the record. It has been re-released as New York A Go Go,.
Reunion, return to recording, second dissolution: 2004–11, and death of Sylvain
Morrissey, having been a longtime fan of the band and head of their 1970s UK fan club, organized a reunion of the three surviving members of the band's classic line-up (Johansen, Sylvain and Kane) for the Meltdown Festival in London on June 16, 2004. The reunion led to a live LP and DVD on Morrissey's Attack label, as well as a documentary film, New York Doll, on the life of Arthur Kane. However, future plans for the Dolls were affected by Kane's sudden death from leukemia just one month later on July 13, 2004. Yet the following month the band appeared at Little Steven’s Underground Garage Festival on August 14 in New York City before returning to the UK to play several more festivals through the remainder of 2004.
In July 2005, the two surviving members announced a tour and a new album entitled One Day It Will Please Us to Remember Even This. Released on July 25, 2006, the album featured guitarist Steve Conte, bassist Sami Yaffa (ex-Hanoi Rocks), drummer Brian Delaney and keyboardist Brian Koonin, formerly a member of David Johansen and the Harry Smiths. On July 20, 2006, the New York Dolls appeared on Late Night with Conan O'Brien, followed by a live performance in Philadelphia at the WXPN All About The Music Festival, and on July 22, 2006, a taped appearance on The Henry Rollins Show. On August 18, 2006, the band performed in a free concert at New York's Seaport Music.
In October 2006, the band embarked on a UK tour, with Sylvain taking time while in Glasgow to speak to John Kilbride of STV. The discussion covered the band's history and the current state of their live show and songwriting, with Sylvain commenting that "even if you come to our show thinking 'how can it be like it was before,' we turn that around 'cos we've got such a great live rock 'n roll show". In November 2006, the Dolls began headlining "Little Steven's Underground Garage Presents the Rolling Rock and Roll Show," about 20 live gigs with numerous other bands. In April 2007, the band played in Australia and New Zealand, appearing at the V Festival with Pixies, Pet Shop Boys, Gnarls Barkley, Beck, Jarvis Cocker and Phoenix.
On September 22, 2007, New York Dolls were removed from the current artists section of Roadrunner Records' website, signifying the group's split with the label. The band played the O2 Wireless Festival in Hyde Park, London on July 4, 2008, with Morrissey and Beck and the Lounge On The Farm Festival on July 12, 2008. On November 14, 2008, it was announced that the producer of their first album, Todd Rundgren, would be producing a new album, which would be followed by a world tour. The finishing touches on the album were made in Rundgren's studio on the island of Kauai. The album, Cause I Sez So, was released on May 5, 2009 on Atco Records.
The band played at South by Southwest in Austin, Texas on March 21, 2009, and a show at London's 100 Club on May 14, 2009 supported by Spizzenergi.
On March 18, 2010, the band announced another two concert dates at KOKO in Camden, London and the Academy in Dublin on April 20. In December 2010, it was announced the band would release their fifth album which had been recorded in Newcastle upon Tyne. The album, Dancing Backward in High Heels, featuring new guitarist Frank Infante (formerly of Blondie) was released on March 15, 2011.
On March 1, 2011, it was announced the New York Dolls would be the opening act for a summer tour featuring Mötley Crüe and Poison. They announced a new lineup for the tour, featuring guitarist Earl Slick, who held previous stints with David Bowie and John Lennon, bassist Kenny Aaronson, who had toured with Bob Dylan, and drummer Jason Sutter, formerly of Foreigner.
In a 2016 interview, Earl Slick confirmed the band was over. "Oh, yeah, it's long gone. There was no point in doing it anymore and it was kinda spent. You know, David really does enjoy the Buster thing. He's so good at it. I've seen him do it a couple of times this last year, and man! He's got it down, you know."
Sylvain Sylvain died on January 13, 2021, at age 69, leaving David Johansen as the last surviving original member of the band.
Musical style
According to AllMusic editor Stephen Thomas Erlewine, the New York Dolls developed an original style of hard rock that presaged both punk rock and heavy metal music, and drew on elements such as the "dirty rock & roll" of the Rolling Stones, the "anarchic noise" of the Stooges, the glam rock of David Bowie and T. Rex, and girl group pop music. Erlewine credited the band for creating punk rock "before there was a term for it." Ken Tucker, who referred to them as a proto-punk band, wrote that they were strongly influenced by the "New York sensibility" of Lou Reed: "The mean wisecracks and impassioned cynicism that informed the Dolls' songs represented an attitude that Reed's work with the Velvet Underground embodied, as did the Dolls' distinct lack of musicianship."
When they began performing, four of the band's five members wore Spandex and platform boots, while Johansen—the band's lyricist and "conceptmaster"— often preferred high heels and a dress occasionally. Fashion historian Valerie Steele said that, while the majority of the punk scene pursued an understated "street look", the New York Dolls followed an English glam rock "look of androgyny—leather and knee-length boots, chest hair, and bleach". According to James McNair of The Independent, "when they began pedalling their trashy glam-punk around lower Manhattan in 1971, they were more burlesque act than band; a bunch of lipsticked, gutter chic-endorsing cross-dressers". Music journalist Nick Kent argued that the New York Dolls were "quintessential glam rockers" because of their flamboyant fashion, while their technical shortcomings as musicians and Johnny Thunders' "trouble-prone presence" gave them a punk-rock reputation.
By contrast, Robert Christgau preferred for them to not be categorized as a glam rock band, but instead as "the best hard-rock band since the Rolling Stones". Robert Hilburn, writing for the Los Angeles Times, said that the band exhibited a strong influence from the Rolling Stones, but had distinguished themselves by Too Much Too Soon (1974) as "a much more independent, original force" because of their "definite touch of the humor and carefreeness of early (ie. mid-1950s) rock". Simon Reynolds felt that, by their 2009 album Cause I Sez So, the band exhibited the sound "not of the sloppy, rambunctious Dolls of punk mythology but of a tight, lean hard-rock band."
Band members
Former members
David Johansen – vocals, harmonica (1971–1976, 2004–2011)
Sylvain Sylvain – guitar, bass, piano (1971–1976, 2004–2011; died 2021)
Arthur Kane – bass guitar (1971–1975, 2004; died 2004)
Johnny Thunders - guitar, vocals (1971-1975; died 1991)
Billy Murcia – drums (1971–1972; died 1972)
Rick Rivets – guitar (1971; died 2019)
Jerry Nolan – drums (1972–1975; died 1992)
Peter Jordan – bass (1975–1976)
Tony Machine – drums (1975–1976)
Blackie Lawless – guitar (1975)
Chris Robison – keyboards (1975)
Bobby Blaine – keyboards (1976)
Steve Conte – guitar, vocals (2004–2010)
John Conte – bass (2004)
Gary Powell – drums (2004)
Brian Delaney– drums (2005–2011)
Sami Yaffa – bass (2005–2010)
Brian Koonin – keyboards (2005–2006)
Aaron Lee Tasjan - guitar (2008-2009)
Frank Infante – guitar (2010–2011)
Jason Hill – bass (2010–2011)
Jason Sutter – drums (2011)
Kenny Aaronson – bass (2011)
Earl Slick – guitar (2011)
Claton Pitcher – guitar (2011)
Timeline
Discography
Studio albums
Chart placings shown are from the Billboard 200 US Albums chart.
New York Dolls (1973 US:#116)
Too Much Too Soon (1974 US:#167) in UK:#165
One Day It Will Please Us to Remember Even This (2006 US:#129)
Cause I Sez So (2009 US:#159)
Dancing Backward in High Heels (2011)
Demo albums
Lipstick Killers – The Mercer Street Sessions 1972 (1981)
Seven Day Weekend (1992)
Actress – "Birth of the New York Dolls" (2000)
Endless Party (2000)
Private World - The Complete Early Studio Demos 1972–1973 (2006)
Live albums
Red Patent Leather (1984)
Paris Le Trash (1993)
Live In Concert, Paris 1974 (1998)
The Glamorous Life Live (1999)
From Paris with Love (L.U.V.) (2002)
Morrissey Presents: The Return Of New York Dolls Live From Royal Festival Hall (2004)
Live At the Filmore East (2008)
Viva Le Trash '74 (2009)
French Kiss '74 (2013)
Compilation albums
New York Dolls / Too Much Too Soon (1977)
Very Best of New York Dolls (1977)
Night of the Living Dolls (1985)
The Best of the New York Dolls (1985)
Super Best Collection (1990)
Rock'n Roll (1994)
Hootchie Kootchie Dolls (1998)
The Glam Rock Hits (1999)
Actress: Birth of The New York Dolls (2000)
Endless Party (2000)
New York Tapes 72/73 (2000)
Great Big Kiss (reissue of Seven Day Weekend and Red Patent Leather, 2002)
Looking For A Kiss (2003)
Manhattan Mayhem (2003)
20th Century Masters – the Millennium collection: the best of New York Dolls (2003)
Singles
"Personality Crisis" / "Looking for a Kiss" (1973)
"Trash" / "Personality Crisis" (1973)
"Jet Boy" / "Vietnamese Baby" (1973)
"Stranded in the Jungle" / "Don't Start Me Talkin'" (1974)
"(There's Gonna Be A) Showdown" / "Puss 'n' Boots" (1974)
"Jet Boy" // "Babylon" / "Who Are the Mystery Girls" (1977, UK)
"Bad Girl" / "Subway Train" (1978, Germany)
"Gimme Luv and Turn On the Light" (2006)
"Fool for You Baby" (2011)
"Dolled UP" (2014)
References
External links
"Private World: New York Dolls Manager Marty Thau on His Days with the Band" - Interview in Rocker Magazine 2012
1971 establishments in New York City
2011 disestablishments in New York (state)
Hard rock musical groups from New York (state)
American glam rock musical groups
Protopunk groups
Punk rock groups from New York (state)
Musical groups from New York City
Mercury Records artists
Musical groups established in 1971
Musical groups disestablished in 1976
Musical groups reestablished in 2004
Musical groups disestablished in 2011
Atco Records artists
| true |
[
"Huntington Avenue American League Baseball Grounds is the full name of the baseball stadium that formerly stood in Boston, Massachusetts, and was the first home field for the Boston Red Sox (known informally as the \"Boston Americans\" before 1908) from to . The stadium, built for $35,000 (equivalent to $ million in ), was located on what is now Northeastern University, at the time across the New York, New Haven and Hartford Railroad tracks from the South End Grounds, home of the Boston Braves. \n\nThe stadium was the site of the first World Series game between the modern American and National Leagues in 1903, and also saw the first perfect game in the modern era, thrown by Cy Young on May 5, 1904. The playing field was built on a former circus lot and was extremely large by modern standards- to center field, later expanded to in 1908. It had many quirks not seen in modern baseball stadiums, including patches of sand in the outfield where grass would not grow, and a tool shed in deep center field that was in play.\n\nThe Huntington Avenue Grounds was demolished after the Red Sox left at the beginning of the 1912 season to play at Fenway Park. The Cabot Center, an indoor athletic venue belonging to Northeastern University, has stood on the Huntington Grounds' footprint since 1954. A plaque and a statue of Cy Young were erected in 1993 where the pitchers mound used to be, commemorating the history of this ballpark in what is now called World Series Way. Meanwhile, a plaque on the side of the Cabot Center (1956) marks the former location of the left field foul pole.\nThe Cabot facility itself is barely over a quarter mile away to the southwest from another, still-standing Boston area sports facility of that era, Matthews Arena (built in 1910), the original home of the NHL's Boston Bruins when they started play in 1924.\n\nGallery\n\nReferences\nBallpark Digest Article on Huntington Avenue Baseball Grounds\nHuntington Avenue Baseball Grounds at Baseball Almanac\nInfo at Ballparks.com\nSee Huntington family\n\nDefunct baseball venues in Boston\nDefunct college football venues\nBoston College Eagles football venues\nBoston Red Sox stadiums\nDefunct Major League Baseball venues\nDemolished sports venues in Massachusetts\nNortheastern University\n1901 establishments in Massachusetts\nSports venues demolished in 1912\n1912 disestablishments in Massachusetts",
"DV8 was an American, alternative rock band formed in Midlothian, Texas, United States, in 2002. The band consisted of Cash Kelley (vocals, guitar), John Cade (drums), and David Sposito (bass, back-up vocals). In 2004, the band released its debut EP, A Sip of What is to Come. That same year, a promotional DVD was produced by one of the bands sponsors, Monster Energy. In 2005, they were invited to perform at the Download Festival in England's Donington Park. DV8 split up in 2006.\n\nThe band was managed by Bowling For Soup frontman Jaret Reddick.\n\nHistory\n\nLead singer Cash founded DV8 in 2002 recruiting his friends, John Cade, and David Sposito. They began playing at small venues in the area surrounding their hometown of Midlothian, Texas. Eventually, they went on to play larger stages and venues, including the 2004 Warped Tour, the Freakers Ball, and the Download Festival in the UK.\n\nOver the course of their career, DV8 played shows with many notable acts, including Simple Plan, All American Rejects, Bowling For Soup, Fall Out Boy, Mest, and Matchbook Romance. Receiving high acclaim, Monster Energy and Ernie Ball were among many high-profile companies to sponsor the band.\n\nIn June 2004, the band released their debut EP entitled A Sip of What is to Come. The EP was recorded at Yellow Dog Studios by Zac Maloy of The Nixons. Plans were in motion to record a full-length album, however the group disbanded before this could happen.\n\nCash went on to other projects, including fronting the Texas band Hermosa, and is currently the owner and designer of Custom Chaos Art in Dallas, Texas.\n\nDiscography\n\nEPs\nA Sip of What is to Come (2004)\n\nMembers\n Band members\n Cash Kelley – vocals, guitar\n John Cade – drums\n David Sposito – bass guitar, vocals\n\nSee also\n\n List of alternative rock artists\n\nReferences\n\nExternal links\n DV8 on Broadjam\n\n2002 establishments in Texas\n2006 disestablishments in Texas\nAlternative rock groups from Texas\nAmerican pop rock music groups\nPunk rock groups from Texas\nMusical groups established in 2002\nMusical groups disestablished in 2006"
] |
[
"New York Dolls",
"Formation",
"How did the New York Dolls get together?",
"In 1970 they formed a band again and recruited Johnny Thunders to join on bass, though Sylvain ended up teaching him to play guitar. They called themselves the Dolls.",
"How did they come up with the name \"the New York Dolls?\"",
"across the street from the New York Doll Hospital, a doll repair shop. Sylvain said that the shop inspired the name for their future band.",
"Were there any other band members?",
"Sylvain Sylvain and Billy Murcia,",
"What venues did the band play at in the beginning?",
"a homeless shelter, the Endicott Hotel."
] |
C_3bc51535ed1f422e8c4fb50b887db0ed_1
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Did they cut any albums?
| 5 |
Did the New York Dolls cut any albums?
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New York Dolls
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Sylvain Sylvain and Billy Murcia, who went to junior high school and high school together, started playing in a band called "the Pox" in 1967. After the frontman quit, Murcia and Sylvain started a clothing business called Truth and Soul and Sylvain took a job at A Different Drummer, a men's boutique that was across the street from the New York Doll Hospital, a doll repair shop. Sylvain said that the shop inspired the name for their future band. In 1970 they formed a band again and recruited Johnny Thunders to join on bass, though Sylvain ended up teaching him to play guitar. They called themselves the Dolls. When Sylvain left the band to spend a few months in London, Thunders and Murcia went their separate ways. Thunders was eventually recruited by Kane and Rick Rivets, who had been playing together in the Bronx. At Thunders' suggestion, Murcia replaced the original drummer. Thunders played lead guitar and sang for the band Actress. An October 1971 rehearsal tape recorded by Rivets was released as Dawn of the Dolls. When Thunders decided that he no longer wanted to be the front man, David Johansen joined the band. Initially, the group was composed of singer David Johansen, guitarists Johnny Thunders and Rick Rivets (who was replaced by Sylvain Sylvain after a few months), bass guitarist Arthur "Killer" Kane and drummer Billy Murcia. The original lineup's first performance was on Christmas Eve 1971 at a homeless shelter, the Endicott Hotel. After getting a manager and attracting some music industry interest, the New York Dolls got a break when Rod Stewart invited them to open for him at a London concert. CANNOTANSWER
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An October 1971 rehearsal tape recorded by Rivets was released as Dawn of the Dolls.
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The New York Dolls were an American rock band formed in New York City in 1971. Along with The Velvet Underground, MC5, The Stooges, and The Modern Lovers, they were one of the bands later credited as proto-punk, early influences on what would only later be known as punk rock. Although the band never achieved much commercial success and their original line-up fell apart quickly, the band's first two albums—New York Dolls (1973) and Too Much Too Soon (1974)—became among the most popular cult records in rock. The line-up at this time comprised vocalist David Johansen, guitarist Johnny Thunders, bassist Arthur Kane, guitarist and pianist Sylvain Sylvain and drummer Jerry Nolan; the latter two had replaced Rick Rivets and Billy Murcia, respectively, in 1972. On stage, they donned an androgynous wardrobe, wearing high heels, eccentric hats, satin, makeup, spandex, and dresses. Nolan described the group in 1974 as "the Dead End Kids of today". After Thunders, Nolan and Kane all left in spring 1975, Johansen and Sylvain continued the band with other musicians until the end of 1976.
According to the Encyclopedia of Popular Music (1995), the New York Dolls predated the punk and glam metal movements and were "one of the most influential rock bands of the last 20 years". They influenced rock groups such as the Sex Pistols, Kiss, the Ramones, Guns N' Roses, the Damned, and the Smiths, whose frontman Morrissey organized a reunion show for the New York Dolls' surviving members, being Johansen and Sylvain, in 2004. After reuniting, they recruited new musicians to tour and record. They released three more albums—One Day It Will Please Us to Remember Even This (2006), Cause I Sez So (2009) and Dancing Backward in High Heels (2011). Following a 2011 British tour with Alice Cooper, the band once again disbanded.
History
Formation
Sylvain Sylvain and Billy Murcia, who went to junior high school and high school together, started playing in a band called "the Pox" in 1967. After the frontman quit, Murcia and Sylvain started a clothing business called Truth and Soul and Sylvain took a job at A Different Drummer, a men's boutique that was across the street from the New York Doll Hospital, a doll repair shop. Sylvain said that the shop inspired the name for their future band. In 1970 they formed a band again and recruited Johnny Thunders to join on bass, though Sylvain ended up teaching him to play guitar. They called themselves the Dolls. When Sylvain left the band to spend a few months in London, Thunders and Murcia went their separate ways.
Thunders was eventually recruited by Kane and Rick Rivets, who had been playing together in the Bronx. At Thunders' suggestion, Murcia replaced the original drummer. Thunders played lead guitar and sang for the band Actress. An October 1971 rehearsal tape recorded by Rivets was released as Dawn of the Dolls. When Thunders decided that he no longer wanted to be the front man, David Johansen joined the band. Initially, the group was composed of singer David Johansen, guitarists Johnny Thunders and Rick Rivets (who was replaced by Sylvain Sylvain after a few months), bass guitarist Arthur "Killer" Kane and drummer Billy Murcia.
The original line-up's first performance was on Christmas Eve 1971 at a homeless shelter, the Endicott Hotel. After getting a manager and attracting some music industry interest, the New York Dolls got a break when Rod Stewart invited them to open for him at a London concert.
In the band's early days, the New York Dolls performed at the Mercer Art Center, where Ruby and the Rednecks opened for and were influenced by them.
Billy Murcia's death
While on a brief tour of England in 1972, Murcia was invited to a party, where he passed out from an accidental overdose. He was put in a bathtub and force-fed coffee in an attempt to revive him. Instead, it resulted in asphyxiation. He was found dead on the morning of November 6, 1972, at the age of 21.
Record deal: 1972–1975
Once back in New York, the Dolls auditioned drummers, including Marc Bell (who was to go on to play with Richard Hell, and with the Ramones under the stage name "Marky Ramone"), Peter Criscuola (better known as Peter Criss, the original and former drummer of Kiss), and Jerry Nolan, a friend of the band. They selected Nolan, and after US Mercury Records' A&R man Paul Nelson signed them, they began sessions for their debut album. In 1972, the band took on Marty Thau as manager.
New York Dolls was produced by singer-songwriter, musician and solo artist Todd Rundgren. In an interview in Creem magazine, Rundgren says he barely touched the recording; everybody was debating how to do the mix. Sales were sluggish, especially in the middle US, and a Stereo Review magazine reviewer in 1973 compared the Dolls' guitar playing to the sound of lawnmowers. America's mass rock audience's reaction to the Dolls was mixed. In a Creem magazine poll, they were elected both best and worst new group of 1973. The Dolls also toured Europe, and, while appearing on UK television, host Bob Harris of the BBC's Old Grey Whistle Test derided the group as "mock rock," comparing them unfavorably to the Rolling Stones.
For their next album, Too Much Too Soon, the quintet hired producer George "Shadow" Morton, whose productions for the Shangri-Las and other girl-groups in the mid-1960s had been among the band's favorites. Mercury dropped the Dolls on 7 October 1975, their contract with Mercury having expired on 8 August 1975 - five months after Thunders' and Nolan's departures from the band.
Dissolution: 1975–1976
By 1975, the Dolls were playing smaller venues than they had been previously. Drug and alcohol abuse by Thunders, Nolan, and Kane, as well as artistic differences added to the tensions among members. In late February or early March, Malcolm McLaren became their informal manager. He got the band red leather outfits to wear on stage and a communist flag as backdrop. The Dolls did a five-concert tour of New York's five boroughs, supported by Television and Pure Hell. The Little Hippodrome (Manhattan) show was recorded and released by Fan Club records in 1982 as Red Patent Leather. It was originally a bootleg album that was later remixed by Sylvain, with former manager Marty Thau credited as executive producer. Due to Kane being unable to play that night, roadie Peter Jordan played bass, though he was credited as having played "second bass". Jordan filled in for Kane when he was too inebriated to play.
In March and April, McLaren took the band on a tour of South Carolina and Florida. Jordan replaced Kane for most of those shows. Thunders and Nolan left after an argument. Blackie Lawless, who later founded W.A.S.P., replaced Thunders for the remainder of the tour after which the band broke up.
The band reformed in July for an August tour in Japan with Jeff Beck and Felix Pappalardi. Johansen, Sylvain and Jordan were joined by former Elephant's Memory keyboardist Chris Robison and drummer Tony Machine. One of the shows was documented on the album Tokyo Dolls Live (Fan Club/New Rose). The material is similar to that on Red Patent Leather, but notable for a radically re-arranged "Frankenstein" and a cover of Big Joe Turner's "Flip Flop Fly." The album is undated and has no production credit, but was issued circa 1986.
After their return to New York, the Dolls resumed playing shows in the US and Canada. Their show at the Beacon Theater, on New Year's Eve, 1975 met with great critical acclaim. After a drunken argument with Sylvain, Robison was fired and replaced by pianist/keyboardist Bobbie Blaine. The group toured throughout 1976, performing a set including some songs with lyrics by David Johansen that would later appear on David Johansen's solo albums including "Funky But Chic", "Frenchette" and "Wreckless Crazy.” The group played its last show December 30, 1976 at Max's Kansas City; on the same bill as Blondie.
Individual endeavors: 1975–2004
Shortly after returning from Florida, Thunders and Nolan formed The Heartbreakers with bassist Richard Hell, who had left Television the same week that they quit the Dolls. Thunders later pursued a solo career. He died in New Orleans in 1991, allegedly of an overdose of both heroin and methadone. It also came to light that he suffered from t-cell leukemia. Nolan died in 1992 following a stroke, brought about by bacterial meningitis. In 1976, Kane and Blackie Lawless formed the Killer Kane Band in Los Angeles. Immediately after the New York Dolls' second breakup, Johansen began a solo career. By the late 1980s, he achieved moderate success under the pseudonym, Buster Poindexter. Sylvain formed The Criminals, a popular band at CBGB.
A posthumous New York Dolls album, Lipstick Killers, made up of early demo tapes of the original Dolls (with Billy Murcia on drums), was released in a cassette-only edition on ROIR Records in 1981, and subsequently re-released on CD, and then on vinyl in early 2006. All the tracks from this title – sometimes referred to as The Mercer Street Sessions (though actually recorded at Blue Rock Studio, New York) – are included on the CD Private World, along with other tracks recorded elsewhere, including a previously unreleased Dolls original, "Endless Party." Three more unreleased studio tracks, including another previously unreleased Dolls original, "Lone Star Queen," are included on the Rock 'n' Roll album. The other two are covers: the "Courageous Cat" theme, from the original Courageous Cat cartoon series; and a second attempt at "Don't Mess With Cupid," a song written by Steve Cropper and Eddie Floyd for Otis Redding, and first recorded independently for what was later to become the Mercer Street/Blue Rock Sessions.
Sylvain formed his own band, The Criminals, then cut a solo album for RCA, while also working with Johansen. He later became a taxicab driver in New York.
Johansen, meanwhile, formed the David Johansen Group, and released an eponymous LP in 1978, recorded at the Bottom Line in NYC’s Greenwich Village,featuring Sylvain Mizrahi and Johnny Thunders as guest musicians.
In May, 1978, he also released “David Johansen,” on Blue Sky Records, a label created by Steve Paul, formerly of The Scene. Johansen continued to tour with his solo project and released four more albums, In Style, 1979; Here Comes the Night, 1981; Live it Up, 1982; and Sweet Revenge, 1984.
During the later 1980's, Johansen, ever-evolving, decided to try to liberate himself from the expectations of his New York Dolls perceived persona, and, on a whim, created the persona Buster Poindexter.
The success of this act led him to be invited to appear in multiple films: Scrooged, Freejack, and Let it Ride, among others.
He also formed a band called David Johansen and the Harry Smiths, named after the eccentric ethnomusicologist, performing jump blues, Delta blues, and some original songs.
During this period, in the early 1990s, Sylvain moved to Los Angeles and recorded one album Sleep Baby Doll, on Fishhead Records. His band, for that record, consisted of Brian Keats on drums, Dave Vanian's Phantom Chords, Speediejohn Carlucci (who had played with the Fuzztones), and Olivier Le Baron on lead guitar. Guest appearances by Frank Infante of Blondie and Derwood Andrews of Generation X were also included on the record. It has been re-released as New York A Go Go,.
Reunion, return to recording, second dissolution: 2004–11, and death of Sylvain
Morrissey, having been a longtime fan of the band and head of their 1970s UK fan club, organized a reunion of the three surviving members of the band's classic line-up (Johansen, Sylvain and Kane) for the Meltdown Festival in London on June 16, 2004. The reunion led to a live LP and DVD on Morrissey's Attack label, as well as a documentary film, New York Doll, on the life of Arthur Kane. However, future plans for the Dolls were affected by Kane's sudden death from leukemia just one month later on July 13, 2004. Yet the following month the band appeared at Little Steven’s Underground Garage Festival on August 14 in New York City before returning to the UK to play several more festivals through the remainder of 2004.
In July 2005, the two surviving members announced a tour and a new album entitled One Day It Will Please Us to Remember Even This. Released on July 25, 2006, the album featured guitarist Steve Conte, bassist Sami Yaffa (ex-Hanoi Rocks), drummer Brian Delaney and keyboardist Brian Koonin, formerly a member of David Johansen and the Harry Smiths. On July 20, 2006, the New York Dolls appeared on Late Night with Conan O'Brien, followed by a live performance in Philadelphia at the WXPN All About The Music Festival, and on July 22, 2006, a taped appearance on The Henry Rollins Show. On August 18, 2006, the band performed in a free concert at New York's Seaport Music.
In October 2006, the band embarked on a UK tour, with Sylvain taking time while in Glasgow to speak to John Kilbride of STV. The discussion covered the band's history and the current state of their live show and songwriting, with Sylvain commenting that "even if you come to our show thinking 'how can it be like it was before,' we turn that around 'cos we've got such a great live rock 'n roll show". In November 2006, the Dolls began headlining "Little Steven's Underground Garage Presents the Rolling Rock and Roll Show," about 20 live gigs with numerous other bands. In April 2007, the band played in Australia and New Zealand, appearing at the V Festival with Pixies, Pet Shop Boys, Gnarls Barkley, Beck, Jarvis Cocker and Phoenix.
On September 22, 2007, New York Dolls were removed from the current artists section of Roadrunner Records' website, signifying the group's split with the label. The band played the O2 Wireless Festival in Hyde Park, London on July 4, 2008, with Morrissey and Beck and the Lounge On The Farm Festival on July 12, 2008. On November 14, 2008, it was announced that the producer of their first album, Todd Rundgren, would be producing a new album, which would be followed by a world tour. The finishing touches on the album were made in Rundgren's studio on the island of Kauai. The album, Cause I Sez So, was released on May 5, 2009 on Atco Records.
The band played at South by Southwest in Austin, Texas on March 21, 2009, and a show at London's 100 Club on May 14, 2009 supported by Spizzenergi.
On March 18, 2010, the band announced another two concert dates at KOKO in Camden, London and the Academy in Dublin on April 20. In December 2010, it was announced the band would release their fifth album which had been recorded in Newcastle upon Tyne. The album, Dancing Backward in High Heels, featuring new guitarist Frank Infante (formerly of Blondie) was released on March 15, 2011.
On March 1, 2011, it was announced the New York Dolls would be the opening act for a summer tour featuring Mötley Crüe and Poison. They announced a new lineup for the tour, featuring guitarist Earl Slick, who held previous stints with David Bowie and John Lennon, bassist Kenny Aaronson, who had toured with Bob Dylan, and drummer Jason Sutter, formerly of Foreigner.
In a 2016 interview, Earl Slick confirmed the band was over. "Oh, yeah, it's long gone. There was no point in doing it anymore and it was kinda spent. You know, David really does enjoy the Buster thing. He's so good at it. I've seen him do it a couple of times this last year, and man! He's got it down, you know."
Sylvain Sylvain died on January 13, 2021, at age 69, leaving David Johansen as the last surviving original member of the band.
Musical style
According to AllMusic editor Stephen Thomas Erlewine, the New York Dolls developed an original style of hard rock that presaged both punk rock and heavy metal music, and drew on elements such as the "dirty rock & roll" of the Rolling Stones, the "anarchic noise" of the Stooges, the glam rock of David Bowie and T. Rex, and girl group pop music. Erlewine credited the band for creating punk rock "before there was a term for it." Ken Tucker, who referred to them as a proto-punk band, wrote that they were strongly influenced by the "New York sensibility" of Lou Reed: "The mean wisecracks and impassioned cynicism that informed the Dolls' songs represented an attitude that Reed's work with the Velvet Underground embodied, as did the Dolls' distinct lack of musicianship."
When they began performing, four of the band's five members wore Spandex and platform boots, while Johansen—the band's lyricist and "conceptmaster"— often preferred high heels and a dress occasionally. Fashion historian Valerie Steele said that, while the majority of the punk scene pursued an understated "street look", the New York Dolls followed an English glam rock "look of androgyny—leather and knee-length boots, chest hair, and bleach". According to James McNair of The Independent, "when they began pedalling their trashy glam-punk around lower Manhattan in 1971, they were more burlesque act than band; a bunch of lipsticked, gutter chic-endorsing cross-dressers". Music journalist Nick Kent argued that the New York Dolls were "quintessential glam rockers" because of their flamboyant fashion, while their technical shortcomings as musicians and Johnny Thunders' "trouble-prone presence" gave them a punk-rock reputation.
By contrast, Robert Christgau preferred for them to not be categorized as a glam rock band, but instead as "the best hard-rock band since the Rolling Stones". Robert Hilburn, writing for the Los Angeles Times, said that the band exhibited a strong influence from the Rolling Stones, but had distinguished themselves by Too Much Too Soon (1974) as "a much more independent, original force" because of their "definite touch of the humor and carefreeness of early (ie. mid-1950s) rock". Simon Reynolds felt that, by their 2009 album Cause I Sez So, the band exhibited the sound "not of the sloppy, rambunctious Dolls of punk mythology but of a tight, lean hard-rock band."
Band members
Former members
David Johansen – vocals, harmonica (1971–1976, 2004–2011)
Sylvain Sylvain – guitar, bass, piano (1971–1976, 2004–2011; died 2021)
Arthur Kane – bass guitar (1971–1975, 2004; died 2004)
Johnny Thunders - guitar, vocals (1971-1975; died 1991)
Billy Murcia – drums (1971–1972; died 1972)
Rick Rivets – guitar (1971; died 2019)
Jerry Nolan – drums (1972–1975; died 1992)
Peter Jordan – bass (1975–1976)
Tony Machine – drums (1975–1976)
Blackie Lawless – guitar (1975)
Chris Robison – keyboards (1975)
Bobby Blaine – keyboards (1976)
Steve Conte – guitar, vocals (2004–2010)
John Conte – bass (2004)
Gary Powell – drums (2004)
Brian Delaney– drums (2005–2011)
Sami Yaffa – bass (2005–2010)
Brian Koonin – keyboards (2005–2006)
Aaron Lee Tasjan - guitar (2008-2009)
Frank Infante – guitar (2010–2011)
Jason Hill – bass (2010–2011)
Jason Sutter – drums (2011)
Kenny Aaronson – bass (2011)
Earl Slick – guitar (2011)
Claton Pitcher – guitar (2011)
Timeline
Discography
Studio albums
Chart placings shown are from the Billboard 200 US Albums chart.
New York Dolls (1973 US:#116)
Too Much Too Soon (1974 US:#167) in UK:#165
One Day It Will Please Us to Remember Even This (2006 US:#129)
Cause I Sez So (2009 US:#159)
Dancing Backward in High Heels (2011)
Demo albums
Lipstick Killers – The Mercer Street Sessions 1972 (1981)
Seven Day Weekend (1992)
Actress – "Birth of the New York Dolls" (2000)
Endless Party (2000)
Private World - The Complete Early Studio Demos 1972–1973 (2006)
Live albums
Red Patent Leather (1984)
Paris Le Trash (1993)
Live In Concert, Paris 1974 (1998)
The Glamorous Life Live (1999)
From Paris with Love (L.U.V.) (2002)
Morrissey Presents: The Return Of New York Dolls Live From Royal Festival Hall (2004)
Live At the Filmore East (2008)
Viva Le Trash '74 (2009)
French Kiss '74 (2013)
Compilation albums
New York Dolls / Too Much Too Soon (1977)
Very Best of New York Dolls (1977)
Night of the Living Dolls (1985)
The Best of the New York Dolls (1985)
Super Best Collection (1990)
Rock'n Roll (1994)
Hootchie Kootchie Dolls (1998)
The Glam Rock Hits (1999)
Actress: Birth of The New York Dolls (2000)
Endless Party (2000)
New York Tapes 72/73 (2000)
Great Big Kiss (reissue of Seven Day Weekend and Red Patent Leather, 2002)
Looking For A Kiss (2003)
Manhattan Mayhem (2003)
20th Century Masters – the Millennium collection: the best of New York Dolls (2003)
Singles
"Personality Crisis" / "Looking for a Kiss" (1973)
"Trash" / "Personality Crisis" (1973)
"Jet Boy" / "Vietnamese Baby" (1973)
"Stranded in the Jungle" / "Don't Start Me Talkin'" (1974)
"(There's Gonna Be A) Showdown" / "Puss 'n' Boots" (1974)
"Jet Boy" // "Babylon" / "Who Are the Mystery Girls" (1977, UK)
"Bad Girl" / "Subway Train" (1978, Germany)
"Gimme Luv and Turn On the Light" (2006)
"Fool for You Baby" (2011)
"Dolled UP" (2014)
References
External links
"Private World: New York Dolls Manager Marty Thau on His Days with the Band" - Interview in Rocker Magazine 2012
1971 establishments in New York City
2011 disestablishments in New York (state)
Hard rock musical groups from New York (state)
American glam rock musical groups
Protopunk groups
Punk rock groups from New York (state)
Musical groups from New York City
Mercury Records artists
Musical groups established in 1971
Musical groups disestablished in 1976
Musical groups reestablished in 2004
Musical groups disestablished in 2011
Atco Records artists
| true |
[
"Still Blowin' is the eighteenth studio album by American rapper Too Short. It was released on April 6, 2010 via Too Short's independent label Dangerous Music. The album features guest appearances by Birdman, Jazze Pha, among others.\n\nBackground\nThe album is available online only. Lil Jon was originally supposed to be featured on the album, but did not make the final cut although he still produced for the album.\n\nReception\n\nCritical reception\nHipHopDX gave the album a 3.5 out of 5 rating calling the album \"one of Too Short's best.\" Other critics did not receive Too $hort's album as kindly, however.\n\nCommercial performance\nThe album appeared on one chart, the Billboard Top R&B/Hip-Hop Albums, peaking at number 70. It was the only week that the album was on any chart.\n\nTrack listing\n\nCharts\n\nReferences\n\n2010 albums\nToo Short albums\nAlbums produced by Lil Jon\nAlbums produced by Jazze Pha",
"The discography of Pam Tillis, an American country music singer, consists of 13 studio albums and 45 singles. Her first release, Above and Beyond the Doll of Cutey in 1983, did not produce any major hits. Between 1990 and 2001, she recorded for Arista Nashville, achieving two gold albums and three platinum albums. 33 of her singles for Arista, plus a cut for the soundtrack to Happy, Texas, all made the Hot Country Songs in that timespan. Her only number one was \"Mi Vida Loca (My Crazy Life)\", although twelve other songs reached the top 10 on the same chart.\n\nStudio albums\n\n1980s–1990s\n\n2000s–2020s\n\nCompilation albums\n\nSingles\n\n1980s–1990s\n\n2000s–2020s\n\nAs a featured artist\n\nOther album appearances\n\nMusic videos\n\nGuest appearances\n\nNotes\n\nReferences\n\nCountry music discographies\n \n \nDiscographies of American artists"
] |
[
"New York Dolls",
"Formation",
"How did the New York Dolls get together?",
"In 1970 they formed a band again and recruited Johnny Thunders to join on bass, though Sylvain ended up teaching him to play guitar. They called themselves the Dolls.",
"How did they come up with the name \"the New York Dolls?\"",
"across the street from the New York Doll Hospital, a doll repair shop. Sylvain said that the shop inspired the name for their future band.",
"Were there any other band members?",
"Sylvain Sylvain and Billy Murcia,",
"What venues did the band play at in the beginning?",
"a homeless shelter, the Endicott Hotel.",
"Did they cut any albums?",
"An October 1971 rehearsal tape recorded by Rivets was released as Dawn of the Dolls."
] |
C_3bc51535ed1f422e8c4fb50b887db0ed_1
|
Was it successful?
| 6 |
Was Dawn of the Dolls successful?
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New York Dolls
|
Sylvain Sylvain and Billy Murcia, who went to junior high school and high school together, started playing in a band called "the Pox" in 1967. After the frontman quit, Murcia and Sylvain started a clothing business called Truth and Soul and Sylvain took a job at A Different Drummer, a men's boutique that was across the street from the New York Doll Hospital, a doll repair shop. Sylvain said that the shop inspired the name for their future band. In 1970 they formed a band again and recruited Johnny Thunders to join on bass, though Sylvain ended up teaching him to play guitar. They called themselves the Dolls. When Sylvain left the band to spend a few months in London, Thunders and Murcia went their separate ways. Thunders was eventually recruited by Kane and Rick Rivets, who had been playing together in the Bronx. At Thunders' suggestion, Murcia replaced the original drummer. Thunders played lead guitar and sang for the band Actress. An October 1971 rehearsal tape recorded by Rivets was released as Dawn of the Dolls. When Thunders decided that he no longer wanted to be the front man, David Johansen joined the band. Initially, the group was composed of singer David Johansen, guitarists Johnny Thunders and Rick Rivets (who was replaced by Sylvain Sylvain after a few months), bass guitarist Arthur "Killer" Kane and drummer Billy Murcia. The original lineup's first performance was on Christmas Eve 1971 at a homeless shelter, the Endicott Hotel. After getting a manager and attracting some music industry interest, the New York Dolls got a break when Rod Stewart invited them to open for him at a London concert. CANNOTANSWER
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CANNOTANSWER
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The New York Dolls were an American rock band formed in New York City in 1971. Along with The Velvet Underground, MC5, The Stooges, and The Modern Lovers, they were one of the bands later credited as proto-punk, early influences on what would only later be known as punk rock. Although the band never achieved much commercial success and their original line-up fell apart quickly, the band's first two albums—New York Dolls (1973) and Too Much Too Soon (1974)—became among the most popular cult records in rock. The line-up at this time comprised vocalist David Johansen, guitarist Johnny Thunders, bassist Arthur Kane, guitarist and pianist Sylvain Sylvain and drummer Jerry Nolan; the latter two had replaced Rick Rivets and Billy Murcia, respectively, in 1972. On stage, they donned an androgynous wardrobe, wearing high heels, eccentric hats, satin, makeup, spandex, and dresses. Nolan described the group in 1974 as "the Dead End Kids of today". After Thunders, Nolan and Kane all left in spring 1975, Johansen and Sylvain continued the band with other musicians until the end of 1976.
According to the Encyclopedia of Popular Music (1995), the New York Dolls predated the punk and glam metal movements and were "one of the most influential rock bands of the last 20 years". They influenced rock groups such as the Sex Pistols, Kiss, the Ramones, Guns N' Roses, the Damned, and the Smiths, whose frontman Morrissey organized a reunion show for the New York Dolls' surviving members, being Johansen and Sylvain, in 2004. After reuniting, they recruited new musicians to tour and record. They released three more albums—One Day It Will Please Us to Remember Even This (2006), Cause I Sez So (2009) and Dancing Backward in High Heels (2011). Following a 2011 British tour with Alice Cooper, the band once again disbanded.
History
Formation
Sylvain Sylvain and Billy Murcia, who went to junior high school and high school together, started playing in a band called "the Pox" in 1967. After the frontman quit, Murcia and Sylvain started a clothing business called Truth and Soul and Sylvain took a job at A Different Drummer, a men's boutique that was across the street from the New York Doll Hospital, a doll repair shop. Sylvain said that the shop inspired the name for their future band. In 1970 they formed a band again and recruited Johnny Thunders to join on bass, though Sylvain ended up teaching him to play guitar. They called themselves the Dolls. When Sylvain left the band to spend a few months in London, Thunders and Murcia went their separate ways.
Thunders was eventually recruited by Kane and Rick Rivets, who had been playing together in the Bronx. At Thunders' suggestion, Murcia replaced the original drummer. Thunders played lead guitar and sang for the band Actress. An October 1971 rehearsal tape recorded by Rivets was released as Dawn of the Dolls. When Thunders decided that he no longer wanted to be the front man, David Johansen joined the band. Initially, the group was composed of singer David Johansen, guitarists Johnny Thunders and Rick Rivets (who was replaced by Sylvain Sylvain after a few months), bass guitarist Arthur "Killer" Kane and drummer Billy Murcia.
The original line-up's first performance was on Christmas Eve 1971 at a homeless shelter, the Endicott Hotel. After getting a manager and attracting some music industry interest, the New York Dolls got a break when Rod Stewart invited them to open for him at a London concert.
In the band's early days, the New York Dolls performed at the Mercer Art Center, where Ruby and the Rednecks opened for and were influenced by them.
Billy Murcia's death
While on a brief tour of England in 1972, Murcia was invited to a party, where he passed out from an accidental overdose. He was put in a bathtub and force-fed coffee in an attempt to revive him. Instead, it resulted in asphyxiation. He was found dead on the morning of November 6, 1972, at the age of 21.
Record deal: 1972–1975
Once back in New York, the Dolls auditioned drummers, including Marc Bell (who was to go on to play with Richard Hell, and with the Ramones under the stage name "Marky Ramone"), Peter Criscuola (better known as Peter Criss, the original and former drummer of Kiss), and Jerry Nolan, a friend of the band. They selected Nolan, and after US Mercury Records' A&R man Paul Nelson signed them, they began sessions for their debut album. In 1972, the band took on Marty Thau as manager.
New York Dolls was produced by singer-songwriter, musician and solo artist Todd Rundgren. In an interview in Creem magazine, Rundgren says he barely touched the recording; everybody was debating how to do the mix. Sales were sluggish, especially in the middle US, and a Stereo Review magazine reviewer in 1973 compared the Dolls' guitar playing to the sound of lawnmowers. America's mass rock audience's reaction to the Dolls was mixed. In a Creem magazine poll, they were elected both best and worst new group of 1973. The Dolls also toured Europe, and, while appearing on UK television, host Bob Harris of the BBC's Old Grey Whistle Test derided the group as "mock rock," comparing them unfavorably to the Rolling Stones.
For their next album, Too Much Too Soon, the quintet hired producer George "Shadow" Morton, whose productions for the Shangri-Las and other girl-groups in the mid-1960s had been among the band's favorites. Mercury dropped the Dolls on 7 October 1975, their contract with Mercury having expired on 8 August 1975 - five months after Thunders' and Nolan's departures from the band.
Dissolution: 1975–1976
By 1975, the Dolls were playing smaller venues than they had been previously. Drug and alcohol abuse by Thunders, Nolan, and Kane, as well as artistic differences added to the tensions among members. In late February or early March, Malcolm McLaren became their informal manager. He got the band red leather outfits to wear on stage and a communist flag as backdrop. The Dolls did a five-concert tour of New York's five boroughs, supported by Television and Pure Hell. The Little Hippodrome (Manhattan) show was recorded and released by Fan Club records in 1982 as Red Patent Leather. It was originally a bootleg album that was later remixed by Sylvain, with former manager Marty Thau credited as executive producer. Due to Kane being unable to play that night, roadie Peter Jordan played bass, though he was credited as having played "second bass". Jordan filled in for Kane when he was too inebriated to play.
In March and April, McLaren took the band on a tour of South Carolina and Florida. Jordan replaced Kane for most of those shows. Thunders and Nolan left after an argument. Blackie Lawless, who later founded W.A.S.P., replaced Thunders for the remainder of the tour after which the band broke up.
The band reformed in July for an August tour in Japan with Jeff Beck and Felix Pappalardi. Johansen, Sylvain and Jordan were joined by former Elephant's Memory keyboardist Chris Robison and drummer Tony Machine. One of the shows was documented on the album Tokyo Dolls Live (Fan Club/New Rose). The material is similar to that on Red Patent Leather, but notable for a radically re-arranged "Frankenstein" and a cover of Big Joe Turner's "Flip Flop Fly." The album is undated and has no production credit, but was issued circa 1986.
After their return to New York, the Dolls resumed playing shows in the US and Canada. Their show at the Beacon Theater, on New Year's Eve, 1975 met with great critical acclaim. After a drunken argument with Sylvain, Robison was fired and replaced by pianist/keyboardist Bobbie Blaine. The group toured throughout 1976, performing a set including some songs with lyrics by David Johansen that would later appear on David Johansen's solo albums including "Funky But Chic", "Frenchette" and "Wreckless Crazy.” The group played its last show December 30, 1976 at Max's Kansas City; on the same bill as Blondie.
Individual endeavors: 1975–2004
Shortly after returning from Florida, Thunders and Nolan formed The Heartbreakers with bassist Richard Hell, who had left Television the same week that they quit the Dolls. Thunders later pursued a solo career. He died in New Orleans in 1991, allegedly of an overdose of both heroin and methadone. It also came to light that he suffered from t-cell leukemia. Nolan died in 1992 following a stroke, brought about by bacterial meningitis. In 1976, Kane and Blackie Lawless formed the Killer Kane Band in Los Angeles. Immediately after the New York Dolls' second breakup, Johansen began a solo career. By the late 1980s, he achieved moderate success under the pseudonym, Buster Poindexter. Sylvain formed The Criminals, a popular band at CBGB.
A posthumous New York Dolls album, Lipstick Killers, made up of early demo tapes of the original Dolls (with Billy Murcia on drums), was released in a cassette-only edition on ROIR Records in 1981, and subsequently re-released on CD, and then on vinyl in early 2006. All the tracks from this title – sometimes referred to as The Mercer Street Sessions (though actually recorded at Blue Rock Studio, New York) – are included on the CD Private World, along with other tracks recorded elsewhere, including a previously unreleased Dolls original, "Endless Party." Three more unreleased studio tracks, including another previously unreleased Dolls original, "Lone Star Queen," are included on the Rock 'n' Roll album. The other two are covers: the "Courageous Cat" theme, from the original Courageous Cat cartoon series; and a second attempt at "Don't Mess With Cupid," a song written by Steve Cropper and Eddie Floyd for Otis Redding, and first recorded independently for what was later to become the Mercer Street/Blue Rock Sessions.
Sylvain formed his own band, The Criminals, then cut a solo album for RCA, while also working with Johansen. He later became a taxicab driver in New York.
Johansen, meanwhile, formed the David Johansen Group, and released an eponymous LP in 1978, recorded at the Bottom Line in NYC’s Greenwich Village,featuring Sylvain Mizrahi and Johnny Thunders as guest musicians.
In May, 1978, he also released “David Johansen,” on Blue Sky Records, a label created by Steve Paul, formerly of The Scene. Johansen continued to tour with his solo project and released four more albums, In Style, 1979; Here Comes the Night, 1981; Live it Up, 1982; and Sweet Revenge, 1984.
During the later 1980's, Johansen, ever-evolving, decided to try to liberate himself from the expectations of his New York Dolls perceived persona, and, on a whim, created the persona Buster Poindexter.
The success of this act led him to be invited to appear in multiple films: Scrooged, Freejack, and Let it Ride, among others.
He also formed a band called David Johansen and the Harry Smiths, named after the eccentric ethnomusicologist, performing jump blues, Delta blues, and some original songs.
During this period, in the early 1990s, Sylvain moved to Los Angeles and recorded one album Sleep Baby Doll, on Fishhead Records. His band, for that record, consisted of Brian Keats on drums, Dave Vanian's Phantom Chords, Speediejohn Carlucci (who had played with the Fuzztones), and Olivier Le Baron on lead guitar. Guest appearances by Frank Infante of Blondie and Derwood Andrews of Generation X were also included on the record. It has been re-released as New York A Go Go,.
Reunion, return to recording, second dissolution: 2004–11, and death of Sylvain
Morrissey, having been a longtime fan of the band and head of their 1970s UK fan club, organized a reunion of the three surviving members of the band's classic line-up (Johansen, Sylvain and Kane) for the Meltdown Festival in London on June 16, 2004. The reunion led to a live LP and DVD on Morrissey's Attack label, as well as a documentary film, New York Doll, on the life of Arthur Kane. However, future plans for the Dolls were affected by Kane's sudden death from leukemia just one month later on July 13, 2004. Yet the following month the band appeared at Little Steven’s Underground Garage Festival on August 14 in New York City before returning to the UK to play several more festivals through the remainder of 2004.
In July 2005, the two surviving members announced a tour and a new album entitled One Day It Will Please Us to Remember Even This. Released on July 25, 2006, the album featured guitarist Steve Conte, bassist Sami Yaffa (ex-Hanoi Rocks), drummer Brian Delaney and keyboardist Brian Koonin, formerly a member of David Johansen and the Harry Smiths. On July 20, 2006, the New York Dolls appeared on Late Night with Conan O'Brien, followed by a live performance in Philadelphia at the WXPN All About The Music Festival, and on July 22, 2006, a taped appearance on The Henry Rollins Show. On August 18, 2006, the band performed in a free concert at New York's Seaport Music.
In October 2006, the band embarked on a UK tour, with Sylvain taking time while in Glasgow to speak to John Kilbride of STV. The discussion covered the band's history and the current state of their live show and songwriting, with Sylvain commenting that "even if you come to our show thinking 'how can it be like it was before,' we turn that around 'cos we've got such a great live rock 'n roll show". In November 2006, the Dolls began headlining "Little Steven's Underground Garage Presents the Rolling Rock and Roll Show," about 20 live gigs with numerous other bands. In April 2007, the band played in Australia and New Zealand, appearing at the V Festival with Pixies, Pet Shop Boys, Gnarls Barkley, Beck, Jarvis Cocker and Phoenix.
On September 22, 2007, New York Dolls were removed from the current artists section of Roadrunner Records' website, signifying the group's split with the label. The band played the O2 Wireless Festival in Hyde Park, London on July 4, 2008, with Morrissey and Beck and the Lounge On The Farm Festival on July 12, 2008. On November 14, 2008, it was announced that the producer of their first album, Todd Rundgren, would be producing a new album, which would be followed by a world tour. The finishing touches on the album were made in Rundgren's studio on the island of Kauai. The album, Cause I Sez So, was released on May 5, 2009 on Atco Records.
The band played at South by Southwest in Austin, Texas on March 21, 2009, and a show at London's 100 Club on May 14, 2009 supported by Spizzenergi.
On March 18, 2010, the band announced another two concert dates at KOKO in Camden, London and the Academy in Dublin on April 20. In December 2010, it was announced the band would release their fifth album which had been recorded in Newcastle upon Tyne. The album, Dancing Backward in High Heels, featuring new guitarist Frank Infante (formerly of Blondie) was released on March 15, 2011.
On March 1, 2011, it was announced the New York Dolls would be the opening act for a summer tour featuring Mötley Crüe and Poison. They announced a new lineup for the tour, featuring guitarist Earl Slick, who held previous stints with David Bowie and John Lennon, bassist Kenny Aaronson, who had toured with Bob Dylan, and drummer Jason Sutter, formerly of Foreigner.
In a 2016 interview, Earl Slick confirmed the band was over. "Oh, yeah, it's long gone. There was no point in doing it anymore and it was kinda spent. You know, David really does enjoy the Buster thing. He's so good at it. I've seen him do it a couple of times this last year, and man! He's got it down, you know."
Sylvain Sylvain died on January 13, 2021, at age 69, leaving David Johansen as the last surviving original member of the band.
Musical style
According to AllMusic editor Stephen Thomas Erlewine, the New York Dolls developed an original style of hard rock that presaged both punk rock and heavy metal music, and drew on elements such as the "dirty rock & roll" of the Rolling Stones, the "anarchic noise" of the Stooges, the glam rock of David Bowie and T. Rex, and girl group pop music. Erlewine credited the band for creating punk rock "before there was a term for it." Ken Tucker, who referred to them as a proto-punk band, wrote that they were strongly influenced by the "New York sensibility" of Lou Reed: "The mean wisecracks and impassioned cynicism that informed the Dolls' songs represented an attitude that Reed's work with the Velvet Underground embodied, as did the Dolls' distinct lack of musicianship."
When they began performing, four of the band's five members wore Spandex and platform boots, while Johansen—the band's lyricist and "conceptmaster"— often preferred high heels and a dress occasionally. Fashion historian Valerie Steele said that, while the majority of the punk scene pursued an understated "street look", the New York Dolls followed an English glam rock "look of androgyny—leather and knee-length boots, chest hair, and bleach". According to James McNair of The Independent, "when they began pedalling their trashy glam-punk around lower Manhattan in 1971, they were more burlesque act than band; a bunch of lipsticked, gutter chic-endorsing cross-dressers". Music journalist Nick Kent argued that the New York Dolls were "quintessential glam rockers" because of their flamboyant fashion, while their technical shortcomings as musicians and Johnny Thunders' "trouble-prone presence" gave them a punk-rock reputation.
By contrast, Robert Christgau preferred for them to not be categorized as a glam rock band, but instead as "the best hard-rock band since the Rolling Stones". Robert Hilburn, writing for the Los Angeles Times, said that the band exhibited a strong influence from the Rolling Stones, but had distinguished themselves by Too Much Too Soon (1974) as "a much more independent, original force" because of their "definite touch of the humor and carefreeness of early (ie. mid-1950s) rock". Simon Reynolds felt that, by their 2009 album Cause I Sez So, the band exhibited the sound "not of the sloppy, rambunctious Dolls of punk mythology but of a tight, lean hard-rock band."
Band members
Former members
David Johansen – vocals, harmonica (1971–1976, 2004–2011)
Sylvain Sylvain – guitar, bass, piano (1971–1976, 2004–2011; died 2021)
Arthur Kane – bass guitar (1971–1975, 2004; died 2004)
Johnny Thunders - guitar, vocals (1971-1975; died 1991)
Billy Murcia – drums (1971–1972; died 1972)
Rick Rivets – guitar (1971; died 2019)
Jerry Nolan – drums (1972–1975; died 1992)
Peter Jordan – bass (1975–1976)
Tony Machine – drums (1975–1976)
Blackie Lawless – guitar (1975)
Chris Robison – keyboards (1975)
Bobby Blaine – keyboards (1976)
Steve Conte – guitar, vocals (2004–2010)
John Conte – bass (2004)
Gary Powell – drums (2004)
Brian Delaney– drums (2005–2011)
Sami Yaffa – bass (2005–2010)
Brian Koonin – keyboards (2005–2006)
Aaron Lee Tasjan - guitar (2008-2009)
Frank Infante – guitar (2010–2011)
Jason Hill – bass (2010–2011)
Jason Sutter – drums (2011)
Kenny Aaronson – bass (2011)
Earl Slick – guitar (2011)
Claton Pitcher – guitar (2011)
Timeline
Discography
Studio albums
Chart placings shown are from the Billboard 200 US Albums chart.
New York Dolls (1973 US:#116)
Too Much Too Soon (1974 US:#167) in UK:#165
One Day It Will Please Us to Remember Even This (2006 US:#129)
Cause I Sez So (2009 US:#159)
Dancing Backward in High Heels (2011)
Demo albums
Lipstick Killers – The Mercer Street Sessions 1972 (1981)
Seven Day Weekend (1992)
Actress – "Birth of the New York Dolls" (2000)
Endless Party (2000)
Private World - The Complete Early Studio Demos 1972–1973 (2006)
Live albums
Red Patent Leather (1984)
Paris Le Trash (1993)
Live In Concert, Paris 1974 (1998)
The Glamorous Life Live (1999)
From Paris with Love (L.U.V.) (2002)
Morrissey Presents: The Return Of New York Dolls Live From Royal Festival Hall (2004)
Live At the Filmore East (2008)
Viva Le Trash '74 (2009)
French Kiss '74 (2013)
Compilation albums
New York Dolls / Too Much Too Soon (1977)
Very Best of New York Dolls (1977)
Night of the Living Dolls (1985)
The Best of the New York Dolls (1985)
Super Best Collection (1990)
Rock'n Roll (1994)
Hootchie Kootchie Dolls (1998)
The Glam Rock Hits (1999)
Actress: Birth of The New York Dolls (2000)
Endless Party (2000)
New York Tapes 72/73 (2000)
Great Big Kiss (reissue of Seven Day Weekend and Red Patent Leather, 2002)
Looking For A Kiss (2003)
Manhattan Mayhem (2003)
20th Century Masters – the Millennium collection: the best of New York Dolls (2003)
Singles
"Personality Crisis" / "Looking for a Kiss" (1973)
"Trash" / "Personality Crisis" (1973)
"Jet Boy" / "Vietnamese Baby" (1973)
"Stranded in the Jungle" / "Don't Start Me Talkin'" (1974)
"(There's Gonna Be A) Showdown" / "Puss 'n' Boots" (1974)
"Jet Boy" // "Babylon" / "Who Are the Mystery Girls" (1977, UK)
"Bad Girl" / "Subway Train" (1978, Germany)
"Gimme Luv and Turn On the Light" (2006)
"Fool for You Baby" (2011)
"Dolled UP" (2014)
References
External links
"Private World: New York Dolls Manager Marty Thau on His Days with the Band" - Interview in Rocker Magazine 2012
1971 establishments in New York City
2011 disestablishments in New York (state)
Hard rock musical groups from New York (state)
American glam rock musical groups
Protopunk groups
Punk rock groups from New York (state)
Musical groups from New York City
Mercury Records artists
Musical groups established in 1971
Musical groups disestablished in 1976
Musical groups reestablished in 2004
Musical groups disestablished in 2011
Atco Records artists
| false |
[
"Merry Legs (1911-1932) was a Tennessee Walking Horse mare who was given foundation registration for her influence as a broodmare. She was also a successful show horse.\n\nLife\nMerry Legs was foaled in April 1911. She was a bay with sabino markings. She was sired by the foundation stallion Black Allan F-1, out of the American Saddlebred mare Nell Dement, registration number F-3, and bred by the early breeder Albert Dement. She was a large mare at maturity, standing high and weighing . Merry Legs was a successful show horse; as a three-year-old, she won the stake class at the Tennessee State Fair. She was also successful as a broodmare, giving birth to 13 foals, among them the well-known Bud Allen, Last Chance, Major Allen, and Merry Boy. For her influence on the breed, she was given the foundation number F-4 when the TWHBEA was formed in 1935. She died in 1932.\n\nReferences\n\nIndividual Tennessee Walking Horses\n1911 animal births\n1932 animal deaths",
"The UCI Road World Championships – Men's team time trial was a world championship for road bicycle racing in the discipline of team time trial (TTT). It is organized by the world governing body, the Union Cycliste Internationale (UCI).\n\nNational teams (1962–1994)\nA championship for national teams was introduced in 1962 and held until 1994. It was held annually, except that from 1972 onward, the TTT was not held in Olympic years. There were 4 riders per team on a route around 100 kilometres long. Italy is the most successful nation with seven victories.\n\nMedal winners\n\nMedals by nation\n\nMost successful riders\n\nUCI teams (2012–2018)\nThere was a long break until a championship for trade teams was introduced in 2012. There were 6 riders per team. The championship was held up to 2018.\n\nMedal winners\n\nMost successful teams\n\nMost successful riders\n\nReferences \n \n \n\n \nMen's Team Time Trial\nRecurring sporting events established in 1962\nUCI World Tour races\nMen's road bicycle races\nLists of UCI Road World Championships medalists\nRecurring sporting events disestablished in 2018"
] |
[
"New York Dolls",
"Formation",
"How did the New York Dolls get together?",
"In 1970 they formed a band again and recruited Johnny Thunders to join on bass, though Sylvain ended up teaching him to play guitar. They called themselves the Dolls.",
"How did they come up with the name \"the New York Dolls?\"",
"across the street from the New York Doll Hospital, a doll repair shop. Sylvain said that the shop inspired the name for their future band.",
"Were there any other band members?",
"Sylvain Sylvain and Billy Murcia,",
"What venues did the band play at in the beginning?",
"a homeless shelter, the Endicott Hotel.",
"Did they cut any albums?",
"An October 1971 rehearsal tape recorded by Rivets was released as Dawn of the Dolls.",
"Was it successful?",
"I don't know."
] |
C_3bc51535ed1f422e8c4fb50b887db0ed_1
|
What was their big break?
| 7 |
What was the New York Dolls' big break?
|
New York Dolls
|
Sylvain Sylvain and Billy Murcia, who went to junior high school and high school together, started playing in a band called "the Pox" in 1967. After the frontman quit, Murcia and Sylvain started a clothing business called Truth and Soul and Sylvain took a job at A Different Drummer, a men's boutique that was across the street from the New York Doll Hospital, a doll repair shop. Sylvain said that the shop inspired the name for their future band. In 1970 they formed a band again and recruited Johnny Thunders to join on bass, though Sylvain ended up teaching him to play guitar. They called themselves the Dolls. When Sylvain left the band to spend a few months in London, Thunders and Murcia went their separate ways. Thunders was eventually recruited by Kane and Rick Rivets, who had been playing together in the Bronx. At Thunders' suggestion, Murcia replaced the original drummer. Thunders played lead guitar and sang for the band Actress. An October 1971 rehearsal tape recorded by Rivets was released as Dawn of the Dolls. When Thunders decided that he no longer wanted to be the front man, David Johansen joined the band. Initially, the group was composed of singer David Johansen, guitarists Johnny Thunders and Rick Rivets (who was replaced by Sylvain Sylvain after a few months), bass guitarist Arthur "Killer" Kane and drummer Billy Murcia. The original lineup's first performance was on Christmas Eve 1971 at a homeless shelter, the Endicott Hotel. After getting a manager and attracting some music industry interest, the New York Dolls got a break when Rod Stewart invited them to open for him at a London concert. CANNOTANSWER
|
CANNOTANSWER
|
The New York Dolls were an American rock band formed in New York City in 1971. Along with The Velvet Underground, MC5, The Stooges, and The Modern Lovers, they were one of the bands later credited as proto-punk, early influences on what would only later be known as punk rock. Although the band never achieved much commercial success and their original line-up fell apart quickly, the band's first two albums—New York Dolls (1973) and Too Much Too Soon (1974)—became among the most popular cult records in rock. The line-up at this time comprised vocalist David Johansen, guitarist Johnny Thunders, bassist Arthur Kane, guitarist and pianist Sylvain Sylvain and drummer Jerry Nolan; the latter two had replaced Rick Rivets and Billy Murcia, respectively, in 1972. On stage, they donned an androgynous wardrobe, wearing high heels, eccentric hats, satin, makeup, spandex, and dresses. Nolan described the group in 1974 as "the Dead End Kids of today". After Thunders, Nolan and Kane all left in spring 1975, Johansen and Sylvain continued the band with other musicians until the end of 1976.
According to the Encyclopedia of Popular Music (1995), the New York Dolls predated the punk and glam metal movements and were "one of the most influential rock bands of the last 20 years". They influenced rock groups such as the Sex Pistols, Kiss, the Ramones, Guns N' Roses, the Damned, and the Smiths, whose frontman Morrissey organized a reunion show for the New York Dolls' surviving members, being Johansen and Sylvain, in 2004. After reuniting, they recruited new musicians to tour and record. They released three more albums—One Day It Will Please Us to Remember Even This (2006), Cause I Sez So (2009) and Dancing Backward in High Heels (2011). Following a 2011 British tour with Alice Cooper, the band once again disbanded.
History
Formation
Sylvain Sylvain and Billy Murcia, who went to junior high school and high school together, started playing in a band called "the Pox" in 1967. After the frontman quit, Murcia and Sylvain started a clothing business called Truth and Soul and Sylvain took a job at A Different Drummer, a men's boutique that was across the street from the New York Doll Hospital, a doll repair shop. Sylvain said that the shop inspired the name for their future band. In 1970 they formed a band again and recruited Johnny Thunders to join on bass, though Sylvain ended up teaching him to play guitar. They called themselves the Dolls. When Sylvain left the band to spend a few months in London, Thunders and Murcia went their separate ways.
Thunders was eventually recruited by Kane and Rick Rivets, who had been playing together in the Bronx. At Thunders' suggestion, Murcia replaced the original drummer. Thunders played lead guitar and sang for the band Actress. An October 1971 rehearsal tape recorded by Rivets was released as Dawn of the Dolls. When Thunders decided that he no longer wanted to be the front man, David Johansen joined the band. Initially, the group was composed of singer David Johansen, guitarists Johnny Thunders and Rick Rivets (who was replaced by Sylvain Sylvain after a few months), bass guitarist Arthur "Killer" Kane and drummer Billy Murcia.
The original line-up's first performance was on Christmas Eve 1971 at a homeless shelter, the Endicott Hotel. After getting a manager and attracting some music industry interest, the New York Dolls got a break when Rod Stewart invited them to open for him at a London concert.
In the band's early days, the New York Dolls performed at the Mercer Art Center, where Ruby and the Rednecks opened for and were influenced by them.
Billy Murcia's death
While on a brief tour of England in 1972, Murcia was invited to a party, where he passed out from an accidental overdose. He was put in a bathtub and force-fed coffee in an attempt to revive him. Instead, it resulted in asphyxiation. He was found dead on the morning of November 6, 1972, at the age of 21.
Record deal: 1972–1975
Once back in New York, the Dolls auditioned drummers, including Marc Bell (who was to go on to play with Richard Hell, and with the Ramones under the stage name "Marky Ramone"), Peter Criscuola (better known as Peter Criss, the original and former drummer of Kiss), and Jerry Nolan, a friend of the band. They selected Nolan, and after US Mercury Records' A&R man Paul Nelson signed them, they began sessions for their debut album. In 1972, the band took on Marty Thau as manager.
New York Dolls was produced by singer-songwriter, musician and solo artist Todd Rundgren. In an interview in Creem magazine, Rundgren says he barely touched the recording; everybody was debating how to do the mix. Sales were sluggish, especially in the middle US, and a Stereo Review magazine reviewer in 1973 compared the Dolls' guitar playing to the sound of lawnmowers. America's mass rock audience's reaction to the Dolls was mixed. In a Creem magazine poll, they were elected both best and worst new group of 1973. The Dolls also toured Europe, and, while appearing on UK television, host Bob Harris of the BBC's Old Grey Whistle Test derided the group as "mock rock," comparing them unfavorably to the Rolling Stones.
For their next album, Too Much Too Soon, the quintet hired producer George "Shadow" Morton, whose productions for the Shangri-Las and other girl-groups in the mid-1960s had been among the band's favorites. Mercury dropped the Dolls on 7 October 1975, their contract with Mercury having expired on 8 August 1975 - five months after Thunders' and Nolan's departures from the band.
Dissolution: 1975–1976
By 1975, the Dolls were playing smaller venues than they had been previously. Drug and alcohol abuse by Thunders, Nolan, and Kane, as well as artistic differences added to the tensions among members. In late February or early March, Malcolm McLaren became their informal manager. He got the band red leather outfits to wear on stage and a communist flag as backdrop. The Dolls did a five-concert tour of New York's five boroughs, supported by Television and Pure Hell. The Little Hippodrome (Manhattan) show was recorded and released by Fan Club records in 1982 as Red Patent Leather. It was originally a bootleg album that was later remixed by Sylvain, with former manager Marty Thau credited as executive producer. Due to Kane being unable to play that night, roadie Peter Jordan played bass, though he was credited as having played "second bass". Jordan filled in for Kane when he was too inebriated to play.
In March and April, McLaren took the band on a tour of South Carolina and Florida. Jordan replaced Kane for most of those shows. Thunders and Nolan left after an argument. Blackie Lawless, who later founded W.A.S.P., replaced Thunders for the remainder of the tour after which the band broke up.
The band reformed in July for an August tour in Japan with Jeff Beck and Felix Pappalardi. Johansen, Sylvain and Jordan were joined by former Elephant's Memory keyboardist Chris Robison and drummer Tony Machine. One of the shows was documented on the album Tokyo Dolls Live (Fan Club/New Rose). The material is similar to that on Red Patent Leather, but notable for a radically re-arranged "Frankenstein" and a cover of Big Joe Turner's "Flip Flop Fly." The album is undated and has no production credit, but was issued circa 1986.
After their return to New York, the Dolls resumed playing shows in the US and Canada. Their show at the Beacon Theater, on New Year's Eve, 1975 met with great critical acclaim. After a drunken argument with Sylvain, Robison was fired and replaced by pianist/keyboardist Bobbie Blaine. The group toured throughout 1976, performing a set including some songs with lyrics by David Johansen that would later appear on David Johansen's solo albums including "Funky But Chic", "Frenchette" and "Wreckless Crazy.” The group played its last show December 30, 1976 at Max's Kansas City; on the same bill as Blondie.
Individual endeavors: 1975–2004
Shortly after returning from Florida, Thunders and Nolan formed The Heartbreakers with bassist Richard Hell, who had left Television the same week that they quit the Dolls. Thunders later pursued a solo career. He died in New Orleans in 1991, allegedly of an overdose of both heroin and methadone. It also came to light that he suffered from t-cell leukemia. Nolan died in 1992 following a stroke, brought about by bacterial meningitis. In 1976, Kane and Blackie Lawless formed the Killer Kane Band in Los Angeles. Immediately after the New York Dolls' second breakup, Johansen began a solo career. By the late 1980s, he achieved moderate success under the pseudonym, Buster Poindexter. Sylvain formed The Criminals, a popular band at CBGB.
A posthumous New York Dolls album, Lipstick Killers, made up of early demo tapes of the original Dolls (with Billy Murcia on drums), was released in a cassette-only edition on ROIR Records in 1981, and subsequently re-released on CD, and then on vinyl in early 2006. All the tracks from this title – sometimes referred to as The Mercer Street Sessions (though actually recorded at Blue Rock Studio, New York) – are included on the CD Private World, along with other tracks recorded elsewhere, including a previously unreleased Dolls original, "Endless Party." Three more unreleased studio tracks, including another previously unreleased Dolls original, "Lone Star Queen," are included on the Rock 'n' Roll album. The other two are covers: the "Courageous Cat" theme, from the original Courageous Cat cartoon series; and a second attempt at "Don't Mess With Cupid," a song written by Steve Cropper and Eddie Floyd for Otis Redding, and first recorded independently for what was later to become the Mercer Street/Blue Rock Sessions.
Sylvain formed his own band, The Criminals, then cut a solo album for RCA, while also working with Johansen. He later became a taxicab driver in New York.
Johansen, meanwhile, formed the David Johansen Group, and released an eponymous LP in 1978, recorded at the Bottom Line in NYC’s Greenwich Village,featuring Sylvain Mizrahi and Johnny Thunders as guest musicians.
In May, 1978, he also released “David Johansen,” on Blue Sky Records, a label created by Steve Paul, formerly of The Scene. Johansen continued to tour with his solo project and released four more albums, In Style, 1979; Here Comes the Night, 1981; Live it Up, 1982; and Sweet Revenge, 1984.
During the later 1980's, Johansen, ever-evolving, decided to try to liberate himself from the expectations of his New York Dolls perceived persona, and, on a whim, created the persona Buster Poindexter.
The success of this act led him to be invited to appear in multiple films: Scrooged, Freejack, and Let it Ride, among others.
He also formed a band called David Johansen and the Harry Smiths, named after the eccentric ethnomusicologist, performing jump blues, Delta blues, and some original songs.
During this period, in the early 1990s, Sylvain moved to Los Angeles and recorded one album Sleep Baby Doll, on Fishhead Records. His band, for that record, consisted of Brian Keats on drums, Dave Vanian's Phantom Chords, Speediejohn Carlucci (who had played with the Fuzztones), and Olivier Le Baron on lead guitar. Guest appearances by Frank Infante of Blondie and Derwood Andrews of Generation X were also included on the record. It has been re-released as New York A Go Go,.
Reunion, return to recording, second dissolution: 2004–11, and death of Sylvain
Morrissey, having been a longtime fan of the band and head of their 1970s UK fan club, organized a reunion of the three surviving members of the band's classic line-up (Johansen, Sylvain and Kane) for the Meltdown Festival in London on June 16, 2004. The reunion led to a live LP and DVD on Morrissey's Attack label, as well as a documentary film, New York Doll, on the life of Arthur Kane. However, future plans for the Dolls were affected by Kane's sudden death from leukemia just one month later on July 13, 2004. Yet the following month the band appeared at Little Steven’s Underground Garage Festival on August 14 in New York City before returning to the UK to play several more festivals through the remainder of 2004.
In July 2005, the two surviving members announced a tour and a new album entitled One Day It Will Please Us to Remember Even This. Released on July 25, 2006, the album featured guitarist Steve Conte, bassist Sami Yaffa (ex-Hanoi Rocks), drummer Brian Delaney and keyboardist Brian Koonin, formerly a member of David Johansen and the Harry Smiths. On July 20, 2006, the New York Dolls appeared on Late Night with Conan O'Brien, followed by a live performance in Philadelphia at the WXPN All About The Music Festival, and on July 22, 2006, a taped appearance on The Henry Rollins Show. On August 18, 2006, the band performed in a free concert at New York's Seaport Music.
In October 2006, the band embarked on a UK tour, with Sylvain taking time while in Glasgow to speak to John Kilbride of STV. The discussion covered the band's history and the current state of their live show and songwriting, with Sylvain commenting that "even if you come to our show thinking 'how can it be like it was before,' we turn that around 'cos we've got such a great live rock 'n roll show". In November 2006, the Dolls began headlining "Little Steven's Underground Garage Presents the Rolling Rock and Roll Show," about 20 live gigs with numerous other bands. In April 2007, the band played in Australia and New Zealand, appearing at the V Festival with Pixies, Pet Shop Boys, Gnarls Barkley, Beck, Jarvis Cocker and Phoenix.
On September 22, 2007, New York Dolls were removed from the current artists section of Roadrunner Records' website, signifying the group's split with the label. The band played the O2 Wireless Festival in Hyde Park, London on July 4, 2008, with Morrissey and Beck and the Lounge On The Farm Festival on July 12, 2008. On November 14, 2008, it was announced that the producer of their first album, Todd Rundgren, would be producing a new album, which would be followed by a world tour. The finishing touches on the album were made in Rundgren's studio on the island of Kauai. The album, Cause I Sez So, was released on May 5, 2009 on Atco Records.
The band played at South by Southwest in Austin, Texas on March 21, 2009, and a show at London's 100 Club on May 14, 2009 supported by Spizzenergi.
On March 18, 2010, the band announced another two concert dates at KOKO in Camden, London and the Academy in Dublin on April 20. In December 2010, it was announced the band would release their fifth album which had been recorded in Newcastle upon Tyne. The album, Dancing Backward in High Heels, featuring new guitarist Frank Infante (formerly of Blondie) was released on March 15, 2011.
On March 1, 2011, it was announced the New York Dolls would be the opening act for a summer tour featuring Mötley Crüe and Poison. They announced a new lineup for the tour, featuring guitarist Earl Slick, who held previous stints with David Bowie and John Lennon, bassist Kenny Aaronson, who had toured with Bob Dylan, and drummer Jason Sutter, formerly of Foreigner.
In a 2016 interview, Earl Slick confirmed the band was over. "Oh, yeah, it's long gone. There was no point in doing it anymore and it was kinda spent. You know, David really does enjoy the Buster thing. He's so good at it. I've seen him do it a couple of times this last year, and man! He's got it down, you know."
Sylvain Sylvain died on January 13, 2021, at age 69, leaving David Johansen as the last surviving original member of the band.
Musical style
According to AllMusic editor Stephen Thomas Erlewine, the New York Dolls developed an original style of hard rock that presaged both punk rock and heavy metal music, and drew on elements such as the "dirty rock & roll" of the Rolling Stones, the "anarchic noise" of the Stooges, the glam rock of David Bowie and T. Rex, and girl group pop music. Erlewine credited the band for creating punk rock "before there was a term for it." Ken Tucker, who referred to them as a proto-punk band, wrote that they were strongly influenced by the "New York sensibility" of Lou Reed: "The mean wisecracks and impassioned cynicism that informed the Dolls' songs represented an attitude that Reed's work with the Velvet Underground embodied, as did the Dolls' distinct lack of musicianship."
When they began performing, four of the band's five members wore Spandex and platform boots, while Johansen—the band's lyricist and "conceptmaster"— often preferred high heels and a dress occasionally. Fashion historian Valerie Steele said that, while the majority of the punk scene pursued an understated "street look", the New York Dolls followed an English glam rock "look of androgyny—leather and knee-length boots, chest hair, and bleach". According to James McNair of The Independent, "when they began pedalling their trashy glam-punk around lower Manhattan in 1971, they were more burlesque act than band; a bunch of lipsticked, gutter chic-endorsing cross-dressers". Music journalist Nick Kent argued that the New York Dolls were "quintessential glam rockers" because of their flamboyant fashion, while their technical shortcomings as musicians and Johnny Thunders' "trouble-prone presence" gave them a punk-rock reputation.
By contrast, Robert Christgau preferred for them to not be categorized as a glam rock band, but instead as "the best hard-rock band since the Rolling Stones". Robert Hilburn, writing for the Los Angeles Times, said that the band exhibited a strong influence from the Rolling Stones, but had distinguished themselves by Too Much Too Soon (1974) as "a much more independent, original force" because of their "definite touch of the humor and carefreeness of early (ie. mid-1950s) rock". Simon Reynolds felt that, by their 2009 album Cause I Sez So, the band exhibited the sound "not of the sloppy, rambunctious Dolls of punk mythology but of a tight, lean hard-rock band."
Band members
Former members
David Johansen – vocals, harmonica (1971–1976, 2004–2011)
Sylvain Sylvain – guitar, bass, piano (1971–1976, 2004–2011; died 2021)
Arthur Kane – bass guitar (1971–1975, 2004; died 2004)
Johnny Thunders - guitar, vocals (1971-1975; died 1991)
Billy Murcia – drums (1971–1972; died 1972)
Rick Rivets – guitar (1971; died 2019)
Jerry Nolan – drums (1972–1975; died 1992)
Peter Jordan – bass (1975–1976)
Tony Machine – drums (1975–1976)
Blackie Lawless – guitar (1975)
Chris Robison – keyboards (1975)
Bobby Blaine – keyboards (1976)
Steve Conte – guitar, vocals (2004–2010)
John Conte – bass (2004)
Gary Powell – drums (2004)
Brian Delaney– drums (2005–2011)
Sami Yaffa – bass (2005–2010)
Brian Koonin – keyboards (2005–2006)
Aaron Lee Tasjan - guitar (2008-2009)
Frank Infante – guitar (2010–2011)
Jason Hill – bass (2010–2011)
Jason Sutter – drums (2011)
Kenny Aaronson – bass (2011)
Earl Slick – guitar (2011)
Claton Pitcher – guitar (2011)
Timeline
Discography
Studio albums
Chart placings shown are from the Billboard 200 US Albums chart.
New York Dolls (1973 US:#116)
Too Much Too Soon (1974 US:#167) in UK:#165
One Day It Will Please Us to Remember Even This (2006 US:#129)
Cause I Sez So (2009 US:#159)
Dancing Backward in High Heels (2011)
Demo albums
Lipstick Killers – The Mercer Street Sessions 1972 (1981)
Seven Day Weekend (1992)
Actress – "Birth of the New York Dolls" (2000)
Endless Party (2000)
Private World - The Complete Early Studio Demos 1972–1973 (2006)
Live albums
Red Patent Leather (1984)
Paris Le Trash (1993)
Live In Concert, Paris 1974 (1998)
The Glamorous Life Live (1999)
From Paris with Love (L.U.V.) (2002)
Morrissey Presents: The Return Of New York Dolls Live From Royal Festival Hall (2004)
Live At the Filmore East (2008)
Viva Le Trash '74 (2009)
French Kiss '74 (2013)
Compilation albums
New York Dolls / Too Much Too Soon (1977)
Very Best of New York Dolls (1977)
Night of the Living Dolls (1985)
The Best of the New York Dolls (1985)
Super Best Collection (1990)
Rock'n Roll (1994)
Hootchie Kootchie Dolls (1998)
The Glam Rock Hits (1999)
Actress: Birth of The New York Dolls (2000)
Endless Party (2000)
New York Tapes 72/73 (2000)
Great Big Kiss (reissue of Seven Day Weekend and Red Patent Leather, 2002)
Looking For A Kiss (2003)
Manhattan Mayhem (2003)
20th Century Masters – the Millennium collection: the best of New York Dolls (2003)
Singles
"Personality Crisis" / "Looking for a Kiss" (1973)
"Trash" / "Personality Crisis" (1973)
"Jet Boy" / "Vietnamese Baby" (1973)
"Stranded in the Jungle" / "Don't Start Me Talkin'" (1974)
"(There's Gonna Be A) Showdown" / "Puss 'n' Boots" (1974)
"Jet Boy" // "Babylon" / "Who Are the Mystery Girls" (1977, UK)
"Bad Girl" / "Subway Train" (1978, Germany)
"Gimme Luv and Turn On the Light" (2006)
"Fool for You Baby" (2011)
"Dolled UP" (2014)
References
External links
"Private World: New York Dolls Manager Marty Thau on His Days with the Band" - Interview in Rocker Magazine 2012
1971 establishments in New York City
2011 disestablishments in New York (state)
Hard rock musical groups from New York (state)
American glam rock musical groups
Protopunk groups
Punk rock groups from New York (state)
Musical groups from New York City
Mercury Records artists
Musical groups established in 1971
Musical groups disestablished in 1976
Musical groups reestablished in 2004
Musical groups disestablished in 2011
Atco Records artists
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[
"What a Week Omnibus Books 1-3 is a book, which contains first three parts of What a Week series by Rosie Rushton: What a Week to Fall in Love, What a Week to Make it Big and What a Week to Break Free. It was published by Piccadilly Press Ltd. in 2005.\n\nPlot summary\n\nWhat a Week to Fall in Love\n\nWhat a Week to Make it Big\n\nWhat a Week to Break Free\n\nCharacters \n\nBritish young adult novels\nNovels by Rosie Rushton\n2005 books",
"Big Sky Motion Pictures was founded in Los Angeles as a film production company by C.E.O. Mars Callahan and executive producer Rand Chortkoff. \n\nTheir last completed film in 2007, What Love Is, starred major Hollywood actors Cuba Gooding, Jr. and Matthew Lillard. It was released to only 42 cinemas, played for one week, and grossed $18,901.\n\nIn 2008, Big Sky Motion Pictures, Rand Chortkoff and Mars Callahan were ordered to desist-and-refrain from illicit selling of securities in the State of California for the movie Spring Break '83. Apparently out of investor-funds, Big Sky never finished Spring Break '83, and had some trouble paying the vendors and workers, but seem to have settled the lawsuits privately.\n\nOn January 9, 2012, a Judgment of Permanent Injunction, Civil Penalties and Ancillary Relief in the State of California was issued against 'Defendants Big Sky Motion Pictures, L.L.C., Spring Break ’83 Production, L.L.C., Spring Break ’83 Distribution, L.L.C., Spring Break ’83, Rand Jay Chortkoff ... permanently enjoined from engaging in, committing, aiding and abetting, or performing directly or indirectly, by any means whatsoever, from (1) violating Corporation Code Section 25401 - offering for sale of securities by means of written or oral communications which includes any untrue statements of material fact or fails to state material facts (2) Corporation Code 25110 – offering to sell offering the sale of securities unless such security or transaction is qualified or exempted qualification (3) violating the Desist and Refrain Order issued by the Commissioner by offering and selling unqualified, non-exempt securities (4) destroying any records for a period of (3) years. Mr. Mars Callahan was the Chief Executive Officer, Director and owner of Big Sky Motion Pictures, L.L.C., Spring Break ’83 Production, L.L.C., Spring Break ’83 Distribution, L.L.C., Spring Break ’83, during which time this Permanent Injunction to be issued.'\n\nIn February 2014, staff from Big Sky Motion Pictures were exposed by CBS News for lying and attempting to defraud reporters who posed as potential investors. On February 20, 2014, Rand Chortkoff from Big Sky Motion Pictures, and three others, was indicted by the US Justice Department for committing securities fraud to entice investors.\n\nIn May 2014, Mars Callahan was released from the board of Gawk, who had development-rights to the film Poker Junkies, due to not disclosing the above securities fraud injunction and misuse of corporate funds.\n\nProductions\nSpring Break '83\nWhat Love Is (2007)\nPoolhall Junkies (2002)\nDouble Down (2001)\n\nReferences\n\nExternal links\n as archived October 20, 2013\n\nCompanies based in Los Angeles\nFilm production companies of the United States"
] |
[
"Charles Barkley",
"Olympics"
] |
C_29d9d527735c4372af7e4800b812f4d4_0
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When did he enter the Olympics?
| 1 |
When did Charles Barkley enter the Olympics?
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Charles Barkley
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Barkley was invited by Bob Knight to try out for United States men's basketball team for the 1984 Summer Olympics. He made it all the way to final cuts, but wasn't selected for the team, despite outplaying almost all of the front-court players there. According to Knight, Barkley was cut because of poor defense. Barkley competed in the 1992 and 1996 Olympic Games and won two gold medals as a member of the United States men's basketball team. International rules which had previously prevented NBA players from playing in the Olympics were changed in 1992, allowing Barkley and fellow NBA players to compete in the Olympics for the first time. The result was the "Dream Team", which went 6-0 in the Olympic qualifying tournament and 8-0 against Olympic opponents. The team averaged an Olympic record 117.3 points a game and won games by an average of 43.8 points. Barkley led the team with 18.0 points on 71.1% field goal shooting and set a then-Olympic single game scoring record with 30 points in a 127-83 victory over Brazil. He also set a U.S. Men's Olympic record for highest three-point field goal percentage with 87.5% and added 4.1 rebounds and 2.6 steals per game. Barkley was also part of an ugly moment in the 1992 Olympics when he intentionally elbowed Angola player Herlander Coimbra in the chest during a 116-48 rout of that team. At the 1996 Atlanta Summer Olympic Games, Barkley led the team in scoring, rebounds, and field goal percentage. He averaged 12.4 points on 81.6% field goal shooting, setting a U.S. Men's Olympic record. In addition, he also contributed 6.6 rebounds per game. Under Barkley's leadership, the team once again compiled a perfect 8-0 record and captured gold medal honors. CANNOTANSWER
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Barkley competed in the 1992 and 1996 Olympic Games
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Charles Wade Barkley (born February 20, 1963) is an American former professional basketball player and current television analyst. Nicknamed "Sir Charles", "Chuck" and "the Round Mound of Rebound", Barkley played 16 seasons in the National Basketball Association (NBA) for three teams. Though shorter than the typical power forward, he used his strength and aggressiveness to become one of the NBA's most dominant rebounders. He was a versatile player who had the ability to score, create plays, and defend. He was an 11-time NBA All-Star, an 11-time member of the All-NBA Team, and the 1993 NBA Most Valuable Player (MVP). During the NBA's 50th anniversary, Barkley was named one of the league's 50 Greatest Players. He was again named to the 75 Greatest Players in NBA History for the league's 75th anniversary.
An All-American power forward at Auburn University, Barkley was drafted as a junior by the Philadelphia 76ers with the 5th pick of the 1984 NBA draft. In his rookie season, Barkley was named to the NBA All-Rookie First Team in 1985. In the 1986–87 season, Barkley led the league with the highest rebounding average and earned his first NBA rebounding title. He was named the NBA All-Star Game MVP in 1991, and in 1993 with the Phoenix Suns, he was voted the league's MVP. He competed in the 1992 and 1996 Olympic Games, winning two gold medals as a member of the U.S. national team. In 2000, he retired as the fourth player in NBA history to achieve 20,000 points, 10,000 rebounds and 4,000 assists. Since his retirement, Tim Duncan and Kevin Garnett have joined the 20K/10K/4K Club. Barkley is a two-time inductee into the Naismith Memorial Basketball Hall of Fame, being inducted in 2006 for his individual career, and in 2010 as a member of the "Dream Team".
Barkley was popular with the fans and media and made the NBA's All-Interview Team for his last 13 seasons in the league. He was frequently involved in on- and off-court fights and sometimes stirred national controversy, as in March 1991 when he spat on a young girl while attempting to spit at a heckler, and as in 1993 when he declared that sports figures should not be considered role models. Since retiring as a player, Barkley has had a successful career as an NBA analyst. He works for Turner Network Television (TNT) on Inside the NBA alongside Shaquille O'Neal, Kenny Smith, and Ernie Johnson as a studio pundit for its coverage of NBA games (for which he has won four Sports Emmy Awards). In addition, Barkley has written several books and has shown an interest in politics.
Early life
Barkley was born and raised in Leeds, Alabama, 10 miles outside Birmingham. He was the first black baby born at a segregated, all-white town hospital and was in the first group of black students at his elementary school. His parents divorced when he was young after his father abandoned the family, which included younger brother Darryl Barkley. His mother remarried and they had a son, John Glenn. Another brother, Rennie, died in infancy. His stepfather was killed in an accident when Charles was 11 years old.
He attended Leeds High School. As a junior, Barkley stood and weighed . He failed to make the varsity team and was named as a reserve. However, during the summer Barkley grew to and earned a starting position on the varsity as a senior. He averaged 19.1 points and 17.9 rebounds per game and led his team to a 26–3 record en route to the state semi-finals. Despite his improvement, Barkley garnered no attention from college scouts until the state high school semi-finals, where he scored 26 points against Alabama's most highly recruited player, Bobby Lee Hurt. An assistant to Auburn University's head coach, Sonny Smith, was at the game and reported seeing, "a fat guy...who can play like the wind". Barkley was soon recruited by Smith and majored in business management while attending Auburn University.
College
Barkley played collegiate basketball at Auburn for three seasons. Although he struggled to control his weight, he excelled as a player and led the SEC in rebounding each year. He became a popular crowd-pleaser, exciting the fans with dunks and blocked shots that belied his lack of height and overweight frame. It was not uncommon to see the hefty Barkley grab a defensive rebound and, instead of passing, dribble the entire length of the court and finish at the opposite end with a two-handed dunk. His physical size and skills ultimately earned him the nickname "The Round Mound of Rebound" and the "Crisco Kid".
During his college career, Barkley played the center position, despite being shorter than the average center. His height, officially listed as , is stated as in his book, I May Be Wrong but I Doubt It. He became a member of Auburn's All-Century team and still holds the Auburn record for career field goal percentage with 62.6%. He received numerous awards, including Southeastern Conference (SEC) Player of the Year (1984), three All-SEC selections and one Second Team All-American selection. Later, Barkley was named the SEC Player of the Decade for the 1980s by the Birmingham Post-Herald.
In Barkley's three-year college career, he averaged 14.1 points on 62.6% field goal shooting, 9.6 rebounds, 1.6 assists and 1.7 blocks per game. In 1984, he led the Tigers to their first NCAA Tournament in school history and finished with 23 points on 80% field goal shooting, 17 rebounds, 4 assists, 2 steals, and 2 blocks. Auburn retired Barkley's No. 34 jersey on March 3, 2001.
He was one of 74 college players invited to the spring tryouts for the 1984 U.S. Olympic team, coached by Bob Knight. Barkley made the initial cut in April to the final twenty, but was one of four released in May (with John Stockton, Terry Porter, and Maurice Martin) in the penultimate cut to sixteen players.
In 2010, Barkley admitted that he asked for, and had been given, money from sports agents during his career at Auburn. Barkley called the sums he had requested from agents as being "chump change", and went on to say, "Why can't an agent lend me some money and I'll pay him back when I graduate?" According to Barkley, he paid back all of the money he had borrowed after signing his first NBA contract.
NBA career
Philadelphia 76ers (1984–1992)
Barkley left before his final year at Auburn and made himself eligible for the 1984 NBA draft. He was selected with the fifth pick in the first round by the Philadelphia 76ers, two slots after the Chicago Bulls drafted Michael Jordan. He joined a veteran team that included Julius Erving, Moses Malone and Maurice Cheeks, players who took Philadelphia to the 1983 NBA championship. Under the tutelage of Malone, Barkley was able to manage his weight and learned to prepare and condition himself properly for a game; Barkley cited Malone as the most influential player of his career, and he often referred to him as "Dad". He averaged 14.0 points and 8.6 rebounds per game during the regular season and earned a berth on the All-Rookie Team. In the postseason, the Sixers advanced to the Eastern Conference Finals but were defeated in five games by the Boston Celtics. As a rookie in the postseason, Barkley averaged 14.9 points and 11.1 rebounds per game.
During his second year, Barkley improved his game under the leadership of Moses Malone during the off-season with his workouts, in the process he became the team's leading rebounder and number two scorer, averaging 20.0 points and 12.8 rebounds per game. He became the Sixers' starting power forward and helped lead his team into the playoffs, averaging 25.0 points on .578 shooting from the field and 15.8 rebounds per game. Despite his efforts, Philadelphia was defeated 4–3 by the Milwaukee Bucks in the Eastern Conference Semi-finals. He was named to the All-NBA Second Team.
Before the 1986–87 season, Moses Malone was traded to the Washington Bullets and Barkley began to assume control as the team leader. On November 4, 1986, Barkley recorded 34 points, 10 rebounds and a career-high 14 assists in a 121–125 loss to the Indiana Pacers. On March 20, 1987, Barkley recorded 26 points, 25 rebounds (career-high tying 16 offensive rebounds) and 9 assists in a 116–106 win over the Denver Nuggets. He earned his first and only rebounding title, averaging 14.6 rebounds per game and also led the league in offensive rebounds with 5.7 per game. He averaged 23.0 points on .594 shooting, earning his first trip to an NBA All-Star game and All-NBA Second Team honors for the second straight season. In the playoffs, Barkley averaged 24.6 points and 12.6 rebounds in a losing effort, for the second straight year, to the Bucks in a five-game first round playoff series.
The following season, Julius Erving announced his retirement and Barkley became the Sixers' franchise player. On November 30, 1988, Barkley recorded 41 points, 22 rebounds, 5 assists and 6 steals in a 114–106 win over the Blazers. Playing in 80 games and getting 300 more minutes than his nearest teammate, Barkley had his most productive season, averaging 28.3 points on .587 shooting and 11.9 rebounds per game. He appeared in his second All-Star Game and was named to the All-NBA First Team for the first time in his career. His celebrity status as the Sixers' franchise player led to his first appearance on the cover of Sports Illustrated. For the first time since the 1974–75 season, however, the 76ers failed to make the playoffs. In the 1988–89 season, Barkley continued to play well, averaging 25.8 points on .579 shooting and 12.5 rebounds per game. He earned his third straight All-Star Game appearance and was named to the All-NBA First team for the second straight season. Despite Barkley contributing 27.0 points on .644 shooting, 11.7 rebounds and 5.3 assists per game, the 76ers were swept in the first round of the playoffs by the New York Knicks.
During the 1989–90 season, despite receiving more first-place votes, Barkley finished second in MVP voting behind the Los Angeles Lakers' Magic Johnson. He was named Player of the Year by The Sporting News and Basketball Weekly. He averaged 25.2 points and 11.5 rebounds per game and a career-high .600 shooting. He was named to the All-NBA First Team for the third consecutive year and earned his fourth All-Star selection. He helped Philadelphia win 53 regular-season games, only to lose to the Chicago Bulls in a five-game Eastern Conference Semi-finals series. Barkley averaged 24.7 points and 15.5 rebounds in another postseason loss. His exceptional play continued into his seventh season, where he averaged 27.6 points on .570 shooting and 10.1 rebounds per game. His fifth straight All-Star Game appearance proved to be his best yet. He led the East to a 116–114 win over the West with 17 points and 22 rebounds, the most rebounds in an All-Star Game since Wilt Chamberlain recorded 22 in 1967. Barkley was presented with Most Valuable Player honors at the All-Star Game and, at the end of the season, named to the All-NBA First Team for the fourth straight year. That year, when the New York Times asked the San Antonio Spurs center David Robinson if he would choose Barkley or Jordan for his side in a hypothetical pickup game, Robinson said, "I would pick Barkley. When he is on his game, I think he has the biggest impact ever." In the playoffs, Philadelphia lost again to Jordan's Chicago Bulls in the Eastern Conference Semi-finals, with Barkley contributing 24.9 points and 10.5 rebounds per game.
The 1991–92 season was Barkley's final year in Philadelphia. In his last season, he wore number 32 instead of his 34 to honor Magic Johnson, who had announced prior to the start of the season that he was HIV-positive. Although the 76ers had initially retired the number 32 in honor of Billy Cunningham, it was unretired, with Cunningham's approval, for Barkley to wear. Following Johnson's announcement, Barkley also apologized for having made light of his condition. Responding to concerns that players may contract HIV by contact with Johnson, Barkley stated, "We're just playing basketball. It's not like we're going out to have unprotected sex with Magic."
In his final season with the Sixers, averaging 23.1 points on .552 shooting and 11.1 rebounds per game, Barkley earned his sixth straight All-Star appearance and was named to the All-NBA Second Team, his seventh straight appearance on either the first or second team. He ended his 76ers career ranked fourth in team history in total points (14,184), third in scoring average (23.3 ppg), third in rebounds (7,079), eighth in assists (2,276) and second in field-goal percentage (.576). He led Philadelphia in rebounding and field-goal percentage for seven consecutive seasons and in scoring for six straight years. However, Barkley demanded a trade out of Philadelphia after the Sixers failed to make the postseason with a 35–47 record. Barkley was initially traded to the Los Angeles Lakers before the end of the season, but the 76ers wound up retracting their deal a few hours later. On July 17, 1992, he was officially traded to the Phoenix Suns in exchange for Jeff Hornacek, Tim Perry and Andrew Lang.
During Barkley's eight seasons in Philadelphia, he became a household name and was one of the few NBA players to have an action figure produced by Kenner's Starting Lineup toy line. He also had his own signature shoe line with Nike. His outspoken and aggressive play, however, resulted in some on-court incidents, notoriously a fight with Detroit Pistons center Bill Laimbeer in 1990, which drew a record total $162,500 fine.
Spitting incident
On March 26, 1991, during a game versus the New Jersey Nets, Barkley attempted to spit on a fan who was allegedly heckling with racial slurs, but the result was his spit hitting a young girl. Rod Thorn, the NBA's president of operations at the time, suspended Barkley, without pay, for one game and fined him $10,000 for spitting and verbally abusing the fan. It became a national story and Barkley was vilified for it. Barkley, however, eventually developed a friendship with the girl and her family. He apologized and, among other things, provided them tickets to future games.
Upon retirement, Barkley was later quoted as stating, in regard to his career, "I was fairly controversial, I guess, but I regret only one thing—the spitting incident. But you know what? It taught me a valuable lesson. It taught me that I was getting way too intense during the game. It let me know I wanted to win way too bad. I had to calm down. I wanted to win at all costs. Instead of playing the game the right way and respecting the game, I only thought about winning."
Phoenix Suns (1992–1996)
The trade to Phoenix in the 1992–93 season went well for both Barkley and the Suns. In his first game with the Suns, Barkley almost recorded a triple-double after racking up 37 points, 21 rebounds (12 of which were offensive rebounds) and 8 assists in a 111–105 victory over the Los Angeles Clippers. He averaged 25.6 points on .520 shooting, 12.2 rebounds and a career high 5.1 assists per game, leading the Suns to an NBA best 62–20 record. For his efforts, Barkley won the league's Most Valuable Player Award, and was selected to play in his seventh straight All-Star Game. He became the third player ever to win league MVP honors in the season immediately after being traded, established multiple career highs and led Phoenix to their first NBA Finals appearance since 1976. Despite Barkley's proclamation to Jordan, that it was "destiny" for the Suns to win the title, they were defeated in six games by the Chicago Bulls. He averaged 26.6 points and 13.6 rebounds per game during the whole postseason, including 27.3 points, 13.0 rebounds and 5.5 assists per game throughout the championship series. In the fourth game of the Finals, Barkley recorded a triple-double after collecting 32 points, 12 rebounds and 10 assists.
As a result of severe back pains, Barkley began to speculate that the 1993–94 season would be his last in Phoenix. Playing through the worst injury problems of his career, Barkley managed 21.6 points on .495 shooting and 11.2 rebounds per game. He was selected to his eighth consecutive All-Star Game, but did not play because of a torn right quadriceps tendon, and was named to the All-NBA Second Team. With Barkley fighting injuries, the Suns still managed a 56–26 record and made it to the Western Conference Semi-finals. Despite holding a 2–0 lead in the series, the Suns lost in seven games to the eventual champions, the Houston Rockets, who were led by Hakeem Olajuwon. Despite his injuries, in Game 3 of a first-round playoff series against the Golden State Warriors, Barkley hit 23 of 31 field-goal attempts and finished with 56 points, the then-third-highest total ever in a playoff game. After contemplating retirement in the off-season, Barkley returned for his eleventh season and continued to battle injuries. He struggled during the first half of the season, but managed to gradually improve, earning his ninth consecutive appearance in the All-Star Game. He averaged 23 points on .486 shooting and 11.1 rebounds per game, while leading the Suns to a 59–23 record. In the playoffs, despite having a 3–1 lead in the series, the Suns once again lost to the defending and eventual two-time champion Houston Rockets in seven games. Barkley averaged 25.7 points on .500 shooting and 13.4 rebounds per game in the postseason, but was limited in Game 7 of the semi-finals by a leg injury.
The 1995–96 season was Barkley's last with the Phoenix Suns. He led the team in scoring, rebounds and steals, averaging 23.3 points on .500 shooting, 11.6 rebounds and a career high .777 free throw shooting. He earned his tenth appearance in an All-Star Game as the top vote-getter among Western Conference players and posted his 18th career triple-double on November 22. He also became just the tenth player in NBA history to reach 20,000 points and 10,000 rebounds in their career. In the postseason, Barkley averaged 25.5 points and 13.5 rebounds per game in a four-game first round playoff loss to the San Antonio Spurs. After the Suns closed out the season with a 41–41 record and a first-round playoff loss, Barkley was traded to Houston in exchange for Sam Cassell, Robert Horry, Mark Bryant and Chucky Brown.
During his career with the Suns, Barkley excelled, earning All-NBA and All-Star honors in each of his four seasons.
Role model controversy
Throughout his career, Barkley argued that athletes should not be considered role models. He stated, "A million guys can dunk a basketball in jail; should they be role models?" In 1993, his argument prompted national news when he wrote the text for his "I am not a role model" Nike commercial. Dan Quayle, the former Vice President of the United States, called it a "family-values message" for Barkley's oft-ignored call for parents and teachers to quit looking to him to "raise your kids" and instead be role models themselves.
Barkley's message sparked a great public debate about the nature of role models. He argued: I think the media demands that athletes be role models because there's some jealousy involved. It's as if they say, this is a young black kid playing a game for a living and making all this money, so we're going to make it tough on him. And what they're really doing is telling kids to look up to someone they can't become, because not many people can be like we are. Kids can't be like Michael Jordan.
Houston Rockets (1996–2000)
The trade to the Houston Rockets in the 1996–97 season was Barkley's last chance at capturing an NBA championship title. He joined a veteran team that included two of the NBA's 50 Greatest Players, Hakeem Olajuwon and Clyde Drexler. To begin the season, Barkley was suspended for the season opener and fined $5,000 for fighting Charles Oakley during an October 25, 1996 preseason game. After Oakley committed a flagrant foul on Barkley, Barkley responded by shoving Oakley. In his first game with the Houston Rockets, Charles Barkley had a career-high 33 rebounds. He continued to battle injuries throughout the season and played only 53 games, missing 14 because of a laceration and bruise on his left pelvis, 11 because of a sprained right ankle, and four due to suspensions. He became the team's second-leading scorer, averaging 19.2 points on .484 shooting; the first time since his rookie year that he averaged below 20 points per game. With Olajuwon taking most of the shots, Barkley focused primarily on rebounding, averaging 13.5 per game, the second-best in his career. The Rockets ended the regular season with a 57–25 record and advanced to the Western Conference Finals, where they were defeated in six games by the Utah Jazz. Barkley averaged 17.9 points and 12.0 rebounds per game in another postseason loss.
The 1997–98 season was another injury-plagued year for Barkley. He averaged 15.2 points on .485 shooting and 11.7 rebounds per game. The Rockets ended the season with a 41–41 record and were eliminated in five games by the Utah Jazz in the first round of the playoffs. Limited by injuries, Barkley played four games in the series and averaged career lows of 9.0 points and 5.3 rebounds in 21.8 minutes per game. During the lockout-shortened season, Barkley played 42 regular-season games and managed 16.1 points on .478 shooting and 12.3 rebounds per game. He became the second player in NBA history, following Wilt Chamberlain, to accumulate 23,000 points, 12,000 rebounds and 4,000 assists in his career. The Rockets concluded the shortened season with a 31–19 record and advanced to the playoffs. In his last postseason appearance, Barkley averaged 23.5 points on .529 shooting and 13.8 rebounds per game in a first-round playoff loss to the Los Angeles Lakers. He concluded his postseason career averaging 23 points on .513 shooting, 12.9 rebounds and 3.9 assists per game in 123 games.
The 1999–2000 season was Barkley's final year in the NBA. Initially, Barkley averaged 14.5 points on .477 shooting and 10.5 rebounds per game. Along with Shaquille O'Neal, Barkley was ejected from a November 10, 1999 game against the Los Angeles Lakers. After O'Neal blocked a layup by Barkley, O'Neal shoved Barkley, who then threw the ball at O'Neal. Barkley's season and career seemingly ended prematurely at the age of 36 after rupturing his left quadriceps tendon on December 8, 1999, in Philadelphia, where his career began. Refusing to allow his injury to be the last image of his career, Barkley returned after four months for one final game. On April 19, 2000, in a home game against the Vancouver Grizzlies, Barkley scored a memorable basket on an offensive rebound and putback, a common trademark during his career. He accomplished what he set out to do after being activated from the injured list, and walked off the court to a standing ovation. He stated, "I can't explain what tonight meant. I did it for me. I've won and lost a lot of games, but the last memory I had was being carried off the court. I couldn't get over the mental block of being carried off the court. It was important psychologically to walk off the court on my own." After the basket, Barkley immediately retired and concluded his sixteen-year Hall of Fame career.
Olympics
Barkley was invited by Bob Knight to try out for United States men's basketball team for the 1984 Summer Olympics. He made it all the way to final cuts, but was not selected for the team, despite outplaying almost all of the front-court players there. According to Knight, Barkley was cut because of poor defense.
Barkley competed in the 1992 and 1996 Olympic Games and won two gold medals as a member of the United States men's basketball team. International rules that previously prevented NBA players from playing in the Olympics were changed in 1992, allowing Barkley and fellow NBA players to compete in the Olympics for the first time. The team was nicknamed the "Dream Team" and went 6–0 in the Olympic qualifying tournament and 8–0 against Olympic opponents. The team averaged an Olympic record 117.3 points a game and won games by an average of 43.8 points, only surpassed by the 1956 U.S. Olympic team. Barkley led the team with 18.0 points on 71.1% field goal shooting and set a then-Olympic single-game scoring record with 30 points in a 127–83 victory over Brazil. He also set a U.S. Men's Olympic record for highest three-point field goal percentage with 87.5% and added 4.1 rebounds and 2.6 steals per game. During the game Angola, Barkley elbowed Herlander Coimbra in the chest and was unapologetic after the game, claiming he was hit first. Barkley was called for an intentional foul on the play. Coimbra's resulting free throw was the only point scored by Angola during a 46–1 run by the U.S.
At the 1996 Atlanta Summer Olympic Games, Barkley led the team in scoring, rebounds, and field goal percentage. He averaged 12.4 points on 81.6% field goal shooting, setting a U.S. Men's Olympic record. In addition, he also contributed 6.6 rebounds per game. Under Barkley's leadership, the team once again compiled a perfect 8–0 record and captured gold medal.
Player profile
Barkley played the power forward position, but occasionally played small forward and center. He was known for his unusual build as a basketball player, stockier than most small forwards, yet shorter than most power forwards he faced. However, Barkley was still capable of outplaying both taller and quicker opponents because of his unusual combination of strength and agility.
Barkley was a prolific scorer who averaged 22.1 points per game during the regular season for his career and 23.0 points per game in the playoffs for his career. Barkley was an incredibly efficient offensive force, leading the NBA in 2-point field goal percentage every season from the 1986–87 season to the 1990–91 season. He led the league in effective field goal percentage in both the 1986–87 and 1987–88 seasons as well, and also led the league in offensive rating in both the 1988–89 and 1989–90 seasons. He was one of the NBA's most versatile players and accurate scorers capable of scoring from anywhere on the court and established himself as one of the NBA's premier clutch players. During his NBA career, Barkley was a constant mismatch because he possessed a set of very uncommon skills and could play in a variety of positions. He would use all facets of his game in a single play; as a scorer, he had the ability to score from the perimeter and the post, using an array of spin moves and fadeaways, or finishing a fast break with a powerful dunk. He was one of the most efficient scorers of all-time, scoring at 54.13% total field goal percentage for his season career and 51.34% total field goal shooting for his playoff career (including a career-high season average of 60% during the 1989–90 NBA season).
Barkley is the shortest player in NBA history to lead the league in rebounding when he averaged a career-high 14.6 rebounds per game during the 1986–87 season. His tenacious and aggressive form of play built into an undersized frame that fluctuated between and helped cement his legacy as one of the greatest rebounders in NBA history, averaging 11.7 rebounds per game in the regular season for his career and 12.9 rebounds per game in his playoff career and totaling 12,546 rebounds for his season career. Barkley topped the NBA in offensive rebounding for three straight years and was most famous among very few power forwards who could control a defensive rebound, dribble the length of the court and finish at the rim with a powerful dunk.
Barkley also possessed considerable defensive talents led by an aggressive demeanor, foot speed and his capacity to read the floor to anticipate for steals, a reason why he established his career as the second All-Time leader in steals for the power forward position and leader of the highest all-time steal per game average for the power forward position. Despite being undersized for both the small forward and power forward positions, he also finished among the all-time leaders in blocked shots. His speed and leaping ability made him one of the few power forwards capable of running down court to block a faster player with a chase-down block.
In a SLAM magazine issue ranking NBA greats, Barkley was ranked among the top 20 players of All-Time. In the magazine, NBA Hall-of-Famer Bill Walton commented on Barkley's ability. Walton stated, "Barkley is like Magic [Johnson] and Larry [Bird] in that they don't really play a position. He plays everything; he plays basketball. There is nobody who does what Barkley does. He's a dominant rebounder, a dominant defensive player, a three-point shooter, a dribbler, a playmaker."
Legacy
During his 16-year NBA career, Barkley was regarded as one of the most controversial, outspoken and dominating players in the history of basketball. His impact on the sport went beyond his rebounding titles, assists, scoring and physical play. His confrontational mannerisms often led to technical fouls and fines on the court, and his larger than life persona sometimes gave rise to national controversy off of it, such as when he was featured in ads that rejected pro athletes as role models and declared, "I am not a role model." Although his words often led to controversy, according to Barkley his mouth was never the cause because it always spoke the truth. He stated, "I don't create controversies. They're there long before I open my mouth. I just bring them to your attention."
Besides his on-court fights with other players, he has exhibited confrontational behavior off-court. He was arrested for breaking a man's nose during a fight after a game with the Milwaukee Bucks and also for throwing a man through a plate-glass window in Orlando, after being struck with a glass of ice. Barkley continues to be popular with the fans and media.
As a player, Barkley was a perennial All-Star who earned league MVP honors in 1993. He employed a physical style of play that earned him the nicknames "Sir Charles" and "The Round Mound of Rebound". He was named to the All-NBA team eleven times and earned two gold medals as a member of the United States Olympic Basketball team. He led both teams in scoring and was instrumental in helping the 1992 "Dream Team" and 1996 Men's Basketball team compile a perfect 16–0 record. He retired as one of only four players in NBA history to record at least 20,000 points, 10,000 rebounds and 4,000 assists in their career. In 1996, Barkley, as part of the NBA's 50th Anniversary, was honored as one of the 50 greatest players of all time by being named to the NBA's 50th Anniversary Team.
In recognition of his collegiate and NBA achievements, Barkley's number 34 jersey was officially retired by Auburn University on March 3, 2001. In the same month, the Philadelphia 76ers also officially retired Barkley's number 34 jersey. On March 20, 2004, the Phoenix Suns honored Barkley as well by including him in the "Suns Ring of Honor". In recognition of his achievements as a player, Barkley was inducted into the Naismith Memorial Basketball Hall of Fame in 2006. In October 2021, as part of the NBA's 75th Anniversary, Barkley was honored as one of the 75 greatest players of all time by being named to the NBA's 75th Anniversary Team.
NBA career statistics
Regular season
|-
| style="text-align:left;"|1984–85
| style="text-align:left;"|Philadelphia
| 82 || 60 || 28.6 || .545 || .167 || .733 || 8.6 || 1.9 || 1.2 || 1.0 || 14.0
|-
| style="text-align:left;"|1985–86
| style="text-align:left;"|Philadelphia
| 80 || 80 || 36.9 || .572 || .227 || .685 || 12.8 || 3.9 || 2.2 || 1.6 || 20.0
|-
| style="text-align:left;"|1986–87
| style="text-align:left;"|Philadelphia
| 68 || 62 || 40.3 || .594 || .202 || .761 || style="background:#cfecec;"|14.6* || 4.9 || 1.8 || 1.5 ||23.0
|-
| style="text-align:left;"|1987–88
| style="text-align:left;"|Philadelphia
| 80 || 80 || 39.6 || .587 || .280 || .751 || 11.9 || 3.2 || 1.3 || 1.3 || 28.3
|-
| style="text-align:left;"|1988–89
| style="text-align:left;"|Philadelphia
| 79 || 79 || 39.1 || .579 || .216 || .753 || 12.5 || 4.1 || 1.6 || .9 || 25.8
|-
| style="text-align:left;"|1989–90
| style="text-align:left;"|Philadelphia
| 79 || 79 || 39.1 || .600 || .217 || .749 || 11.5 || 3.9 || 1.9 || .6 || 25.2
|-
| style="text-align:left;"|1990–91
| style="text-align:left;"|Philadelphia
| 67 || 67 || 37.3 || .570 || .284 || .722 || 10.1 || 4.2 || 1.6 || .5 || 27.6
|-
| style="text-align:left;"|1991–92
| style="text-align:left;"|Philadelphia
| 75 || 75 || 38.4 || .552 || .234 || .695 || 11.1 || 4.1 || 1.8 || .6 || 23.1
|-
| style="text-align:left;"|1992–93
| style="text-align:left;"|Phoenix
| 76 || 76 || 37.6 || .520 || .305 || .765 || 12.2 || 5.1 || 1.6 || 1.0 || 25.6
|-
| style="text-align:left;"|1993–94
| style="text-align:left;"|Phoenix
| 65 || 65 || 35.4 || .495 || .270 || .704 || 11.2 || 4.6 || 1.6 || .6 || 21.6
|-
| style="text-align:left;"|1994–95
| style="text-align:left;"|Phoenix
| 68 || 68 || 35.0 || .486 || .338 || .748 || 11.1 || 4.1 || 1.6 || .7 || 23.0
|-
| style="text-align:left;"|1995–96
| style="text-align:left;"|Phoenix
| 71 || 71 || 37.1 || .500 || .280 || .777 || 11.6 || 3.7 || 1.6 || .8 || 23.2
|-
| style="text-align:left;"|1996–97
| style="text-align:left;"|Houston
| 53 || 53 || 37.9 || .484 || .283 || .694 || 13.5 || 4.7 || 1.3 || .5 || 19.2
|-
| style="text-align:left;"|1997–98
| style="text-align:left;"|Houston
| 68 || 41 || 33.0 || .485 || .214 || .746 || 11.7 || 3.2 || 1.0 || .4 || 15.2
|-
| style="text-align:left;"|1998–99
| style="text-align:left;"|Houston
| 42 || 40 || 36.3 || .478 || .160 || .719 || 12.3 || 4.6 || 1.0 || .3 || 16.1
|-
| style="text-align:left;"|1999–00
| style="text-align:left;"|Houston
| 20 || 18 || 31.0 || .477 || .231 || .645 || 10.5 || 3.2 || .7 || .2 || 14.5
|- class="sortbottom"
| style="text-align:center;" colspan="2"|Career
| 1,073 || 1,012 || 36.7 || .541 || .266 || .735 || 11.7 || 3.9 || 1.5 || .8 || 22.1
|- class="sortbottom"
| style="text-align:center;" colspan="2"|All-Star
| 11 || 7 || 23.2 || .495 || .250 || .625 || 6.7 || 1.8 || 1.3 || .4 || 12.6
Playoffs
|-
| style="text-align:left;"|1985
| style="text-align:left;"|Philadelphia
| 13 || 2 || 31.4 || .540 || .667 || .733 || 11.1 || 2.0 || 1.8 || 1.2 || 14.9
|-
| style="text-align:left;"|1986
| style="text-align:left;"|Philadelphia
| 12 || 12 || 41.4 || .578 || .067 || .695 || 15.8|| 5.6 || 2.3 || 1.3 || 25.0
|-
| style="text-align:left;"|1987
| style="text-align:left;"|Philadelphia
| 5 || 5 || 42.0 || .573 || .125 || .800|| 12.6 || 2.4 || .8 || 1.6 || 24.6
|-
| style="text-align:left;"|1989
| style="text-align:left;"|Philadelphia
| 3 || 3|| 45.0 || .644 || .200 || .710 || 11.7 || 5.3 || 1.7 || .7 || 27.0
|-
| style="text-align:left;"|1990
| style="text-align:left;"|Philadelphia
| 10 || 10 || 41.9 || .543 || .333 || .602 || 15.5 || 4.3 || .8 || .7 || 24.7
|-
| style="text-align:left;"|1991
| style="text-align:left;"|Philadelphia
| 8 || 8 || 40.8 || .592 || .100 || .653 || 10.5 || 6.0|| 1.9|| .4 || 24.9
|-
| style="text-align:left;"|1993
| style="text-align:left;"|Phoenix
| 24 || 24|| 42.8 || .477 || .222 || .771 || 13.6 || 4.3 || 1.6 || 1.0 || 26.6
|-
| style="text-align:left;"|1994
| style="text-align:left;"|Phoenix
| 10 || 10 || 42.5 || .509 || .350 || .764 || 13.0 || 4.8 || 2.5 || .9|| 27.6
|-
| style="text-align:left;"|1995
| style="text-align:left;"|Phoenix
| 10 || 10 || 39.0 || .500 || .257 || .733 || 13.4 || 3.2 || 1.3 || 1.1 || 25.7
|-
| style="text-align:left;"|1996
| style="text-align:left;"|Phoenix
| 4 || 4 || 41.0 || .443 || .250 || .787 || 13.5 || 3.8 || 1.0 || 1.0 || 25.5
|-
| style="text-align:left;"|1997
| style="text-align:left;"|Houston
| 16 || 16 || 37.8 || .434 || .289 || .769 || 12.0 || 3.4 || 1.2 || .4 || 17.9
|-
| style="text-align:left;"|1998
| style="text-align:left;"|Houston
| 4 || 0 || 21.8 || .522 || .000 || .571 || 5.3 || 1.0 || 1.3 || .0 || 9.0
|-
| style="text-align:left;"|1999
| style="text-align:left;"|Houston
| 4 || 4 || 39.3 || .529 || .286 || .667 || 13.8 || 3.8 || 1.5 || .5 || 23.5
|- class="sortbottom"
| style="text-align:center;" colspan="2"|Career
| 123 || 108 || 39.4 || .513 || .255 || .717 || 12.9 || 3.9 || 1.6 || .9 || 23.0
NBA records
Regular season
Most offensive rebounds in a half: 13, Philadelphia 76ers vs. New York Knicks, March 4, 1987
Most offensive rebounds in a quarter: 11, Philadelphia 76ers vs. New York Knicks,
Tied with Larry Smith (Golden State Warriors vs. Denver Nuggets, )
Smallest Player to lead the league in rebounds: at 6’6
Playoffs
Most free throws made in a half: 19, Phoenix Suns vs. Seattle SuperSonics,
Most free throw attempts in a 7-game series: 100, Philadelphia 76ers vs. Milwaukee Bucks, 1986 Eastern Conference Semi-finals
Most turnovers in a 7-game series: 37, Philadelphia 76ers vs. Milwaukee Bucks, 1986 Eastern Conference Semi-finals
As of 2021, he has the 12th highest PER in NBA history.
Post-basketball life
Television analyst
Since 2000, Barkley has served as a studio analyst for Turner Network Television (TNT). He appears on the network's NBA coverage during pre-game and halftime shows, in addition to special NBA events. He also occasionally works as an onsite game analyst. He is part of the crew on Inside the NBA, a post-game show during which Barkley, Ernie Johnson Jr., Kenny Smith and Shaquille O'Neal recap and comment on NBA games that have occurred during the day and also on general NBA affairs. Barkley has won four Sports Emmy Awards for "Outstanding Studio Analyst" for his work on TNT.
During the broadcast of a game, in which Barkley was courtside with Marv Albert, Barkley poked fun at NBA official Dick Bavetta's age. Albert replied to Barkley, "I believe Dick would beat you in a footrace." In response to that remark, Barkley went on to challenge Bavetta to a race at the 2007 NBA All-Star Weekend for $5,000. The winner was to choose a charity to which the money would be donated. The NBA agreed to pitch in an additional $50,000, and TNT threw in $25,000. The pair raced for three and a half lengths of the basketball court until Barkley ultimately won. After the event, the two kissed in a show of good sportsmanship.
Barkley was also known for being the first-ever celebrity guest picker for College GameDay, in 2004.
Additionally, since 2011, Barkley has served as a studio analyst for the joint coverage of the NCAA Men's Division I Basketball Tournament between Turner Sports and CBS. Barkley has broadcast every Final Four since 2011.
He also served as a guest commentator for NBC's coverage of the NFL Wild Card playoffs on January 7, 2012; the same night he hosted Saturday Night Live, which is taped next door to the Football Night in America studio in Manhattan's GE Building.
Barkley announced in November 2012 that he was contemplating retirement from broadcasting. "[N]ow I'm like, 'Dude, you have been doing this for 13 years and if I make it to the end of the contract, it will be 17 years.' Seventeen years is a long time. It's a lifetime in broadcasting. I personally have to figure out the next challenge for me", he said. After repeating that he planned to retire in 2016, he signed another contract with Turner Sports. He later said that he wants to retire when he is 60 in 2023.
In July 2016, it was announced that Barkley will host a six-episode unscripted show called The Race Card. The show was renamed to American Race, and premiered on TNT on May 11, 2017.
Gambling
Barkley is known for his compulsive gambling. In a 2007 interview with ESPN's Trey Wingo, Barkley revealed that he had lost approximately $10 million through gambling. In addition, he also admitted to losing $2.5 million "in a six-hour period" while playing blackjack. Although Barkley openly admits to his problem, he claims it is not serious since he can afford to support the habit. When approached by fellow TNT broadcaster Ernie Johnson about the issue, Barkley replied, "It's not a problem. If you're a drug addict or an alcoholic, those are problems. I gamble for too much money. As long as I can continue to do it I don't think it's a problem. Do I think it's a bad habit? Yes, I think it's a bad habit. Am I going to continue to do it? Yes, I'm going to continue to do it."
Despite suffering big losses, Barkley also claims to have won on several occasions. During a trip to Las Vegas, he claims to have won $700,000 from playing blackjack and betting on the Indianapolis Colts to defeat the Chicago Bears in Super Bowl XLI. He went on to state, however, "No matter how much I win, it ain't a lot. It's only a lot when I lose. And you always lose. I think it's fun, I think it's exciting. I'm gonna continue to do it, but I have to get to a point where I don't try to break the casino 'cause you never can."
In May 2008, the Wynn Las Vegas casino filed a civil complaint against Barkley, alleging that he failed to pay a $400,000 debt stemming from October 2007. Barkley responded by taking blame for letting time lapse on the repayment of the debt and promptly paid the casino. After repaying his debt, Barkley stated during a pregame show on TNT, "I've got to stop gambling...I am not going to gamble anymore. For right now, the next year or two, I'm not going to gamble... Just because I can afford to lose money doesn't mean I should do it."
Golf
Barkley began playing golf during his NBA career, later staying with the sport as it was a way to remain in competition after his basketball career ended. He is a regular competitor at the American Century Championship pro-am tournament, regularly finishing near the bottom of the leaderboard. He is widely regarded as a poor golfer with a particularly bad swing; he later underwent training to improve his swing, which led to an improved performance in the 2021 American Century Championship.
Barkley participated in Champions for Change, the third iteration of The Match. As part of a team with Phil Mickelson, Barkley pulled off a major upset defeating Peyton Manning and Stephen Curry by a score of 4–3.
Politics
Barkley spoke for many years of his Republican Party affiliation. In 1995, he considered running as a Republican candidate for Alabama's governorship in the 1998 election. However, in 2006, he altered his political stance, stating "I was a Republican until they lost their minds." At a July 2006 meeting of the Southern Regional Conference of the National School Boards Association in Destin, Florida, Barkley lent credence to the idea of running for Governor of Alabama, stating: I'm serious. I've got to get people to realize that the government is full of it. Republicans and Democrats want to argue over stuff that's not important, like gay marriage or the war in Iraq or illegal immigration... When I run—if I run—we're going to talk about real issues like improving our schools, cleaning up our neighborhoods of drugs and crime and making Alabama a better place for all people.
In September 2006, Barkley once again reiterated his desire to run for governor. He noted, "I can't run until 2014 ... I have to live there for seven years, so I'm looking for a house there as we speak." In July 2007, he made a video declaring his support for Barack Obama in the 2008 presidential election. In September 2007, during a broadcast on Monday Night Football, Barkley announced that he bought a house in Alabama to satisfy residency requirements for a 2014 campaign for governor. In addition, Barkley declared himself an Independent and not a Democrat as previously reported. "The Republicans are full of it", Barkley said, "The Democrats are a little less full of it."
In February 2008, Barkley announced that he would be running for Governor of Alabama in 2014 as an Independent. On October 27, 2008, he officially announced his candidacy for Governor of Alabama in an interview with CNN, stating that he planned to run in the 2014 election cycle, but he began to back off the idea in a November 24, 2009 interview on The Jay Leno Show. In 2010, he confirmed that he was not running in 2014. In August 2015, Barkley announced his support for Republican John Kasich in the 2016 presidential election. On Lance Armstrong's podcast in 2019, he confirmed that he would not be running for office.
Barkley is an outspoken supporter of gay rights. In 2006, he told Fox Sports: "I'm a big advocate of gay marriage. If they want to get married, God bless them." Speaking to Wolf Blitzer on CNN two years later, he said: "Every time I hear the word 'conservative,' it makes me sick to my stomach, because they're really just fake Christians, as I call them. That's all they are. ... I think they want to be judge and jury. Like, I'm for gay marriage. It's none of my business if gay people want to get married. I'm pro-choice. And I think these Christians, first of all, they're not supposed to judge other people. But they're the most hypocritical judge of people we have in the country. And it bugs the hell out of me. They act like they're Christians. They're not forgiving at all." During a 2011 Martin Luther King Jr. Day double-header on TNT, Barkley responded to a statement made by Dr. King's daughter Bernice, by saying, "People try to make it about black and white. [But] he talked about equality for every man, every woman. We have a thing going on now, people discriminating against homosexuality in this country. I love the homosexuality people. God bless the gay people. They are great people."
Commenting on the Ferguson unrest, Barkley called the Ferguson looters "scumbags", praised the police officers who work in black neighborhoods, and said that he supports the decision made by the grand jury not to indict officer Darren Wilson in the Michael Brown shooting. Previously, in 2013, Barkley expressed his agreement with the acquittal of George Zimmerman in the Trayvon Martin shooting.
In 2014, when Barkley was asked about the rumor that Seattle Seahawks quarterback Russell Wilson was being accused for not being "black enough" on the radio show Afternoons with Anthony and Rob Ellis, he said:
Unfortunately, as I tell my white friends, we as black people, we're never going to be successful, not because of you white people, but because of other black people. When you're black, you have to deal with so much crap in your life from other black people. It's a dirty, dark secret; I'm glad it's coming out. One of the reasons we're never going to be successful as a whole, because of other black people. And for some reason we are brainwashed to think, if you're not a thug or an idiot, you're not black enough. If you go to school, make good grades, speak intelligent, and don't break the law, you're not a good black person. And it's a dirty, dark secret. There are a lot of black people who are unintelligent, who don't have success. It's best to knock a successful black person down because they're intelligent, they speak well, they do well in school, and they're successful... We're the only ethnic group who say, 'Hey, if you go to jail, it gives you street cred.' It's just typical BS that goes on when you're black, man.
Barkley has also been known as a critic of President Donald Trump from as early as his Republican nomination in the 2016 U.S. presidential election. Before Trump won the Republican primaries that year, Barkley stated his disgust towards the words and messages that Trump was promoting throughout the presidential race. In September 2017, when President Trump called out former San Francisco 49ers quarterback Colin Kaepernick for his kneeling during the U.S. National Anthem during the 2016 NFL season, Barkley expressed his complete disappointment in President Trump (however, Barkley has stated that he does not support athletes kneeling during the National Anthem as a form of protest). In December 2017, Barkley mocked President Trump's tax bill, stating "Thank you Republicans, I knew I could always count on y’all to take care of us rich people, us one percenters. Sorry, poor people. I’m hoping for y’all, but y’all ain’t got no chance."
In his response to the controversy generated by the removal of Confederate monuments as highlighted by the August 2017 Unite the Right rally in Charlottesville, Virginia, Barkley stated:
Barkley supported Democrat Doug Jones in the 2017 United States Senate special election in Alabama. During Alabama's Senate election, Barkley noted that Jones' competitor, Roy Moore, was a complete embarrassment to the state.
In an interview with Brandon 'Scoop B' Robinson on the Scoop B Radio podcast, Barkley said if he ruled the world for one day, he would get rid of both Republicans and Democrats because "They're both awful", adding: “They fight all of the time like little kids."
Books
In 1991, Barkley and sportswriter Roy S. Johnson collaborated on the autobiographical work Outrageous. Editorial choices made by Johnson in the book led to Barkley famously quipping that he had been misquoted in his own autobiography. In 2000, Barkley wrote the foreword for Sports Illustrated columnist Rick Reilly's book The Life of Reilly. In it, Barkley quipped, "Of all the people in sports I'd like to throw through a plate glass window, Reilly's not one of them. It's a shame though, skinny white boys look real aerodynamic." In 2002, Barkley released the book I May Be Wrong, But I Doubt It, which included editing and commentary by close friend Michael Wilbon. Three years later, Barkley released Who's Afraid of a Large Black Man?, which is a collection of interviews with leading figures in entertainment, business, sports, and government. Michael Wilbon also contributed to this book and was present at many of the interviews.
Acting
He played himself in the 1996 film Space Jam. He made a brief appearance in the TV series Suits, in episode 3 of the fifth season. He also appeared in the eighth season of Modern Family. He also voices animated versions of himself in Clerks: The Animated Series and We Bare Bears. In 2019, he appeared in "The Piña Colada Song" episode of The Goldbergs as a gym teacher and alien conspiracy theorist briefly trained as a prospective replacement for the departing Coach Mellor. Barkley hosted Saturday Night Live on four separate occasions between 1993 and 2018.
DUI conviction
On December 31, 2008, Barkley was pulled over in Scottsdale, Arizona for running a stop sign. The officer smelled alcohol on Barkley's breath and proceeded to administer field sobriety tests, which he failed. He was arrested on drunk driving charges and had his vehicle impounded. Barkley refused to submit a breath test and was given a blood test. He was then cited and released. Gilbert police noted Barkley was cooperative and respectful during the entire incident, adding that he was treated no differently than anyone arrested on DUI charges. The police report of the incident stated that Barkley told the police he was in a hurry to receive oral sex from his female passenger when he ran through a stop sign early Wednesday. Test results released by the police showed that Barkley had a blood-alcohol level at .149, nearly twice the legal limit of .08 in Arizona. Two months after his arrest, Barkley pleaded guilty to two DUI-related counts and one count of running a red light. He was sentenced to ten days in jail and fined $2,000. The sentence was later reduced to three days after Barkley entered an alcohol treatment program.
As part of the fallout of his arrest, Barkley took a two-month hiatus from his commentating duties for TNT. During his absence, T-Mobile elected not to air previously scheduled ads that featured Barkley, stating, "Given the recent developments, for the time being, we've replaced TV ads featuring Mr. Barkley with more general-market advertising." On February 19, 2009, Barkley returned to TNT and spent the first segment of the NBA pregame show discussing the incident and his experiences. Shortly after his return, T-Mobile once again began airing ads featuring Barkley.
WeightWatchers
In 2011, Barkley became a spokesman for WeightWatchers, promoting their "Lose Like a Man" program and appearing in both television and online ads.
Video games
Barkley has been featured in several video games. Barkley Shut Up and Jam! is a basketball video game which was developed by Accolade. It was released for the Super NES and the Sega Genesis/Mega Drive in 1994, and was followed up by a sequel for only the Genesis in 1995. An unofficial sequel to the initial game called Barkley, Shut Up and Jam: Gaiden was developed and published in 2008. The game was developed by Tales of Game's Studios and was a departure from the first game in that the game was a traditional style JRPG.
Barkley features in EA Sports starting with Lakers versus Celtics and the NBA Playoffs in 1991, but by the late 1990s did not appear due to licensing reasons. Barkley was added to the Houston Rockets team in the game Kobe Bryant in NBA Courtside.
Barkley was featured in NBA 2K13 as part of the 1992 Olympic "Dream Team". Barkley also had the same role in NBA 2K17.
The NBA2K series includes the TNT team of Ernie Johnson, Shaquille O'Neal and Kenny Smith providing each match with pre-match analysis; however, Barkley opts not to join his fellow team members in protest at the 2K series not paying the NBPA any residuals. This boycott also means Barkley is not included in the game as a legendary player as part of any All-Time team.
Personal life
Barkley married Maureen Blumhardt in 1989, and in the same year, the couple had a daughter named Christiana.
Barkley's daughter was named after the Christiana Mall in Delaware. In a 2021 podcast, he explained, "...I just liked the mall." A DNA test read by George Lopez on Lopez Tonight revealed Barkley to be of 14% Native American, 11% European, and 75% African descent.
See also
List of members of the Basketball Hall of Fame
List of National Basketball Association career scoring leaders
List of National Basketball Association career rebounding leaders
List of National Basketball Association career steals leaders
List of National Basketball Association career turnovers leaders
List of National Basketball Association career free throw scoring leaders
List of National Basketball Association career minutes played leaders
List of National Basketball Association career playoff rebounding leaders
List of National Basketball Association career playoff steals leaders
List of National Basketball Association career playoff free throw scoring leaders
List of National Basketball Association annual rebounding leaders
Godzilla vs. Charles Barkley
Space Jam
Gnarls Barkley
References
Bibliography
External links
Charles Barkley: NBA.com Historical Biography
Charles Barkley article, Encyclopedia of Alabama
1963 births
Living people
Activists from Alabama
African-American activists
African-American basketball players
African-American sports journalists
African-American television personalities
All-American college men's basketball players
American men's basketball players
American sports journalists
American sportspeople convicted of crimes
Auburn Tigers men's basketball players
Basketball players at the 1992 Summer Olympics
Basketball players at the 1996 Summer Olympics
Basketball players from Birmingham, Alabama
College basketball announcers in the United States
Houston Rockets players
Journalists from Alabama
LGBT rights activists from the United States
Medalists at the 1992 Summer Olympics
Medalists at the 1996 Summer Olympics
Naismith Memorial Basketball Hall of Fame inductees
National Basketball Association All-Stars
National Basketball Association broadcasters
National Basketball Association players with retired numbers
Olympic gold medalists for the United States in basketball
People from Leeds, Alabama
Philadelphia 76ers draft picks
Philadelphia 76ers players
Phoenix Suns players
Power forwards (basketball)
Small forwards
United States men's national basketball team players
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[
"Lesotho competed at the 2020 Summer Olympics in Tokyo. Originally scheduled to take place from 24 July to 9 August 2020, the Games have been postponed to 23 July to 8 August 2021, because of the COVID-19 pandemic. It was the nation's twelfth appearance at the Summer Olympics, with the exception of the 1976 Summer Olympics in Montreal, because of its partial support to the African boycott. Lesotho was the second to last nation to enter before the USA and France did.\n\nCompetitors\nThe following is the list of number of competitors in the Games.\n\nAthletics\n\nLesotho athletes achieved the World Athletics entry standards, by qualifying time, in the following track and field events:\n\nLesotho did not need the universality category to enter its athletes.\n\nTrack & road events\n\nReferences\n\nNations at the 2020 Summer Olympics\n2020\n2021 in Lesotho sport",
"Gabon national under-23 football team (also known as Gabon Olympic, Gabon U-23) represents Gabon in international football competitions in the Olympic Games and the CAF U-23 Championship. The selection is limited to players under the age of 23 but the Olympics allows for the addition of up to three overage players. The team is controlled by the Gabonese Football Federation. Gabon made its first appearance in football at the 2012 Olympics in London.\n\nCompetitive Record\n\nCAF U-23 Championship\n\nOlympic Games\n{| align=border width=40% border=1 cellpadding=\"2\" cellspacing=\"0\" style=\"background: #f9f9f9; border: 1px #aaa solid; border-collapse: collapse; font-size: 80%; text-align: center;\"\n|- align=center bgcolor=#FCD116 style=\"color:#3A75C4\"\n!Host nation / Year\n!Result\n!GP\n!W\n!D*\n!L\n!GS\n!GA\n|-\n| 1896||colspan=\"7\"|No football tournament was held \n|-\n| 1900||colspan=\"7\" rowspan=\"7\"|Did not enter\n|-\n| 1904\n|-\n| 1908\n|-\n| 1912\n|-\n| 1920\n|-\n| 1924\n|-\n| 1928\n|-\n| 1932||colspan=\"7\"|No football tournament was held \n|-\n| 1936||colspan=\"7\" rowspan=\"6\"|Did not enter\n|-\n| 1948\n|-\n| 1952\n|-\n| 1956\n|-\n| 1960\n|-\n| 1964\n|-\n| 1968||colspan=\"7\" rowspan=\"2\"|Did not qualify\n|-\n| 1972\n|-\n| 1976||colspan=\"7\" rowspan=\"2\"|Did not enter\n|-\n| 1980\n|-\n| 1984||colspan=\"7\"|Did not qualify\n|-\n| 1988||colspan=\"7\"|Did not enter\n|-\n| 1992||colspan=\"7\" rowspan=\"3\"|Did not qualify\n|-\n| 1996\n|-\n| 2000\n|-\n| 2004||colspan=\"7\" rowspan=\"2\"|Did not enter\n|-\n| 2008\n|-\n| 2012|| Group Stage ||3||0||2||1||1||3\n|-\n| 2016||colspan=\"7\" rowspan=\"1\"|Did not qualify\n|-\n!Total ||1/26||3||0||2||1||1||3\n|-\n|}*Denotes draws including knockout matches decided on penalty kicks.''\n<div style=\"text-align:left\">\n\nForthcoming fixtures\n\nCurrent squad\nThe following players were called up for the 2011 CAF U-23 Championship that was held in Morocco.\n\nSee also\n Gabon national football team\n\nExternal links\n Official website\n\nReferences\n\nunder-23\nAfrican national under-23 association football teams"
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